{"id":125,"date":"2009-10-26T14:20:17","date_gmt":"2009-10-26T18:20:17","guid":{"rendered":"http:\/\/carleton.ca\/filmstudies\/?page_id=125"},"modified":"2025-11-06T13:38:43","modified_gmt":"2025-11-06T18:38:43","slug":"furstenau-marc","status":"publish","type":"cu_people","link":"https:\/\/carleton.ca\/filmstudies\/people\/furstenau-marc\/","title":{"rendered":"Marc Furstenau"},"content":{"rendered":"
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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 ÐÓ°ÉÔ­´´, 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 \u2013 the University of Alberta (Comparative Literature and Film Studies), Concordia University (Cinema Studies; Communications) and McGill University (Communication Studies).<\/p>\n\n\n\n

Research Highlights<\/h3>\n\n\n\n

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).
\nHe is a member of TECHN\u00c8S, 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\u2019\u00e9tudes cin\u00e9matographiques (CJFS \/ RC\u00c9C) and is past president of the Film Studies Association of Canada (FSAC).<\/p>\n\n\n\n

Areas of Supervision<\/h3>\n\n\n\n

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.<\/p>\n\n\n\n

Publications<\/strong><\/h3>\n\n\n\n
\"Book<\/figure>\n\n\n\n

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Marc Furstenau. The Aesthetics of Digital Montage: Film Editing and Technological Change (<\/em>Amsterdam: Amsterdam University Press, 2024). Part of the book series \u201cCinema and Technology<\/a>.\u201d<\/p>\n\n\n\n

Marc Furstenau, \u201cTo Cut or Not to Cut. . . : Michel Hazanavicius\u2019 Coupez! <\/i>(2022),\u201d In Media Res<\/i>, Oct. 29, 2024. (Excerpt from The Aestehtics of Digital Montage<\/i>).<\/p>\n\n\n\n

Marc Furstenau and Martin Lefebvre, eds.  Special Effects on the Screen: Faking the View from M\u00e9li\u00e8s to Motion Capture<\/em>. Amsterdam: Amsterdam University Press, 2022.<\/p>\n\n\n\n

\"Book<\/a><\/figure>\n\n\n\n

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Marc Furstenau. \u201cRealism, Illusionism, and Special Effects in the Cinema.\u201d Special Effects on the Screen: Faking the View from M\u00e9li\u00e8s to Motion Capture<\/em>, eds., Marc Furstenau and Martin Lefebvre. Amsterdam: Amsterdam University Press, 2022, pp. 131-63.<\/p>\n\n\n\n

Marc Furstenau. \u201cNature and Natural Meaning in Grizzly Man<\/em>.\u201d The Philosophy of Werner Herzog<\/em><\/a>, M. Blake Wilson and Christopher Turner (eds.), Lanham: Lexington Books, 2020: 69-94.<\/p>\n\n\n\n

\"Book<\/a><\/figure>\n\n\n\n

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Marc Furstenau, \u201cMemory, Emotion, and Espionage in Remembrance<\/em>.\u201d Short Film Studies<\/em><\/a>. Vol. 10, no. 1, 2020: 61-64.<\/p>\n\n\n\n

Marc Furstenau. \u201cFilm Editing, Digital Montage, and the \u2018Ontology\u2019 of the Cinema.\u201d Cin\u00e9mas: Revue d\u2019\u00e9tudes cin\u00e9matographique \/ Journal of Film Studies<\/em><\/a>. Vol. 28, nos. 2-3, Spring 2018: 29-49.<\/p>\n\n\n\n

\"book<\/a><\/figure>\n\n\n\n

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Marc Furstenau. \u201cThe Technologies of Observation: Terrence Malick\u2019s The Tree of Life<\/em> and the Philosophy of Science Fiction,\u201d 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<\/em>. Evanston: Northwestern University Press, 2016: 59-87.
\nAvailable from Northwestern University Press<\/a><\/p>\n\n\n\n

\"Film<\/figure>\n\n\n\n

<\/p>\n\n\n\n

Film Theory Reader: Debates and Arguments<\/em> available from Routledge.<\/a><\/p>\n\n\n\n

\"book<\/figure>\n\n\n\n


Marc Furstenau, Bruce Bennett, Adrian Mackenzie, eds. Cinema and Technology: Cultures, Theories, Practices<\/em>. London: Palgrave, 2008.  Available from Palgrave<\/a><\/p>\n\n\n\n

\"Magazine<\/a><\/figure>\n\n\n\n


Marc Furstenau. \u201cReview of Fluid Screens, Expanded Cinema<\/em><\/a>.\u201d Canadian Journal of Film Studies<\/em>. 17(2), Fall 2008: 99-102.<\/p>\n\n\n\n


Marc Furstenau. \u201cThe Ethics of Seeing: Susan Sontag and Visual Culture Studies<\/a>.\u201d Post Script: Essays in Film and the Humanities<\/em>. 26 (2), Winter\/Spring 2007: 91-104.<\/p>\n\n\n\n

\"Book<\/figure>\n\n\n\n


Marc Furstenau (with Leslie MacAvoy). \u201cTerrence Malick\u2019s Heideggerian Cinema: War and the Question of Being in The Thin Red Line<\/em>,\u201d in Hannah Patterson, ed., Poetic Visions of America: The Cinema of Terrence Malick<\/em>. London: Wallflower Press, 2003: 173-185. (2nd edition, 2007)
Available from Wallflower\/Columbia University Press <\/a><\/p>\n\n\n\n


Marc Furstenau (with Martin Lefebvre). \u201cDigital Editing and Montage: the Vanishing Celluloid and Beyond<\/a>.\u201d Cin\u00e9mas: Revue d\u2019\u00e9tudes cin\u00e9matographiques<\/em>. 13 (1-2), 2002: 69-107.<\/p>\n\n\n\n

\"Book<\/a><\/figure>\n\n\n\n

<\/p>\n\n\n\n

Marc Furstenau, “The Superficial Aesthetics of Postmodernism<\/a>,” Film-Philosophy Vol. 3, No. 1, 1999.<\/p>\n\n\n\n

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