The essay presents Alexander Kluge's work at the threshold of history and art. In representing history Kluge takes into account both realism and the ›unreal‹ dimensions of history feelings, senses, desires, dreams and possibilities. For example, Kluge's film and text Die Patriotin is not only made out of fragments, allusions, cuts, close-ups, inserts, images and montage but also uses intermedial techniques between film and text and emblematic combinations of image and text. These techniques open up an ›in-between‹ space for the viewer's and the reader's imagination.
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