Volker Pantenburg – författare

Bewegte Bilder begegnen uns heute jederzeit und überall – umso wichtiger ist es, die filmwissenschaftlichen Erkenntnisse auf dem Gebiet der Filmanalyse zu sammeln, zu systematisieren und kritisch zu evaluieren. Dieses Handbuch erschließt das Feld in ca. 30 Beiträgen auf dem aktuellen Stand der Ansätze, Praktiken und Debatten.

From moving images on the Internet to giant IMAX displays: The number of screens in the public and private sphere has increased significantly during the last two decades. While this is often taken to indicate the "death of cinema," this volume attempts to reconsider the limits and specifics of film and the traditional movie theater. It analyzes notions of spectatorship, the relationship between cinema and the "uncinematic," the contested place of installation art in the history of experimental cinema, and the characteristics of the high definition image. Further contributions discuss the ways in which cinema interacts with other arts and media such as theater and television. Contributors include Raymond Bellour, Victor Burgin, Vinzenz Hediger, Tom Gunning, Ute Holl, Ekkehard Knörer, Thomas Morsch, Jonathan Rosenbaum and the editors.

In summer 1997, French film critic and historian Bernard Eisenschitz met with Robert Kramer three times to speak in detail about Kramer's life and work, covering thirty years of filmmaking. The exchange between friends starts with his early, activist years and his involvement with the Newsreel Collective, considers essential films like Ice (1969) and Milestones (1975), and traces Kramer's orientation towards Europe and relocation to France in the late 1970s. Going back and forth between Europe, the USA, Portugal, and Vietnam, Kramer was consistently able to work and make films like Doc's Kingdom (1987), Route One/USA (1989), and Starting Place (1993). He passed away in 1999. The conversation was published in French in 2001 as Points de départ. More than 20 years later, Starting Places: A Conversation with Robert Kramer makes this illuminating account of a "mid-Atlantic" filmmaker available in its original language for the first time. The book is complemented by three of Kramer's essays from the 1980s and 1990s and an updated bibliography and filmography.