Abstract
It remains a matter of fact, that, all in all, apparatus theory of the 1970s showed little interest in the situation of production, and, corollarily, in those cinematic works which reveal the trace of their production because it is essential to their identity.
Given that the production situation, in contrast to the screening situation, has remained an issue quite underexposed in apparatus theory, my aim is to address the concerns of apparatus theory from a production point of view. Via examples of cinematic works which replace the usual means of filmmaking by ‘older’ ones (e.g., camera-less films, handmade techniques), I will describe the activity of the producing subject (artist) and the relationship to his/her technological or medial material with regard to their arrangement.
Band, Seiten
vol. 31, nos. 1-2-3, 75–94