Ricarda Roggan, an artist and passionate cineaste, frequently went to the cinema between 1994 and 1999. She photographed American films on highly sensitive 35mm film. We assigned her pictures to different categories: landscape, car, street, disaster, hotel to maintain a certain linearity inside this book.

This way, she could relive the scenes of the movies as often as desired. She collected the photos in a stamp album, arranging them horizontally. Using them in the exact same order, we took the pictures beyond the pages to achieve a more cinematic feel.

The digitalised scans are a selection of images that show American landscapes, diners, conversations, as well as explosions in American action films from the pre-digital age. It feels like an escape into a different world and time.  We used the exact images from the scans and this achieve a bootleg feel. Using the brochure as a viewfinder we chose not to crop the scans. This enabled us to show the air entrapment of the adhesive tape pieces she used as the scuffed edges of her original images. All in all, the result was a softcover brochure that often referenced bootlegged Soviet literature. These makeshift publications had been photocopied and glued together. Eventually, this contrasts the purpose of copyright and image ownership even more.

Kino is published with the help of funding from the Kulturstiftung des Freistaates Sachsen.