Brook Henkel holds a Ph.D. (Germanic Languages, 2013) from Columbia University and taught at Haverford College before joining the Department of Modern Languages at St. Lawrence University in 2016. His research interests include German film, early and avant-garde cinema, literary modernism, media theory and history, and interrelations between science, literature, and visual culture. He is currently completing his first book Animistic Fictions: Literary Modernism, Animation, and Early Film, which describes an intermedial aesthetics of animation in German modernist literature, early trick films, and the cinematic avant-garde between 1900 and 1930. He is also beginning a new project on the significance of astronomy in postwar German film, literature, and critical theory. At St. Lawrence, Henkel teaches all levels of German language and contributes to the program in Film and Representation Studies.
Peer-reviewed Articles and Book Chapters
“Kafka's Animations: Trick Films, Narrative, Reification,” New German Critique 134 (August 2018).
“Watching the Night: Surveillance and Cross-Sectional Montage in Nikolaus Geyrhalter’s Abendland (2011),” Seminar: A Journal of Germanic Studies 52.3 (Nov. 2016).
“Objects in Motion: Hans Richter’s Vormittagsspuk (1928) and the Crisis of Avant-Garde Film,” in Continuity and Crisis in German Cinema, 1928-1936, ed. Barbara Hales et al. Rochester, NY: Camden House, 2016.
Review of The Shape of Spectatorship: Art, Science, and Early Cinema in Germany by Scott Curtis,The Germanic Review 93.3 (August 2018).
Review of The Use and Abuse of Cinema: German Legacies from the Weimar Era to the Present by Eric Rentschler, The Germanic Review 91.1 (March 2016).
“Film, Objects, Publics” (Jan. 2015). Online article to accompany the release of James N. Kienitz Wilkins, Public Hearing (film, 2012).
“Motte” [on Stan Brakhage’s 1963 film Mothlight], in Wörterbuch kinematographischer Objekte, ed. Volker Pantenburg et al. Berlin: August Verlag, 2014.