On Wednesday July 25 2012 at 20.30:

Workers Leaving the Factory by Harun Farocki

Politicamente Correcto! by Claudia Del Fierro

Space Debris by Lina Persson

“Workers leaving the Factory” c Harun Farocki, 1995

Sunshine Socialist Cinema is an outdoor cinema powered by solarpanels, run by artists Kalle Brolin and Kristina Müntzing. We’re re-distributing surplus light from day to night by solarpanel and projector, and screen films that generate discussion on socialist topics. Some themes for the films and videos to be screened include redistribution of surplus and contemporary commons, post-industrial survival strategies, and artists committing to a collective.

The cinema is installed in a garden in the southern Swedish countryside, with screenings occurring regularly during the summer months. A 230 W solarpanel provides power for a 270 W projector, meaning two hours of sunlight gives us one and a half hour of projected film at night. Screen and bleachers purposebuilt, free entrance, artworks on display, and connections developed gradually with local organizations. Programming is discussed and technical issues worked out in a study group run within the local workers educational association, ABF, where we’re also figuring out a typology of political film and filmmaking. The Sunshine Socialist Cinema is inspired by public screenings attended in Parque Rivadavia in Buenos Aires in the noughties.

On opening night, Wednesday July 25 2012:

Workers Leaving the Factory by Harun Farocki starts from the first film ever shown in a cinema, and traces the recurring image of workers exiting a factory throughout filmhistory, setting the stage for the post-industrial condition. What is the image of the worker, when the worker has left the factory, and labor is performed in every aspect of life? Is the dissolution of the workforce outside the factory gates where films pick up on individual characters and follow them away from collective life?

In Politicamente Correcto!, Claudia Del Fierro dresses up like the workers at a textile factory in Santiago, Chile, and joins them whenever they exit the building for a cigarettebreak. An artist blending in visually with the workers, entering and exiting the gate unnoticed, she creates an ambiguous picture of both alienation and of the artists’ desire to place herself on the side of the workers.

We end with Space Debris by Lina Persson, a film showing the perspective of a camera detached by accident from an astronaut, who is in the process of trying to free a stuck solar array on the international space station. The camera drifts into space and continues transmitting film as it moves further and further out of range.

Projector tech stuff

We got our brand spanking new projector set up. It’s got full HD resolution (1920×1080), and the lumens value (telling us how strong the light is) is 2000 ANSI. We absolutely adore it, but there’s a ‘but’.

Bit of free advice for those planning on starting up their own outdoor screenings here: if you’re on a tight budget, it’s better to sacrifice resolution for lumens – having for example 4500 ANSI lumens from your 1024×768 projector means you can start a little earlier in the evening, and the difference in resolution is only noticeable to the picky few.

On to building a shading stage for the screen now!

Solar Panel installed

A 230 W solar panel providing power for a 270 W projector, meaning that from two hours of sunlight in the daytime we get one and a half hour of film projected at night. We plan on adding panels to the cinema from year to year, so the capacity will grow continually.

For those curious about the efficiency of solarpanels, a 230 W solarpanel at 1,5 squaremeters will produce about 900 times its’ wattage in a year, so:

230×900=207000 or 207 kWh. per year

(and that gives us 767 hours of  projected film per year)