Februar 2012 “Einleitung”. In: Netzwerk Körper (Hg.): What Can A Body Do? Praktiken und Figurationen des Körpers in den Kulturwissenschaften. Frankfurt/New York: Campus Verlag, S. 11-5, 13-18 (gemeinsam mit Massimo Perinelli und Olaf Stieglitz für das Netzwerk)
Februar 2012 “Reproduzieren”. In: Netzwerk Körper (Hg.): What Can A Body Do? Praktiken des Körpers in den Kulturwissenschaften. Frankfurt/New York: Campus Verlag, S. 83-96
November 2012: “Queer Becoming als techno-ontogenetisches Körperdenken.” In: Things Queer Not Queer. Feministische Studien 2 (2012). Hg. v. Elahe Haschemi Yekani, Beatrice Michaelis, Gabriele Dietze, S. 259-274
Juli 2011 In “You are not welcome here”. Of post-apartheid negrophobia, and real aliens in Blomkamp’s District 9 (gemeinsam mit Henriette Gunkel). In: darkmatter. in the ruins of imperial culture, No. 6, January/February 2010 (reprint as article in general issue 7, July 2011, peer reviewed) erläutern wir, warum District 9 eine aussergewöhnliche, aufrichtige Kritik an der postkolonialen Gesellschaft Südafrikas darstellt. Dies aber zum hohen Preis, insbesondere Afrikaner aus anderen afrikanischen Staaten (Nigerianer) als blinden Fleck zu behandeln. Wir demonstrieren zudem, dass D9, der von den einen als grandioser Vertreter des New African Cinema interpretiert, von anderen als “just another racist movie” abqualifiziert wird, gerade deshalb weltweit so erfolgreich ist, weil er Dichotomien wie “real” - “fiktiv”, “dokumentarisch” - “fiktional”, Identität-Differenz konstruktiv aufbricht und sich zudem keinem Genre eindeutig zuordnen lässt.
When District 9 (D9) was released in August 2009, the film was an immediate box office hit in several countries. This was much to the surprise of critics, reviewers and bloggers, who seemed astonished by the fact that a science fiction film with this impact could originate from South Africa. Internet forum discussions and an E-Symposium emerged as a response to the film, which continues to be the subject of controversial discussion. While many celebrate the film in relation to the ‘generic’ genre of Science Fiction as a promising representative of a thriving African Cinema, others reject the film on the basis of its socio-political message, as yet another racist movie about Africa – with reference to the depiction of both ‘the Nigerians’ and the aliens. In this article, we would like to move beyond a crudely metaphorical reading of representation (‘the aliens stand for X in reality’), and explore the degree to which the film foregrounds its own mediality. This focus moves us beyond a polarizing position that immediately rejects the film as racist, and allows us to engage with a complex and original text unlike so many other films that take ‘Africa’ as their subject.
Frühjahr 2012 ‘What Can A Body Do?’ - Praktiken und Figurationen des Körpers in den Kulturwissenschaften. Frankfurt a.M./New York: Campus Verlag
March 2011 “Not Becoming-Posthuman in the Ultimate Postfilmic Posthuman Male Fantasy - Queer-feminist Observations on James Cameron’s Avatar”. In: gender forum 32. special issue (March 2011)
In this article I will examine mainly the following: In what way is the digital mobilized in Avatar and in what complex ways are the filmic and the digital mutually constitutive? If one ever assumes, that cinema has some kind of (historically changing) specificity, if not an essence, but as a medium, and if one further assumes that cinema is a cultural technology, then what types of images, what kind of narratives and discursive strategies are enabled through the digital in conjunction with the cinematographic in Avatar? Furthermore, if cinema is supposedly, in a Deleuzian fashion, a system with specific features to reflect on, to show and to tell mainly about time, movement and their cognition, then what does Avatar tell us about the relation to the real, about lived, embodied time proper and therefore about subjectivity in general? What kind of subjectivity is addressed here? Closely related to this question is the last one, very seriously raised, if Avatar can ever be called a serious reflection on the philosophy of the subject brought to the fore by Rosi Braidotti as Zoëism. I will, finally, answer this question negatively in showing that Avatar is the ultimate postfilmic posthuman male fantasy in the spirit of capitalism’s schizophrenic spectral logic.
September 2010 “Über Pornoisierung, Porno Pop und Post Porn, Löcher und Schnitte. Ein Gespräch. Christiane König, Claudia Reiche, Tim Stüttgen.” In: Jörg Metelmann (Hrsg.): PornoPop II: Im Erregungsdispositiv. Würzburg, 2., überarbeitete Auflage 2010, S. 89-101.
April 2010 “Lost- Verloren? Einige Bemerkungen über das Verhältnis zu Objekten.” Beitrag zu The Institute of Lost Research. Hg. v. Minus 1/Experimentallabor@khm. SITE Magazine, issue 12, S. 50-53.
Das Projekt THE INSTITUTE OF LOST RESEARCH beschäftigt sich grundsätzlich mit dem Thema Verloren im Feld der Kunst. Verloren gegangene, wieder gefundene oder archivbezogene Arbeiten sind genauso gefragt wie Arbeiten, die sich grundlegend mit Verlorenem auseinandersetzen. Das Thema kann auch als Spannung zwischen Original und Reproduktion sowie zwischen Verfall und Rekonstruktion oder Restauration gelesen, aber auch vollkommen frei verstanden werden.