Art/ Music Event

Block Trash Cinema & Staying Alive


ART EXHIBITION – Block trash cinema & STaying alive


Ken Brown | Nena Čermák | Florian Donnerstag |Gloria Gombar-Claß | Raphael Grotthuss | Verena Hägler | Michael Hofstetter | Verena Kandler | Jessica Kallage-Götze | Annamaria Leiste | Sabrina Lindemann | Claudia Marr | Fumie Ogura | Tobias Ollert | Furkan Sakızlı | Florian Tenk

Curator – Frank Balve


Cinema has been around since the second half of the 19th century. In this early period, filmmakers were initially concerned solely with bringing to life the things they saw, the stories they heard, or the stories they had imagined, in moving images on the screen. At that time, no one was aware of the impact that cinema would have on society and of the knowledge that film and cinema would have on social behaviour as a whole.

The art forms of theatre and literature are irrefutable mirror images of society, then as now. But only the art of film possesses the incomparable magic of the visual and sonorous
The presence of people and locations in moving, living photography. The study of cinema is an extraordinary instrument to learn something about human behaviour, the development of different societies and their minds and cultures. Many claim that there is no other medium with which the identity of nations, the character of a people and the experiences of their history can be better analyzed.

Today we see ourselves how film & cinema as a leisure activity influences how people speak, dress, stage and act. Even when it comes to denunciative films that confront the ruling system, cinema makes the backgrounds of our own people’s souls and the internal emotional world that prevails in the country recognizable and perceptible. It would, for example, be difficult for today’s generations to fully understand the war time in Germany, the tragic and horrific spirit that threatened the world during the National Socialist era, without cinema.

The Hollywood film, which since its beginnings has been based on a highly industrialized and rationalized production method characterized by commercialization and profit orientation, remains the most dominant form of film production to this day. Hollywood has managed to reflect on social and cultural lifestyles, conflicts and ideologies and is thus a mirror of psychological and social sensibilities. On the other hand, however, they also embody the dreams of an epoch that can contradict the dominant ideology and deconstruct it in a certain way. Consequently, cinema became perhaps the most important medium of enculturation. Since the editors wanted to attract as many viewers as possible to the cinema, their dreams, fears, fantasies and social problems were given the greatest attention. The common daydreams of a culture became the basis.

The cliché of post-war cinema is clear – no experiments, just not risking anything, not digging up any bodies, letting history be history. Not too demanding and not too superficial and shallow. But also some frivolity, teasing and laughing to death. It was about beautiful painting and repression, that was important for people in post-war Germany. But the cultural euphoria of the first hour passed quickly. And they worked against beauty. Consciously and intentionally. The “Trash” was born. Characteristics of the trash film are, for example, very bad acting, barren and fake-looking equipment, cheap special effects in which the true cause of the simulation can be recognized, as well as illogical plot strands with flat dialogues. The deliberate passing over of fixed rules of the film and not wanting to please finds its target audience in an audience that views society & film from an ironic, satirical and socio-critical distance.

The increased availability of films through new technologies, the reaction of the audience and the associated cinematic penetration of our everyday life, our feelings, fantasies and our self as well as the opening up of new genres lead to the question of how cinema will influence our life and society in the future.