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In der Verknüpfung von Recht und Kulturtechnik verfolgt der vorliegende, interdisziplinäre Band eine doppelte Perspektive: Er fragt nach dem medialen und materiellen Umfeld, in dem Recht entsteht. Und er untersucht, wie ‚Recht als Kulturtechnik‘ seine soziokulturelle Umwelt gestaltet. Als ein besonderes Arrangement, das materielle, mediale und intellektuelle Kulturtechniken verschaltet, erzeugt das Recht nicht nur rechtliche Normativität, sondern auch Subjekte, es stiftet Beziehungen und reguliert Gesellschaften, es formt sogar Affekthaushalte nicht nur in Prozessen oder vor Gericht, sondern auch in Literatur, Kultur und Film. Die Beiträge aus Literatur-, Medien- und Rechtswissenschaft fragen nach dem Konnex von Rechtssubjektivität und Kulturtechnik, den rechtlichen Techniken des (Anti-)Kolonialismus und den juridischen Kulturtechniken der digitalen Gegenwart.
New Intersectional Approaches to German Studies
Founded in 1972, this series welcomes publications that further develop the field of German-language literature(s) and cultural studies from 1600 onwards. This includes themed volumes and monographs offering state-of-the-art research, as well as critical editions of rediscovered primary sources or collections.

Our mission remains to publish high quality research, especially new intersectional approaches to German language, literature, and modern media. Consequently, the series offers a venue for exploring emerging fields of study that intersect with German cultural studies. This includes gender and sexuality studies, critical race and critical whiteness studies, disability studies, transcultural and postcolonial studies, film and comic studies.

All submissions are subject to a double anonymous peer review process prior to publication.
Authors are cordially invited to submit proposals for manuscripts in either German or English to the publisher at BRILL, Masja Horn.
Please advise our Guidelines for a Book Proposal.
Editorial Board / Council Member: , , , and
Longer than an article, shorter than a book. The mini-monograph series allows researchers to publish their innovative work at lengths of between 35,000 and 60,000 words. Address the essence of your topic in this new format, and take advantage of our rigorous peer review, state of the art production, and personal guidance. Publish fast, stimulate academic debate, and reach your global audience through an international distribution network at an affordable price.
Authors are cordially invited to submit proposals and/or full manuscripts to the publisher at BRILL, Christa Stevens.

Series Editors: and
Studies in Periodical Cultures (SPC) contributes to the bourgeoning field of periodical studies, exploring magazines, newspapers, and other forms of serialized media in (trans)national contexts. Research into periodicals is of high interest to many because of the medium’s pervasiveness and its enmeshment with the formation of cultural identities. This book series considers periodicals as important artifacts, seeking to assess their role for processes of cultural transfer and translation. SPC looks at how periodicals evolve in and through networks of people, material infrastructures, media markets, and changing technologies. Likewise, the community-building potential of periodicals will be considered. SPC wants to determine what function periodicals have as sites of affection, but also as aesthetic and material sources for the arts and literature. The book series produces a much-needed bridge between historical/archival approaches and present work in the field of media studies by highlighting the legacies and trajectories of the periodical business from 18th-century print to the digital age.

SPC invites contributions from a range of disciplines including approaches developed in the humanities and social sciences. Transnational approaches to periodical studies, which provide, among others, fresh insights into foreign language publications, the role of international editions, the ethnic press, and related issues like race, gender, and sexuality are all welcome. SPC also promotes the ‘business turn’ in periodical studies and highlights material and legal frameworks, design, translation, marketing and consumption. It solicits studies about editorial procedures, the distribution, and the reception of periodicals. This book series encourages work about regional, national, and transnational communication networks, investigating, for instance, how rival publications and their interrelated dynamics shape the periodicals’ formal, material, and visual attributes. In practice, SPC proposes to study periodicals less as autonomous objects, but rather as agents embedded in changing historical contexts. SPC thus offers theoretical and methodological approaches to an interdisciplinary, transnational conception of periodical studies, and publishes peer-reviewed volumes in different languages.

Authors are cordially invited to submit proposals and/or full manuscripts to the publisher at BRILL, Christa Stevens.
Please advise our Guidelines for a Book Proposal.
We strongly recommend the use of the Chicago Manual of Style in this series.

Subject areas for exploration:
Periodicals and Transculturality
Literary Magazines as Transnational Periodicals
Transnational Periodicals and the Ethnic Press
Transnational Periodicals, Typography, and Graphic Communication
Transnational Periodicals and the Production of Knowledge
Periodical Studies and the Impact of the Archive
Regionalism and Transnational Periodicals
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Film denken nach der Geschichte des Kinos
Series:  Film Denken
In einem Moment der Mediengeschichte, in dem der Film nicht mehr nur im Kino, sondern in allen Medien auftritt, nimmt der vorliegende Band das Werk des kürzlich verstorbenen französischen Regisseurs Jean-Luc Godard zum Ausgangspunkt für eine vielstimmige Reflexion über die Geschichten und die Zukünfte des Kinos. Wohl mehr als jeder andere Regisseur hat Godard sich bemüht, die Geschichte des Kinos im Medium selbst zu schreiben, etwa in seinem monumentalen Filmessay Histoire(s) du cinéma. Und mehr als jeder andere Regisseur hat Godard immer wieder die Frage gestellt, was nach dem Kino kommt: Wie es mit der Geschichte der Kunst nach dieser »Erfindung ohne Zukunft«, wie Louis Lumière es einmal formulierte, weitergeht. Zugleich schreibt Godard dem Kino im 20. und 21. Jahrhundert eine besondere Rolle der historischen Zeugenschaft zu, was seinem Werk eine Relevanz weit über den Horizont einer Geschichte der Kunstform Film hinaus verleiht.

Mit Beiträgen von Vinzenz Hediger, Philip Ursprung, Lorenz Engell, Rembert Hüser, Adrian Martin, Jacques Aumont, Michael Witt, Regine Prange, Martin Seel, Volker Pantenburg, Raymond Bellour, Nicole Brenez, Daniel Fairfax.
In: Jean-Luc Godard
In: Jean-Luc Godard