Associate Professor; Film Studies Program Director
|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|
I received my PhD in Communications from McGill University, and have a BA and an MA in Comparative Literature and Film Studies from the University of Alberta. My main areas of interest are: 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. I am available to supervise graduate students in any of these or other related areas.
Before arriving at Carleton, I was Lecturer in Film and Media Studies at Lancaster University, in the UK. I have 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).
I have published on cinema and technology, film theory, the films of Terrence Malick and of Werner Herzog, and on the photographic theory of Susan Sontag. I have edited an anthology of classic texts in film theory, The Film Theory Reader: Debates and Arguments (Routledge 2010), and I am co-editor of a volume of essays entitled Cinema and Technology Palgrave 2008). I am a member of TECHNÈS, the SSHRC funded research group on cinema and technology. I am currently co-editing a collection of essays on the history and theory of special effects in the cinema, and writing a book on the aesthetics of digital montage.
I am co-editor of the Canadian Journal of Film Studies / Revue canadienne d’études cinématographiques
Marc Furstenau. The Aesthetics of Digital Montage: Art, Technology, and Film Form. Amsterdam: Amsterdam University Press. (Forthcoming, 2020).
Part of the book series “Cinema and technology”
Marc Furstenau and Martin Lefebvre, eds. Theorizing Special Effects in Film History. Amsterdam: Amsterdam University Press. (Forthcoming, 2020).
Marc Furstenau. “Realism, Illusionism, and Special Effects in the Cinema.” Theorizing Special Effects in Film History, eds., Marc Furstenau and Martin Lefebvre. Amsterdam: Amsterdam University Press. (Forthcoming, 2020).
Marc Furstenau. “Nature and Natural Meaning in Grizzly Man.” The Philosophy of Werner Herzog, eds., M. Blake Wilson and Christopher Turner. Lanham: Lexington Books. (Forthcoming, 2020).
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.