Screenplays

The film charts the journey of an artist–filmmaker who is led astray from her attempts to make a documentary in Los Angeles by the mysterious history of a deceased male artist named Amboy. Amboy’s storyline is expressed with a disorienting array of cinematic strategies taken from feature films,documentaries, B–movies, and home–video style recordings. The conflation of these approaches takes place in an exhibition environment: one that includes photographic prints and readymade objects taken from the actual site of Amboy, a ghost town in the Mojave desert that serves as the central location of the film. Scholz, a painter and filmmaker, edited, ...
PublisherLibrary Stack2019
MILTON FANGLINN: My name is Milton Fanglinn. I don’t teach, no. I work in the antiquities industry as a kind of. . . well let’s say a freelance scholar. I run a small consulting business, first out of New York but now from London, authenticating and researching the provenance of ancient objects in the field. Most of these don’t things have paper- work, or known owners, and are probably never going to be seen by the public. I have worked discreetly for many of the finest museums in the world, none of which would ever want its competitors to know ...
PublisherLibrary Stack2019
This pamphlet transcribes and reformats 3GRADPLUS: A Journey to the End of the World, a public performance by the Swiss journalist Hannes Grassegger, produced by the 2019 International Summer Festival Kampnagel in Hamburg. For the event, Grassegger re-enacted his reporting process for the piece “Der Fall Benjamin Green” [“The Case of Benjamin Green”] in the Swiss weekly Das Magazin, interviewing the writers, scientists, researchers and characters from the piece in the contingent and unpredictable setting of live theater. Some participants were present via video link; a few of Grassegger’s illustrations are reproduced here. Across its three hours, the event moved ...
PublisherFiktion2016
The young filmmaker Rene Daalder and the architecture student Rem Koolhaas wrote the screenplay to Daalder’s 1969 film De blanke slavin (The White Slave) in 1967/68. Taking inspiration from B-movies and Luis Buñuel, it is a hall of mirrors that toys with clichés and inverts them into campy provocations. A few years after the Eichmann trial, a man named Günther Unrat arrives in the Netherlands looking for “good Germans” who helped fight the Nazi occupation. He quickly gets mixed up in a nefarious organization that inspires him to follow in the footsteps of the consummate “good German” Albert Schweitzer by setting up a camp for young ...

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