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Dr Berenike Jung is a lecturer in Film Studies at the University of Groningen. Previously she worked as a lecturer in Film Studies at King' College London and at the Institute of Media Studies at the University of Tübingen. She gained her PhD in Film and Television Studies at the University of Warwick in 2016, published as "The Invisibilities of Torture. The Presence of Absence in U.S. and Chilean Fiction Cinema and Television" (Edinburgh University Press, 2020).
This article proposes to reassess Orson Welles's Othello (1951) in light of his earliest and little examines short, The Hearts of Age (1934). Refining textual analysis with the tools of whiteness studies and a focus on how American media history is reflected in the film, the article demonstrates that Welles's Othello makes a strong (and often misun...
My thesis explored the relation of factual torture cases, as visually documented or not, to their fictionalization in key films and television shows. I began with the analysis of selective, incomplete, or distorted representation, or, conversely, their telling “presence by absence.” Over the course of writing the PhD, I moved towards questions of...
The historical film — defined here as a fiction film based on historical events — commits a sacrilege according to conventional wisdom: it transgresses the boundaries between documenting history as a verifiable truth, expressed in and confirmed by the use of archive, and fictionalizing this history into a fantasy, considered subjective and therefor...
This work discusses the way in which action movies have responded to the visual and narrative challenge of depicting terrorist violence after 9/11, when the spectacular representation of terrorist violence – and by extension the consumers of these imagers – was considered as complicit behaviour. If terrorism is theatre, who goes to see the show? A...
My current project analyses GIFs as a magnifying lens of how the “computer layer” and the “cultural layer” (Manovitch 2001) intersect and interact. By exploring aspects that are essential to understand the GIF’s usage, cultural pleasures and meaning-making processes, such as temporality, hapticity and affectivity, it is possible to determine the type of agency afforded or inhibited by the format, without absolves its human “ghosts in the machine.” Building on this framework, the final purpose of this investigation is to formulate a GIF ethics as one jigsaw piece for media literacy in the digital age.