SCHULDNERBERICHTE (D 2001) documents the ambivalent moment of change in the reunited Germany (now seeming far away) when the crises had been redefined from a shame laden stigma to a chance of success. Despite their personal bias, the films from the series insist on the ability of cinema/ television to distance itself from total shareholdership and theoretical elaboration. D.W. Griffith needs just a few minutes to show the right and the wrongs in Marx’ „original accumulation“ and „the law of the tendency of falling profits“ in A CORNER N WHEAT (USA 1909); in GREED (USA 1923/24), Erich von Stroheim uses hours to point out the hidden depths of the antagonistic male/female-polarised libidinal structure behind economics already visible in Griffith. (Stefan Hayn)

The programm „Borders and Limits of Capitalism“ (Nov-Jan) seeks for relations between critical content and artistic form. (20./27.11.)