Sabine Lenk
Biographic Data
| ID | 1609924 |
|---|---|
| NAME | Sabine Lenk |
| GIVEN NAMES | Sabine |
| FAMILY NAME | Lenk |
| SIGNATURE | LENK S |
| AFFILIATIONS | University of Antwerp |
| ORCID | 0000-0002-3704-1864 |
| VERIFIED | Yes |
| TOTAL WORKS | 4 |
| TOTAL CITATIONS | 3 |
| AUTHOR COUNT | 4 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2010 |
| LATEST PUBLICATION YEAR | 2026 |
| H-INDEX | 1 |
Quod Non Est in Berolina, Non Est in Mundo’
The historiography of Weimar cinema has focused almost exclusively on film production and exhibition in the German capital Berlin, generally neglecting other geographic regions, in particular the Rhineland which, after the First World War, remained under Allied control until the mid‐1920s for some parts, for others even longer. This contribution analyses the situation in Düsseldorf, a film distribution hub that was occupied by Belgian and French …
Projecting Faith
Around 1900, the Catholic Church in Belgium and France started to systematically use the magic lantern for religious education, but also as a propaganda tool in their fight against their laic opponents in both countries. In the course of the nineteenth century, the magic lantern had become a major visual mass medium in Europe and the United States. The light beam of the lantern was seen as a powerful means to sustain faith and disseminate the vie…
Fighting the enemy with the lantern
Around 1900, French and Belgian Catholics adopted the projection lantern as a means of education and propaganda in reaction to successful initiatives of this kind by secularist organisations. In the north of France, near the Belgian border, the dioceses of Arras and Cambrai founded the Œuvre des Conférences et Catéchismes in Robaix, which provided a projection service distributing slides and lanterns. Belgian Catholics followed that example and c…
Images for the Future
Fighting the enemy with the lantern
Around 1900, French and Belgian Catholics adopted the projection lantern as a means of education and propaganda in reaction to successful initiatives of this kind by secularist organisations. In the north of France, near the Belgian border, the dioceses of Arras and Cambrai founded the Œuvre des Conférences et Catéchismes in Robaix, which provided a projection service distributing slides and lanterns. Belgian Catholics followed that example and c…
Projecting Faith
Around 1900, the Catholic Church in Belgium and France started to systematically use the magic lantern for religious education, but also as a propaganda tool in their fight against their laic opponents in both countries. In the course of the nineteenth century, the magic lantern had become a major visual mass medium in Europe and the United States. The light beam of the lantern was seen as a powerful means to sustain faith and disseminate the vie…
Images for the Future
Fighting the enemy with the lantern
Around 1900, French and Belgian Catholics adopted the projection lantern as a means of education and propaganda in reaction to successful initiatives of this kind by secularist organisations. In the north of France, near the Belgian border, the dioceses of Arras and Cambrai founded the Œuvre des Conférences et Catéchismes in Robaix, which provided a projection service distributing slides and lanterns. Belgian Catholics followed that example and c…
Projecting Faith
Around 1900, the Catholic Church in Belgium and France started to systematically use the magic lantern for religious education, but also as a propaganda tool in their fight against their laic opponents in both countries. In the course of the nineteenth century, the magic lantern had become a major visual mass medium in Europe and the United States. The light beam of the lantern was seen as a powerful means to sustain faith and disseminate the vie…
Quod Non Est in Berolina, Non Est in Mundo’
The historiography of Weimar cinema has focused almost exclusively on film production and exhibition in the German capital Berlin, generally neglecting other geographic regions, in particular the Rhineland which, after the First World War, remained under Allied control until the mid‐1920s for some parts, for others even longer. This contribution analyses the situation in Düsseldorf, a film distribution hub that was occupied by Belgian and French …
Art (3 works) · Lantern (2 works) · Literature (2 works) · 3D Surveying and Cultural Heritage (1 works) · Adversary (1 works) · Aesthetics (1 works) · Ancient history (1 works) · Art history (1 works) · Capital (architecture (1 works) · Cinema and Media Studies (1 works)