Dr. P. (Pepita) Hesselberth

Position:
  • Lecturer, assistant professor


Telephone number: +31 (0)71 527 2202
E-Mail: p.hesselberth@hum.leidenuniv.nl
Faculty / Department: Faculteit der Geesteswetenschappen, Centre for the Arts in Society, Literatuurwetenschap
Office Address: Witte Singel-complex
van Wijkplaats 2
2311 BX Leiden
Room number 102A


Fields of interest

  • Comparative Media Studies
  • (New) Media Theory
  • Cultural Theory
  • Arts and Politics
  • Contemporary Cinematics

Curriculum vitae

Since completing my MA of Arts in Media Studies (cum laude, 1999) I have taught courses on media theory; film theory; media, culture and society; film analysis; philosophy of new media; quality drama; and various other topics at the University of Amsterdam (1999-2001, 2010-2012) and Utrecht University (2001-2007). I finished my dissertation project in 2012, entitled Cinematic Chronotopes: Affective Encounters in Space-Time, for which I received a fellowship within the area of “Philosophy, Cinema, and Cultural Theory,” from the Danish Agency for Science, Technology and Innovation and the University of Copenhagen, which was then co-hosted by the Amsterdam School for Cultural Analysis (ASCA) at the University of Amsterdam. A book on Cinematic Chronotopes is forthcoming with Bloomsburry (2014). With Thomas Elsaesser I have edited the textbook Hollywood op Straat: Film en Televisie Binnen de Hedendaagse (Audiovisuele) Cultuur (Amsterdam: Amsterdam University Press/ Vosius, 2000).

Research

In my research on Cinematic Chronotopes I make a case for analyzing the chronotopes of the cinematic as affective encounters in space-time. I argue that, while the site of cinema is on the move, the extent to which technologically mediated sounds and images continue to be experienced as cinematic today is largely dependent on the intensified sense of a “here,” a “now,” and a “me” that they convey. This intensification, I have suggested, is fundamentally rooted in the cinematic’s potential to intensify our experience of time, to convey time’s thickening, of which the sense of space or place, and a sense of self or self-presence are the correlatives. I have traced this thickening of time across four different spatio-temporal configurations of the cinematic that have traditionally been conceived as different from, or even antagonistic to, each other: a multi-media exhibition featuring the early avant-garde films of Andy Warhol in chapter one; the handheld aesthetics of European art-house films in chapter two; a large-scale interactive media installation set-up in public space in chapter three; and the usage of the trope of the flash-forward in mainstream Hollywood cinema in the Coda. Only by juxtaposing these cases by looking at what they have in common, i.e. intensified thickening of time that they share, I argue, can we grasp the complexity of the changes that the cinematic is currently undergoing. In doing so, it is my hope that my thesis offers a timely contribution to media-theoretical debates.

Teaching activities

MA Film and Photographic Studies:
- Supervision MA Theses
- Historiographies of Photography and Film (niveau 400)

MA Comparative Literature and Literary Theory:
- Literature & Theory (niveau 400)

BA Film- en Literatuurwetenschap:
- Film en Filosofie (niveau 300)
- Expanded Cinema (niveau 300)
- Avantgarde, cinema en (post)modernisme (niveau 200)
- Realisme in Literatuur en Film (niveau 100)
- Tekst-Beeld Analyse 1: Proza en Film (niveau 100)
- Tekst-Beeld Analyse 2: Poëzie en andere cinema (niveau 100)
- Wereldliteratuur (niveau 100)

Minor Theater en Film:
- Inleiding Dramatische Media (niveau 100)
- Theater, Film en Media Theorie (niveau 300)

Last Modified: 10-12-2015