Jan-Hendrik Bakels – författare

The Cinepoetics book series aims at a theoretical and analytical reconceptualization of the discursivity of audiovisual images. The focus is not on the circulation of media representations but on the modes of this circulation: How do audiovisual images as figurations of media experience relate to other audiovisual images? What does it mean to describe different modes of audiovisual experience and recursivity as forms of cinematic thinking? From this perspective, the series’ volumes provide analyses of the aesthetic dimension, historical function and cultural significance of their subjects, making the poetic logic of audiovisual images accessible to an interdisciplinary audience. Please note also the English-language Cinepoetics book series and the series Cinepoetics Essay.

Questions on the relation of film and viewer's emotions have been widely discussed in recent film theory. But while the role of emotions for cinema in general, particular film genres and the movie going experience have been largely discussed systematic film analytical approaches to qualifying the emotional quality of particular films and audio-visual sequences remain rare exceptions. In addition, the existing approaches often focus on narrative structures, character constellations and empathetic emotions. On the other hand, over the past two decades film phenomenology has produced highly interesting ideas on embodied perception, subjective affectivity and temporality that call for a re-thinking of film analytical approaches to viewer's affectivity. Against this backdrop, the book takes film music theory – as well as the particular importance of temporality and dynamic affects in this field of theory – as a starting point in looking at the musicality of the audio-visual image itself. In light of this perspective analytically graspable rhythms of audio-visual images are taken into account, revealing viewer's affects to be shaped in time by a complex interplay of rhythmic tensions and kinetic forces.

Das Handbuch führt erstmals die vielseitigen Traditionen der Emotionsforschung zusammen. Den Anfang macht eine historische Betrachtung der Emotions- und Affekttheorien von der Antike bis zur Moderne. Dem folgt eine umfassende Übersicht zentraler Emotionskonzepte der Gegenwart, wie sie in Psychologie und Philosophie diskutiert werden. Vor dem Hintergrund dieser Konzepte und ihrer historischen Verortung entfaltet das Handbuch eine umfassende Typologie der Emotionen. Verschiedenste Komplexe – wie etwa Trauer, Melancholie und Depression oder Freude, Glück und Wohlbefinden – werden jeweils in den Sichtweisen unterschiedlicher Disziplinen dargelegt, darunter Ethnologie, Philosophie, Literaturwissenschaft, Soziologie, Psychologie. Abschließend werden entlang zentraler Konzepte wie Sprache, Kultur, Politik und Medien vier wesentliche Fluchtlinien aktueller Emotionsforschung entfaltet, welche den Horizont einzelner Disziplinen überschreiten und entsprechend in interdisziplinärer Perspektive erschlossen werden.