Wissensraum Film Book by Dorit Muller - Bookswagon
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Wissensraum Film

Wissensraum Film


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About the Book

English summary: In recent years, film studies do not only investigate epistemological conditions but rather spatial aspects of film. Some studies have analyzed the order of discourses in film, practices of generating knowledge or the self-reflective knowledge of the medium. Others focus on spatial dimensions of filmic representation. There was little effort made to bring together the aspects mentioned. With this in mind, the present volume aims to explore for the first time filmic knowledge production with regard to filmic space. Our model "Wissensraum Film" ("Film as Knowledge Space") considers film as medium generating, disseminating, and transforming knowledge. At the same time, it is conscious of the fact that knowledge, as produced in film, is always already spatially composed. Film, thus, has to create spatial relationships, dynamics, and transformations to be able to develop its knowledge. The overarching question of the volume is concerned with the productivity of relational concepts of space in the investigation of knowledge generation: How does film create spatial structures and thus specific formations of knowledge? What is the relationship between individual epistemic elements? How do spatial conditions of screening influence filmic representation and how does self-reflective knowledge evolve in this process? The volume investigates film as specific epistemic medium. Knowledge in film is not only confined to representing, interpreting, or transferring literary and scientific knowledge, just as the filmic space is not equal to Euclidean space in physics. Rather, there are multiple spatial and epistemic potentials exclusive to film in the different stages of its development. The contributions to this volume design models of describing this specific filmic mediality. They trace various genres, ouvres and aesthetics to determine their epistemic effects and correlate films with other types of media and non-filmic discourses. German description: Seit einigen Jahren wenden sich Untersuchungen zum Film nicht nur vermehrt den wissensgeschichtlichen und epistemologischen Bedingungen, sondern auch den raumlichen Aspekten des Mediums zu. Jungere Studien befassen sich einerseits mit den Ordnungen des Wissens im Film, analysieren Praktiken der Wissensgenerierung oder richten den Fokus auf das selbstreflexive Wissen des Mediums. Andererseits geraten raumliche Dimensionen filmischer Gestaltung in den Blick. Eine Zusammenfuhrung der wissens- und raumtheoretischen Ansatze mit Bezug auf den Film hat bisher jedoch kaum stattgefunden. Vor diesem Hintergrund setzt sich der Band zum Ziel, die filmische Wissensproduktion erstmals uber eine Analyse des filmischen Raums zu erschliessen. Das Modell "Wissensraum Film" betrachtet den Film dabei als Medium, welches konkrete Wissensbestande generiert oder bestehendes Wissen verbreitet und transformiert. Zugleich basiert es auf der Beobachtung, dass filmisch generiertes Wissen immer schon raumlich verfasst ist, dass der Film also spatiale Beziehungen, Dynamiken und Transformationen erzeugen muss, um sein Wissen entfalten zu konnen. Die ubergreifende Fragestellung des Bandes richtet sich vor allem auf die Anschlussfahigkeit relationaler Raumkonzepte fur die Analyse filmischer Wissensproduktion: Wie stellen Filme raumliche Zusammenhange und damit spezifische Wissensformationen her? In welcher Relation stehen die einzelnen Wissenselemente zueinander? Und auf welche Weise bindet der Film die raumlichen Gegebenheiten seiner Vorfuhrung in die Wissensproduktion ein und entwickelt dabei auch selbstreflexives Wissen? Der Band erforscht den Film als spezifisches Medium der Wissensproduktion. Filmisches Wissen ist nicht allein die Darstellung, Ubersetzung oder Popularisierung etwa wissenschaftlichen oder literarischen Wissens, ebenso wie der filmische Raum nicht im euklidischen Raum der Physik aufgeht. Vielmehr existieren spatiale und epistemische Moglichkeitsbedingungen und Potenziale, die der Film in den unterschiedlichen Phasen seiner Entwicklung exklusiv besitzt. Die Beitrage des Bandes entwerfen Beschreibungsmodelle, die diese mediale Spezifik erfassen konnen, spuren unterschiedlichen Gattungen, Oeuvres und Asthetiken nach, um deren epistemische Effekte zu differenzieren, und setzen den Film zu anderen Medien ebenso wie zu ausserfilmischen Diskursen in Beziehung.
About the Author: Irina Gradinari is research fellow at the Institut fur Kulturwissenschaft (Institute for Cultural History and Theory) at Humboldt-Universitat Berlin. From 2010-2013 she worked as an assistant fellow at the German Department at University Trier. Her current research project aims to investigate memory politics in West/East German as well as Russian war films on the Second World War.


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Product Details
  • ISBN-13: 9783954900374
  • Publisher: Dr Ludwig Reichert
  • Binding: Hardback
  • No of Pages: 288
  • Series Title: Trierer Beitrage Zu Den Historischen Kulturwissenschaften
  • ISBN-10: 3954900378
  • Publisher Date: 08 Jan 2015
  • Language: German
  • Returnable: N
  • Weight: 965 gr


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