Peter Verstraten

Maarten van Rossem

Richard van Oosterhout

Cinematographers on Cinematography

Shooting Time

De auteur (universitair docent intermediale literatuurwetenschap) belicht de interactie tussen film en andere media als fotografie, televisie, video, theater, literatuur, schilderkunst, muziek en disciplines als psychoanalyse en filosofie.

Kernthema's in de filmwetenschap

Mieke Bal

Handboek filmnarratologie

This study examines a range of Dutch post-war fiction films and also works as an implicit overview on the basis of types of humour, like low-class comedy, neurotic romances; deliberate camp, homosocial jokes, cosmic irony, grotesque satire. This title was made Open Access by libraries from around the world through Knowledge Unlatched.

Humour and Irony in Dutch Post-war Fiction Film

Stefan van der Lecq

In Film Narratology, Peter W.J. Verstraten makes film narratives his primary focus, while noting the unexplored and essentially different narrative effects that film can produce with mise-en-scène, cinematography, and editing.

Film Narratology

Reading Masculinities in Westerns

Screening Cowboys

I started examining Dutch fiction features for the simple reason that these films are 'orphans' in an academic context. Dutch cinema is unchartered territory at the curricula in Dutch universities. Hopefully, this study - in tandem with the previous one on humour and irony - will trigger other scholars to explore the terrain of Dutch (fiction) cinema in the near future. In addition to that, it would be great if a study like mine could offer some support to initiatives such as the occasional screenings and programs in EYE Amsterdam dedicated to Dutch cinema (Pim de la Parra, Frans Weisz, George Sluizer, restored prints of Wim Verstappen, to mention some of these initiatives). Moreover, I have been collaborating with renowned scriptwriter Gerard Soeteman recently, since my previous study had made him think about his own contribution to Dutch cinema (and this has resulted in no less than six lectures together). It would be a great compliment if some other makers were to follow in his footsteps, whether or not thanks to the publication of a new study. Second, the Dutch are usually quite sceptic about the achievements in cinema. And if film lovers are enthusiastic about a Dutch film, they embrace it as a 'white raven.' But a great number of white ravens make a flock, though. My years of studying Dutch cinema has taught me there are much more interesting Dutch films than I had expected, but which had been unduly neglected over time. The study will hopefully illustrate that there is sufficient ground for a retroactive 'celebration' of Dutch fiction films. Cinephilia, then, functions as an antidote to the perspective of the scornful sceptics. Cinephilia enables us to look awry at Dutch fiction features and invites us to consider their restrictions as well as their failures from a benevolent attitude. Third, though the study is primarily about Dutch cinema and not about psychoanalysis, I hope my study will be of interest of those who are interested in both psychoanalysis and cinema. Since a couple of years, I make a film program of six titles under the umbrella term of 'projections.' The program is screened in four Dutch theaters (Het Ketelhuis, Louis Hartlooper Complex, Lux Nijmegen, Lumière Maastricht) and it includes an introduction as well as a discussion after the screening. It is gaining in popularity and my study would tie in with the audience's enthusiasm for the combination of 'psychoanalysis and cinema'.

Peter Verstraten

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