Diagonale 2017 – Denken entlang von Filmen: Interview mit Alejandro Bachmann

Nach meinem längeren Text zum Diagonale-Programm „This is not America – Austrian Drifters“ nun ein Gespräch mit dem Kurator Alejandro Bachmann über die Entstehung des Programms, das Verhältnis von Film und Begriff und die möglichen Verbindungslinien von Film und Pop.

Viktor Sommerfeld: Ich würde gerne mit dem Anfang anfangen. Also wo fängt man an, wenn man so ein Programm macht. Hat man einen Film den man in die Mitte setzt und daraus eine Bewegung entwickelt oder wie entsteht das?

Alejandro Bachmann: Ich weiß nicht, ob man das so allgemein sagen kann. Aber bei dem Programm war der Prozess besonders interessant, weil es so gelaufen ist, dass Sebastian Höglinger und Peter Schernhuber, die Leiter der Diagonale, ein Thema vorgegeben haben, wie sie es letztes Jahr auch getan haben. Und dann praktisch Leute und Institutionen eingeladen haben, sich dazu in Form eines Filmprogramms zu äußern. Das Thema war eben dieses „1000 Takte Film“, also Film und Pop. Als sie mir das vorgeschlagen haben, konnte ich erst wenig damit anfangen und zwar nicht, weil ich es nicht interessant fand, sondern weil ich mir keinen klaren Begriff machen konnte, was die mit Pop und Popkultur meinen. Das ist ein wirklich sehr weites Feld und man kann da tausend verschiedene Dinge meinen, man kann da sehr unterschiedliche Ästhetiken und Narrative darunter fassen. Deswegen war das Zusammenstellen des Programms im Prinzip das Herausfinden, was damit gemeint sein könnte. Mit jedem Film, den ich gesehen habe, teilweise zusammen mit den beiden, hat sich auf neue Art und Weise erschlossen, wie man darüber nachdenken könnte.

So hat es sich langsam aufgebaut und der entscheidende Moment ist dann eigentlich der, wo man sehr viele – oder was heißt sehr viele, vielleicht 20, 30 – Filme gesehen hat und dann gibt es diesen Moment, in dem man zum Beispiel einen Titel hat und damit ein ganz gutes Gefühl. Wenn unter dem Titel diese fünf Programme zusammenfallen, dann ist damit sozusagen ein sehr weites Feld von dem abgedeckt, was man sich gedacht hat. Das ist jetzt sehr abstrakt beschrieben, aber ungefähr so war es bei diesem Programm. Also irgendwann war dieser Titel da und mir war klar, unter diesem Titel kann man vielleicht tatsächlich eine Frage stellen über das Verhältnis von Film und Popkultur.

VS: Du hattest also das Thema, aber wie fängst du dann an überhaupt erste Kandidaten rauszusuchen? Hast du sofort welche im Kopf gehabt? Also zum Beispiel der Wenders Film, der ist für mich da am Anfang sehr klar und zwingend zur Eröffnung. Ich könnte mir vorstellen, dass das ein Film ist, den man vielleicht mal gesehen hat von Wenders und der einem dann sofort einfällt. ‚Okay, damit könnte man anfangen‘.

AB: Das Interessante ist, dass der Wenders Film, der letzte Film ist, der dazugekommen ist. Das komplette Programm stand genauso wie es gespielt wurde und dann habe ich mit Alexander Horwath und Regina Schlagnitweit über das Programm gesprochen und die meinten, ja, das ist gut und der Titel passt. Das funktioniert. Und dann meinte Alex, ‚ich glaube zum Einstieg sollte man noch 3 amerikanische LPs von Wim Wenders spielen, den haben wir auch in der Sammlung.‘ Da war ich erst dagegen, weil der halt, wie ich auch versucht habe in meinem Einführungstext zu sagen, unrein ist: Das ist kein österreichischer Film und der fällt auch nicht in die zeitliche Klammer, die wir aufgemacht haben, von ’76 als die Arena besetzt wurde bis in die Gegenwart, sondern er fällt noch davor in die späten 60er Jahre. Aber er hat halt Peter Handke als Teil des kreativen Kerns dieser Arbeit.

Der Punkt ist natürlich, dass man daran ganz gut sehen kann, wie, wenn man über ein Programm anfängt nachzudenken, man immer einen neuen Gedanken aus dieser Arbeit mit den Filmen entwickelt. Im Prinzip haben wir über das Programm gesprochen, das ich zusammengestellt habe und dann hat eine weitere Person gesagt: ‚Mir fällt da noch was ein, das ganz gut passen könnte.‘ Und deswegen finde ich, darf man das auch nicht so sehr als abgeschlossen betrachten. Mit einem Programm, das aus sechs Teilen besteht, lässt sich schwer etwas großes Allgemeingültiges sagen, sondern es bildet ab, wie man entlang von Filmen über ein Thema nachdenken kann. Dementsprechend kommen Filme dazu und es fällt ein anderer Film raus, es verschiebt sich dann. Damit meine ich aber keine Beliebigkeit, sondern ganz im Gegenteil: Ein Nachdenken über mögliche Bezüge zwischen den Filmen erzeugt erstmal so etwas wie einen gemeinsamen Kern, und um diesen Kern herum können einem weitere Filme einfallen, die den selben Kern umkreisen, und diesen zugleich verschieben und ihn auch als Zentrum aller anderen Filme neu formieren.

Ich komme jetzt vor allem drauf, weil du im Vorfeld meintest eine Frage sei sicherlich: Inwieweit eignet sich ein Filmprogramm eigentlich, um über so etwas wie einen Begriff nachzudenken? Und ich glaube es eignet sich dazu in ganz ähnlicher Weise, wie ein theoretischer Text zu einem bestimmten Themenkomplex. Ich glaube nur, dass es bei Beiden darum geht, zu sagen, das sind halt nur Vorschläge, wie man über diese Sache nachdenken könnte. So wie hinter jedem Text potenziell ein anderer Text versteckt ist, der ein Thema oder einen Begriff immer weiter verschiebt und neu betrachten lässt, so kann ein Film zum nächsten und zum nächsten führen und mit jedem verschiebt sich das, nach dem man ursprünglich gesucht hat – also in diesem Fall, ein Verhältnis von Pop und Film.

VS: Das ist interessant, weil ich gerade sozusagen die umgekehrte Arbeit an den Filmen mache, in gewisser Weise die Rekonstruktion oder für mich zumindest versuche Bewegungen in diesem Programm zu finden. Aber diese Bewegungen hängen natürlich immer schon mit einem Begriff von Pop zusammen, den ich diffus in meinem Kopf habe. Ich habe etwa das ein oder andere von Diederichsen gelesen, und dann fallen mir gewisse Motive ein, vielleicht könnte man Denkfiguren sagen.

So diffus ist dann auch die Beziehung der Filme untereinander. Deswegen frage ich mich ein wenig, wie stark der Begriff wirklich ist, sozusagen die theoretische Arbeit und wie häufig ist es, dass man erstmal denkt: ‚okay, der Wenders Film und Langsamer Sommer die passen halt einfach geil zusammen.‘ Das passt einfach, das sieht man.

Langsamer Sommer von  John Cook

Langsamer Sommer von John Cook

AB: Der Gedanken ‚das passt geil zusammen‘ ist sicherlich wichtig – als diffuses Gefühl, dem man in jedem Fall nachgehen sollte. Zugleich versuche ich dann aber schon, mir selbst die Frage zu stellen, wie das zusammenpasst, was genau zwei Filme gemeinsam artikulieren, wie der eine den anderen in unserer Wahrnehmung verschiebt. Ich glaube, bei dem Programm war entscheidend, dass der Begriff von der Sache und das theoretische Konstrukt zwar irgendwie da war, aber halt sehr diffus und kaum greifbar. Und, dass der Begriff von dem, über das man anhand von Filmen nachdenken möchte, sich eigentlich erst durch die Filme entwickelt hat. Mein Verständnis von Pop, von dem Ineinander von Popkultur und Film in Österreich bildet sich sozusagen in dem Programm ab, aber es ist natürlich auf keinen Fall eine endgültige Setzung: Tausend andere Theorien oder Filmprogramme über das Thema sind möglich, oder tausend andere Kombinationsmöglichkeiten von Filmen. Das meine ich, wenn ich sage, so ein Programm ist ein Angebot, dem man folgen kann, das man sinnlich durchleben und dem man gedanklich folgen kann, aber aus dem heraus natürlich idealerweise auch immer eigene Schlüsse, ein eigenes Weiterdenken folgt.

VS: Das Problem ist ja auch, wenn man die Filme so klar einem Begriff unterordnet, dass man sie erstickt, ihnen ihr Leben nimmt. Was selbstverständlich ein ebenso großes Problem ist, wenn man darüber schreibt. Weil man die Filme auf ihre Beziehung zu einem Begriff reduziert. Deswegen, glaube ich, ist diese motivische Arbeit sehr wichtig. Weil da bleibt etwas erhalten.

Das ist ja nicht dein erstes Programm. Hattest du Programme, die wesentlich theoretischer waren in ihrem Ansatz, die also eine ganz klare theoretische Idee hatten?

AB: Ja, also im Rahmen von Lehrveranstaltungen zum Beispiel an der Uni, die machen wir ja auch im Kino und da geht es teilweise um Fragen des Programmierens. Da haben wir immer wieder kleinere Programme zusammengestellt, die schon sehr theoretische Herleitungen hatten, dahingehend, dass wir eigentlich mit den Programmen innerhalb des Seminars artikulieren wollten, dass das Zusamenstellen von vier Filmen vermutlich ein genauso interessanter theoretischer Akt ist, wie theoretische Texte zu besprechen. Das wurde nicht so deutlich artikuliert, aber es ging darum, zu zeigen, dass das Filme schauen schon Teil der theoretischen Beschäftigung mit Filmen ist. Der Film hat auch seine eigene Theorie.

Dann gibt es Programme, wie z.B. 2-mal Sehen, da versucht man zu überlegen, was könnte 2-mal Sehen heißen. Das könnte ein Film sein, der sich wiederholt, den man 2-mal hintereinander sieht; es könnte eine Doppelprojektion sein, da zeigen wir dann Razor Blades von Paul Sharits; dann könnte es ein Found Footage Film sein, weil der artikuliert im Grunde, dass Bilder, die schon mal gesehen wurden in einem Kontext, im Found Footage Film ein zweites Mal gesehen werden in einem anderen Kontext. Das wäre so ein Programm, da versucht man eine Art theoretisches Verständnis zu übersetzen, zu zeigen, wo es in Filmen vielleicht auch auffindbar ist. Aber im Kern ist es immer das gleiche Prinzip: Das Entwickeln eines Gedankens entlang von Filmen. Und mit jedem Film könnte der Gedanke vielschichtiger werden, sich verschieben, komplexer werden.

Gleichzeitig macht man diesen Gedanken durch das Programm dann aber auch erfahrbar. Ich glaube, das ist der Unterschied zum Lesen von Theorie, dass man das Ding selbst erfahrbar macht, also man spricht oder man kommuniziert praktisch über die Filme mit den Filmen. Ich habe das Gefühl, man ist ein bisschen näher dran an dem was Film eigentlich sagen könnte. Deswegen gefällt es mir ein Programm zu denken wie einen theoretischen oder essayistischen Text, der einfach versucht so nah wie möglich an seinem Gegenstand zu denken.

VS: Das erinnert ja auch ein bisschen an diesen Versuch von Godard eine Filmgeschichte zu schreiben. In der Einführung in eine wahre Geschichte des Kinos redet er viel darüber wie diese sehr unterschiedlichen Filme zusammenarbeiten und teilweise darüber, wie sie nicht zusammenpassen. Aber das kann man erst sehen, wenn man die Filme zusammen sieht. Dazu kommt, dass ein Programm natürlich auch nicht hermetisch ist, ich also öfter einen anderen Film im Kopf hatte, mit dem ich verglichen habe, den ich kurz in mein eigenes Programm aufgenommen habe.

Man kann natürlich auch auf einen unbescholtenen Zuschauer treffen, der das alles nimmt, und sagt, ‚okay, das ist ein abgeschlossenes Ding‘. Wenn man jemanden hat der letzte Woche tausend Musikvideos und Pop-Filme gesehen hat, dann ist das aber etwas Anderes. Hast du eine Vorstellung davon, wie deine Programme geguckt werden sollen?

AB: Nein, da würde ich sagen, ist es genau wie mit Godard bei Histoire(s) du cinema. Man kann das schauen und sagen, ich verstehe es nicht, ich verstehe all die Bezüge nicht und ich habe den Kontext nicht und all das cinephile Wissen nicht. Und dann kann man da relativ schnell dran verzweifeln und es eben nicht mögen. Oder man kann es einfach schauen, auch als verrückte Idee mittels Film über Geschichte nachzudenken, man kann einfach mitgehen, immer mit dem Selbstbewusstsein, dass die Wissenslücken, die man hat, hier nicht relevant sind, sondern man akzeptiert mal dieses Narrativ, welches er setzt und macht das einfach mal durch und danach kann man anfangen, darüber zu reflektieren und sich dazu zu positionieren. Aber erst einmal geht man mit. Und so würde ich das mir das idealerweise auch bei Filmprogrammen vorstellen, wenn die Leute einfach mitgehen.

Und vielleicht können Filmprogramme dies in besonderer Weise hervorbringen, weil nicht jemand dasteht und einen theoretischen Vortrag hält und versucht besonders geschickt die Dinge zu argumentieren, sondern weil alle Leute gemeinsam diese Filme schauen und sich entlang dieser Filme ihre Gedanken machen. Das war ja auch auf der Diagonale ganz gut sichtbar, dass da schon 4, 5 Leute waren, und das ist natürlich nicht viel, aber die haben sich fast alle Programme angeschaut. Und wenn man mit denen zwischendurch geredet hat, dann hat man gemerkt, die haben sich auch überlegt, wie wird Popkultur sichtbar in diesen Filmen?

VS: Das finde ich auch eine Stärke des Programms, dass es sich traut, diese historische Linie durchzugehen, zumindest bis in die späten 90er und wirklich versucht, eine Geschichte zu erzählen, ein Narrativ zu entwerfen, statt einfach nur mal da was, mal hier was zu nehmen. Es versucht eine historische Popgeschichte zu erarbeiten. Insgesamt ist das sehr erzählerisch. Es gibt am Anfang diese Bewegung, die da losgeht bei Wenders, diese Suche, die dann in Langsamer Sommer weitergeht. Die dann in Malaria in diesem kleinen Laden endet, in diesem absoluten Stillstand der da herrscht und dann in so ein Chaos übergeht bei Huemer. Das finde ich, ist ein starkes Motiv.

AB: Ja, bei Huemer entlädt es sich dann.

VS: Dann bei Eiszeit geht es um ein bisschen was Anderes, nicht mehr um die Suche, sondern um den Moment in dem man vereinnahmt wird, in dem diese notwendige Abgrenzung nicht mehr richtig funktioniert, also die Distinktion zu sagen ‚wir wollen etwas Anderes als ihr‘. Das funktioniert da nicht mehr richtig und wird zu einer neuen Linie des Programms, die sich dann auch weiterzieht.

AB: Die zieht sich dann vor allem ins Avant Pop-Programm rein, würde ich sagen. Das fünfte Programm, diese kürzeren Arbeiten sind sehr von der ambivalenten Haltung gegenüber dem Pop geprägt. Die interessieren sich noch für die Oberflächen der Pop-Ästhetik, aber gleichzeitig steckt schon eine radikale Dekonstruktion in diesen Filmen. Und das ist in Eiszeit eben auch so. Im Peter Huemer Film ist das nicht so, das ist keine Dekonstruktion dieser Bildermythen, sondern eine Neugierde, überhaupt mal zu sehen wie die funktionieren. In dem Kontext mag ich eben Slidin‘ auch sehr gerne, weil er aus dieser Perspektive ein total interessantes Dokument darüber ist, wie sich Pop Ende der 90er Jahre anfühlt. Wirklich abgeranzt und leer, wie eine Depression eigentlich. Nachdem man das alles durchgemacht hat: also Langsamer Sommer, ist eben ein langsamer Sommer, hier fängt ein Spiel mit Codes an, in der Art der Kleidung, in den Sprüchen, in der Musik, die man hört, dann in Malaria gibt es schon diese völlig durchcodierte Welt und das entwickelt sich weiter bis in Slidin‘ der Spaß halt vorbei ist. Das macht alles überhaupt gar keine Freude mehr – die Identitätsspiele, das Ausprobieren, Zitieren, sich permanent neu erfinden. Und Spaß ist dann doch ein zentrales Element von Popkultur.

The Bands von Egon Humer

The Bands von Egon Humer

VS: Ich finde, da ist auch diese Utopie vollkommen vorbei. Darüber sollten wir reden, wo diese Utopie des Pop, auch ein politisches Ding zu sein und wirklich die Möglichkeit eines anderen Lebens zu beherbergen, steckt. Für mich ist die am stärksten in Langsamer Sommer. In dem Moment in dem sich etwas verwirklicht, etwa der Ort, wie in Malaria, ist es eigentlich schon vorbei. Da gibt es nichts mehr.

Auf diesem Landhaus unter den Apfelbäumen, da ist vielleicht die Möglichkeit eines anderen Lebens. Aber das funktioniert natürlich auch nicht.

AB: Das stimmt. Aber es gibt halt jenseits des anderen Lebens auch immer wieder kleine utopische Momente. Die Tanzszene am Ende von Malaria ist wirklich ein Befreiungsschlag, auch aus dieser Stasis in der die die ganze Zeit gefangen sind. Nach Malaria haben ja einige Leute auch gesagt, sie hätten so gerne zu der Zeit in dem Laden abgehangen. Also auch solche Filme scheinen ein Lebenskonzept anzubieten, in das Leute gerne eintauchen würden. Das steckt schon immer wieder in den Filmen.

VS: Vor allem halt in Augenblicksmomenten, in denen alles andere vergessen wird.

AB: Ja, genau. Und diese Augenblicksmomente sind auch teilweise wichtig dafür, weil du vorhin gefragt hattest, wie so ein Programm zusammengestellt wird. Langsamer Sommer ist mir beispielsweise erst sehr spät eingefallen. Ich glaube, weil ich über die Drifter-Figur nachgedacht habe anhand der Filme und dann ist mir Langsamer Sommer gekommen. Bei Langsamer Sommer habe ich dann lange überlegt, ‚ja, aber ist das ein interessanter Gedanke zu Pop und Film?‘. Und dann ist mir plötzlich eingefallen, dass da diese Szene ist, in der das komplette Lou Reed Lied läuft. Wo er die Schallplatte auflegt und die Platte läuft und sie unterhalten sich weiter. Aber das Durchlaufen des ganzen Musikstücks ist total dominant. Das war der Moment, in dem ich gedacht habe, ’stimmt, auch der Film handelt von Popkultur‘. Weil eigentlich nimmt man ihn erstmal als so eine Art Zeitdokument wahr. Eher als ein realistisches Dokument, nicht so sehr als Code, oder als Film der mit Codes spielt und diese verhandelt. Aber das ist natürlich ein Film der mit Codes spielt, weil er ein Film über zwei Leute ist, die einen Film machen. Die denken auch noch die ganze Zeit darüber nach, wie sie sich inszenieren im Sommer. Das ist mir aber erst eingefallen als ich an diese Platte gedacht habe. Auch ein kleiner Moment in dem ich gemerkt habe, man kann es auch so betrachten.

VS: Die interpretieren und phantasieren die Bilder, die sie von sich selbst gemacht haben. Ich glaube, dass da dieses große Sehnsuchtsmoment drinsteckt. Und – das ist jetzt vielleicht ein bisschen weit – dass da auch eine Verbindung von Pop und Film ganz grundlegend ist. Diese Sehnsucht geht los bei dem Wenders Film, man will an einen anderen Ort, hier Amerika. In Langsamer Sommer will man überhaupt an einen Ort, von dem man nicht genau weiß wo er ist, man will aber gleichzeitig in eine andere Zeit.

AB: Ja, das ist dann der Kampf mit der Nostalgie.

VS: Genau. Bei Langsamer Sommer finde ich das sehr evident. Da liegt die Möglichkeit des anderen Lebens in der Vergangenheit. Diese Möglichkeit ist nur noch Imagination einer anderen Zukunft, die sich aus den Möglichkeiten der Vergangenheit speist. Das geht von der Gegenwarts-Obsession des Pop weg und auf so Nostalgiemomente. Deswegen ist bei Langsamer Sommer am Ende diese Utopie vielleicht auch schon ein bisschen vorbei. Weil man merkt, dass es dann doch nicht geht.

AB: Ja, aber dann ist schon interessant, dass der Film aus dieser Aneinanderreihung von Spielchen, von Performances besteht. Der Fotograf, der Autor, die genervte Frau, die spielen das ja teilweise. Aber am Ende gibt es dann eben diesen sehr authentischen Moment, wo John Cook hochruft: „Helmuth du bist ein guter Freund“ und die Mutter macht irgendwo im Hintergrund essen. Das finde ich wirkliche einen total brillanten Moment, weil genau da alles wegfällt, da sind die zwei ganz unschuldige Buben, ohne Egos und sonst was. Das hat mir immer ganz gut gefallen, das ich gemerkt habe, dass am Ende das Spielen aufhört.

VS: Stimmt, es ist dann ja auch etwas gelungen, man hat ja diesen Film, der ist gemacht, der ist fertig. Es ist dann doch etwas passiert, das diese Sehnsucht befriedigen kann. Der Film ist im Kasten und da ist alles drin was passiert ist, und alles, was vielleicht hätte passieren können.

AB: Das weist vielleicht darauf hin, dass man diese Filme und das Programm auch ganz anders sehen kann. Was sieht man da eigentlich? So ein Programm bildet natürlich immer auch ab. Welche Orte, welche Clubs sieht man? Gibt es die noch? Inwieweit stehen die noch für Popkultur oder haben sich schon davon entfernt? Man kann diese Filme auch, egal wie fiktional oder avantgardistisch, total als Dokumente ihrer Zeit lesen. Man eröffnet dadurch mit so einem Filmprogramm eben genau die codierten Welten durch die die Figuren auch dauernd laufen. Dieses Zeichenhafte. Du begegnest dann den Zeichen der 80er Jahre Punk-Szene, du begegnest den Zeichen von Helmuth und John im Wien der 70er Jahre, du machst das alles mal durch im Laufe eines Programms. Allein das ist eine interessante Erfahrung, glaube ich, auch ohne dass man sie theoretisiert. Tatsächlich im Sinne von „ein anderes Leben leben“. Das wäre vielleicht auch die richtige Formulierung dessen, was es unterscheidet von einem theoretischen Text. Ein theoretischer Text ist vielleicht besser dazu geeignet etwas präzise zu formulieren, aber für die tatsächlich sinnliche Erfahrung, dass du wirklich in einem anderen Rhythmus lebst, in einer anderen Zeit, einem anderen Raum, ist ein Programm wirkliche eine gute Möglichkeit. Wie eine Simulation eigentlich, wenn man es übertreiben möchte.

Happy End von Peter Tscherkassky

Happy End von Peter Tscherkassky

VS: Ein anderes Leben sieht man ja dann auch in Happy End, der am Ende des Avant Pop-Programms stand. Man kommt, solange man diesen Film sieht, nicht über diese Frage hinweg: woher hat der diese Aufnahmen? Ich konnte da nicht aufhören mir Szenarien auszumalen, wo diese Aufnahmen herkommen und was das eigentlich ist? Was ist das? Das sind schon Homevideos, oder?

AB: Homemovies, ja. Von diesem Paar, die sich eben dabei gefilmt haben, wie sie sich immer an Weihnachten oder Silvester total betrinken und dabei permanent zuprosten. Das Material hat Peter Tscherkassky wohl einfach erstanden, auf einem Flohmarkt oder so etwas, also das ist gefundenes Amateurfilmmaterial. Alexander Horwath sagt immer was ganz Interessantes über diesen Film, und das mag ich wirklich wahnsinnig gerne als Gedanken: dass die Beiden ständig in die Kamera blicken und damit etwas adressieren und sich bei dem Film damit die Frage stellt: Wen adressieren die eigentlich? Vermutlich haben sie sich selbst adressiert, aber mittlerweile adressieren sie dann Menschen 30 Jahre später in einem Kino. Das finde ich einen ziemlich interessanten Gedanken, weil noch einmal die Möglichkeit ein anderes Leben zu leben da ist … du guckst da wirklich einem anderen Leben zu und die blicken dich an, die gucken sozusagen zu dir zurück. Eigentlich wäre das auch ein guter Schlusspunkt zu dem Gesamtprogramm gewesen.

VS: Das ist ein bisschen wie so Grußkarten, die man an Freunde schickt. Man macht ein Weihnachtsfoto und dann schreibt man da einen Spruch drunter. Dazu kommt aber, dass das so absurde Mengen an Alkohol aufgefahren werden, dass man das auch für eine Inszenierung halten könnte. Zusammen mit den relativ wohlkadrierten Einstellungen, könnte man das für Spielfilmmaterial halten. Es ist nicht ganz klar, ob das für die Kamera gestellt ist, ob der Alkohol tatsächlich getrunken wird, ob das ein Spiel ist.

AB: Auch hier gibt es wieder das Bedürfnis das Leben abzubilden, das ist dann vielleicht eine Nähe die sich in dem ganzen Programm zwischen Film und Pop zeigt. Film als das Medium, das die Welt zeigt in einer bestimmten Art und Weise und Pop als Bedürfnis zu zeigen, etwas darzustellen, etwas zu sein, eine Identität zu konstruieren, sich neu zu definieren, aber permanent auch über Codes, die sichtbar sind. In dem Sinne ist natürlich Kino oder Film in besonderer Art und Weise dazu geeignet genau darüber nachzudenken oder das nachzuvollziehen.

VS: Ich glaube, dass Popkultur eine Sehnsucht entwickelt, die sich eigentlich nur in sich selbst erfüllen kann. Diese Sehnsucht kann sich nur in demselben Augenblick erfüllen, in dem sie entsteht. Im Film ist es so, wenn man einen großartigen Film gesehen hat, dann gibt es da eine Sehnsucht, die nichts anderes befriedigen kann als dieser Film selbst. Das ist so eine Schleife und wenn man versucht, die Sehnsucht irgendwo anders zu verwirklichen, dann kippt das Ganze, dann funktioniert es nicht mehr. Das funktioniert nur in sich selbst. Das ist für mich eine Verbindung.

AB: Das ist dann vielleicht auch die letzte Verbindung zur Musik, Musik als zeitbasierte Kunstform, die genau das macht und die als Kunstform in so einem Programm zwangsweise sehr dominant ist. Wenn man sich z.B. gewisse elektronische Musik anhört, die dann irgendwann Harmonien entwickelt, die ein unglaubliches Gefühl und Bedürfnis in einem erzeugen und sich dann verändern und weg sind und man weiß, man müsste das Stück wieder hören, um genau diesen Moment wieder zu erfahren. Vielleicht ist es deswegen kein Wunder warum die drei, Film, Pop und Musik so nah beieinander sind.

VS: Ich glaube, das ist auch der utopische Moment, in dem plötzlich eine Gemeinschaft und eine gemeinsame Bewegung entsteht. In dem Erlebnis. Für einen Augenblick. Und dann ist sie wieder weg. Es ist immer nur dieser Moment in dem das funktioniert. Aber im Kino kann der manchmal sehr lange sein und das ist sehr schön.

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  145. The Zune concentrates on being a Portable Media Player. Not a web browser. Not a game machine. Maybe in the future it’ll do even better in those areas, but for now it’s a fantastic way to organize and listen to your music and videos, and is without peer in that regard. The iPod’s strengths are its web browsing and apps. If those sound more compelling, perhaps it is your best choice.

  146. Zune and iPod: Most people compare the Zune to the Touch, but after seeing how slim and surprisingly small and light it is, I consider it to be a rather unique hybrid that combines qualities of both the Touch and the Nano. It’s very colorful and lovely OLED screen is slightly smaller than the touch screen, but the player itself feels quite a bit smaller and lighter. It weighs about 2/3 as much, and is noticeably smaller in width and height, while being just a hair thicker.

  147. Zune and iPod: Most people compare the Zune to the Touch, but after seeing how slim and surprisingly small and light it is, I consider it to be a rather unique hybrid that combines qualities of both the Touch and the Nano. It’s very colorful and lovely OLED screen is slightly smaller than the touch screen, but the player itself feels quite a bit smaller and lighter. It weighs about 2/3 as much, and is noticeably smaller in width and height, while being just a hair thicker.

  148. If you’re still on the fence: grab your favorite earphones, head down to a Best Buy and ask to plug them into a Zune then an iPod and see which one sounds better to you, and which interface makes you smile more. Then you’ll know which is right for you.

  149. Between me and my husband we’ve owned more MP3 players over the years than I can count, including Sansas, iRivers, iPods (classic & touch), the Ibiza Rhapsody, etc. But, the last few years I’ve settled down to one line of players. Why? Because I was happy to discover how well-designed and fun to use the underappreciated (and widely mocked) Zunes are.

  150. Between me and my husband we’ve owned more MP3 players over the years than I can count, including Sansas, iRivers, iPods (classic & touch), the Ibiza Rhapsody, etc. But, the last few years I’ve settled down to one line of players. Why? Because I was happy to discover how well-designed and fun to use the underappreciated (and widely mocked) Zunes are.

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  152. If you’re still on the fence: grab your favorite earphones, head down to a Best Buy and ask to plug them into a Zune then an iPod and see which one sounds better to you, and which interface makes you smile more. Then you’ll know which is right for you.

  153. The new Zune browser is surprisingly good, but not as good as the iPod’s. It works well, but isn’t as fast as Safari, and has a clunkier interface. If you occasionally plan on using the web browser that’s not an issue, but if you’re planning to browse the web alot from your PMP then the iPod’s larger screen and better browser may be important.

  154. The new Zune browser is surprisingly good, but not as good as the iPod’s. It works well, but isn’t as fast as Safari, and has a clunkier interface. If you occasionally plan on using the web browser that’s not an issue, but if you’re planning to browse the web alot from your PMP then the iPod’s larger screen and better browser may be important.

  155. Hands down, Apple’s app store wins by a mile. It’s a huge selection of all sorts of apps vs a rather sad selection of a handful for Zune. Microsoft has plans, especially in the realm of games, but I’m not sure I’d want to bet on the future if this aspect is important to you. The iPod is a much better choice in that case.

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  157. The new Zune browser is surprisingly good, but not as good as the iPod’s. It works well, but isn’t as fast as Safari, and has a clunkier interface. If you occasionally plan on using the web browser that’s not an issue, but if you’re planning to browse the web alot from your PMP then the iPod’s larger screen and better browser may be important.

  158. I’ll gear this review to 2 types of people: current Zune owners who are considering an upgrade, and people trying to decide between a Zune and an iPod. (There are other players worth considering out there, like the Sony Walkman X, but I hope this gives you enough info to make an informed decision of the Zune vs players other than the iPod line as well.)

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  197. Have you ever considered writing an ebook or guest authoring on other websites? I have a blog centered on the same topics you discuss and would really like to have you share some stories/information. I know my subscribers would enjoy your work. If you are even remotely interested, feel free to send me an e-mail.

  198. I wanted to thank you for this great read!! I definitely enjoying every little bit of it I have you bookmarked to check out new stuff you post…

  199. EUROVIEW: For a gala which should be principally significant for a return, that of Messi to the top of the podium, the Ballon d’Or ceremony in Zurich will also be one of significant absences.  Lionel Messi will win the Ballon d’Or, but absent friends take the shine off FIFA event