... in his own writings as to particular dynamics in North American academe and beyond. It passes through several stages, extends into the domain of social media, and influences the subsequent—and ongoing—engagement with the German variants of media archaeology and the cultural techniques approach, both...

..., and its revival of the Turkish-language videotape culture in 1980s West Germany furthermore reanimate Benjamin’s commitment to media’s role in the archaeological processes of the archive, which set it loose. [email protected] Copyright © 2023 by New German Critique, Inc. 2023 archives...

... for early adopters interested in new features, are not the same as critical updates, offered to all system operators to address issues ranging from minor bugs to major security vulnerabilities. Hence we should also welcome critical methodological updates, including media archaeology, cultural techniques...

... discourses—function within media ecologies. They should not be univocal but polyphonic, and the less they favor tried-and-true formulas and foregone conclusions, the more they resemble something like art. As cinema history has repeatedly demonstrated, good and bad popular films can and do coexist with good...

...-first-century capitals like Amsterdam and New York, the litany of antecedents is meager (and in need of further scholarship). A true media archaeology could venture to late eighteenth-century phantasmagorias and beyond. A shorter avant-garde genealogy must be anchored in Weimar theater. 54 Moholy...

... in early twentieth-century German history. By way of the figure of the storyteller, read intertextually with Walter Benjamin, this article explores Scheffner’s film as the site of the collision of history and media, where materials of the past come alive in the present through remediation, through which...

... cinema montage media archaeology The final, unfinished project of the Hamburg art historian and Kulturwissenschaftler Aby M. Warburg (1866–1929)—the so-called Mnemosyne image atlas ( Bilderatlas ), whose last iteration consists of photographs of arrays of some 971 images of works of art, maps...

... archaeology have become central, and their work urges us to refl ect further on the kinds of inter- mediality and creative media contaminations that fi rst emerged so forcefully in Dada and constructivism. © 2009 by New German Critique, Inc. 2009 This content is made freely available...

...Bill Brown Through archaeological, conceptual, and rhetorical insights, Miriam Hansen puts play ( Spiel ) to work in Cinema and Experience . When she engages Walter Benjamin's treatment of film in the “Artwork” essay, she retrieves Spiel from Spielraum , naturalizing a somewhat idiosyncratic...

... and limited live telecasts of the 1936 Olympics in TV parlors throughout Berlin. See Zeutschner, Die braune Mattscheibe . In contrast to Zielinski’s media-archaeological reconstruction of audiovisual mobilities across the 1945 divide, more traditional histories of German TV stress a break with the Nazi...

... Bernhard Malkmus W. G. Sebald referred to Alexander Kluge as one of the most important com- mentators on postwar German history. He felt particularly compelled by Kluge’s literary rendition of history as archaeology: “In my opinion, the great exception has always been Alexander Kluge’s work; he...

.... 19. Wolgast, “Geschichtswissenschaft in Heidelberg,” 162. 20. Arnold and Hassmann, “Archaeology in Nazi Germany,” 76 (parenthetical references omit- ted). Lixfeld provides an introduction to the subject, with detailed further references (“Institutiona­ lisierung und Instrumentalisierung...

... lines of Herbert Marcuse’s thought. 7 Juxtaposing this with NGC , no. 146 (August 2022), Axel Honneth heads the bill with reflections on Jürgen Habermas’s notion of secular reason—a good genealogy-bearing piece. This issue emphasizes visual media: Karolina Watroba on the possibilities of a more...

... and which critics in search of Müllerʼs ever-elusive “true intentions” may desire, these inconsistencies invite an investigation of layers of meaning that Müller himself called “archaeological.” Müller used the term archaeological to describe the disinterring and reinterpreting of his fi rst...

... and proposed a mode of thinking based on the reading of fables. This fabulistic turn amounts to a corpus of texts, many of them short and essayistic, that proposes a storytelling practice for philosophy, mostly by demonstrating in medias res how such a practice would newly ground thought in lived reality. Like...

... : University of Illinois Press , 2013 . Fisher Jaimey . “ Petzold’s Phoenix , Fassbinder’s Maria Braun , and the Melodramatic Archaeology of the Rubble Past .” Senses of Cinema , no. 84 ( 2017 ). sensesofcinema.com/2017/christian-petzold-a-dossier/petzold-fassbinder . Freud Sigmund...

... with their own experiences.”30 This focus on what can be retrieved through patient excavation of deeper layers of the past is linked with the “archaeological processes” sketched out in Braun’s Leipzig lecture of 1989 and enacted most clearly in Tumulus.31 But digging down into the past...

... a capacious range of media, cultural traditions, and historical periods. Perhaps the most notorious example of Jewish revenge in the post-Holocaust era are the Stalag comics, popular in Israel in the early 1960s. These pornographic comics of Nazi exploitation told tales of sexual violence against prisoners...

... that takes stock of the state of German cities, German media, and German society from the viewpoint of their “end.” In reading these three variations of his essay films as “architectures of images,” the article presents Graf and his collaborators as “collectors” and “combiners,” who not only (re)construct...

... . In his volume on the “media history of the interview,” Ruchatz develops the concept of the “post-interview” with reference to the interview practices of Jacques Derrida and Andy Warhol ( Die Individualität der Celebrity , 321–61 ). 74. Joseph Vogl interprets Kluge’s anecdote “The Devil’s Blind...