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Fritz Langs Liliom of 1934, which was made in France and marked a significant stage in the director's career between Berlin and Hollywood, anticipates the courtroom scene from Fury, a film famous for its social realism. The spectator is in both cases elevated into the position of a privileged witness, because he is shown things, which have already happened or are being retold. These constitute not simply repetitions of a certain event in identical or digressing versions for the sake of narration, they rather represent the power of the cinematic apparatus, the power of the structuring gaze of the film. Bringing the film to a halt within the film, does not only immobilize the story, but also represents a symbolic endeavour to revoke history. The crime, which in Das Testament des Dr. Mabuse of 1933 runs its inescapable course, can in the fictional heavens of Liliom always be revised by repetition and standstill, and later - as in Fury - be dealt with by the means of democracy. ; Fritz Langs Liliom of 1934, which was made in France and marked a significant stage in the director's career between Berlin and Hollywood, anticipates the courtroom scene from Fury, a film famous for its social realism. The spectator is in both cases elevated into the position of a privileged witness, because he is shown things, which have already happened or are being retold. These constitute not simply repetitions of a certain event in identical or digressing versions for the sake of narration, they rather represent the power of the cinematic apparatus, the power of the structuring gaze of the film. Bringing the film to a halt within the film, does not only immobilize the story, but also represents a symbolic endeavour to revoke history. The crime, which in Das Testament des Dr. Mabuse of 1933 runs its inescapable course, can in the fictional heavens of Liliom always be revised by repetition and standstill, and later - as in Fury - be dealt with by the means of democracy.

Das Kino hat in seiner Geschichte unterschiedliche Adressierungen des Publikums ausgebildet. »Einstellungen der Öffentlichkeit. Filmische Konfigurationen von ›Ich‹ und ›Wir‹« widmet sich diesem Phänomen im Spannungsfeld von ästhetischen und gesellschaftstheoretischen Fragestellungen und aus der Perspektive einer ausdifferenzierten medialen Gegenwart. Im Zentrum der Tagung steht die Wechselwirkung zwischen dem einzelnen »Ich«, das – stark zugespitzt – für Subjektivität, Affekt und Wahrnehmung des individuellen Zuschauers steht, und dem sozialen »Wir« des Massenmediums Film, dem sich verschiedene Utopien in Kunst und Politik seit den 1920er Jahren stets aufs Neue gewidmet haben. The event, like all events at the ICI Berlin, is open to the public, free of charge. The audience is presumed to consent to a possible recording on the part of the ICI Berlin. If you would like to attend the event yet might require assistance, please contact Event Management.Throughout its history, cinema has developed different modes of addressing spectators. Incorporating approaches from aesthetic and social theory, »Perspectives on the Public Sphere: Cinematic Configurations of ›I‹ and ›We‹« investigates the public sphere in the context of the complex state of contemporary media. More specifically, the conference will focus on the reciprocity between the individual »I«, which can — to simplify matters somewhat — stand for subjectivity, affect, and the individual spectator's perception, and the social »we« of film as a mass medium, which has frequently been the focus of various utopias and theories at the intersection of politics and aesthetics since the 1920s. Mit Unterstützung des ICI BerlinThe event, like all events at the ICI Berlin, is open to the public, free of charge. The audience is presumed to consent to a possible recording on the part of the ICI Berlin. If you would like to attend the event yet might require assistance, please contact Event Management. ; Einstellungen der Öffentlichkeit: Filmische Konfigurationen von »Ich« ...