Ulrich Meurer

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D O W N L O A D S - A C A D E M I A . E D U

BOOKS + EDITED VOLUMES

Übersetzung und Film. Das Kino als Translationsmedium. [Translation and Film: Cinema as a Metaphrastic Medium] (Editor), Bielefeld: Transcript 2012.

Review (in German) by Tomas Sommadossi in: Lebende Sprachen, 60/2 (2015), pp. 380–383.
Also reviewed in GMK-Newsletter, 4 (2012) / EIKON, 80 (2012), Thomas Ballhausen / Germanistik, 55/1-2 (2014)

FremdBilder. Auswanderung und Exil im internationalen Kino. [Images of the Other: Migration and Exile in International Cinema] (co-ed. with Maria Oikonomou), Bielefeld: Transcript 2009.

Review (in German) by Wolfgang Schlott in: MEDIENwissenschaft, 2 (2010), pp. 361–363.

Perseus’ Schild. Griechische Frauenbilder im Film. [The Shield of Perseus: Images of Greek Women in Cinema] (co-ed. with Marie-Elisabeth Mitsou, Maria Oikonomou), Munich: Ars Una 2008.
(funded by the J. F. Costopoulos Foundation, Athens)

Topographien. Raumkonzepte in Literatur und Film der Postmoderne. [Topographies: Concepts of Space in Postmodern Literature and Film], Munich: Fink 2007.
(funded by the Deutsche Forschungsgesellschaft DFG / Download full text)

Review (in German) by Sascha Seiler in: KulturPoetik. Journal for Cultural Poetics, 8/2 (2008).
Review (in German) by Sigrid Nieberle in: Germanistik, 49/1-2 (2008).

online

Filmicon: Journal of Greek Film Studies 7, Dec. 2020 (Special issue "Moments of the Documentary"). Co-ed. Maria Oikonomou, Tonia Kazakopoulou, 2021.
escape! Strategien des Entkommens in Kunst, Medien, Wissenschaft [escape! Strategies of Flight, Elopement, and Transgression]. Co-ed. Nicole Kandioler, Vrääth Öhner, Andrea Seier, 2015.

upcoming

Philokratia. Politiken der Freundschaft im amerikanischen (Bewegt-)Bild [Philocracy: Politics of Friendship in the American (Moving) Image]
From the Heavens and Earth: Politics of the Supernatural

ARTICLES + BOOK CHAPTERS

Hy/dro/positions – of Subjects Dissolving in Media Environments, in: Moritz Ingwersen, Beate Ochsner, Stephanie Posthumus (eds): Implications: Michel Serres and the Environmental Humanities. London, New York: Bloomsbury 2024 (in print).
How Not to Be Seen: Maschinelle Detektion und menschliche Camouflage [How Not to Be Seen: Machine Detection and Human Camouflage], in: Joachim Harst, Nursan Celik, Rahel Jendges (eds): Virtuelle Investigationen: Revisionen des Indizienparadigmas in Literatur und Kunst. Cologne: USB Monographs 2024, pp. 35-62.
Orpheus-Effekt: Über die politische Unordnung der Sinne im Medialen [Orpheus-Effect: On the Political Disorder of the Senses in Media Environments], in: Lars C. Grabbe, Patrick Rupert-Kruse, Norbert M. Schmitz (eds): Neue Erzählformen in dynamischen Bildtechnologien. Marburg: Büchner 2023 (online), 2024 (print), pp. 127-148.
The Zero and One Theorem – A Meta/Physics of the Digital, in: Ian Bekker, Sabine Planka, Philip van der Merwe (eds): A Critical Companion to Terry Gilliam. Lanham, MD: Rowman & Littlefield (2022), pp. 223-239.
Fictional, Virtual, Corporeal, Affective – Perspectives of the Documentary, in: Filmicon: Journal of Greek Film Studies 7, Dec. 2020 (Special issue "Moments of the Documentary"), ed. by Ulrich Meurer, Maria Oikonomou, Tonia Kazakopoulou, 2021.
Inventing a People: "LaboratoryAthens" and Minor Cinema, in: Filmicon: Journal of Greek Film Studies 7, Dec. 2020 (Special issue "Moments of the Documentary"), ed. by Ulrich Meurer, Maria Oikonomou, Tonia Kazakopoulou, 2021.
"Being Present Is Much More Important Than the Actual Film": A Conversation with Eva Stefani, in: Filmicon: Journal of Greek Film Studies 7, Dec. 2020 (Special issue "Moments of the Documentary"), ed. by Ulrich Meurer, Maria Oikonomou, Tonia Kazakopoulou, 2021.
Invading/Inviting: From Surveillance to Byzantium, in: Zeitschrift für Medien- und Kulturforschung ZMK 11/1 (2020), pp. 157-173.
The Shards of Zadar: A (Meta-)Archaeology of Cinema, in: Pantelis Michelakis (ed.): Classics and Media Theory. Oxford: Oxford University Press 2020, pp. 187-210.
Goldgrund/Tiefenraum. Politische Perzeption in Richard Mosse' Incoming [Gold Ground/Depth of Space: Political Perception in Richard Mosse's Incoming], in: Monika Albrecht (ed.): Europas südliche Ränder: Interdisziplinäre Perspektiven auf Asymmetrien, Hierarchien und Postkolonialismus-Verlierer. Bielefeld: Transcript 2020, pp. 199-222.
Understanding Reality - with Open and with Closed Eyes (Profile 'Eva Stefani'), in: Catalogue of the 65. International Short Film Festival Oberhausen. IKO gGmbH, Oberhausen: Karl Maria Laufen 2019, pp. 258-260.
Im Unendlichen kein Treffen. Die Parallelmontagen von The Birth of a Nation [No Meeting at Infinity: Parallel Editing in The Birth of a Nation], in: Martin Doll (ed.): Cutting Edge! Aktuelle Positionen der Filmmontage. Cologne: Bertz+Fischer, pp. 18-26.
Ruggles, Rezitieren, Amerikaner werden [Ruggles, Reciting, Becoming American], in: Bernhard Groß, Vrääth Öhner, Drehli Robnik (eds): Film und Gesellschaft denken mit Siegfried Kracauer. Vienna: Turia+Kant, pp. 33-46.
LabA: Zu austeritärer Politik und Schmalfilm [LabA: On Politics of Austerity and the Small Gauge], in: Elisabeth Büttner, Vrääth Öhner, Lena Stölzl (eds): Sichtbar machen. Politiken des Dokumentarfilms. Berlin: Vorwerk 8 2018, pp. 172-189.
"... als ob die Lösung immer anderswoher käme": BriCollage eines Medienwissenschaftsparadigmas ["... as if the solution always came from somewhere else": BriCollage of a Paradigm in Media Studies], in: Maske & Kothurn 1/2017 (ed. Annette Storr), pp. 37-39.
Schneekugel/Lustschloss: Der Filmraum in "Citizen Kane" [Snow Globe/Pleasure Dome: Filmic Space in "Citizen Kane"], in: Oliver Jahraus, Tanja Prokic (eds): Orson Welles’ "Citizen Kane" und die Filmtheorie. Stuttgart: Reclam 2017, pp. 167-185.
Short Voyages to the Land of Gregarious Animals: On the Aesthesia of Politics in 'Sto Lyko' and 'Sweetgrass', in: Tonia Kazakopoulou, Mikela Fotiou (eds): Contemporary Greek Film Cultures from 1990 to the Present. Frankfurt/Main, New York: Peter Lang, pp. 1-35.

(Karsten-Witte-Award [2nd prize / special mention] of the 'Society for Media Studies' GfM for best article in film studies, 2018)

Knacks/Bürgerkrieg: Das Glasnegativ als politische Oberfläche [Crack-up/Civil War: The Glass Negative As Political Surface], in: Dennis Göttel, Florian Krautkrämer (eds): Scheiben. Medien der Durchsicht und Reflexion. Bielefeld: Transcript 2017, pp. 27-39.
Ψikones: Bildersturm, Traumrede, Medientransposition [Ψicons: Iconoclasm, Dream Discourse, Media Transposition], in: Maske & Kothurn 1/2016 ('Dreams Undreamt', ed. by Rainer M. Köppl & Randy Sterling Hunter), pp. 19-30.
Union, Patchwork: Mathew Bradys politische Imaginationen [Union & Patchwork: The Political Imaginations of Mathew Brady], in: Martin Doll, Oliver Kohns (eds): Figurationen des Politischen I & II. Munich: Fink 2016 (vol. 2), pp. 219-247.
Horse in Motion: On the Rationalities of Cinema and Opera, in: Kinetophone 1/1 (2014), pp. 35-58.
Composite Congress: On Dispersal Patterns in Mathew Brady’s Political Imagery, in: Zeitschrift für Medien- und Kulturforschung ZMK 5/1 (2014), pp. 151-164.
Becoming Line. On Some Features of Philosophy in Salut, Deleuze!, in: Keyvan Sarkhosh, Paul Ferstl (eds): From Arthouse to Grindhouse – and Back? Relations Between High and Popular Culture. New York, Amsterdam: Rodopi 2014, pp. 197-220.
And then, as in a jumpcut: DeLillo schreibt Godard, in: Hans-Edwin Friedrich, Eckhard Pabst, Hans Jürgen Wulff (eds): Scriptura cinematographica. Texttheorie der Schrift in audiovisuellen Medien. (Series of the Cinémathèque de la Ville de Luxemboug, Vol. 21), Trier: WvT 2013, pp. 225-241.
Träume, Tiere, Translationen: Die Filme der Coney Island Amateur Psychoanalytic Society [Dreams, Animals, Translations: The Movies of the Coney Island Amateur Psychoanalytic Society], in: Ulrich Meurer (ed.): Übersetzung und Film. Das Kino als Translationsmedium. Bielefeld: Transcript 2012, pp. 175-202.
Gemeinsame Sequenzen. Einige Vorworte zu Übersetzung und Film [Common Sequences: Some Introductory Notes on Translation and Film], in: Ulrich Meurer (ed.): Übersetzung und Film. Das Kino als Translationsmedium. Bielefeld: Transcript, 2012, pp. 9-43.
Double-mediated Terrorism: Gerhardt Richter and Don DeLillo’s ‘Baader-Meinhof’, in: Michael C. Frank, Eva Gruber (eds): Literature and Terrorism. New York, Amsterdam: Rodopi 2011, pp. 99-117.
Clatter, crash, clack! Zur Taktung von Maschine, Tanz und Film [Clatter, Crash, Clack! On the Pulse of Machines, Dance, and Film], in: Gisela Ecker, Claudia Lillge (eds): Kulturen der Arbeit. Munich: Fink 2011, pp. 67-84.
Niemand will ich als letzten verspeisen ... Zur Politik der Gastfreundschaft in der Odyssee [I Will Eat Nobody Last: The Politics of Hospitality in the Odyssey], in: Michael Grünbart (ed.): Geschenke erhalten die Freundschaft – Gabentausch und Netzwerkpflege im europäischen Mittelalter. Münster: LIT 2011, pp. 117-127.
ars combinatoria: Skizze einer Theorie transmedialer Kombinatorik [ars combinatoria: Delineating a Theory of Transmedia Combinatorics], in: Achim Hölter (ed.): Comparative Arts. Heidelberg: Synchron 2011, pp. 51-59.
Life Transmission. Paul Auster’s Merging Worlds, Media, and Authors, in: Jesus A. Gonzalez, Stefania Ciocia (eds): The Invention of Illusion. International Perspectives on Paul Auster. Cambridge: Cambridge UP 2011, pp. 173-192.
Vanishing Pictures: E. A. Poes und Rodney Grahams intermediale Landschaften [Vanishing Pictures: The Intermedia Landscpaes of E. A. Poe and Rodney Graham], in: Herbert Van Uffelen et al. (eds): Literatur im Kontext. Ein gegenseitiges Entbergen. Vienna: Praesens 2010, pp. 221-250.
Alles fließt. Die Ordnung der Plansequenz [Panta rei: The Order of the Tracking Shot], in: Schnitt 56 (Oct. 2009), pp. 24-27.
Wolken-Formation. SOS Eisberg und die Urmaterie des faschistischen Bildes [Cloud Formation: Riefenstahl's SOS Eisberg and the Ylem of the Fascist Image], in: Jörn Glasenapp (ed.): Riefenstahl Revisited. Munich: Fink 2009, pp. 39-69.
The institution of the dear love of comrades – Zur Wiederaufführung amerikanischer Soziotopologie in M. Night Shyamalans The Village [The institution of the dear love of comrades: On the Reenactment of American Socio-Topology in M. Night Shyamalan's The Village], in: Ulrich Meurer, Maria Oikonomou (eds): FremdBilder. Auswanderung und Exil im internationalen Kino. Bielefeld: Transcript 2009, pp. 215-239.
Fremdbilder – Aspekte geographischer und medialer Bewegung [Images of the Other: Aspects of Geographic and Medial Motion], in: Ulrich Meurer, Maria Oikonomou (eds): FremdBilder. Auswanderung und Exil im internationalen Kino. Bielefeld: Transcript 2009, pp. 9-33.
Kette, Schuss, Gegenschuss: Penelope als autoreflexive Figur in Godards Le Mépris [Chain, Shot, Reverse-Shot: Penelope as Figure of Self-Referentiality in Godard's Le Mépris], in: Ulrich Meurer, Marie-Elisabeth Mitsou, Maria Oikonomou (eds): Perseus’ Schild. Griechische Frauenbilder im Film. Munich: Ars Una 2008, pp. 125-161.
Die Enthauptung des Bildes der Medusa – cerebrum/vertebrae [The Beheading of Medusa's Image - cerebrum/vertebrae], in: Ulrich Meurer, Marie-Elisabeth Mitsou, Maria Oikonomou (eds): Perseus’ Schild. Griechische Frauenbilder im Film. Munich: Ars Una 2008, pp. 9-38.
1936 ... Zur politischen Somatik bei Benjamin, Chaplin und Riefenstahl [1936 ... On the Political Body in Benjamin, Chaplin, and Riefenstahl], in: Gertrud Lehnert, Monika Schmitz-Emans (eds): Visual Culture. Heidelberg: Synchron 2008, pp. 213-222.
Screen Memories: Simonides in Connecticut, in: Manfred Beetz, Joachim Dyck, Wolfgang Neuber, Gert Ueding (eds): Rhetorik. Ein internationales Jahrbuch 26 (2007) pp. 29-39.
Die ausgezeichnete Stirne zeigt den tiefen Denker. Von der biografischen zur fotografischen Konstruktion der Identität Immanuel Kants [Prominent Forehead, Profound Thinker: From Biographic to Photographic Constructions of the Identity of Immanuel Kant], in: Arne Höcker, Jeannie Moser, Philippe Weber (eds): Wissen. Erzählen. Narrative der Humanwissenschaften. Bielefeld: Transcript 2006, pp. 185-196.
Spionagemaschine. Zu intensiven Geschwindigkeiten und extensiven Bewegungen in Richard Marquands Eye of the Needle [Spy Machine: On Intensive Speed and Extensive Movement in Richard Marquand's The Eye of the Needle], in: Heinz J. Drügh, Volker Mergenthaler (eds): Ich ist ein Agent. Ästhetische und politische Aspekte des Spionagefilms. Würzburg: Königshausen & Neumann 2005, pp. 157-170.
Somatic Narratives: Don DeLillo’s The Body Artist and the Invention of a Metastable Self, in: Susanne Kollmann, Kathrin Schödel (eds): Postmoderne De/Konstruktionen. Ethik, Politik und Kultur am Ende einer Epoche. Münster: LIT 2004, pp. 229-241.
24 Indizien pro Sekunde – keine Leiche: Peter Greenaways The Draughtsman’s Contract [24 Clues per Second - No Body: Peter Greenaway's The Draughtsman's Contract], in: Frank Furtwängler, Kay Kirchmann, Andreas Schreitmüller, Jan Siebert (eds): Zwischen-Bilanz. Eine Festschrift zum 60. Geburtstag von Joachim Paech. CD-Rom, Constance 2002.
Cinema Vérité und Cinema Varieté. Kann das digitale Bild auf neue Weise erzählen? [Cinéma Vérité & Cinéma Varieté: Can the Digital Image Invent New Narratives?], in: Website of the University of Erfurt / Slavic Literary Studies (until 03.2008).
Manhattan am Euphrat – Die City of Glass als mythische Reaktualisierung [Manhattan on the Euphrates: The City of Glass as Mythical Reactualization], in: Andreas Lienkamp, Wolfgang Werth, Christian Berkemeier (eds): „As strange as the world“: Annäherungen an das Werk des Erzählers und Filmemachers Paul Auster. Münster: LIT 2002, pp. 51-59.

REVIEWS

Book review: Giorgio Agamben: Das Abenteuer. Der Freund. [The Adventure. The Friend], Berlin: Matthes + Seitz 2018, in: [rezens.tfm] 2018/2 (E-Journal for Academic Reviews. Department of Theater, Film, and Media Studies, University of Vienna).
Movie review: Konspirieren, inhalieren: Getrübte Erinnerung an P. T. Andersons "Inherent Vice" – in neun Szenen [Conspiring, Inhaling: Clouded Memories of P. T. Anderson's "Inherent Vice" - In Nine Scenes], in: Kolik.film 23 (March 2015) pp. 81-86.
Conference review: Texture Matters: The Haptical and Optical in Media (Department of Theater, Film, and Media Studies at the University of Vienna, The Tisch School of the Arts at New York University, Museum of Applied Arts / Contemporary Arts (MAK) Vienna, June 2014, in: The Senses and Society 11/2 (2015).
Book review: Jörn Glasenapp (ed.): Michelangelo Antonioni. Wege in die filmische Moderne. [Michelangelo Antonioni: Paths to Cinematic Modernism], Munich: Fink 2012, in: [rezens.tfm] 2013/1 (E-Journal for Academic Reviews. Department of Theater, Film, and Media Studies, University of Vienna).
Book review: Maren Möhring, Massimo Perinelli, Olaf Stieglitz (eds.): Tiere im Film – Eine Menschheitsgeschichte der Moderne. [Animals in Film: A Human History of Modernity], Köln, Weimar, Vienna: Böhlau 2009, in: [rezens.tfm] 2010/2 (E-Journal for Academic Reviews. Department of Theater, Film, and Media Studies, University of Vienna).
Book review: Klaus Martens (ed.): Pioneering North America: Mediators of European Literature and Culture. Saarbrücker Beiträge zur Vergleichenden Literatur- und Kulturwissenschaft 11, Würzburg: Königshausen & Neumann 2000, in: Zeitschrift für Kanada-Studien ZKS 21/2 (2001), pp. 194-196.

ENCYCLOPEDIA ENTRIES

Thomas Pynchon: Inherent Vice, in the expanded online-edition of: Heinz Ludwig Arnold (ed.): Kindlers Literatur Lexikon, 3. edition, Stuttgart, Weimar: Metzler 2009.
Anne Carson: Das lyrische Werk (A. Carson: Poetry / Vol. 3, pp. 554-555), / William H. Gass: In the Heart of the Heart of the Country (Vol. 6, pp. 126-127) / Thomas Pynchon: Slow Learner (Vol. 13, pp. 339-340) / Charles Reznikoff: Das lyrische Werk (C. Reznikoff: Poetry / Vol. 13, pp. 625-626) / Ronald Sukenick: Das Prosawerk (R. Sukenick: Prose / Vol. 15, pp. 733-734), in: Heinz Ludwig Arnold (ed.): Kindlers Literatur Lexikon, 3. edition, Stuttgart, Weimar: Metzler 2009.
Raymond Federman (pp. 123-124) / Edgar Allan Poe (pp. 327-329) / Ezra Loomis Pound (pp. 330-331), in: Monika Schmitz-Emans, Uwe Lindemann, Manfred Schmeling (eds.): De Gruyter Lexikon: Poetiken. Autoren – Texte – Begriffe. Berlin, New York: Walter de Gruyter 2009.
Laurence Sterne: Tristram Shandy, in: Die englischen Klassiker. Munich: X-libris CD-Rom Produktion 1996.
Wilhelm Hauff: Drei Märchen-Almanache [Three Fairytale Almanacs] / Heinrich Heine: Deutschland. Ein Wintermärchen & Atta Troll. Ein Sommernachtstraum [Germany: A Winter Fairy Tale & Atta Troll: A Midsummer Night's Dream] / Friedrich Nietzsche: Also sprach Zarathustra [Thus Spoke Zarathustra], in: Die deutschen Klassiker (CD-Rom). Kehl: Swan New Media 1995.

TRANSLATIONS [INTO GERMAN]

Elena Maroutsou: Der Sinn [Το νόημα], Chapter 1, co-translation in: Modern Greek Studies Online: Journal of the Society for Modern Greek Studies Vol. 3 (2017).
Edgar Allan Poe: Poetry (excerpts, esp.): The Haunted Palace / The Raven / The Conqueror Worm, in: Matthew Pearl: Die Stunde des Raben [The Poe Shadow], Munich: Droemer 2007.
Emily Dickinson: Poems 425 (Good Morning – Midnight) / 870 (Finding is the first Act) / 1062 (He scanned it – staggered) / 1184 (The Days that we can spare) / 1742 (The distance that the dead have gone), in: Reginald Hill: Welch langen Weg die Toten gehen [Good Morning, Midnight], Munich: Droemer 2006.
Several Essays in: Reflexionen. Essays neugriechischer Autoren [Reflections: Modern Greek Essays], Münchener Neugriechische Schriften 1, ed. by Marie-Elisabeth Mitsou, Maria Oikonomou. Munich: Ars Una 2005.

AUDIOVISUALS

Image/Theory (Video, 2022 / New teaser [original: 2017] for a course in image studies, BA Program 'Culture, Politics and Society' at CEU Vienna)
Icono/Graphy (Video, 2022 / Teaser for a course in media studies at CEU Vienna)
Mount Fuji - The Movement of Clouds (Silent film by Masanao Abe, 1929, subtitled by Ulrich Meurer & Madoka Sakabe / for the course 'Visual Ecologies' at CEU Vienna)
We : Refugees (Exhibition video for the conference/event We : Refugees, Thessaloniki 2022)
Panorama One to Three (Video, 2021 / Material on contemporary panoramas [360° paintings] for a course in image theory at CEU Vienna)
PoolLoop / Memory, Virtuality, Materiality [and: The Swimmer] (Sound-Essay for Julia Haugeneder's exhibition "Idylle, blau", Galerie Elisabeth & Klaus Thoman, Innsbruck, March-June 2021)
Gold Ground / Silver Screen (Video, 2018 / Trailer for a research project on 'Byzantine Form in (Post-)Cinema')
Inner Workings - A Mechanic Melodrama (Video - for G. Maddin, 2016)
Another System of Landor's Cottage (Video, 2014)
SUB (Video, 2013)
CavafyMachine / Recut (Video animation, 2024 / re-edited version of the video from 2013 for the art installation "Metapolitefsi" at the Athens Epidaurus Festival, June 2024
CavafyMachine (Video animation, 2013 / for the C. P. Cavafy Forum of the Modern Greek Program, University of Michigan)
Nothing Short of a Miracle (Video, 2011 / Trailer for lecture courses at the University of Vienna)
Behind Me You Can See (Video, 2011).

VISUALS

Graphic works (Book covers / Illustrations / Conference posters / Project logos)