Julian Hanich

Julian Hanich
University of Groningen | RUG · Department of Arts, Culture and Media

Dr.

About

71
Publications
76,523
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1,121
Citations
Citations since 2017
39 Research Items
1010 Citations
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2017201820192020202120222023050100150200
2017201820192020202120222023050100150200
Introduction
Julian Hanich currently works as an Associate Professor of Film Studies at the Department of Arts, Culture and Media , University of Groningen.
Additional affiliations
May 2016 - present
University of Groningen
Position
  • Professor (Associate)
August 2012 - May 2016
University of Groningen
Position
  • Assistant Professor of Film Studies
January 2009 - July 2012
Freie Universität Berlin
Position
  • PostDoc Position

Publications

Publications (71)
Book
Full-text available
This small monograph on Friedrich Wilhelm Murnau's beautiful film "City Girl" (1930)—written in German—is the first in-depth study of the last Hollywood movie of the German silent-era director. I show that the film has been unduly neglected by film critics and scholars alike and that "City Girl" is deeply interwoven with public debates of the late...
Article
Full-text available
Since it is first and foremost the cinema that enables—or at least facilitates—concentrated and focused film experiences, this article makes a strong plea for the ongoing importance of the movie theater as a vital cultural practice and social institution. Although we better engage some films privately and alone at home, we do better to watch other...
Article
Full-text available
A glossary of terms can often be a student’s closest ally, gearing them up to navigate the myriad labels and concepts they will undoubtedly encounter in their academic careers. They will encounter several in Julian Hanich’s article “Suggestive Verbalizations in Film: On Character Speech and Sensory Imagination,” in which various concepts are unpack...
Article
Full-text available
Against the background of a widespread language skepticism among film theorists and practitioners, this article aims to highlight the evocative potential of spoken words in cinema. Focusing on an aesthetic device dubbed ‘suggestive verbalization,’ it demonstrates how character speech can powerfully appeal to the spectator’s sensory imagination: lan...
Chapter
Full-text available
This chapter pursues two main goals. First, I want to extend a critique that – despite their indebtedness to it – Gernot Böhme and Tonino Griffero have levelled against Hermann Schmitz’s notion of atmospheres: that atmospheres can be actively produced and that we can even reconstruct a poetics of atmospheres. However, and here I see a potential to...
Article
A look at current emotion research in film studies, a field that has been thriving for over three decades, reveals three limitations: (1) Film scholars concentrate strongly on a restricted set of garden-variety emotions—some emotions are therefore neglected. (2) Their understanding of standard emotions is often too monolithic—some subtypes of these...
Article
Full-text available
This article tries to shed light on the multiple, but underrated pleasures of the heist film-a genre that has attracted numerous major directors from Jean-Pierre Melville and Stanley Kubrick to Michael Mann and Steven Soderbergh, but has received limited scholarly attention. I approach the genre from a, broadly, philosophical perspective and draw o...
Article
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This article starts out by introducing the category of the 'one-character film,' that is, narrative feature films that rely on a single onscreen character. One-character films can range from extremely laconic movies entirely focused on the action in the narrative here-and-now via highly talkative films that revolve around soliloquies of self-reflec...
Article
Our theoretical model (Menninghaus et al., 2019) defines aesthetic emotions by reference to their role in aesthetic evaluation, and specifically as being predictive of aesthetic liking/disliking. Skov and Nadal (2020) dismiss the construct of "aesthetic emotions" as a "dated supposition" adopted from a "speculative" tradition and assert that there...
Article
Full-text available
In this brief essay I draw attention to the effects momentous historical events – such as the Covid-19 pandemic, the Brexit referendum or the 9/11 attacks – can have on a film viewer’s interpretive horizon. How we interpret films shot long before the event can be altered rather abruptly with the onset of the event.
Chapter
Dieser Text geht aus von einer Problematisierung des Spannungsverhältnisses zwischen Filmphänomenologie und Filmanalyse. Definiert man nämlich das Ziel der Filmphänomenologie als Beschreibung invarianter Strukturen des bewussten subjektiven Erlebens von Filmen, scheint das Vorhaben einer phänomenologischen Filmanalyse beinahe widersprüchlich. Erwei...
Book
For the first time this volume makes Jean-Pierre Meunier’s insightful thoughts on the film experience available for an English-speaking readership. Introduced and commented by specialists in film studies and philosophy, Meunier’s intricate phenomenological descriptions of the spectator’s engagement with fiction films, documentaries and home movies...
Article
Full-text available
This 17-page interview with psychologist and film-phenomenologist Jean-Pierre Meunier was conducted by Julian Hanich and Daniel Fairfax on two occasions. Meunier speaks about his origins as a researcher, how he came to write his first book "The Structures of the Film Experience: Filmic Identification," his interest in phenomenology and other topics...
Book
Full-text available
For the first time this volume makes Jean-Pierre Meunier’s insightful thoughts on the film experience available for an English-speaking readership. Introduced and commented by specialists in film studies and philosophy, Meunier’s intricate phenomenological descriptions of the spectator’s engagement with fiction films, documentaries and home movies...
Article
Full-text available
This introduction for a special issue of the journal NECSUS - co-written with Jens Eder and Jane Stadler - provides an overview of the central research questions, concepts, and lines of conflict at the nexus between media and emotions. It interrogates key terms such as affect and emotion, discusses a variety of influential approaches in emotion res...
Book
Full-text available
This special issue of NECSUS - which I co-edited with Jens Eder and Jane Stadler - features seven articles about emotion and affect from scholars working in Germany, the US, China, Australia, and England. They offer theoretical, methodological, and analytic contributions to media studies spanning cinema, television, photography, and social media. C...
Article
Full-text available
Due to its spatial and technological features the cinema allows us to follow films of a more challenging kind with deep attention, but it does so in part because of another central characteristic: the co-presence of other viewers. Their deep attention can contagiously rub off on ours and help us keep focused. The social affordances of the cinema th...
Article
Full-text available
Why are readers of novels so frequently disappointed about film adaptations? This essay explores the grounds for this enduring question, focusing on filmed versions of illusion-creating novels. It does so by presenting a psychological hypothesis of the most common reasons and supports it with a comparative media phenomenology and reception aestheti...
Article
Full-text available
This is the in-press version of an article that will soon be published in Psychological Review. It is the first comprehensive theoretical article on aesthetic emotions. Following Kant’s definition, we propose that it is the first and foremost characteristic of aesthetic emotions to make a direct contribution to aesthetic evaluation/appreciation. Ea...
Research Proposal
Full-text available
For more than two decades emotions have been a major topic of discussion and contention in film and media studies. From cognitive theories and phenomenology to affect studies, many different approaches have been suggested, many books written, and many insights won. However, some crucial questions have barely been discussed. This special issue on em...
Chapter
Full-text available
Dieser Text geht aus von einer Problematisierung des Spannungsverhältnisses zwischen Filmphänomenologie und Filmanalyse. Definiert man nämlich das Ziel der Filmphänomenologie als Beschreibung invarianter Strukturen des bewussten subjektiven Erlebens von Filmen, scheint das Vorhaben einer phänomenologischen Filmanalyse beinahe widersprüchlich. Erwei...
Article
Full-text available
This article counters the widespread assumption that film is exclusively a medium of showing, presentation or appearing by emphasizing the importance of the viewer’s act of imagination. At the center of attention is the aesthetic principle of omission, suggestion, and completion in film – in other words, cases in which a conspicuous elision and fi...
Article
Full-text available
This is a book review which has come out with the journal "Screen" (Vol. 59, No. 1, Spring 2018, pp. 136–140).
Book
Full-text available
In this book I try to systematically describe the experiences spectators have when they watch a film collectively in a cinema. Watching a film in the presence of others is different from watching a film alone: The collective constellation always has an effect on the way viewers experience the film, be it positive or negative. And this is all the mo...
Article
Full-text available
In this interview Vivian Sobchack, a leading film phenomenologist worldwide and Professor Emerita at UCLA, looks back at her career as a film and media scholar. She relates how she first wanted to become a novelist – as well as an astronomer – before academia and the study of film attracted her attention. She describes how she became interested in...
Research
Full-text available
International Symposium, Goethe-Universität Frankfurt, 23-25 November 2017 The Structures of the Film Experience Jean-Pierre Meunier, Film-Phenomenology and Contemporary Film Studies Conference Location: Aula der Städelschule, Dürerstraße 10, 60596 Frankfurt am Main Jean-Pierre Meunier’s Les structures de l’experience filmique: L’identification...
Chapter
Full-text available
What did the great French film theorist André Bazin think of the collective experience in the cinema? What did he write about the influence co-viewers can have on the emotional engagement, the evaluation and the interpretation of a film? In short: What was his audience theory? To be sure, Bazin is not primarily known as a theorist of the (individua...
Chapter
Full-text available
This article investigates the effects mirrors in films can have on the composition of a filmic image, the staging of a scene and the viewing activities of the spectators. It discusses four such effects: (1) So-called ‘complex mirror shots’ can modify how spectators look onto the picture as a flat composition by way of a quasi-transformation of the...
Article
Why are negative emotions so central in art reception far beyond tragedy? Revisiting classical aesthetics in light of recent psychological research, we present a novel model to explain this much-discussed (apparent) paradox. We argue that negative emotions are an important resource for the arts in general rather than a special license for exception...
Chapter
Full-text available
This essay explores how Friedrich Wilhelm Murnau’s classic silent film Sunrise (1927) participates in discourses of modernity in the mid- to late-1920s. It shows that the film – against many prior interpretations – can be read as a timely contribution to specific US-American debates: discourses about the big city, the new consumer society, tourism,...
Article
While covering all commentaries, our response specifically focuses on the following issues: How can the hypothesis of emotional distancing (qua art framing) be compatible with stipulating high levels of felt negative emotions in art reception? Which concept of altogether pleasurable mixed emotions does our model involve? Can mechanisms of predictiv...
Book
Full-text available
For a detailed overview of the content, including abstracts, please follow this link: http://www.zetabooks.com/featured/studia-phaenomenologica-vol-16-2016-film-and-phenomenology.html
Chapter
Full-text available
Dieser Artikel stellt einige der zentralen Theoriepositionen vor, die sich mit dem Kino (a) als Raum kollektiver Erfahrung und (b) als Ort der Öffentlichkeit auseinandergesetzt haben. Einen Bogen von der frühen zur zeitgenössischen Filmtheorie schlagend, unterscheidet der Beitrag dabei eine im weitesten Sinne phänomenologische Perspektive mit Blick...
Chapter
Full-text available
The Invisible Cinema was an experimental movie theater designed by an experimental filmmaker. Devised by the Austrian avantgardist Peter Kubelka, it served as the first place of exhibition for the Anthology Film Archives in New York. Apart from the screen (and some exit signs and aisle lights installed for safety reasons), the auditorium was comple...
Chapter
Full-text available
This is a revised, updated and translated version of an earlier article that had appeared in the journal "Movie."
Article
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In this article Christian Ferencz-Flatz and I try to give an answer to the question what film phenomenology actually is. We proceed in three steps. First, we provide a survey of five different research practices within current film phenomenological writing: We call them excavation, explanation, exemplification, extrapolation and expansion. Then we...
Chapter
Full-text available
The wish to accurately represent the subjective perceptual experience of a filmic character and to intimately connect these character perceptions with the viewer’s experience has a long history. However, this history of extreme first-person perspectives in film—from the inside out, so to speak—is a troubled one. The aim of this essay is to discuss,...
Article
Full-text available
This article focuses on a standard melodramatic scene in which a character either sends or receives a farewell message through a medium. I call this the ‘farewell-note motif.’ The article has three goals. First, I explore some reasons for the emotional effectiveness of this motif: Scenes in which a medium functions as a messenger entangle the viewe...
Article
Full-text available
The emotional state of being moved, though frequently referred to in both classical rhetoric and current language use, is far from established as a well-defined psychological construct. In a series of three studies, we investigated eliciting scenarios, emotional ingredients, appraisal patterns, feeling qualities, and the affective signature of bein...
Article
We investigated cognitive "art schema" effects-as resulting from framing a situation as one of art reception-on the enjoyability of negative emotions by means of an elaborate disguised anger induction in the field. Because situations of both art reception and participation in lab experiments are typically safe and have a reduced bearing on personal...
Article
Full-text available
This article explores the question of what we are actually afraid of when we are scared at the movies. It is usually claimed that our fear derives from our engagement with characters and our participation through thought, simulation, or make-believe in fearful situations of the filmic world. These standard accounts provide part of the explanation w...
Article
Full-text available
This article looks at how the collective experience of laughter in the movie theater is related to the idea of the cinema as a public space. Through the non-verbal expression of laughter the audience ‘constructs’ a public space the viewers may not have been aware of to the same degree prior to the collective public expression. Moreover, the public...
Article
Full-text available
This essay suggests that collectively watching a film with quiet attention should be considered a kind of joint action. When silently watching a film in a cinema the viewers are not merely engaged in individual actions – watching a film with others often implies a shared activity based on a collective intention in which the viewers jointly attend t...
Article
Can we experience depictions of repulsive objects more positively when we watch them as part of a work of art? We addressed this question by using a scenario approach in a laboratory setting designed to activate two different cognitive schemata: participants viewed the same pictures framed either as art photographs or as documentary photographs for...
Article
This article investigates an age-old, puzzling question: how can a negatively valenced emotion such as sadness go together with aesthetic liking and even pleasure? We propose that an answer to this question must take into account the feeling of being moved, a complex emotional state that plays a major role in the history of poetics and aesthetics a...
Chapter
Im Anschauen erschöpft sich die Tätigkeit der Zuschauer keineswegs. Imaginative Ergänzungen sind notwendig, um einen Film verstehen zu können. Auch die Vorstellung wird gelenkt durch zum Teil explizite Markierungen im Filmtext. Diese steuern ganz erheblich die emotionale Einbindung der Rezipienten. Sie müssen Schauplätze erkennen, handelnde Figuren...
Article
Full-text available
In this article I suggest that we, as human beings, gain personal recognition not only through intersubjective encounters with others, but also through aesthetic experience. To support my claims about what I call 'aesthetic recognition,' I focus on a pervasive but rarely explored phenomenon: the cinematic shock. Not only a staple ingredient of thri...
Article
Full-text available
In this essay 1 I try to categorize the range of artistic options that filmmakers currently have at hand to evoke bodily disgust. 2 Or, to reframe this approach in a slightly different manner: If we examine the variety of disgusting scenes at the movies, how can we usefully distinguish them? My aim is to provide a number of brushstrokes for a broad...
Book
Full-text available
Hanich looks at fear at the movies — its aesthetics, its experience and its pleasures--in this thought-provoking study. Looking at over 150 different films including Seven, Rosemary's Baby, and Silence of the Lambs, Hanich attempts to answer the paradox of why we enjoy films that thrill us, that scare us, that threaten us, that shock us —affects th...
Article
Full-text available
In diesem Aufsatz untersuchen wir die erstaunliche Emotionsvielfalt des filmischen Melodrams. Mithilfe einer detaillierten Analyse einer tief bewegenden Szene aus dem Film 21 Grams von Alejandro Gonzáles Iñárritu versuchen wir, einem verkürzten Verständnis der emotionalen Wirkung dieses Genres entgegenzutreten. Melodramen lassen sich nicht auf Trau...
Chapter
Full-text available
The main thesis of this essay is rather straightforward. A crucial pleasure of watching an Arnold Schwarzenegger movie derives from the possibility of partaking in the actor’s muscular strength. Thanks to a process late 19th and early 20th century philosophy and psychology dubbed Einfühlung—I will also speak of somatic empathy—the viewer can experi...
Article
Full-text available
When we watch a movie with others, we automatically enter a social relationship that changes our experience of the film—collective viewing is different from watching a film alone. Particularly when strong emotions and affects come into play, we often become conscious of what I call “affective audience interrelations” in the cinema. In this essay I...
Article
Full-text available
Disgust is a frequent and often powerful part of the cinematic experience – from horror movies and teenage comedies to fantasy films and art-house pictures. This paper aims in three directions: (a) it sheds light on the structure of the cinematic disgust experience; (b) it points out aesthetic strategies that provoke disgust effectively; (c) it tri...
Article
Full-text available
This essay deals with Friedrich Wilhelm Murnau's last film TABU: A Story of the South Seas, which occupied the German director from 1929 until shortly before his death in 1931. The film is interpreted against the background of Murnau's negative experiences in Hollywood (1926 to 1929), his flight to the South Seas and the collaboration with noted Am...

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International Symposium, Goethe-Universität Frankfurt, 23-25 November 2017 The Structures of the Film Experience Jean-Pierre Meunier, Film-Phenomenology and Contemporary Film Studies Conference Location: Aula der Städelschule, Dürerstraße 10, 60596 Frankfurt am Main Jean-Pierre Meunier’s Les structures de l’experience filmique: L’identification filmique from 1969 is a key text in the history of film studies. Drawing on the work of the French pioneers of phenomenology, Maurice Merleau-Ponty and Jean-Paul Sartre, as well as on the insights of the French Filmology movement, Meunier distinguishes between three major types of engagements viewers can have with moving images: the fiction attitude, documentary attitude and home movie attitude. With this seemingly innocuous distinction, Meunier opens up a new field of inquiry. By adding the home movie attitude as the third type of engagement, he integrates a large and long-neglected type of cinematic practice into the field of film studies and film theory, namely the non-theatrical non-fiction film. Meunier’s pioneering gesture continues to reverberate throughout film studies, where non-theatrical film has become one of the main areas of research over the last decade. Furthermore, Meunier addresses the much-discussed concepts of filmic identification and movement in a way that continues to be relevant to current developments in film philosophy and film aesthetics. Through the readings proposed by Vivian Sobchack, Dudley Andrew and others, Meunier’s work has been an important influence on the development of film theory outside of the French-speaking world over the last decades. However, the full text of Meunier’s book has never been available in any language but French. On the occasion of the first English language translation of Meunier’s book – prepared by Daniel Fairfax (Yale University/Goethe-Universität Frankfurt) and edited by Fairfax with Julian Hanich (University of Groningen) for the “Film Theory in Media History” book series edited by Weihong Bao (Berkeley), Vinzenz Hediger (Frankfurt) and Trond Lundemo (Stockholm) for Amsterdam University Press – this symposium will bring together international film scholars and philosophers to discuss the enduring significance of Meunier’s work. The symposium will address the role of Meunier’s book in the history of film theory. It will discuss the continuing relevance of the seminal categories and concepts Meunier proposes for the history of film phenomenology and contemporary film studies. It will search for the book’s philosophical underpinnings and the role the book played in the history of film phenomenology. And it will explore new directions in film theory opened up by Meunier’s work. The symposium is organized by the Department of Theater, Film and Media Studies of Goethe-Universität Frankfurt (Prof. Dr. Vinzenz Hediger) and the Department of Arts, Culture and Media at the University of Groningen (Prof. Dr. Julian Hanich) in cooperation with the Permanent Seminar on Histories of Film Theories and the Städelschule – Staatliche Hochschule für Bildende Künste. The symposium is made possible through the generous support of the Deutsche Forschungsgemeinschaft, the Vereinigung der Freunde und Förderer der Goethe-Universität / Vereinigung von Freunden und Förderern der Goethe, the Stiftung zur Förderung der internationalen wissenschaftlichen Beziehungen der Johann Wolfgang Goethe-Universität and the Groningen Research Institute for the Study of Culture (ICOG).