About the Project

Cinema is not just a representational but also an operational medium. Its global success is indisputably tied to its ability to embed its audience in affectively charged, atmospheric worlds and filmmakers carefully design their narrative worlds through ambient soundscapes, music, colorations, filters, camera movements, production design, mise en scène, rhythmical editing, and countless other features that arrange the emotional and affective experiences of the audience. Marginalized in film studies due to their ontologically indeterminate nature, cinematic atmospheres operate affectively and prior to cognitive, critical, and analytical reflection. This project examines cinematic atmosphere production in all its experiential, aesthetic, and ethical implications as an attractive but also problematic, even harmful, and ideologically loaded enterprise. It raises critical awareness of the basic atmospheric operations of cinema in a time when the medium is relocated into new media environments and its techniques are reused within ecologies that are not cinematic per se such as news broadcasting, videoconferencing, sports refereeing, and even terrorist recruitment.

This project

1. develops a broad conceptual understanding of cinematic atmospheres as a way of organizing the perceptive, affective, and cognitive epistemic access to the world of the film, and
2. mobilizes this understanding to develop a method for the study of the operations and techniques that constitute cinematic atmosphere production before
3. expanding this method to deal with the question of how these cinematic operations and techniques for atmosphere production are no longer the property of cinema alone but increasingly employed outside of the narrative-aesthetic domain at the service of larger socio-cultural, economic, and political forms of organizing perception, cognition, and affect from art installations to social media.