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Touring Sites: Revisiting the Concentration Camps in KZ and Martin

Brad Prager

Brad Prager is Associate Professor of German and a member of the Program in Film Studies at the University of Missouri. He is the author of The Cinema of Werner Herzog: Aesthetic Ecstasy and Truth (2007) and Aesthetic Vision and German Romanticism: Writing Images (2007). He is also the coeditor of a volume on Visual Studies and the Holocaust entitled Visualizing the Holocaust: Documents, Aesthetics, Memory (2008), as well as of a recent volume on contemporary German cinema, and is the editor of Wiley-Blackwell’s Companion to Werner Herzog(2012). Author affiliation details are correct at time of print publication.

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After the Fact : The Holocaust in 21st Century Documentary Film

Bloomsbury Academic, 2015

Book chapter

...In Shoah (1985) Claude Lanzmann’s camera surveys, among other locations, the sites of former death camps. At times, the director lingers silently on apparently empty spaces, now and again nearing well-known locations, including the ruins...

Digital Media

Nicky Hamlyn

Nicky Hamlyn studied Fine Art at the University of Reading. From 1979 to 1981 He was a workshop organiser at the London Filmmakers’ Co-op, where he was also a founder of and regular contributor to the Co-op's magazine Undercut. He is currently a lecturer in Time Based media and Visual Theory at Kent Institute of Art and Design. His films have been screened at festivals and venues around the world. Author affiliation details are correct at time of print publication.

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Film Art Phenomena

British Film Institute, 2003

Book chapter

...The difference between analogue video and digital media is at least as great as the difference between film and video. Malcolm Le Grice discusses some of these differences and the consequences for long-cherished notions like...

A Marriage Of Past And Present— The Overcoming Of Fassbinder

Oliver C. Speck

Oliver C. Speck is Associate Professor of Film Studies at Virginia Commonwealth University, USA. His scholarly writing focuses on the representation of memory and history in French, German and other European cinema. Author affiliation details are correct at time of print publication.

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Funny Frames : The Filmic Concepts of Michael Haneke

Continuum, 2010

Book chapter

...Not since the days of Rainer Werner Fassbinder has cinema seen the disgust, hatred, and immense contempt for the middle class and today's consumer capitalism that the viewer encounters in the films of Michael Haneke. While the public image...

Parsing the Archive of Rudolf Mayer Film, Vienna, 1937–9

Films That Sell : Moving Pictures and Advertising

British Film Institute, 2016

Book chapter

...When Kurt Mayer brought the surviving documents from his father’s company to the Austrian Film Museum for deposit in March 2011, the materials easily fitted into two bags: one well-filled thick binder, two folders (one bulky, the other...

Thinking The Event—The Virtual In Michael Haneke

Oliver C. Speck

Oliver C. Speck is Associate Professor of Film Studies at Virginia Commonwealth University, USA. His scholarly writing focuses on the representation of memory and history in French, German and other European cinema. Author affiliation details are correct at time of print publication.

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Funny Frames : The Filmic Concepts of Michael Haneke

Continuum, 2010

Book chapter

...Critics generally understand Michael Haneke's films as a trenchant critique of our society and its postmodern relativism. One motive in particular that has earned Haneke the reputation of being “the last moralist of cinema”: in practically...

The Funny Frame

Oliver C. Speck

Oliver C. Speck is Associate Professor of Film Studies at Virginia Commonwealth University, USA. His scholarly writing focuses on the representation of memory and history in French, German and other European cinema. Author affiliation details are correct at time of print publication.

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Funny Frames : The Filmic Concepts of Michael Haneke

Continuum, 2010

Book chapter

...While finishing this book in the summer of 2009, two uncanny coincidences opened up on the plane of immanence. The day after the much-publicized death of Michael Jackson on June 25, 2009, I watched, again, 71 Fragmente einer Chronologie des...

Introduction

Oliver C. Speck

Oliver C. Speck is Associate Professor of Film Studies at Virginia Commonwealth University, USA. His scholarly writing focuses on the representation of memory and history in French, German and other European cinema. Author affiliation details are correct at time of print publication.

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Funny Frames : The Filmic Concepts of Michael Haneke

Continuum, 2010

Book chapter

...A short scene from Code Inconnu (2005) can serve as a typical example of the exercise that Michael Haneke expects from his viewer. The scene—about two-thirds into the movie—opens with a shot from a medium height position, roughly 2 feet...

The Moral Of The Long Take

Oliver C. Speck

Oliver C. Speck is Associate Professor of Film Studies at Virginia Commonwealth University, USA. His scholarly writing focuses on the representation of memory and history in French, German and other European cinema. Author affiliation details are correct at time of print publication.

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Funny Frames : The Filmic Concepts of Michael Haneke

Continuum, 2010

Book chapter

...The four films that the Austrian director Michael Haneke shot in France transformed him instantly, if not into a French, then into a European auteur. Judging by cast, topic, and style, these films—Caché (2005), Le temps du loup (2003), La...

A New Order

Oliver C. Speck

Oliver C. Speck is Associate Professor of Film Studies at Virginia Commonwealth University, USA. His scholarly writing focuses on the representation of memory and history in French, German and other European cinema. Author affiliation details are correct at time of print publication.

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Funny Frames : The Filmic Concepts of Michael Haneke

Continuum, 2010

Book chapter

...In a relatively short period of time, Michael Haneke's oeuvre developed from critically acclaimed films with a small distribution, co-produced by Austrian and German television, to works of French cinema, becoming almost synonymous...

Film and Video

Nicky Hamlyn

Nicky Hamlyn studied Fine Art at the University of Reading. From 1979 to 1981 He was a workshop organiser at the London Filmmakers’ Co-op, where he was also a founder of and regular contributor to the Co-op's magazine Undercut. He is currently a lecturer in Time Based media and Visual Theory at Kent Institute of Art and Design. His films have been screened at festivals and venues around the world. Author affiliation details are correct at time of print publication.

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Film Art Phenomena

British Film Institute, 2003

Book chapter

...Film’s similarity to photography – its form as a string of photographs – has affected the way film-makers have thought about it. Equally, film precedes video, and its terminology is widely used in video’s: people talk about ‘filming...