The Cinematic New Weird: Atmospheres and Worldings

Post-biological Science Fiction

Drone Age Cinema: Action Film and Sensory Assault



A MASSIVE Swirl of Pixels: Radiohead’s Go to Sleep”. Cybermedia: Explorations in Science, Sound, and Vision. Bloomsbury Academic.

2020 Unruly Vision, Synesthetic Space: Drone Music Videos,” The Senses and Society 15, no. 3. Wide Open Lines.” Life After Lines. Aalborg: Aalborg University Press. The Future of Extinction: William S. Burroughs’ The Western Lands.” Humanities 9(4): 1-16.


The Morph-Image: Four Forms of Post-Cinema.” Philosophy and Film: Bridging Divides. Edited by Christina Rawls, Diana Neiva, Steven S. Gouveia. Routledge. Creepy Atmospheres and Weird Narration in The OA.” Studies in the Fantastic 6, 95-115. iPhone Cinema and Tangerine: Imagology, actor-network theory, and the idea of trans-,”Renaissance Man: Studies in Literature and Culture in Honour of Anthony W. Johnson. Amsterdam: John Benjamins. Pleated Time and Posthuman Temporalities in OtherLife,” Journal of Asia-Pacific Pop Culture. 4, 1, p. 59-77. Drone Rhythms: Edge of Tomorrow,” Rhythms Now: Henri Lefebvre’s Rhythmanalysis Revisited. Christiansen, S. L. & Gebauer, M. (eds.). Aalborg Universitetsforlag, p. 95-110. Atmospheres and science fiction.” Cogent Arts & Humanities. 6, 1, p. 1-12.

2018 Fringe: Tv-historie og science fiction”. Christensen, Jørgen Riber, Gunhild Agger & Louise Brix Jacobsen (eds.). Tv-analyser. Aarhus: Systime Academic. Mediating Potency and Fear: Action Movies’ Affect.” Cultural Studies 32(1), 43-62.


Sounds of Futures Past.” Akademisk kvarter 16. Stranger Things og firsernostalgi.” Skriverier i luften: Festskrift til Jørgen Riber Christensen, edited by Steen Christiansen, Ole Ertløv Hansen, Kim Toft Hansen, and Thomas Mosebo Simonsen. Aalborg: Aalborg University Press. Time Morphs.” Videographic Essay. In Media Res. Pain and the Cinesthetic Subject in Black Swan.” Screen Bodies 1(2). 25-41.


Post-film og Scott Pilgrim vs the World.” Christensen, Jørgen Riber and Steen Ledet Christiansen (eds.). Filmanalyser. Aarhus: Systime Academic. Filmanalysens metodologi — et historisk rids.” With Jørgen Riber Christensen. Filmanalyser. Aarhus: Systime Academic. Metamorphosis and Modulation: Darren Aronofsky’s Black Swan.” Denson, Shane and Julia Leyda (eds), Post-Cinema: Theorizing 21st-Century Film. Falmer: REFRAME Books.


Déjà vu: Textures of Time”. Movie: A Journal of Film Criticism, 6, 19-26. Posthumanous Subjects”. Hauskeller, Michael, Thomas D. Philbeck and Curtis D. Carbonell (eds). The Palgrave Handbook of Posthumanism in Film and Television. Palgrave Macmillan, 339-348. Terminal Films”. Journal of the Fantastic in the Arts 25(2-3), 264-277. Collision and Movement in Nicolas Winding Refn’s Drive” in Non-Place: Representing Placelessness in Literature, Media and Culture. Mirjam Gebauer, Helle Thorsøe Nielsen, Bent Sørensen (eds). Aalborg University Press, pp. 129-144. Bullet-Time: A Temporal Icon”. Akademisk kvarter 10, 107-117. Between Media: David Mack’s Kabuki”. Comics and Power: Representing and Questioning Culture, Subjects, and Communities. Rikke Platz Cortsen, Erin la Cour, Anne Magnussen (eds). Cambridge Scholars Press, pp. 72-88. Superheroes and Sensibilities: Trauma and Innervation in Iron Man 3.” Imaginaires, 19, 237-250. ’The Earth Died Screaming’: Tom Waits’ Bone Machine” in Monstrous Media/Spectral Subjects: Imaging Gothic in the Nineteenth Century to the Present. Fred Botting, Catherine Spooner (eds). Manchester University Press, pp. 73-85. Uncanny Cameras and Networked Subjects”. Blake, Linnie and Xavier Aldana Reyes (eds.). Digital Horror: Haunted Technologies, Network Panic and the Found Footage Phenomenon. I.B.Tauris, 42-53.


Biopoetics of Control and Resistance in William Burroughs’ The Nova Trilogy” in Prospero XIX, pp. 165-184. Of Male Bondage: Violence and Constraint in Only God Forgives” in Akademisk kvarter 8, pp. 27-36. 2013 Digital tid på Vimeo.” in Ole Ertløv Hansen; Lennard Højbjerg (eds). Online Videoer: På sociale medieplatforme. Aalborg Universitetsforlag, pp. 95-112. Hyper Attention Blockbusters: Christopher Nolan’s Batman Trilogy.” in Akademisk kvarter 7, pp. 143-157. Suburban Apocalypse: The Haunted House of Capitalism.” in Brian Russell Graham; Robert W. Rix (eds). Terminus: The End in Literature, Media and Culture. Aalborg : Aalborg Universitetsforlag, pp. 185-201. Requiem for a Dream som mindre film: Darren Aronofskys postfilmiska estetik.” in Daniel Brodén & Kristoffer Noheden (eds), I gränslandet: Nya perspektiv på film och modernism. Gidlunds Förlag pp. 180-198.


Screen Spectrality: Gil Scott-Heron’s & Chris Cunningham’s New York Is Killing Me.” in Steen Christiansen, Brian R. Graham, Louise Mønster, Peder Kaj Pedersen, Jan T. Schlosser (eds). Spøgelser: Genfærdet som kulturel og æstetisk figur, Aalborg: Aalborg University Press. Posthuman Rights.” Akademisk kvarter 4, 101-112. Things Come Alive: Rise of the Zombies.” in Jørgen Riber Christensen & Steen Christiansen. Monstrologi: Frygtens manifestationer. Aalborg: Aalborg Universitetsforlag, 2012.


Body Refractions: Darren Aronofsky’s Black Swan.” Akademisk kvarter 3. The Bridges of Americana Country: Three Images of Clint Eastwood.” Peter Stein Larsen, et al. (eds). Kulturtrafik. Aalborg: Aalborg University Press.


Cloverfield’s Monstrosity: Ideology and Terror.” Ní Fhlainn, Sorcha (ed). Our Monstrous (S)kin: Blurring the Boundaries Between Monsters and Humanity. Oxford: Inter-Disciplinary Press, pp. 195-204. The Shadow of Grey: Lars von Trier’s Element of Crime.” Hansen, Kim Toft & Christensen, Jørgen Riber (eds). Fingeraftryk: Studier i krimi og det kriminelle. Aalborg: Aalborg Universitetsforlag. 95-106. Airport Heterotopia: Le Guin’s Subversive Places.” Language and the Scientific Imagination : Proceedings of the 11th Conference of the International Society for the Study of European Ideas (ISSEI), Helsinki: Helsinki University Press. Speaking the Undead: Uncanny Aurality in Pontypool.” Cinephile 6:2. Kødets fristelser.” Akademisk kvarter 1. 32-38.


Intermedial Escape: Michael Chabon’s The Amazing Adventures of Kavalier and Clay.” Larsen, Peter Stein, Pedersen, Peder Kaj, Pinkert, Ernst-Ullrich & Sørensen, Bent (eds). Interaktioner: Om kunstarternes produktive mellemværender Aalborg: Aalborg Universitetsforlag, pp. 37-58. The Rat” in Fraternity: China Mieville’s King Rat.” Christensen, Jørgen Riber (ed). Marvellous Fantasy. Aalborg: Aalborg Universitetsforlag, pp. 107-124. Written in Skin: Suicidegirls.” Nordlit 24, pp. 45-52. The Truth of the Word, the Falsity of the Image: Transmetropolitan’s Critique of the Society of the Spectacle.” MacLeod, Catriona, Plesch, Véronique & Schoell-Glass, Charlotte (eds). Elective Affinities: Testing Word and Image Relationships Word and Image Interactions. Amsterdam/New York: Rodopi, pp. 147-158.


Amerikanske Utopier: utopiens brug i Hollywood og amerikanske independent film”. Boeygen 18(2), pp. 47-54. Continuity Breach: The British Revision of the American Superhero”. Elias, Camelia & Birch, Andrea (eds). Cultural Text Studies 2: Transatlantic. Aalborg: Aalborg Universitetsforlag, pp. 109-132. Transtextuality, Paranoia, and Apophenia in Pattern Recognition”. Elias, Camelia & Sørensen, Bent (eds). Cultural Text Studies 1: An Introduction. Aalborg: Aalborg Universitetsforlag, pp. 229-242. Hollywood as Cultural Text”. Elias, Camelia & Sørensen, Bent (eds). Cultural Text Studies 1: An Introduction. Aalborg: Aalborg Universitetsforlag, pp. 171-186.


Adapting Emotions in the Hours”. Nicholas, Kyle & Christensen, Jørgen Riber (eds). Open Windows: Remediation Strategies in Global Film Adaptations. Aalborg: Aalborg Universitetsforlag, pp. 79-95. Why I Have Never Seen Derrida”. Sørensen, Bent (ed). 5 Faces of Derrida. Aalborg: Aalborg Universitetsforlag, pp. 23-29. The Postmodern Fantastic.” Anglo Files. Journal of English Teaching 135, pp. 62-67.


Of Questions and Positions, or What Does it Mean to Theorize Media?”. Dorfman, Ben (ed). Culture, Media, Theory, Practice: Perspectives Media and Cultural Studies. Aalborg: Aalborg Universitetsforlag, pp.225-233.