By Anna Schober
The Cinema Makers investigates how cinema spectators in southeastern and vital ecu towns turned cinema makers via such practices as squatting in current cinema areas, organizing cinema "events," writing approximately movie, and making motion pictures themselves. Drawing on a corpus of interviews with cinema activists in Germany, Austria, and the previous Yugoslavia, Anna Schober compares the actions and creative productions they staged in towns similar to Vienna, Cologne, Munich, Berlin, Hamburg, Ljubljana, Belgrade, Novi unhappy, Subotica, Zagreb, and Sarajevo. The ensuing learn illuminates the diversities and similarities within the improvement of political culture—and cinema’s function in that development—in ecu nations with pluralist-democratic, one-party socialist, and post-socialist traditions.
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Example text
This vision is attractive because it reduces the multifaceted and often conflicted dimensions of space we have to deal with daily and because, after having entered in it once, we can succumb to a feeling of mastery. The 19 The Cinema Makers second and complementary illusion that Lefèbvre wants to counter sees space solely as filled with visible objects, and rife with substance, naturalness and density. Here space becomes inflexible, rigid and unified. Both attitudes, however, conceal the fact that space is always already populated by often conflicting feelings, imaginations, projections and projects, and is produced not only by architects and urban planning but also by relations of exchange and struggle among those who inhabit it.
So, for instance, after a talk I gave at a conference in Yerevan, Armenia, about the history of cinema activism, in (among other places) Austria, somebody in the audience piped up furiously. He was agitated and asked me why I had left out the Schikaneder Kino and ‘discriminated’ against it this way. After I explained that the focus of my paper was on cinema activism in connection with the student movement in the 1960s, he calmed down a bit and explained that during an artist stay in Vienna he used to go to this place almost every 18 In the middle of things evening and participated in various film and video events there and that he had somehow felt threatened and excluded when I had failed to mention this space.
But the main aspect that the notion of ‘subject in process’ (Laclau and Zac 1994; Kristeva 1998) highlights is that we constitute ourselves in exchange and confrontation with others – a process that is never completed, but which is a necessary one in the sense that we are not able to escape it. The cinema is involved in the transient re-constitution of the subject in various ways. As I have already shown, in cinema we are able to experience significant encounters that stand out from the smooth viewing process and redirect our exchange with the world and others.