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film—at the same time for the highest avant-garde ambitions, indeed it made it possible to build a bridge between these opposites (for this see the source text by Marc Gloede). This raises the question of the relationship between cinematic and cinematographic pictorial worlds, between moving pictorial quality and the recording of reality. This question is both inclined to encourage scepticism about the reality of cinematographic images that do not reveal their own strategies to the mise en scène and also to reinforcing faith in the documentary quality of film. There is room for reflection in this ambivalence, for essayistic links and work on film memory that is clear about the fact that the memory is constantly overwritten and rewritten, something that Chris Marker has repeatedly addressed in his films (for this see Michael Wetzel's contribution «TITLE»).

All the contributions to this module agree that they are focusing on possibilities for using the film medium not in the sense of a linear narrative, which the commercial cinema has always had a very good command of. So it would also seem wrong to place the films themselves in a linear historical context. In fact the module


structure is much more suitable for making us aware of a structure of significance and overarching connections that could not be captured in a linear sequence. So film-historical data and their historical and cultural contexts are not withheld in the individual contributions, but no attempt is made to mount these date as a ‹string of historical pearls›. Instead, it should be pointed out that this module has a series of high-calibre source texts [5] at its disposal (that all had the potential to be worked up as main texts), that are in a position to expand the horizon of film history and deepen understanding of the main texts.

Translation by Michael Robinson