After three semesters of looking into the medial premises and sociological dynamics of audiovisual cultures, our research focus of the winter term of 2023/24 will be on their historiographical implications. With this shift we take up discussions of previous semesters on topics such as the Cinematic Image and Historical Experience, as well as Material and Method. The notion of a historical phenomenology aims at the historicity of concrete forms of appearance and perception: To what extent can we think of audiovisual images as themselves bringing forth the  spheres in which they emerge by shaping the possibilities of communal experience at a given point in time and space?

What relevancy can be accorded to the media dispositives and technical arrangements of those public spheres with regard to the differentiation of various domains of experience? Against this background, how can processes of adaptation
and appropriation in audiovisual culture(s) be analysed from a historical
point of view? Examining these questions, we assume that the historicity of audiovisual
images is to be situated in the dynamic intersection of shared concepts
of reality and cultural processes of commonality, rather than in the rep-
resentation of historical circumstances. Therefore, the specific experien-
tial dimension of the historical cannot be reduced to a seemingly se-
cured knowledge of empirically deductible contexts. It is, according to
our hypothesis, to be reconstructed within the aesthetical mode of expe-
rience itself: As an equally complex and concrete, deep-level field of ref-
erence of image spaces and temporal forms of audiovisual movement-
images. The historicity of audiovisual images in this perspective appears
as an ever specifically constituted space of experience, in which various
cinepoetics winter program 2023/24 temporal modalities of audiovisual
culture enter a relation with one-another and become tangible as a
historical configuration.

Thus, the point of interest does not (only) refer to the relevance of au-
diovisual images as historical source material, which may then be con-
nected to a particular (political, sociological, etc.) history. Rather, the
question is how these images as genealogical intersections correspond
to a history of the shared sensibilities of cultural communities. With re-
gard to these temporal correlations, the question of the discursivity of
cinematic images is inseparably connected to a historical phenomenol-
ogy of audiovisual cultures.

With these questions in mind, we put special emphasis on the follow-
ing areas: the present’s own historicity within popular culture; the phe-
nomenological processes of (counter-)archival practices; Siegfried Kra-
cauer’s theory of history and media; the mediated memory of migration
experiences.

Mittwoch, 29. November 2023

 

10:00-10:15	Begrüßung
10:15-11:30	Bodo Mrozek Sensing the Popular Past. Mit Edmund Husserl und Arlette Farge im Archiv: Überlegungen zu einer empirischen Phänomenologie
11:30-11:45	Kaffeepause
11:45-13:00	Jan-Hendrik Bakels Relationalität als Poetologie (audiovisueller) Pop-Kultur am Beispiel des Kinos der 1990er-Jahre
13:00-14:00	Mittagspause
14:00-15:15	Christian Rüdiger Zeichen, Körper, weiße Räume. Bridgerton und die prekären Geschichtlichkeiten seiner postrassistischen Utopie
15:15-15:30	Kaffeepause
15:30-16:30	Abschlussdiskussion

Der Workshop ist intern, die Anmeldung bereits geschlossen.

Note on this semester’s event formats:

Language: The events will be held in German or English language. Informa-
tion about the respective language can be found in the event descriptions
within this newsletter as well as in the invitation emails.
Access: Colloquia and workshops are open to Cinepoetics staff and current
fellows without prior registration. Former fellows, guests, and associates are
invited to participate, as far as room capacity allows, and are asked to regis-
ter in advance.

Kolleg-Forschungsgruppe Cinepoetics
cinepoetics winter program 2023/24: Historical Phenomenology
Grunewaldstraße 35
12165 Berlin-Steglitz

---

---