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Shadow Plays: Charting Ulrike Ottinger's Recent Navigations

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Shadow Plays: Charting Ulrike Ottinger's Recent Navigations
Intellect , 187 (2024); https://doi.org/10.1386/9781789389364_14
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References

  1. Alter, Nora M. (1998), ‘Triangulating performance: Looking after genre after feature’, in I. M. O'Sickey and I. von Zadow (eds), Triangulated Visions: Women in Recent German Cinema, Albany: SUNY Press, pp. 11–27.
     [Google Scholar]
  2. Alter, Nora M. (2012), ‘Still filming: Ottinger's cabinet of curiosities’, in J. Kapczynski and M. Richardson (eds), A New History of German Cinema, Rochester: Camden House, pp. 622–27.
     [Google Scholar]
  3. Bazin, André (2004) ‘Cinema and exploration’, What is Cinema (trans. Hugh Gray), vol. 1, Berkeley: University of California Press, pp. 154–63.
     [Google Scholar]
  4. Bazin, André (2018), ‘Le paysage au cinema’, in Hervé Joubert-Laurencin (ed.), Écrits Complets, vol. 1, Paris: Éditions Macula.
     [Google Scholar]
  5. Bense, Max (2017), ‘On the essay and its prose’, in Nora M. Alter and Timothy Corrigan (eds), Essays on the Essay Film, New York, Columbia University Press, pp. 49–59.203
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  6. Bergstrom, Janet (1988), ‘The theater of everyday life: Ulrike Ottinger's China: The Arts, everyday life’, Camera Obscura, 6:3, pp. 42–51.
     [Google Scholar]
  7. Cahill, James and Caminati, Luca (eds) (2021), Cinema of Exploration: Essays on an Adventurous Film Practice, New York: Routledge.
     [Google Scholar]
  8. Corrigan, Timothy (2011), The Essay Film: From Montaigne, After Marker, Oxford: Oxford University Press.
     [Google Scholar]
  9. Deloughrey, Elizabeth and Flores, Tatiana (2020), ‘Submerged bodies: The tidalectics of representability and the sea in Caribbean art’, Environmental Humanities, 12:1, pp. 132–66.
     [Google Scholar]
  10. Dulac, Germaine ([1925] 1994), ‘The essence of cinema: Visual and anti-visual films’, in Prosper Hillairet (ed.), Écrits sur Cinéma (1919–1937), Paris: Paris Experimental.
     [Google Scholar]
  11. Floating Flood (2011), Exhibition, Berlin: Haus der Kulturen der Welt, 8 September–30 October.
     [Google Scholar]
  12. Foucault, Michel (1986), ‘Of other spaces’, Diacritics (trans. Jay Miskowiec), 16:1 (Spring), pp. 22–27.
     [Google Scholar]
  13. Gaycken, Oliver (2010), ‘Through the body with a laser gun and camera: Fantastic voyage and the cinema of exploration’, in J. L. Cahill and L. Caminati, Cinema of Exploration, Abingdon: Routledge, pp. 4–56.
     [Google Scholar]
  14. Groo, Katherine (2010), ‘Weird loops: Climate change, drone cinema, and the work of mourning’, in J. L. Cahill and L. Caminati, Cinema of Exploration, Abingdon: Routledge, pp. 73–88.
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  15. Herbert, Stephen (2000), A History of Pre-Cinema, London: Taylor and Francis.
     [Google Scholar]
  16. Kern, Stephen (2003), The Culture of Time and Space, 1880–1918, Cambridge: Harvard University Press.
     [Google Scholar]
  17. Longfellow, Brenda (1993), ‘Lesbian phantasy and the other woman in Ottinger's Johanna d'Arc of Mongolia’, Screen, 34:2, pp. 124–36.
     [Google Scholar]
  18. Mignolo, Walter D. (2013) ‘Sylvia Winter: What does it mean to be human?’ in K. McKittrick (ed.), Sylvia Wynter: On Being Human as Praxis Durham, NC: Duke University Press, pp. 106–23.
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  19. Ottinger, Ulrike (dir.) (1989), Johanna d'Arc of Mongilia, Germany: La Sept Cinéma, Popolar-Film and Zweites Deutsches Fernsehen (ZDF).
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  20. Ottinger, Ulrike (dir.) (2016), Chamisso's Shadow, Germany: Ulrike Oettinger Filmproduktion, ZDF / 3sat and Rundfunk Berlin-Brandenburg (RBB).
     [Google Scholar]
  21. Schivelbusch, Walter (1986), The Railway Journey: The Industrialization of Time and Space in the Nineteenth Century, Berkeley: University of California Press.
     [Google Scholar]
  22. Skvirsky, Salomé Aguilera (2020), The Process Genre: Cinema and the Aesthetic of Labor, Durham, NC: Duke University Press.
     [Google Scholar]
  23. Trumpener, Katie (1993), ‘Johanna d'Arc of Mongolia in the mirror of Dorian Gray: Ethnographic recordings and the aesthetics of the market in recent films by Ulrike Ottinger’, New German Critique, Autumn, pp. 77–99.
     [Google Scholar]
  24. Wynter, Sylvia (2003), ‘Unsettling the coloniality of being/power/truth/freedom: Towards the human, after man, its overrepresentation – an argument’, The New Centennial Review, 3:3, Fall, pp. 257–337.
     [Google Scholar]

References

  1. Alter, Nora M. (1998), ‘Triangulating performance: Looking after genre after feature’, in I. M. O'Sickey and I. von Zadow (eds), Triangulated Visions: Women in Recent German Cinema, Albany: SUNY Press, pp. 11–27.
     [Google Scholar]
  2. Alter, Nora M. (2012), ‘Still filming: Ottinger's cabinet of curiosities’, in J. Kapczynski and M. Richardson (eds), A New History of German Cinema, Rochester: Camden House, pp. 622–27.
     [Google Scholar]
  3. Bazin, André (2004) ‘Cinema and exploration’, What is Cinema (trans. Hugh Gray), vol. 1, Berkeley: University of California Press, pp. 154–63.
     [Google Scholar]
  4. Bazin, André (2018), ‘Le paysage au cinema’, in Hervé Joubert-Laurencin (ed.), Écrits Complets, vol. 1, Paris: Éditions Macula.
     [Google Scholar]
  5. Bense, Max (2017), ‘On the essay and its prose’, in Nora M. Alter and Timothy Corrigan (eds), Essays on the Essay Film, New York, Columbia University Press, pp. 49–59.203
     [Google Scholar]
  6. Bergstrom, Janet (1988), ‘The theater of everyday life: Ulrike Ottinger's China: The Arts, everyday life’, Camera Obscura, 6:3, pp. 42–51.
     [Google Scholar]
  7. Cahill, James and Caminati, Luca (eds) (2021), Cinema of Exploration: Essays on an Adventurous Film Practice, New York: Routledge.
     [Google Scholar]
  8. Corrigan, Timothy (2011), The Essay Film: From Montaigne, After Marker, Oxford: Oxford University Press.
     [Google Scholar]
  9. Deloughrey, Elizabeth and Flores, Tatiana (2020), ‘Submerged bodies: The tidalectics of representability and the sea in Caribbean art’, Environmental Humanities, 12:1, pp. 132–66.
     [Google Scholar]
  10. Dulac, Germaine ([1925] 1994), ‘The essence of cinema: Visual and anti-visual films’, in Prosper Hillairet (ed.), Écrits sur Cinéma (1919–1937), Paris: Paris Experimental.
     [Google Scholar]
  11. Floating Flood (2011), Exhibition, Berlin: Haus der Kulturen der Welt, 8 September–30 October.
     [Google Scholar]
  12. Foucault, Michel (1986), ‘Of other spaces’, Diacritics (trans. Jay Miskowiec), 16:1 (Spring), pp. 22–27.
     [Google Scholar]
  13. Gaycken, Oliver (2010), ‘Through the body with a laser gun and camera: Fantastic voyage and the cinema of exploration’, in J. L. Cahill and L. Caminati, Cinema of Exploration, Abingdon: Routledge, pp. 4–56.
     [Google Scholar]
  14. Groo, Katherine (2010), ‘Weird loops: Climate change, drone cinema, and the work of mourning’, in J. L. Cahill and L. Caminati, Cinema of Exploration, Abingdon: Routledge, pp. 73–88.
     [Google Scholar]
  15. Herbert, Stephen (2000), A History of Pre-Cinema, London: Taylor and Francis.
     [Google Scholar]
  16. Kern, Stephen (2003), The Culture of Time and Space, 1880–1918, Cambridge: Harvard University Press.
     [Google Scholar]
  17. Longfellow, Brenda (1993), ‘Lesbian phantasy and the other woman in Ottinger's Johanna d'Arc of Mongolia’, Screen, 34:2, pp. 124–36.
     [Google Scholar]
  18. Mignolo, Walter D. (2013) ‘Sylvia Winter: What does it mean to be human?’ in K. McKittrick (ed.), Sylvia Wynter: On Being Human as Praxis Durham, NC: Duke University Press, pp. 106–23.
     [Google Scholar]
  19. Ottinger, Ulrike (dir.) (1989), Johanna d'Arc of Mongilia, Germany: La Sept Cinéma, Popolar-Film and Zweites Deutsches Fernsehen (ZDF).
     [Google Scholar]
  20. Ottinger, Ulrike (dir.) (2016), Chamisso's Shadow, Germany: Ulrike Oettinger Filmproduktion, ZDF / 3sat and Rundfunk Berlin-Brandenburg (RBB).
     [Google Scholar]
  21. Schivelbusch, Walter (1986), The Railway Journey: The Industrialization of Time and Space in the Nineteenth Century, Berkeley: University of California Press.
     [Google Scholar]
  22. Skvirsky, Salomé Aguilera (2020), The Process Genre: Cinema and the Aesthetic of Labor, Durham, NC: Duke University Press.
     [Google Scholar]
  23. Trumpener, Katie (1993), ‘Johanna d'Arc of Mongolia in the mirror of Dorian Gray: Ethnographic recordings and the aesthetics of the market in recent films by Ulrike Ottinger’, New German Critique, Autumn, pp. 77–99.
     [Google Scholar]
  24. Wynter, Sylvia (2003), ‘Unsettling the coloniality of being/power/truth/freedom: Towards the human, after man, its overrepresentation – an argument’, The New Centennial Review, 3:3, Fall, pp. 257–337.
     [Google Scholar]

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