Thomas Elsaesser

Malte Hagener

What is the relationship between the cinema and the spectator? Renowned film scholars Thomas Elsaesser and Malte Hagener use this central question for film theory in order to guide students through all of the major film theories-from the classical period to today-in this brief, insightful, and engaging book. Every kind of cinema (and every kind of film theory) presupposes an ideal spectator, and then imagines a certain relationship between the mind and body of that spectator and the screen. Using seven distinctive configurations of spectator and screen that move from "exterior" to "interior" relationships, the authors retrace the most important stages of film theory from the 1920s onwards, with special attention paid to theories since 1945, from neo-realist and modernist theories to psychoanalytic, apparatus, phenomenological, and cognitivist theories, while also offering an incisive extension of film theory through the senses into the digital age. Each chapter opens with a paradigmatic scene from a well-known film to introduce key concepts, and outlines the major schools of thought and theorists attached to a particular film theory. The films discussed combine classics of cinema such as Rear Window and The Searchers with contemporary films including Donnie Darko and Eternal Sunshine of the Spotless Mind. Film stills throughout provide a visual key to unlock challenging theoretical concepts.

An Introduction Through the Senses

Film Theory

Professor in the Department of Art and Culture Thomas Elsaesser

"Weinar Cinema and After: Germany's Historical Imaginary offers a fresh perspective on this most 'national' of national cinemas, re-evaluating such labels as 'Expressionist film' and 'The New Sobriety' and even putting 'fascination fascism' and film noir in a different, international context. Thomas Elsaesser questions the conventional readings which link these genres and movements solely to the legacy of German romanticism and nationalism, and offers new approaches to analysing the function of national cinema in an advanced 'culture industry'."--BOOK JACKET.

Germany's Historical Imaginary

Weimar Cinema and After

Metropolis

Alexander Horwath

Noel King

This publication is a major evaluation of the 1970s American cinema, including cult film directors such as Bogdanovich Altman and Peckinpah.

New Hollywood Cinema in the 1970s

The Last Great American Picture Show

Rainer Werner Fassbinder is one of the most prominent and important authors of post-war European cinema. Thomas Elsaesser is the first to write a thoroughly analytical study of his work. He stresses the importance of a closer understanding of Fassbinder's career through a re-reading of his films as textual entities. Approaching the work from different thematic and analytical perspectives, Elsaesser offers both an overview and a number of detailed readings of crucial films, while also providing a European context for Fassbinder's own coming to terms with fascism.

History, Identity, Subject

Fassbinder's Germany

Warren Buckland

This text presents the most appropriate theories and methods for analyzing contemporary America cinema. Using an innovative approach to writing about individual movies, each of the main chapters examines the assumptions behind one traditional theory of film (e.g. auteurism, narratology, psychoanalysis), distills a method of analysis from it, and then analyzes a contemporary American movie. The text then goes beyond traditional theory by analyzing the same movie using a more current theory and method (e.g. new media theory, deconstruction, cognitivism).

A Guide to Movie Analysis

Studying Contemporary American Film

Metropolis is a monumental work. On its release in 1925, after sixteen months' filming, it was Germany's most expensive feature film, a canvas for director Fritz Lang's increasingly extravagant ambitions. Lang, inspired by the skyline of New York, created a whole new vision of cities. One of the greatest works of science fiction, the film also tells human stories about love and family. Thomas Elsaesser explores the cultural phenomenon of Metropolis: its different versions (there is no definitive one), its changing meanings, and its role as a database of twentieth-century imagery and ideologies. In his foreword to this special edition, published to celebrate the 20th anniversary of the BFI Film Classics series, Elsaesser discusses the impact of the 27 minutes of 'lost' footage discovered in Buenos Aires in 2008, and incorporated in a restored edition, which premiered in 2010.

While Hollywood’s success – its persistence – has remained constant for almost one hundred years, the study of its success has undergone significant expansion and transformation. Since the 1960s, Thomas Elsaesser’s research has spearheaded the study of Hollywood, beginning with his classic essays on auteurism and cinephilia, focused around a director’s themes and style, up to his analysis of the "corporate authorship" of contemporary director James Cameron. In between, he has helped to transform film studies by incorporating questions of narrative, genre, desire, ideology and, more recently, Hollywood’s economic-technological infrastructure and its place within global capitalism. The Persistence of Hollywood brings together Elsaesser’s key writings about Hollywood filmmaking. It includes his detailed studies of individual directors (including Minnelli, Fuller, Ray, Hitchcock, Lang, Altman, Kubrick, Coppola, and Cameron), as well as essays charting the shifts from classic to corporate Hollywood by way of the New Hollywood and the resurgence of the blockbuster. The book also presents a history of the different critical-theoretical paradigms central to film studies in its analysis of Hollywood, from auteurism and cinephilia to textual analysis, Marxism, psychoanalysis, and post-industrial analysis.

The Persistence of Hollywood

This groundbreaking volume for the Thinking Cinema series focuses on the extent to which contemporary cinema contributes to political and philosophical thinking about the future of Europe's core Enlightenment values. In light of the challenges of globalization, multi-cultural communities and post-nation state democracy, the book interrogates the borders of ethics and politics and roots itself in debates about post-secular, post-Enlightenment philosophy. By defining a cinema that knows that it is no longer a competitor to Hollywood (i.e. the classic self-other construction), Elsaesser also thinks past the kind of self-exoticism or auto-ethnography that is the perpetual temptation of such a co-produced, multi-platform 'national cinema as world cinema'. Discussing key filmmakers and philosophers, like: Claire Denis and Jean-Luc Nancy; Aki Kaurismäki, abjection and Julia Kristeva; Michael Haneke, the paradoxes of Christianity and Slavoj Zizek; Fatih Akin, Alain Badiou and Jacques Rancière, Elsaesser is able to approach European cinema and assesses its key questions within a global context. His combination of political and philosophical thinking will surely ground the debate in film philosophy for years to come.

Film As Thought Experiment

European Cinema and Continental Philosophy

Since cinema has entered the digital era, its very nature has come under renewed scrutiny. Countering the 'death of cinema' debate, Film History as Media Archaeology presents a robust argument for the cinema's current status as a new epistemological object, of interest to philosophers, while also examining the presence of moving images in the museum and art spaces as a challenge for art history. The current study is the fruit of some twenty years of research and writing at the interface of film history, media theory and media archaeology by one of the acknowledged pioneers of the 'new film history' and 'media archaeology'. It joins the efforts of other media scholars to locate cinema's historical emergence and subsequent transformations within the broader field of media change and interaction, as we experience them today.

Tracking Digital Cinema

Film History as Media Archaeology

Brian Kuan Wood

Hito Steyerl

Doris Krystof

Teresa Castro

Nora M. Alter

Tom Holert

Mark Terkessidis

Vanessa Joan Müller

Florian Ebner

Marcella Lista

Films and Installations

Hito Steyerl - I Will Survive

Klaus Reimann

Michael Woerner

Terahertz (THz) radiation with frequencies between 100 GHz and 30 THz has developed into an important tool of science and technology, with numerous applications in materials characterization, imaging, sensor technologies, and telecommunications. Recent progress in THz generation has provided ultrashort THz pulses with electric field amplitudes of up to several megavolts/cm. This development opens the new research field of nonlinear THz spectroscopy in which strong light-matter interactions are exploited to induce quantum excitations and/or charge transport and follow their nonequilibrium dynamics in time-resolved experiments. This book introduces methods of THz generation and nonlinear THz spectroscopy in a tutorial way, discusses the relevant theoretical concepts, and presents prototypical, experimental, and theoretical results in condensed matter physics. The potential of nonlinear THz spectroscopy is illustrated by recent research, including an overview of the relevant literature.

Concepts and Applications of Nonlinear Terahertz Spectroscopy

What is the relationship between cinema and spectator? This is the key question for film theory, and one that Thomas Elsaesser and Malte Hagener put at the center of their insightful and engaging book, now revised from its popular first edition. Every kind of cinema (and every film theory) first imagines an ideal spectator, and then maps certain dynamic interactions between the screen and the spectator’s mind, body and senses. Using seven distinctive configurations of spectator and screen that move progressively from ‘exterior’ to ‘interior’ relationships, the authors retrace the most important stages of film theory from its beginnings to the present—from neo-realist and modernist theories to psychoanalytic, ‘apparatus,’ phenomenological and cognitivist theories, and including recent cross-overs with philosophy and neurology. This new and updated edition of Film Theory: An Introduction through the Senses has been extensively revised and rewritten throughout, incorporating discussion of contemporary films like Her and Gravity, and including a greatly expanded final chapter, which brings film theory fully into the digital age.

An Introduction through the Senses

This book represents the culmination of Thomas Elsaesser’s intense and passionate thinking about the Hollywood mind-game film from the previous two decades. In order to answer what the mind-game film is, why they exist, and how they function, Elsaesser maps the industrial-institutional challenges and constraints facing Hollywood, and the broader philosophic horizon within which American cinema thrives today. He demonstrates how the ‘Persistence of Hollywood’ continues as it has adapted to include new twists and turns, as well as revisions of past concerns, as film moves through the 21st century. Through examples such as Minority Report, Mulholland Drive, Source Code, and Back to the Future, Elsaesser explores how mind-game films challenge us and play games with our perception of reality, creating skepticism and (self-) doubt. He also highlights the mind-game film's tendency to intervene in a complex fashion in the political moment by questioning the dominant power’s intent to program both body and mind alike. Prescient and compelling, The Mind-Game Film will appeal to students, scholars, and enthusiasts of media studies, film studies, philosophy, and politics.

Distributed Agency, Time Travel, and Productive Pathology

The Mind-Game Film

Adam Barker

In the twenty years preceding the First World War, cinema rapidly developed from a fairground curiosity into a major industry and social institution, a source of information and entertainment for millions of people. Only recently have film scholars and historians begun to study these early years of cinema in their own right and not simply as first steps towards the classical narrative cinema we now associate with Hollywood. The essays in this collection trace the fascinating history of how the cinema developed its forms of storytelling and representation and how it evolved into a complex industry with Hollywood rapidly acquiring a dominant role. These issues can be seen to arise from new readings of the so-called pioneers - Melies, Lumiere, Porter, and Griffith - while also suggesting new perspectives on major European filmmakers of the 1910s and 20s. Editor Thomas Elsaesser complements the contributions from leading British, American, and European scholars with introductory essays of his own that provide a comprehensive overview of the field. The volume is the most authoritative survey to date of a key area of contemporary film research, invaluable to historians as well as to students of cinema.

Space, Frame, Narrative

Early Cinema

What is the relationship between cinema and spectator? That is the central question for film theory, and renowned film scholars Thomas Elsaesser and Malte Hagener use this question to guide students through all of the major film theories – from the classical period to today – in this insightful, engaging book. Every kind of cinema (and film theory) imagines an ideal spectator, and then imagines a certain relationship between the mind and body of that spectator and the screen. Using seven distinctive configurations of spectator and screen that move progressively from ‘exterior’ to ‘interior’ relationships, the authors retrace the most important stages of film theory from 1945 to the present, from neo-realist and modernist theories to psychoanalytic, ‘apparatus’, phenomenological and cognitivist theories.

An introduction to film and TV studies highlighting different aspects of today's media landscape. (in Dutch)

film en televisie in de hedendaagse mediacultuur

Hollywood op straat

Jan Simons

Lucette Bronk

This collection of essays, by well known writers on the subject of writing for television, is divided into three sections, with the first one devoted to the debates on quality television. The second one focuses on literature and television. The final section examines 'Science on television', with series editors from Britain and Germany giving first-hand accounts of the scope for serious science reporting on television.

Television in Transition

Writing for the Medium

German cinema of the 1920s is still regarded as one of the 'golden ages' of world cinema. Films such as The Cabinet of Dr Caligari, Dr Mabuse the Gambler, Nosferatu, Metropolis, Pandora's Box and The Blue Angel have long been canonised as classics, but they are also among the key films defining an image of Germany as a nation uneasy with itself. The work of directors like Fritz Lang, F.W. Murnau and G.W. Pabst, which having apparently announced the horrors of fascism, while testifying to the traumas of a defeated nation, still casts a long shadow over cinema in Germany, leaving film history and political history permanently intertwined. Weimar Cinema and After offers a fresh perspective on this most 'national' of national cinemas, re-evaluating the arguments which view genres and movements such as 'films of the fantastic', 'Nazi Cinema', 'film noir' and 'New German Cinema' as typically German contributions to twentieth century visual culture. Thomas Elsaesser questions conventional readings which link these genres to romanticism and expressionism, and offers new approaches to analysing the function of national cinema in an advanced 'culture industry' and in a Germany constantly reinventing itself both geographically and politically. Elsaesser argues that German cinema's significance lies less in its ability to promote democracy or predict fascism than in its contribution to the creation of a community sharing a 'historical imaginary' rather than a 'national identity'. In this respect, he argues, German cinema anticipated some of the problems facing contemporary nations in reconstituting their identities by means of media images, memory, and invented traditions.

Thomas Elsaesser

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