Workshop: Genre-Störungen

Workshop des ehemaligen DoktorandInnen-Kollegs
Die Textualität des Films
Programm für Montag, den 5. Februar 2018
Ort: GW 2, A 3570 (Fachbereichsraum)

Der Workshop ist offen für alle Interessierten.
Um eine kurze Anmeldung an Sabine Schlickers wird gebeten.

Jeweils pro Stunde: ca. 30 Minuten Vortrag, 20 Minuten Diskussion und 10 Minuten Umbau
sowie Zeit für einen kleinen Kaffee

10:00 – 11:00 Uhr
John Bateman:
„Verschmolzene Genres: verschmolzene Medien.
Verstörende Spiele mit Fakt und Fiktion.“

11:00 – 12:00 Uhr
Oliver Schmidt:
„Whoever heard of a Mexican in space? “
Nationalität, Ethnizität und Kulturalität als Genrestörung und Genrevariation.

12:00 – 13:00 Uhr
Sabine Schlickers:
„Gattungs-Störung durch Hybridisierung:
Die Filmdramen Cineastas (2013) und Arde brillante en los bosques de la noche / Loderndes Leuchten in den Wäldern der Nacht (2017) von Mariano Pensotti“

13:00 – 14:30 Uhr Mittagspause

14:30 – 15:30 Uhr
Matthis Kepser:
Western – die Probe aufs Exempel“

15:30 – 16:30 Uhr
Dominik Orth
: „Dystopien ohne Ende?
Zur Schlussgestaltung filmischer Anti-Utopien“

16:30 – 17:00 Uhr Kaffeepause

17:00 – 18:00 Uhr
Benjamin Moldenhauer:
„Die Welt in Splittern.
Verlust der emotionalen Gewissheit in Twin Peaks“.

18:00 – 19:00 Uhr
Heinz-Peter Preußer:
„Der philosophische Diskurs der Zukunft.
Science-Fiction-Filme des 21. Jahrhunderts diesseits und jenseits der Genreerwartungen“

20:00 Uhr Gemeinsames Abendessen im Haus am Walde

Neue Publikation: Schlickers/Toro – Perturbatory Narration

Die BITT-Mitglieder Sabine Schlickers und Vera Toro haben im November 2017 einen Sammelband zum Thema ‚Perturbatory Narration‘ veröffentlicht, auf den wir hier gerne hinweisen möchten.

Zum Inhalt des Buchs:

Perturbatory narration is a heuristic concept, applicable both quantitatively and qualitatively to a specific type of complex narratives for which narratology has not yet found an appropriate classification. This new term refers to complex narrative strategies that produce intentionally disturbing effects such as surprise, confusion, doubt or disappointment ‒ effects that interrupt or suspend immersion in the aesthetic reception process. The initial task, however, is to indicate what narrative conventions are, in fact, questioned, transgressed, or given new life by perturbatory narration. The key to our modeling lies in its combination of individual procedures of narrative strategies hitherto regarded as unrelated. Their interplay has not yet attracted scholarly attention. The essays in this volume present a wide range of contemporary films from Canada, the USA, Mexico, Argentina, Spain, France and Germany. The perturbatory narration concept enables to typify and systematize moments of disruption in fictional texts, combining narrative processes of deception, paradox and/or empuzzlement and to analyse these perturbing narrative strategies in very different filmic texts./p>

Weitere Informationen finden sich hier.

CfP: Third Bremen Conference on Multimodality

We are happy to announce that the 3rd BREMEN CONFERENCE ON MULTIMODALITY will be held at Bremen University from September 20th – 22nd, 2017.


BreMM17 is the third in a series of conferences dedicated to bringing together different disciplinary and methodological approaches to the study of multimodality in various academic contexts. More than ever, multimodality is one of the most influential semiotic theories for analyzing media artifacts, and it enjoys growing global popularity. However, this popularity does not imply universality: the conceptual anchoring of multimodality as well as its empirical applications often remain nationally and regionally grounded.

The Bremen team takes these differences in national and international perspectives as a starting point of discussion and analysis. We continuously initiate deeper inquiry into the specific theories and practices of multimodal research: BreMM14 was dedicated to building bridges between various multimodality-ready disciplines, and BreMM15 concerned itself with theoretical and methodological explorations. Both conferences resulted in edited volumes which present each event’s strongest contributions and serve as the basis for lasting academic exchange on the ever-new topic of multimodality in theory and practice.

The upcoming Third Bremen Conference, BreMM17, plans to lay the foundation for the formation of a standalone discipline to be dubbed ‘multimodality’ as opposed to the widespread interdisciplinary view. Its aim is, therefore, to push the envelope and start far-reaching discussions which cover description, terminology, and methodology, bringing a multitude of approaches to multimodal analysis into the fold and letting previously disparate directions in theory and practice converge. The end result will be a common basis upon which the monolithic view of multimodality as a concerted disciplinary field can be built.

The confirmed keynote speakers for BreMM17 are:

Kay O’Halloran (Curtin University, Australia)
David Machin (Orebro University, Sweden)
Ellen Fricke (Chemnitz University, Germany)

For a lively and multifaceted discussion, we encourage proposals that explore a vast range of issues, including but not limited to the sub-themes below. We welcome both theoretical and empirical takes on these general questions, and we particularly encourage proposals which unify several theoretical or methodological traditions in order to achieve integration and, thus, guide our discipline-building explorations.

  • What previously established disciplines should inform multimodality’s disciplinary delineation? What is the place of semiotics, SFL, discourse analysis, interaction analysis, and other popular methods in the process of defining multimodality as a standalone discipline?
  • Where can multimodality find its most inclusive and exhaustive theoretical basis? Can we rely on Peirce, de Saussure, and Halliday on their own? Do we need ways of combining their work to produce a new theoretical basis for the discipline? Do we start a new theory from scratch?
  • What goes in multimodality’s methodological toolbox? What existing empirical approaches define the field, how can we develop them further or combine them, and do we need new methods to capture multimodality’s vastness?
  • What are multimodal media and how do their various semiotic affordances shape multimodality within and across media formats? Are all media truly multimodal to begin with?
  • How can we define multimodal literacy and how can we best teach it in a systematic and reliable manner?
  • What is the role of technology in pushing the boundaries of multimodality and in assisting its empirical study?
  • How can multimodality as a research direction improve our understanding of social, cultural, and political issues around the globe?


This year we invite proposals for three different kinds of presentation:

Long paper. This will consist of a 25-minute presentation followed by 15 minutes of Q&A. This format is reserved for well-developed projects that present potentially controversial or conceptually complex ideas or empirical studies.

Short paper. This will consist of a 15-minute presentation followed by 10 minutes of Q&A. This format is suitable for work in progress or ideas and empirical studies that can be presented more succinctly.

Poster Presentation or Demo. This may be any form of research display or demonstration. Presenters will have the opportunity to present and discuss their work during a 90-minute drinks reception/poster presentation session.

Proposals will be selected according to the following criteria (please be sure to address each one):

  • the appropriateness of the topic to the studies of multimodality;
  • the conceptual clarity and intellectual rigor of the project;
  • the contribution the project makes to advancing current understanding;
  • the content should not have been presented elsewhere in identical form.

Your proposal (350-500 words in length) must include: (1) title of the presentation, (2) name of the author(s), affiliation, email address, (3) proposal format (long paper, short paper or poster), (4) bibliography of key sources (up to 5), (5) brief biographical statement for presenting author (25-100 words).


Please submit your proposal as an e-mail attachment (Word, PDF) by December 5th, 2016, to Notification of acceptance by end of December.

Neue Publikation: Philipp Schmerheim – Skepticism Films

BITT-Mitglied Philipp Schmerheim hat im November 2015 beim Bloomsbury sein Buch „Skepticism Films“ veröffentlicht, auf das wir hier gerne hinweisen möchten.

Zum Inhalt des Buchs:

The book Skepticism Films. Knowing and Doubting the World in Contemporary Cinemaintroduces skepticism films as updated configurations of skepticist themes that exemplify the pervasion of philosophical ideas in popular culture. As will be shown, a detailed analysis of skepticism films and of the general relation between philosophical skepticism and cinema contributes to a better understanding of the dynamic interplay between film and philosophy.

The first part of the book defends a general, pluralistic film-philosophical position according to which films can be, but need not be, expressions of philosophical thought in their own right. The second part investigates the role of skepticist ideas in philosophical reflection on the medium of film by critically discussing the works of the film-philosophers Stanley Cavell, Gilles Deleuze, Josef Früchtl, Patricia Pisters, and D.N. Rodowick. The concluding parts of the book explore varieties of skepticism films as an integral phenomenon of contemporary cinema culture with the help of detailed case studies of films such as The Truman Show, Inception, Matrix, Vanilla Sky, The Thirteenth Floor, andShutter Island.

Das Buch kann im Bloomsbury Verlag erworben werden. Eine Leseprobe findet sich hier.

Vortrag: Daniela Maduro – Shapeshifting and multimodality

Der Vortrag von Daniela Maduro, wissenschaftliche Mitarbeiterin im Fachbereich 10, beschäftigt sich mit dem Thema „elektronische Literatur“:

Daniela Maduro, Universität Bremen

Shapeshifting and multimodality:
describing electronic literature

10. Dezember 2015, 16.15-17.45
GW2 A3570

Bremen Masterclasses on Multimodality


Abstract zum Vortrag:
Electronic literature has been described as a set of digital born texts created and read on a computer (N. Katherine Hayles). While resorting to computer’s characteristics such as high-speed processing and vast storage capability, texts gain the ability to change their appearance at any moment. In Introducing Social Semiotics (2005), Theo van Leeuwen has defined multimodality as “the combination of different semiotic modes – for example, language and music – in a communicative artifact or event.” (Van Leeuwen, 2005: 281). The computer allows the production of texts which include different semiotic modes and that are able to shapeshift into a movie, a poem, a photo or a game. Shapeshifting is the ability of a being to take the form of an object or of another being. Digital texts can be considered as transmorphs that can change their shape, often undermining any prospect of stable and definitive meaning. Many of these texts thrive on a reader’s frustration and subverted expectations. Hybridity, transiency and fragmentation are often used to delay and problematize signification. In this masterclass, I will begin by adopting the term „shapeshifting“ in order to describe electronic literature as an ever-expanding field. Subsequently, I will use this term to depict the behaviour of individual digital texts. These will be described as processes and events, or shapeshifters that are able to generate themselves and respond to the surrounding environment.