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]

Bibliography of contemporary German literature volumes added the previous year to Washington University Libraries’ Contemporary German Literature Collection. These acquisitions generally include novels, poetry, short story collections, essays, autobiographical works, and literary and cultural periodicals from publishers in Germany, Austria, and…[Read more]

The 30th bibliography for 660 volumes added to Washington University Libraries’ Contemporary German Literature Collection. All published in 2016, these acquisitions include novels, poetry, short story collections, essays, autobiographical works, and literary and cultural periodicals from publishers in Germany, Austria, and Switzerland. This…[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]

In this article, I argue that the groundlessness associated with postmodernism is not as entrenched within its discourse as it may appear. Graham Swift’s Waterland (1992) and Margaret Atwood’s Oryx and Crake (2003), while conforming to many of the aesthetic values of postmodernism, share an ecopostmodernist platform that raises questions and con…[Read more]

An introductory survey of climate fiction (a.k.a. “cli-fi”) in English. Written with an international readership in mind.

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 response to perceived valuation problems giving rise to global environmental crisis, ‘nature’ is being qualified, quantified and materialised as the new external(ised) ‘Nature-whole’ of ‘natural capital’. This paper problematises the increasing legibility, through numbering and (ac)counting practices, of natural capital as an apparently…[Read more]

This engagement highlights the antagonism between wealth and the commodity value form posed at the heart of Marx’s work. In doing so, it considers methodological possibilities for both understanding and intervening in the fabricating of new alienated capitalist values from beyond-human natures.

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]

This paper examines Ari Folman’s Waltz With Bashir (2008) and Marjane Satrapi’s Persepolis (2007) to elucidate how artists, distributors, and audiences shape and define the porous boundaries of the documentary genre, and how such perceptions are shaped within a digital context. By analyzing how each film represents reality; that is, how doc…[Read more]