Contemporary developments in the medium of the moving picture, particularly in relation to the general digitisation of media, are bringing about substantial changes to long-held conceptions of both its theory and its practice. This thesis asserts that a significant factor in these, both historically and in terms of potential development, is the…[Read more]

Between 1908 and 1927, when sound film became standard, numerous American publications for both those involved in the film industry and the general public, such as Moving Picture World, Motion Picture News, and Exhibitors Herald, included regular columns by cinema conductors, composers, and arrangers like Samuel Berg, Ernst Luz, and Clarence Sinn…[Read more]

“Film Museum Practice and Film Historiography is a meticulously researched work and a welcome addition to the already growing body of work related to film archiving practices. Lameris’ book is not only about engaging with the history of the Nederlands Filmmuseum but also about situating this case study within the larger context of film history a…[Read more]

The silent film era, usually defined as 1895-1927, coincided with a revival of belief in spiritualism in America. Desperate to find meaning in the deaths of the Great War and the 1918 Spanish Flu epidemic, the bereaved sought contact with the dead and evidence of an afterlife. Given this fascination with spiritualism, it is not surprising that the…[Read more]

Outlines the restoration of the Russian film classic “Man with a Movie Camera” (USSR, 1929) by Dziga Vertov which was carried out by the EYE Filmmuseum in Amsterdam between 2008 and 2010. The restoration allows contemporary audiences the possibility to once again experience Vertov’s film as the filmmaker originally intended – or at least in a v…[Read more]

Mad Max: Fury Road has been critiqued for its feminist, masculine, biblical, and environmental themes, but these critiques fail to engage with the connection between humans, machines, and the Earth in Fury Road. Nuclear technology may have produced the apocalyptic wasteland in which the film is set, but machines and industrial technology remain…[Read more]

In the 2005 film Corpse Bride, director Tim Burton and composer Danny Elfman collaborate using both musical and visual signifiers to create two very different realms that the main characters must traverse: the land of the living, and the land of the dead. The characterizations of these places appear in the reverse of what a viewer might expect.…[Read more]

“Unter Männern” weaves together three threads of, first, historically relevant memory recited by its chosen protagonists; second, some personal history on the part of the primary filmmaker (i.e., director Ringo Rösener); and, third, between and among them, filmic artifacts or evidence of life in the GDR. This documentary presents the a…[Read more]

This chapter introduces the volume on East German film. The chapter and the volume it introduces surveys a range of depictions of gender and sexuality in East German film and television, from stereotypical and ideologically compliant understandings of femininity and homosexuality to more ambivalent constructions of androgyny, gendered agency, and…[Read more]

This essay examines the circumstances of the production and appearance of East Germany’s first film about homosexuality (the short documentary “Die andere Liebe” or “The Other Love”), while considering the role it plays in our understanding of the development of German lesbian and gay history. More specifically, this essay provides a reading of…[Read more]

Forschungsdaten in den Geisteswissenschaften unterscheiden sich grundlegend von denjenigen in den Naturwissenschaften. Macht es überhaupt Sinn, davon in diesen allgemeinen Worten zu sprechen? Gibt es innerhalb der Disziplinen große Unterschiede, vor allem vor dem Hintergrund der Digital Humanities, die manchmal als eine Art übergeordnete Di…[Read more]

One of Rod Serling’s favourite topics of exploration in The Twilight Zone (1959–64) is nostalgia, which pervaded many of the episodes of the series. Although Serling himself often looked back upon the past wishing to regain it, he did, however, understand that we often see things looking back that were not there and that the past is often ide…[Read more]

Introduction to my book, “Projecting Race: Postwar America, Civil Rights, and Documentary Film.” Projecting Race presents a history of educational documentary filmmaking in the postwar era in light of race relations and the fight for Civil Rights. Drawing on extensive archival research and textual analyses, this book tracks the evolution of…[Read more]

The conference will explore the image of the supernatural city as expressed in narrative media from a variety of epochs and cultures. It will provide an interdisciplinary forum for the development of innovative and creative research and examine the cultural significance of these themes in all their various manifestations. As with previous OGOM…[Read more]

In this short essay on “La Loi du marché” (“The Measure of a Man”, 2015), I argue that the film builds an accurate representation of the economic and social relations in capitalism, aggravated by the neoliberal offensive.

Entry on Senagelese filmmaker and writer Ousmane Sembène.

Music videos, like many other art works, are the result of a creative process of image creation that sometimes does not start from scratch. At times this process relies on visual material previously produced that is reused and recombined. The use and combination of pre-existing film footage is an example of this, an appropriation with the purpose…[Read more]

Taking “Heroes” (2006-10), the popular drama series about a group of ordinary human beings with superhuman abilities, as a case study allows us to expand on these ideas. This chapter aims at contributing to a stylistic analysis of the series without attempting to examine every major stylistic feature of the series in detail. Instead, the scope of…[Read more]