{"id":9237,"date":"2025-03-16T20:03:40","date_gmt":"2025-03-16T20:03:40","guid":{"rendered":"https:\/\/sapiegurumai.lt\/?post_type=event&#038;p=9237"},"modified":"2025-03-21T08:53:52","modified_gmt":"2025-03-21T08:53:52","slug":"grandmas-grammar","status":"publish","type":"event","link":"https:\/\/sapiegurumai.lt\/en\/events\/grandmas-grammar\/","title":{"rendered":"Grandma&#8217;s Grammar"},"content":{"rendered":"\n<style>\n  #item-text-content-block_67d72e9c06f9e {\n          }\n\n  @media (min-width: 1180px) {\n    #item-text-content-block_67d72e9c06f9e {\n                }\n  }\n<\/style>\n\n<div id=\"item-text-content-block_67d72e9c06f9e\" class=\"item-text-content pt-48 pb-48\">\n\n  <div class=\"container container--mob item-text-content__inner\">\n\n              <div class=\"t-20 \n              t-dt-28 \n            rich\">\n        <p><span style=\"font-weight: 400;\">Grandmothers populate the body of non-fiction and experimental cinemas, and <\/span><i><span style=\"font-weight: 400;\">Grandma\u2019s Grammar<\/span><\/i><span style=\"font-weight: 400;\"> aims to point at the diversity of their appearance in historical and contemporary film practices.\u00a0<\/span><\/p>\n<p>&nbsp;<\/p>\n<p><span style=\"font-weight: 400;\">Grandmothers are multiplicitous subjects, archives, and prisms for modes of sodality, solidarity and kinship. They are privileged subjects for the work of testimony, the construction of history, and of the lineage of women\u2019s lived experience. And further the grandmother models alternative modes of perception, of thinking and feeling across alterity and horizons of historical experience.<\/span><\/p>\n<p>&nbsp;<\/p>\n<p><span style=\"font-weight: 400;\">Grandmothers have long been feminist filmic resources, a way to think laterally across generations, articulating a relationship to past traditions and temporalities, to social rituals, the historicity of gender and of patriarchy\u2019s demands, and the witnessing of historical trauma and oppression. In this the grandmother also operates as a very specific proxy for the thickness and entanglement of any given story of lineage, inheritance, or the bequeathing of storytelling itself. What is narrated by the grandmother? And what does grandmother refuse to narrate? Such questions have long animated feminist historiography and theories of gendered and raced subjectivity, especially as the oral traditions and embodied knowledges transmitted across generations have sustained alternative narrations of history and History.\u00a0\u00a0<\/span><\/p>\n<p>&nbsp;<\/p>\n<p><span style=\"font-weight: 400;\">One of feminist history\u2019s desires, untold, is the desire for the grandmother.\u00a0\u00a0<\/span><\/p>\n<p>&nbsp;<\/p>\n<p><span style=\"font-weight: 400;\">(Revised, expanded extract from Elena Gorfinkel, \u201cCinema of the Grandmother,\u201d in E. Balsom and H. Peleg eds. <\/span><i><span style=\"font-weight: 400;\">Feminist Worldmaking and the Moving Image<\/span><\/i><span style=\"font-weight: 400;\">. MIT Press, 2022.)<\/span><\/p>\n<p>&nbsp;<\/p>\n<p><span style=\"font-weight: 400;\">The programme features films by Barbara Hammer, Gunvor Nelson, Chiemi Shimada, and Emilija \u0160karnulyt\u0117. <\/span><i><span style=\"font-weight: 400;\">Grandma\u2019s Grammar<\/span><\/i><span style=\"font-weight: 400;\"> is curated by Elena Gorfinkel, who will present the films in person. The event will be held in English.<\/span><\/p>\n<p>&nbsp;<\/p>\n<p><span style=\"font-weight: 400;\">Elena Gorfinkel is a film scholar and critic, and Reader in Film Studies at King\u2019s College London. Her research, writing and programming concerns independent, underground, and experimental cinemas, and women\u2019s filmmaking practices. She is the author, most recently, of <\/span><i><span style=\"font-weight: 400;\">Wanda<\/span><\/i><span style=\"font-weight: 400;\"> (Bloomsbury\/BFI), and, with John David Rhodes, <\/span><i><span style=\"font-weight: 400;\">The Prop<\/span><\/i><span style=\"font-weight: 400;\">, (Cutaways, Fordham), as well as <\/span><i><span style=\"font-weight: 400;\">Lewd Looks: American Sexploitation Cinema in the 1960s<\/span><\/i><span style=\"font-weight: 400;\">; she is co-editor of the volumes <\/span><i><span style=\"font-weight: 400;\">Global Cinema Networks<\/span><\/i><span style=\"font-weight: 400;\"> (Rutgers) and <\/span><i><span style=\"font-weight: 400;\">Taking Place: Location &amp; the Moving Image<\/span><\/i><span style=\"font-weight: 400;\"> (Minnesota). She was the recipient of the Andy Warhol Foundation Arts Writers Grant for a book in progress on \u201ccinemas of exhaustion.\u201d Her criticism has been published in venues such as <\/span><i><span style=\"font-weight: 400;\">Criterion<\/span><\/i><span style=\"font-weight: 400;\">, <\/span><i><span style=\"font-weight: 400;\">MUBI Notebook<\/span><\/i><span style=\"font-weight: 400;\">, <\/span><i><span style=\"font-weight: 400;\">Sight &amp; Sound<\/span><\/i><span style=\"font-weight: 400;\">, <\/span><i><span style=\"font-weight: 400;\">Cinemascope<\/span><\/i><span style=\"font-weight: 400;\"> and <\/span><i><span style=\"font-weight: 400;\">Art Monthly<\/span><\/i><span style=\"font-weight: 400;\">.<\/span><\/p>\n      <\/div>\n    \n  <\/div>\n\n<\/div>\n\n\n\n<style>\n  #item-text-content-block_67d72e9c070c5 {\n          }\n\n  @media (min-width: 1180px) {\n    #item-text-content-block_67d72e9c070c5 {\n                }\n  }\n<\/style>\n\n<div id=\"item-text-content-block_67d72e9c070c5\" class=\"item-text-content pt-48 pb-48\">\n\n  <div class=\"container container--mob item-text-content__inner\">\n\n          <h2 class=\"t-20 \n              t-dt-28 pb-24 pb-dt-20\n            upper \">\n        Programme      <\/h2>\n              <div class=\"t-20 \n              t-dt-28 \n            rich\">\n        <p>&nbsp;<\/p>\n<p><b>Red Shift<\/b><\/p>\n<p><b><\/b><span style=\"font-weight: 400;\">Gunvor Nelson \/ 1984 \/ Sweden \/ 50:00\u00a0<\/span><\/p>\n<p>&nbsp;<\/p>\n<p><span style=\"font-weight: 400;\">Oscillating between extreme proximity and distance, <\/span><i><span style=\"font-weight: 400;\">Red Shift<\/span><\/i><span style=\"font-weight: 400;\"> is a film of domestic interiors, tactile details, and mutable intergenerational dynamics. Nelson, daughter Oona, and Oona\u2019s grandmother, Carin Grundel, appear playing family roles. Two other actors represent a \u201cpast\u201d of mother-daughter relations. They are tethered in a relay of extreme closeups and long shots: hands grasping and tending, creased flesh, polished silver, windowed views, resonant shards of time and memory, ritual and habit. Along with gnomic proverbs and snatches of banter, Edith Kramer is heard reading excerpts from over two decades of Calamity Jane\u2019s late 19th century letters of regret to an estranged daughter. \u201cThe years have slipped by\u2026\u201d In a multivalent work of generational transmission, Jane\u2019s lamentations yoke motherhood\u2019s psychic freight to a vaster temporal horizon.\u00a0\u00a0\u00a0<\/span><\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p><b>Optic Nerve<\/b><\/p>\n<p><span style=\"font-weight: 400;\">Barbara Hammer \/ 1985 \/ USA \/ 16:00\u00a0<\/span><\/p>\n<p>&nbsp;<\/p>\n<p><span style=\"font-weight: 400;\">Barbara Hammer used filmic techniques associated with the baring of the apparatus towards materializing an embodied empathy. Hammer had to place her grandmother Anna \u2013 losing her sight and with a deteriorating illness \u2013 in a nursing home. <\/span><i><span style=\"font-weight: 400;\">Optic Nerve\u2019s<\/span><\/i><span style=\"font-weight: 400;\"> images, manipulated by optical step printing, repetition, and re-photography, dilate, arrest, and filter the moments Hammer spent with her grandmother in the rooms and halls of the care home, suffused by the tensions of memory and opacity, re-collection and disintegration. Making palpable their intersubjective bond, Hammer layers perceptual, corporeal, and psychic strata, conjuring her grandmother\u2019s sensate experience and fading sight through a prismatic materiality.\u00a0\u00a0<\/span><\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<h3><span style=\"font-weight: 400;\">Aldona<\/span><\/h3>\n<p><span style=\"font-weight: 400;\">Emilija \u0160karnulyt\u0117 \/ 2013 \/ Lithuania \/ 16:00\u00a0<\/span><\/p>\n<p>&nbsp;<\/p>\n<p><i><span style=\"font-weight: 400;\">Aldona<\/span><\/i><span style=\"font-weight: 400;\">\u202fpresents an encounter between collective and personal histories, where abstracted ideologies, monumentalized, reconvene with the historical subjects whom they have shaped. Grandmother Aldona suffered permanent blindness suddenly in 1986 due to poisoning by the Chernobyl explosion.\u202f\u0160karnulyt\u0117, contemplates her grandmother\u2019s trip to\u202fGr\u016btas\u202fPark, in Drusinkinkai, where near one hundred Soviet-era monuments, extirpated from public squares and city centres throughout Lithuania after the fall of Communism, are repurposed in a sculpture garden. Communing with a concretized past, Aldona\u2019s hands are observed slowly tracing the physical surfaces of the giant effigies, touch tarrying with other unspoken reckonings.\u00a0<\/span><\/p>\n<p>&nbsp;<\/p>\n<p><span style=\"font-weight: 400;\">\u00a0<\/span><\/p>\n<h3><span style=\"font-weight: 400;\">Chiyo<\/span><\/h3>\n<p><span style=\"font-weight: 400;\">Chiemi Shimada \/ 2019 \/ Japan, UK \/ 13:00\u00a0<\/span><\/p>\n<p>&nbsp;<\/p>\n<p><span style=\"font-weight: 400;\">A poetic work that captures the ritual of the granddaughter\u2019s visit with her elder, <\/span><i><span style=\"font-weight: 400;\">Chiyo<\/span><\/i><span style=\"font-weight: 400;\"> maps not only the incandescence of Shimada\u2019s grandmother\u2019s subjectivity, but also the suburban environment of Yashio where she lives: everyday traffic, a summer night fair, Buddhist ritual, and flashes of fireworks. Snippets of conversation between grandmother and granddaughter move to what she sees in her dream life, \u201cDreams can\u2019t stay in one place, they end abruptly.\u201d Shimada\u2019s camera observes grandmother strolling, with a walker, back curved by labour and time\u2019s gravity. Chiyo\u2019s images bear a haunting ineffability, whether tracing the wafting of incense smoke as it draws a line in space or attending the consoling sound of grandma\u2019s somnolent breathing. \u201cI can walk for a long time in my dreams.\u201d\u00a0<\/span><\/p>\n<p>&nbsp;<\/p>\n<p><span style=\"font-weight: 400;\">Total run of the programme: 1 hour 35 minutes<\/span><\/p>\n      <\/div>\n    \n  <\/div>\n\n<\/div>\n","protected":false},"featured_media":9223,"template":"","event_category":[],"class_list":["post-9237","event","type-event","status-publish","has-post-thumbnail","hentry"],"acf":[],"aioseo_notices":[],"aioseo_head":"\n\t\t<!-- All in One SEO 5.0.0.1 - aioseo.com -->\n\t<meta name=\"robots\" content=\"max-image-preview:large\" \/>\n\t<link rel=\"canonical\" href=\"https:\/\/sapiegurumai.lt\/en\/events\/grandmas-grammar\/\" \/>\n\t<meta name=\"generator\" content=\"All in One SEO (AIOSEO) 5.0.0.1\" \/>\n\t\t<meta property=\"og:locale\" content=\"en_US\" \/>\n\t\t<meta property=\"og:site_name\" content=\"Sapieg\u0173 r\u016bmai -\" \/>\n\t\t<meta property=\"og:type\" content=\"article\" \/>\n\t\t<meta property=\"og:title\" content=\"Grandma\u2019s Grammar - 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