Ostrannenie. On “Strangeness“ and the Moving Image: The History, Reception, and Relevance of a Concept

Abstract

The process of making this book was a truly stimulating and pleasurable experience, since many of the authors contributing to it were already involved in the project Mutations and Appropriations in European Film Studies and helped to prepare the new book series The Key Debates.Many of the authors as well as the members of the Editorial Board were involved in the making of this book from it's infancy, discussing why we felt we had to revisit Russian Formalism and how we could best rethink its key concept, ostranenie.I wish to express my sincere gratitude to both the contributors to this book as well as to the members of the Editorial Board for their enthusiastic and unrelenting support and extremely generous contributions to this book and to the project in every phase of its becoming, from the first meetings and workshops via a long series of discussions and emails to correction suggestions in the very last hours before this first book of the series went into print.

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