For the IKKM Wesnesday program, I propose to show excerpts from the documentary Marlene (G 1984), directed by Maximilian Schell.
Famous for dealing with the refusal of Marlene Dietrich to let herself be filmed or photographed by Schell and his crew, Marlene negotiates the coherence of image, articulation and persona via a complicated montage of sound recordings and images, using photographs and excerpts from a large number of films, both documentary and fictional.
I would like to use this screening to explain some of my interests in complicated and conflicted interview situations and to point out how, especially in documentary film, complications can become both productive and instructive. I will present a brief introduction before and a few comments after the screening, which should then be followed by a discussion of the material.