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*A Conversation Between Stanley Schtinter & Gareth Evans on the Implications & Associations Relative to a Film, Schneewittchen

ISBN: 978-1-917304-07-8
114pp
Designed and typeset by Traven T. Croves
Published 20th March 2025

tenementpress.com/Always-Snow

schneewittchen.cloud

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Talk of Brechtian distanciation, critiquing the culture industry, anti-capitalist stances, anti-spectacular image making and so on connects Schtinter to a critical tradition that may, in some ways, seem classically modernist. That is to say, there is an intention behind all of the work and a belief in something better for audiences and artists alike.

Schtinter’s newest moving-image work is Schneewittchen, 2025, a feature-length, palimpsestic retelling of Snow White. The film features almost no footage and is instead centred on an English-language audio recording of the Swiss writer Robert Walser's titular German play (published in 1901), itself a reworking of the Brother’s Grimm fairy tale (published in 1812).

Schtinter’s film, with its minimal visual content composed largely of a black screen, interspersed with seemingly unrelated shots of passing clouds, is formally also a remake of the Portuguese director João César Monteiro’s feature film, Branca de Neve / Snow White (2000), which performed the same feat with a Portuguese-language version of Walser’s play. A remake of a remake of a remake, then. While on the surface another puckish engagement with cultural production, Schtinter’s film nevertheless functions as both a challenge to the culture industry’s amnesiac thirst for endless remakes of commercial dross and as a kind of Brechtian confrontation with the spectacular expectations imposed on a patronised viewing public (the two are intimately bound up with each other). The project further frustrates the conventions of easy access required of moving image works, which must now be available for dissemination in a myriad of digital forms, many of which make it at least feasible for the viewing public to watch works as isolated individuals in their own homes. Schtinter's film will, according to the artist, ‘only ever show in analogue format, so it will always be an event to travel to and never streaming or screening digitally.’ For Schtinter, the political power of collective viewing is something worth fighting for.
    —Morgan Quaintance, Art Monthly

with Iain Sinclair, Chris Petit, Anne Billson, Therese Henningsen, Anouk De Clercq and Gareth Evans

ISBN: 978-1-0684014-0-4
92 pp / 192 x 297mm
Designed and typeset by Traven T. Croves
Published 20th February 2025

tamara.press

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‘An epic film . . . the Warholian result is a spellbinding – and frequently baffling – meditation on time.’
    —Jonathan Jones, The Guardian

‘Amazing project!’
    —Joanna Hogg

‘An epic film . . . the Warholian result is a spellbinding – and frequently baffling – meditation on time.’
    —Jonathan Jones, The Guardian

‘Interesting project!’
  —Anita Dobson [Angie Watts]

‘The Lock-In when shown in pubs is Marcel Duchamp's urinal for the meta-saturated 21st century. But in this case, artist Stanley Schtinter has put the urinal back into the toilet.’
    —Gareth Evans, Adjunct Moving Image Curator, Whitechapel Gallery

‘A Buñuelian nightmare in which it’s your round, every round, for the rest of time.’
    —Dan Fox

‘You feel pissed just watching it.’
    —Matthew Harle, Sight & Sound

with a Foreword (Programme Notes) by Erika Balsom;
an ‘Intermission’ from Bill Drummond;
& an Afterword by Nicole Brenez

ISBN: 978-1-7393851-1-8
324pp / 140 x 216mm
Designed and typeset by Traven T. Croves
Published 5th November 2023

tenementpress.com/Last-Movies

Image 1 : big-black-hard edition with glow-in-the-dark John Dillinger photographed on a cinema seat at Palads in Copenhagen by Therese Henningsen; Image 2 : big-black-hard close-up; Image 3+4 : yellowjacket

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Very strange, and deeply thought-provoking.
    —Laura Mulvey

A scintillating labyrinth of synchronicities, where Schtinter’s meticulous research and encyclopaedic knowledge are as impressive as his intriguing speculations. Essential reading for film buffs, conspiracy theorists and high-end pub quizzers everywhere.
    —John Smith

All films are haunted, both by the immortal light of the sooner-or-later dead that they curate, and by the filaments of meaning they extrude into unscripted human lives. Last Movies is an unexpectedly revealing catalogue of final interchanges between imminent ghosts and counterpart electric spectres on the screen’s far side. Profound and riveting, Schtinter’s graveyard perspective offers up a rich and startlingly novel view of cinema, angled through cemetery gates before the closing credits. A remarkable accomplishment.
    —Alan Moore

Wade more than a dozen pages into Last Movies and these connections start to reveal themselves like constellations on a cloudless night.
    —Ryan Gilbey, The Guardian

Here is the endgame of endgames. A commendably perverse demonstration of how it is possible for something to be assimilated, by way of rumour and manipulated history, without being experienced.
    —Iain Sinclair, Sight & Sound

with John Akomfrah, Chloe Aridjis, Dennis Cooper, Laura Mulvey, Chris Petit, Mania Akbar, Elena Gorfinkel, Juliet Jacques, Ben Rivers, Dan Fox, Sean Price Williams, Adam Christensen, Stewart Home, Stephen Watts, Tony Grisoni, Gideon Koppel,  Astra Taylor, Miranda Pennell, Gareth Evans, Adam Roberts, Tai Shani, Anna Thew, Xiaolu Guo, Andrea Luka Zimmerman, William Fowler, Athina Tsangari, John Rogers, Shama Khanna, Shezad Dawood, Damien Sanville

ISBN: 978-1-8380200-3-3
408 pp / 140 x 216mm
Designed and typeset by Traven T. Croves
Published 23rd October 2021

tenementpress.com/Liberty

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Read Jonathan Rosenbaum’s review for Screen Slate here

Schtinter runs with wolves. His Liberated Film Club was, throughout its brief, perfect existence, the antidote to contemporary cinephilia. It was impious and sexy, mysterious and unsober, a ululatory free zone for refuseniks, a place of magic and mayonnaise. If you never made it to one of its mad, baffling nights, this book is guaranteed to make your loss all the more deliciously unbearable.
    —Sukhdev Sandhu

Herein lies the Exquisite Corpse of The Liberated Film Club, to align in ways you never would have expected and in order to show you something new.
    —Matilda Munro, Sight & Sound

This is a chronicle of addiction, written blindfold by the light of a flickering screen to a soundtrack of Russian roulette loaded against prediction.
    —Brian Catling

There are more and more curators of experimental cinema, which is great; but unfortunately still few experimental curators. Stanley Schtinter offers us a fascinating and liberating example.
    —Nicole Brenez