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situation cannot be entirely explained by metapsychological film theory, as this uses the mirror metaphor, but in order to describe the psychological situation in the normal cinema.

But artists like Doug Aitken or Stan Douglas and filmmakers like Chantal Akerman, Joyce Wieland and Laura Mulvey have cast light in their films or film installations on interferences between specifically cinematic experience and experience of the urban ambience (for this see contributions by Ursula Frohne, Frank Wagner, Ivone Margulies, Robin Curtis and Winfried Pauleit)[TITLES]. They make it possible to redeem the interplay of private and public, internal and external, interior and urban quality, present and acute recollection, of cinematic narration and mere conditionality. When artists create film installations that include the architectural space around them and allow spectators to become flâneurs, this can be beneficial to the cinema's genuine potential; but it does not mean that a presentation situation of this kind would be superior to a film produced for the normal cinema in every case.

After being used for decades to the idea that


modern and contemporary art were to be presented in bright, light-flooded rooms—the «white cube» as standard -, in recent decades the «black box» increasingly frequently put in an appearance as a equally valid device. [4] The museum—according to a bon mot by Jeff Wall—does not just have a «sun wing» but a «moon section» that makes it possible to convey cinematic experiences.

The museum as an institution was not infrequently taken to be the ultima ratio of modern art; it seemed to be the place for which art is ultimately destined. But art that is guided by a desire to include other fields of cultural experience like the cinema, for example, in its aesthetic reflections hence seems to be faced with the choice of either assimilating these fields of experience radically, so that the museum itself seems to become a kind of cinema, or it dissimilates them radically, giving prominence to the museum as an institution by pronouncing its lack of similarity with these fields of experience. Considered superficially, it seems to make sense to count a large part of recent film/video installation art as fitting in with the former option, while an artist like Marcel Broodthaers, who

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