liberation struggle. Beyond the question of a concise conceptual characterization of these strategies, we can hold onto the fact that Mulvey and Wollen are obviously interested in a specifically cinematographic production of «intertexuality» that in some ways supercedes the textual paradigm. With this, they not only raise the question of the quotability of film, but also that of the essence of the cinema. The citational character (the various cinema references) of «Riddles of the Spinx»shows itself to be or reads not only as a ‹literal› or a ‹true to the letter› reproduction (what ever that might mean in relation to the cinema!) Beside the analogies to linguistic processes of signification, it also orients itself to that phenomenon of film that Kracauer called in 1960 «the redemption of physical reality» in relation to the photographic character of film. [23] However, Kracauer’s redemption, which includes the relationship between external reality and cinema, has been changed. Mulvey and Wollen’s relation to physical reality appears complex, as if through a shot of Laura Mulvey we could see through to older levels of experience (as for example the reception of a Hollywood star or the Greek history of

the Sphinx) and as if the cinema could share these experiences both physically as well as textually. If Laura Mulvey and Peter Wollen’s model of another cinema not only links various cinema traditions like riddles of the cinema, but also makes accessible the various discourses of the cinema (the photographic, the semiotic-intertextual, etc.) for an encounter and cross-fertilization, then this new concept of the cinema would have shown the chances it promises. However, the cinema today is no longer the medium with which Mulvey and Wollen could still link their hopes, and the film «Riddles of the Spinx»is not a frequent guest of the screen, but lies, difficult to access, in the archives. In addition the many advantages that Wollen listed for the cinema, it has a decisive disadvantage in its tie to celluloid, in that it cannot be opened up like a book. It would be a task for the future, especially for the film «Riddles of the Sphinx»—analogously to the publications of the literature —to edit a historical critical edition in DVD format that would place the work of Mulvey and Wollen in the context of their theoretical writing, or at least would make these writings accessible for study.