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]

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]

This article seeks to prompt a re-evaluation of the fi lm archive’s role within the current digital humanities debate as a logical, yet underrated, partner. The article invokes Jeffrey Schnapp’s and Todd Presner’s plea from 2009 for digital humanities to create as its core aim a more democratic view of knowledge-producing institutions by i…[Read more]

On the potential of data visualization for Film studies and Film history.

On the versions of Dziga Vertovs film “Three Songs on Lenin”.

On the potential of data visualization for Film studies and Film history.

Article about Dziga Vertovs most famous film from 1929 with a focus on it’s surviving prints and structure. Investigation was carried out within the research project Digital Formalism (2007-2010) in Vienna.