The Mobile Cinema presentation apparatus – somewhere between urban model, cinema, and plate camera – derived its form from Alexander Medvedkin’s film The New Moscow (1938), in which an engineer used it to present his designs and visions for Moscow on his journey into the Soviet capital. The real space is replaced by a city of models representing a new reality by cinematographic means.
Romana Schmalisch constructed the Mobile Cinema and used the apparatus to present a montage of images and film extracts on different subjects to the audiences at the diverse performance venues, and complemented it by reading text contributions by invited guests. Over the years, the programme constantly changed, materials and filmic notes collected or produced on the journeys found their way back into the Mobile Cinema programme, sometimes also leaving it and becoming independent films in their own right.