Marc Furstenau
Full Professor
- Ph.D. (McGill), MA and BA (University of Alberta)
- Email Marc Furstenau
Marc Furstenau received a PhD in Communications from McGill University and a BA and an MA in Comparative Literature and Film Studies from the University of Alberta. Before arriving at 杏吧原创, he was Lecturer in Film and Media Studies at Lancaster University, in the UK. He has also taught at the University of Bonn in Germany, and at several universities in Canada 鈥 the University of Alberta (Comparative Literature and Film Studies), Concordia University (Cinema Studies; Communications) and McGill University (Communication Studies).
Research Highlights
Furstenau has published on cinema and technology, film theory, the films of Terrence Malick and of Werner Herzog, and on the photographic theory of Susan Sontag. He has co-edited the collection Special Effects on the Screen(Amsterdam University Press, 2022), edited an anthology of classic texts in film theory, The Film Theory Reader: Debates and Arguments (Routledge 2010), and co-edited the volume Cinema and Technology (Palgrave 2008).
He is a member of TECHN脠S, the SSHRC-funded research group on cinema and technology. He is currently completing a book on the aesthetics of digital montage. He was co-editor (2014-2020) of the Canadian Journal of Film Studies / Revue canadienne d鈥櫭﹖udes cin茅matographiques (CJFS / RC脡C) and is past president of the Film Studies Association of Canada (FSAC).
Areas of Supervision
Available to supervise graduate students in the following fields: film theory and film history; new digital media; philosophy and film; cultural and media studies; histories and theories of media and communications technologies; theories of representation and semiotics.
Publications
Marc Furstenau. The Aesthetics of Digital Montage: Film Editing and Technological Change (Amsterdam: Amsterdam University Press, 2024). Part of the book series 鈥.鈥
Marc Furstenau, 鈥淭o Cut or Not to Cut. . . : Michel Hazanavicius鈥 Coupez! (2022),鈥 In Media Res, Oct. 29, 2024. (Excerpt from The Aestehtics of Digital Montage).
Marc Furstenau and Martin Lefebvre, eds. Special Effects on the Screen: Faking the View from M茅li猫s to Motion Capture. Amsterdam: Amsterdam University Press, 2022.
Marc Furstenau. 鈥淩ealism, Illusionism, and Special Effects in the Cinema.鈥 Special Effects on the Screen: Faking the View from M茅li猫s to Motion Capture, eds., Marc Furstenau and Martin Lefebvre. Amsterdam: Amsterdam University Press, 2022, pp. 131-63.
Marc Furstenau. 鈥淣ature and Natural Meaning in Grizzly Man.鈥 , M. Blake Wilson and Christopher Turner (eds.), Lanham: Lexington Books, 2020: 69-94.
Marc Furstenau, 鈥淢emory, Emotion, and Espionage in Remembrance.鈥&苍产蝉辫;. Vol. 10, no. 1, 2020: 61-64.
Marc Furstenau. 鈥淔ilm Editing, Digital Montage, and the 鈥極ntology鈥 of the Cinema.鈥 . Vol. 28, nos. 2-3, Spring 2018: 29-49.
Marc Furstenau. 鈥淭he Technologies of Observation: Terrence Malick鈥檚 The Tree of Life and the Philosophy of Science Fiction,鈥 in Jonathan Beevor and Vernon W. Cisney, eds., The Way of Nature and the Way of Grace: Philosophical Footholds on Terrence Malick’s Tree of Life. Evanston: Northwestern University Press, 2016: 59-87.
Available from
Film Theory Reader: Debates and Arguments available from
Marc Furstenau, Bruce Bennett, Adrian Mackenzie, eds. Cinema and Technology: Cultures, Theories, Practices. London: Palgrave, 2008. Available from
Marc Furstenau. 鈥.鈥 Canadian Journal of Film Studies. 17(2), Fall 2008: 99-102.
Marc Furstenau. 鈥.鈥 Post Script: Essays in Film and the Humanities. 26 (2), Winter/Spring 2007: 91-104.
Marc Furstenau (with Leslie MacAvoy). 鈥淭errence Malick鈥檚 Heideggerian Cinema: War and the Question of Being in The Thin Red Line,鈥 in Hannah Patterson, ed., Poetic Visions of America: The Cinema of Terrence Malick. London: Wallflower Press, 2003: 173-185. (2nd edition, 2007)
Available from
Marc Furstenau (with Martin Lefebvre). 鈥.鈥 Cin茅mas: Revue d鈥櫭﹖udes cin茅matographiques. 13 (1-2), 2002: 69-107.
Marc Furstenau, “,” Film-Philosophy Vol. 3, No. 1, 1999.