Furthermore, Berlant holds that a basic element of intimate relations is the aspiration to experience a story together, to share a story.This common or shared narrative usually unfolds in circumstances of familiarity and comfort. Nevertheless, intimacy, like every other kind of social construction, is determined by norms, rules and fantasies. (cf. Berlant 2000, pp. 1-8)
Mindful of the many facets of intimacy, we concentrated above all on the points where theory and artistic practice intersect, that is, on questions relating to how intimate scenes can be created on the film set and how they can be reflected upon. How does one stage intimacy? Is an intimate atmosphere at the shooting location helpful? What knowledge gained from experience by filmmakers is important with respect to various forms of staging? What norms, rules and fantasies do filmmakers bring into play, and how? How does one go about reflecting on one’s artistic practice?
During our preparations, we took as a basic assumption that intimacy as dealt with in the media was in all cases staged. Accordingly, whether or not something in a film appears intimate is essentially an aesthetic question. If in one instance it is the fine sensitivity of an actress that is most important, in another instance the camera work or aspects of the lighting design are what make it possible to create intimacy and enable the viewers to experience it deeply. It was precisely this kind of acting and this kind of knowledge about specific artistic methods that we set out to investigate in greater detail.