Bernd Herzogenrath – författare

As a director, actor, writer and producer, Tod Browning was one of the most dynamic Hollywood figures during the birth of commercial cinema. Known for his fantastic collaborations with Lon Chaney in numerous silents, and for directing the horror classic Dracula and the still-controversial Freaks, Browning has been called "the Edgar Allan Poe of the cinema." Despite not entering the profession until he began acting in his early thirties, he went on to helm more than 60 films in a 25-year career. His work continues to influence directors such as David Lynch, John Waters, and Alejandro Jodorowsky.These essays critically explore such topics as the connection between Browning, Poe and Kant; Browning's cinematic techniques; disability; masochism; sound and suspense; duality; parenthood; narrative and cinematic trickery; George Melford; surrealism; and the occult. A Browning filmography is included.

This collection of 20 essays pays homage to a filmmaker who had a reputation for delivering the most movie for the least money. Edgar G. Ulmer, nicknamed "The King of the Bs" and "The King of Poverty Row," gave us classics like The Black Cat, starring Bela Lugosi. His stealing away the wife of a producer led to exile from Hollywood and, working outside the studio system and with low budgets, he turned out film noir, science fiction, and ethnic films that achieved cult status and critical acceptance.

Considered the "King of Poverty Row," Edgar G. Ulmer (1904-1972) was an auteur of B productions. A filmmaker with an individual voice, Ulmer made independent movies before that category even existed. From his early productions like The Black Cat (1934) and Yiddish cinema of the late 1930s to his final films of the late 1950s and early 1960s, Ulmer created enduring works within the confines of economic constraints.Almost forgotten, Ulmer was rediscovered first in the 1950s by the French critics of the Cahiers du Cinema and then in the early 1970s by young American directors, notably Peter Bogdanovich. But who was Edgar G. Ulmer? The essays in this anthology attempt to shed some light on the director and the films he created—films that are great possibly because of, rather than despite, the many restrictions Ulmer endured to make them.In The Films of Edgar G. Ulmer, Bernd Herzogenrath has assembled a collection of essays that pay tribute to Ulmer's work and focus not only on his well-known films, including Detour, but also on rare gems such as From Nine to Nine and Strange Illusion. In addition to in-depth analyses of Ulmer's work, this volume also features an interview with Ulmer's wife and an interview Ulmer gave in 1965, in which he comments on actors Bela Lugosi and Boris Karloff, as well as fellow directors Tod Browning and James Whale.

Considered the "King of Poverty Row," Edgar G. Ulmer (1904-1972) was an auteur of B productions. A filmmaker with an individual voice, Ulmer made independent movies before that category even existed. From his early productions like The Black Cat (1934) and Yiddish cinema of the late 1930s to his final films of the late 1950s and early 1960s, Ulmer created enduring works within the confines of economic constraints.Almost forgotten, Ulmer was rediscovered first in the 1950s by the French critics of the Cahiers du Cinema and then in the early 1970s by young American directors, notably Peter Bogdanovich. But who was Edgar G. Ulmer? The essays in this anthology attempt to shed some light on the director and the films he created-films that are great possibly because of, rather than despite, the many restrictions Ulmer endured to make them.In The Films of Edgar G. Ulmer, Bernd Herzogenrath has assembled a collection of essays that pay tribute to Ulmer''s work and focus not only on his well-known films, including Detour, but also on rare gems such as From Nine to Nine and Strange Illusion. In addition to in-depth analyses of Ulmer''s work, this volume also features an interview with Ulmer''s wife and an interview Ulmer gave in 1965, in which he comments on actors Bela Lugosi and Boris Karloff, as well as fellow directors Tod Browning and James Whale.

The Barrandov Studios are one of the largest and oldest film studios in Europe. For more than 80 years so far, the studios have been the location of choice for over 2,500 Czech and International films. Barrandov's founding fathers, the Havel brothers Vaclav and Milo (the grandfather and uncle of later president Vaclav Havel), built the 'Hollywood of Eastern Europe' in the 1930s. A legendary studio like this, and its story, has so far not been told to an English-speaking readership. This collection aims to correct this, presenting the studio's rich history, its esteemed directors, and their most important films.

Avant-garde filmmaker Bill Morrison has been making films that combine archival footage and contemporary music for decades, and he has recently begun to receive substantial recognition: he was the subject of a retrospective at the Museum of Modern Art, and his 2002 film Decasia was selected for the National Film Registry by the Library of Congress. This is the first book-length study of Morrison's work, covering the whole of his career. It gathers specialists throughout film studies to explore Morrison's aesthetics of the archive-his creative play with archival footage and his focus on the materiality of the medium of film.

The Barrandov Studios are one of the largest and oldest film studios in Europe. For more than 80 years so far, the studios have been the location of choice for over 2,500 Czech and International films. Barrandov's founding fathers, the Havel brothers Vaclav and Milo (the grandfather and uncle of later president Vaclav Havel), built the 'Hollywood of Eastern Europe' in the 1930s. A legendary studio like this, and its story, has so far not been told to an English-speaking readership. This collection aims to correct this, presenting the studio's rich history, its esteemed directors, and their most important films.

Avant-garde filmmaker Bill Morrison has been making films that combine archival footage and contemporary music for decades, and he has recently begun to receive substantial recognition: he was the subject of a retrospective at the Museum of Modern Art, and his 2002 film Decasia was selected for the National Film Registry by the Library of Congress. This is the first book-length study of Morrison's work, covering the whole of his career. It gathers specialists throughout film studies to explore Morrison's aesthetics of the archive-his creative play with archival footage and his focus on the materiality of the medium of film.

The Barrandov Studios are one of the largest and oldest film studios in Europe. For more than 80 years so far, the studios have been the location of choice for over 2,500 Czech and International films. Barrandov's founding fathers, the Havel brothers Vàclav and Milo (the grandfather and uncle of later president Vàclav Havel), built the 'Hollywood of Eastern Europe' in the 1930s. A legendary studio like this, and its story, has so far not been told to an English-speaking readership. This collection aims to correct this, presenting the studio's rich history, its esteemed directors, and their most important films.

Avant-garde filmmaker Bill Morrison has been making films that combine archival footage and contemporary music for decades, and he has recently begun to receive substantial recognition: he was the subject of a retrospective at the Museum of Modern Art, and his 2002 film Decasia was selected for the National Film Registry by the Library of Congress. This is the first book-length study of Morrison's work, covering the whole of his career. It gathers specialists throughout film studies to explore Morrison's aesthetics of the archive-his creative play with archival footage and his focus on the materiality of the medium of film.

This collection brings together artists and theoreticians to provide the first anthology of a new field: Practical Aesthetics.A work of art already contains its own criticism, a knowledge of its own which need not be conceptual or propositional. Yet today, there are many approaches to different forms of art that work on the brink between science and art, ‘sensible cognition’ and proposition, aesthetic knowledge and rational knowledge, while thinking with art (or the artistic material) rather than about it. This volumes presents ways of thinking with different forms of art (film, sound, dance, literature, etc), as well as new forms of aesthetic research and presentation such as Media Philosophy, the audiovisual essay, fictocriticism, the audio paper, and Artistic Research. It reveals how writing about art can become ‘artistic’ or ‘poetic’ in its own right: not only writing about artistic effects, but producing them in the first place. This takes art not as an object of (external) analysis, but as a subject with a knowledge in its own right, creating a co-composing 'conceptual interference pattern' between theory and practice.A ‘practical aesthetics’ thus understood, can be described as thinking with art, in order to find new ways to create worlds and thus to make the world perceivable in different ways.

This collection brings together artists and theoreticians to provide the first anthology of a new field: Practical Aesthetics. A work of art already contains its own criticism, a knowledge of its own which need not be conceptual or propositional. Yet today, there are many approaches to different forms of art that work on the brink between science and art, ''sensible cognition'' and proposition, aesthetic knowledge and rational knowledge, while thinking with art (or the artistic material) rather than about it. This volumes presents ways of thinking with different forms of art (film, sound, dance, literature, etc), as well as new forms of aesthetic research and presentation such as Media Philosophy, the audiovisual essay, fictocriticism, the audio paper, and Artistic Research. It reveals how writing about art can become ''artistic'' or ''poetic'' in its own right: not only writing about artistic effects, but producing them in the first place. This takes art not as an object of (external) analysis, but as a subject with a knowledge in its own right, creating a co-composing ''conceptual interference pattern'' between theory and practice. A ''practical aesthetics'' thus understood, can be described as thinking with art, in order to find new ways to create worlds and thus to make the world perceivable in different ways.

This collection brings together artists and theoreticians to provide the first anthology of a new field: Practical Aesthetics. A work of art already contains its own criticism, a knowledge of its own which need not be conceptual or propositional. Yet today, there are many approaches to different forms of art that work on the brink between science and art, ''sensible cognition'' and proposition, aesthetic knowledge and rational knowledge, while thinking with art (or the artistic material) rather than about it. This volumes presents ways of thinking with different forms of art (film, sound, dance, literature, etc), as well as new forms of aesthetic research and presentation such as Media Philosophy, the audiovisual essay, fictocriticism, the audio paper, and Artistic Research. It reveals how writing about art can become ''artistic'' or ''poetic'' in its own right: not only writing about artistic effects, but producing them in the first place. This takes art not as an object of (external) analysis, but as a subject with a knowledge in its own right, creating a co-composing ''conceptual interference pattern'' between theory and practice. A ''practical aesthetics'' thus understood, can be described as thinking with art, in order to find new ways to create worlds and thus to make the world perceivable in different ways.

This collection brings together artists and theoreticians to provide the first anthology of a new field: Practical Aesthetics.A work of art already contains its own criticism, a knowledge of its own which need not be conceptual or propositional. Yet today, there are many approaches to different forms of art that work on the brink between science and art, ‘sensible cognition’ and proposition, aesthetic knowledge and rational knowledge, while thinking with art (or the artistic material) rather than about it. This volumes presents ways of thinking with different forms of art (film, sound, dance, literature, etc), as well as new forms of aesthetic research and presentation such as Media Philosophy, the audiovisual essay, fictocriticism, the audio paper, and Artistic Research. It reveals how writing about art can become ‘artistic’ or ‘poetic’ in its own right: not only writing about artistic effects, but producing them in the first place. This takes art not as an object of (external) analysis, but as a subject with a knowledge in its own right, creating a co-composing 'conceptual interference pattern' between theory and practice.A ‘practical aesthetics’ thus understood, can be described as thinking with art, in order to find new ways to create worlds and thus to make the world perceivable in different ways.

Particularly for the disciplines of the humanities and social sciences, for which writing is their lifeblood, the crisis in academic writing has become existential. It is not hard to diagnose the disease, and its causes. This book showcases what we desperately need: radical alternatives, experiments we can try out, ways of writing that don’t just tweak the system but plot a different course altogether. This isn’t just about finding new genres, for these only change the surface appearance without altering the underlying dynamic. Rather, the editor and contributors focus on finding new ways to join thinking both with writing and the things of which, and with which, we write. Each chapter brims with the kind of liveliness, outspokenness and urgency that their theme demands. Far from tiptoeing around the edifice of academia they are intent on stirring things up, reigniting their scholarship with a fuse of activism, in the hope of setting off an explosion that could send ripples throughout the academy.

Particularly for the disciplines of the humanities and social sciences, for which writing is their lifeblood, the crisis in academic writing has become existential. It is not hard to diagnose the disease, and its causes. This book showcases what we desperately need: radical alternatives, experiments we can try out, ways of writing that don’t just tweak the system but plot a different course altogether. This isn’t just about finding new genres, for these only change the surface appearance without altering the underlying dynamic. Rather, the editor and contributors focus on finding new ways to join thinking both with writing and the things of which, and with which, we write. Each chapter brims with the kind of liveliness, outspokenness and urgency that their theme demands. Far from tiptoeing around the edifice of academia they are intent on stirring things up, reigniting their scholarship with a fuse of activism, in the hope of setting off an explosion that could send ripples throughout the academy.

Particularly for the disciplines of the humanities and social sciences, for which writing is their lifeblood, the crisis in academic writing has become existential. It is not hard to diagnose the disease, and its causes. This book showcases what we desperately need: radical alternatives, experiments we can try out, ways of writing that don''t just tweak the system but plot a different course altogether. This isn''t just about finding new genres, for these only change the surface appearance without altering the underlying dynamic. Rather, the editor and contributors focus on finding new ways to join thinking both with writing and the things of which, and with which, we write. Each chapter brims with the kind of liveliness, outspokenness and urgency that their theme demands. Far from tiptoeing around the edifice of academia they are intent on stirring things up, reigniting their scholarship with a fuse of activism, in the hope of setting off an explosion that could send ripples throughout the academy.

Particularly for the disciplines of the humanities and social sciences, for which writing is their lifeblood, the crisis in academic writing has become existential. It is not hard to diagnose the disease, and its causes. This book showcases what we desperately need: radical alternatives, experiments we can try out, ways of writing that don''t just tweak the system but plot a different course altogether. This isn''t just about finding new genres, for these only change the surface appearance without altering the underlying dynamic. Rather, the editor and contributors focus on finding new ways to join thinking both with writing and the things of which, and with which, we write. Each chapter brims with the kind of liveliness, outspokenness and urgency that their theme demands. Far from tiptoeing around the edifice of academia they are intent on stirring things up, reigniting their scholarship with a fuse of activism, in the hope of setting off an explosion that could send ripples throughout the academy.

What colour is the future – or rather, what colors are the futures? Broad and enlightening in its coverage, this collection explores the notion that there is not just one visualization of the future, but many, stretching across and beyond shades of utopian brightness and dystopian darks. Visiting futures that belong to the realm of ghosts, it calls for a hauntology that deals not only with spectres of the past but also the of future, offering a fascinating engagement with both colonial history and hyper-accelerated societies.Guided by a diversity of colours, contributors speculate on non-anthropogenic futurities, theorising on the richness of an essentially complex and disordered material universe. The volume’s critical approaches range from speculative realism, oceanic biology, and philosophy and politics, to posthumanism and queer theory. What all these offerings have in common is a strong focus on materiality, the in|human, and the innovative possibilities that are brought into light by this ‘fabulated spectrum’. They combine the potentialities of philosophy, art, and science, in that they all forge a relation to chaos, or, an undeterminable ‘new.’ Powerful and thought-provoking, this book illuminates different possibilities of gazing upon futures in nuanced and novel ways.

What colour is the future or rather, what colors are the futures? Broad and enlightening in its coverage, this collection explores the notion that there is not just one visualization of the future, but many, stretching across and beyond shades of utopian brightness and dystopian darks. Visiting futures that belong to the realm of ghosts, it calls for a hauntology that deals not only with spectres of the past but also the of future, offering a fascinating engagement with both colonial history and hyper-accelerated societies. Guided by a diversity of colours, contributors speculate on non-anthropogenic futurities, theorising on the richness of an essentially complex and disordered material universe. The volume's critical approaches range from speculative realism, oceanic biology, and philosophy and politics, to posthumanism and queer theory. What all these offerings have in common is a strong focus on materiality, the in|human, and the innovative possibilities that are brought into light by this 'fabulated spectrum'. They combine the potentialities of philosophy, art, and science, in that they all forge a relation to chaos, or, an undeterminable 'new.' Powerful and thought-provoking, this book illuminates different possibilities of gazing upon futures in nuanced and novel ways.

What colour is the future or rather, what colors are the futures? Broad and enlightening in its coverage, this collection explores the notion that there is not just one visualization of the future, but many, stretching across and beyond shades of utopian brightness and dystopian darks. Visiting futures that belong to the realm of ghosts, it calls for a hauntology that deals not only with spectres of the past but also the of future, offering a fascinating engagement with both colonial history and hyper-accelerated societies. Guided by a diversity of colours, contributors speculate on non-anthropogenic futurities, theorising on the richness of an essentially complex and disordered material universe. The volume's critical approaches range from speculative realism, oceanic biology, and philosophy and politics, to posthumanism and queer theory. What all these offerings have in common is a strong focus on materiality, the in|human, and the innovative possibilities that are brought into light by this 'fabulated spectrum'. They combine the potentialities of philosophy, art, and science, in that they all forge a relation to chaos, or, an undeterminable 'new.' Powerful and thought-provoking, this book illuminates different possibilities of gazing upon futures in nuanced and novel ways.

The Cosmopolitical Functions of Art and Theory proposes that contemporary artworks are devices that generate encounters with cosmopolitical problems and relations. To this end, the volume explores the ways in which artworks combine aesthetics (experimentation with presentation), pedagogy (constructivist modes of study) and fictioning (actualization of worlds or communities) to generate social, ontological and cosmological perspectives that offer alternatives to the legacies of modernism, globalisation and colonialism and the narratives of reactionary and technological futurisms.Three sections–Worlds, Devices, Communities–structure the book’s discussion of art and cosmopolitical themes that include: cosmopolitanism and cosmic orders, environmental politics and nonhuman agencies, the ontological turn in anthropology, the cosmologies of quantum mechanics, partiality and studies of blackness, and concepts of pluriversality. This study draws on the practices of a diverse group of artists including, John Akomfrah, Black Quantum Futurism, Filipa César, Libby Heaney, Lawrence Lek, Pauline Oliveros, Orphan Drift, Katrina Plamer, Lea Porsager, Patricia Reed, Rigo 23 and Larissa Sansour, which are placed in dialogue with the concepts of philosophers, geographers, scientists and anthropologists including Karen Barad, Gilles Châtelet, Stuart Hall, Stefano Harney and Fred Moten, Yuk Hui, Elizabeth Povinelli, Milton Santos, Edward Soja, Eduardo Viverios de Castro and Sylvia Wynter.

This book explores space, time and encounter in an interdisciplinary higher education classroom during a typical academic year, considering how they might present as protagonists of authenticity. In this ethnography, the author is both the researcher and the teacher, delivering highly interactive and student centred modules for undergraduate students at a leading science and engineering university in the UK. Chasing the spirit of authenticity throughout the writing, the book demonstrates a remarkable alignment between the design and aspirations of the teaching, the experiences within the classroom, and the conduct of the research. Revealing the inner thoughts and inspirations of the researcher, the book includes insights from philosophy, anthropology, education, neuroscience, music, architecture, photography and popular culture. This examination of both the classroom experiences and the research itself reveals the messy, uncertain, imperfect – and yet fascinating nature of these very human experiences with an engaging richness. This book supports the reader to find their own version of ‘authentic’, evoked by being immersed in the story world of this research and the classrooms contained within. Readers are invited to reflect along with the researcher, and apply the insights revealed to their own teaching, learning or life experiences and take the spirit of authentic encounter into their own future.

For Gilles Deleuze, time is 'out of joint'. For Michel Serres, it is 'a crumpled handkerchief'. In both of these concepts, explicit references are made to the non-linear dynamics of Chaos and Complexity theory, as well as the New Sciences. The groundbreaking work of these key thinkers has the potential to instigate a radical break from traditional existentialist theories of time and history, affording us the opportunity to view history and historical events as a complex, non-linear system of feedback-loops, couplings and interfaces. In this collection, the first to address the comparative historiographies of Deleuze and Serres, twelve leading experts - including William Connolly, Eugene Holland, Claire Colebrook and Elizabeth Grosz - examine these alternative concepts of time and history, exposing critical arguments in this important and emerging field of research.

For Gilles Deleuze, time is out of joint. For Michel Serres, it is a crumpled handkerchief. In both of these concepts, explicit references are made to the non-linear dynamics of Chaos and Complexity theory, as well as the New Sciences. The groundbreaking work of these key thinkers has the potential to instigate a radical break from traditional existentialist theories of time and history, affording us the opportunity to view history and historical events as a complex, non-linear system of feedback-loops, couplings and interfaces. In this collection, the first to address the comparative historiographies of Deleuze and Serres, twelve leading experts including William Connolly, Eugene Holland, Claire Colebrook and Elizabeth Grosz examine these alternative concepts of time and history, exposing critical arguments in this important and emerging field of research.

For Gilles Deleuze, time is ''out of joint''. For Michel Serres, it is ''a crumpled handkerchief''. In both of these concepts, explicit references are made to the non-linear dynamics of Chaos and Complexity theory, as well as the New Sciences. The groundbreaking work of these key thinkers has the potential to instigate a radical break from traditional existentialist theories of time and history, affording us the opportunity to view history and historical events as a complex, non-linear system of feedback-loops, couplings and interfaces. In this collection, the first to address the comparative historiographies of Deleuze and Serres, twelve leading experts - including William Connolly, Eugene Holland, Claire Colebrook and Elizabeth Grosz - examine these alternative concepts of time and history, exposing critical arguments in this important and emerging field of research.

For Gilles Deleuze, time is 'out of joint'. For Michel Serres, it is 'a crumpled handkerchief'. In both of these concepts, explicit references are made to the non-linear dynamics of Chaos and Complexity theory, as well as the New Sciences. The groundbreaking work of these key thinkers has the potential to instigate a radical break from traditional existentialist theories of time and history, affording us the opportunity to view history and historical events as a complex, non-linear system of feedback-loops, couplings and interfaces. In this collection, the first to address the comparative historiographies of Deleuze and Serres, twelve leading experts - including William Connolly, Eugene Holland, Claire Colebrook and Elizabeth Grosz - examine these alternative concepts of time and history, exposing critical arguments in this important and emerging field of research.

Skepticism Films: Knowing and Doubting the World in Contemporary Cinema introduces skepticism films as updated configurations of skepticist thought experiments which exemplify the pervasiveness of philosophical ideas in popular culture. Philipp Schmerheim defends a pluralistic film-philosophical position according to which films can be, but need not be, expressions of philosophical thought in their own right. It critically investigates the influence of ideas of skepticism on film-philosophical theories and develops a typology of skepticism films by analyzing The Truman Show, Inception, The Matrix, Vanilla Sky, The Thirteenth Floor, Moon and other contemporary skepticism films. With its focus on skepticism as one of the most significant philosophical problems, Skepticism Films provides a better understanding of the dynamic interplay between film, theories of film and philosophy.

Launching Bloomsbury’s Thinking Media series, Media Matter introduces readers to the nascent field of media-philosophy. Contributors urge readers to re-adjust their ideas of Media Studies, by extending the understanding of "medium" to include a concept of materiality that also includes "non-human" transmitters (elements such as water, earth, fire, air) and also by understanding media not only in the context of cultural or discursive systems or apparatuses, relays, transistors, hardware or "discourse networks," but more inclusively, in terms of a "media ecology."Beginning with more general essays on media and then focusing on particular themes (neuroplasticity, photography, sculpture and music), especially in relation to film, Herzogenrath and the contributors redefine the concept of "medium" in order to think through media, rather than about them.