Gertrude Conaway Vanderbilt Professor of German, Cinema and Media Arts
Chair, Department of German, Russian and East European Studies
Lutz Koepnick is the Gertrude Conaway Vanderbilt Professor of German, Cinema and Media Arts at Vanderbilt University in Nashville, where he also chairs the Department of German, Russian and East European Studies and serves as the director of the joint-Ph.D. program in Comparative Media Analysis and Practice (CMAP). He received a Joint-Ph.D. in 1994 in German Studies and Humanities from Stanford University.
Koepnick has published widely on film, media theory, visual culture, new media aesthetic, and intellectual history from the nineteenth to the twenty-first century. He is the author of Michael Bay: World Cinema in the Age of Populism (2018); The Long Take: Art Cinema and the Wondrous (2017); On Slowness: Toward an Aesthetic of the Contemporary (2014); Framing Attention: Windows on Modern German Culture (2007); The Dark Mirror: German Cinema between Hitler and Hollywood (2002); Walter Benjamin and the Aesthetics of Power (1999); and of Nothungs Modernität: Wagners Ring und die Poesie der Politik im neunzehnten Jahrhundert (1994). Koepnick is the co-author of Windows | Interface (2007), [Grid ‹ › Matrix] (2006), and the co-editor of various anthologies on ambiguity in contemporary art and theory, the culture of neoliberalism, German cinema, sound culture, new media aesthetics, aesthetic theory, and questions of exile. His current book projects include a monograph on Werner Herzog’s film Fitzcarraldo and a book on the role of resonance in contemporary sound art.
media theory and new media aesthetic, art cinema, photography, intellectual history, temporality in the arts
- Michael Bay: World Cinema in the Age of Populism (2018)
- The Long Take: Art Cinema and the Wondrous (2017)
- On Slowness: Toward and Aesthetic of the Contemporary. New York Columbia University Press, 2014.
- Berlin School Glossary: An ABC of the New Wave in German Cinema. Eds. Roger Cook, Kirstin Kopp, Lutz Koepnick, and Brad Prager. Bristol, UK: Intellect, 2013.
- After the Digital Divide? German Aesthetic Theory in the Age of New Media. Co-edited with Erin McGlothlin. Rochester, NY: Camden House, 2009. 215pp.
- Framing Attention: Windows on Modern German Culture. Baltimore: Johns Hopkins University Press, 2007. 312pp.
- Window | Interface. Screen Arts and New Media Aesthetics 2. With Sabine Eckmann. St. Louis: Mildred Lane Kemper Art Museum, 2007. 96pp. Distributed by The University of Chicago Press.
- The Dark Mirror: German Cinema Between Hitler and Hollywood. Berkeley: University of California Press, 2002. 322pp.
Recent Essays (selection)
- “Deep Sounds and the Wondrous.” Archäologie der Spezialeffekte. Eds. Natascha Adamowsky, Nicola Gees, Mireille Schnyder. Hugues Marchal and Johannes Bartuschat. Paderborn: Wilhelm Fink Verlag, 2018. 31-46
- “Laura Mulvey the Curious Cinephile.” New Review of Film and Television Studies 15.4 (2017): 441-445
- “Kluge’s Moments of Calm.” Stichwort: Kooperation. Keiner ist alleine schlau genug. Ed.Rainer Stollmann, Thomas Combrink and Gunther Martens. Göttingen: V&R Unipress, 2017. [Special edition of Aleander Kluge-Jahrbuch 4 | 2017]
- “Gesamtkunstwerk.” Cambridge History of Modernism. Ed. Vincent Sherry. Cambridge: Cambridge University Press, 2016. 273-288.
- “Critical Theory and the German Studies Association.” German Studies Review 39.3 (2016): 553-563.
- “Concepts of Reading in the Digital Age.” Oxford Research Library of Literature. DOI: 10.1093/acrefore/9780190201098.013.2. Online Publication Date: August 2016.
- “Introduction: On 24/7: Neoliberalism and the Undoing of Time.” Co-authored with Necia Chronister. Neoliberalism and the Undoing of Time. Eds. Necia Chronister and Lutz Koepnick. Special Issue of Studies in 20th & 21st Century Literature. Volume 40.2 (2016): 1-10.
- “Writing after Kittler.” German Studies Review 38.1 (2015): 148-150.
- “Not the End: Fritz Lang’s War.” A Companion to Fritz Lang. Ed. Joe McElhaney. Oxford: Wiley Blackwell, 2015. 415-429.