One of the most popular picture books series is Sven Nordqvist’s Pettersson & Findus – no wonder that the German film director Ali Samadi Ahadi has recently directed a children’s film based on some of Nordqvist’s stories. For the 50th supplement of the (German-language) Lexikon des Kinder- und Jugendfilms I have written a small article that investigates the film’s production history and analyzes selected aspects of the film: Even though it mainly targets elementary-school-level children, Pettersson & Findus – Kleiner Quälgeist, große Freundschaft employs a surprisingly complex cinematic aesthetics, using the arsenal of contemporary blockbuster cinema.
I’ve been researching the way in which digital games have influenced contemporary filmmaking for a while. One of the outcomes of that research is an article that has just been published in the latest – and sadly last – issue of the (German-language) Lexikon des Kinder- und Jugendfilms, a cornerstone of the German children’s film research landscape. The article, “Computer-Spiel-Ästhetik im Kinder- und Jugendfilm” outlines basic varieties of computer game aesthetics in cinema: Film adaptations of computer games, computers as set pieces in film, game worlds in film, computer game characters in film, computer game paratexts in film, interactive films as new forms of cinematic narration. Within that framework, I discuss a number of films such as Wreck-it-Ralph, Spy Kids 3D, Scott Pilgrim vs. the World, Star Wars: Episode 1, Tron, eXistenZ, Run Lola Run, and others. You can find the article in the 50th supplement of the Lexikon des Kinder- und Jugendfilms, edited by Horst Schäfer. You can read the article here.
Timotheus Vermeulen and I wrote an uber review of current German television studies: cartography of a debate, for the March 2016 issue of the journal Critical Studies in Television. We give an overview of some of the most exciting contributions to current German-language TV scholarship. Check it out – the entry is available for free.
At last! Apparently, some books take their time before peeking out into the world, in a Wittgensteinian fashion. This is certainly true for my Skepticism Films. Knowing and Doubting the World in Contemporary Cinema: almost ten years after I drafted my first ideas about the way in which mainstream cinema plays around with ideas of a rather philosophical provenance, the book is finally available in print and in ebook format, published by Bloomsbury. I am very happy about that – and about the wonderful design and haptics of the book. You can find more information about the book here, the link to the publisher’s homepage with additional online material is here.