KINO! is based on the belief that cinema is neither dead, not by far, nor has it been quite born yet, but rather emerges anew with every age reflected in its vision.
KINO! endeavours to spread cinematic culture as a way of defeating the delusions that reduce cinema to an industrial product and the viewer to a consumer.
KINO! is a space where impulses of free creativity come together. It believes in the necessity of breaking through the frameworks of the current social consensus and of transcending the established modes of existence.
KINO! assumes the stand of actuality that opposes, here and now, the demands of capitalism in its market logic of devaluating every form of revolt against it into merely another sort of a commodity.
KINO! does not distinguish between the local and the universal, but simply argues that, with its characteristics, the local can determine universal processes with the same credibility as the determinations of the general can.
KINO! establishes a space for an active communication between the currents of cinematic consciousness that reject the idea of political borders and cultural barriers.
KINO! is aware that what cinema needs is allied viewers who, with their visions, contribute to the sum total of an authentic cinematic event. It therefore strives for a deepening of the bond between the audience and the creator.
KINO! swears by the principle of mobilising the gaze that elevates pleasure through the awareness that a cinematic act can be the site of an active confrontation between the filmmaker’s and the viewer’s vision where paths are opened towards a liberation from the bonds of the established reception logic.
KINO! rejects the idea of the viewer as an object. It respects the viewer as a subject with full responsibility, who, in their own – oftentimes marginalised, repressed, exploited or depersonalised – existential position, can recognise the possibility of choice and find a space of self-awareness and (re)action.
KINO! is a non-profit, independent and utopian space.
KINO! is led by the belief that, from the viewpoint of creation, it is precisely the aspect of utopia that is of key importance. The utopia that connects cinema to its age and to the historical point of its emergence. The utopianism in which, through a historical perspective, films are watched in the past that begins here and now, but also in the future that began a century ago.
KINO! adheres to the demand to resist the endless destructive force pervading our time with a revolution of comparable creative energy, which is to reinforce memory, clarify dreams and allow images to mean.
Editorial board, 1st may 2007
With a number of diverse studies, this special edition examines film and ecology. In his metatext, Tadej Troha considers the beginning and the end of climate crisis, Tomaž Grušovnik paints the modes of representing nature in films, while Kaja Kraner provides the historical premises of representing nature, foregrounding the term dark ecology. Based on unusual experiments, Becca Voelcker thinks a...
With its thematic section, KINO! 49/50pays tribute to Ema Kugler, whom Sabina Đogić conversed with in an extensive, honest and scintillating interview. The set of interviews consists of conversations with Slovenian and foreign theoreticians and practitioners (James Benning has, for example, returned to the pages of KINO!). The Breakthroughs section brings reflections on the more prominent ...
KINO! 48 examines the connections between films and music videos arising from the sensibility for filming music and musicalising film, collective critical engagement, video-like film sequences or filmic videos… Diverse reflections are accompanied by interviews with successful Slovenian music video directors (the Insan collective, Matevž Jerman and Niko Novak). The 130th anniversary of the birth...
Upon the centenary of Pier Paolo Pasolini’s birth, this double issue of KINO! devotes a special thematic section to his provocative and elusive film expression. 130 years after the birth of Herman Potočnik Noordung, the writers in the Film and Technology section gaze at the dark space screen. The Breakthroughs section includes discussions on Sara Kern's film debut, Julie Ducournau's Titane (202...
With a special thematic section, KINO! 45 looks at the visible and invisible (internal and external) landscapes that the Iranian master of poetic filmic ideography Abbas Kiarostami put on celluloid film. Within the fresh local and regional production (in the broader region of the so-called Yugosphere), it recognises the breakthrough nature of the new (anti-)newsreel by Nika Autor, a recipient o...