Editorial Article to the special issue “Mise en geste. Studies of Gesture in Cinema” (ed. by Ana Hedberg Olenina and Irina Schulzki) in journal “Apparatus. Film, Media and Digital Cultures in Central and Eastern Europe” 5 (2017). 1. Gesture as a Figure of Speech. About this Issue 2. Liberated Gestures: Theories of Bodily Statements beyond the…[Read more]

The Fox in Medieval German Literature

Mother and Child in Wolfram’s von Eschenbach ‘Parzivâl’

Late Eighteenth- and Early-Nineteenth Century Manuscript Recipe/Cookery Books

Michael Endes collection of narratives ‘Der Spiegel im Spiegel. Ein Labyrinth’ can be classified within the tradition of fantastic literature and shows a significant reference fantastic painting especially to the works of his father, Edgar Ende. Inspired by his fathers paintings, Michael Ende created a collection of narratives consisting of thirty…[Read more]

‘Travelling’ Recipes in Austrian eighteenth-century manuscript recipe books.

The split screen is a well-known multi-frame technique used in film, television, and video. This essay focuses on cases in which this denomination seems incorrect, but that are currently classified under the same heading. In these instances, images of usually distinct characteristics are arranged on screen. The aim is to explore and define this…[Read more]

Las películas de Maddin absorben al espectador inmediatamente al mismo tiempo que su complejidad resulta agotadora. Dejan una impresión perdurable de un mundo efímero y distanciado, extrañamente cercano al nuestro —como una sombra profunda de él—. Nuestro propósito es reflexionar sobre esta impresión, dando cuenta de cómo la obra del cineasta ca…[Read more]

The terms ‘fandom’, ‘fan’, and even ‘fan studies’ appear to be, at first glance, self- evident. But considered in the context of both fan cultures and scholarship outside the English language-centered West, we begin to see the assumptions that underlie them. Whether we are talking about Japanese fans of manga and anime (somewhat codified it…[Read more]

A travers l’étude de tout un ensemble de paratextes (des descriptions de tournage aux pratiques du ballyhoo), cet article entend établir la réception des films muets américains sous le mode d’une connivence que permettrait un regard spectatoriel réaliste – connivence qui retrouverait la complicité qu’exigent les manipulations narratives de…[Read more]

From the perspective of 1920s film reception, this chapter proposes to look at Hollywood cinema’s intimacy project – the objective of ‘going into people’s houses’ (Irving Thalberg, 1927) by showing fictions of intimate everyday life. While cinema is consumed in the 1920s in a very theatrical context, it is also, and concurrently, projected…[Read more]

Through a document-based ethno-historical approach, this article shows how cinema in the 1920s managed to inform urban children’s games and world-building activities, contrary to contemporary assumptions from early education reformers and sociologists that informed research into children’s play. I first show how most of this research tried to pro…[Read more]

In this conference paper I discuss the relationship between some of the most representative visual strategies used by Hong Kong director Wong Kar Wai and the different ways in which they relate to the notions of Trauma and Mourning.

This book analyses the various narrative material found in five of the films Susanne Bier directed between 1999 and 2007, four of them belonging to her ‘Danish’ period (The One And Only, Open Hearts, Brothers, After The Wedding), the fifth one being her first American feature (Things We Lost In The Fire). The first part deals with the nar…[Read more]

This book analyses the various narrative material found in five of the films Susanne Bier directed between 1999 and 2007, four of them belonging to her ‘Danish’ period (The One And Only, Open Hearts, Brothers, After The Wedding), the fifth one being her first American feature (Things We Lost In The Fire). The first part deals with the nar…[Read more]

For archiving I made a couple of screenshots of this rare occasion. German director Alexander Kluge interviewing Natascha Drubek in June 2016. The whole film (45′) can be found when you follow the link below: “Von den Ikonen zum russischen Stummfilm”:
“Russisches Licht” hieß eine mondäne städtische Beleuchtungsart, zuerst in Paris erprobt, d…[Read more]