Univ.-Prof. Mag. Dr. Christian Quendler
Institutsleiter und Co-Direktor des ZIAS (Zentrum für Interamerikanische Studien)

Institut für Amerikastudien

Universität Innsbruck
Innrain 52, 6020 Innsbruck
GeiWi-Turm, 3. Stock, Zimmer 40307

Tel:       +43 512 507-4177
E-Mail: christian.quendler@uibk.ac.at
Sprechstunde: Freitag 12.00-14.00 Uhr, Anmeldung per Email erforderlich!

Aktuelles Projekt


  • Theories of literature, culture and media
  • Narrative Theory
  • Intermediality
  • 19th- and 20th-century American literature
  • Film and Media Studies


Publikationen (Auswahl)


- The Camera-Eye Metaphor in Cinema. New York: Routledge, 2017.

- Interfaces of Fiction: Initial Framings in the American Novel from 1790 to 1900. Vienna: Braumüller, 2010.

- From Romantic Irony to Postmodernist Metafiction: Oxford: Peter Lang, 2001.


Aufsätze und Buchkapitel

- Special issue on “Mountain Cinema,” in The New Review of Film and Television 21.1 (forthcoming January 2023),
  ed. together with Cornelia Klecker.

- Special issue on “Mediating Mountains” in JAAAS (Journal of the Austrian Association for American Studies)
  3.2 (forthcoming September 2021), ed. together with Eva-Maria Müller.

- Special issue on “Global Appalachia” in Appalachian Journal 48.3–4 (forthcoming, Spring/Summer 2021), ed. together
  with Benjamin Robbins.


- “Aging, Auteurism and the Bergfilm: Olvier Assayas’ Clouds of Sils Maria (2014) and Paolo Sorrentino’s La givonanezza
   (co-authored with Daniel Winkler), Journal of Film and Video 72.3–4 (2020). 73–89.

- “Holy Mountain Hollywood: Hölderlin, Fanck und Herzog,” Heilige Berge – das Heilige der Berge, edited by Monika Fink
   und Thomas Steppan. Regensburg: Schnell & Steiner, 2020. 161–173.

- “Trois Places pour le 26 (1988) und das goldene Zeitalter des Showbusiness: Metareferenzialität in Jacques Demys und
    Yves Montands letzter Musikkomödie” (co-authored with Daniel Winkler), Film-Konzepte 56.2 (2020): Jacques Demy,
    ed. Kristina Köhler. Edition text+kritik, 80-93.

- “Media Theory as Narrative Theory: Film Narration as a Case Study,” The Edinburgh Companion to Contemporary
    Narrative Theories, ed. Zara Dinnen and Robyn Warhol. Edinburgh: Edinburgh University Press, 2018. 273-288.

- “(Bawl-)Fredonia: Renaming, Remapping and Retelling the United States in the Early Republic.” Amerikastudien/American
    Studies 61.3 (2016), 291-314.

- “‘Mon Dieu, il faut que je l’écrive!’ – Cinematography as the Difference between Writing, Speaking and Seeing in Robert
    Bresson’s Journal d’un curé de campagne (1951).” Word and Image: A Journal of Verbal/Visual Enquiry 31.4 (2015): 473-89.

- “Camera.” The Routledge Encyclopedia of Film Theory. Ed. Edward Branigan and Warren Buckland. New York:
    Routledge, 2014. 56-62.

- “Apparatus Theory (Baudry).” The Routledge Encyclopedia of Film Theory. Ed. Edward Branigan and Warren Buckland.
   New York: Routledge, 2014. 14-20.

- “Blending and Film Theory.” The Routledge Encyclopedia of Film Theory. Ed. Edward Branigan and Warren Buckland.
    New York: Routledge, 2014. 69-74.

- “Subjective Cameras Locked-In and Out-Of-Body.” Image [&] Narrative 15.1 (2014): 71-88.

- “A Series of Dated Traces: Diaries and Film.” Biography: An Interdisciplinary Quarterly 36.2 (2013): 339-58.

- “The Conceptual Integration of Intermediality: Literary and Cinematic Camera-Eye Narratives.” Blending and the Study
   of Narrative. Ed. Ralf Schneider and Marcus Hartner. Berlin: Walter de Gruyter, 2012. 211-42.

- “Autopsy and Autography in the First Decades of Cinema.” Arbeiten aus Anglistik und Amerikanistik 37.2 (2012): 161-83.

- “Rethinking the Camera Eye: Dispositif and Subjectivity.” New Review of Film and Television Studies 9.4 (2011): 395-414.

- “Bodies of Letters: Literary, National, and Gender Identities in Epistolary Fiction of the Early Republic.” Polysémes:
    Art et Littératures 11 (2011): 87-112.

- “Musing by Numbers: Das Zählen der Künste im Zeitalter des Films.” Hartmut Stenzel, Marcel Vejmelka (eds.),
    Anders: Identitäten. Studies in English Literary and Cultural History. Trier: Wissenschaftlicher Verlag Trier, 2011. 111-24.

Shorter English Version: “Musing by Numbers: Counting the Arts in the Age of Film.” Il Canone Cinematografico –
Film Canon. Ed. Pietro Bianchi, Giulio Bursi, Simone Venturi. Udine: Film Forum, 2011. 117-23.

- “I am a Camera: The Development of Christopher Isherwood’s Goodbye to Berlin across Stage, Screen and Time.”
   Deborah Madsen and Mario Klarer (eds.), The Visual Culture of Modernism. Tübingen: Narr, 2011. 119-35.

- “Faces of Fiction: Format, Typography and Layout in the American Renaissance.” Dorothea Steiner (ed.), Exploring
    Spaces: Practices and Perspectives. Münster: LIT, 2009. 91-112.

- “Novel Beginnings: Initial Framings as a Historical Category of American Fiction.” ZAA - Zeitschrift für Anglistik und
   Amerikanistik – A Quarterly of Language, Literature and Culture 56.4 (2008): 337-57.

- “Frame Analysis and its Contribution to a Historical and Cultural Theory of Literary Fiction: A Comparison of Initial
   Framings in James Fenimore Cooper’s The Spy and Gertrude Stein’s The Making of Americans.” Werner Wolf and
   Walter Bernhart (eds.), Framing Borders in Literature and Other Media. Amsterdam: Rodopi, 2006. 229-62.

- “Veil, Curtain, Picture and Screen: A Reading of Initial Framings in Nineteenth-Century American Fiction.” AAA –
   Arbeiten aus Anglistik und Amerikanistik 29: 2 (2004): 217-37.


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