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#Episode 1 | Barbara Flückiger
Credit: Martin Weiss, ERC Advanced Grant FilmColors.
Oliver Hanley (*1984, Belfast) is a film historian and preservationist. After graduating from the University of Amsterdam's professional MA programme in Preservation and Presentation of the Moving Image in 2008, he worked on various web projects and exhibitions at the Deutsche Kinemathek in Berlin. From 2011 to 2016 he was responsible for DVD and web publications as well as restoration and digitisation projects at the Austrian Film Museum in Vienna. Since December 2016, he has been working at the Film University Babelsberg, where he teaches on the Film Heritage MA programme. He is a member of FIAF's Programming and Access to Collections Commission.
Links related to the conversation I had with Oliver Hanley:
Barbara Flueckiger has been professor for film studies at the University of Zurich since 2007. Before her studies in film theory and history, she worked internationally as a film professional. Her research focuses on the interaction between technology and aesthetics. She published two standard text books, Sound Design and Visual Effects. Since 2001 she has developed and led many research projects. In 2015 she was awarded the prestigious Advanced Grant by the European Research Council for a research project on the technology and aesthetics of film colors plus in 2018 a proof of concept for the development of a multispectral, versatile film scanner.
Links related to the conversation I had with Barbara Flückiger:
Fifth International Conference Colour in Film London, March 11 to 13, 2020, Location: BFI Southbank, Belvedere Rd, Lambeth, London SE1 8XT, Great Britain
Barbara Flückiger, Eva Hielscher, Nadine Wietlisbach (eds.)
Credit: Matt Valentine
Joan Neuberger is Professor of History at the University of Texas at Austin. Her publications include Hooliganism: Crime and Culture in St Petersburg, 1900-1914 (California: 1993), Ivan the Terrible: The Film Companion (Palgrave: 2003); and co-editor of Imitations of Life: Melodrama in Russia (Duke: 2001) and Picturing Russia: Explorations in Visual Culture (Yale: 2008); and The Flying Carpet: Studies on Eisenstein and Russian Cinema in Honor of Naum Kleiman (Mimésis International. 2017). Her most recent book is This Thing of Darkness: Eisenstein’s Ivan the Terrible in Stalin’s Russia (Cornell: 2019). Prof. Neuberger is also Founding Editor of the public history website, Not Even Past and co-host, with Christopher Rose, of the history podcast series, 15 Minute History.
Links related to the conversation I had with Joan Neuberger:
Dustin Condren is Assistant Professor of Russian in the Department of Modern Languages, Literatures, and Linguistics. His research focuses primarily on the literature and intellectual culture of the early Soviet period, and the visual and physical forms (cinema, photography, painting, performance) that often frame them. His current book project analyzes six of Soviet filmmaker and theoretician Sergei Eisenstein's major articulated but unrealized film projects of the late nineteen twenties and early thirties, and uses their non-film archival remnants to both imagine their intended onscreen projection and to probe their failures for insight into the development of the director’s—and the medium’s—expressive and significative possibilities.
Professor Condren teaches courses on nineteenth- and twentieth-century prose, poetry, and dramatic literature; Russian and Soviet cinema; and upper-level Russian language. He received his PhD in Slavic Languages and Literatures from Stanford University.
#Episode 5 | Noemi Daugaard
• Bling of the month: Interview with Noemi Daugaar
• News: Melanie Bell on the IAMHIST Challange 2020
• Dear Diary: My citizen science project „The cinematic face of Potsdam“ I
Noemi Daugaard is a PhD candidate at the University of Zurich. In the framework of the research project Film Colors. Technologies, Cultures, Institutions, funded by the Swiss National Science Foundation, she investigates the emergence of early color film technologies (1890-1940) and their interrelation with cultural norms, discursive practices and ideological currents. She’s interested in notions and negotiations of identity in relation to discourses on beauty, consumption, skin color, and nationalism, as well as in the epistemological foundations that feed into the development of color film technology. Furthermore, she’s a regular contributor to the Timeline of Historical Film Colors.
Melanie Bell is an Associate Professor in Film and Media at the University of Leeds, UK. She has a BA in Literature and History, an MA in Cinema Studies, and PhD in Film and Gender from the University of Hull’s Centre for Gender Studies. She has taught courses in British cinema history, Hollywood film, and feminist media studies at the Universities of Hull, Portsmouth, Newcastle and Leeds. Her recent research investigates the economic and creative contribution of women to historical British film production – as stars, industry workers and creative ‘elites’ – and has been published in Feminist Media Histories, Screen and the Historical Journal of Film, Radio and Television. Her next publication Work! A Feminist History of Women and Film will be published by the University of Illinois Press in 2020. Melanie has worked extensively with trade union records and oral history, and is currently pursing research in feminist archives, archiving and historiography.
#Episode 6 | Stefanie Eckert
• Bling of the month: Interview with Stefanie Eckert
• News: Kerstin Fröber on the study „In the dark cube: Movie theater context enhances the valuation and aesthetic experience of watching films“
• Dear Diary: My citizen science project „The cinematic face of Potsdam“ II
Stefanie Eckert studied media studies at the Hochschule für Film und Fernsehen "Konrad Wolf" (Germany) and has been working in various positions for the DEFA Foundation since 2001. As a long-standing advisor to the Board of Directors of the Foundation, she is very familiar with the DEFA's film stock and knows about the technical, cultural-political and financial peculiarities and challenges in dealing with the DEFA film heritage. In 2008, her book „Das Erbe der DEFA: Die fast unendliche Geschichte einer Stiftungsgründung“ was published in the DEFA Foundation's publication series.
Links related to the conversation I had with Stefanie Eckert and Kerstin Fröber:
Licensed under: CC BY-NC-ND
#Episode 7 | Gilbert Motsaathebe
• Bling of the month: Interview with Gilbert Motsaathebe
• News: Adelheid Heftberger on the Summer School „Digital Archives. Data Literacy and Presentation Strategies in Audiovisual Archives“
• Gespräch mit Guido Kirsten über die soziale Rolle von (Film-)Wissenschaftler*innen
Gilbert Motsaathebe, Ph.D. is a professor in the Department of Journalism, Film and Television at the University of Johannesburg in South Africa. He previously taught at the United Arab Emirates University in the UAE and the Cape Peninsula University of Technology in South Africa. He also lived and taught in Japan and India, where he was a SEPHIS fellow. Prior to joining academia, he worked as News Producer and Output Editor for television stations such as Bop Television, SABC and e-TV, before rendering his services as Manager of Communication and Media Relations for the North West Provincial Government in South Africa. His research interests include topics on feminist film criticism, post-apartheid films, media and gender, journalism education and practice, African rhetoric and multiculturalism. He has published extensively in accredited peer-reviewed publications, and he is a regular speaker at national and international conferences in the areas of Film, Journalism, Communication and Media Studies.
Adelheid Heftberger is Head of Film Access at the film department of the German Federal Archive (Berlin). Previously she has held positions at the Brandenburg Center for Media Studies (Potsdam) and the Austrian Film Museum (Vienna) as researcher, curator and archivist. She obtained her PhD in Russian studies and a Masters in Comparative Literature from the University of Innsbruck and Vienna. In 2016 she has also completed Library- and Information Sciences at the Humboldt-University in Berlin. She is a full member of the Cataloging and Documentation Commission of FIAF and active in the Open Science movement.
Guido Kirsten, Dr., is the PI of the Emmy Noether research group “Cinematic Discourses of Deprivation: Analysing the Representation of Precarity and Exclusion in European Fiction Film and Documentary” at the Film University Babelsberg KONRAD WOLF (Potsdam). Among his research topics are questions of representation and audio-visual discourse and narration, questions of proximity and distance in the cinema, and the history of film and film theory. He is the author of Filmischer Realismus (2013) and co-editor of Christian Metz and the Codes of Cinema: Film Semiology and Beyond (Amsterdam University Press 2018; together with Margrit Tröhler). Since 2007 he has been an editor of the film and television studies journal Montage AV, for which he co-edited issues on André Bazin (2009), the sociology of film in French filmology (2010), film and politics (2014), Roland Barthes’ film related writings (2015), new film distribution (streaming and BitTorrent; 2017), and questions of proximity and distance (2019).
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