Jan Speckenbach
Independent Researcher, Film Studies, Department Member
Rewriting, Remembering, Mechanising, Historising, Forgetting. The article is a reflection on the phenomenon of the remake, which plays an exposed role in cinema, puts it in relation to the other arts and tries to find a system behind the... more
Rewriting, Remembering, Mechanising, Historising, Forgetting.
The article is a reflection on the phenomenon of the remake, which plays an exposed role in cinema, puts it in relation to the other arts and tries to find a system behind the decisions of film directors and producers when a remake makes sense and when it does not. It further discusses the role of overwriting and thus forgetting the original as opposed to remembering and memorialising it.
The article is a reflection on the phenomenon of the remake, which plays an exposed role in cinema, puts it in relation to the other arts and tries to find a system behind the decisions of film directors and producers when a remake makes sense and when it does not. It further discusses the role of overwriting and thus forgetting the original as opposed to remembering and memorialising it.
Research Interests:
A dialectic theory of montage in the digital age. The article outlines a theory of montage between the two poles of jump cut and match frame (or match cut), i.e. the jump in time and the jump in space. These two basic principles are... more
A dialectic theory of montage in the digital age.
The article outlines a theory of montage between the two poles of jump cut and match frame (or match cut), i.e. the jump in time and the jump in space. These two basic principles are applied to a number of films that don't work with the conventional editing technique of the invisible cut and therefore invent a sort of event montage.
The article outlines a theory of montage between the two poles of jump cut and match frame (or match cut), i.e. the jump in time and the jump in space. These two basic principles are applied to a number of films that don't work with the conventional editing technique of the invisible cut and therefore invent a sort of event montage.
Research Interests:
Money, Copy, Quotation, Motive, Genre. The treatise is a reflection on the phenomenon of the remake, which plays a very exposed role in cinema, puts it in relation to the other arts and tries to find a system behind the decisions of film... more
Money, Copy, Quotation, Motive, Genre.
The treatise is a reflection on the phenomenon of the remake, which plays a very exposed role in cinema, puts it in relation to the other arts and tries to find a system behind the decisions of film directors and producers when a remake makes sense and when it does not.
The treatise is a reflection on the phenomenon of the remake, which plays a very exposed role in cinema, puts it in relation to the other arts and tries to find a system behind the decisions of film directors and producers when a remake makes sense and when it does not.
Research Interests:
German film artist Jan Speckenbach ingeniously contributed to the development of live video on the stage, and this discussion focuses on his education, as well his as experimental collaborations with director Frank Castorf at the... more
German film artist Jan Speckenbach ingeniously contributed to the development of live video on the stage, and this discussion focuses on his education, as well his as experimental collaborations with director Frank Castorf at the Volksbühne Berlin, starting in 2000. Speckenbach’s background in film and media studies facilitated his explorations of uncharted territory in the theatre, going from a set of fixed cameras on the stage to the use of a camera crew with live-editing for augmented images as part of the whole directing concept and process. His first-hand insights into how actors have interacted with this new technology and how filmmaking can be an integral part of the theatre indicate clearly that filmmaking has played an invaluable role in recent theatre history. Speckenbach here also speaks of his collaborations with other directors, notably Sebastian Hartmann and René Pollesch, and about the future perspectives of this technology, which has changed the theatre altogether.Ja...