Rainer on the Road: Museo Nazionale di Cinema in Turin

Ein verregneter Samstagnachmittag in Turin. Trotz der ungünstigen Wetterverhältnisse bebt das historische Zentrum der piemontesischen Stadt mit Leben. Die Torinesi schützen sich vor dem beharrlichen Prasseln des Regens mit überdimensionierten Regenschirmen, die an jeder Ecke von Straßenverkäufern feilgeboten werden. Ich verwende ungern Regenschirme. Sie sind für mich Ausdruck der menschlichen Hybris, die glaubt sich den Naturgewalten mit einer dünnen Schicht Kunststoff entziehen zu können. Sperrig sind die Dinger auch, anderen Passanten sticht man bei der kleinsten Unachtsamkeit die Augen aus und im Übrigen schaffe ich es nie den Schirm so gen Himmel auszurichten, dass ich auch tatsächlich trocken bleibe. Außerdem hat man ohnehin nie einen dabei, wenn es nötig wäre. Kurz, Regenschirme sind eine riesige Mogelpackung und eine große Enttäuschung und deshalb hab ich den Spleen kultiviert, keine zu verwenden. Ich verstehe ohnehin nicht ganz, weshalb die Turiner Bevölkerung überhaupt auf diese unsinnige Erfindung zurückgreift, denn die Boulevards in der Innenstadt sind von großzügigen Arkaden gesäumt, die auch bei unfreundlichsten Wetterbedingungen eine trockene Fortbewegung ermöglichen. Das Rätsel scheint gelöst, als ich in eine der Seitengassen einbiege, die von der Via Po (und ihren Arkaden) abzweigen. Dort hat sich eine lange Schlange von Menschen gebildet, die unter freiem Himmel, aber mit aufgespannten Regenschirmen, vor dem Eingang des Museo Nazionale di Cinema ausharren. Tragen die Turiner deshalb Regenschirme mit sich herum, dass sie jederzeit trocken ins Kinomuseum gelangen können? Ist das Museum deshalb auf dem italienischen Zwei-Cent-Stück abgebildet?

Das alles ist das Wunschdenken eines Cinephilen, denn nach einer kurzen Erkundung der Lage zeigt sich, dass die lange Schlange dem Panoramalift gilt, der die Besucher bis an die Spitze der 167 Meter hohen Mole Antonelliana bringt. Die Mole, ursprünglich von der jüdischen Gemeinde Turins als Synagoge in Auftrag gegeben, ist das Wahrzeichen der Stadt. Der Architekt Alessandro Antonelli hatte damals in einem Anflug von Größenwahn ein Gebäude geplant, dass die Mittel der Auftraggeber bei weitem überstieg, weshalb die Mole nie als Synagoge genutzt wurde und bereits vor ihrer Fertigstellung an die Stadt verkauft werden musste. Das Museo Nazionale di Cinema ist erst seit 2000 im Gebäude untergebracht, und bequem über einen zweiten Eingang (ganz ohne Schlangestehen) zu erreichen. Das ist gut so, denn eine Stunde im Regen ist ein Besuch nicht wert.

Museo Nazionale di Cinema

Grob lässt sich der Aufbau des Museums in drei Teile einteilen: eine umfangreiche Sammlung über Pre-Cinema, eine Art Abenteuerspielplatz im Erdgeschoss der riesigen Kuppelhalle und einem Ausstellungsbereich in der Galerie darüber. Zusätzlich gehört zum Museum noch ein Kino, das im Gebäude nebenan untergebracht ist und als Cinemathek und Festivalkino genutzt wird. Wie ich schon in meinem Text über das Museum für Film und Fernsehen in Berlin angemerkt habe, ist die Idee eines Museums, das sich mit Film beschäftigt ohne die Werke selbst ins Zentrum zu rücken problematisch. Das Museo Nazionale di Cinema umschifft das zunächst geschickt, indem es sich im ersten Teil der Ausstellung als Technikmuseum präsentiert und sich auf prä-kinematographische Formen konzentriert. „Archäologie des Kinos“ heißt der Rundgang, der mehrere hundert Jahre an Entwicklung im Bereich optischer und audiovisueller Medien abdeckt. Dabei erfüllt die Ausstellung alle Anforderungen eines modernen Museums, kombiniert theoretische Erklärungen der Funktionsweise von Linsen und Gerätschaften mit interaktiven Elementen. Von unterschiedlichsten Linsen- und Spiegelsystemen über Kaiserpanoramen bis hin zum Kinetoscope lassen sich alle diese frühen Formen audiovisueller Medien und optischer Spielereien ausprobieren und anfassen. Es gibt im wahrsten Sinn des Wortes viel zu tun und zu sehen. Was man sieht ist allerdings eine andere Frage: Erschreckend wie viele der Ausstellungsstücke als Digitalisate präsentiert werden, und das ohne in irgendeiner Weise auf den Faksimile-Charakter der Exponate hinzuweisen. Es ist sinnlos Laterna magica-Projektionen mit dem Beamer zu simulieren, sinnlos in ein Kinetoscope einen kleinen Bildschirm einzubauen, sinnlos Filme der Gebrüder Lumière digital zu projizieren und mit dem Rattern eines Projektors zu unterlegen. Es ist sinnlos und falsch. Es verleitet den Besucher diese Formen des Audiovisuellen mit dem Seherlebnis eines Flachbildschirms oder einer DCP-Projektion zu vergleichen. Dieser Vergleich führt unweigerlich zu einer Herabstufung des Pre-Cinema als primitive Vorstufe in einer imaginierten linearen Entwicklungsgeschichte der medialen Bilderproduktion, anstatt sie als eigenständige Phänomene zu verstehen, die unter den gegebenen technischen, ökonomischen und sozialen Voraussetzungen, bestimmte Bedürfnisse der Menschen nach Bildern und Geschichten befriedigten. Es ist erschreckend und fatal, dass sich ein Kinomuseum (und das Museo Nazionale di Cinema ist darin nicht das einzige) mit der Glorifizierung und Nostalgisierung des Kinos zufrieden gibt und sich nicht darum bemüht Erklärungen zu geben, wie und warum Film, Kino und Gesellschaft nunmehr über hundert Jahre so eng verzahnt sind. Es lässt seine arglosen Besucher ohne tieferes Verständnis dessen zurück, was ihnen eben aufgetischt wurde, indem es sogar noch versucht seine Täuschungspraktiken zu verschleiern, anstatt sie selbstkritisch zu thematisieren.

Museo Nazionale di Cinema

Spätestens am Ende des Rundgangs, wenn nach der Vorführung einiger Lumière-Filme die Leinwand hochgezogen wird und einem das Modell einer Lokomotive entgegenkommt, hat sich der Eindruck bestätigt, dass sich das Museo Nazionale di Cinema eher als Vergnügungspark denn als Museum versteht. Dementsprechend geht es im zweiten Teil des Museums, in der majestätischen Kuppelhalle der Mole Antonelliana, weiter. Dort wird ein publikumswirksames Popspektakel mit viel Pomp und Trara geboten, fast ohne jegliche Kontextualisierung oder kritische Distanz. Die Räumlichkeiten sind grob thematisch geordnet (Western, Musical, Horror,…) und beherbergen bunt zusammengewürfeltes Stückwerk aus Filmausschnitten, Plakaten, Setfotos und Starporträts. Alles reiht sich willkürlich aneinander und giert um die Aufmerksamkeit der Besucher, die zu diesem Zeitpunkt wohl gar nicht mehr anders können, als „Film“ und „Kino“ als eine lang vergessene Kulturpraktik zu verstehen, die früher einmal so etwas wie gesellschaftliche Relevanz hatte. Man wähnt sich im Inneren eines Süßwarenladens, alles ist bunt, schrill und zuckersüß und zu viele Kostproben führen zu Herzrasen, Kopfweh und Bauchschmerzen. Der Begriff von Kino, der hier vermittelt wird, ist der eines abgedunkelten Orts, an dem man sich gegenseitig mit Popcorn bewirft.

Flüchtet man sich schnell aus der Kuppelhalle in die Galerie, findet man dann auch kaum mehr Gefallen an der imposanten Sammlung kubanischer Filmplakate, die im Moment als temporäre Ausstellung zu besichtigen ist. Nach so viel Abstumpfung und Ärgernis versucht man diesen wohl interessantesten Teil des Museums möglichst schnell hinter sich zu bringen, um sich im Regen von der klebrigen Gefallsucht und Marktheischerei reinzuwaschen. Die Kühnheit, Unangepasstheit und Abstraktion mit der die kubanischen Zeichner sich in ihren Gegenständen näherten, sollten sich die Kuratoren (wenn überhaupt jemand in diesem Museum diese Bezeichnung verdient) auch zu Herzen nehmen. Das nächste Mal stelle ich mich auch lieber in den Regen und warte auf den Panoramalift.

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  63. Today, taking into consideration the fast chosen lifestyle that everyone is having, credit cards get this amazing demand in the economy. Persons throughout every arena are using the credit card and people who aren’t using the credit cards have prepared to apply for one in particular. Thanks for revealing your ideas about credit cards.

  64. Zune and iPod: Maximum persons compare the Zune to the Contact, but soon after observing how slim and surprisingly very low and light it is, I just take it toward be a rather unique hybrid that brings together properties of each the Contact and the Nano. It is really Pretty colourful and beautiful OLED exhibit is a little smaller than the contact screen, nonetheless the player by itself feels fairly a bit scaled-down and lighter. It weighs with regards to 2/3 as much, and is significantly scaled-down in just width and height, When being simply just a hair thicker.

  65. A lot of thanks for all your labor on this blog. Betty really likes managing investigation and it is easy to understand why. Most of us know all relating to the dynamic medium you render insightful ideas by means of this web site and in addition attract contribution from some others on the matter while my daughter is becoming educated so much. Take pleasure in the rest of the year. Your performing a tremendous job.

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