Producer/Director: Ralf Schmerberg
By Marilyn Ferdinand
I learned a couple of days ago that the venerable Howard University in Washington, D.C., a bastion of learning for African Americans at a time when they were barred entrance to other colleges and universities and still a educator of choice in the African-American community, is dropping its 90-year-old philosophy degree programs. Said Richard A. Jones, professor of philosophy at Howard, in a recent interview in The Journal of Blacks in Higher Education, “The loss of this program—for fiscal considerations—reflects a growing trend: the elimination of humanities and social programs for more ‘practical’ training programs. It is a postmodern reenactment of the debate between W.E.B. Du Bois and Booker T. Washington over liberal education versus vocational training.”
This is only the latest example of how educational programs that train the mind are losing ground in the United States. Those lucky enough to go to college these days no longer see value in taking classes that have no “practical” application, and given how expensive higher education is and how difficult it is to get a decent job, even with a college education, it’s hard to fault them.
Nonetheless, when people lose the ability to recognize issues that go beyond their basic concerns and, more important, to grope toward answers, we will truly be lost. It is with urgency over the loss of our intellectual capital at a time when globalism has brought acute problems from around the world to all of our doorsteps that organizers were inspired to create the dropping knowledge project. From their website:
Founded in the summer of 2003, the dropping knowledge project was initially based in Berlin, Germany, and San Francisco, USA.
After the Table of Free Voices, on September 10, 2006, the organization divided into two independent groups. The Berlin-based team became Mindpirates e.V. and the US-based team dropping knowledge International. Today, Mindpirates e.V. remains solely responsible for the curation of the Table of Free Voices and of this website.
It is the Table of Free Voices that forms the substance of the different kind of documentary that is Problema. The film “documents” a real-life circumstance, but it is the opposite of what I usually like in a documentary: it is nothing but talking heads. Problema records what happened when 112 people the organizers wanted to hear—primarily heads of nongovernmental organizations and activists like human-rights champion Bianca Jagger and physicist Hans-Peter Dürr, artists like Wim Wenders, and professional thinkers like Cornel West—talked about the great challenges of our day. The unusual format of the roundtable discussion (and yes, it literally was conducted at a round table in Berlin’s Bebelplatz, where Nazis burned books) was to have moderators Willem Dafoe and Nigerian human-rights advocate Hafsat Abiola alternately read each of the 100 questions culled from the dropping knowledge forums and have each participant give his or her answer simultaneously. A camera set up in front of each seat recorded their messages, and these messages, shots of the event taken by Schmerberg’s cameras, and thousands of images illustrating the various topics under consideration comprise the documentary.
Questions came from people of all ages from all parts of the world. A child’s question “What is God’s religion?” is treated with as much consideration as an adult asking “Is there a modern form of colonialism?” The answers vary. To the question, “Should a person have the right to live anywhere they want?”—a question near and dear to my heart as a person who thinks nationalism has outlived its usefulness—some gave a simple, “Yes, of course.” Others delved into the issue of resources versus need and how the exploding global population has made traditional strategies of nomadism impractical. The reverse question occurred to others—do people have the right to stay where they are?—and cited eminent domain and expulsions, such as what happened to Native Americans, as another population problem. In answer to the colonialism issue, one woman smiled and said, “Yes. It’s called debt.” We’re all concerned about economic policies in the United States, but the problems of smaller debtor nations could soon be ours.
It took me a while to realize that everyone was speaking at the same time. The din of voices was distracting before I came to this realization, and then it was like a symphony of the world, a perfect illustration of the dialogue the organizers of this event have orchestrated on the Internet and that they wish to encourage in face-to-face meetings. As cinema, the film leaves something to be desired. It seemed that the same faces kept popping up; a Maori woman was shown several times, but we don’t actually hear her speak until nearly the end of the film. The quick-cut images that show everything from the famous look at the earth from outer space and the Chinese student standing up to a tank in Tiananmen Square to film clips from Wings of Desire and Things to Come provide some visual interest, and one certainly has to credit the production team for tackling the permissions that must have been a nightmare to negotiate. But the montages didn’t add much. I think I would have preferred fewer images, more carefully chosen, and more questions.
The important thing about Problema is that it recognizes that the world needs to relearn how to talk about its common concerns. That does not mean leaving it all up to politicians to take care of for us—we’ve seen the folly of that. Indeed, Schmerberg deliberately left government officials out of the conversation because, he asserted in the Q&A, they have access to all the major media outlets and can have their say all they want. He offered the welcome news that all of the questions and answers will be available for download and recutting, so that communities can tailor presentations to specific issues they might want to address. Thus, the documentary I saw will never be the final documentary; like Sita Sings the Blues, the public is welcome to enter the creative process and use the materials to invent new uses for the footage. I’m planning to join the discussion. I hope you will, too. l
There are no more screenings of Problema, but the free worldwide online premiere of Problema will occur on December 6, 2010, here.
Previous CIFF coverage
The Happy Housewife: A buoyant young woman falls into a dangerous depression following the birth of her son and must deal with her past. (The Netherlands)
Southern District: The decline of the Bolivian upper class gets a very personal treatment in this close examination of one La Paz family and the natives who work for them. (Bolivia)
Asleep in the Sun: Ingenious period film that shows the transformation of a troubled woman into someone whose personality her husband doesn’t recognize after a stay in a mental health clinic. (Argentina)
Tuesday, After Christmas: A beautifully photographed story of adultery poses a potent metaphor for Romania in its new prosperity. (Romania)
On Tour: A French TV producer returns from “exile” in America with a troupe of burlesque dancers to try to get back on top in this amiable, improvisational comedy. (France)
Circus Kids: The St. Louis Arches youth circus travels to Israel to join forces with the Galilee Circus to help bridge the gap between Arabs and Jews in this optimistic documentary. (Israel/USA)
The Matchmaker: Magical coming-of-age drama in which a teenage boy learns a message of love and tolerance from a Holocaust survivor. (Israel)
Ten Winters: Emotionally honest and lyrical study of a man and a woman whose initial attraction goes through many changes as they experience 10 years worth of living. (Italy)
Certified Copy: Elliptical tale of seduction by renowned director Abbas Kiarostami in which two strangers pretend to be a married couple in crisis. (Iran/Italy/France)
The Princess of Montpensier: The French Catholic persecution of Protestants forms the backdrop for this period drama about the travails suffered by a beautiful noblewoman desired by four men. (France/Germany)
Cameraman: The Life and Work of Jack Cardiff: Legendary British cinematographer Jack Cardiff and others who knew him discuss his career, including such highlights as The Red Shoes and Black Narcissus. (UK)
Waste Land: A moving examination of the positive transformation of workers in Brazil’s largest landfill when artist Vik Muniz comes to photograph them. (Brazil/USA)
Uncle Boonmee Who Can Recall His Past Lives: This 2010 Palme d’Or winner chronicles the final days of Boonmee using magic realism and experimental techniques to explore universal myths and symbols. (Thailand)
The Last Report on Anna: A dreamy, romantic film centering on Anna Kéthly, real-life Hungarian minister in exile, and a spy’s attempt to silence her by seducing her into returning to their communist-controlled country. (Hungary)