Moving Frames: Photographs in German Cinema

As the building blocks of moving pictures, photographs have played an integral role in cinema since the dawn of the medium--a relationship that has grown more complexly connected even as the underlying technologies continue to evolve. Moving Frames explores the use of photographs in German films from Expressionism to the Berlin School, addressing the formal and narrative roles that photographs play as well as the cultural and historical contexts out of which these films emerged. Looking beyond and within the canon, the editors gather stimulating new insights into the politics of surveillance, resistance, representation, and collective memory functioning through photographic rupture and affect in German cinema.

Carrie Collenberg-González is Assistant Professor and Section Head of German and director of the Deutsche Sommerschule am Pazifik at Portland State University. She has published on Heinrich von Kleist, German cinema, immersion instruction, the aesthetics of terrorism, and the Red Army Faction. Her most recent articles include "Rape Culture and Dialectical Montage: A Radical Reframing People on Sunday (1930)" in Feminist German Studies (2020) and "The Daisy Oracle: A New Gretchenfrage in Goethe's Faust" in the Goethe Yearbook (2021). She is co-author of Cineplex: German Language and Culture Through Film (2014) and her co-edited volume Heinrich von Kleist: Artistic and Philosophical Legacies is forthcoming.

Martin P. Sheehan is Interim Chair of the Department of Foreign Languages and Associate Professor of German at Tennessee Tech University. His research on dramatic form, performance, and photography has been featured in Seminar, Archiv, Colloquia Germanica, Interdisciplinary Humanities, and Studia Neophilogica. A member of the digital humanities research collective at Vanderbilt University since 2016, his current projects explore visual culture, disability in German dramatic comedy, social network analysis.