Acclaimed German filmmaker Alexander Kluge, one of the most relentlessly innovative and intellectual figures in contemporary German cinema/ has in recent years produced a remarkable series of works for television. Produced for the German television program "Ten to Eleven" this series comprises an extraordinarily rich body of work that compliments and dialogues with Kluge's films. Traversing realms of desire and culture in the 19th and 20th centuries, these highly experimental works weave together eclectic scenarios that reference advertising, cinema, opera, and electronic communications, and culminate in an ironic critical discourse on fantasy, representation, and history.

Acclaimed German filmmaker Alexander Kluge, one of the most relentlessly innovative and intellectual figures in contemporary German cinema/ has in recent years produced a remarkable series of works for television. Produced for the German television program "Ten to Eleven" this series comprises an extraordinarily rich body of work that compliments and dialogues with Kluge's films. Traversing realms of desire and culture in the 19th and 20th centuries, these highly experimental works weave together eclectic scenarios that reference advertising, cinema, opera, and electronic communications, and culminate in an ironic critical discourse on fantasy, representation, and history.

This is an essay on the aesthetics of National Socialist cinema. The history of the Third Reich is investigated in light of its own image making. What hopes, desires and fears are reflected in these images? The film unfolds chronologically, with original material dating from 1918 to 1945.

Using the corporate image as a reference point, Klaus von Bruch radicalises the foundations of media persuasion. In "Das Duracellband", advertising images are repeated in a loop broken only by brief fragments of archival war documentaries.