MUFF and MUFF Kunst : Melbourne Indymedia

MUFF BOYCOTT NEWS
Wednesday 26/5/2004

An article about the MUFF boycott appears in the latest issue of The Bulletin. Freelance journalist, Simon Castles, interviewed both Richard Wolstencroft and myself for the piece. Choice quote: When asked if "transcendental fascism" is hierarchical, Wolstencroft responds; "It is certainly not hierarchical based on anything like race." So the concept is hierarchical? It's clear from other things he's said and written that "transcendental fascism" isn't merely hierarchical but authoritarian and...well...fascist. More on that soon. The article says that I admit that there is no proof that Wolstencroft is a racist or an anti-Semite. I meant that there is no direct proof, such as explicit statements or membership of any neo-fascist group (that we know of). However, there is plenty of evidence which converges towards the conclusion that Wolstencroft is closer to being a regular neo-fascist than he would like us to think. More on that soon, as well.

According to the MUFF website, film and video entries closed on May 14, but entries for MUFF Kunst are still open until June 4. This is also given as the date filmmakers will be advised if their work has made the cut. The website claims that this is MUFF's "biggest year of submissions to date."

The festival is scheduled to take place from July 8-18 with the George Cinemas in St. Kilda as the main venue for the third year running. No other venues have been confirmed.

One artist confirmed as a festival guest is American photographer, Gina Garan. Her photo series, This is Blythe, is to be exhibited under the MUFF Kunst banner at Outre Gallery from July 3-13.

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The MUFF Boycott is an attempt to weed one particular negative element out of the Australian film community. But a bigger issue for that community underlies the whole affair. One filmmaker who contacted us about the boycott said that he knew Wolstencroft was a disgrace but would not actively oppose him because MUFF is one of the very few opportunities for independent filmmakers in Australia to get their work screened. We're sure that this feeling is widespread among artists, audiences and sponsors. With the proliferation of independent films and videos in Australia in recent years, why has the expansion of screening opportunities been so limited that filmmakers feel that they have to tolerate being used by a neo-fascist in order to get their work seen?

This isn't the place to try to answer the question and it would be more useful anyway for readers to ponder it themselves, look for the reasons and try to find some solutions.

Shane Lyons
26/5/04