Dr Tara Forrest

Forrest, T. 2007, The Politics of Imagination: Benjamin, Kracauer, Kluge, 1, Transcript Verlag, Bielefeld.
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Forrest, T. 2012, Alexander Kluge: Raw Materials for the Imagination, Amsterdam University Press, Amsterdam.
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Alexander Kluge is best known as a founding member of the New German Cinema. His work, however, spans a diverse range of fields and, over the last fifty years, he has been active as a filmmaker, writer, and television producer. This book - the first of its kind in English - comprises a wide selection of texts, including articles and stories by Kluge, television transcripts, critical essays by renowned international scholars, and interviews with Kluge himself. It will be a valuable resource for students and scholars in the fields of film, television, and literary studies, as well as those interested in exploring the intersections between art, politics, and social change.

Forrest, T. & Scheer, A.T. 2011, Christoph Schlingensief: sztuka bez granic, Korporacja Ha!art, Kracow.

Forrest, T. & Scheer, A. 2010, Christoph Schlingensief: Art Without Borders, Intellect, University of Chicago Press, USA.

Forrest, T. 2012, 'A Negative Utopia: Michael Haneke's Fragmentary Cinema' in Terri Ginsberg and Andrea Mensch (eds), A Companion to German Cinema, Blackwell, Malden, USA, pp. 553-572.

Forrest, T. 2012, 'Editor's Introduction' in Tara Forrest (ed), Alexander Kluge: Raw Materials for the Imagination, Amsterdam University Press, Amsterdam, pp. 13-21.

Forrest, T. 2012, 'Raw Materials for the Imagination: Kluge's Work for Television' in Tara Forrest (ed), Alexander Kluge: Raw Materials for the Imagination, Amsterdam University Press, Amsterdam, pp. 305-317.

Forrest, T. 2011, 'Creative Co-productions: Alexander Kluge's Television Experiments' in Gerhard Fischer and Florian Vassen (eds), Collective Creativity: Collaborative Work in the Sciences, Literature, and the Arts, Rodopi, Amsterdam and New York, pp. 191-204.
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Forrest, T. & Scheer, A.T. 2011, 'Tlo, Inspiracje, Kontekst' in Tara Forrest and Anna Teresa Scheer (eds), Christoph Schlingensief: sztuka bez granic, Korporacja Ha!art, Krakow, pp. 13-35.
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In the late nineties of the twentieth century Christoph Schlingensief Germany attracted such media attention, as pop stars, the most famous politicians and Bollywood fame. He was an artist, independent filmmaker and one of the permanent Volksbuhne the Berlin theater directors, which made the hype around him was an unusual phenomenon dose. One of the defining features composed in Schlingensief is how its work intervenes in current policy. Throughout his career, is actively looking for ways to mobilize public debate around the various kinds of relevant themes, such as - to name only a few of them - the recent success of the extreme right in Europe, the sense of humiliation resulting from unemployment and homelessness, absence disabled people in the media, politics promoted threat the West after the September 11 attacks and the Nazi legacy of contemporary Germany.

Forrest, T. 2011, 'Twarzy Dysonans: Schlingensief, Adorno I Freakstars 3000' in Tara Forrest and Anna Teresa Scheer (eds), Christoph Schlingensief: sztuka bez granic, Korporacja Ha!art, Krakow, pp. 171-186.
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In an interview with Alexander Kluge carried out in 2001 Christoph Schlingensief divided into reflection on what carries a snap him wesolka years old, someone who likes a well- have have fun and who - as a result - can not be taken seriously- In another context, and probably in response to the just the negative image created by the media, Schlingensief talk about the critical, one-dimensional concept of fun, which is the basis of the charges against his work:

Forrest, T. & Scheer, A. 2010, 'Background, Inspiration, Contexts' in Tara Forrest and Anna Teresa Scheer (eds), Christoph Schlingensief: Art Without Borders, Intellect Books, Chicago, USA, pp. 5-22.
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By the end of the 1990s, Christoph Schlingensiefhad attracted as much media attention in Germany as pop stars, leading politicians, and film celebrities. The fact that he was an artist, an independent film-maker, and one of the in-house directors of the Volksbuhne in Berlin made his media profile a little more unusual. One of the defining features of Schlingensief's work is the manner in which it intervenes in the politics of the day and, throughout his career, he has actively sought to mobilize public debate about a diverse range of topics and issues including, to cite just a few examples: the recent success offarright parties across Europe; the indignities of unemployment and homelessness; the lack of visibility of disabled people in the media; the politics of fear in the post 9/11 period; and the legacy of the Nazi past in contemporary Germany.

Forrest, T. 2010, 'Productive Discord: Schlingensief, Adorno, and 'Freakstars 3000'' in Tara Forrest and Anna Teresa Scheer (eds), Christoph Schlingensief: Art Without Borders, Intellect Books, Chicago, USA, pp. 123-135.
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In an interview with Alexander Kluge conducted in 2001, Christoph Schlingensief reflects on the degree to which he is often perceived as a prankster: someone who just likes to have fun and who cannot, as a result. be taken very seriously. I In another context, and presumably in reaction to" this negative portrait generated by the media, Schlingensief discusses the critical, one-dimensional conception of fun that underpins such criticism of his work:

Forrest, T. 2008, 'Botanising on the Asphalt: Benjamin and Practices of Flanerie' in Schlunke, Katrina; Anderson, Nicole (eds), Cultural Theory in Everyday Practice, Oxford University Press, South Melbourne, Victoria, pp. 277-286.
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Forrest, T. 2006, 'On the Significance of Extraterritoriality in Siegfried Kracauer's Writings on Film and History' in Hartung, G and Schiller, K (eds), Weltoffener Humanismus: Philosophie, Philologie und Geschichte in der deutsch-j³dischen Emigration, Transcipt Verlag, Bielefeld, Germany, pp. 171-184.
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Forrest, T. 2005, 'The Politics of Aura and Imagination in Benjamin's Writings on Hashish' in Petersson,D; Steinskog, E (eds), Actualities of Aura - Twelve studies of Walter Benjamin, Nordic Summer University Press, Svanesund, Sweden, pp. 26-48.
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Forrest, T. 2012, 'Germany in Autumn/Deutschland im Herbst' in Michelle Langford (ed), Directory of World Cinema: Germany, Intellect, Bristol and Chicago, pp. 264-265.

Forrest, T. 2009, '"Experimental Set-ups": Benjamin on History and Film' in Andrew Benjamin and Charles Rice (eds), Walter Benjamin and the Architecture of Modernity, re.press, Melbourne, Australia, pp. 201-209.
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Among the many fragments which constitute Walter Benjamin's TheArcades Project is a highly evocative passage from Joseph De Maistre's 1821 book Les Soirees de Saint-Petersbourg. In this passage, which Benjamin describes as 'important' (APJ86,2), De Maistre recounts the sense of disarray generated by an earthquake that has shaken the foundations of a natural history museum

Forrest, T. 2012, 'A Realism of Protest: Christoph Schlingensief's Television Experiments', The Germanic Review: Literature, Culture, Theory, vol. 87, no. 4, pp. 325-344.
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This article focuses on three groundbreaking, politically engaged reality television experiments produced by German artist Christoph Schlingensief: Bitte liebt O-¿ sterreich (2000), Freakstars 3000 (2002), and Quiz 3000 (2002). Although only Freakstars 3000 took on the form of a television program, each of the productions is closely modeled on a reality television format that was popular in Germany and elsewhere at the time. Drawing on Alexander Kluge and Oskar NegtÔ++s writings on the public sphere, and through an examination of KlugeÔ++s conception of the task of a realistic method, this article draws out some important points of contact between KlugeÔ++s delineation of an active public sphere and SchlingensiefÔ++s television experiments. In doing so, it also provides a context in which KlugeÔ++s very apt description of Schlingensief as a Ô++public sphere generatorÔ+ (O-¿ ffentlichkeitsmacher) can be illuminated and explored.

Forrest, T. 2008, 'Introduction: A Fragmented Stew of Themes and Issues', Cultural Studies Review, vol. 14, no. 1, pp. 11-18.
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The essays collected in this special issue of the journal grew out of the Rethinking the Past: Experimental Histories in the Arts conference that took place at the University of Technology, Sydney in July 2006.1 Drawing together scholars from a broad range of fields, the aim of the conference was to rethink the task of historiography via an exploration of experimental representations of, and/or engagements with, the past in fields as diverse as film, photography, literature, theatre, fictocritical writing, video, and new media. Scholars at UTS have, for many years, experimented with alternative, unconventional ways of both writing+and engaging with+the past and, in 1996 (in this journal+s previous incarnation as The UTS Review), Stephen Muecke and Meaghan Morris devoted a special issue to the topic entitled `Is An Experimental History Possible?+

Forrest, T. 2008, 'Mobilizing the Public Sphere: Schlingensief's Reality Theatre', Contemporary Theatre Review, vol. 18, no. 1, pp. 90-98.
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This essay focuses on Bitte Liebt Osterreich (Please Love Austria) 'a week-long performance/multi-media event staged in Vienna in 2000 by German artist Christoph Schlingensief in an attempt to mobilize public debate about the xenophobic, anti-immigration policies of the Freedom Party of Austria (FPO ). Inspired by the format of Big Brother, Schlingensief installed a large shipping container in the centre of Vienna that served as a temporary dwelling for asylum seekers from countries such as China, Iraq, Zimbabwe and Iran ´+¢ the everyday activities of whom were broadcast live on the internet at webfreetv.com where viewers were encouraged to vote out their least favourite housemate. As the event unfolded, both the evictions and the large `Auslander Raus' (Foreigners Out) sign installed on top of the container generated much public outcry and debate both on the street and in the media.

Forrest, T. 2005, 'From history's rubble: On the future of the past in the work of Alexander Kluge', Rethinking History, vol. 9, no. 4, pp. 429-448.
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The central figure in Alexander Kluge's 1979 film The Patriot (Die Patriotin) is Gabi Teichert, a high school history teacher from the German state of Hesse, whose complaints about the shortcomings of her discipline guide us through the diverse collectio

Forrest, T. 2005, 'Re-Thinking television: Alexander Kluge's cultural magazine programmes', International Journal of Media and Cultural Politics, vol. 1, no. 1, pp. 97-101.
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Since 1988, Alexander Kluge (who is best known outside of Germany for his work as a prominent member of the New German Cinema) has been actively involved in the production of a number of experimental programmes for German television. Constructed, in a similar vein to his films, out of a highly diverse collection of materials (including photographs, drawings, diagrams, clips from movies, and documentary footage) Kluge s 10 vor 11 (10 to 11), News and Stories, Mitternachts magazin (Midnight Magazine), and Primetime Spatausgabe (Prime Time Late Edition) are - in both their form and content - certainly unlike anything else on German television.

Forrest, T. 2002, 'Benjamin, Proust, and the Rejuvenating Powers of Memory', Literature and Aesthetics, vol. 12, no. November, pp. 47-62.
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Forrest, T. 2008, 'Special issue: 'History Experiments'', Cultural Studies Review, vol. 16, no. 1.