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Ulrike Ottinger in the Mirror of Her Movies

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Ulrike Ottinger in the Mirror of Her Movies
Intellect , 15 (2024); https://doi.org/10.1386/9781789389364_3
/content/books/9781789389364.c01
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References

  1. Anger, Kenneth (1981), Hollywood Babylon, New York: Dell.
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  2. Benjamin, Walter (1968), ‘The work of art in the age of mechanical reproduction’, in H. Arendt (ed.), Illuminations, New York: Schocken Books, pp. 217–51.
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  3. Benjamin, Walter (1982), The Arcades Project (ed. R. Tiedemann, trans. H. Eiland and K. McLaughlin), Cambridge, MA: Harvard University Press.
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  4. Brecht, Stefan (1986), Queer Theatre, New York: Methuen.
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  5. Friedberg, Anne (1993), Window Shopping, Cinema and the Postmodern, Berkeley: University of California Press.
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  6. Galt, Rosalind (2011), Pretty: Film and the Decorative Image, New York: Columbia University Press.
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  7. Gauguin, Paul (1919), Noa Noa (trans. O. F. Theis), New York: Nicholas l. Brown.
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  8. Geiger, Jeffrey (2007), Facing the Pacific: Polynesia and the US Imperial Imagination, Honolulu: University of Hawaii Press.
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  9. King, Homay (2007), ‘Sign in the void: Johanna d'Arc of Mongolia’, Afterall, 16, pp. 46–52.
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  10. Makary, J. (2020), ‘Still Moving: Ulrike Ottinger's shifting archive of identity’, Another Gaze, 29, https://www.anothergaze.com/still-moving-ulrike-ottingers-shifting-archive-identity/. Accessed 9 May 2023.
  11. Marchand, Suzanne (2001), ‘German orientalism and the decline of the west’, Proceedings of the American Philosophical Society, 145:4, pp. 465–73.
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  12. McRobbie, Angela (2009) ‘Review of Laurence A. Rickels: Ulrike Ottinger, the Autobiography of Art Cinema’, Screen, 50:2, pp. 260–63.
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  13. Newton, Esther (2000), Margaret Mead Made Me Gay; Personal Essays, Public Ideas, Durham, NC: Duke University Press.
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  14. Ottinger, Ulrike (2019), Paris Calligrammes: A Landscape of Memory, Haus der Kulturen der Welt, Berlin, 23 August–13 October, https://www.ulrikeottinger.com/en/exhibition-details/paris-calligrammes-hkw-haus-der-kulturen-der-welt-2. Accessed 9 May 2023.
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  15. Rickels, Laurence A. (2008), Ulrike Ottinger, the Autobiography of Art Cinema, Minneapolis: University of Minnesota Press.31
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  16. Sicinski, Michael (2020), ‘Open ticket: The long, strange trip of Ulrike Ottinger’, CinemaScope, 22 September, https://cinema-scope.com/features/open-ticket-the-long-strange-trip-of-ulrike-ottinger/. Accessed 9 May 2023.
  17. Sykora, Katharina (2022), ZwischenWelten: Ulrike Ottingers Filme im Spiegel der angloamerikanischen und deutschen Kritik, Göttingen: Konstanz University Press/Wallstein Verlag.
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  18. Tobing Rony, Fatimah (2022), How Do We Look? Resisting Visual Biopolitics, Durham, NC: Duke University Press.
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  19. ulrike ottinger (website) (n.d.), ‘Still Moving’, https://www.ulrikeottinger.com/en/film-details/still-moving-2. Accessed 9 May 2023.

References

  1. Anger, Kenneth (1981), Hollywood Babylon, New York: Dell.
     [Google Scholar]
  2. Benjamin, Walter (1968), ‘The work of art in the age of mechanical reproduction’, in H. Arendt (ed.), Illuminations, New York: Schocken Books, pp. 217–51.
     [Google Scholar]
  3. Benjamin, Walter (1982), The Arcades Project (ed. R. Tiedemann, trans. H. Eiland and K. McLaughlin), Cambridge, MA: Harvard University Press.
     [Google Scholar]
  4. Brecht, Stefan (1986), Queer Theatre, New York: Methuen.
     [Google Scholar]
  5. Friedberg, Anne (1993), Window Shopping, Cinema and the Postmodern, Berkeley: University of California Press.
     [Google Scholar]
  6. Galt, Rosalind (2011), Pretty: Film and the Decorative Image, New York: Columbia University Press.
     [Google Scholar]
  7. Gauguin, Paul (1919), Noa Noa (trans. O. F. Theis), New York: Nicholas l. Brown.
     [Google Scholar]
  8. Geiger, Jeffrey (2007), Facing the Pacific: Polynesia and the US Imperial Imagination, Honolulu: University of Hawaii Press.
     [Google Scholar]
  9. King, Homay (2007), ‘Sign in the void: Johanna d'Arc of Mongolia’, Afterall, 16, pp. 46–52.
     [Google Scholar]
  10. Makary, J. (2020), ‘Still Moving: Ulrike Ottinger's shifting archive of identity’, Another Gaze, 29, https://www.anothergaze.com/still-moving-ulrike-ottingers-shifting-archive-identity/. Accessed 9 May 2023.
  11. Marchand, Suzanne (2001), ‘German orientalism and the decline of the west’, Proceedings of the American Philosophical Society, 145:4, pp. 465–73.
     [Google Scholar]
  12. McRobbie, Angela (2009) ‘Review of Laurence A. Rickels: Ulrike Ottinger, the Autobiography of Art Cinema’, Screen, 50:2, pp. 260–63.
     [Google Scholar]
  13. Newton, Esther (2000), Margaret Mead Made Me Gay; Personal Essays, Public Ideas, Durham, NC: Duke University Press.
     [Google Scholar]
  14. Ottinger, Ulrike (2019), Paris Calligrammes: A Landscape of Memory, Haus der Kulturen der Welt, Berlin, 23 August–13 October, https://www.ulrikeottinger.com/en/exhibition-details/paris-calligrammes-hkw-haus-der-kulturen-der-welt-2. Accessed 9 May 2023.
     [Google Scholar]
  15. Rickels, Laurence A. (2008), Ulrike Ottinger, the Autobiography of Art Cinema, Minneapolis: University of Minnesota Press.31
     [Google Scholar]
  16. Sicinski, Michael (2020), ‘Open ticket: The long, strange trip of Ulrike Ottinger’, CinemaScope, 22 September, https://cinema-scope.com/features/open-ticket-the-long-strange-trip-of-ulrike-ottinger/. Accessed 9 May 2023.
  17. Sykora, Katharina (2022), ZwischenWelten: Ulrike Ottingers Filme im Spiegel der angloamerikanischen und deutschen Kritik, Göttingen: Konstanz University Press/Wallstein Verlag.
     [Google Scholar]
  18. Tobing Rony, Fatimah (2022), How Do We Look? Resisting Visual Biopolitics, Durham, NC: Duke University Press.
     [Google Scholar]
  19. ulrike ottinger (website) (n.d.), ‘Still Moving’, https://www.ulrikeottinger.com/en/film-details/still-moving-2. Accessed 9 May 2023.

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