Die 10 zuletzt veröffentlichten Dokumente
The study explores how digital tools have fundamentally transformed 3D art creation processes, enabling precision and flexibility but often at the cost of tactile, embodied engagement that is intrinsic to traditional analogue methods. It addresses the disconnect between the immersive, haptic qualities of techniques like sculpting and stop-motion animation, which deeply engage haptic and spatial immersion, and the digitally mediated workflows that reduce these processes to two-dimensional interactions through screens and indirect input devices. By investigating this tension, the research emphasises the necessity of preserving embodied engagement in creative practice to bridge the gap between analogue and digital approaches, fostering a more holistic artistic process. A three-part methodology integrates theoretical synthesis, historical analysis, and practical artistic exploration. An analysis of art-anatomy, sculpture and animation didactics, supported by a pre-digital stop-motion case study, highlight the immersive, haptic qualities of embodied analogue techniques. The artistic research project Pomona demonstrates a hybrid workflow by digitising stop-motion animation through a ana-digi-log-ital photogrammetry interface, allowing animators to maintain a haptic connection to their work while leveraging the flexibility of digital tools and bridging analogue and digital methods to create a novel animation aesthetic for film and VR. Findings underscore the importance of embodied perception and intentional motility in artistic creation. While digital tools offer precision and scalability, their standardisation risks diminishing the haptic engagement integral to analogue methods. The research therefore advocates for hybrid approaches that combine tactile richness with computational innovation, preserving the perceptual-motor skills critical for both education and practice. Ultimately, the study concludes that the future of art-making lies in developing interfaces and workflows that harmonise analogue and digital approaches, aligning with embodied cognition and diverse cultural perspectives. By maintaining this balance, artists can fully harness the potential of digital technologies while remaining rooted in the visceral, embodied nature of creation, ensuring that emerging artistic practices continue to support the human experience.
This academic-artistic dissertation analyzes the representation of older people in the German-language fiction films. The theoretical findings provide the foundation for an artistic project, Nicht mein Film / Not My Film, that questions about how (stereo)typical film scenes with older people are experienced by older people themselves.
In the first step, I analyze the representation of older people in the 100 most-watched German-language fiction films in cinema (2009–2018). The key findings illustrate that typical film scenes with older characters reproduce social, character, and/or narrative stereotypes about this age group. Additionally, older people are underrepresented in the analyzed films, and some groups of older people (e.g. sexual minorities) are not represented at all.
The artistic research project, the documentary Nicht mein Film, portrays a diverse group of six older people, who re-perform typical film scenes identified in the theoretical part. Scenes of illness, death, and sexual decline are combined with scenes that contain gendered character stereotypes such as that of the bad old witch and the wise old man. The participants in the project mostly criticize the stereotypes they re-perform and, in their interviews, reveal multi-layered and diverse perspectives about the given topics. These results highlight that there are complex themes about older age that only in rare exceptions are portrayed in popular films.
The aim of this academic-artistic research is to encourage a critical discussion about the representation of older people in popular film.
»Mulholland Drive« (2001) von David Lynch ist ein Filmklassiker und ein Stück Popkultur. Seine Attraktion beruht vor allem auf der bedeutungsoffenen und »verrätselnden« Erzählweise, welche Zuschauende zur Interpretation einlädt. Christine Lang legt in einer detaillierten Studie dar, wie sich diese Rezeptionsbeziehung realisiert. Sie analysiert die narrative Struktur und die ästhetischen Strategien mit Methoden und Begriffen der Dramaturgie und macht den Film und seine avancierte Erzählweise dadurch inhaltlich nachvollziehbar.
„Lehrer:innen haben kreative Ideen und die individuelle Fähigkeit, den Unterricht im Homeschooling erfolgreich zu gestalten!“
Zu dieser Überzeugung gelangen die Autor:innen. Sie belegen ihre positive Bilanz mit einer Studie, in der sie von Lehrkräften selbst erstellte und in der Praxis erprobte Lernmaterialien aus der Zeit des Homeschoolings während der Corona-Pandemie in den Jahren 2020 und 2021 empirisch analysieren und auswerten. So ergeben sich neben interessanten Ergebnissen hinsichtlich der Gestaltung dieser Materialien abwechslungsreiche und fächerübergreifende Fallbeispiele als Anregungen für den eigenen Unterricht.
Die Autor:innen legen dar, welche digitalen Lernangebote den Schüler:innen im Homeschooling gemacht wurden. Die im Buch ausgewählten Fallbeispiele dienen als Inspiration für die eigene Lehr- und Lernsituation. Dabei kann die Lektüre (angehende) Lehrkräfte dabei unterstützen, eigene Ideen zu entwickeln, neue Perspektiven einzunehmen und bereitgestellte Beispiele weiterzudenken.
Stopping the Flow
(2023)
Due to the current situation of the Covid-19 pandemic, we need to reassess film culture and the film industry as we have known it so far. The postponement and cancellation of major spring festivals in 2020 had a far-reverberating knock-on effect throughout the festival circuit and highlighted the entanglement of events and industry mechanisms based on regular rhythms, networks, and cascades. The canceled festival premieres left filmmakers, producers, and sales agents in limbo: subsequent festival participations, coordinated national distribution strategies, and theatrical releases were already being planned. Without a premiere, the entire circuit was disrupted. The value chain, based on the hierarchically structured sequence of certain festivals and markets, came to a standstill. With the usual windowed sequence unable to start, it was unclear what further distribution chains should look like. The disruption of the usual festival circulation structures has thus served as an accelerator for structural and cultural shifts. This article looks at the impact of this disruption on various stakeholders within the industry, thinking through the mechanisms of the festival ecosystem while highlighting the specific problems faced by different players and the resulting renegotiation of strategies and power dynamics, accounting for new emerging structures.
This open access book is the first to provide an analysis of the Dutch paper industry over a period encompassing six centuries. Responding to a trend of renewed scholarly interest in paper industries and production, the book seeks to illuminate the factors behind this relatively small national industry’s centuries-long survival.
Previous historical research has shown that sets of colonial, trade, merchant and family networks, tightly interwoven through a dense web of capital, were crucial for paper production and trade in early modern Europe. This book situates the Dutch paper industry within these overlapping contexts and their shifting dynamics over time, and historicizes the challenges and obstacles it had to overcome through four phases of capitalism: the rise of Dutch capitalism (1580–1815), Dutch monarchic liberalism (1815–1914), Fordism (1914–1980), and post-Fordism (1980 until now). Each chapter covers not only technological advancements in the industry, but its development alongside further determining dimensions, such as state-industry relations (industry policies), labour-capital relations (unions) and competition and cooperation, overall painting a picture of how the industry adapted to and endured changes in national and global networks surrounding the industry. This book will be of broad interest to scholars of economic and business history, as well as industrial history, political economy, and management studies.
Museen und Ausstellungen gehörten zu den ersten Orten, an denen Filme öffentlich zu erleben waren. Als sich das Kino als dominierende Vorführstätte durchsetzte, wurde in verschiedenen Ländern die Einrichtung von eigenständigen Filmmuseen gefordert. Mit dem Begriff waren verschiedene Vorstellungen verbunden.
Eine Hochzeit erlebten museale Fimausstellungen und die Debatten um die Einrichtung eines Filmmuseums in den 1920er und frühen 1930er Jahren. Im Kontext von kommerziellen, temporären Ausstellungen wurden museografische Methoden umgesetzt, mögliche Exponate gefunden und Präsentationsweisen erprobt. Sowohl die Konzeptionen der Ausstellungen in Europa und den USA als auch die zuweilen ablehnenden Debatten waren von filmtheoretischen Prämissen und der Filmkultur der Zeit bestimmt. Zugleich entstanden an Technikmuseen eigene Filmabteilungen innerhalb der Dauerausstellungen. Zwar herrschte eine Pluralität von Methoden zwischen den einzelnen Einrichtungen, doch waren sie durch grenzüberschreitende Vernetzungen voneinander beeinflusst. Erst nach dem Zweiten Weltkrieg setzte sich die museografische Methode der Cinémathèque française international durch. Die Ausstellung zum 60. Jubiläum des Kinos exportierte sie in den 1950er Jahren international, sodass auch Besucher in München und Berlin die Gelegenheit bekamen, eine bestimmte Art des Ausstellens mit dem Begriff Filmmuseum zu verbinden. Das Deutsche Filmmuseum in Frankfurt am Main entstand im Wissen um die kanonisierte Stellung der Pariser Institution, nahm zugleich aber die Geschichte des Filmausstellens auf.
Der Westerborkfilm
(2025)
1944 wird im Auftrag der SS im »Judendurchgangslager« Westerbork in den besetzten Niederlanden ein Film gedreht. Auch die Abfertigung eines Zuges, der fast 1000 Personen nach Bergen-Belsen und Auschwitz deportiert, wird aufgezeichnet. 1956 verwendet Alain Resnais Einstellungen dieser Szenen in seinem Film NUIT ET BROUILLARD. Damit beginnt die Bilderreise des Westerborkfilms, der bald zum festen Bestandteil einer neu entstehenden, mitfühlenden Holocaust-Erinnerung wird und heute zu ihren Bildikonen gehört. Fabian Schmidts Buch erzählt diese Rezeptionsgeschichte auf der Basis empirisch gewonnener Filmdaten und rekonstruiert die Bedeutung des Westerborkfilms für die Formierung der Erinnerungskultur.
Characters are central to the creation and experience of films and other media. Their cultural significance is profound, but they also raise a wide range of questions.
This book provides a comprehensive theory that guides the analysis and interpretation of characters across four dimensions: as represented beings with physical, psychological, and social characteristics; as artefacts with aesthetic structures; as meaningful symbols; and as symptoms of socio-cultural origins and effects. Integrating insights from film, media, and literary studies as well as philosophy, psychology and sociology, the book offers a broad range of approaches for understanding characters and the emotional responses they evoke.
Richly illustrated and offering practical tools, along with case studies of numerous characters from different genres of films, this book will be invaluable to scholars and students of film and media studies and related disciplines, as well as artistic practitioners.
This practice-based PhD explores the ethical and social responsibilities of
documentary filmmakers in representing refugees, with particular atten-
tion to filmmaker–participant relationships and the influence of film form on
these dynamics. The research interrogates questions of authorship, visibility,
and agency: who has the right to tell whose story, and how might formal
strategies foster more equitable forms of representation?
This thesis combines theoretical exploration of refugee representations with
critical analysis of three films I directed. Nudar (2018) is examined through
the lens of participatory documentary, focusing on directing, camerawork,
and editing as means of sustaining relationships with participants. Tell Them
About Us (2024) develops the method of participatory re-enactment with
refugee and immigrant teenagers, considering how performative strategies
complicate notions of truth and fiction. Shadows (2024) engages with ani-
mated documentary to represent violence against women, reflecting on ab-
straction, metaphor, and voice as ethical tools for safeguarding participants
while giving space to their subjectivity.
By situating these works within feminist and postcolonial frameworks, the
thesis argues that participatory practices, whether through documentary
collaboration, participatory re-enactment, or animation, can challenge ex-
tractive models of representation and create more relational ways of telling
stories with, rather than about, refugees. At the same time, the research
highlights the ongoing tensions and limitations of these approaches, under-
scoring the need for reflexivity, accountability, and sensitivity in ethical doc-
umentary practice.