list | yalpertem

Books on Berlin II

Moss, T. (2020). Remaking Berlin: a history of the city through infrastructure, 1920-2020. The MIT Press.

“An examination of Berlin’s turbulent history through the lens of its water and energy infrastructures.

In Remaking Berlin, Timothy Moss takes a novel perspective on Berlin’s turbulent twentieth-century history, examining it through the lens of its water and energy infrastructures. He shows that, through a century of changing regimes, geopolitical interventions, and socioeconomic volatility, Berlin’s networked urban infrastructures have acted as medium and manifestation of municipal, national, and international politics and policies. Moss traces the coevolution of Berlin and its infrastructure systems from the creation of Greater Berlin in 1920 to remunicipalization of services in 2020, encompassing democratic, fascist, and socialist regimes. Throughout, he explores the tension between obduracy and change in Berlin’s infrastructures. Examining the choices made by utility managers, politicians, and government officials, Moss makes visible systems that we often take for granted.

Moss describes the reorganization of infrastructure systems to meet the needs of a new unitary city after Berlin’s incorporation in 1920, and how utilities delivered on political promises; the insidious embedding of repression, racism, autarky, and militarization within the networked city under the Nazis; and the resilience of Berlin’s infrastructures during wartime and political division. He examines East Berlin’s socialist infrastructural ideal (and its under-resourced systems), West Berlin’s insular existence (and its aspirations of system autarky), and reunified Berlin’s privatization of utilities (subsequently challenged by social movements). Taking Berlin as an exemplar, Moss’s account will inspire researchers to take a fresh look at urban infrastructure histories, offering new ways of conceptualizing the multiple temporalities and spatialities of the networked city.” – from MIT Press

Callaghan, M. (2020). Empathetic memorials: the other designs for the Berlin Holocaust Memorial. Palgrave Macmillan.

“This book is a study of the Berlin Holocaust Memorial Competitions of the 1990s, with a focus on designs that kindle empathetic responses. Through analysis of provocative designs, the book engages with issues of empathy, secondary witnessing, and depictions of concentration camp iconography. It explores the relationship between empathy and cultural memory when representations of suffering are notably absent. The book submits that one design represents the idea of an uncanny memorial, and also pays attention to viewer co-authorship in counter-monuments. Analysis of counter-monuments also include their creative engagement with German history and their determination to defy fascist aesthetics. As the winning design for The Memorial to the Murdered Jews of Europe is abstract with an information centre, there is an exploration of the memorial museum. Callaghan asks whether this configuration is intended to compensate for the abstract memorial’s ambiguity or to complement the design’s visceral potential. Other debates explored concern political memory, national memory, and the controversy of dedicating the memorial exclusively to murdered Jews.” – from Springer

Weiner, J. (2016). Berlin notebook: where are the refugees? Los Angeles Review of Books.

“The chronicle of a fall and spring in Berlin during the peak influx of refugees into Europe in 2015-16, Joshua Weiner’s Berlin Notebook opens a new view on German society’s attempt to cope with an impossible situation: millions of people displaced by the Syrian civil war, fleeing violence, and seeking safety and the possibilities of a new life in the west. As some Germans, feeling the burden of the nation’s dark past, try to aid and shelter desperate asylum seekers, others are skeptical of the government’s ability to contain the growing numbers; they feel the danger of hostile strangers, and the threat to the nation’s culture and identity. Unlike other contemporary reports on the situation in Europe, Weiner’s sui generis writing includes interviews not only with refugees from the east, but also everyday Berliners, natives and ex-pats – musicians, poets, shopkeepers, students, activists, rabbis, museum guides, artists, intellectuals, and those, too, who have joined the rising far-right Alternative for Germany party, and the Pegida movement against immigration. Intermixed with interviews, reportage, and meditations on life in Europe’s fastest growing capital city, Weiner thinks about the language and literature of the country, weaving together strands of its ancient and more recent history with meditations on Goethe, Brecht, Arendt, Heidegger, Joseph Roth and others that inflect our thinking about refugees, nationhood, and our ethical connection to strangers.” – from LA Review of Books

Carrington, T. (2019). Love at last sight: dating, intimacy, and risk in turn-of-the-century Berlin. Oxford University Press.

“Love at Last Sight is a history of dating in the modern metropolis. It opens with the seemingly simple question, “How did single people meet and fall in love in new big cities like Berlin at the turn of the century?” but what emerges from this investigation of daily newspapers, diaries, serial novels, advice literature, police records, and court cases is a world of dating and relationships that was anything but simple. The murder of Frieda Kliem, a young, enterprising seamstress who was using newspaper personal ads to find a husband—the story of which serves as the book’s central narrative—reveals the tremendous risk associated with modern approaches to love and dating. The risk of fraud, censure, or worse was ever present, especially for the many Berliners who strove for the stability of middle-class life but were outsiders to the social power structures of German society. Indeed, though the technologies and opportunities of the big city offered the best shot at finding love or intimate connection among the urban sea of strangers, availing oneself of them—pursuing a missed connection from the streetcar or using a newspaper personal ad—meant putting one’s livelihood, respectability, and life on the line. This was the romantic dilemma facing the vast majority of city dwellers at the turn of the century, and a great many chose to risk everything for some measure of connection and intimacy. This book explores their stories as a way of illuminating this core tension of modern, metropolitan life.” – from Oxford Academic

Brass, A., & Light, P. (2021). On the barricades of Berlin: an account of the 1848 revolution (A. Weiland, Trans.). Black Rose Books.

“The 1848 wave of worker rebellions that swept across Europe struck the German states with the March Revolution. While Richard Wagner and Mikhail Bakunin fought side by side in Dresden, the writer August Brass led the successful defense of the barricades in Berlin’s Alexanderplatz public square. Published in English for the first time, On the Barricades of Berlin provides a riveting firsthand account of this uprising. Brass’ testimony begins with the tumultuous events leading up to the revolution: the peaceful democratic agitation; the demands that were brought to the king; and the key actors involved on all sides of the still peaceful, yet tense, struggle. It then follows the events that led to the outbreak of resistance to the forces of order and sheds light on the aftermath of the fighting once the exhausted Prussian army withdrew from the city.” – from Black Rose Books

Books on Berlin I

First attempt at building a personal archive of books about Berlin. I plan to randomly search for books online or in bookstores and find texts on the different aspects of the city, hopefully from different disciplines. I was firstly inspired by a bookstore’s “Books on Berlin” section. I have no end goal, but I’m hopeful about the process. In the worst case, I’ll be reading some book promotion paragraphs.

The first list includes two books I frequently see in bookstores: The Undercurrents and Revolutionary Berlin. They are published pretty recently, both non-academic. I haven’t seen The First Days of Berlin, but it’s also translated into Turkish. I’m reading that one now. Free Berlin looks like a more art-focused version of it. Finally, we have Berlin Contemporary focusing on the architecture and rebuilding of the city.

Gutmair, U. (2021). The first days of Berlin: the sound of change (S. Pare, Trans.; English edition). Polity Press.

“Berlin in the early 1990s, right after the fall of the Berlin Wall: this is the place to be. Berlin-Mitte, the central district of the city, with its wastelands and decaying houses, has become the centre of a new movement. Artists, musicians, squatters, club owners, DJs and ravers are reclaiming the old city centre and bringing it back to life. This interregnum between two systems – the collapse of the old East Germany, the gentrification of the new Berlin – lasts only a few years. West Berliners, East Berliners and new residents from abroad join together to create music, art and fashion, to open bars and clubs and galleries, even if only for a few weeks. In the months following the fall of the Wall, there is a feeling of new beginnings and immense possibilities: life is now, and to be in the here and now feels endless. The phrase ‘temporary autonomous zone’ is circulating, it describes the idea – romantic and naive but, in the circumstances, not absurd – that, at a certain moment in history, you can actually do whatever you want.

Ulrich Gutmair moved to West Berlin as a student in autumn 1989: two weeks later the Wall came down. He spent the next few years studying during the day in the West and exploring the squats, bars and techno clubs in the East at night. He fell in love with House and Techno and raved at Tresor, Elektro, Bunker and many other places that in the meantime have almost disappeared from collective memory. Ten years later he decided to write a book about that period in between, when one regime was brought down and a new one wasn’t yet established. When utopia was actually a place to inhabit for a moment.” – from Polity

Smith, B. J. (2022). Free Berlin: art, urban politics, and everyday life. The MIT Press.

“An alternative history of art in Berlin, detaching artistic innovation from art world narratives and connecting it instead to collective creativity and social solidarity.

In pre- and post-reunification Berlin, socially engaged artists championed collective art making and creativity over individual advancement, transforming urban space and civic life in the process. During the Cold War, the city’s state of exception invited artists on both sides of the Wall to detour from artistic tradition; post-Wall, art became a tool of resistance against the orthodoxy of economic growth. In Free Berlin, Briana Smith explores the everyday peculiarities, collective joys, and grassroots provocations of experimental artists in late Cold War Berlin and their legacy in today’s city.

These artists worked intentionally outside the art market, believing that art should be everywhere, freed from its confinement in museums and galleries. They used art as a way to imagine new forms of social and creative life. Smith introduces little-known artists including West Berlin feminist collective Black Chocolate, the artist duo paint the town red (p.t.t.r), and the Office for Unusual Events, creators of satirical urban political theater, as well as East Berlin action art and urban interventionists Erhard Monden, Kurt Buchwald, and others. Artists and artist-led urban coalitions in 1990s Berlin carried on the participatory spirit of the late Cold War, with more overt forms of protest and collaboration at the neighborhood level. The temperament lives on in twenty-first century Berlin, animating artists’ resolve to work outside the market and citizens’ spirited defenses of green spaces, affordable housing, and collectivist projects.

With Free Berlin, Smith offers an alternative history of art in Berlin, detaching artistic innovation from art world narratives and connecting it instead to Berliners’ historic embrace of care, solidarity, and cooperation.” – from MIT Press

Flakin, N. (2022). Revolutionary Berlin: a walking guide. Pluto Press.

“Few European cities can boast a history as storied and tumultuous as that of Berlin. For more than 150 years it has been at the centre of revolutionary politics; of era-defining struggles between the Left and the Right. It has been bombed, rebuilt and carved in two.

In Revolutionary Berlin, veteran tour guide Nathaniel Flakin invites you to stand in the places where this history was written, and to follow in the footsteps of those who helped write it. Through nine self-guided tours illustrated with maps and photographs, readers enter the heady world of 19th century anti-colonial struggles, the 1918 November Revolution and the 1987 May Day riots — encountering the city’s workers, queer community and radical women along the way.

The first English-language guidebook to tell the story of Berlin’s radical history, this is a must-have for Berliners and visitors alike.” – from Pluto Press

Bell, K. (2022). The undercurrents: a story of Berlin. Fitzcarraldo Editions.

“The Undercurrents: A Story of Berlin is a dazzling work of biography, memoir and cultural criticism told from a precise vantage point: a stately nineteenth-century house on Berlin’s Landwehr Canal, a site at the centre of great historical changes, but also smaller domestic ones.

When her marriage breaks down, Kirsty Bell – a British-American writer, in her mid-forties, adrift – becomes fixated on the history of her building and of her adoptive city. Taking the view from her apartment window as her starting point, she turns to the lives of the house’s various inhabitants, to accounts penned by Walter Benjamin, Rosa Luxemburg and Gabriele Tergit, and to the female protagonists in the works of Theodor Fontane, Irmgard Keun and Rainer Werner Fassbinder. A new cultural topography of Berlin emerges, one which taps into energetic undercurrents to recover untold or forgotten stories beneath the city’s familiar narratives. Humane, thought-provoking and moving, The Undercurrents is a hybrid literary portrait of a place that makes the case for radical close readings: of ourselves, our cities and our histories.” from Fitzcarraldo

Walker, J. (2022). Berlin contemporary: architecture and politics after 1990. Bloomsbury Visual Arts.

“For years following reunification, Berlin was the largest construction site in Europe, with striking new architecture proliferating throughout the city in the 1990s and early 2000s. Among the most visible and the most contested of the new projects were those designed for the national government and its related functions.

Berlin Contemporary explores these buildings and plans, tracing their antecedents while also situating their iconic forms and influential designers within the spectacular world of global contemporary architecture. Close studies of these sites, including the Reichstag, the Chancellery, and the reconstruction of the Berlin Stadtschloss (now known as the Humboldt Forum), demonstrate the complexity of Berlin’s political and architectural “rebuilding”-and reveal the intricate historical negotiations that architecture was summoned to perform.” – from Bloomsbury

Some recent books on cinema (II)

Previously on some recent books on cinema (I)

Dell’Aria, A. (2021). The Moving Image as Public Art: Sidewalk Spectators and Modes of Enchantment, Palgrave & Macmillan.

Existing outside the boundaries of mainstream cinema, the field of experimental film and artists’ moving image presents a radical challenge not only to the conventions of that cinema but also to the social and cultural norms it represents. In offering alternative ways of seeing and experiencing the world, it brings to the fore different visions and dissenting voices. In recent years, scholarship in this area has moved from a marginal to a more central position as it comes to bear upon critical topics such as medium-specificity, ontology, the future of cinema, changes in cinematic exhibition and the complex interrelationships between moving image technology, aesthetics, discourses, and institutions. This book series stakes out exciting new directions for the study of alternative film practice–from the black box to the white cube, from film to digital, crossing continents and disciplines, and developing fresh theoretical insights and revised histories. Although employing the terms ‘experimental film’ and ‘artists’ moving image’, we see these as interconnected practices and seek to interrogate the crossovers and spaces between different kinds of oppositional filmmaking.

Introduction
Enchantment: Encountering Moving Images on Urban Surfaces
Commercial Breaks: Intra-spectacular Public Art
Screen Spaces: Zones of Interaction and Recognition
The Light Festival Phenomenon
Precarious Platforms: The Paradox of Permanent Moving Images
Superimposition: Forms of Moving Image Site-Specificity
Postscript: Reflections from a Summer Without Public Space

Combe, K. (2021), Speculative Satire in Contemporary Literature and Film: Rant Against the Regime, Routledge.

Since 1980, when neoliberal and neoconservative forces began their hostile takeover of western culture, a new type of political satire has emerged that works to unmask and deter those toxic doctrines. Literary and cultural critic Kirk Combe calls this new form of satire the Rant. The Rant is grim, highly imaginative, and complex in its blending of genres. It mixes facets of satire, science fiction, and monster tale to produce widely consumed spectacles—major studio movies, popular television/streaming series, bestselling novels—designed to disturb and to provoke. The Rant targets what Combe calls the Regime. Simply put, the Regime is the sum of the dangerous social, economic, and political orthodoxies spurred on by neoliberal and neoconservative polity. Such practices include free-market capitalism, corporatism, militarism, religiosity, imperialism, racism, patriarchy, and so on. In the Rant, then, we have a unique and wholly contemporary genre of political expression and protest: speculative satire.

The Briefest of Introductions: What, Why, How
The Rant
The Regime
Ranting Against the Regime
Living Under a Lousy Orthodoxy
Special Topic Rants
Neoliberal A.I.
The Briefest of Conclusions: So What? Why Bother?
How Does This Matter?

Klecker, C. & Grabher, Gudrun M. (ed.), 2022, The Disfigured Face in American Literature, Film, and Television, Routledge.

The face, being prominent and visible, is the foremost marker of a person’s identity as well as their major tool of communication. Facial disfigurements, congenital or acquired, not only erase these significant capacities, but since ancient times, they have been conjured up as outrageous and terrifying, often connoting evil or criminality in their associations – a dark secret being suggested “behind the mask,” the disfigurement indicating punishment for sin. Complemented by an original poem by Kenneth Sherman and a plastic surgeon’s perspective on facial disfigurement, this book investigates the exploitation of these and further stereotypical tropes by literary authors, filmmakers, and showrunners, considering also the ways in which film, television, and the publishing industry have more recently tried to overcome negative codifications of facial disfigurement, in the search for an authentic self behind the veil of facial disfigurement. An exploration of fictional representations of the disfigured face, this book will appeal to scholars of sociology, cultural and media studies, American studies and literary studies with interests in representations of disfigurement and the Other.

Ugliness as deformity in The Life and Loves of a She-Devil and Flavor of the Month
Drawing a broader picture of facial disfigurement: Moving beyond “narrative prosthesis” in James Hankins’ Drawn
Writing against the stigma: Facial disfigurement in R. J. Palacio’s Wonder
Song of my self or “I become the wounded person”: Kenneth Sherman’s poetic tribute to Elephant Man
Loving the monster: The Elephant Man as modern fable
Facial disfigurement on screen: James Bond and the politics of portraying the post-9/11 terrorist
Masculinity and facial disfigurement in contemporary US television characters
Fictional ‘dissections’ of a medical curiosity? Facial disfigurement in Grey’s Anatomy

Law, H. L. (2021), Ambiguity and Film Criticism: Reasonable Doubt, Palgrave Macmillan.

This book defends an account of ambiguity which illuminates the aesthetic possibilities of film and the nature of film criticism. Ambiguity typically describes the condition of multiple meanings. But we can find multiple meanings in what appears unambiguous to us. So, what makes ambiguity ambiguous? This study argues that a sense of uncertainty is vital to the concept. Ambiguity is what presses us to inquire into our puzzlement over a movie, to persistently ask “why is it as it is?” Notably, this account of the concept is also an account of its criticism. It recognises that a satisfying assessment of what is ambiguous involves both our reason and doubt; that is, reason and doubt can work together in our practice of reading. This book, then, considers ambiguity as a form of reasonable doubt, one that invites us to reflect on our critical efforts, rethinking the operation of film criticism.

Introduction: Why Is It as It Is?
Difficulty of Reading
Perplexity of Style
Depth of Suggestion
Uncertainty of Viewpoint
Threat of Insignificance
Concluding Remarks: Reasonable Doubt

Jayamanne, L. (2021), Poetic Cinema and the Spirit of the Gift in the Films of Pabst, Parajanov, Kubrick, and Ruiz, Amsterdam University Press.

Poetic Cinema and the Spirit of the Gift in the Films of Pabst, Parajanov, Kubrick and Ruiz explores the poetic thinking of these master filmmakers. It examines theoretical ideas, including Maori anthropology of the gift and Sufi philosophy of the image, to conceive film as abundant gift. Elaborating on how this gift may be received, this book imagines film as our indispensable mentor – a wild mentor who teaches us how to think with moving images by learning to perceive evanescent forms that simply appear and disappear.

Foreword: In Memory of Thomas Elsaesser
Introduction: Spirit of the Gift: Cinematic Reciprocity
A Gift Economy: G. W. Pabst’s Pandora’s Box (1929)
Fabric of Thought: Sergei Parajanov
Nicole Kidman in Blue Light: Stanley Kubrick’s Eyes Wide Shut (1999)
Ornamentation and Pathology: Raúl Ruiz’s Klimt (2006)
Afterword: Poetics of Film Pedagogy

Some recent books on cinema (I)

I’m still copy-pasting the shallow content that I gather from my recent Google searches here — to the desolate library. Day by day I’m getting more and more superficial. One day I’ll melt into the air. Like many other things that I haven’t been doing in the last few years, I wasn’t also reading any books on cinema or watching many films. The latter, I kind of restarted lately, warming up now. I also visited Odeon in Hauptstraße and wailed while Mr. Hopkins was looking for his watch or his daughter’s painting. It will stay next to the other play-like films I’ve seen in the past like Sleuth (1972), My Dinner with Andre (1981), The Man from Earth (2007), Carnage (2011), The Sunset Limited (2011), or Amour (2012). I guess we’ll see way more family drama by Florian Zeller in the future.

Then I thought I can do some book searches with ‘cinema’ in their titles and shortlist some books to take a look at in the indefinite future. Every once in a while these kinds of random searches end up with little treasures. I was honestly expecting more books with a theme like ‘the death of the cinema’ but I didn’t encounter that particular branch per se, not sure if it exists anyway. There are some ‘crisis’ books though.

Chateau D., Moure J. (2020). Post-cinema: Cinema in the Post-art Era, Amsterdam University Press.

“Post-cinema designates a new way of making films. It is time to ask whether this novelty is complete or relative and to evaluate to what extent this novation represents a unitary current or multiple ways. The book proposes to integrate the post-cinema question within the post-art question in order to study the new way of making filmic images in new conditions more or less remote from the dispositif of the theater and in closer relationship with contemporary art. The issue will be considered at three levels: the impression of post-art on “regular” films; the “relocation” (Cassetti) of the same films that can be seen using devices of all kinds, in conditions more or less remote from the dispositif of the theater; parallel to the integration of contemporary art in “regular” cinema, the integration of cinema into contemporary art in all kinds of forms of creation and exhibition.” [from De Gruyter]

PART I A Tribute to Agnès Varda
PART II The End of Cinema?
PART III Technological Transformations
PART IV New Dispositif, New Conditions
PART V Transformations in Film Form
Part VI Post-cinema, an Artists’ Affair

Lahiji, N. (2021). Architecture, philosophy, and the pedagogy of Cinema: From Benjamin to Badiou, foreword by McGowan, T., Routledge: London & NY.

“Philosophers on the art of cinema mainly remain silent about architecture. Discussing cinema as ‘mass art’, they tend to forget that architecture, before cinema, was the only existing ‘mass art’. In this work author Nadir Lahiji proposes that the philosophical understanding of the collective human sensorium in the apparatus of perception must once again find its true training ground in architecture.

Building art puts the collective mass in the position of an ‘expert critic’ who identifies themselves with the technical apparatus of architecture. Only then can architecture regain its status as ‘mass art’ and, as the book contends, only then can it resume its function as the only ‘artform’ that is designed for the political pedagogy of masses, which originally belonged to it in the period of modernity before the invention of cinema.” [from the book]

1 Returning to the philosophy of masses: Benjamin and Badiou
2 From the photographic moment of critical philosophy to the optical unconscious
3 Mass art and impurity: Reading Benjamin with Badiou
4 In and out of Plato’s cave
5 Theory of distraction: Tactile and optical
6 Poverty of experience
7 Dialectics and mass
8 The proletarian mise-en-scène
Epilogue: The art of the masses in the age of pornography

Attfield, S., (2020), Class on Screen: The Global Working Class in Contemporary Cinema, Palgrave Macmillan.

This book provides an analysis of the global working class on film and considers the ways in which working-class experience is represented in film around the world. The book argues that representation is important because it shapes the way people understand working-class experience and can either reinforce or challenge stereotypical depictions. Film can shape and shift discussions of class, and this book provides an interdisciplinary study of the ways in which working-class experience is portrayed through this medium. It analyses the impact of contemporary films such as Sorry To Bother You, This is England and Le Harve [sic] that focus on working class life. Attfield demonstrates that the global working class are characterised by diversity of race, ethnicity, gender, religion and sexuality but that there are commonalities of experience despite geographical distance and cultural difference. The book is structured around themes such as work, culture, diasporas, gender and sexuality, and race. [from Palgrave]

1 Introduction
2 Work and Unemployment
3 Working-Class Culture
4 Immigration and Diaspora
5 Gender and Sexualities
6 Race and Class in Australian Indigenous Film
7 Afterword

Kalmár, G. (2020). Post-Crisis European Cinema: White Men in Off-Modern Landscapes, Palgrave Macmillan.

This book explores the cinematic representations of the pervasive socio-cultural change that the 21st century brought to Europe and the world. Discussing films such as I, Daniel Blake, Cold War and Jupiter’s Moon, it puts distinctively “post-crisis”, gendered representations in a complex, theoretically informed and socially committed interdisciplinary perspective that maps the newly emerging formations of masculinity at a time of rapid socio-economic transition. Kalmar argues that the series of crises that started with the 9/11 terrorist attacks changed some of our fundamental expectations about history, debunked many of our grand narratives, and thus changed the cultural logic of our (thoroughly globalized) civilization. The book focuses on the ways cinema reflects, interprets and shapes a rapidly changing world: the hot issues of the times, the new formations of identity, and the shifts in cinematic representation. This is an interdisciplinary research that is equally interested in what new the 21st century brought about, most specifically to Europe and to its white men, as in film and its responses to these socio-cultural changes. [from Palgrave]

1 Introduction: Post-Crisis Europe, White Masculinity and
Art Cinema [The Post-Crisis and the Off-Modern, White Masculinity, Post-Crisis European Cinema]
2 Rites of Retreat and the Cinematic Resignification of European Cultural Geography [The World Is Big and Salvation Lurks Around the Corner, Delta, Suntan, Conclusions: Men in Retreat]
3 Unprocessed Pasts [Amen, Days of Glory, Cold War]
4 Addiction and Escapism [Billy Elliot, T2 Trainspotting, Kills on Wheels]
5 Narratives of Migration [Terraferma, Morgen, Jupiter’s Moon]
6 The Lads of the New Right [The Wave, This Is England, July 22]
7 Angry Old Men [Tyrannosaur, I, Daniel Blake, A Man Called Ove]
8 Conclusions

And some other interesting books that have a rather specific focus:

Turquety, B. (2019). Danièle Huillet, Jean-Marie Straub:” Objectivists” in Cinema, Amsterdam University Press.
Lewis, I., & Canning, L. (ed., 2020). European Cinema in the Twenty-First Century, Palgrave Macmillan.
Baer, H. (2021). German Cinema in the Age of Neoliberalism, Amsterdam University Press.
Papanikolaou, D. (2021). Greek Weird Wave: A Cinema of Biopolitics, Edinburgh University Press.