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This book is specifically dedicated to film history's own history: It provides insights into the fabrication of film histories and the discourses on their materials and methods in the past in order to better understand and reconsider film history today. The interventions unpack unspoken assumptions and hidden agendas that determine film historiography until today, also with the aim to act as a critical reflection on the potential future orientation of the field. The edited volume proposes a transnational, entangled and culturally diverse approach towards an archaeology of film history, while paying specific attention to persons, objects, infrastructures, regions, institutional fields and events hitherto overlooked. It explores past and ongoing processes of doing, undoing and redoing film history. Thereby, in a self-reflective gesture, it also draws attention to our own work as film historians.
List of contents
Introduction, Malte Hagener and Yvonne Zimmermann: Unpacking Film History's Own Histories: An Archaeology of Film Historiography, Models of Film Historiography - Philosophy and Time, Thomas Elsaesser: The Aporias of Cinema History, Jane M. Gaines: What Next?: The
Historical Time Theory of Film History, Nicholas Baer: Relativist Perspectivism:
Caligari and the Crisis of Historicism, Heide Schlüpmann: The Discovery of Early Cinema: The Moment of Silence, Film History in the Making: Processes and Agendas, Francesco Pitassio: Consistency, Explosion and the Writing of Film History: On Different Ways to Approach Film History at Different Times, Masha Salazkina: Defeats that Were Almost Victories: Jay Leyda's (Soviet) Archives, Benoît Turquety: A Filmmaker's Film Histories: Adjacency Historiography and the Art of the Anthology, Yvonne Zimmermann: Hans Richter and the Struggle for the Film History, Re-Visiting Film History: Institutions, Knowledge and Circulation, Firat Oruc: Historicizing Gulf Moving Image Archives, Charles R. Acland: Lost Revolution: British Cultural Studies in Film History, Arvind Rajagopal: The Eclipse of Secular Realism: Notes on the Documentary Film from post-Cold War India, Michael Cowan: What Was a Film Society? Towards a New Archaeology of Screen Communities, Re-Writing Film History with Images: Audiovisual Forms of Historiography, Volker Pantenburg: A Televisual Cinémathèque: Film Histories on West-German Television, Eleftheria Thanouli: The History of Film on Film: Some Thoughts on Reflexive Documentaries, Chiara Grizzaffi: Audiovisual Film Histories for the Digital Age: From Found Footage Cinema to Online Videographic Criticism, Into the Digital: New Approaches and Revisions, Franziska Heller: Future Pasts within the Dynamics of the Digital Present. Digitised Films and the Clusters of Media Historiographic Experience, Alexandra Schneider and Vinzenz Hediger: Tipping the Scales of Film History. A Note on Scalability and Film Historiography, Sarah-Mai Dang: Representing the Unknown: A Critical Approach to Digital Data Visualisations in the Context of Feminist Film Historiography, Select Bibliography, Contributors, Index.
About the author
Malte Hagener is Professor of Media and Film Studies at Philipps-Universität Marburg, Germany. His publications include (with Thomas Elsaesser)
Film Theory. An Introduction through the Senses (Routledge 2010, 2nd revised edition 2015). He is the co-editor of
Handbuch Filmanalyse (Wiesbaden: Springer 2020; with Volker Pantenburg) and the editor of
The Emergence of Film Culture. Knowledge Production, Institution Building and the Fate of the Avant-garde in Europe, 1919-1945. London: Berghahn 2014. Yvonne Zimmermann is Professor of Media Studies at Philipps-University Marburg. Recent books include the co-authored
>/cite> (AUP 2021) and the co-edited Films That Work Harder: The Global Circulations of Industrial Cinema (AUP 2023). She is the editor of a special issue on Asta Nielsen, the film star system and the introduction of the long feature film in Early Popular Visual Culture (2021).
