Knowing that/knowing how? On audiovisual film studies, part 1: practice-led film research

Research in progress by Joanna Callaghan for the fourth long format film in the series 'Ontological Narratives' which will take Jacques Derrida's epistolary novel The Post Card as starting point.
    In this research film, the possibility of a deconstructive film is discussed with world leading experts on Derrida using a range of clips as counterpoints.
    Ontological Narratives is an Arts and Humanities Research Council funded project led by Callaghan in collaboration with Martin McQuillan. [Also see 'The Post Card - Adaptation'; for more on this project see here and here]. See also Callaghan and McQuillan's important film on the current convulsive state of UK Higher Education, "I melt the glass with my forehead".

We can therefore turn this [film theory/film practice divide] debate into an explicitly philosophical issue, by not presupposing that knowing that and knowing how simply overlap; they are two different types of knowledge whose relationship needs to be thought through. It is the theorization of the link/overlap between the two types of knowledge that seems to be missing. [Warren Buckland, Film-Philosophy Discussion List, January 31, 2012]

[The debate about film theory and practice] has a history which, in the UK at least, goes back to the 1970s, when the art colleges taught experimental film making, and the then polytechnics and a few new universities began to include film-making in their undergraduate film courses. Film theory as such was still taking shape, and video was in its earliest stages.  In an atmosphere charged with radical intellectual fervour, the theoretical input led to much experimentation in colleges of creative practice—the watchword of the time was deconstruction. The paradigm for the infusion of theory into practice could be found in the work, for example, of Laura Mulvey and Peter Wollen, who established themselves on screen and on page, together and separately, as leading denizens of both. Some of the people emerging from this habitus made the break and went on to successful careers in the mainstream, but independent film-making informed by theoretical critique remained in the margins. [Michael Chanan, 'Revisiting the Theory/Practice Debate', Putney Debater, February 15, 2012 (hyperlinks added)]

Audiovisual works, it may be argued – films, videos or some other form – are already discursively articulated, they not only incorporate language (as dialogue, voice-over, intertitle, and so on) but are quasi-linguistic in their very form. The analogy between language and cinema, for example, has been explored with particular rigour in structuralist film theory, not least in the work of Christian Metz. It might be argued that if audiovisual forms are inherently discursive, then an intellectual argument can equally well be presented in the form of a film or video as in a more conventional written form. [Victor Burgin, 'Thoughts on 'research' degrees in visual arts departments', Journal of Media Practice, Vol. 7, No. 2, 2006] (hyperlink added)]

The misgivings about the legitimacy of practice-based research degrees in the creative and performing arts arise mainly because people have trouble taking research seriously which is designed, articulated and documented with both discursive and artistic means. The difficulty lurks in the presumed impossibility of arriving at a more or less objective assessment of the quality of the research – as if a specialised art forum did not already exist alongside the academic one, and as if academic or scientific objectivity itself were an unproblematic notion. In a certain sense, a discussion is repeating itself here that has already taken place (and still continues) with respect to the emancipation of the social sciences: the prerogative of the old guard that thinks it holds the standard of quality against the rights of the newcomers who, by introducing their own field of research, actually alter the current understanding of what scholarship and objectivity are. [Henk Borgdorff, 'The debate on research in the arts', The Sensuous Knowledge Project, 2006]

And so begins a mini-series of posts here at Film Studies For Free on the practical possibilities for, and the critical debates about, audiovisual film studies research and 'publication'.

Below, in this first instalment, FSFF links to freely-accessible, online resources relating to the notion of film practice as a form of film/video theorising, in other words, as a reflexive and/or affective meditation on the ontological qualities of film or video (a 'felt framing', in Julian Klein's great phrase to describe artistic research). It's certainly a good excuse to showcase some of the burgeoning, open access work (and open access publications, or free publishers' samples) in the very healthy field of Moving Image Practice as Research (aka 'Research by Practice' or 'Practice-Led research).

Some studies of Practice-Led Research

• Desmond Bell, 'Is there a doctor in the house? A riposte to Victor Burgin on practice-based arts and audiovisual research', Journal of Media Practice, 9.2, 2008
• Michael A.R. Biggs, "The Role of ‘the Work’ in Research" (Paper presented at the PARIP 2003 Conference, 11-14 September 2003.) Bristol, UK
• Christin Bolewski, 'Practice as Research: Philosophy and Aesthetics of Chinese Landscape Painting Applied to Contemporary Western Film and Digital Visualisation Practice', The
 Art
 of
 Research
 Processes,
 Results 
and
 Contributions, Conference at the University of Art and Design Helsinki, 24 – 25 November 2009
• Henk Borgdorff, 'The debate on research in the arts', The Sensuous Knowledge Project, 2, 2006
• Henk Borgdorff, 'The Conflict of the Faculties On Theory, Practice and Research in Professional Arts Academies', Revised Version of 'The Conflict of the Faculties: on Sense and Nonsense in Art Research) in the arts, culture and policy journal', Boekman (58/59, Spring 2004, p. 191-96
• Victor Burgin, 'Thoughts on 'research' degrees in visual arts departments', Journal of Media Practice, Vol. 7, No. 2, 2006
• Michael Chanan, 'Revisiting the Theory/Practice Debate', Putney Debater, February 15, 2012
• Charlotte Crofts, 'Bluebell, Short Film and Feminist Film Practice As Research: Strategies for Dissemination and Peer Review', a pre-print of an article in Journal of Media Practice, 2007 (See an excerpt from this work here)
• Steve Dixon, 'Digits, Discourse, and Documentation: Performance Research and Hypermedia', The Drama Review 43, 1 (T161), Spring 1999
• Julian Klein, 'The Other Side of the Frame, Artistic Experience as Felt Framing: Fundamental principles of an artistic theory of relativity', originally in: S. Flach and J. Söffner, (eds.), Habitus in Habitat II - Other Sides of Cognition (Bern: Peter Lang, 2010)
• Friederike Krishnabhakdi-Vasilakis, 'Transforming the Rhetoric: Making Images as Practice-Led Research', ACUADS 2009 CONFERENCE: Interventions in the Public Domain
• Nicholas Rowe and Susan Carter, 'Ways of Knowing: PhDs with creative practice', MAI Review, 2011, 2, Te Kokonga
• Deborah Smith-Shank and Karen Keifer-Boyd, 'Editorial: AutoEthnography and Arts-Based Research', Visual Culture and Gender, Vol. 2, 2007
• Lindsay Vickery, 'The Problem of Objectivity and the Artistic Conception of the Participant Observer: thoughts on using Lacan’s psychological model of representation in the documentation of creative arts practice as research', Creative Connections Symposium @ BEAP2004
• Helen L. Yeates, 'Embedded engagements: the challenge of creative practice research to the humanities', The International Journal of the Humanities, 7(1), 2009. pp. 139-147

Two Open Access journals for AV/media practice work:

• The Journal of Media practice: SCREENWORKS  (Vol. 1 and Vol. 2 [on AVPhD practice work])
• The Journal for Artistic Research

Two free publishers journal samples:

• Journal of Media Practice 11.1, 2010, Free Sample Issue

• Sar Maty Ba and Will Higbee, 'Free Content Re-presenting diasporas in cinema and new (digital) media: Introduction'
• Hamid Naficy, 'Free Content Multiplicity and multiplexing in today's cinemas: Diasporic cinema, art cinema, and mainstream cinema'
• John Akomfrah, 'Free Content Digitopia and the spectres of diaspora'
• Rajinder Dudrah, 'Free Content Haptic urban ethnoscapes: Representation, diasporic media and urban cultural landscapes'
• Edward George and Anna Piva, 'Free Content Astro Dub Morphologies'
• Roshini Kempadoo, 'Free Content Interpolating screen bytes: Critical commentary in multimedia artworks'
• Coco Fusco, 'Free Content Operation Atropos'

• MIRAJ 1:1, 2012 (the journal of the Artists' Moving Image Research Network) – Free Inaugural issue

Editorial:

• Catherine Elwes

Articles:

• Erika Balsom, ‘Brackhage’s Sour Grapes’ on the place of experimental cinema in the contemporary museum
• David E. James, ‘Letter to Paul Arthur’ on the relationship between ‘hipster’ cinema and private sponsorship.
• Sean Cubitt, Daniel Palmer and Les Walkling, ‘Reflections on Medium Specificity Occasioned by the Symposium “Digital Light: Technique, Technology, Creation”, Melbourne, 2011′.

Features:

• Maeve Connolly, ‘Apperception, Duration and Temporalities of Reception: The Repetition Festival Show’ on the Dublin show.
• Nick Fitch and Anne-Sophie Dinant, ‘The emergence of Video Art in Brazil in the 1970s’.
• Maria Walsh, ‘Re- enacting Cinema at the Crossroads: Nicky Coutt’s Passing Place'
• Round Table Discussion on ‘The affects of the abstract image in film and video art’ chaired by Maxa Zoller with contributions from Bridget Crone, Nina Danino, Jaspar Joseph-Lester, RUBEDO (Vesna Petresin Robert and Laurent-Paul Robert).
• Eu Jin Chua, ‘The Film-work Recomposed into Nature: From Art to Noise in Four Minutes and Thirty-Three Seconds’ on recent work by Manon de Boer.

Reviews:

• JJ Charlesworth on ‘Doug Fishbone: Elmina’ at Tate Britain.
• Pryle Behrman on ‘David Claerbout: The Time that Remains’ at Wiels Contemporary Art, Brussels.
• Catherine Elwes on ‘Peter Campus: Opticks’ at BFI Southbank Gallery, London.
• Claire Flannery on ‘Miroslaw Balka: Between Honey and Ashes’ at Douglas Hyde Gallery, Dublin.
• Honor Beddard on Hilary Lloyd at Raven Row, London.
• Colin Perry on ‘Modern Women: Single Channel’ at MOMA PS1, New York.
• Adam Kossoff on ‘William Raban: About Now MMX’, Tate Modern and touring.
• Michael Szpakowski review of ‘One Minute Volumes 1-4′, DVD series touring internationally.
• Alice Haylett Bryan, book review of ‘Hiroshima After Iraq: Three Studies in Art and War’ by Rosalyn Deutsche (Columbia University Press). 

Reassessing Anime: Japanese cinema and animation

Anime is a visual enigma. Its otherworldly allure and burgeoning popularity across the globe highlights its unique ability to be more than just another type of animation. Originally a novelty export from post-war Japan, anime has now become a subtle yet important part of Western popular culture. Furthermore, it remains a key area of audience and fan research that crosses all generations – children, teenagers, and adults. From Osamu Tezuka to Hayao Miyazaki, Akira (Katsuhiro Ôtomo, 1988) to Ghost in the Shell (Mamoru Oshii, 1995), anime’s extraordinary characters and oneiric content still enable it to be regarded as one of the most awe-inspiring visual spectacles going into and during the twenty-first century.
    Keenly aware of anime’s rich history, cultural and global context, and increasing presence and influence on Western art, literature and film, the theme of this issue of Cinephile is ‘Reassessing Anime.’ The six articles included herein aim to address and tackle some of the overlooked aspects of anime. Such a reassessment by each author hopes to encourage future academic scholarship into the evolution and value of anime and, moreover, its impact not only on film but also on TV, comic books, video games, music videos, and corporate marketing strategies. [Jonathan A. Cannon, Editor's Note, Cinephile, 'Reassessing Anime', 7.1, 2011. FSFF's hyperlinks]

Film Studies For Free is delighted to announce that the Spring 2011 issue of Cinephile, the excellent film journal edited out of the University of British Columbia, Canada, has just been made available for download for free as a single PDF file.

As signalled above, this issue is dedicated to "Reassessing Anime" and it features great, original articles by internationally renowned animation scholars Paul Wells and Philip Brophy, as well as illustrations by Vancouver-based artist Chloe Chan.

The issue's table of contents is given below, and below that, FSFF has also provided a handy, clickable index of its own popular posts on anime and Japanese cinema.

The latest issue of Cinephile, available for purchase now, is on Contemporary Realism. It features original articles by Ivone Margulies and Richard Rushton. There is also a call for papers on "The Voice Over".

• 'Playing the Kon Trick: Between Dates, Dimensions and Daring in the films of Satoshi Kon' by Paul Wells
• 'The Sound of an Android’s Soul: Music, Muzak and MIDI in Time of Eve' by Philip Brophy
• 'Beyond Maids and Meganekko: Examining the Moe Phenomenon' by Michael R. Bowman
• 'Reviewing the ‘Japaneseness’ of Japanese Animation: Genre Theory and Fan Spectatorship' by Jane Leong
• 'The Higurashi Code: Algorithm and Adaptation in the Otaku Industry and Beyond' by John Wheeler
• 'Mamoru Oshii’s Ghost in the Shell 2: Innocence: Thinking Before the Act' by Frédéric Clément 

Film Studies For Free on Anime and Japanese Cinema

• On Japanese Cinema July 27, 2010
• Dreaming Movies: RIP Satoshi Kon (1963-2010) August 25, 2010
• 'Imaginary and Fantastic': Hayao Miyazaki Studies November 25, 2009
• Animation Studies: Three Fabulous Online Resources November 14, 2011
• Mickey Mouse and Animation Links November 18, 2008 
• War, Conflict and Commemoration in the Age of Digital Reproduction December 6, 2010

Pandora's Box? On Digital Conversions and Rebirths

Open Lecture and Workshop by FSFF's very own author

First of all, Film Studies For Free wanted to toot on its own trumpet today.

On Friday, its author will present at an event exploring the rapidly increasing take up in scholarly and online film studies of the distinct research methods of the digital humanities.

In the lecture that will open the event, she will explore whether and, if so, how these contexts and methods with their digital, multimedia tools and techniques (such as online film and film culture archiving, mining and metrics, digital video essays, digital publishing and networking) may be enabling productive moves away from the existing paradigms of purely text-based, or 'traditional' offline research, scholarship and pedagogy.  The focus in the main workshop part of the event will be on the film studies video essay form, that is, on the practice of using film as the medium of its own study and criticism.

A written version of the talk will be published online later this year as part of a wide ranging edited collection, with contributions by world-leading scholars and critics, on related aspects of the same important topics. This collection, commissioned, assembled and guest-edited by FSFF's supremo, will form the inaugural issue of a brand new, Open Access journal hosted by a certain Film Studies department in one of the UK's oldest and most revered universities. FSFF will bring you more precise, less teasing, news of this in due course....

But, staying with the digital theme, today's FSFF post also brings you rather more immediately phenomenal news of and links to David Bordwell's recent and hugely important online series of studies of the transition to digital cinematic projection at his and Kristin Thompson's peerless film studies website Observations on Film Art.

Not only are these unmissable discussions in their own right but they make themselves even more indispensable by linking to numerous further essential resources on these questions.

Below the list of links to these entries, for your convenience, FSFF has re-embedded the great videoed discussion of digital conversion issues in the film distribution and exhibition contexts at the Vancouver International Film Festival to which Bordwell and other luminaries contribute brilliantly.

1. Pandora’s digital box: In the multiplex December 1, 2011 
2. Pandora’s digital box: The last 35 picture show December 15, 2011 
3. Pandora’s digital box: At the festival January 5, 2012 
4. Pandora’s digital box: From the periphery to the center, or the one of many centers January 11, 2012
5. Pandora’s digital box: Art house, smart house January 30, 2012
6. Pandora’s digital box: Pix and pixels February 13, 2012
7. Pandora’s digital box: Notes on NOCs [Network Operations Centers] February 16, 2012
8. Pandora's digital box:from Films to Files February 28, 2012

                     Future of Cinema - Looking Forward After 30 Years

Future of Cinema - Looking Forward After 30 Years
Event description:

The first few chapter headings in a film we did not program at this year's [Vancouver International Film Festival] VIFF are: “Technology Is Great”, “The Industry Is Dead”, “Artists Have the Power”, and “The Craft Is Gone.” To which celluloid-loving film festival organizers might ask: Is it? Do they? Where on earth are we headed? And why?

VIFF has come a long way in its 30 years and never has the future of cinema--and VIFF's future--been more uncertain. Will it be bright and splendid and fair or will it move so quickly that a great deal of what is valuable will be lost before we know it? There are now dramatically more “film festivals” and “films” being made than ever, yet some fear that the industry may be dead. Filmmakers are acutely worried for funding, yet need to operate on a growing number of fronts. Given that the numbers of hours in a day and the numbers of days in a life remain fixed, what limits should we council for our own appetites? Why might we miss the Hollywood Theatre and Videomatica? Given that cultural agencies seemingly have shrinking resources but more new media and film festival applicants every year, will the centres hold or is babble ascendant? Will VIFF's function as an annual international universalist festival be superseded by myriad niche events?

Technology is indeed great in that it has put the means of creative motion picture production in almost everyone's hands, but will the best artists be the ones to be recognized? The entrepreneurial spirit tends to favour change in hopes that it may profit from it, but will artists have the power? When entrepreneurs benefit, will consumers benefit? Will cultural institutions that have taken years to build remain viable? Will cinema, metrics of quality and craftsmanship and, ultimately, quality of life be improved or even be sustainable? What do you personally care about for the future of cinema to offer? What should VIFF 2020 aim to be?

Here to wrestle with these sorts of questions—and yours—will be a distinguished group of panellists including: David Bordwell, film critic, academic and author of numerous books on cinema; Simon Field, film producer and former Director, International Film Festival Rotterdam; Andréa Picard, film critic and programmer, formerly of the Toronto International Film Festival and the Cinémathèque Ontario; Tom Charity, film critic and Vancity Theatre program coordinator; and Alan Franey, director, Vancouver International Film Festival.

New issue of ALPHAVILLE on the representation of space and time in cinema

Screenshot from Groundhog Day (Harold Ramis, 1993). Read Elise Pezzotta's article on the concept of personal time in this and other films.

As film scholars, we must constantly return to the cinematic production and manipulation of space and time to reassess how it is affected by our changing perception of the ontologies of space and time and, conversely, how our understanding of these physical concepts in cinema alters our spatio-temporal awareness in the real world. The advent of digital technology, with its formal atemporality and virtual space, presents a further radical challenge to our understanding of these categories, adding another layer of complexity to an already complex topic. [Alphaville Editors’ Note by Marian Hurley, Deborah Mellamphy and Jill Moriarty]

Film Studies For Free is delighted to note for its readers that Issue 2 of Alphaville: Journal of Film and Screen Media is now online.

This special issue, edited by postdoctoral and doctoral students at University College Cork, focuses on the representation of space and time in cinema. Its excellent articles employ a wide range of methodological approaches and arguments to investigate cinematic spatiotemporal relationships, more than ably demonstrating how these concepts continue to engage and stimulate film scholars.

FSFF particularly liked Sergeant on The Wizard of Oz, Laist on The Matrix, Wortel on post-heritage cinema (see also her great, 2008 PhD thesis Textures of Time: A Study of Cinematic Sensations of Anachronism), as well as Pezzota on alternative and time travel narrative.

Alphaville: Journal of Film and Screen Media Issue 2: Space and Time in Cinema

Contents:

• Issue Editors’ Note by Marian Hurley, Deborah Mellamphy and Jill Moriarty

Articles

• 'Scrutinising the Rainbow: Fantastic Space in The Wizard of Oz' by Alexander Sergeant, Kings College London
• 'Bullet-Time in Simulation City: Revisiting Baudrillard and The Matrix by way of the “Real 1999”' by Randy Laist, Goodwin College
• 'Personal Time in Alternative and Time-Travel Narrative: The Cases of Groundhog Day, Twelve Monkeys and 2001: A Space Odyssey' by Elise Pezzotta, University of Bergamo
• 'Revisiting the Past as a Means of Validation: Bridging the Myth of the Resistance and the Satire of the Economic Miracle in Two Comedies “Italian style”' by Giacomo Boitani, National University of Ireland, Galway
• 'From History to Haecceity: Spatial Reframings of the Past in Post-Heritage Cinema' by Eliza Wortel, Independent Scholar 
• 'Making Nothing Happen: The Transition from Reactive Nihilism to Affirmation in Jim Jarmusch’s Broken Flowers (2005)' by Anna Backman Rogers, University of Groningen 

Book Reviews and Festival and Conference Reports (Edited by Jill Murphy)

• Funny Frames: The Filmic Concepts of Michael Haneke, by Oliver C. Speck (2010) Reviewer: Jeremiah Ambrose, Trinity College Dublin
• Celluloid Saviours: Angels and Reform Politics in Hollywood Film, by Emily Caston (2010) Reviewer: Mithuraaj Dhusiya, Hans Raj College, University of Delhi
• Hollywood Catwalk: Exploring Costume and Transformation in American Film, by Tamar Jeffers McDonald (2010) Reviewer: Rebecca Kambuta, Otago University, New Zealand
• What Cinema Is! Bazin’s Quest and its Charge, by Dudley Andrew (2010) Reviewer: Kevin McDonald, Cal State Northridge
• Tim Burton: The Monster and the Crowd: A Post-Jungian Perspective, by Helena Bassil-Morozow (2010) Reviewer: Deborah Mellamphy, University College Cork
• Animating Space: From Mickey To WALL-E, by J.P. Telotte (2010) Reviewer: Mihaela Mihailova, Yale University

email: alphavillejournal@gmail.com

Issue 3, Summer 2012, Sound, Voice, Music.

Issue 4, Winter 2012, Open Submission

cfp: http://www.alphavillejournal.com/CallforPapers.html

Spectators of our Lives: Alexander Kluge Studies on his 80th Birthday

Alexander Kluge discusses the role of montage (excerpt from Schnitte in Raum und Zeit)

If I feel myself as the producer of my life, then I am unhappy. So I would rather be a spectator of my life. I would rather change my life this way since I cannot change it in society. So at night I see films that are different from my experiences during the day. Thus there is a strict separation between experience and the cinema. That is the obstacle for our films. For we are people of the 60s, and we do not believe in the opposition between experience and fiction. –- Alexander Kluge, 1988  [cited by Jonathan Rosenbaum]

It's Alexander Kluge's 80th birthday and Film Studies For Free is delighted to celebrate his astonishing and hugely important career with its own little e-festschrift of scholarly links - see below.

If you love and value Kluge's films as much as FSFF does, you'll want to read the fine post that David Hudson has composed in the German filmmaker's honour at the MUBI Notebook full of fascinating online reading, including news of Kluge's latest book out, Das fünfte Buch - Neue Lebensläufe. 402 Geschichten.

FSFF's own assembly, from the great video above to the list of written studies below, contains links to the contents of a fabulous new openly accessible book on Kluge's work -- one of the best edited (by Tara Forrest) collections FSFF has ever had the pleasure of reading -- which has just been published by the fantastic scholars at Amsterdam University Press.

• Nicole Brenez, 'T. W. Adorno: cinema in spite of itself—but cinema all the same', Cultural Studies Review, 13.1 March 2007
• Caryl Flynn, The New German Cinema: Music, History, and the Matter of Style (Berkeley: University of California Press, 2004)
• Tara Forrest, Alexander Kluge : Raw Materials for the Imagination (Amsterdam: Amsterdam University Press, 2012)
• Introduction
• Editor’s Introduction
• 'The Stubborn Persistence of Alexander Kluge' by Thomas Elsaesser
• 'On Film and the Public Sphere' by Alexander Kluge
• 'Cooperative Auteur Cinema and Oppositional Public Sphere: Alexander Kluge’s Contribution to GERMANY IN AUTUMN' by Miriam Hansen 
• ‘"What is Different is Good": Women and Femininity in the Films of Alexander Kluge' by Heide Schlüpmann
• 'In Search of Germany: Alexander Kluge’s THE PATRIOT' by Anton Kaes
• 'Alexander Kluge and German History: "The Air Raid on Halberstadt on 8.4.1945"’ by David Roberts
• 'The Air Raid on Halberstadt, 8 April 1945 (extract)' by Alexander Kluge
• 'Construction Site Film: Kluge’s Idea of Realism and His Short Films' by Eike Friedrich Wenzel
• 'The Sharpest Ideology: That Reality Appeals to its Realistic Character' by Alexander Kluge
• 'Debate on the Documentary Film: Conversation with Klaus Eder, 1980' by Alexander Kluge and Klaus Eder
• 'Undoing Act 5: History, Bodies and Operatic Remains in THE POWER OF EMOTION' by Caryl Flinn
• ‘Feelings Can Move Mountains ...’: An Interview with Alexander Kluge on the Film THE POWER OF EMOTION' by Florian Hopf
• 'Alexander Kluge’s Phantom of the Opera' by Gertrud Koch
• 'An Analytic Storyteller in the Course of Time' by Andreas Huyssen
• 'The Political as Intensity of Everyday Feelings' by Alexander Kluge
• 'At the 2003 International Security Conference' by Alexander Kluge
• 'Raw Materials for the Imagination: Kluge’s Work for Television' by Tara Forrest
• 'Television and Obstinacy' by Christian Schulte
• 'Reframing Islam in Television: Alexander Kluge’s Interviews on Islam and Terrorism since 9/11' by Tim Grünewald
• 'In the Real Time of Feelings: Interview with Alexander Kluge' by Astrid Deuber-Mankowsky and Giaco Schiesser
• 'Character Armour and Mobile Warfare' by Alexander Kluge and Heiner Müller
• 'Jeff Mills: Godfather of Techno' by Alexander Kluge and Jeff Mills
• 'Tsunami of Emotion: On Puccini’s Tosca' by Alexander Kluge and Joseph Vogl
• 'Reinventing the Nickelodeon: Notes on Kluge and Early Cinema' by Miriam Hansen
• ‘All Things Are Enchanted Human Beings’: Remarks on Alexander Kluge’s NEWS FROM IDEOLOGICAL ANTIQUITY' by Christian Schulte
• Terri Ginsberg, 'Bordering on Disaster: Toward an Epistemology of Divided Cinematic Space', Spectator 29.1 (Spring 2009): 30-36 
• Angelos Koutsourakis, 'Brecht Today: Interview with Alexander Kluge', Film-Philosophy, Vol. 15, No. 1, 2011
• Kevin B Lee, 'Abschied von gestern – (Anita G.) / Yesterday Girl (1966, dir. Alexander Kluge)', Shooting Down Pictures, January 18, 2010
• Lisa McDonald, 'Baroque Inclinations', Cultural Studies Review, 14, September 2008
• Christopher Pavsek, 'The Stubborn Utopian: The Films of Alexander Kluge', Cinema Scope, 32, 2011 
• Julia Vassilieva, 'Capital and Co.: Kluge/Eisenstein/Marx', Screening the Past, 8, 2011