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BEGIN:VEVENT
DTSTAMP:20260414T210118Z
DTSTART;TZID=Europe/Lisbon:20260225T150000
DTEND;TZID=Europe/Lisbon:20260225T170000
SUMMARY:“I See Dead People”: Neoliberalism as Purgatory in Christian Petzold’s 'Yella'
UID:20260415T002847Z-iCalPlugin-Grails@philevents-web-f5d4878dd-x5n6c
TZID:Europe/Lisbon
LOCATION:FCSH Avenida de Berna\, Lisbon\, Portugal
DESCRIPTION:<p>The next Film-Phil Lisbon Seminar will be led by team member<strong> Vasco Baptista</strong> <strong>Marques</strong>\, who will talk about &ldquo\;'I See Dead People': Neoliberalism as Purgatory in Christian Petzold&rsquo\;s <em>Yella</em>".&nbsp\;The session will be held on <strong>Feb. 25\, 2026</strong>\, at 15:00 WEST in room B201 of NOVA FCSH (Av. de Berna\, 26 C).</p>\n<p><br></p>\n<p>ABSTRACT&nbsp\;At least up to <em>Barbara</em> (2012)\, all the feature-length films that Christian Petzold directed&nbsp\;for both cinema and television &ndash\; from <em>Pilots</em> (1995) to <em>Dreileben: Beats Being Dead&nbsp\;</em>(2011) &ndash\; take place within an invariable historical-political context: that of a unified&nbsp\;Germany\, born after the fall of the Berlin Wall (1989). Over this territory hovers a ghost:&nbsp\;a bodiless force which\, though most often anchored in the background of&nbsp\;representation\, conditions on the surface the actions\, dreams\, and nightmares of the&nbsp\;characters who move through it. In all the films belonging to the first phase of Petzold&rsquo\;s&nbsp\;cinema\, this specter can be identified with the very system that has governed us since&nbsp\;the late 1970s: neoliberalism. Yet in none of them is this identification as explicit as in&nbsp\;<em>Yella</em> (2007)\, where neoliberalism is conceived in the image and likeness of purgatory &ndash\;&nbsp\;as a regime that condemns us to remain in an intermediate state between life and&nbsp\;death. The analysis of the film&rsquo\;s narrative motifs and formal strategies will form the core&nbsp\;of my presentation\, throughout which I will also seek to show how Petzold&rsquo\;s cinema&nbsp\;relates to the so-called &ldquo\;Berlin School&rdquo\;\, and how Yella seems to engage &ndash\; even if&nbsp\;involuntarily &ndash\; with Jean Baudrillard&rsquo\;s theory of death\, as articulated in <em>Symbolic&nbsp\;</em><em>Exchange and Death</em> (1976).</p>\n<p><br></p>\n<p>* Funded by the European Union (ERC\, FILM AND DEATH\, 101088956). Views and opinions expressed are however those of the author(s) only and do not necessarily reflect those of the European Union or the European Research Council Executive Agency. Neither the European Union nor the granting authority can be held responsible for them.&nbsp\;https://filmdeath.fcsh.unl.pt/</a></p>
ORGANIZER;CN=Susana Viegas:
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