Choreographing the Global in European Cinema and Theater by Katrin Sieg (auth.)

By Katrin Sieg (auth.)

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However, as governments increasingly adopt corporate practices in their operations, public funding is now more than before tied to commercial success. So as the overall balance of public and corporate power shifts in our world, the strict opposition of public=free versus private=enslaved art no longer holds. The Carnival of Cultures, where cultural display is not so subtly linked to the municipal/political aims of managing social difference as well as to property development and real estate values, illustrates the challenges artists and communities face as they demand public, political recognition.

Industry interests were represented by the Motion Picture Export Association (MPEA), the export branch of the Motion Picture Association of America, which recommended that “the German industry should be rebuilt more slowly. People now should be fed heavy doses of all pictures, except those of their own making, in order to counteract the long years of Nazi propaganda” (quoted in Fehrenbach 1995, 64). Fehrenbach concludes that “the enduring goal of this organization was the commercial penetration and domination of open, unregulated markets abroad,” thinly cloaked by a rhetoric of democratization and reeducation (Fehrenbach 1995, 65).

Their marriage soon Desiring the Global 37 founders due to the Polish husband’s impotence, which figures his economic insufficiency. The ideal of political equality uniting Europe is shown to be utterly undermined by the economic definition of equality. In the course of the film, Karol becomes a wealthy and powerful businessman in Poland who can finally get it up for (a delighted) Dominique, but the ruthlessness he has acquired on the way turns his love into vengeance. Having seduced Dominique into wanting to resume their marriage, he abandons her to leave for Southeast Asia.

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