I’ve been researching the way in which digital games have influenced contemporary filmmaking for a while. One of the outcomes of that research is an article that has just been published in the latest – and sadly last – issue of the (German-language) Lexikon des Kinder- und Jugendfilms, a cornerstone of the German children’s film research landscape. The article, „Computer-Spiel-Ästhetik im Kinder- und Jugendfilm“ outlines basic varieties of computer game aesthetics in cinema: Film adaptations of computer games, computers as set pieces in film, game worlds in film, computer game characters in film, computer game paratexts in film, interactive films as new forms of cinematic narration. Within that framework, I discuss a number of films such as Wreck-it-Ralph, Spy Kids 3D, Scott Pilgrim vs. the World, Star Wars: Episode 1, Tron, eXistenZ, Run Lola Run, and others. You can find the article in the 50th supplement of the Lexikon des Kinder- und Jugendfilms, edited by Horst Schäfer.
Timotheus Vermeulen and I wrote an uber review of current German television studies: cartography of a debate, for the March 2016 issue of the journal Critical Studies in Television. We give an overview of some of the most exciting contributions to current German-language TV scholarship. Check it out – the entry is available for free.
At last! Apparently, some books take their time before peeking out into the world, in a Wittgensteinian fashion. This is certainly true for my Skepticism Films. Knowing and Doubting the World in Contemporary Cinema: almost ten years after I drafted my first ideas about the way in which mainstream cinema plays around with ideas of a rather philosophical provenance, the book is finally available in print and in ebook format, published by Bloomsbury. I am very happy about that – and about the wonderful design and haptics of the book. You can find more information about the book here, the link to the publisher’s homepage with additional online material is here.
I reviewed the autobiography of Michael Ballhaus, the eminent cinematographer behind many of Martin Scorsese and Rainer Werner Fassbinder’s films, for literaturkritik.de. The review also works as a short overview of Ballhaus‘ life and work. Again, it is in German, but whoever’s up to it: Here you go.
Frozen is the major mainstream animation musical film of the decade, not only because it busted almost all box office records but also because it has become a veritable cultural phenomenon in its own right, particularly among children. There are many reasons for it, with the academic debate just beginning: At bottom line, it is simply a good film that manages to evolve Disney’s classical narrato-aesthetic formula in surprisingly intelligent ways. And it is perhaps the first major Disney film to really hone in to the needs of its mainly female audience without falling into the oh-so worn princess clichés fairy tale films such as Snow White, Cinderella or Enchanted are notorious for. (Yes, it’s the first: Kiss the Frog tanked at the box office, and Tangled is, for all its merits, still based on a classical „True Love’s First Kiss“ formula.)
I have written an analysis-based article on the production history, style and cultural success of Frozen for the (German-language) Lexikon des Kinder- und Jugendfilms, a cornerstone of the German children’s film research landscape. Thankfully, I have been allowed to re-publish it for KinderundJugendmedien.de, making it accessible online for everyone who wants to know more about the movie whose songs dominated the musical repertoire of kids all over the world (and, accordingly, tortured the ears of the adults who had to suffer the endless song loops of „Let it Go“ and „Do you want to build a snowman?“). You can find the article here. (It’s written in German, though.)
I have written a couple of short entries for the wonderful „Lexikon der Filmbegriffe“, a German-language online encyclopedia edited by Hans J. Wulff that features entries on a vast range of film studies concepts that have troubled and are still troubling film scholars across the globe. You can access the entries on Filmphilosophie, multiple-draft narrative and Auralität if you follow the hyperlinks. More entries to follow.