Anna Schober is the Mercator Visiting Professor at Justus Liebig University Giessen.

'Schober also impressively captures the tone and spirit of 1960s youth culture, its irreverence, its politics and its playfulness.'

• IntroductionChapter 1: In the middle of things: city, cinema and the public sphere1.1. Cinema’s potential for creating a public sphere 1.2. Difference and the unfamiliar 1.3. The subject in process: rituals, revolt and storytelling Chapter 2: Movements and places: modern order and the cinema-squats of the 1960s 2.1. Cinema and the modern attempt to eliminate ambivalence 2.2. To become cinema-makers: expanded and other cinemas, the Crni Talas and OHO 2.3. Transnationality: interaction and struggle vis-à-vis official strategies 2.4. Difference, privatized ambivalence and the (informal) public sphere Chapter 3: Films and urban interventions: the rediscovery of difference since the 1960s 3.1. The migrant guest worker: Fassbinder’s interventions in the projection spaces of the imagination 3.2. The figuration of difference as aesthetic, sexual and ethnic difference in Yugoslav cinema since the 1960sChapter 4: Follow-up initiatives 4.1. Violence and humour: cinema activism in times of war 4.2. Enthusiasm and critique: cinema between flash mob, new urban transition spaces and art

Anna Schober is the Mercator Visiting Professor at Justus Liebig University Giessen.

'Schober also impressively captures the tone and spirit of 1960s youth culture, its irreverence, its politics and its playfulness.'

• IntroductionChapter 1: In the middle of things: city, cinema and the public sphere1.1. Cinema’s potential for creating a public sphere 1.2. Difference and the unfamiliar 1.3. The subject in process: rituals, revolt and storytelling Chapter 2: Movements and places: modern order and the cinema-squats of the 1960s 2.1. Cinema and the modern attempt to eliminate ambivalence 2.2. To become cinema-makers: expanded and other cinemas, the Crni Talas and OHO 2.3. Transnationality: interaction and struggle vis-à-vis official strategies 2.4. Difference, privatized ambivalence and the (informal) public sphere Chapter 3: Films and urban interventions: the rediscovery of difference since the 1960s 3.1. The migrant guest worker: Fassbinder’s interventions in the projection spaces of the imagination 3.2. The figuration of difference as aesthetic, sexual and ethnic difference in Yugoslav cinema since the 1960sChapter 4: Follow-up initiatives 4.1. Violence and humour: cinema activism in times of war 4.2. Enthusiasm and critique: cinema between flash mob, new urban transition spaces and art

Anna Schober is the Mercator Visiting Professor at Justus Liebig University Giessen.

'Schober also impressively captures the tone and spirit of 1960s youth culture, its irreverence, its politics and its playfulness.'

• IntroductionChapter 1: In the middle of things: city, cinema and the public sphere1.1. Cinema’s potential for creating a public sphere 1.2. Difference and the unfamiliar 1.3. The subject in process: rituals, revolt and storytelling Chapter 2: Movements and places: modern order and the cinema-squats of the 1960s 2.1. Cinema and the modern attempt to eliminate ambivalence 2.2. To become cinema-makers: expanded and other cinemas, the Crni Talas and OHO 2.3. Transnationality: interaction and struggle vis-à-vis official strategies 2.4. Difference, privatized ambivalence and the (informal) public sphere Chapter 3: Films and urban interventions: the rediscovery of difference since the 1960s 3.1. The migrant guest worker: Fassbinder’s interventions in the projection spaces of the imagination 3.2. The figuration of difference as aesthetic, sexual and ethnic difference in Yugoslav cinema since the 1960sChapter 4: Follow-up initiatives 4.1. Violence and humour: cinema activism in times of war 4.2. Enthusiasm and critique: cinema between flash mob, new urban transition spaces and art