F.Films about catastrophes are a very special kind of horror cinema, a hybrid of horror and science fiction. They lend a grip on the bowels of the audience from the horror film when they (almost) let the world go under by the forces of nature, and watch their science fiction siblings how to address the audience’s brains at the same time with a “What would be if? ”, which consistently thinks through scientific theses to the end. The Filmmuseum Frankfurt investigates this question of “what if?” In the “Catastrophe” exhibition.
It becomes clear at the beginning of the exhibition that this is not just about fiction, but also about science. Here is a lightning rod, invented by Benjamin Franklin in 1752, it refers to the beginning of the Enlightenment, when people took their fate into their own hands through research. Opposite him is the quote from Max Frisch: “Only humans know catastrophes if they survive them. Nature knows no catastrophe. ”In the extensive book accompanying the exhibition, the literary scholar Solvejg takes Nitzke Frisch’s quote as the starting point for a clever essay on the relationship between man and nature. And the scientists, who later have their say in the exhibition, contradict Frisch a little: Nature may not know catastrophes, but humans are not condemned to accept them; thanks to research, they can arm themselves against them, warn against them and Take protective measures.
If you turn away from the lightning rod, the path leads through light-colored plywood panels. They separate the individual stations of the exhibition and provide a circular route. Sometimes they are hung with posters from disaster films, sometimes they show the text panels for the respective station, sometimes script excerpts, sometimes they form boxes in which the film posters are juxtaposed with the cover stories of old Spiegel issues from five decades. Between the posters for the seismological drama “Volcano” and the post-nuclear accident film “The Cloud” hang the journalistic screams: “Help, the earth is melting” (2008) and “Murderous Atom” (1986).
Does Godzilla have real role models?
How far is art from reality? What can reality learn from art? Such questions are being discussed by researchers at the Senckenberg Nature Museum in Frankfurt, which is a cooperation partner for the exhibition. The paleanthropologist Irina Ruf, for example, answers the question of whether Godzilla has real role models (“He’s more like a Wolpertinger made of crocodile, T-Rex and extinct marine iguanas”) and biogeographer Thomas Hickler explains how climate change is becoming apparent. Since the screen on which these interviews run only hangs on the plywood wall, which separates the room more optically than actually from the rest of the exhibition, the sound of the next video installation booms over the researchers’ statements.