„Why travel, I would say, if not to be in touch with the ordinary in non-ordinary ways;
to feel and think ordinarily while experiencing what can later become the extra-ordinary in an ordinary frame” (1).
The following essay offers an analysis of Lisl Ponger’s short documentary Passagen, discussing criteria of visual representation of subtext, with the purpose of involving the viewers virtually on a fictive collage of journeys, on a basis of real experiences and historical frames. This involvement would not happen...
