Especially in feature film the control room became a symbol for omnipotence and power. Far away events and processes are effortlessly monitored and regulated here. In the cinema these images are often associated with supremacy and predominance, so it does not come as a surprise that a lot of examples are found in a warfare or science fiction context. Since the size and equipment of the control room in this context always is an indicator of technological development it often is also used as the eloquent remains of a higher developed culture (or species). In my short introduction I will try to show how close the motive of the control room is interconnected with the history of media as well as with the political situation of a certain time.
Martin Reinhart is a filmmaker and historian of photography and film, living and working in Vienna. He studied at the University of Applied Arts, and lectures at the Art University Linz. He is co-owner and CEO of several media and technology companies (Blank Mind Productions HOB-Technology, Actimoto) and also runs a precision mechanical workshop in Vienna. Martin trained as a camera technician in Munich and Hollywood and is also a media planner for museums and exhibitions.