Frank Kessler
Biographic Data
| ID | 3601884 |
|---|---|
| NAME | Frank Kessler |
| GIVEN NAMES | Frank |
| FAMILY NAME | Kessler |
| SIGNATURE | KESSLER F |
| AFFILIATIONS | Utrecht University |
| ORCID | 0000-0001-7892-2169 |
| VERIFIED | Yes |
| TOTAL WORKS | 11 |
| TOTAL CITATIONS | 5 |
| AUTHOR COUNT | 10 |
| EDITOR COUNT | 1 |
| FIRST PUBLICATION YEAR | 1982 |
| 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 …
Quo vadis?, Cabiria and the ‘Archaeologists’
Book review of: Ivo Blom, Quo vadis?, Cabiria and the ‘Archaeologists’ (Edizioni Kaplan, 2023), 310 pp., ISBN 978-88-99559-66-3
Technics
The Key Debates series was launched in 2010 with the aim of revisiting "the central issues that continue to animate thinking about film and audiovisual media," which we have now done across ten volumes.All of these have followed a pattern of reexamining foundational texts and issues, while also investigating new lines of transmission and interpretation.Our book series' dual interest in foundations and novel lines of inquiry is demonstrated by the…
Montage, Découpage, Mise en scène
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…
Because His Bike Stood There
The article discusses the use and post-production treatment of footage shot by Dutch filmmaker Louis van Gasteren in his documentary Because My Bike Stood There (1966). The images depict a young man being beaten up by the police during a clash between the forces of order and people waiting to enter a photo exhibition on, ironically, police violence that had occurred about ten days earlier in Amsterdam. Van Gasteren combines the footage with an in…
Encounters across borders
Networks of Entertainment
Visible Evidence--But of What? Reassessing early non-fiction cinema
The Dilemmas of Presidential Leadership
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…
Encounters across borders
Visible Evidence--But of What? Reassessing early non-fiction cinema
The Dilemmas of Presidential Leadership
Visible Evidence--But of What? Reassessing early non-fiction cinema
Networks of Entertainment
Encounters across borders
Because His Bike Stood There
The article discusses the use and post-production treatment of footage shot by Dutch filmmaker Louis van Gasteren in his documentary Because My Bike Stood There (1966). The images depict a young man being beaten up by the police during a clash between the forces of order and people waiting to enter a photo exhibition on, ironically, police violence that had occurred about ten days earlier in Amsterdam. Van Gasteren combines the footage with an in…
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…
Montage, Découpage, Mise en scène
Quo vadis?, Cabiria and the ‘Archaeologists’
Book review of: Ivo Blom, Quo vadis?, Cabiria and the ‘Archaeologists’ (Edizioni Kaplan, 2023), 310 pp., ISBN 978-88-99559-66-3
Technics
The Key Debates series was launched in 2010 with the aim of revisiting "the central issues that continue to animate thinking about film and audiovisual media," which we have now done across ten volumes.All of these have followed a pattern of reexamining foundational texts and issues, while also investigating new lines of transmission and interpretation.Our book series' dual interest in foundations and novel lines of inquiry is demonstrated by the…
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 (8 works) · History (6 works) · Literature (4 works) · Cinema and Media Studies (3 works) · History (3 works) · Law (3 works) · Movie theater (3 works) · Political science (3 works) · Visual arts (3 works) · Art history (2 works)