Mind the Screen: Media Concepts According to Thomas Elsaesser PDF
Preview Mind the Screen: Media Concepts According to Thomas Elsaesser
Mind the Screen Media Concepts According to Thomas Elsaesser edited by Jaap Kooijman, Patricia Pisters and Wanda Strauven Amsterdam University Press MindtheScreen Mind the Screen Media Concepts According to Thomas Elsaesser Edited byJaapKooijman,Patricia Pisters andWanda Strauven Coverillustration:ScreenonRembrandtplein Photo:KatinkaSchreuder Coverdesign:KokKorpershoek,Amsterdam Lay-out:japes,Amsterdam isbn 9789089640253 e-isbn 9789048506460 nur 674 ©JaapKooijman,PatriciaPisters,WandaStrauven/AmsterdamUniversity Press,2008 Allrightsreserved.Withoutlimitingtherightsundercopyrightreservedabove, nopartofthisbookmaybereproduced,storedinorintroducedintoaretrieval system,ortransmitted,inanyformorbyanymeans(electronic,mechanical, photocopying,recordingorotherwise)withoutthewrittenpermissionofboththe copyrightownerandtheauthorofthebook. Table of Contents ALooking Glass forOldandNew Screens 9 JaapKooijman,PatriciaPistersandWandaStrauven ACT I Melodrama, Memory, Mind Game Cinephilia in Transition 19 MalteHagenerandMarijkedeValck Theorizing Melodrama: ARationalReconstructionof “TalesofSoundandFury” 32 WarrenBuckland OfSurfaces andDepths:TheAfterlives of “Tales ofSound and Fury” 43 SudeepDasguptaandWimStaat Failed Tragedy andTraumaticLovein Ingmar Bergman’s Shame 60 TarjaLaine MediatedMemories: ASnapshot ofRememberedExperience 71 JosévanDijck Running on Failure:Post-Fordism, Post-Politics, Parapraxis, and Cinema 82 DrehliRobnik Into theMind and Outto the World: Memory Anxiety in the Mind-Game Film 96 PepitaHesselberthandLauraSchuster ACritical Mind: The Game of Permanent Crisis Management 112 JanSimons Intermezzo “Scholars, Dreams, andMemory Tapes” 125 CatherineM.Lord 6 MindtheScreen ACT II Europe-Hollywood-Europe The Cheetah ofCinema 141 FlorisPaalman Bear Life: Autoscopic RecognitioninWerner Herzog’s Grizzly Man 153 DominicPettman ConstitutiveContingencies: Fritz Lang,Double Vision, and the Place of Rupture 166 MichaelWedel Liliand Rachel: Hollywood, History, and WomeninFassbinderand Verhoeven 177 PatriciaPisters AmsterdamnedGlobalVillage: ACinematic SiteofKaraoke Americanism 188 JaapKooijman Soundtracks ofDoubleOccupancy: SamplingSounds and Cultures inFatihAkin’sHeadOn 198 SentaSiewert Hollywood Face toFacewiththe World: TheGlobalizationof Hollywood and itsHumanCapital 209 MelisBehlil ToBeorNot toBePost-Classical 218 EleftheriaThanouli Bumper Stories: The Framing ofCommercialBlocksonDutch Public Television 229 CharlesForceville Intermezzo “WhereWere YouWhen...?” or “IPhone, Therefore IAm” 243 BruceGray TableofContents 7 ACT III Archaeology, Avant-Garde, Archive Reflections ina Laserdisc:Toward aCosmologyof Cinema 267 MichaelPunt S/M 276 WandaStrauven Consumer TechnologyafterSurveillance Theory 288 RichardRogers MigratoryTerrorism 297 MiekeBal The Echo Chamber of History 310 FrankvanVree Displacing theColonialArchive: How FionaTan Shows Us “Things We Don’t Know We Know” 322 JuliaNoordegraaf FoundFootage, Performance, Reenactment:A Case forRepetition 333 JenniferSteetskamp DigitalConvergenceTenYears Later: BroadcastYourSelves and Web Karaoke 345 JeroendeKloetandJanTeurlings Notes onContributors 361 KeyPublications byThomas Elsaesser 369 A Looking Glass for Old and New Screens Jaap Kooijman, Patricia Pisters and Wanda Strauven Perhaps one of the longest videos on YouTube, In a Year with 13 Moons, is dedicated to a very classic topic of film studies: auteur cinema. The video docu- ments a 92-minute round table discussion of Rainer Werner Fassbinder’s homonymous film at the New York Philoctetes Center for the Multidisciplinary Study of the Imagination on 13 January 2007.1 One of the panelists is Thomas Elsaesser, whose knowledge of German cinema in general and of Fassbinder in particular is widely respected. Although Elsaesser’s performance on this new medium is a contribution to traditional film studies, that does not necessarily meanthatElsaesserconsidersYouTubeandotherdevelopmentsofcontemporary screen culture as mere “remediations” of the film screen. On the contrary, be- sideshisongoingpassionforclassicalHollywoodand(European)auteurcinema, Elsaesserhasalwayskeptasharpeyeoutforhistorical,institutional,andtechno- logicalchangesrelatedtoaudiovisualmedia.InJanuary2008,atanAmsterdam conferenceonthevideovortexoftheWeb2.0revolution,heproposedtopicture contemporary image culture as a living organism with cell growth and selection (YouTube deletes or censors 20,000 videos daily, while 60,000 new ones are added) which requires a different set of analytical tools than for the study of a single masterpiece.2 This combination of cinephile passion for the silver screen with its aesthetic and historical implications on the one hand, and mindfulness of new developments in screen culture on the other, has always characterized Elsaesser’sacademicapproach,makinghimoneofthemostimportantfirst-gen- erationfilmscholarstohavecontributedtotheestablishmentoffilm,television, andmediastudieswithinacademia. Twentyyearsago,in1988,theFacultyofHumanitiesattheUniversityofAm- sterdamtookthefirststepstowardthecreationofachairinFilmandTelevision Studies.Acommitteewasestablishedtoinvestigatehowthe“newmedia”offilm and television could be studied as seriously as the written word from a huma- nitiesperspective.UnliketheUnitedStatesandafewotherEuropeancountries, Film and Television Studies had never been considered a full-fledged academic disciplineintheNetherlands,eventhoughpioneerssuchasJanusvanDomburg, Jan Marie Peters, and Jan Hes had been teaching film since the 1940s, and the departmentofTheaterStudiesattheUniversityofAmsterdamhadbeenoffering coursesin film analysisand filmhistorysince themid-1980s. In 1991,the Uni- versity of Amsterdam appointed Thomas Elsaesser to the first chair of Film and
Description:The list of books you might like
