Heide Schlüpmann

from Wikipedia, the free encyclopedia

Heide Schlüpmann (born May 19, 1943 in Weidenau ) is a Frankfurt cinema philosopher and critical feminist cinema clerk .

biography

Heide Schlüpmann was born on May 19, 1943 in Weidenau an der Sieg. During her years of study in philosophy, a. a. with Ernst Bloch in Tübingen and Theodor W. Adorno in Frankfurt am Main, in 1969 she began an intensive and extensive examination of the work of Friedrich Nietzsche . These beginnings were also characterized by reflection on one's own biography in the post-Nazi Federal Republic as well as on the crises of the '68 political movements. A little later, her collaboration in a working group on National Socialist entertainment films set up by the then head of the Federal Archives / Film Archive, Friedrich P. Kahlenberg , together with the film critic and Kracauer editor Karsten Witte, was of similar importance to her .

After doing casual work, working as an assistant in the photo archive of the Free German Hochstift / Frankfurt Goethe Museum and exploring the urban space, especially the cinema, as a public, in the mid-1970s there were approaches to groups of the women's movement and alliances with female students active in feminism in a first teaching position . In the late 1970s, following her participation in a workshop on Feminism and Cinema organized by Laura Mulvey , Claire Johnston , Angie Martin and Lynda Myles at the Edinburgh International Film Festival , Schlüpmann joined the editorial team of Frauen und Film magazine a. Friendship and cooperation etc. a. with Karola Gramann , Miriam Hansen and Gertrud Koch .

In addition to writing about film, etc. a. for women and film , epd film , medien practical and in anthologies, as well as work with filmmakers and program work for festivals (especially the International Short Film Festival Oberhausen ), the scientific discovery of early cinema in the early 1980s and Schlüpmann's research in German and Dutch Archives in their post-doctoral thesis from 1989: Unheimlichkeit des Blick . The drama of early German cinema is the first comprehensive study of Wilhelmine cinema, its films, its audience, and the journalistic dispute of the time about the significance of the new phenomenon in public.

In the process of institutionalization of film studies in the FRG, Schlüpmann put her university activities on a permanent basis and held the professorship for film studies at the Institute for Theater, Film and Media Studies at the University of Frankfurt am Main from 1991 to 2008 . These years were characterized by the attempt to work against the isolation of film studies research and teaching in the academic institution and to keep it in connection with cinema work, film criticism and filmmakers from the outset: film studies as cinema studies was a program of Schlüpmann's teaching activity. She also taught as a visiting professor at Dartmouth College, Hanover, New Hampshire.

Schlüpmann worked - as the representative of a German university - on the Archimedia project, an amalgamation of European film archives, laboratories and universities. In 2000 she participated in the founding of the Kinothek Asta Nielsen eV , initiated by Karola Gramann . This started a joint curatorial activity that continues to this day. The cinema developed into an important institution with an international reputation in the Frankfurt city public. In addition to archiving, among other things, gray literature on the history of women's film work and queer cinema , the focus of the work is on the presentation of films - festivals, film retrospectives by neglected filmmakers such as Germaine Dulac , Alice Guy or Asta Nielsen , which in their importance was little appreciated for the development of the feature film aesthetic. In addition, thematic series and individual events form the program of the cinema library, while symposia accompany the film festivals. The Kinothek published a two-volume basic work on Asta Nielsen for the Filmarchiv Austria.

Cinema philosophy

In public intimacy. In 2002, Schlüpmann was aiming for theory in the cinema , a work on theory that is carried out in an affinity to cinema, whereby cinema is understood, according to its genesis, not least as an "theft of film from science". In 2007, she further formulated the problematization of the tension between cinema and knowledge in Ungeheige imagination. The dark morality of cinema : If, as Schlüpmann explains in an autobiographical figure of thought of the break with the institutions of knowledge, it moved from philosophy to cinema around 1970, it now returned to philosophy in and with cinema, specifically: on the question of the possibilities of life, which philosophy has put aside but which can be asked in the cinema. The prerequisite is that it is a question of an inactive (if not damaged) life. At the same time, cinema at Schlüpmann is on the one hand the concrete facility in which the masses gather and disperse for projections of films, but on the other hand it is also a theoretical name and non-place for the production and mediation (the imagination) of a morality and historicity of what is not claimed Life. In this socio-critical-moral perspective, Schlüpmann intensifies the opposition of cinema to neoliberal capital economies, media cultures and knowledge enterprises with their bustle imperatives and exclusion mechanisms.

Schlüpmann's Schopenhauer book, The Inner Image. For a lost concept of the soul from 2015, she picks up on motifs that she had in 1996 in Abendröthe of the subject philosophy. An aesthetic of cinema based on Nietzsche formulated: namely, philosophers who wrote shortly before the dawn of cinema and mass society, to read anew under the sign of cinema - and that means, to the cinema implied in their thinking, granted in the subsequent overwriting of the philosophical work to read. Cinema is, once again, not intended as an art of movement (this is also an essential difference to Gilles Deleuze's film-philosophical project , which remains true to the master canon of film art). Rather, Schlüpmann understands cinema as a turn towards the reality of non-bourgeois, non-masculine existences, bodies and habitus.

In this regard, Schlüpmann often ties in with Siegfried Kracauer ; She reconstructed this in 1998 in her volume Ein Detektiv des Kinos and in numerous essays as an author who, based on the experience of cinema, seeks proximity to the lost causes of history and who practices thinking / writing in the middle - not safer Distance to the everyday, not in a secure position in the value system of art, great politics, deep philosophy.

Publications

Monographs

Editions

  • Add. with Claudia Honegger, Christel Eckart and Silvia Kade: Barriers / Masquerades. Feminist Studies, No. 2, Weinheim 1983.
  • Add. with Ute Gerhard and Ulla Wischermann: The radicals of the old women's movement . Feminist Studies, No. 2, Weinheim 1984.
  • Zus, with Ute Gerhard and Ulla Wischermann: Politics of Autonomy , Feminist Studies, No. 2, Weinheim 1986.
  • Add. with Sabine Nessel and Stefanie Schulte Strathaus: L'invitation au Voyage. Germaine Dulac , Kinemathek, No. 93, October 2002.
  • Add. with Karola Gramann, Eric de Kuyper, Sabine Nessel and Michael Wedel: Asta Nielsen, Volume 1: Impossible Love. Asta Nielsen, her cinema; Volume 2: Moths. Asta Nielsen, her films (Filmarchiv Austria, 2010).
  • Add. with Andrea Haller and Martin Loiperdinger: Emilie Altenloh: Zur Sociologie des Kino. The cinema company and the social classes of its visitors (Stroemfeld, 2012).
  • Add. with Sabine Nessel: Zoo and cinema as display arrangements of modernity (Stroemfeld, 2012).
  • Add. with Fabian Tietke: Transito. Elvira Natari - Kino der Passage , Frankfurt 2017.

literature

  • Doris Kern, Sabine Nessel (Ed.): Unheard of experience. Texts about the cinema. Festschrift for Heide Schlüpmann. (Stroemfeld 2008)
  • Drehli Robnik: For a break. Political aspects of life in the break of ethics in Heide Schlüpmann's theory of the cinema. In: Doris Kern, Sabine Nessel (Ed.): Unheard of experience. Texts about the cinema. Festschrift for Heide Schlüpmann. (Stroemfeld 2008), pp. 71-96. https://www.academia.edu/10162591

Awards

Web links

Individual evidence

  1. ↑ Frankfurt faces: Heide Schlüpmann . In: Frankfurter Allgemeine Zeitung . August 8, 2003, ISSN  0174-4909 ( faz.net [accessed August 23, 2017]).
  2. ↑ Guide to German Film - Periodicals - Magazines - Goethe Institute. Retrieved August 23, 2017 .
  3. ↑ Portrait: Kinothek Asta Nielsen . In: Strandgut - The culture magazine for Frankfurt and Rhine-Main . November 6, 2015 ( strandgut.de [accessed on August 23, 2017]).
  4. ↑ ABOUT US. (No longer available online.) Archived from the original on March 6, 2017 ; accessed on August 23, 2017 . Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. @1@ 2Template: Webachiv / IABot / www.kinothek-asta-nielsen.de
  5. ↑ Schlüpmann, Heide .: Public intimacy: the theory in the cinema . Stroemfeld, Frankfurt am Main 2002, ISBN 978-3-87877-875-2 .
  6. ↑ Schlüpmann, Heide .: Tremendous imagination: the dark morality of the cinema . Stroemfeld, Frankfurt 2007, ISBN 3-87877-468-0 .
  7. ^ Schlüpmann, Heide .: Abendröthe der Subjectphilosophie: an aesthetics of the cinema . Stroemfeld, Frankfurt am Main 1998, ISBN 3-87877-740-X .
  8. ↑ Schlüpmann, Heide .: The inner picture: a lost concept of the soul . Frankfurt am Main, ISBN 3-86600-194-0 .
  9. ↑ Deleuze, Gilles .: Cinema 1. The motion picture. 1st ed., 1st [Dr.]. Suhrkamp-Taschenbuch-Verl, Frankfurt am Main 1997, ISBN 978-3-518-28888-7 .
  10. ^ Kracauer, Siegfried, 1889-1966 .: Theory of film: the redemption of physical reality (1960) . Princeton University Press, Princeton, NJ 1997, ISBN 978-0-691-03704-2 .
personal data
SURNAME Schlüpmann, Heide
BRIEF DESCRIPTION German film scholar
DATE OF BIRTH May 19, 1943
PLACE OF BIRTH Weidenau