Zéro de conduite – Publikumsdisziplinierung im Kino

In ihrer Abhandlung Making cinephiles: An ethnographic study of audience socialization präsentiert Lisa Marx vorläufige Ergebnisse ihrer Forschungen zu Filmvermittlung an Schulen in Frankreich. Aus den Werten, Wahrnehmungsordnungen und Verhaltensweisen, die ihrer Beobachtung nach den Lehrinhalt dieser filmpädagogischen Programme ausmachen, zieht sie den Schluss, dass es darin um die Domestizierung junger und unbotmäßiger Zuschauer unter dem Banner der Cinephilie geht, die kulturelle Normierung von Kinorezeption nach bürgerlichen Maßstäben zur Schaffung einer künftig treuen Kundschaft für die Arthausdomäne. Dahingehend verweist die Autorin auch auf verschiedene Formen von Körper- und Selbstbeherrschung, die von den Tutoren als korrekte Kinoetikette propagiert werden:

During the screenings, cinema employees and teachers use certain techniques of crowd control with the students, who are often described in interviews as ‘wild’ or ‘noisy’. They have each group of students enter the movie theater separately, seating them far apart, and chastise students who are perceived as being too rowdy (talking, commenting on the movie, laughing loudly, etc.) during the screening. […] Both “good” and “bad” ways to see a movie are constructed here, and a disciplined posture is taught: Students are not supposed to participate […] but should instead contemplate the film in solitary silence.

Ziel dieser Strategien sei die Aufstufung „unzivilisierter“ Zuseher zu einer höheren Rezeptionskaste. Aus unreflektierten Konsumenten von Massenkultur sollen distanzierte – und isolierte – Ästheten werden. Unter diesen Vorzeichen kritisiert Marx, die ihrem Namen alle Ehre macht, Cinephilie als Distinktionsmerkmal der Oberschicht.

© Adult Swim

Diese Behauptung ist streitbar, soll hier aber nur sekundär verhandelt werden. Mich interessiert eher das oben aufgeworfene und weit verzweigte Diskursfeld der Disziplinierung von Körpern im Kinosaal. Jeder, der regelmäßig in(s) Kino(s) geht, ist sich der geschriebenen wie ungeschriebenen Gesetze bewusst, die den generellen Umgangston in Lichtspielhäusern reglementieren, und ebenso gegenwärtig ist ihm die Relativität dieser Gesetze. Sie sind abhängig von Faktoren wie Filmgenre, Kinocharakter, Besucherzahl und Publikumsstruktur, und im Zusammenspiel dieser Faktoren entscheidet sich, welches Verhalten der jeweiligen Kinosituation angemessen erscheint. Dabei gilt so gut wie überall ein grundlegendes Respektsgebot vor der Privatsphäre des anderen, ohne das die soziale Institution des Kinos in ihrer derzeitigen Ausprägung auf lange Sicht nicht bestehen könnte. Denn obwohl der Kinosaal einen öffentlichen Raum darstellt, ist er über seine Sitzplätze in eine Vielzahl von Komfortzonen parzelliert, die die Zuschauer für die Dauer der Vorstellung physisch und psychisch ausfüllen und deren Grenzen nur in Sonder- und Extremfällen ungestraft durchbrochen werden können. Das heißt erstmal einfach nur, dass selbst im ausgelassensten Kontext die wenigsten Kinobesucher der mutwilligen Übertretung dieser imaginären Demarkation gleichgültig gegenüberstehen. Wenn man sie also mit Popcorn bewirft, ihnen die Füße in die Rückenlehne stemmt oder ins Ohr schreit, darf man nahezu ausnahmslos mit legitimen Sanktionen rechnen – legitim, weil derartige Anstandsverletzungen eine gleichwie geartete Filmerfahrung unmöglich machen.

Anders verhält es sich mit jenem Verhalten, das potentiell irritiert, jedoch in aller Unschuld und im nominellen Rahmen der eigenen oder freundschaftlich erweiterten Komfortzone an den Tag gelegt wird: Essen (der Klassiker), Rascheln, Husten, Niesen, Verlagerungen der Sitzposition, jede merkliche Reaktion auf den gezeigten Film (Lachen, Weinen, Schreien, Johlen, Aufschrecken, allgemeine Unruhe), alle Spielarten verbaler Äußerung (vom Gespräch zum Privatkommentar) und selbstverständlich jedwede Nutzung von Mobiltelefonen oder Ähnlichem. Die Salonfähigkeit dieser Regungen muss jedes Mal aufs Neue ausgelotet werden und bewegt sich zwischen zwei Polen, die im Text von Lisa Marx nach einer Terminologie des französischen Soziologen Pierre Bourdieu als ethische und ästhetische Dispositionen gekennzeichnet werden. Erstere postuliert eine unverbrüchliche Einheit zwischen Kunst und Leben und bestimmt die unmittelbare, situative Affektreaktion als die einzig authentische. Letztere propagiert Reflexion, Kontemplation und Distanz, um einen Dialog mit dem Kunstwerk zu ermöglichen.

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Die ethische Disposition beruft sich in ihrem Anspruch auf Gültigkeit oft auf das frühe Kino als Ort elementarer Vergemeinschaftung. Da war die Welt noch in Ordnung und hatte im Filmtheater seine Agora. Dort konnte man gemeinsam staunen, lauthals Medium und Leben feiern, Konflikte austragen, Liebe und Demokratie machen. Die Grenzen der Komfortzonen erschienen noch angenehm fließend und durchlässig. Mit der sukzessiven Atomisierung der Gesellschaft und Fragmentierung des Publikums ging diese Freiheit nach und nach verloren, Barrieren wurden aufgebaut und Benimmregeln eingeführt, und das Gemeinschaftliche aus dem Dunkel ins Dunkel verbannt. Vertreter der ethischen Gesinnung sehnen sich (bezeichnenderweise mit Vorbehalten) zurück nach diesem womöglich etwas verklärten Urzustand und suchen ihn herbeizuführen, indem sie – als Teilnehmer oder Veranstalter – eine zwanglose, partizipative Sichtungsatmosphäre kultivieren. Diese Haltung findet sich heute etwa bei Retro-Event-Screenings oder Genrefilmfestivals. Sie verortet sich oft in bewusster Opposition zu ihrem Widerpart aus der ästhetischen Fraktion und warnt vor der Erstarrung einer lebendigen Filmkultur durch falsche Pietät und Zurückhaltung.

Die ästhetische Disposition hingegen beharrt auf Ehrfurcht vor dem Medium und seiner unverfälschten Wirkung. Erkennt man Film als hohe Kunst an, so ihr Credo, hat diese wie sämtliche anderen Künste vollste Aufmerksamkeit verdient. Folglich hat man als Zuschauer darauf zu achten, dass für alle am Kinoereignis Beteiligten Bedingungen gegeben sind, die vielleicht kein ungehemmtes Genießen, dafür aber ein intensives, ablenkungsfreies und individuelles Sehen und Fühlen ermöglichen. Ihren Ursprung hat diese Einstellung wohl in den französischen Filmklubs der 20er-Jahre, heute lebt sie in Filmmuseen und vereinzelten Programmkinos weiter.

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Beide Dispositionen sind als Dogma in letzter Konsequenz problembehaftet, da sie auf Ausschlüssen basieren. Die ethische Haltung stellt den introvertierten Schöngeist implizit unter den Generalverdacht, seinen wahren Emotionen entfremdet zu sein und zu Repräsentationszwecken einen abgeklärten und abgehobenen Gestus zu affektieren, der den Film künstlich auf Abstand hält. Unter dieser Prämisse setzt sie dessen Anspruch auf Ruhe und persönlichen Erfahrungsraum außer Kraft und opfert ihn dem Affektorkan. Zudem sind ihr prinzipiell Filme suspekt, die nicht imstande sind, sichtliche und spürbare (Gemeinschafts-)Energien im Publikum freizusetzen, deren Mangel dann oft als Beleg für ihre Künstlichkeit, Falschheit und Fadesse herhält. Umgekehrt werden überschwängliche, einmütige Reaktionen des Publikums zum vordringlichen Gradmesser der gesellschaftlichen Relevanz eines Films. Dementsprechend bevorzugt die ethische Disposition ein Kino, das sich in Form und Inhalt direkt und stoßartig an Körper und Instinkt des Zuschauers wendet, lässt dabei ungern Stille einkehren und bietet diesem daher nur selten einen Reflexionsradius für zögerliche, zweifelnde Überlegung, die in diesem Kontext als inadäquat empfunden wird.

Der ästhetische Standpunkt indes läuft schnell Gefahr, die im oben tangierten Text gehegten Befürchtungen vom disziplinären Klassismus in der Rezeption (und deren Rezeption) zu bestätigen. Am deutlichsten manifestieren sich diese bedauerlichen Anlagen im rigiden Reiz-Reaktions-Modell spezifischer Kino-Situationen, insbesondere in Bezug auf Gelächter: Man hat nur dann zu lachen, wenn der Film es „erlaubt“, und hält man sich nicht an dessen heimliche Vorschriften, ist man flugs als Rüpel und Philister gebrandmarkt. Tut man auch nur verstohlen seinen Unmut kund – zumeist in der Hoffnung auf Beistand und Bestätigung, dass man eben nicht alleine mit seiner Meinung ist – ergeht es einem nicht anders. Wer seinem Sitznachbar einen Kommentar zuflüstert, stört die Totenruhe. Wer isst oder trinkt, entweiht das Kinoheiligtum. Wer kränklich ist und rumhüstelt oder sich gar schnäuzt, hätte gleich zuhause bleiben sollen. In jedem Fall verliert man vor dem cinephilen Tribunal seine Ehre als Zuschauer; wer nicht voll und ganz bei der Sache ist, kann es schlichtweg nicht ernst meinen mit dem Sehen.

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Diese ganzen Vorurteile und Verhaltensnormen fußen letztlich auf beschränkten Idealvorstellungen einer „richtigen“ Kinosituation und haltlosen Mutmaßungen über die Ursachen von Publikumsreaktionen. Wer bei Dreyer an der falschen Stelle lacht, lacht vielleicht aus erhabenem Entzücken, und wer sich bei tosendem Massenapplaus im Multiplex unwohl fühlt, tut dies nicht zwangsläufig aus dünkelhafter Eitelkeit. Überdies sollte man sich in seiner Argumentation für die eine oder andere Haltung nicht auf das Phantasma eines howitwasmeanttobeseen berufen, denn am Ende generiert jedes Kinoereignis die Umstände seines Gesehen-werdens in einem Wechselspiel mit den Zuschauern selbst, in seiner Zeit und an seinem Ort, und für gewöhnlich ist die Stimmung, die sich da mehr oder weniger organisch einpendelt, schon ok, sei sie wild oder weihevoll. So etwas wie eine historische Praxis ist etwas, woran man sich überschlagsmäßig annähern kann, tatsächlich erreichbar ist sie aber nicht.

Glücklicherweise nehmen besagte Dispositionen selten fundamentalistische Züge an. Trifft ein Film einen kollektiven Nerv, transzendiert er sein Dispositiv ohnehin, und ich habe Momente feierlicher Andacht beim /slash-Filmfestival ebenso erlebt wie Hysterie im Österreichischen Filmmuseum, aber grundsätzlich hat jede Spielstätte das Recht, essentielle Sichtungsparameter nach ihrem Gutdünken fest- oder nahezulegen, und jeder Besucher weiß im Idealfall sowohl, worauf er sich einlässt, als auch, welche Spielräume ihm gewährt werden. Übertriebene Strenge in beide Richtungen führt zu einer Verstetigung von Sichtungserfahrungen und schlimmstenfalls zu ihrer Vorzeichnung. Zugleich haben beide Positionen in Ansätzen ihre Berechtigung. Zum Kino gehören eben auch die unmittelbaren Regungen und Bewegung des Publikums, während ein gewisses Maß an Distanz zu seinen oft ideologisch durchwirkten Instinktreaktionen oftmals erst die Pforten öffnet zu neuen Perspektiven, neuen Filmen, neuen Erfahrungen. Und wenn man denn wirklich keinerlei Anschluss findet an ein Kino, einen Film und ihre einvernehmliche Aura, sollte man den Mut haben, zu gehen, anstatt dem Saal seine persönliche Vision von Frömmigkeit oder Fröhlichkeit aufzudrängen.

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  50. Sorry for the massive evaluation, yet I’m definitely loving the refreshing Zune, and hope this, as properly as the Terrific opinions some other folks incorporate prepared, will guidance on your own choose if it’s the instantly option for by yourself.

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  52. The Zune concentrates on getting a Portable Media Player. Not a internet browser. Not a video game machine. Probably in just the potential it’s going to do even superior in those people areas, nonetheless for at this time it can be a Wonderful route in direction of arrange and listen in direction of your new music and motion pictures, and is without having peer within just that regard. The iPod’s pros are its internet viewing and applications. If those people stable additional persuasive, probably it is your most straightforward selection.

  53. The clean Zune browser is astonishingly favourable, nevertheless not as Great as the iPod’s. It is effective nicely, however isn’t really as instantaneous as Safari, and consists of a clunkier interface. If you often software on applying the internet browser that is not an issue, but if you’re designing toward go through the world wide web alot versus your PMP then the iPod’s larger show and greater browser may possibly be necessary.

  54. If you are however on the fence: seize your preferred earphones, intellect down to a Perfect Purchase and ask toward plug them into a Zune then an iPod and see which one particular seems greater towards on your own, and which interface tends to make by yourself smile additional. Then you are going to realize which is immediately for on your own.

  55. Thanks, I have recently been searching for info about this topic for a long time and yours is the greatest I’ve found out so far. However, what about the conclusion? Are you sure concerning the source?

  56. This is using a little bit a lot more subjective, however I much want the Zune Marketplace. The interface is vibrant, consists of much more flair, and some cool features together with ‚Mixview‘ that allow for you suddenly view similar albums, new music, or other buyers similar in the direction of what you happen to be listening towards. Clicking upon one of individuals will center upon that item, and a different preset of „neighbors“ will arrive into opinion, making it possible for your self in the direction of navigate more than investigating by means of similar artists, audio, or buyers. Speaking of people, the Zune „Social“ is as well best enjoyable, letting by yourself obtain some others with shared choices and getting to be buddies with them. On your own then can hear in direction of a playlist made based mostly on an amalgamation of what all your good friends are listening in the direction of, which is on top of that remarkable. All those nervous with privacy will be relieved in the direction of understand yourself can reduce the public from observing your specific listening routines if you so decide on.

  57. I was just seeking this information for a while. After six hours of continuous Googleing, at last I got it in your site. I wonder what’s the lack of Google strategy that don’t rank this kind of informative sites in top of the list. Usually the top sites are full of garbage.

  58. Apple now has Rhapsody as an app, which is a great get started, nonetheless it is already hampered by means of the incapacity in direction of keep locally upon your iPod, and is made up of a dismal 64kbps bit selling price. If this modifications, then it will somewhat negate this ease for the Zune, still the Ten songs for every month will however be a substantial furthermore inside of Zune Pass‘ want.

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  60. If you happen to be nevertheless upon the fence: seize your preferred earphones, head down in the direction of a Least difficult Invest in and question towards plug them into a Zune then an iPod and watch which just one seems superior in the direction of you, and which interface tends to make yourself smile further. Then you will notice which is specifically for on your own.

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