A Plea for Mise en Esprit

A Weep in the Dark. Tears and the Cinematic Experience.

Abruptly Altered Horizons: Covid-19, Momentous Events and a Not so Rare Phenomenon in Historical Reception Studies.

An Invention with a Future: Collective Viewing, Joint Deep Attention and the Ongoing Value of the Cinema.

Anger framed: A field study on emotion, pleasure, and art. (Erstautor: Wagner, Valentin; weitere Autoren: Klein, Julian; Shah, Mira; Menninghaus, Winfried; Jacobsen, Thomas).

Art schema effects on affective experience: The case of disgusting images (co-author, first author Valentin Wagner)

Auslassen, Andeuten, Auffüllen. Der Film und die Imagination des Zuschauers – eine Annäherung

Auslassen, Andeuten, Auffüllen. Der Film und die Imagination des Zuschauers (co-edited with Hans Jürgen Wulff).


Beyond Sadness: The Multi-Emotional Trajectory of Melodrama (with Winfried Menninghaus.)


Cinematic Emotion in Horror Films and Thrillers: The Aesthetic Paradox of Pleasurable Fear.

Cinematic Shocks. Recognition, Aesthetic Experience, and Phenomenology.

Clips, Clicks and Climax. Notes on the Relocation and Remediation of Pornography.

Collective Viewing. The Cinema and Affective Audience Interrelations.

Complex Staging: The Hidden Dimensions of Roy Andersson’s Aesthetics.


Des Knaben wunder Zorn. Über das Motiv des Vater-Sohn-Konflikts in Dominik Grafs Der Skorpion (1997)

Die Kettensäge (with Jörg Buttgereit).

Die Publikumserfahrung. Eine Phänomenologie der affektiven Zuschauerbeziehungen im Kino.

Dis/Liking Disgust. The Revulsion Experience at the Movies.

Du Rififi chez les hommes (1955)


Eine Reise ans Ende der Nacht: Moderne und Modernisierungsaengste in Friedrich Wilhelm Murnaus “Sunrise”.

Erfahrungsraum: Die Öffentlichkeit des Kinos.

Experiencing Extended Point-of-View Shots: A Film-Phenomenological Perspective on Extreme Character Subjectivity.

Eyal Peretz: The off-screen an investigation of the cinematic frame.


Fall und Rauch: der Höllensturz.

Film und seine Theorie bis Ende der 1920er Jahre (with Malte Hagener).

Friedrich Wilhelm Murnau: City Girl


Great Expectations: Cinematic Adaptations and the Reader’s Disappointment.

Große Erwartungen: Literaturverfilmungen und die Imagination des Lesers.


How Many Emotions Does Film Studies Need? A Phenomenological Proposal


Im Wechselbad der Gefühle. Zur Die Emotionsvielfalt im filmischen Melodram – eine Mikroanalyse (with Winfried Menninghaus.)


Jenseits der Stille: F. W. Murnaus TABU zwischen Hollywood und Südsee, Moderne und Primitivismus und dem Ende des Stummfilm-Kinos.

Judge Dread: What We Are Afraid of When We Are Scared at the Movies.

Just like IRL? On Virtual Reality Movie Theaters in the Time of Covid-19


Kino als kollektiver Erfahrungsraum: Die Öffentlichkeit des Kinos.

Kino, Theater, Fernsehen: André Bazins Publikumstheorie.

Komplexe Tiefeninzenierungen: Über die verborgenen Dimensionen im Filmstil Roy Anderssons.


Laugh Is in the Air. Eine Typologie des Lachens im Kino.

Laughter and Collective Awareness: The Cinema Auditorium as Public Space


Media and Emotion: An Introduction

Mise en Esprit: One-Character Films and the Evocation of Sensory Imagination

Mr. Schnitzelicious, the Muscle Man. Somatic Empathy and Imaginary Self-Extension in Arnold Schwarzenegger’s Hard-Body Movies.

Mr. Schnitzelicious, the Muscle Man. Somatic Empathy and Imaginary Self-Extension in Arnold Schwarzenegger’s Hard-Body Movies. In: Simon Wendt/ Michael Butter/Patrick Keller (Hgs): Arnold Schwarzenegger. Interdisciplinary Perspectives on Body and Image. Heidelberg: Winter, 2011.


Oh, Inventiveness! Oh, Imaginativeness! Precious Cinema and Its Discontents: A Rant.

Omission, Suggestion, Completion: Film and the Imagination of the Spectator.

On Pros and Cons and Bills and Gates: The Heist Film as Pleasure


Phänomenologie und Filmanalyse.


Reflecting on Reflections: Cinema’s Complex Mirror Shots.

Reprint: Im Wechselbad der Gefühle. Zur Die Emotionsvielfalt im filmischen Melodram – eine Mikroanalyse. (with Winfried Menninghaus).

Review of “The Way Hollywood Tells It: Story and Style in Modern Movies,” by David Bordwell.

Review of Carl Plantinga’s Moving Viewers American Film and the Spectator’s Experience.

Review of Christof Decker’s Hollywood critical look. The social melodrama in American culture 1840-1950

Review of David Bordwell’s The Way Hollywood Tells It. Story and Style in Modern Movies.

Review of David Bordwell’s Visual Style in Cinema.

Review of Einfühlung. Zu Geschichte und Gegenwart eines ästhetischen Konzepts, (eds) Robin Curtis/Gertrud Koch.

Review of Eugenie Brinkema: The Forms of the Affects. Durham: Duke UP, 2014.

Review of Eyal Peretz: THE OFF-SCREEN AN INVESTIGATION OF THE CINEMATIC FRAME. Stanford: Stanford University Press, 2017.

Review of Thomas Elsaesser’s film history and early cinema & cinema from the imperial era. Between tradition and modernity.

Review of Warren Buckland: Film Theory. Rational Reconstructions.

Robbery- Millionen-Raub (1967)


Shared or Spread? On Boredom and Other Unintended Collective Emotions in the Cinema

Stummfilm und Montage (with Malte Hagener).

Suggestive Verbalisierungen. Wenn Sprache die Imagination des Zuschauers weckt.

Suggestive Verbalizations in Film: On Character Speech and Sensory Imagination


The Audience Effect: On the Collective Cinema Experience.

The Invisible Cinema.

The journeys of a film phenomenologist: An interview with Vivian Sobchack on being and becoming

The Medium as the Messenger: Farewell notes, filmic motifs and the melodrama.

The Structures of the Film Experience by Jean-Pierre Meunier: Historical Assessments and Phenomenological Expansions (Herausgegeben mit Daniel Fairfax)

Tonfilm und Off (with Malte Hagener).

Toward a Poetics of Cinematic Disgust.

Towards a Psychological Construct of Being Moved (Ko-Autor, Erst-Autor: Winfried Menninghaus).


Watching a Film With Others. Towards a Theory of Collective Spectatorship

What Is Film Phenomenology? (with Christian Ferencz-Flatz).

When the Wind’s Gently Rustling: Film and Natural Beauty

Why We Like to Watch Sad Films. The Pleasure of Being Moved in Aesthetic Experiences.

Wut im Kino. Anmerkungen zu einem vernachlässigten Alltagsphänomen.