Fig.. Tobias Rehberger,On Otto, poster,. Courtesy Fondazione Prada,
MilanII
To reiterate: The poster was actually the point of departure for the movie project
namedOn Otto, whose final articulation–a city-like architectural construc-
tion, a labyrinthine cine-city of sorts–was first presented in Milan in.
And, if this project departed from the marketing devices that are normally seen
as final or supplementary elements of a movie production, it is becauseOn
Ottowas, in fact, a reversed production, an“impossible”or“illogical”project
that started with the design of the poster and ended with the writing of the
screenplay. In what follows, I will trace in some detail the production process of
On Otto–up to and including the highly particular screening situation it pre-
sents us with. But it has to be stated right away that in this project there is no
principled distinction between the production process and some final product
that might be called a finished film and that might subsequently be studied in
terms of a concept such as“reception”. The project is essentially a process of
production that is perhaps better understood as a specific process of construc-
tion. And what is constructed here is not a cinematic“work”in the ordinary
sense of the term, but more precisely a social world or an instance of sociality
138 Ina Blom