remixing, reenacting, and reloading”ofKuhleWampein Berlin of the2010s.²⁶In
that sense, the dismissive comment by Eisenstein that“one senses the intention”
has proven to be the surestguarantee of the film’scontinuingrelevance. The
ways in which the scholarship about working-class cultureand the history of so-
cialism has followed similar patterns of forgetting and rediscovery,and engaged
in comparable forms of operativity,will be considered in the book’safterword.It
is the purpose of what normallywould be called an overview of the scholarship
to have asimilar effect:to appreciate the legacies of the past,touse itto shed
light on the present,and to find the critical questions andtoolstoask new ques-
tions about the future.
See the2011 AudioVisual ResearchWorkshop“KuhleWampeRevisited,”http://www.labor
berlin-film.org/kuhle-wampe-revisited/,1March2017,with its slogan“Wewantto reimagine, re-
trace, remix, reenact,and reloadKuhleWampe”as avery contemporary example of operativity.
Foranaccount of the project,see Giulia Palladini,“TheWeimar Republic and its Return:Unem-
ployment,Revolution, or Europe inaStateofSchuld,”inPerformances of Capitalism, Crises,and
Resistance: Inside/Outside Europe,ed. Marilena Zaroulia and Philip Hager(NewYork: Palgrave
Macmillan,2015), 17 – 54.
Kuhle Wampeand“Those Who Don’tLike It” 333