2012/2 – #Tangibility

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Cinema and experience – Siegfried Kracauer, Walter Benjamin, and Theodor W. Adorno
Hagener, Malte (2012) , S. 333-337
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.
European nightmares – Horror cinema in Europe since 1945
Di Chiara, Francesco (2012) , S. 328-333
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.
The good, the beautiful and the sublime
Behpoor, Bavand (2012) , S. 317-322
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
A multiplied medium – Reviewing recent publications on television’s transitions
Stauff, Markus (2012) , S. 322-328
In recent research on academic knowledge production there are intimations that a certain fuzziness of the investigated object, even a somewhat vague set of questions, are not the worst starting points for scholarship. These points often lead to exciting insights. This might explain why, for some time now, various academic engagements with television have provoked discussions and created conceptual tools that are of interest to media studies in general. Media studies seems to be a field (fortunately, it still cannot be considered a proper discipline) that is more dependent on the on-going transformations of its main object than other academic areas of inquiry. What constitutes a medium and how different media relate to each other are discussed on a theoretical level, but they are usually defined in relation to the dominant media constellation at hand.

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