Jonathan Rozenkrantz is a PhD candidate at the Department of Media Studies. He holds a BA and an MA in Cinema Studies (Stockholm University). He has been a writer and editor for more than a decade, publishing extensively on film, visual arts, and media culture. He spent the spring of 2016 as a guest researcher at the Amsterdam School for Cultural Analysis, University of Amsterdam.
Jonathan Rozenkrantz
PhD Student – Section for Cinema Studies
Research Areas
Background
Research Interests
Jonathan's research interests revolve around how media techniques and technologies condition aesthic and conceptual expressions. He is particularly interested in analogue video as an aesthetic media technology and media archaeological artefact, as well as in the epistemological questions raised by media combinations such as videographic cinema, but also configurations of animation and live action in documentary film.
In May 2017, Jonathan attended the Media Archaeology International Graduate Summer School at the Residual Media Depot, Concordia University (Montréal, Canada), where he initiated a hands-on study of analogue video-video game hybridity, exploring the tension between videographic recording and ludic interactivity.
Jonathan's interest in film pedagogy has also engendered collaborations with Södertörn University (Aesthetic Learning Processes) and the Swedish Film Institute (Film in Schools), resulting in the publication of the anthology chapter "Alltid redan en aktivitet: åskådarskap och estetiska lärprocesser" in the anthology Konst och lärande: essäer om estetiska lärprocesser (Huddinge: Södertörns högskola, 2014), as well as several teacher's guides.
Ongoing Research
Jonathan's PhD project Electronic Labyrinths: An Archaeology of Videographic Cinema (2013-2018) traces the shifting images and imaginaries conditioned by videography as a cinematic component from the 1950s until today.
Recent publications include "Analogue Video in the Age of Retrospectacle: Aesthetics, Technology, Subculture" (Alphaville Journal of Film and Screen Media, 2016), which explores the remanence of analogue video in digital media culture, and "Expanded epistemologies: animation meets live action in contemporary Swedish documentary film" (Journal of Scandinavian Cinema, 2016), which studies documentary configurations of animation and live action under the conditions of digitisation.
The forthcoming article "Das Autopticon: Videotherapie und/als Überwachung" (montage AV, forthcoming 2018) traces the overlapping emergence of video surveillance and video as a psychiatric apparatus between 1953 and 1970.
