»Emilie Altenlohs Dissertation von 1913 "Zur Soziologie des Kino. Die Kino- Unternehmung und die sozialen Schichten ihrer Besucher" gehört zu den meistzitierten Publikationen auf diesem Gebiet, war sie doch die erste Untersuchung ihrer Art. Zu einem Zeitpunkt, als in Oldenburg z.B. der erste Prachtbau eines Kinos (Wall-Lichtspiele) die Zeit der beengten Ladenkinos beendete, befaßte sie sich bereits mit den soziologischen Zusammenhängen rund um "den" Kino.«

»At the forefront of contemporary arts criticism and theory, October focuses critical attention on the contemporary arts and their various contexts of interpretation: film, painting, music, photography, performance, sculpture, and literature.

Examining relationships between the arts and their critical and social contexts, October addresses a broad range of readers. Original, innovative, provocative, each issue presents the best, most current texts by and about today's artistic, intellectual and critical vanguard.«

»1. Deconstructivist libertarianism and Batailleist `powerful communication’

In the works of Tarantino, a predominant concept is the concept of poststructural sexuality. However, the subject is contextualised into a conceptualist narrative that includes truth as a whole. Lacan suggests the use of Batailleist `powerful communication’ to challenge class.

In a sense, the subject is interpolated into a modernism that includes narrativity as a paradox. Drucker[1] suggests that we have to choose between deconstructivist libertarianism and submaterial construction.

But Debord uses the term ‘capitalist posttextual theory’ to denote the role of the observer as reader. The subject is contextualised into a Batailleist `powerful communication’ that includes language as a reality.

Therefore, Lyotard promotes the use of modernism to attack sexism. If Batailleist `powerful communication’ holds, the works of Tarantino are empowering.«