On "Strangeness" and the Moving Image. The History, Reception, and Relevance of a Concept
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Ostrannenie - 2 Contents - 6 Editorial - 8 Acknowledgments - 10 Introduction: Ostran(n)enie as an“Attractive” Concept - 12 PART I Theory Formation Ostranenie,the Avant-Garde and The Cinema of Attractions - 20 The Gesture of Revolution or Misquoting as Device1 - 22 Ostranenie, “The Montage of Attractions”and Early Cinema’s “Properly Irreducible Alien Quality” - 34 Part II Mutations and Appropriations Alienation Theories and Terminologies - 60 Ostranenie, Innovation, and Media History1 - 62 Knight’s Moves: Brecht and Russian Formalism in Britain in the 1970s - 82 Ostranenie in French Film Studies:Translation Problems and Conflicting Interests - 100 Christian Metz and the Russian Formalists: A “Rendez-vous Manqué”? - 112 Part III Cognitive and Evolutionary-Cognitive Approaches to Ostranenie Perception,Cognitive Gaps and Cognitive Schemes - 118 Should I See What I Believe?Audiovisual Ostranenie and Evolutionary-Cognitive Film Theory - 120 On Perception, Ostranenie, and Specificity - 142 Estrangement and the Representation of Life in Art - 158 The Perception of Reality as Deformed Realism - 166 Part IV Discussions On Ostranenie,Différance, and the Uncanny - 174 Conversation with András Bálint Kovács - 176 Conversation with Laura Mulvey - 186 Notes - 206 General Bibliography - 242 Notes on Contributors - 256 Index of Names - 260 Index of Film Titles - 268 Index of Subjects - 270

Reviews and Features

"This remarkable collection of essays and interviews explores the centrality of the concept of ‘ostranenie’ (‘making strange’) to cinema, the avant-garde, media and modernity from a range of perspectives: historical, theoretical, cognitive and psychoanalytic. Modernist ‘ostranenie’ was about the transformation of representation and perception at a time when film was new: the outstanding essays collected here open up this historical moment and reveal the continuing significance of the concept, for culture and for human cognition." - Laura Marcus, Goldsmith's Professor of English Literature, New College, Oxford University

Annie van den Oever (ed.)


On "Strangeness" and the Moving Image. The History, Reception, and Relevance of a Concept

Ostrannenie (‘making it strange’) has become one of the central concepts of modern artistic practice, ranging over movements including Dada, postmodernism, epic theatre, and science fiction, as well as our response to arts. Coined by the ‘Russian Formalist’ Viktor Shklovsky in 1917, ostrannenie has come to resonate deeply in Film Studies, where it entered into dialogue with the Brechtian concept of Verfremdung, the Freudian concept of the uncanny and Derrida's concept of différance.
Striking, provocative and incisive, the essays of the distinguished film scholars in this volume recall the range and depth of a concept that since 1917 changed the trajectory of theoretical inquiry.
European Film Studies – ‘The Key Debates is a new film series from Amsterdam University Press edited by Annie van den Oever (the founding editor), Ian Christie and Dominique Chateau. The editors’ ambition is to uncover and track the process of appropriation of critical terms in film theory in order to give the European film heritage the attention it deserves.
With contributions from Ian Christie, Yuri Tsivian, Dominique Chateau, Frank Kessler, Laurent Jullier, Miklós Kiss, Annie van den Oever, Emile Poppe, László Tarnay, Barend van Heusden, András Bálint Kovács, and Laura Mulvey, this important study is a wonderful piece of imaginative yet rigorous scholarship.

Annie van den Oever

Annie van den Oever is a Professor of Film at the University of Groningen; an Extraordinary Professor of Film at the University of the Free State (until January 2024); and a Senior Research Associate at the University of Johannesburg (since March 2024). Recent books: Doing Experimental Media Archaeology. Theory(De Gruyter, 2022, with Andreas Fickers); and Visual Media, Distortions, and the Grotesque as a Dominant Format Today (AUP 2024, forthcoming).