Kino-Apophasis, or the Boundaries of Kinotext 
Sergei Eisenstein saw cinema as artistic synthesis, as “the artwork of the future” in Wagner’s sense. However, film is not just a medium for Gesamtkunstwerk; film has an aesthetic of its own as well as its own language. Film narrative presupposes that there are certain limits and taboos, set either by the film’s language, or by the way that a story is told, or by its subject. Loosening the film system questions the existence of a single film, while rejection of experiment questions the existence of cinema itself.
How does film narrative probe the boundaries of its own existence? What films serve as a laboratory where the cinematic nature of film is tested? Does the longing for artistic synthesis and Gesamtkunstwerk demolish or save cinema? Are there any forbidden ways of telling a story or forbidden topics in film? How are non-cinematic languages used in film?
In 2015 the “Kino|text” session focuses on the Twilight Zone, i.e. on the margins of film language and the margins of Kinotext. In addition to the central theme, which is Kino-Apophasis, the relations between film and text, film and narrative are also to be discussed.