The point of departure will be the genealogical conjecture that film is a typically modern invention: the art of movement, a product of technological progress, which it often also celebrates. It was particularly the different (film and other) avant-gardes on both sides of the ideological spectrum that were massively determined by this futuristic progressive temporality of modernity. The aim of this article will be to critically examine some film examples of this attitude that were screened at the 2012 International Short Film Festival Oberhausen in commemoration of the jubilee of the Oberhausen Manifesto, but particularly to analyze alternative contemporary film practices and contemporary experimental films by Ilppo Pohjola (which were shown in a special section of this edition of the festival). These are determined by a different kind of experience of temporality that we chose to call, after Franco Berardi, post-futuristic.
The integral version of this article can be found in the printed KINO!