Research Interest

For a considerable number of established artists, curators, media theoreticians, academics in literature and others, narrative or the story(line) is trivial. It is a myth and an illusion – to be avoided or to be deconstructed by theoretical or aesthetic means. At the same time the so-called free market offers advice in the form of (predominantly American) how-to-books and film schools, which (seek to) reaffirm the current formats. These sources – so it is claimed – teach what it takes to write a successful script/screenplay for instance.

Our thesis is that detailed and practical knowledge of narrative and the formats in which they occur – the ability to write a TV cop show, a musical or a tabloid story – have to be paired with critical awareness, media- and format-theoretical analysis (as well as epistemological flair), in order to investigate the narrative’s potentialities/potentials under the new techno-cultural conditions (media-convergence/the convergence of media).

Narrative as a meaning-giving instance is a social and medial reality and it is not productive to trivialize it in the wrong places.