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affectedness of film) and pose. The banality of Heimerdinger’s assigned tasks turns us into the likes of scientific observers studying guinea pigs in a testing setup and, at the same time, into people watching a performance: drinking a cup of coffee, watching a film, acting waiting.

The tendency to find it hard distinguishing whether this is about a role or the authenticfacial expression and gestures of the person acting is not only strengthened by the participation of professional, experienced and prominent actors, but also (and most of all) by the fact that we are shown controlling takes in the medium of film or photography. To a degree, the staging precedes the shooting situations, even before the camera starts running; they instigate posing, and we are as practiced in wanting to detect the authentic moments in such posing as the performance should be in ideally generating this authenticity.

Leaving the Movie Theater

Roland Barthes once said of himself that he resists cinema. [1] Barthes’ preference for photography over cinema is well-known. His affection for


photography rests on the medium’s stillness and immobility, which allows the beholder to concentrate on a (contingent) detail otherwise impossible to seize in the movement of the film’s images. For Barthes, film is a bait: «I pounce on the image like a beast pouncing on deceptively real shreds of material held out in front of it,» and «The picture holds me captive: I’m glued to the depiction, and this glue is what thanks the naturalness (the pseudo-nature) of the filmed scene.» [2] . Barthes’ way of resisting cinema is not to remove himself from the fascination of the performance/ the performed illusion, or to capture it in shades of ideological criticism or counter discourses; instead, he resists cinema by surrendering himself to the movie as well as to the movie theater. This means seeing the film and auditorium, experiencing darkness, the projector’s beam of light, the bodies of others, the hiss of the soundtrack, and, not least of all, the actors. In this sense, he ‹loves› to leave the movie theater and rise out of the film, since this stage of confusion following the screening belongs to the structural limits of cinema. Encountering cinema – with a double meaning in words, as both a welcoming

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