Film Archive

Sections (Film Archive)

Jahr

Countries (Film Archive)

Werkschau Lutz Dammbeck
1. Leipziger Herbstsalon Lutz Dammbeck

In 1984, the “First Leipzig Autumn Salon” took place. Bypassing every state institution, six painters, sculptors and filmmakers organised an art exhibition.

1. Leipziger Herbstsalon

Documentary Film
GDR
1984
22 minutes
subtitles: 
_without dialogue / subtitles
Credits DOK Leipzig Logo
Lutz Dammbeck
Lutz Dammbeck
Thomas Plenert
Lutz Dammbeck
In 1984, the “First Leipzig Autumn Salon” took place – a risk and a caesura for Dammbeck. Bypassing every state institution, six painters, sculptors and filmmakers organised an art exhibition. It was the first and last of its kind. This recapture of public space through art challenged the government’s monopoly on power and triggered similar activities by other artists in the art centres of the GDR. A brave signal to the SED who saw this exhibition as a “counter-revolutionary development”. After that, there were only two options: regress or leave.

Sven Safarow

The annotations to the films in the Official Selection were written by the members of the selection committee and guest authors. All quotes from DOK Leipzig catalogue articles must be identified as such and cite the author’s name. Some original titles and names have been transcribed resp. transliterated. We apologise that we cannot cite individual image sources and rights in our festival publications or festival coverage. Please note that the visual material is published exclusively for the purposes of promoting specific films or festival programmes. No transmission to third parties is provided and would only take place with the explicit agreement of the owners of the rights. The rights to the images lie with the respective copyright owners.

Das Meisterspiel

Documentary Film
Germany
1998
106 minutes
subtitles: 
No
Credits DOK Leipzig Logo
Lutz Dammbeck
Lutz Dammbeck
Jörg Lensing
Eberhard Geick, Leo Potesil, Thomas Plenert
Margot Neubert-Marić
Lutz Dammbeck
Michael Laube, Bruno Pisek
A Gordian knot, a criminal case still waiting to be solved: who overpainted the works of Arnulf Rainer, an artist known for his own overpaintings? Was this really an act of right-wing modernism? However thrilling this question may be, the film is also concerned with portraying a far too vibrant national-conservative parallel society and exposing the deep rift between right and left that even postmodernism was unable to overcome. The weekly paper “Die Zeit” was irritated: Dammbeck “searches the brown swamp and gets stuck there.” In fact, he put his finger in the wound of a German history allegedly overcome.

Sven Safarow

The annotations to the films in the Official Selection were written by the members of the selection committee and guest authors. All quotes from DOK Leipzig catalogue articles must be identified as such and cite the author’s name. Some original titles and names have been transcribed resp. transliterated. We apologise that we cannot cite individual image sources and rights in our festival publications or festival coverage. Please note that the visual material is published exclusively for the purposes of promoting specific films or festival programmes. No transmission to third parties is provided and would only take place with the explicit agreement of the owners of the rights. The rights to the images lie with the respective copyright owners.

Werkschau Lutz Dammbeck
Das Netz. Unabomber, LSD & Internet Lutz Dammbeck

“The Net” was the ultimate expansion of Dammbeck’s spectrum of themes. The focus of ideological interpretations and appropriations is no longer the artist but technological progress.

Das Netz. Unabomber, LSD & Internet

Documentary Film
Germany
2003
115 minutes
subtitles: 
German
Credits DOK Leipzig Logo
Lutz Dammbeck
Lutz Dammbeck
Jörg Lensing
Thomas Plenert, Eberhard Geick, István Imreh, James Carman
Margot Neubert-Marić
Karl Laabs
“The Net” was the ultimate expansion of Dammbeck’s spectrum of themes. The focus of ideological interpretations and appropriations is no longer the artist but technological progress. Connecting phenomena like cybernetics, counterculture, science and avant-garde art leads to alternative problems and questions that evoke Adam Curtis’s BBC television films in their astuteness. The film revolves around a taboo: is it permissible to take Kaczynski, the Unabomber, seriously? The former Harvard mathematics professor’s violent protest against the scientific elite represents an irritation in the too rarely contradicted success story of digitization.

Sven Safarow

The annotations to the films in the Official Selection were written by the members of the selection committee and guest authors. All quotes from DOK Leipzig catalogue articles must be identified as such and cite the author’s name. Some original titles and names have been transcribed resp. transliterated. We apologise that we cannot cite individual image sources and rights in our festival publications or festival coverage. Please note that the visual material is published exclusively for the purposes of promoting specific films or festival programmes. No transmission to third parties is provided and would only take place with the explicit agreement of the owners of the rights. The rights to the images lie with the respective copyright owners.

Werkschau Lutz Dammbeck
Der Maler kam aus fremdem Land … Lutz Dammbeck

A portrait of the artists Cornelia Schleime, Hans-Hendrik Grimmling and Hans Scheib who left the GDR for West Berlin between 1984 and 1985.

Der Maler kam aus fremdem Land …

Documentary Film
FRG
1988
44 minutes
subtitles: 
No
Credits DOK Leipzig Logo
Ulrich Lenze
Lutz Dammbeck
Carlo Inderhees
Eberhard Geick, Hartmut Lange
Ekkehard Faerber
Lutz Dammbeck
Karl-Heinz Laabs
“From a strange land the painter came, so here he is still quite unknown. From a strange world the painter came, so here he is quite on his own.” A portrait of the artists Cornelia Schleime, Hans-Hendrik Grimmling and Hans Scheib who left the GDR for West Berlin between 1984 and 1985. What became of their former subversive strategies and positions in “the West”? Were they still able to find common ground? Where was the force field feeding their art located now? This was the first film Dammbeck made in the FRG, and he had to shoot it twice because the original negative got lost on its way to the lab. When it turned up again, it was unusable. A farewell greeting from the old homeland?

Sven Safarow

The annotations to the films in the Official Selection were written by the members of the selection committee and guest authors. All quotes from DOK Leipzig catalogue articles must be identified as such and cite the author’s name. Some original titles and names have been transcribed resp. transliterated. We apologise that we cannot cite individual image sources and rights in our festival publications or festival coverage. Please note that the visual material is published exclusively for the purposes of promoting specific films or festival programmes. No transmission to third parties is provided and would only take place with the explicit agreement of the owners of the rights. The rights to the images lie with the respective copyright owners.

Der Mond

Animated Film
GDR
1975
6 minutes
subtitles: 
_without dialogue / subtitles
Credits DOK Leipzig Logo
DEFA-Studio für Trickfilme
Lutz Dammbeck
Thomas Hertel
Helmut Krahnert
Hanna Fürst
Lutz Dammbeck
In a nocturnal clearing, an old gramophone plays dance music for some strange animals and creatures. This attracts the moon’s curiosity; he dances, loses his balance and crashes to earth, where he gets stuck in a well. When the dragon Sweettooth in his mountain cave sees this he captures the moon and forces him to light his cave when he’s eating pies and cakes. The animals of the forest free the moon so he can return to his proper place.

Source: Archive Lutz Dammbeck

The annotations to the films in the Official Selection were written by the members of the selection committee and guest authors. All quotes from DOK Leipzig catalogue articles must be identified as such and cite the author’s name. Some original titles and names have been transcribed resp. transliterated. We apologise that we cannot cite individual image sources and rights in our festival publications or festival coverage. Please note that the visual material is published exclusively for the purposes of promoting specific films or festival programmes. No transmission to third parties is provided and would only take place with the explicit agreement of the owners of the rights. The rights to the images lie with the respective copyright owners.

Werkschau Lutz Dammbeck
Die Flut Lutz Dammbeck

Two men sit on an island watching the sunset. When a storm gathers, they decide to build a boat. While one man is mindful of the coming danger and urges speed, the other wastes his time on decorative details.

GDR

GDR
1986

Die Flut

Animated Film
GDR
1986
10 minutes
subtitles: 
_without dialogue / subtitles
Credits DOK Leipzig Logo
DEFA-Studio für Trickfilme
Lutz Dammbeck
Günter Sommer, Peter Graf
Lutz Kleber
Eva d’Bomba
Lutz Dammbeck, Ingrid Gubisch
Lutz Dammbeck
Two men sit on an island watching the sunset. When a storm gathers, they decide to build a boat. While one man is mindful of the coming danger and urges speed, the other wastes his time on decorative details. An animated metaphor for lack of energy and decisiveness. The story is based on a Chinese fable and features music composed and played by internationally-known jazz percussionist Günter “Baby” Sommer.

Source: DEFA Film Library, Amherst/DEFA Foundation

The annotations to the films in the Official Selection were written by the members of the selection committee and guest authors. All quotes from DOK Leipzig catalogue articles must be identified as such and cite the author’s name. Some original titles and names have been transcribed resp. transliterated. We apologise that we cannot cite individual image sources and rights in our festival publications or festival coverage. Please note that the visual material is published exclusively for the purposes of promoting specific films or festival programmes. No transmission to third parties is provided and would only take place with the explicit agreement of the owners of the rights. The rights to the images lie with the respective copyright owners.

Herakles Höhle

Documentary Film
Germany,
GDR
1990
44 minutes
subtitles: 
No
Credits DOK Leipzig Logo
Lutz Dammbeck
Lutz Dammbeck
Jörg U. Lensing
Eberhard Geick
Margot Neubert-Marić
Lutz Dammbeck
Karl Laabs, Eric Rueff, Lutz Dammbeck
The project Dammbeck had already started to prepare before he left and had partly explored in media collages, was produced for Südwestfunk in 1990. It is here that he first analyses in documentary-essayistic style the ideological outlines and fascist remains in the new, free world. It’s about the “concealed continuity of totalitarian structures”, an unpopular position in a society that wished to see itself as post-ideological according to Francis Fukuyama. The film is part of the “Herakles-Konzept” that Dammbeck had begun in 1982, illuminating invisible power structures and examining authoritarian dynamics from the left and right.

Sven Safarow

The annotations to the films in the Official Selection were written by the members of the selection committee and guest authors. All quotes from DOK Leipzig catalogue articles must be identified as such and cite the author’s name. Some original titles and names have been transcribed resp. transliterated. We apologise that we cannot cite individual image sources and rights in our festival publications or festival coverage. Please note that the visual material is published exclusively for the purposes of promoting specific films or festival programmes. No transmission to third parties is provided and would only take place with the explicit agreement of the owners of the rights. The rights to the images lie with the respective copyright owners.

Werkschau Lutz Dammbeck
Hommage à La Sarraz Lutz Dammbeck

An ironic salute and tribute to the avant-garde cinema of the 1920s, which can be seen as a dress rehearsal for the great films of the “Herakles-Konzept”.

GDR

GDR
1981

Hommage à La Sarraz

Animated Film
GDR
1981
12 minutes
subtitles: 
No
Credits DOK Leipzig Logo
Lutz Dammbeck
Lutz Dammbeck
Lutz Dammbeck
Thomas Plenert
Lutz Dammbeck
Lutz Dammbeck
Lutz Dammbeck
An ironic salute and tribute to the avant-garde cinema of the 1920s, which can be seen as a dress rehearsal for the great films of the “Herakles-Konzept”. Taking up elements of “Metamorphosis 1”, the film is dedicated wholly to experimentation: celluloid is treated with acid, pasted with grass and butterfly wings. Dammbeck juxtaposes the material with excerpts from newsreel and Nazi propaganda films, while the soundtrack consists of parts of a Deutschlandfunk feature about the cinema of the Nazi period, and industrial sounds. “The direction I wanted to follow in terms of form and content was now fixed,” Dammbeck states in retrospect.

Sven Safarow

The annotations to the films in the Official Selection were written by the members of the selection committee and guest authors. All quotes from DOK Leipzig catalogue articles must be identified as such and cite the author’s name. Some original titles and names have been transcribed resp. transliterated. We apologise that we cannot cite individual image sources and rights in our festival publications or festival coverage. Please note that the visual material is published exclusively for the purposes of promoting specific films or festival programmes. No transmission to third parties is provided and would only take place with the explicit agreement of the owners of the rights. The rights to the images lie with the respective copyright owners.

Lebe!

Animated Film
GDR
1978
12 minutes
subtitles: 
_without dialogue / subtitles
Credits DOK Leipzig Logo
DEFA-Studio für Trickfilme
Lutz Dammbeck
Bernd Wefelmeyer
Helmut Krahnert
Eva d’Bomba
Lutz Dammbeck, Ulrich Forchner
Lutz Dammbeck
Heinz Kaiser, Manfred Jähne
Produced at the DEFA Studio for animated film in Dresden, this film traces the life story of one man from birth to death. His striving for material wealth leads him to betray his ideals and he ultimately becomes a slave to his possessions. A reaction to the SED slogans for the improvement of working morale.

Source: DEFA Film Library, Amherst/DEFA Foundation

The annotations to the films in the Official Selection were written by the members of the selection committee and guest authors. All quotes from DOK Leipzig catalogue articles must be identified as such and cite the author’s name. Some original titles and names have been transcribed resp. transliterated. We apologise that we cannot cite individual image sources and rights in our festival publications or festival coverage. Please note that the visual material is published exclusively for the purposes of promoting specific films or festival programmes. No transmission to third parties is provided and would only take place with the explicit agreement of the owners of the rights. The rights to the images lie with the respective copyright owners.

Werkschau Lutz Dammbeck
Metamorphosen 1 Lutz Dammbeck

This film was first planned in 1976 for an interdisciplinary exhibition of six Leipzig artists called “Tangente I” intended to revolve around joint projects by painters, filmmakers, composers and choreographers.

Metamorphosen 1

Animated Film
GDR
1978
7 minutes
subtitles: 
_without dialogue / subtitles
Credits DOK Leipzig Logo
Mogollon Film
Lutz Dammbeck
Peter Pohler
Lutz Dammbeck
This film was first planned in 1976 for an interdisciplinary exhibition of six Leipzig artists called “Tangente I” intended to revolve around joint projects by painters, filmmakers, composers and choreographers. Lutz Dammbeck and the painter Frieder Heinze conceived an experimental film. In 1977 the exhibition was banned and Lutz Dammbeck realised the film on his own. A train journey from Dresden Neustadt to Pieschen, shot on 35mm film with a camera secretly “borrowed” from a DEFA Studio, provides the narrative frame. The images of the train ride are superimposed by scenes of non-camera animation, merging into a metamorphosis of forms and colours.

Source: Archive Lutz Dammbeck

The annotations to the films in the Official Selection were written by the members of the selection committee and guest authors. All quotes from DOK Leipzig catalogue articles must be identified as such and cite the author’s name. Some original titles and names have been transcribed resp. transliterated. We apologise that we cannot cite individual image sources and rights in our festival publications or festival coverage. Please note that the visual material is published exclusively for the purposes of promoting specific films or festival programmes. No transmission to third parties is provided and would only take place with the explicit agreement of the owners of the rights. The rights to the images lie with the respective copyright owners.

Werkschau Lutz Dammbeck
Overgames Lutz Dammbeck

For Baudrillard the game show in the consumer society is a ceremony “like the catholic mass or the rite of sacrifice in primitive society.” For Dammbeck it is also an instrument of re-education.

Overgames

Documentary Film
Germany
2015
164 minutes
subtitles: 
German
Credits DOK Leipzig Logo
Lutz Dammbeck
Lutz Dammbeck
J. U. Lensing
Börres Weiffenbach, Eberhard Geick, Volker Tittel, István Imreh
Margot Neubert-Marić
Lutz Dammbeck
Vinzent Muhsik, Björn Geldermann
For Baudrillard the game show in the consumer society is a ceremony “like the catholic mass or the rite of sacrifice in primitive society.” For Dammbeck it is also an instrument of re-education that was intended to exorcise post-war Germany’s authoritarian attitude. A contradiction in the supposedly un-political realm of consumption? At the very least a radical incision into national identity. In “Overgames”, Dammbeck sets out in quest of the German psyche, the “FRG source code” that he imagines to be somewhere between Margaret Mead and Richard M. Brickner, between celebrations of the highest being and game shows, between “Hitler Youth Quex” and the American Dream.

Sven Safarow



Award winner of the Goethe-Institut Documentary Film Prize 2015

The annotations to the films in the Official Selection were written by the members of the selection committee and guest authors. All quotes from DOK Leipzig catalogue articles must be identified as such and cite the author’s name. Some original titles and names have been transcribed resp. transliterated. We apologise that we cannot cite individual image sources and rights in our festival publications or festival coverage. Please note that the visual material is published exclusively for the purposes of promoting specific films or festival programmes. No transmission to third parties is provided and would only take place with the explicit agreement of the owners of the rights. The rights to the images lie with the respective copyright owners.

Zeit der Götter

Documentary Film
Germany
1992
92 minutes
subtitles: 
No
Credits DOK Leipzig Logo
Lutz Dammbeck
Lutz Dammbeck
Jörg Lensing
Thomas Plenert, Eberhard Geick
Margot Neubert-Marić
Lutz Dammbeck
Karl Laabs, Ronald Gohlke, Klaus Dzuck
“Age of the Gods” asks a fundamental question: can the aesthetical and the political be separated? Dammbeck had begun to study Arno Breker while he was working on the “Herakles-Konzept”. The sculptor and protégé of Adolf Hitler had established some ties to the fringes of the art world in the FRG with various portrait commissions, including for Ernst Jünger and Peter Ludwig. The film goes on to ask what power-political transformations do to art, how fascist symbols can regain their aesthetic innocence and how much opportunism is found in “pure” art. This is where Dammbeck emerges as the great chronicler of the German relationship between art and power.

Sven Safarow

The annotations to the films in the Official Selection were written by the members of the selection committee and guest authors. All quotes from DOK Leipzig catalogue articles must be identified as such and cite the author’s name. Some original titles and names have been transcribed resp. transliterated. We apologise that we cannot cite individual image sources and rights in our festival publications or festival coverage. Please note that the visual material is published exclusively for the purposes of promoting specific films or festival programmes. No transmission to third parties is provided and would only take place with the explicit agreement of the owners of the rights. The rights to the images lie with the respective copyright owners.