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(Distributing Pictures)

Winfried Gerling, Susanne Holschbach, Petra Löffler

Digital photographs are omnipresent: they are produced, distributed, commented on and stored billions of times every day. In interaction with digital technologies and social networks, practices have emerged that have radically changed the production and reception, distribution and archiving of photographic images. They are distributed, ordered and evaluated by their prosumers as well as by machines, software and algorithms.


"So etwas Ähnliches wie die Wahrheit"
("Something Like the Truth")

Jesko Jockenhövel, Michael Wedel (eds.)

An amalgamation of various analytical and biographical approaches to the work of Thomas Harlan, which transcended genre and radically undermined the conventions of depiction.


(Signs of Power)

Jan Distelmeyer

Computers, in the present day, are linked in a fundamental sense, with demands for regulation and questions of availability – with the desire for and the fear of control. What forms of availability are these? What is the relationship between the computer's forms of manifestation and its conditions?


Pathenheimer: Filmfotografin
(Pathenheimer: Film photographer)

Dieter Chill - Anna Luise Kiss (eds.)

When GDR feature films are shown nowadays in the cinema, on television or in retrospectives, and advertised with photos, one keeps on encountering the credit “DEFA-Pathenheimer.” The body of work behind this identification of authorship includes stills and production stills to many of the most well-known films by the most prominent directors and cinematographers of the feature film studios of the time.


Terror und Propaganda
(Terror and Propaganda)

Christer Petersen

How can discourses about politically motivated violence be analysed? Christer Petersen presents a perspective for the investigation of the relationship between political terror and the propaganda of its mass-media dissemination. He develops a formal discourse analysis which enables the precise description of media studies objects through an applied logic...


Crux Scenica

Heiko Christians

Various sciences and arts have long been working with the term and technique of the scene – the theatre as much as film, psychoanalysis as much as sociology. But what lies behind this (universal) term and what does it accomplish? How does the theatre-related form of the scene organise our ideas, perceptions, entertainments, professional language or art works, both linguistically and technically, to the present day?...


Klassiker des polnischen Films
(Classics of the Polish film)

Christer Petersen, Christian Kampkötter, Peter Klimczak

In this first series of German-language publications about Eastern European film, each volume is devoted to a country, highlighting both individual and representative examples of the most prominent film classics...


Klassiker des tschechischen und slowakischen Films (Classics of the Czech and Slovak Film)

Christer Petersen, Anke Steinborn, Nicole Kandioler (ed.)

Czechoslovak film has inscribed itself into European film history with Nová Vlna, the New Wave of the 1960s, which is closely linked to names such as Miloš Forman, Jiří Menzel or Věra Chytilová. Beyond this canon, the volume presents the most important Czech and Slovak films since 1930.


Special Effects in der Wahrnehmung des Publikums
(Special effects in the public's perception)

Michael Wedel (ed.)

The discussion in film and media studies on the subject of special effects has to date been dominated by questions of production methods and technical feasibility. In the framework of an approach to the phenomenon so centred on its technical and production aspects, the understanding of the cultural significance of special effects in film, television and the digital entertainment media remains reduced to the level of the industrially possible conditions for aesthetic experience...