The good, the beautiful and the sublime
No…don’t come to me! There is more allure / In waiting with sweet apprehension, fear. / Just while seeking out everything is pure; / It’s nicer when just foreboding is near. – Desanka Maksimovic
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No…don’t come to me! There is more allure / In waiting with sweet apprehension, fear. / Just while seeking out everything is pure; / It’s nicer when just foreboding is near. – Desanka Maksimovic
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European nightmares – Horror cinema in Europe since 1945
Patricia Allmer, Emily Brick, and David Huxley’s edited collection EUROPEAN NIGHTMARES: HORROR CINEMA IN EUROPE SINCE 1945 (New York-Chichester: Columbia University Press/Wallflower Press, 2012) is a book with roots that go back to a conference...
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Patricia Allmer, Emily Brick, and David Huxley’s edited collection EUROPEAN NIGHTMARES: HORROR CINEMA IN EUROPE SINCE 1945 (New York-Chichester: Columbia University Press/Wallflower Press, 2012) is a book with roots that go back to a conference organised by the editors at Manchester Metropolitan University in 2006. As Allmer, Brick, and Huxley state in their introduction, horror films produced in Europe during the past decade have proven to be very popular and successful at the box office, while at the same time the horror genre has become a flourishing field of investigation. Although a number of books have been published about the Hollywood horror film or about specific national cinemas, a comprehensive analysis of European horror cinema is still lacking. This is the gap that this book intends to fill.
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Cinema and experience – Siegfried Kracauer, Walter Benjamin, and Theodor W. Adorno
I first encountered the work of Miriam Hansen as a graduate student in the mid-1990s when her book BABEL AND BABYLON was the talk of the (at that time still fairly modest) film studies town – even though it was sitting somewhat uneasily on the fence....
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I first encountered the work of Miriam Hansen as a graduate student in the mid-1990s when her book BABEL AND BABYLON was the talk of the (at that time still fairly modest) film studies town – even though it was sitting somewhat uneasily on the fence. In fact, it was this position beyond the canonical that made the book so attractive in the first place. It did not fit into the raging debate of that time between psychosemiotics and neo-formalism, nor did it offer the (often too schematic and naive) way out within the cultural studies paradigm of empowering the individual or sub-culturally constituted groups.
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Subjectivity and ostrannenie – Key debates in European film studies
Amsterdam University Press recently launched a book series titled The Key Debates: Mutations and Appropriations in European Film Studies. Directed by Ian Christie, Dominique Chateau, and Annie van den Oever, the series aims at focusing on the central...
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Amsterdam University Press recently launched a book series titled The Key Debates: Mutations and Appropriations in European Film Studies. Directed by Ian Christie, Dominique Chateau, and Annie van den Oever, the series aims at focusing on the central issues animating the current theoretical debate within film studies (but with a special emphasis on its relation with digital media in general).
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