Light. Shadow. What makes the film a sensual experience, is the friction between what is shown and the Nichtgezeigten: between images, between image and sound, on and off - screen and the audience. The 51st CINEMA edition of the Yearbook is devoted to the 'snapshot', which attempted to capture the fleeting erotic this time the medium. Includes scientific and journalistic articles that next turn (photo) essays.

For the first time is devoted CINEMA an adjective. What we describe as BEAUTIFUL, perspective is not only a radically subjective subject, but also fashionable contemporary trends and cultural influences. An extremely imprecise attribute, then, with which we want to entice with their digital magazines upgraded images of beautiful people like Mizzen, models and Hollywood stars. CINEMA 53: Nice to but for once not the world of the rich and famous at the center, but the beauty of form and content of the film. We are interested in the aesthetics of the film surface and the cheesy happy ending customized romances. Besides the beautiful swans but also get the ugly duckling ugly beasts and their appearance.

Since time immemorial, the film is interested in the city, and often is cited as a reason for the cinema and the modern metropolis are born to the same historic moment, film is in itself an urban medium. In addition, where just the big city to be particularly photogenic: the clash of architecture, crowds, traffic, light and weather effects, seems a natural affinity for the cinematic aesthetics have and can not be orchestrated in countless shades.

Whether obvious as in the political thriller, in the political satire or in the biopic, if enigmatic, as in the horror film in the science fiction or westerns, if fictional, documentary or animated - is the political and the film was always omnipresent. CINEMA 55: POLITICS wants to study film as a mirror of the time, the politically Incorrect track in the film as well as the correct to focus attention censorship and propaganda, subversive underground films and the cinema of the minority view, but also question the political direction of mainstream cinema. After all, not every film is ultimately political? The question is not new, the goal is to answer it new and surprising.

Machine translation:<br>"In the latest edition of the yearbook film we were interested in what causes the difference in production of movement as it is used, what movies has shaped them. Every genre - whether road movie, animation, action movies or melodrama - knows his own movements and rhythms. But not only technical and directorial aspects employed by the authors of the CINEMA 56, because cinema is moving on other levels: With moving stories and fates emotions are stirred - with the movie characters on the screen and the audience in the cinema. The broad spectrum of the term has been interpreted, analyzed and investigated with relish."