Jean Rouch (1917–2004, France) was a legendary documentarian and ethnographer known for his work focused on West and Central African communities. He attended possession ceremonies of the Songhay religion, documenting them and showing the films at the Musée de l’Homme in Paris. Rouch began screening his films in Africa, and incorporating comments from his films' subjects into his work, thus developing the ideas of Robert Flaherty about "shared anthropology” that became central to his practice. The series done with Germaine Dieterlen documenting the seven-year cycle of Dogon Digui rituals that occur every 60 years is regarded as one of his most significant contributions. Inventor of “ethnofiction,” Rouch explored themes of colonialism and racism in a playful and poetic way.
Maya Deren (1917–1961, Ukraine/United States) was one of the most important American experimental filmmakers and entrepreneurial promoters of the avant-garde in the 1940s and 1950s. Deren was also a choreographer, dancer, film theorist, poet, lecturer, writer, and photographer. Her influence, especially in independent film, has not only endured but also increased in the decades following her death. She combined her interests in dance, Haitian Vodou and subjective psychology in a series of surreal, perceptual, black and white short films. Using editing, multiple exposures, jump cutting, superimposition, slow-motion and other camera techniques to her fullest advantage, Deren creates continued motion through discontinued space, with the ability to turn her vision into a stream of consciousness.
Dr Marc Glöde (Germany/Singapore) is Assistant Professor, School of Art, Design and Media, NTU, who regularly contributes to NTU CCA Singapore’s programmes. He received his PhD from the Free University of Berlin, and has taught at the FU Berlin, Academy of Fine Arts Berlin, and ETH Zürich. His research focuses on the intersection of art, architecture, and film, and his curatorial projects include STILL/MOVING/STILL – The History of Slide Projection in the Arts, Belgium, (Re-)locating the Self, Hamburg, and Filmic Reflections on the Document, Bonn. He was Senior Curator for Art Basel’s film programme (2008–2014). Publications include Farbige Lichträume (2014), and co-editor of Synästhesie-Effekte (2011) and Umwidmungen (2005). His writing has been published in Fantom, Osmos, Texte zur Kunst, Parkett, and Art in America.
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