Publications: Dr Alasdair King
KING A(2019).
'Écritures d’un présent visible. Diffusions et réceptions anglo-saxonnes du Baukasten'. Hans Magnus Enzensberger: Kit de construction pour une théorie des médias
suivi de
Usages d’une théorie marxiste des médias
sous la dir. de Jeremy Hamers & Céline Letawe
Presses du réel, coll. « Médias/Théories »,
Editors: Hamers, J, Letawe, C,
Les Presses du réel
(21000 DIJON, France),
KING A(2018).
Wenn die Provinz zweimal klingelt: Christian Petzolds Heimatfilm Noir Jerichow. Über Christian Petzold,
Editors: Brombach, I, Kaiser, T,
Edition. 1,
vol. .,
Vorwerk 8
(Berlin),
KING A(2017).
Film und Finanzzeit. Archiv für Mediengeschichte
vol. 17,
King A(2017).
Film and the financial city. Studies in European Cinema
vol. 14,
(1)
7-21.
KING A, Wood C(2016).
Terminal Value: Building the Alternative Bloomberg. Finance and Society
KING A(2016).
Documenting Financial Performativity: Film aesthetics and financial crisis. Journal of Cultural Economy
KING A(2014).
Still lives in transit: movement and inertia in Angela Schanelec's Orly (2010). Studies in European Cinema
vol. 11,
(2)
139-150.
KING A(2014).
Fault Lines: Deleuze, cinema, and the ethical landscape. Cine-Ethics: Ethical Dimensions of Film Theory, Practice, and Spectatorship,
Editors: Choi, J,
Routledge
(Abingdon, Oxon and New York),
King A(2014).
Still lives in transit: Movement and inertia in Angela Schanelec's Orly (2010). Studies in European Cinema
vol. 11,
(2)
139-150.
KING A(2013).
What the World Needs Now: Love and the ethical landscape. Edinburgh German Yearbook
vol. 7,
KING A(2012).
Heimat 3: Edgar Reitz's Time Machine. Cinema and Social Change in Germany and Austria,
Editors: Mueller, G,
Wilfried Laurier University Press
(Ontario, Canada),
KING A(2011).
New Directions in German Cinema. New Directions in German Cinema,
Editors: Cooke, P, Homewood, C,
I. B. Tauris
KING A(2011).
No Place Like Heimat: Mediaspaces and moving landscapes in Edgar Reitz's Heimat 3. New Directions in German Cinema,
Editors: Cooke, P,
I. B. Tauris
(London and New York),
KING A(2010).
The Province Always Rings Twice: Christian Petzold's Heimatfilm Noir. T R A N S I T
vol. 2010,
(1)
KING A(2007).
Hans Magnus Enzensberger: Writing, Media, Democracy. Peter Lang
(Bern),
KING A(2007).
Literatur und Linse: Enzensberger goes to the movies. Processes of trancription: German literature and film,
Editors: Rasche, H, Schönfeld, C,
Rodopi
(Amsterdam, Netherlands),
King A(2007).
When Heimat Meets Hollywood. German Filmmakers and America, 1985-2005. COLLOQ GERMANICA
vol. 40,
(3-4)
334-337.
KING A (2005).
Cinegraph Lexicon Compact.
Editors: Bock, H-J,
Cinegraph
(Hamburg, Germany),
Notes: (Leading German film reference work) entries on Doris Dörrie, Andreas Dresen, Slatan Dudow, Michael Haneke, Veit Harlan, F.W. Murnau, Rudolf Prack, Volker Schlöndorff, Kristina Soederbaum, Sonia Ziemann,
KING A (2005).
Colloquia Germanica, A. Francke Verlag, Tübingen, Germany.
Notes: book review: Charlotte Ann Melin: Poetic Maneuvers: Hans Magnus Enzensberger and the Lyric Genre,
KING A(2004).
Enzensberger's Titanic: The sinking of the German Left and the aesthetics of survival. The Titanic in Myth and Memory: Representations in Visual and Literary Culture,
Editors: Bergfelder, T, Street, S,
I. B. Tauris
(London),
KING A (2004).
Intensities: Journal of Cult Media (edited at University of Wales, Cardiff).
Notes: book review: H-B Moeller, G Lellis: Volker Schlöndorff: Adaptation, Politics and the `Movie-Appropriate’,
KING A(2003).
Placing Green is the Heath (1951): Spatial politics and emergent West German Identity. Light Motives: German Popular Film in Perspective,
Editors: Halle, R, McCarthy, M,
Wayne State University Press
(Detroit, Michigan, USA),
