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The seminar with Dr. Julia Bee has been cancelled.

Detail Summary
Date 19 March 2018
Time 15:00 - 18:00

In recent years, Intros became known as Brand mark of TV-Series selling the audiovisual product through an experimental aesthetic and technologically innovative form like the animation in True Detective. Often these stylized clips will be consumed and shared apart from watching the TV-Series itself. Especially in private TV-channeling Intros are produced with more artistic freedom and airtime to use. Often differing from the very theme and imagery of the TV-series an Intro holds a special connection as it abstracts from the atmosphere of a TV-series and produces feelings preparing its reception. Mimicking music video styles Intros intensify moods and elements of the TV-Series. The paper will look closely at a small number of Intros of recent TV-Series and reads them as operating on the level of affect (Brian Massumi). It will discuss how the Intro deploys an aesthetics of the virtual creating an open and specific experience establishing an “affective branding”, a concept Luciana Parisi and Steve Goodman propose for today’s debate on biopolitics.

Suggested viewings:

I Am Not Your Negro (Raoul Peck, 2016)

Bilder der Welt und Inschrift des Krieges [Images of the World and the Inscription of War] (Harun Farocki, 1988)

Lovely Andrea (Hito Steyerl, 2007)

Optional viewing (a classic of the essay film genre):

Le joli mai (Chris Marker, 1963)

For access to the viewings, please contact Toni Pape (

Biographical statement

Julia Bee is assistant professor for image theory at Bauhaus University Weimar. She works on perception and desire, visual anthropology and images based research practices. Recent publications: „Erfahrungsbilder und Fabulationen. Im Archiv der Visuellen Anthropology“, in: Lena Stölzl/Vrääth Öhner (Hg.): Sichtbar-machen. Politiken des Dokumentarischen. Berlin: Vorwerk 8 2017, (transl.: „Experience-Images and Fabulation. In the Archive of Visual Anthropology“, in: Lena Stölzl/Vrääth Öhner: Making Visible. Politics of the Documentary, Berlin Vorwerk 8,); „‚Die Welt spielt‘. Spiel, Animation und Wahrnehmung“, in: Astrid Deuber-Mankowsky/Reinhold Görling (Hg.): Denkweisen des Spiels, Berlin/Wien: Turia und Kant 2017 („The World Plays. Play, Animation and Perception“, in: Astrid Deuber-Mankowsky/Reinhold Görling: Modes of Thinking Play); „Dramatisierungen des Anfangens. Die Intros von Homeland, True Blood und True Detective.“ („Dramatization of Beginning. The Intros of Homeland, True Blood and True Detective”, in: Gerko Egert/Adam Czirak (Hg.): Dramaturgien des Anfangens, Berlin: Neofelis 2015; „Gewalt, Begehren Differenz. Zu einer Politik der Wahrnehmung“ („Violence, Desire, Difference. Toward a Politics of Perception“), in: Jochem Kotthaus (Hg.): Sexuelle Gewalt im Film, Weinheim/Basel: Bertz& Fischer 2015.

Bushuis/Oost-Indisch Huis
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