Dr. Kerstin Stutterheim
orcid.org/0000-0002-5243-616X
main fields of research and expertise: Aesthetics and Dramaturgy in Film, TV and Media - in particular for modern and postmodern movies and documentaries; also e.g.: Kubrick; Scandinavian Noir; Game of Thrones; Narration for fiction, non-fiction film, and for games;
Artistic Research (practice-based/practice-led research and practice as research);
Documentary Film History and documentary practice;
bauhaus paedagogy;
Kerstin Stutterheim is Professor of Media and Cultural Studies at Bournemouth University’s The Media School / Faculty of Media and Communication;
as well author, filmmaker, dramaturg and producer.
Formerly Professor of Dramaturgy and Aesthetics of Audio-Visual Media at Film University Babelsberg "Konrad Wolf", Potsdam, where she was the founding director of the Institute of Art Research 2008-2011. She was teaching at all levels and interdisciplinary. Prior, she was Professor for Film, Video and Media at University of Applied Science Wuerzburg-Schweinfurt, Faculty of Visual Communication 2001-2006. She teaches workshops in dramaturgy for documentary films at AGDOK-academy, and Narrative Design at the department of Game Design at HTW. As visiting professor she was invited e.g. at San Francisco State University, University of Toronto, Universidade Federal da Bahia and Goethe Institute Bangladesh.
She is deputy Chair of the international Screenwriting Research Network, member of AGDok, SCMC, Society of Artistic Research (SAR), MeCCSA, Cinegraph Babelsberg and more. She acts as editor for the book series Media Production & Media Aesthetics at Peter Lang Publishing and on the Editorial Board of Klassiker des Osteuropaeischen Kinos (Classics of East European Cinema) at Schueren Verlag. She publishes widely on film, TV and media theory, research and practice. 2015 her “Handbuch Angewandter Dramaturgie. Vom Geheimnis filmischen Erzaehlens – Film, TV und Games” was released at Peter Lang Publishing 2015.
As filmmaker she started 1992 with “Die Waescherei – Ein Herz fuer Umwelt und Gewebe (The Laundry – A Heart for Environment and fabric)” (D 1992, 64 min) and since then works together with Niels Bolbrinker, f.e. “bauhaus – model and myth” (D 1999/2008, 103 min), “Flies & Angels. Ilya and Emila Kabakov and the art of ‘total’ installation” (D 2009).
Phone: +44(0)7910061042
Address: Faculty of Media and Communication
Room W211 / Weymouth House
Bournemouth University
Talbot Campus / Fern Barrow
Poole
BH12 5BB / UK
phone: +44 (0) 1202 65911
mobile: +44 (0) 7910061042
main fields of research and expertise: Aesthetics and Dramaturgy in Film, TV and Media - in particular for modern and postmodern movies and documentaries; also e.g.: Kubrick; Scandinavian Noir; Game of Thrones; Narration for fiction, non-fiction film, and for games;
Artistic Research (practice-based/practice-led research and practice as research);
Documentary Film History and documentary practice;
bauhaus paedagogy;
Kerstin Stutterheim is Professor of Media and Cultural Studies at Bournemouth University’s The Media School / Faculty of Media and Communication;
as well author, filmmaker, dramaturg and producer.
Formerly Professor of Dramaturgy and Aesthetics of Audio-Visual Media at Film University Babelsberg "Konrad Wolf", Potsdam, where she was the founding director of the Institute of Art Research 2008-2011. She was teaching at all levels and interdisciplinary. Prior, she was Professor for Film, Video and Media at University of Applied Science Wuerzburg-Schweinfurt, Faculty of Visual Communication 2001-2006. She teaches workshops in dramaturgy for documentary films at AGDOK-academy, and Narrative Design at the department of Game Design at HTW. As visiting professor she was invited e.g. at San Francisco State University, University of Toronto, Universidade Federal da Bahia and Goethe Institute Bangladesh.
She is deputy Chair of the international Screenwriting Research Network, member of AGDok, SCMC, Society of Artistic Research (SAR), MeCCSA, Cinegraph Babelsberg and more. She acts as editor for the book series Media Production & Media Aesthetics at Peter Lang Publishing and on the Editorial Board of Klassiker des Osteuropaeischen Kinos (Classics of East European Cinema) at Schueren Verlag. She publishes widely on film, TV and media theory, research and practice. 2015 her “Handbuch Angewandter Dramaturgie. Vom Geheimnis filmischen Erzaehlens – Film, TV und Games” was released at Peter Lang Publishing 2015.
As filmmaker she started 1992 with “Die Waescherei – Ein Herz fuer Umwelt und Gewebe (The Laundry – A Heart for Environment and fabric)” (D 1992, 64 min) and since then works together with Niels Bolbrinker, f.e. “bauhaus – model and myth” (D 1999/2008, 103 min), “Flies & Angels. Ilya and Emila Kabakov and the art of ‘total’ installation” (D 2009).
Phone: +44(0)7910061042
Address: Faculty of Media and Communication
Room W211 / Weymouth House
Bournemouth University
Talbot Campus / Fern Barrow
Poole
BH12 5BB / UK
phone: +44 (0) 1202 65911
mobile: +44 (0) 7910061042
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Books by Dr. Kerstin Stutterheim
This book provides a basic introduction to modern film dramaturgy. It emerges from academic research drawn from professional practice. It addresses students, scholars, colleagues, filmmakers and all professionals involved in making films, videos, audio-visual time-based media productions
is often used in a non-specific way to describe the organisation of material and the relationship of the work
and audience. What can dramaturgy or dramaturgical knowledge and the work of a dramaturge actually
achieve? How is it beneficial and where are the boundaries? Why is dramaturgy neither a formatting tool nor
an easy-to-learn formula for writing screenplays? In the tradition of production dramaturgy, applied
dramaturgy, as discussed in this book, engages with the work as a whole and not only the written text.
Dramaturgy has a long tradition. It developed from this tradition, accumulating knowledge as both an
academic discipline and a practice. Both facets contribute to the best possible development of a narrative
work. Film dramaturgy is grounded in the centuries-long development of theatre dramaturgy, which was
introduced and practised by Gotthold Ephraim Lessing. Aristotle, who is often considered the founding father
of dramaturgy and the author of the ‘Bible’ of screenwriting, was a philosopher and analysed the specific
tools of theatre practice of his time. Aristotle can be called the ‘forefather’ of media theory and Lessing the
founder of applied dramaturgy.
As a term therefore, dramaturgy refers to an academic discipline, a sub-discipline of aesthetics and a
method applied in practice. In dramaturgy, artistic practice is probed and the findings – in a continual
interplay with historical developments within this practice – can be applied to the practice of production
dramaturgy. In this discipline, theory and practice complement and feed into one another. Thus, theory gives
rise to methods that form the basis for dramaturgical practice and the creative process. Similarly, dramaturgy
can be used in analysing works as a way to identify and understand artistic processes and the qualities of a
work.
https://www.peterlang.com/view/product/19166
Die vorliegende Studie analysiert Elemente der Gestaltung der Serie, welche nicht nur wiederholt und zahlreich preisgekrönt wurde, sondern auch ungebrochen erfolgreich ist. Untersucht und erläutert wird, warum die Handlung überrascht und dennoch funktioniert ohne das Publikum zu verlieren; warum Charaktere uns in ihren Bann schlagen, worin aus dramaturgischer Sicht die Kunst der Gestaltung dieser Serie liegt.
Das Buch wendet sich an Fans ebenso wie an Studierende und Lehrende im Bereich Film- und Fernsehen.
In Case Studies werden ausgewählte Aspekte an Beispielen diskutiert.
Stanley Kubricks Film „The Shining“ dient dem Verständnis der Bedeutung impliziter Dramaturgie, das Verhältnis von Protagonist und Antagonist wird in „Collateral“ von Michael Mann dargestellt und die Aufdeckung des Geheimnisses an „Spellbound“ von Alfred Hitchcock nachvollzogen.
This an introduction to dramaturgy for Cinema, TV and games. The book is a result out of years of own practice, practice-based/practice-led research, and teaching. Here you will get an overview of traditions, models and explanations of dramaturgy as sub-discipline of aesthetics, with chapters about classical storytelling, narration techniques, implicit and visual dramaturgy, but also about modern and postmodern options of dramaturgical solutions; poetic cinema and documentary. Within three case studies the knowledge is applied to specific examples, like "Collateral", "Spellbound" and "The Shining".
The book is about her work and her life. It gives a new perspective of the life of female bauhaus-artists, of left wing activities. It is about emigration and struggeling with new circumstances and about the definite will to survive as an artist who wants to make life better, who wants to make a difference.
DRAMATURGIE UND ÄSTHETIK IM POSTMODERNEN KINO
Postmoderne im Kino? Das postmoderne Kino umfasst ein breites Spektrum an Filmen und erreicht bereits seit über 30 Jahren ein großes Publikum, ohne dass in jedem Fall die Zuschreibung als „postmodern" erfolgt. Im postmodernen Kino werden tradierte Normen in Frage gestellt oder Regeln gebrochen; die Grenze zwischen Trivialität und Kunst wird aufgelöst oder zumindest verwischt. Wie der Gestus der Postmoderne in die ästhetische und dramaturgische Gestaltung dieser Filme hineinwirkt und sie so zu postmodernen Werken werden lässt – oder doch nur ansatzweise auf die Postmoderne angespielt wird, wird an Beispielen wie The Shining (Kubrick 1980), Black Swan (Aranofsky 2011), Inglourious Basterds (Tarantino 2009), Syndromes and a Century (Weerasethakul 2006) bis hin zu Pan's Labyrinth (del Toro, E 2006) diskutiert.
Beiträge von: Kerstin Stutterheim, Christine Lang, Hinderk M. Emrich, Eva-Maria Fahmüller, Karen A. Ritzenhoff, Michael Geithner Tobias Wilhelm
Behandelte Filme (Auswahl):
The Shining (Kubrick, 1980); Black Swan (Aronofsky, 2010); Inglourious Basterds (Tarantino, 2009); Dust (Manchevski, 2001); Syndromes and a Century (Weerasethakul, 2006); The Imaginarium of Dr. Paranassus (Gilliam, 2009); Niklashauser Fart (Fassbinder, 1970); Shutter Island (Scorsese, 2010); Das Netz (Dammbeck, 2003); The End of Time (Mettler, 2011); Fliegen & Engel (Stutterheim/Bolbrinker, 2009).
Dramaturgisch angelegt ist die Studie von Julia Dabbert zu David Lynchs Film Inland Empire (USA 2006). Sie analysiert die Bauform dieses Films und konzentriert sich dabei vorrangig auf die Selbstreferenzialität Lynchs.
In ihrer medienwissenschaftlichen Studie über Bennett Millers Film Capote (Kanada, USA 2005) widmet sich Sophie Luise Bauer der Frage, wie aus einem Roman, der auf einer realen Biographie basiert, eine moderne - in diesem Fall postmoderne - Literaturverfilmung realisiert wurde.
Dramaturgie ist ein Wort, das alle im Munde führen. Bezogen wird es nicht nur auf Filme, sondern auch auf Ausstellungen, Konzerte und ähnliches. In diesem Handbuch widmen sich die Autorinnen der auf den fiktionalen Kino- oder Fernsehfilm bezogenen Dramaturgie. Um mit und in den Medien auf einem qualitativ überzeugenden Niveau zu operieren und zu diskutieren, bedarf es mehr als des Ziels eines Helden und der Suche nach zwei Wendepunkten und einem Happy End. Dramaturgische Strukturen bieten die Möglichkeit, auf gewonnener Erfahrung Kreativität zu entfalten. Sie ermöglichen auch, die sich mit Hilfe des bewussten oder unbewussten Einsatzes dieser Strukturen entfaltende Kunst analysieren zu können.
Aus dem Inhalt: Dramaturgie-Basis - Drei-Akt-Struktur - Fünf-Akt-Struktur - Intrige und Gegenintrige, Protagonist und Antagonist - Epischer Film, episodischer Film, multiperspektivisches Erzählen, postmoderner Film - Komödie und Tragödie - Heldenreise, offene Form, analytische Form - Road-Movie - Biographischer Film - Fernsehspiel, Fernsehserie, Soap, Telenovela - Glossar dramaturgischer Begriffe.
the topics: what means dramaturgy? explicit and implict dramaturgy, Intrique and counterintrique; protagonist / antagonist, dramatic and aesthetic conflicts, tragedy and comedy; "aristotelian" dramaturgy / non- and post-aristotelian narration / dramaturgy, European traditions, well made play and analytic drama, epic narrations, conflict free narration, poetic films, raod movies, multiperspective narration, dramaturgy of postmodern cinema; dramaturgy of serials and telenovelas, glossar
Die zweite erweiterte und überarbeitete Auflage erscheint im Frühjahr / Frühsommer 2011
the new extended edition will be avaiable in July 2011, for an English version please ask the publishers to (let) translate the book
Papers by Dr. Kerstin Stutterheim