ABSTRACT
As with film theatres and cinemas, film museums are ‘other spaces’, with very different rules, customs and time dimensions to those we are accustomed to in daily life (Foucault, 1984: 48). These other spaces, which Foucault also calls ‘heterotopias’, are separated from the world we normally live in and can only be entered after performing a number of rituals. To step over the threshold of one of these institutions is literally to make the transition from our everyday world into that other space (Poppe, 1989: 21). From the moment that the visitors enter a theatre, for example, their expectations are streamlined in a certain way and, as such, they are programmed into the desired spectator for the performance. This effect is, to a great extent, created by the architecture and furnishings, which are part of the heterotopia’s presentation strategy. This leads to the specific question of how the Filmmuseum produced film museum audiences with the help of its various interiors.
