Welcome to my website! I am a lecturer at the University of Bremen and the co-founder of KinderundJugendmedien.de, an open access portal dedicated to interdisciplinary research on literature, films, and picture books for children and young adults. My research and teaching activities focus on film theory and on storytelling across media for children and young adults, with a particular emphasis on literature, film, comics, and theatre. On this website, you can find information about my research projects and publications.
At times love and desire conjoin to drive a man mad. While it is already a bad thing not to get the one you want, sometimes it can be even worse to be able to seduce anyone you desire just by calling out a single name: “Man-da-rin!”. This is what happens to the protagonist of Fritz Freisler’s long-believed-to-be-lost early expressionist film Der Mandarin from 1918.
The dandy-esque Baron von Stroom (Harry Walden), a quintessential rich good-for-nothing, acquires a talisman whose possessor is said to be able to seduce any woman he desires. The small statue of a Chinese mandarin turns out to be an Asian ‘genie in a bottle’: every time the Baron calls out “Man-da-riiiin”, the statue becomes alive and a real moustached mandarin appears, ready to make another woman fall in love with his master.
Unsurprisingly, von Stroom willingly succumbs to the temptations offered to him on a silver platter. But soon he develops nostalgia for the times where he still had to conquer the women he desired. Unfortunately for him, his attempts to seduce women without the help of his ghostly servant are utterly unsuccessful: not even a prostitute is willing to give in to his yearnings. “No mandarin, no women!”, the mandarin exclaims. Unable to get rid of his devilish servant, van Stroom, the utterly unheroic protagonist of the film, is driven into madness and ends up in a sanatorium, seeing the mandarin everywhere and in everyone.
Der Mandarin was long believed to be lost. It only resurfaced some years ago in the collection of an American film collector, and it was restored by the Austrian film museum in Vienna. Martin de Ruiter wrote a new score for the film, which was performed and screened during the 2007 edition of the Amsterdam Filmmuseum’s Biennale.
Sabine Planka has edited the English-language edited volume Critical Perspectives on Artificial Humans in Children’s Literature (Königshausen & Neumann, 2016) whose contributions explore the sophisticated ways in which children’s literature deals with the idea of artificial human beings, and how society, social fears and wishes are reflected and integrated within it. I have contributed an essay to that volume: “Dystopias of Creation: The Evolution of Artificial Humans in Contemporary Young Adult Literature”.
I have written a short entry introducing KinderundJugendmedien.de – our website dedicated to research in children’s literature, film, and other media – in the most recent issue 16.3 of the children’s media research journal kjl&m. You can find the entry here. There’s also another entry on KinderundJugendmedien.de published in CLOSURE – a German-language digital journal decdicated to Comics research (lookahere).
I have written a review of Felix Giesa’s book “Graphisches Erzählen von Adoleszenz”, an extensive study of German-language comics that deal with topics of adolescence. You can find the review in issue 2.5 of the comics research eJournal CLOSURE and on KinderundJugendmedien.de.
One of the most popular picture books series is Sven Nordqvist’s Pettersson & Findus – no wonder that the German film director Ali Samadi Ahadi has recently directed a children’s film based on some of Nordqvist’s stories. For the 50th supplement of the (German-language) Lexikon des Kinder- und Jugendfilms I have written a small article that investigates the film’s production history and analyzes selected aspects of the film: Even though it mainly targets elementary-school-level children, Pettersson & Findus – Kleiner Quälgeist, große Freundschaft employs a surprisingly complex cinematic aesthetics, using the arsenal of contemporary blockbuster cinema.