--- --- % @book{Dang_van_der_Heijden_Olesen_2025, address = {Berlin, Boston}, title={{Doing Digital Film History: Concepts, Tools, Practices}}, rights={De Gruyter expressly reserves the right to use all content for commercial text and data mining within the meaning of Section 44b of the German Copyright Act.}, ISBN={978-3-11-108248-6}, url={https://www.degruyter.com/document/doi/10.1515/9783111082486/html}, DOI={10.1515/9783111082486}, abstractNote={How has the digital turn shaped the practices of film historical research and teaching? While computational approaches have been used by film historians since the 1960s and 1970s, the arrival and use of digital tools and methods in recent decades has fundamentally changed the ways we search, analyze, interpret, present, and so think and write about film history - from digital archival and curatorial practices, data-driven search, and analysis of film historical collections to the visualization and dissemination of film historical materials online. While film historians have increasingly embraced the new possibilities brought by digital technologies, their practical, epistemological, and methodological implications need further exploration. What opportunities does the digitization of film historical sources provide for film historians? What new questions can be raised by using digital methods? What new perspectives emerge from analyzing, interpreting, and visualizing film historical data at the levels of both “close” and “distant” – or “scalable” – reading and viewing? By focusing on the concepts, tools, and practices of digital film historiography, this edited volume aims to contribute to a better understanding and critical reflection on the changes and continuities of doing film history in the digital age.}, publisher={De Gruyter Oldenbourg}, editor={Dang, Sarah-Mai and van der Heijden, Tim and Olesen, Christian Gosvig}, year={2025}, language={en} } @inbook{Wulff_2011, address={Mannheim}, title={{Filmanalyse}}, ISBN={978-3-936656-35-0}, url={https://www.verlag-gespraechsforschung.de/2011/pdf/medienforschung.pdf}, booktitle={{Qualitative Methoden der Medienforschung}}, publisher={Verlag für Gesprächsforschung}, author={Wulff, Hans J.}, editor={Ayaß, Ruth and Bergmann, Jörg}, year={2011}, pages={220--244}, language={de} } @inbook{Kammerer_2017, address={Wiesbaden}, series={Springer Reference Geisteswissenschaften}, title={{Qualitative Verfahren der Filmanalyse}}, ISBN={978-3-658-13352-8}, url={https://doi.org/10.1007/978-3-658-13352-8_26-1}, DOI={10.1007/978-3-658-13352-8_26-1}, abstractNote={Filmanalyse ist eine Tätigkeit, die kognitive Leistungen ebenso verlangt wie technische und darstellende (sprachliche) Fertigkeiten. Wesentlich für jede Analyse ist der Vorgang der Umschrift oder Transkription, der aus dem Phänomenbereich der Bewegtbilder eine Menge von Eigenschaften, Merkmalen oder Strukturen auswählt, diese versammelt, systematisiert und (meist) schriftlich niederlegt. Insofern mediale Differenzen zum Tragen kommen, muss Filmanalyse als eine intermediale Praxis verstanden werden. Der Beitrag diskutiert grundlegende Verfahren, Techniken und Werkzeuge wie Standbildvergrößerungen, Filmprotokolle, Zeichnungen, Diagramme oder statistische Messungen (Cinemetrics).}, booktitle={{Handbuch Filmanalyse}}, publisher={Springer Fachmedien Wiesbaden}, author={Kammerer, Dietmar}, editor={Hagener, Malte and Pantenburg, Volker}, year={2017}, pages={1--13}, collection={Springer Reference Geisteswissenschaften}, language={de} } @inbook{Vonderau_2017, series={Springer Reference Geisteswissenschaften}, title={{Quantitative Werkzeuge}}, ISBN={978-3-658-13352-8}, url={https://link.springer.com/referenceworkentry/10.1007/978-3-658-13352-8_28-1}, DOI={10.1007/978-3-658-13352-8_28-1}, abstractNote={Der Text widmet sich der Funktion digitaler Methoden in der filmwissenschaftlichen Analyse von Filmen. Was wird unter „digital tools“ verstanden, seit wann gibt es und wie verbreitet sind sie?...}, booktitle={{Handbuch Filmanalyse}}, publisher={Springer VS, Wiesbaden}, author={Vonderau, Patrick}, year={2017}, pages={1--15}, collection={Springer Reference Geisteswissenschaften}, language={de} } @article{Bakels_Grotkopp_Scherer_Stratil_2020, title={{Digitale Empirie? Computergestützte Filmanalyse im Spannungsfeld von Datenmodellen und Gestalttheorie}}, volume={29}, DOI={https://doi.org/10.25969/mediarep/21683}, number={1}, journal={montage AV}, author={Bakels, Jan-Hendrik and Grotkopp, Matthias and Scherer, Thomas and Stratil, Jasper}, year={2020}, pages={99--118} } @inbook{Arnold_Tilton_2022, address={London}, series={Bloomsbury handbooks}, title={{Analyzing Audio/Visual Data in the Digital Humanities}}, ISBN={978-1-350-23214-3}, url={https://doi.org/10.5040/9781350232143?locatt=label:secondary_bloomsburyCollections}, DOI={10.5040/9781350232143.ch-17}, note={/ Bloomsbury Collections-Plattform: weder Titelblatt noch Impressum vorhanden}, booktitle={The Bloomsbury handbook to the digital humanities}, publisher={Bloomsbury Academic}, author={Arnold, Taylor and Tilton, Lauren}, editor={O’Sullivan, James}, year={2022}, pages={179--188}, collection={Bloomsbury handbooks}, language={eng} } @article{Horstmann_Seltmann_2023, title={Annotation}, rights={Creative Commons Attribution Share Alike 4.0 International}, url={https://zfdg.de/wp_2023_002}, DOI={10.17175/WP_2023_002_V2}, journal={Working Paper 2 der Zeitschrift für digitale Geisteswissenschaften}, publisher={Zeitschrift für digitale Geisteswissenschaften – ZfdG}, author={Horstmann, Jan and Seltmann, Melanie}, year={2023}, language={de} } @book{Heftberger_2016, address={München}, series={Film-Erbe; 2}, title={{Kollision der Kader: Dziga Vertovs Filme, die Visualisierung ihrer Strukturen und die Digital Humanities}}, ISBN={978-3-86916-463-2}, publisher={edition text + kritik}, author={Heftberger, Adelheid}, year={2016}, collection={Film-Erbe; 2}, language={ger} } @article{Burghardt_Heftberger_Pause_Walkowski_Zeppelzauer_2020, title={{Film and Video Analysis in the Digital Humanities – An Interdisciplinary Dialog}}, volume={14}, ISSN={1938-4122}, url={https://dhq.digitalhumanities.org/vol/14/4/000532/000532.html}, DOI={https://doi.org/10.63744/nqfasq3agfhs}, number={4}, journal={Digital Humanities Quarterly}, author={Burghardt, Manuel and Heftberger, Adelheid and Pause, Johannes and Walkowski, Niels-Oliver and Zeppelzauer, Matthias}, year={2020} } @inbook{Scherer_2025, title={{Geteilte Vision? Algorithmisches Sehen an der Schnittstelle von Filmwissenschaft und Digital Humanities}}, ISBN={978-3-658-09514-7}, ISSN={2524-373X}, url={https://link.springer.com/rwe/10.1007/978-3-658-09514-7_42-1}, DOI={10.1007/978-3-658-09514-7_42-1}, abstractNote={Der Beitrag diskutiert aktuelle Entwicklungen im Bereich des „Distant Viewing“ und der „Computer Vision“ und reflektiert deren epistemologische und theoretische Implikationen als Formen des algorithmischen Sehens. Während solche...}, booktitle={{Handbuch Filmtheorie}}, publisher={Springer VS, Wiesbaden}, author={Scherer, Thomas J. J.}, editor={Groß, Bernhard and Morsch, Thomas}, year={2025}, pages={1--24}, language={de} } @article{Salt_1974, title={{Statistical Style Analysis of Motion Pictures}}, DOI={https://doi.org/10.2307/1211438}, number={Vol. 28, No. 1}, journal={Film Quarterly}, author={Salt, Barry}, year={1974}, pages={13--22}, language={en} } @book{Salt_2009, address={London}, edition={Third edition}, title={{Film style and technology: history and analysis}}, ISBN={978-0-9509066-5-2}, url={http://www.starword.com/fstyleTZ.pdf}, publisher={Starword}, author={Salt, Barry}, year={2009}, language={en} } @inbook{Bateman_2014, address={Berlin, Boston}, series={Handbooks of Communication Science [HoCS]}, title={{Looking for what counts in film analysis: A programme of empirical research}}, volume={4}, DOI={https://doi.org/10.1515/9783110255492.301}, booktitle={{Visual communication}}, publisher={De Gruyter}, author={Bateman, John A.}, editor={Machin, David}, year={2014}, pages={301--330}, collection={Handbooks of Communication Science [HoCS]} } @article{Stelmach_2024, title={{Cinema Counts: The Computational Turn and Quantitative Methods in Film Studies}}, rights={Prawa autorskie (c) 2024}, ISSN={2719-2725}, DOI={10.36744/kf.2934}, abstractNote={The aim of this text is a critical analysis of current developments and potential applications of quantitative methods in film studies. Within its scope, a concise reconstruction of the methodological foundations, historical development, and key achievements of statistical, experimental, and digital humanities tools in relation to audiovisual media research is conducted. This involves a review of the phenomena that have developed so far as well as a philosophical consideration of the sources, consequences, and potential limitations of quantitative thinking in an area traditionally occupied by the humanities. Quantitative methods are not considered here as a replacement for existing paradigms, but rather as their complement, extension, and often inspiration. This allows to understand the current transformations but also integrate them with traditional research approaches, and identify the pitfalls and difficulties associated with this paradigm shift.}, number={127127}, journal={Kwartalnik Filmowy}, author={Stelmach, Miłosz}, year={2024}, month=oct, pages={6--28}, language={en} } @article{Salt_2020, title={{The style of Ingmar Bergman’s films}}, volume={18}, ISSN={1740-0309}, DOI={10.1080/17400309.2020.1735229}, abstractNote={This analysis of the style of Ingmar Bergman’s films uses methods of treating film style that were first proposed and put into practice over 40 years ago by the author. Since then they have been applied to a very large number and range of films, and the results of these investigations published in books and in the New Review of Film and Television Studies. The basic technique of analysis used is drawing on the terms and categories used by film-makers in creating the films. It also gives weight to the film-maker’s ideas about what they are doing and why. The local and international context of the work of the film-maker also contributes to the analysis. After a brief summary of Ingmar Bergman’s film-making career and his films, his individual films are analysed in terms of the characteristics of the shots in them, such as length, closeness of camera, camera movement, POV, and so on. A simple statistical consideration of all these quantities enables a new separation of Bergman’s career into three phases from this perspective, with the film Persona being one of the turning points. Using a new technique of digital frame analysis, other points emerge regarding the development of his handling of actor movement and camera movement in his staging of love scenes, which gives rise to what could be called the Bergman signature shot. Another discovery is that Bergman’s two best known films, Det sjunde inseglet and Smultronstället are stylistically anomalous in his work.}, number={2}, journal={New Review of Film and Television Studies}, publisher={Routledge}, author={Salt, Barry}, year={2020}, month=apr, pages={127--150} } @article{Kovács_2014, title={{Shot Scale Distribution: An Authorial Fingerprint or a Cognitive Pattern?}}, volume={8}, ISSN={1934-9688}, archiveLocation={98774673}, DOI={10.3167/proj.2014.080204}, abstractNote={According to directors and directors of photography choosing the appropriate shot scale for a scene is primarily an issue of narrative function. However, especially in the practice of art cinema preference of specific shot scales may be an important indicator of a particular style. In some cases statistical analysis of overall shot scale distribution in films reveals consistent and recurrent patterns of shot scale distribution in an author’s work. Such a consistency is surprising, because it cannot be the result of conscious decision. No filmmaker plans the proportion of each shot scale in a film. This article investigates a systematic variation of shot scale distribution (SSD) patterns disclosed in the films of Michelangelo Antonioni, and Ingmar Bergman, which raises a number of questions regarding the possible aesthetic and cognitive sources of such a regularity.}, number={2}, journal={Projections: The Journal for Movies & Mind}, publisher={Berghahn Books}, author={Kovács, András Bálint}, year={2014}, month=dec, pages={50--70}, language={eng} } @inbook{Koenen_2026, title={{Scalable Reading als medienwissenschaftliche Praxis und Perspektive}}, ISBN={978-3-658-36625-4}, url={https://link.springer.com/rwe/10.1007/978-3-658-36625-4_22}, DOI={10.1007/978-3-658-36625-4_22}, abstractNote={Der Beitrag setzt sich aus Sicht der Medienwissenschaft mit verschiedenen Ansätzen, Modellen und Perspektiven der Skalierung sowie mit deren jeweiligen Implikationen und ihrer Relevanz für die medienwissenschaftliche Forschungspraxis auseinander. Aus...}, note={DOI: 10.1007/978-3-658-36625-4_22}, booktitle={{Handbuch Digitale Medien und Methoden}}, publisher={Springer VS, Wiesbaden}, author={Koenen, Erik}, editor={Niebling, Laura and Raczkowski, Felix and Stollfuß, Sven}, year={2026}, pages={387--405}, language={de} } @misc{Pause_Walkowski_2019, title={{SCALABLE VIEWING — Johannes Pause und Niels-Oliver Walkowski zu digitalen Methoden und den Digital Humanities, Teil 2}}, url={https://mediastudies.hypotheses.org/1219}, DOI={http://dx.doi.org/10.25969/mediarep/20241}, journal={Open-Media-Studies-Blog}, author={Pause, Johannes and Walkowski, Niels-Oliver}, year={2019} } @article{Pause_Walkowski_2020, address={Marburg}, series={montage AV. Zeitschrift für Theorie und Geschichte audiovisueller Kommunikation}, title={{Welten abnehmenden Lichts. Ein Multi-Scale Viewing des Politthrillers}}, volume={29}, DOI={http://dx.doi.org/10.25969/mediarep/21692}, number={1}, journal={montage AV. Zeitschrift für Theorie und Geschichte audiovisueller Kommunikation}, author={Pause, Johannes and Walkowski, Niels-Oliver}, year={2020}, pages={59--82}, collection={montage AV. Zeitschrift für Theorie und Geschichte audiovisueller Kommunikation} } @book{Priese_2015, address={Berlin, Heidelberg}, series={eXamen.press}, title={{Computer Vision: Einführung in die Verarbeitung und Analyse digitaler Bilder}}, rights={http://www.springer.com/tdm}, ISBN={978-3-662-45128-1}, url={http://link.springer.com/10.1007/978-3-662-45129-8}, DOI={10.1007/978-3-662-45129-8}, publisher={Springer}, author={Priese, Lutz}, year={2015}, collection={eXamen.press}, language={de} } @book{Szeliski_2022, address={Cham}, series={Texts in Computer Science}, title={{Computer Vision: Algorithms and Applications}}, rights={https://www.springer.com/tdm}, ISBN={978-3-030-34371-2}, url={https://link.springer.com/10.1007/978-3-030-34372-9}, DOI={10.1007/978-3-030-34372-9}, publisher={Springer International Publishing}, author={Szeliski, Richard}, year={2022}, collection={Texts in Computer Science}, language={en} } @book{Arnold_Tilton_2023, title={{Distant Viewing: Computational Exploration of Digital Images}}, ISBN={978-0-262-37516-0}, url={https://direct.mit.edu/books/oa-monograph/5674/Distant-ViewingComputational-Exploration-of}, DOI={10.7551/mitpress/14046.001.0001}, abstractNote={A new theory and methodology for the application of computer vision methods to the computational analysis of collected, digitized visual materials, called}, publisher={The MIT Press}, author={Arnold, Taylor and Tilton, Lauren}, year={2023}, language={en} } @book{Cormen_Leiserson_Rivest_Stein_2025, address={Berlin}, title={{Algorithmen: Eine Einführung}}, ISBN={978-3-11-132747-1}, url={https://www.degruyterbrill.com/document/doi/10.1515/9783111327471/html?recommended=sidebar&lang=de}, DOI={10.1515/9783111327471}, publisher={De Gruyter Oldenbourg}, author={Cormen, Thomas H. and Leiserson, Charles E. and Rivest, Ronald and Stein, Clifford}, year={2025}, month=oct, language={de} } @inbook{Bianco_2018, address={London}, title={{Algorithm}}, ISBN={978-1-350-03027-5}, url={https://www.bloomsburycollections.com/encyclopedia?docid=b-9781350030275}, DOI={10.5040/9781350030275}, booktitle={Posthuman Glossary}, publisher={Bloomsbury Academic}, author={Bianco, Jamie “Skye”}, editor={Braidotti, Rosi and Hlavajova, Maria}, year={2018}, pages={23--26}, language={en} } @book{Chávez_Heras_2024, address={Edinburgh}, title={{Cinema and Machine Vision: Artificial Intelligence, Aesthetics and Spectatorship}}, ISBN={978-1-3995-1473-6}, url={https://www.degruyter.com/document/doi/10.1515/9781399514736/html}, DOI={10.1515/9781399514736}, publisher={Edinburgh University Press}, author={Chávez Heras, Daniel}, year={2024} } @book{Goodfellow_Bengio_Courville_2016, title={{Deep Learning}}, author={Ian Goodfellow and Yoshua Bengio and Aaron Courville}, publisher={MIT Press}, url={http://www.deeplearningbook.org}, year={2016} } @inbook{Arnold_Tilton_2020, address={Minneapolis, MN}, title={{Depth in Deep Learning: Knowledgeable, Layered, Impenetrable}}, ISBN={978-1-4529-6293-1}, url={https://www.jstor.org/stable/10.5749/j.ctv1gn3t58.22}, DOI={https://doi.org/10.5749/j.ctv1gn3t58.22}, booktitle={Deep Mediations: Thinking Space in Cinema and Digital Cultures}, publisher={University of Minnesota Press}, author={Arnold, Taylor and Tilton, Lauren}, editor={Redrobe, Karen and Scheible, Jeff}, year={2020}, pages={309--328}, language={en} } @article{Pustu-Iren_Sittel_Mauer_Bulgakowa_Ewerth_2020, title={{Automated Visual Content Analysis for Film Studies: Current Status and Challenges}}, volume={14}, ISSN={1938-4122}, url={https://dhq.digitalhumanities.org/vol/14/4/000518/000518.html}, DOI={https://doi.org/10.63744/8rc7hctnsxrx}, number={4}, journal={Digital Humanities Quarterly}, author={Pustu-Iren, Kader and Sittel, Julian and Mauer, Roman and Bulgakowa, Oksana and Ewerth, Ralph}, year={2020}, } @article{Schmidt_El-Keilany_Eger_Kurek_2021, address={Krasnoyarsk, Russia}, title={{Exploring Computer Vision for Film Analysis: A Case Study for Five Canonical Movies}}, rights={https://epub.uni-regensburg.de/licenses/lic_without_pod.html}, url={https://www.researchgate.net/publication/355446064_Exploring_Computer_Vision_for_Film_Analysis_A_Case_Study_for_Five_Canonical_Movies}, DOI={10.5283/epub.50867}, abstractNote={We present an exploratory study in the context of digital film analysis inspecting and comparing five canonical movies by applying methods of computer vision. We extract one frame per second of each movie which we regard as our sample. As computer vision methods we explore image-based object detection, emotion recognition, gender and age detection with state-of-the-art models. We were able to identify significant differences between the movies for all methods. We present our results and discuss the limitations and benefits of each method. We close by formulating future research questions we plan to answer by applying and optimizing the methods.}, note={event-title: 2nd International Conference of the European Association for Digital Humanities (EADH 2021)}, journal={2nd International Conference of the European Association for Digital Humanities (EADH 2021)}, author={Schmidt, Thomas and El-Keilany, Alina and Eger, Johannes and Kurek, Sarah}, year={2021}, language={en} } @inproceedings{Springstein_Stamatakis_Plank_Sittel_Mauer_Bulgakowa_Ewerth_Müller-Budack_2023, address={New York, NY, USA}, series={SIGIR ’23}, title={{TIB AV-Analytics: A Web-based Platform for Scholarly Video Analysis and Film Studies}}, ISBN={978-1-4503-9408-6}, url={https://dl.acm.org/doi/10.1145/3539618.3591820}, DOI={10.1145/3539618.3591820}, abstractNote={Video analysis platforms that integrate automatic solutions for multimedia and information retrieval enable various applications in many disciplines including film and media studies, communication science, and education. However, current platforms for video analysis either focus on manual annotations or include only a few tools for automatic content analysis. In this paper, we present a novel web-based video analysis platform called TIB AV-Analytics (TIB-AV-A). Unlike previous platforms, TIB-AV-A integrates state-of-the-art approaches in the fields of computer vision, audio analysis, and natural language processing for many relevant video analysis tasks. To facilitate future extensions and to ensure interoperability with existing tools, the video analysis approaches are implemented in a plugin structure with appropriate interfaces and import-export functions. TIB-AV-A leverages modern web technologies to provide users with a responsive and interactive web interface that enables manual annotation and provides access to powerful deep learning tools without a requirement for specific hardware dependencies. Source code and demo are publicly available at: https://service.tib.eu/tibava.}, booktitle={Proceedings of the 46th International ACM SIGIR Conference on Research and Development in Information Retrieval}, publisher={Association for Computing Machinery}, author={Springstein, Matthias and Stamatakis, Markos and Plank, Margret and Sittel, Julian and Mauer, Roman and Bulgakowa, Oksana and Ewerth, Ralph and Müller-Budack, Eric}, year={2023}, pages={3195--3199}, collection={SIGIR ’23} } @article{Musik_Zeppelzauer_2018, title={{Computer Vision and the Digital Humanities: Adapting Image Processing Algorithms and Ground Truth through Active Learning}}, volume={7}, ISSN={2213-0969}, DOI={http://dx.doi.org/10.25969/mediarep/14754}, abstractNote={Automated computer vision methods and tools offer new ways of analysing audio-visual material in the realm of the Digital Humanities (DH). While there are some promising results where these tools can be applied, there are basic challenges, such as algorithmic bias and the lack of sufficient transparency, one needs to carefully use these tools in a productive and responsible way. When it comes to the socio-technical understanding of computer vision tools and methods, a major unit of sociological analysis, attentiveness, and access for configuration (for both computer vision scientists and DH scholars) is what computer science calls “ground truth”. What is specified in the ground truth is the template or rule to follow, e.g. what an object looks like. This article aims at providing scholars in the DH with knowledge about how automated tools for image analysis work and how they are constructed. Based on these insights, the paper introduces an approach called “active learning” that can help to configure these tools in ways that fit the specific requirements and research questions of the DH in a more adaptive and user-centered way. We argue that both objectives need to be addressed, as this is, by all means, necessary for a successful implementation of computer vision tools in the DH and related fields.}, number={14}, journal={VIEW Journal of European Television History and Culture}, author={Musik, Christoph and Zeppelzauer, Matthias}, year={2018}, month=dec, pages={59--72}, language={en} }