Bogna Kazur

geb. 1988 in Lodz. Bachelorstudium der English-Speaking Cultures und der Germanistik an der Universität Bremen und der Universität Malta. Masterstudium der Transnationalen Literaturwissenschaft: Literatur, Theater, Film an der Universität Bremen; 2013 Masterarbeit zum Thema: Through the Transnational Lens: Mobile Identities in Contemporary Cinema. Studienschwerpunkte: Film Studies; Postkoloniale und transkulturelle Studien; Whiteness Studies; (Kulturelle) Identität in der Konsumgesellschaft. Hospitationen u.a. in der Dramaturgie des Staatstheaters Kassel und der Regie des Theaters Bremen. Mitwirkung bei verschiedenen Filmproduktionen; Organisation des Bremer Kurzfilmwettbewerbs Young Collection 45 und Öffentlichkeitsarbeit für die Verleihung des 15. Bremer Filmpreises an Béla Tarr. 2013 bis 2017 Kollegiatin im GRK 1787.


Promotionsprojekt: The (Literary) Special Effect: "Filmic Writing" in the Digital Age and the Contemporary US-American Novel
In order to identify new forms and practices of novel-based intermediality, the study proceeds from a necessarily broad understanding of film culture in the digital age. One essential point is that film arrives at a new form of abstraction and loses its already fragile physical reality in the course of digitization. At the same time its complex invisible code complicates the distinction between fictional live-action footage and special effects, thus relativizing the latter and introducing a so-called "elastic reality". Still, the concept of digital film definitely exceeds a mere, digitally recorded or digitally adapted motion picture. It is a highly dynamic process that equally manifests itself in transmedia storytelling and fan practices and the permeating logic of self-reflexivity on both the level of content and interface. Another characteristic of digital film culture is certainly the paradox of digital perfection producing a resurgence of humanism and "mistakism" in terms of grainy, fragmented, hand-held camera aesthetics, for instance.
While being informed by these ambiguous dynamics, contemporary US novels such as Marisha Pessl's Night Film (2013), Mark Z. Danieleweski's House of Leaves (2000) and David Foster Wallace's Infinite Jest (1995) convey a highly complex idea of filmic authenticity in our digital age. In fact, this idea leads to the question whether the originally film-specific special effect migrates into the aesthetic and physical reality of the novel, expressing itself through "special" instances of literary verisimilitude, for example. In order to capture the nuances of these innovative as well as experimental forms of "filmic writing", the project will resort to the terminology of "intermedial references" and "multimodal literature". Another methodological basis is provided by Jay Bolter and Richard Grusin's "Remediation" and its double logic of immediacy and hypermediacy. After all, a narratological investigation of the thin line between the illusion of transparency and the hyper-awareness of mediation is crucial for the study's focus on the novel-based "reality" of film in the digital age.