The Borders of Europe
This chapter analyzes how the German–Polish border became a new object of filmic representation and investigation. Subsequently, this space has become a regular region of cinematic exploration, and the contacts that began during this period have led to an expansion of Polish–German coproductions in general. The chapter argues that borders are first ideational before they are spatial geographical, demonstrating how the mobility of the apparatus is not simply a matter of technological indulgence. Rather, the liberated lens is an expansion of cinema's semiotic field. The cinematic apparatus provides a system whereby the imagination of spatial and geopolitical relationships comes together. As an aspect of the cinematic apparatus, the chapter considers how visual aesthetic strategies, technological innovations, and social policy result in images with particular angles and perspectives.
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