Bibliographie der Filmmusik: Ergänzungen 2012–14

Cinéma brut. Eine alternative Genealogie der Filmavantgarde , 2010

Bis heute schwingt im Begriff der Filmavantgarde der Gedanke mit, ein Film sei umso avantgardistischer, je „reiner“ er sei – je mehr er seine medienspezifische Bedingtheit, seine „Essenz“ inszeniere und sich von anderen Künsten „befreie“. Diesem modernistischen Diskurs des Purismus, der sich auch in der aktuellen post-medium condition hartnäckig hält, antwortet die vorliegende Studie mit einer alternativen Phänomenologie und Genealogie des Avantgardefilms, die nicht das Reine, sondern das „Unreine“ zum Maßstab nimmt. Mit der expanded-cinema-Aktion, dem handmade- und dem found-footage-Film stellt die Autorin dem cinéma pur ein cinéma brut gegenüber, dessen Dispositive und Praktiken sich am Schmutzigen, an Formverlust und Grenzüberschreitung orientieren. Ausgehend von kunst- und kulturtheoretischen Debatten um Materialität und Performanz, Index und Spur, werden zunächst Grundzüge des cinéma brut systematisiert, und in einem zweiten Schritt, anhand exemplarischer Analysen, Eckpunkte einer „unreinen“ Geschichte der europäischen und nordamerikanischen Filmavantgarde markiert.

Jean Renoir, 2019

Films are listed by the date shooting was completed. Direction is by Renoir unless otherwise indicated and only completed, major projects are included. Release dates if different are given in brackets. American titles of French films are likewise in brackets. Lengths for silent films are approximate.

Proceedings of the Association for Information Science and Technology, 2019

In the current context of state policies characterized by hefty budget cuts affecting film preservation, thus seriously jeopardizing our film heritage and clashing with the pronouncements made by the UNESCO in 1980, our intention here is to analyze two texts published in Paris in 1898 by the eulogizing, but otherwise unknown, Pole Boleslaw Matuszewski: A New Source of History and Animated Photography, What Is, What Should Be. Although they have not received the recognition that they deserve, both works were crucial to the history of film insofar as they would play a vital role in film preservation as a cultural heritage.

2016

Historical Journal of Film Radio and Television, 2012

2023

At the beginning of the twenty-first century, the editors of Cinema Art apparently realized that the attempts to transform the magazine into a socio-political one, made at the end of the "perestroika" era and in the 1990s, had not yielded the expected dividends. As a result, the journal returned to the format of a cinematic publication. Hence the increase in the number of theoretical articles on cinema, which in the 21st century averaged eighteen a year. Daniil Dondurey (1947-2017), who directed Cinema Art until 2017, maintained the journal's course towards a sociological understanding of the media process, while attracting leading authors in the field. The film critic Anton Dolin, who replaced him in the second half of 2017, on the one hand re-emphasized political accents and also strengthened passages in the journal texts that opposed the authorities, and on the other hand began to pay much more attention to the genres of mass culture in film. Our analysis of the concepts of film studies (in the context of the socio-cultural, historical, political situation, etc.) in the journal Cinema Art in the 21st century has shown that the theoretical works on cinematic topics in this period can be divided into the following types-Articles, discussions devoted to the analysis of the theoretical heritage of the classics and the history of Soviet cinema (A

2016