OI OI OI OI OI (inter∞note00)

Research edition

Author(s)

• vinit agarwal
• Chetna Vora
• Laure Giletti

Which contemporary frames and frameworks for internationalism are generated by films such as Oyoyo (1980) by Chetna Vora (with Lars Barthel as cameramen and in collaboration with various students at HFF Babelsberg) realized in the GDR and produced by HFF Babelsberg? What are the relations of cinema, politics, education, and friendship under conditions of “international solidarity” and is there an a priori condition to this condition of international solidarity? The earlier submission of Women In Berlin by of Chetna Vora to HFF Babelsberg academy was largely censored and destroyed, though Vora somehow managed to save a copy. Oyoyo was then produced, submitted, and accepted towards her degree. What does it mean for us to see and not see at the same time? To listen and not listen at the same time? A com-temporary parallel of historical fragment emerging out of frames of self-imposed-opacity and selective amnesia? More provocatively, could that act-of-forgetting be productive and generative in the understanding today of education and politics of friendship ascribed to class privileges of participants of political economies of contemporary art that attempts to transform multiculturalism into internationalism? Towards a contemporary investigation of the films such as Oyoyo, we find that there is a ‘coming together’, in desire, politics, and economics of not only the students from these countries but also of anti-colonial, post-colonial, anti-capitalistic and international concerns. Internationalism is formed and procedurally constructed frame by frame in the film as liminality that remains possible.