Annie van den Oever

Ostrannenie

Andreas Fickers

This book offers a plea to take the materiality of media technologies and the sensorial and tacit dimensions of media use into account in the writing of the histories of media and technology. In short, it is a bold attempt to question media history from the perspective of an experimental media archaeology approach. It offers a systematic reflection on the value and function of hands-on experimentation in research and teaching. Doing Experimental Media Archaeology: Theory is the twin volume to Doing Experimental Media Archaeology: Practice, authored by Tim van der Heijden and Aleksander Kolkowski.

Theory

Doing Experimental Media Archaeology

Essays over vooral Engelse, Russische, Duitse en Nederlandse romans waarin de universiteit een belangrijke rol speelt.

de universiteitsroman in de Anglo-Amerikaanse en Europese lituratuur

De Universiteit in opspraak

Giovanna Fossati

Imagine opening the gates to a vault full of media apparatuses and letting loose thirty-two international media scholars and professionals on its heterogeneous content... Exposing the Film Apparatus collects the results of such an experiment. This book addresses the keen awareness of the prominence of media technologies in our culture in the last two centuries, while also showing how such an awareness is impacting the curatorial consciousness of those working in film archives, technology, and media museums today. Combining a variety of approaches with insightful perspectives of professionals working on a wide range of film technology-related issues, Exposing the Film Apparatus reveals the richness, diversity, and relevance of the topic for archivists, curators, projectionists, theorists, film and media historians, media artists, educationists and film students today.

The Film Archive as a Research Laboratory

Exposing the Film Apparatus

Summary: Defamiliarisation or ostrannenie, the artistic technique of forcing the audience to see common things in an unfamiliar or strange way, in order to enhance perception of the familiar, ihas become one of the central concept of modern artistic practice, ranging over movements including Dada, postmodernism, epic theatre, and science fiction, as well as our response to arts. Coined by the Soviet literary critic Victor Shklovskii in 1917, ostrannenie has come to resonate deeply in film studies, where it entered into dialogue with the French philosopher Derrida's concept of differance, bordering on 'differing' and 'deferring'. Striking, provocative and incisive, the essays of the distinguished film scholars in this volume recall the range and depth of a concept that since 1917 changed the trajectory of theoretical inquiry.

Annie van den Oever

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