|Degrees:||Ph.D. (McGill), MA and BA (University of Alberta)|
|Phone:||613-520-2600 x 2349|
|Office:||407 St. Patrick’s Bldg., Office Hours for Winter 2020: Mondays, 12:30-2:30 pm|
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 Carleton, 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 – the University of Alberta (Comparative Literature and Film Studies), Concordia University (Cinema Studies; Communications) and McGill University (Communication Studies).
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 TECHNÈS, 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’études cinématographiques (CJFS / RCÉC) 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.
Marc Furstenau. The Aesthetics of Digital Montage: Art, Technology, and Film Form. Amsterdam: Amsterdam University Press. (Forthcoming, 2022). Part of the book series “Cinema and Technology.”
Marc Furstenau and Martin Lefebvre, eds. Special Effects on the Screen: Faking the View from Méliès to Motion Capture. Amsterdam: Amsterdam University Press, 2022.
Marc Furstenau. “Realism, Illusionism, and Special Effects in the Cinema.” Special Effects on the Screen: Faking the View from Méliès to Motion Capture, eds., Marc Furstenau and Martin Lefebvre. Amsterdam: Amsterdam University Press, 2022, pp. 131-63.
Marc Furstenau. “Nature and Natural Meaning in Grizzly Man.” The Philosophy of Werner Herzog, M. Blake Wilson and Christopher Turner (eds.), Lanham: Lexington Books, 2020: 69-94.
Marc Furstenau, “Memory, Emotion, and Espionage in Remembrance.” Short Film Studies. Vol. 10, no. 1, 2020: 61-64.
Marc Furstenau. “Film Editing, Digital Montage, and the ‘Ontology’ of the Cinema.” Cinémas: Revue d’études cinématographique / Journal of Film Studies. Vol. 28, nos. 2-3, Spring 2018: 29-49.
Marc Furstenau. “The Technologies of Observation: Terrence Malick’s The Tree of Life and the Philosophy of Science Fiction,” 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 Northwestern University Press
Film Theory Reader: Debates and Arguments available from Routledge.
Marc Furstenau (with Adrian Mackenzie). “The Promise of ‘Makeability“: Digital Editing Software and the Structuring of Everyday Cinematic Life.” Visual Communication. 8 (1), February 2009: 5-22.
Marc Furstenau, Bruce Bennett, Adrian Mackenzie, eds. Cinema and Technology: Cultures, Theories, Practices. London: Palgrave, 2008. Available from Palgrave
Marc Furstenau. “Review of Fluid Screens, Expanded Cinema.” Canadian Journal of Film Studies. 17(2), Fall 2008: 99-102.
Marc Furstenau. “The Ethics of Seeing: Susan Sontag and Visual Culture Studies.” Post Script: Essays in Film and the Humanities. 26 (2), Winter/Spring 2007: 91-104.
Marc Furstenau (with Leslie MacAvoy). “Terrence Malick’s Heideggerian Cinema: War and the Question of Being in The Thin Red Line,” in Hannah Patterson, ed., Poetic Visions of America: The Cinema of Terrence Malick. London: Wallflower Press, 2003: 173-185. (2nd edition, 2007)
Available from Wallflower/Columbia University Press
Marc Furstenau (with Martin Lefebvre). “Digital Editing and Montage: the Vanishing Celluloid and Beyond.” Cinémas: Revue d’études cinématographiques. 13 (1-2), 2002: 69-107.
Marc Furstenau, “The Superficial Aesthetics of Postmodernism,” Film-Philosophy Vol. 3, No. 1, 1999.