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"Pollmann, Inga"
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Invisible Worlds, Visible: Uexküll's Umwelt, Film, and Film Theory
The resonance between Jakob von Uexkull's theory of Umwelt and the experience of film is by no means arbitrary, for, as Pollman establishes, film and chronophotography played a key role in Uexkull's development of his theory of Umwelt. The concept of Umwelt had its more distant origins in Uexkull's dissatisfaction with two different biological paradigms. Here, he traces two quite different paths pursued by theorists and artists in their efforts to answer a certain question. The first trail, which people might call the path of man, was developed in German philosophical texts of the 1910s and 1920s. In mapping out this second path, he takes Walter Benjamin as his guide, for his work provides a comprehensive framework for understanding Umwelt theory in the context of the playful experimentation with a new physis.
Journal Article
Film as Medium and the German Aesthetic Tradition
While film might serve as illustration for history lessons, this has nothing to do with film studies proper. [...] I would like to propose an understanding of German film studies that has been neglected so far, and that is the way that film studies might engage German aesthetic theory.
Journal Article
Berlin School and Its Global Contexts
The Berlin School and Its Global Contexts: A Transnational Art-Cinema came about in light of the Museum of Modern Art (MOMA)'s 2013 major exhibition of works by contemporary German directors associated with the so-called Berlin School, perhaps Germany's most important contemporary filmmaking movement. Christoph Hochhausler, the movement's keenest spokesperson, stated that the Berlin School, despite what the label suggests, is not a specifically German phenomenon. All over the world there are filmmakers exploring related terrain. In response to this transnational turn, editors Marco Abel and Jaimey Fisher have assembled a group of scholars who examine global trends and works associated with the Berlin School. The goal of the collection is to understand the Berlin School as a fundamental part of the series of new wave films around the globe, especially those from the traditional margins of world cinema. For example, Michael Sicinski and Lutz Koepnick explore the relation of the Berlin School to cinema of Southeast Asia, including Apichatpong Weerasethakul and Tsai Ming-liang; Ira Jaffe and Roger Cook take a look at Middle Eastern film, with Nuri Bilge Ceylan and Abbas Kiarostami, respectively. The volume, however, also includes essays engaging with North American filmmakers like Kelly Reichardt and Derek Cianfrance as well as European auteurs like Antonioni, Tarr, Porumboiu, McQueen, and the Dardennes. Bringing German cinema into dialogue with this series of global cinemas emphasizes how the Berlin School manifests-whether aesthetically or thematically, politically or historically-a balancing of national particularity with global flows of various sorts. Abel and Fisher posit that since the vast majority of the films are available with English subtitles (and at times also in other languages) and recent publications on the subject have established critical momentum, this exciting filmmaking movement will continue to branch out into new directions and include new voices. The Berlin School and Its Global Contexts folds German-language cinema back into conversations with international as well as transnational cinema. This volume will be of great interest to scholars of German and global cinema.
eBook
The Berlin School and Its Global Contexts
The Berlin School and Its Global Contexts: A Transnational Art-Cinema came about in light of the Museum of Modern Art (MOMA)'s 2013 major exhibition of works by contemporary German directors associated with the so-called Berlin School, perhaps Germany's most important contemporary filmmaking movement. Christoph Hochhäusler, the movement's keenest spokesperson, stated that the Berlin School, despite what the label suggests, is not a specifically German phenomenon. All over the world there are filmmakers exploring related terrain. In response to this transnational turn, editors Marco Abel and Jaimey Fisher have assembled a group of scholars who examine global trends and works associated with the Berlin School. The goal of the collection is to understand the Berlin School as a fundamental part of the series of new wave films around the globe, especially those from the traditional margins of world cinema. For example, Michael Sicinski and Lutz Koepnick explore the relation of the Berlin School to cinema of Southeast Asia, including Apichatpong Weerasethakul and Tsai Ming-liang; Ira Jaffe and Roger Cook take a look at Middle Eastern film, with Nuri Bilge Ceylan and Abbas Kiarostami, respectively. The volume, however, also includes essays engaging with North American filmmakers like Kelly Reichardt and Derek Cianfrance as well as European auteurs like Antonioni, Tarr, Porumboiu, McQueen, and the Dardennes. Bringing German cinema into dialogue with this series of global cinemas emphasizes how the Berlin School manifests-whether aesthetically or thematically, politically or historically-a balancing of national particularity with global flows of various sorts. Abel and Fisher posit that since the vast majority of the films are available with English subtitles (and at times also in other languages) and recent publications on the subject have established critical momentum, this exciting filmmaking movement will continue to branch out into new directions and include new voices. The Berlin School and Its Global Contexts folds German-language cinema back into conversations with international as well as transnational cinema. This volume will be of great interest to scholars of German and global cinema.
eBook
Cinematic vitalism — Theories of life and the moving image
This dissertation documents the influence of vitalist and life–philosophical ideas of life, movement, and temporality on early film theory and practice, and describes the ways in which cinema in turn contributed to vitalist conceptions of life in theoretical biology and philosophy. Vitalism is the biological-cum-philosophical claim that life is a creative and self-organizing force exceeding the explanatory frames of both physics and chemistry. Vitalism has played an ambivalent role in historical and theoretical accounts of the emergence of cinema (and, more generally, modernity). The cinema as apparatus, public space, and dispositif generally has been taken as emblematic of the mechanization and technologization of modern life. As a consequence, accounts of the historical contexts of early cinema, even where they acknowledge the influence of a vitalist philosopher such as Henri Bergson, frequently tie film more closely to a reductive mechanist paradigm than to vitalism. Cinematic Life demonstrates, however, that early theories of the cinematic image and vitalist discourses on life were inextricably intertwined. This was true both because late nineteenth- and early twentieth-century vitalist positions on the creative and self-organizing potential of living matter were informed by the experience and phenomenology of the “living pictures” of cinema, and because these vitalist philosophies influenced emerging theories of film. In the encounter with the technologically produced temporality and naturalistic, yet ephemeral images at the cinema, vitalist ideas about the nature of life and its relationship to technology were modified to such an extent, in fact, that we can (and should) speak of “cinematic vitalism.” Drawing on various vitalist texts from biology, philosophy, sociology and anthropology, Cinematic Life establishes a new theoretical framework and new contexts for both classical European film-theoretical texts (by Siegfried Kracauer, Walter Benjamin, Jean Epstein, Sergei Eisenstein, André Bazin, and others) and select films from 1894 to 1929, including abstract films, films featuring animals, and popular science films. The final chapter pursues the trajectory of cinematic vitalism in the immediate post-WWII context, and includes a discussion of postwar films.
Dissertation
\Film Experience and the Formation of Illusion: The Spectator as 'Surrogate Body' for the Cinema,\ by Christiane Voss
A translation from the original German of an article by Christiane Voss is presented. Voss discusses the cinematic formation of illusion. She argues that a degree of affective entanglement is necessarily part of the cinematic formation of illusion that the spectator, rather than object or viewing subject independent of the illusion, is a \"resonating body in need of further determination, the illusion-forming medium of cinema.\" The osmotic exchange between the spectator and the events on the primary screen combined constitute the specific aesthetic of cinema.
Journal Article