Dan Graham's «cinema» and film theory
Gregor Stemmrich

Dan Graham's «Cinema» (1981) still exists only as an architectural model. It was conceived as an abstract hypothesis and a concrete empirical model in one. It represents a definite departure from normal cinema architecture in that it sets out to make the psychological effect of the cinema experience transparent-literally-to the audience. But this means that it is also suitable for relating cinema theory concepts of the kind that have developed since the early 1970s to the particular features of its architecture. The fact is that these theoretical concepts are above all metapsychological, that is to say they do no simply describe concrete psychological cinematic effect forms of the kind that film audiences could identify for themselves, but operate on the highest possible abstract plane for the construction of theories. Here the aim is to penetrate the subjects' entanglements in their own imaginings analytically and to address the consequences that such an entanglement has for their normal value relations. [more]

From «Body Press» to «Cinema» Baudry’s Apparatus Theory and Duiker’s Cineac as Points of Critical Reference The Expanded Conception of the «Cinematic Situation« Story/Discourse: Metz’s Theory of the «Imaginary Signifier« The True and the False: Deleuze and Benjamin