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L’équipe du Ciné Utopia et l’Université du Luxembourg sont heureuses de vous présenter
POP(CORN) CULTURE
« The end of the world as we know it »
les interactions entre le cinéma populaire et la vie de tous les jours
Fruit d’un cours interdisciplinaire, ce cycle, ouvert au public, permettra aux spectateurs de voir ou de revoir sur grand écran les films cités ci-dessous et d’en discuter avec des enseignants-chercheurs de l’Université du Luxembourg.
Les intervenants qui participent à ce projet sont en majeure partie des membres de l’unité de recherche IPSE (Identités, Politiques, Sociétés, Espaces). C’est surtout le caractère interdisciplinaire des projets de recherche d’IPSE et les synergies entre la recherche et l’enseignement qui ont permis le développement « spontané » de cette collaboration entre Utopia s.a. et l’Université.
Programme
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27/02 BEGINNING THE END The Terminator (USA, 1984)
Special Guest Thomas Kolnberger
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12/03 THIS IS THE END, BEAUTIFUL FRIEND… Mystic River (USA, 2003)
Special Guest Tom Becker
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26/03 THE END CROWNS ALL Much Ado about Nothing (UK, 1993)
Special Guest Norbert Platz
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16/04 GENDER TROUBLE Down with Love (USA, 2003)
Special Guest Jeanne E.Glesener
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30/04 ENDING ILLUSIONS Good Bye Lenin! (Germany, 2002)
Special Guest Wilhelm Amann & Katja Stoppenbrink
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14/05 ENDANGERED SPECIES Twelve Monkeys (USA, 1995)
Special Guest Bernard Kreutz & Gian Maria Tore
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21/05 ENDING THE I Black Swan (USA, 2010)
Special Guest Andrea Binsfeld
Tarifs habituels.
Les séances débuteront à 18h30 puis les discussions seront menées en français, anglais et allemand.
Project Presentation
‘The first time I came to Luxembourg, it looked too unreal to me.
Like Disney World. You know what I mean? Everything is too nice.
The only thing missing is the background Disney music on the streets. I am not joking. ’
Movies and films are more than mere entertainment: the stories they tell colour how we perceive our lives, blurring the boundaries that separate fiction from reality. Yet, in many ways, we tend to underestimate the impact movies have on both perception and experience. Learning how to ‘read’ movies should help us understand how we encode experience.
This year, Pop[corn] Culture focuses on the notion of endings, and more particularly the different ways in which ‘our worlds’ can end. In this programme, the end of the world as we know it is not limited to post-apocalyptic or ‘end of the world’ movies, but relates to the different forms of ending (relationships, political regimes, etc.) we may encounter in the course of our lives. We will explore the narrative function of endings as well as the ways in which thinking about endings or the end of the world can affect and reconfigure both perceptions and constructions of the ‘real’.
In this context the notion of popular culture is an invaluable tool: indeed, the resistance to aesthetic and other hierarchies associated with this concept should allow us to study the different practices of everyday life in relation to the diverse and unexpected ways in which movies shape our perception of reality. All forms of fiction, whether literary or cinematic, play an important role in this process, as the description of Luxembourg that introduces these reflections perfectly illustrates: at first sight, Luxembourg, in the eyes of an international student, seems perfect, too perfect or unreal even, and is thus perceived as belonging to the clean and glossy world of fairy-tales, happy endings and Disney theme parks.
As this example suggests, we construct our realities in complex processes that involve many different cultural practices and actors. How do movies interact with our perception of self and reality? How do they shape the stories we tell about ourselves and the world? Do movie endings format our expectations of ‘real life’? These, and similar questions, will be addressed in the open discussions that follow the screening of the movies in our programme.
Pop[corn] culture is the public part of a course taught by a multi-disciplinary team of lecturers and professors at the University of Luxembourg. Though the course is restricted to students of the Bachelor en Cultures Européennes, Pop[corn] Culture is open to the general public. One characteristic feature of this programme is its resolutely eclectic selection of films and its focus on a common feature, which this year revolves around cinematic articulations of the anxieties generated by the awareness that our worlds, whatever their nature, must at some point come to an end. In this context, the aim of both the cinema programme and the course is to explore how the interactions between movies and popular culture produce the hyperreal condition of contemporary experience, or in this particular case, the ways in which narratives and endings, both thematic and formulaic, blur and complicate our perception of reality.
Notices biographiques des participants
Les discussions seront dirigées par Sonja KMEC et Agnès PRÜM.
Les intervenants « special guest » du Cycle Pop[corn] Culture sont identifiés par un *
Sponsored by
 
Wilhelm AMANN ist wissenschaftlicher Mitarbeiter und forscht zu Nationenbilder, Ästhetik und Literatur um 1800, Diskursanalyse und Literatursoziologie. Er ist u.a. Mitherausgeber von Globalisierung und Gegenwartsliteratur. Konstellationen – Konzepte – Perspektiven (2010).
Tom BECKER est collaborateur scientifique, spécialisé en géographie et histoire. Il est en charge de la Cellule nationale d’Information pour la Politique Urbaine (CIPU).
Paul DI FELICE est enseignant chercheur responsable du Laboratoire d’Arts visuels, critique d'art et commissaire d'exposition indépendant. Il est e.a. le coordinateur du Mois Européen de la Photographie au Luxembourg.
Jeanne E. GLESENER est assistant-chercheure au Laboratoire de linguistique et de littératures luxembourgeoises. Les littératures postcoloniales et migrantes, l'histoire de la littérature comparée et le roman policier font également partie de ses domaines de recherche.
Joy HOFFMANN ist Mitbegründer des Kinos Utopia und der Utopia SA und Filmkritiker für die Fernsehsendung Zinemag. Er leitet den Bereich "Film" des Centre National de l'Audiovisuel, produziert Dokumentarfilme und veröffentlicht zum Thema Filmgeschichte.
Sonja KMEC is lecturer in History and Cultural Studies. She has co-edited Lieux de mémoire au Luxembourg, 2 vols. (2007-2011) and co-written Inventing Luxembourg. Representations of the Past, Space and Language from the Nineteenth to the Twenty-First Century (2010).
Bernhard KREUTZ ist wissenschaftlicher Mitarbeiter und forscht zur mittelalterlichen Adelsgeschichte sowie zu musealen und medialen Darstellungen des Mittelalters.
Paul LESCH est historien, spécialisé en sciences de la communication. Il est collaborateur scientifique du CNA et assistant professeur associé à l’UL. Il est l’auteur e.a. de Au nom de l’ordre public & des bonnes moeurs. Contrôle des cinémas et censure de films au Luxembourg 1895-2005 (2005).
Georg MEIN ist Professor für Neuere Deutsche Literatur und forscht in den Bereichen Literatur vom 18. Jh. bis in die Gegenwart, Literatursoziologie, Medienund Kulturtheorien. Er ist u.a. der Autor von Transmission: Übersetzung - Übertragung - Vermittlung (2010) und Choreografien des Selbst (2011).
Pit PEPORTE is assistant researcher at the Laboratoire d’histoire. He has co-edited Lieux de mémoire au Luxembourg, 2 vols. (2007-2011) and co-written Inventing Luxembourg. Respresentations of the Past, Space and Language from the Nineteenth to the Twenty-First Century (2010).
Norbert PLATZ is Professor of English Literature at the University of Trier. He specialises in English Renaissance drama, Victorian literature and culture, modern drama, new literatures in English, and more recently, the relationship between literature and the environment.
Agnès PRÜM is lecturer in English Literature and Amercian Studies. Her research interests include utopian and dystopian writing, gender and the interaction between narratives and identity construction. Her publications on popular culture include articles on CSI and Frankenstein.
Gian Maria TORE est assistant-chercheur au Laboratoire de linguistique et de littérature françaises, spécialisé en sémiotique et communication (et notamment en cinéma). Il tient une rubrique au d’Lëtzebuerger Land sur la programmation de la Cinémathèque.
Kristen REINERT is a guest instructor from the United States representing the Fulbright Fellowship Program. She has studied Journalism and Germanic Languages and Literatures, focusing on language and multilingual education.
Katija STOPPENBRINK has taught introductory courses to mediaeval history at the University of Cologne and is now assistant-doctorante at the Laboratoire de philosophie. Her research interests include moral philosophy, applied ethics, philosophy of law and philosophical action theory.
Sven WOHL is undertaking a Master degree and working as a freelance videogame reviewer for the Lëtzebuerger Journal, among others. Twitter: @Subenu
Une collaboration entre l'Université du Luxembourg et le Ciné Utopia
Titulaires: Agnès PRÜM et Sonja KMEC
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