Brigitte Peucker

Office Hours: by appointment

Selected Fellowships and Awards:

  • Whitney Humanities Center Fellow
  • Appointed to the Charles B.G. Murphy Junior Faculty Chair, Yale University,1982-6
  • Mellon Fellowship
  • Morse Fellowship
  • Woodrow Wilson Fellowship


  • A Light Touch: The Cinema of Ernst Lubitsch, Eds. Brigitte Peucker and Ido Lewit, in progress (in progress).
  • Aesthetic Spaces: The Place of Art in Film (Northwestern University Press, 2019)
  • Ed.; Wiley-Blackwell’s Companion to Rainer Werner Fassbinder, (New York: Wiley-Blackwell, 2012).
  • The Material Image: Art and the Real in Film, Cultural Memory in the Present, eds. Mieke Bal and Hent DeVries, (Stanford University Press, 2007).
  • Verkörpernde Bilder/Das Bild des Körpers: Film und die anderen Künste (Berlin: Verlag Vorwerk 8, 1999).
  • Incorporating Images: Film and the Rival Arts (Princeton: Princeton University Press, 1995).
  • Lyric Descent in the German Romantic Tradition (New Haven: Yale University Press, 1987).
  • Arcadia to Elysium:  Preromantic Modes in Eighteenth-Century Germany, Studien zur Germanistik, Anglistik, und Komparatistik, vol. 81 (Bonn:  Bouvier, 1980).

Selected Recent Articles:

  • “Ineffability? The Several Vermeers,” Through a Glass, Darkly: Screening the Art World, ed. Temenuga Trifonova (University of Amsterdam Press, forthcoming).
  • “Seeing Red: Bergman’s Cries and Whispers,Seeing Whole: Towards an Ethics and Ecology of Sight, eds.  Mark Ledbetter and Asbjorn Gronstad (Cambridge Scholars Press, 2016), 275-87.
  • “Blood, Paint, or Red? The Color Bleed in Hitchcock,” Cambridge Companion to Alfred Hitchcock,, ed. Jonathan Freedman (Cambridge University Press, 2015), 194-206.
“Fritz Lang: Object and Thing in the German Films,” Wiley-Blackwell’s Companion to Fritz Lang, ed. Joe McElhaney (London: Wiley-Blackwell, 2014), 279-99.
  • “Re-framing Fassbinder,” Fassbinder-JETZT. Film und Videokunst (Frankfurt: Deutsches Filmmuseum, 2013), 42-71.
  • “Les jeux de Haneke : entre réalité et representation,” Fragments du monde. Retour sur l’œuvre de Michael Haneke, ed. Valérie Carré (Le bord de l’eau, Lormont 2012), 39-54. (trans of earlier article)
  • “20 August, 1981: R.W Fassbinder’s Lola Revisits Kracauer to Critique Adenauer Period,” A New History of German Cinema, eds. Jennifer Kapczynski and Michael Richardson (Camden House: SC, 2012), 476- 482.
  • “The New Museum: Spectatorship and Installation,” Foreword to Film, Art, New Media: Museum Without Walls? ed. Angela Dalle Vacche (London: Palgrave-Macmillan: 2012), x-xiv.
  • “Herzog and Auteurism:  Performing Authenticity,” Wiley-Blackwell’s Companion to Werner Herzog, ed. Brad Praeger, (London: Wiley-Blackwell, 2012), 35-57.
  • “The Sculptural Pose: Rhythmische Gymnastik and Riefenstahl’s Tableaux,“ in Hold it!: zur Rhetorik der Pose, eds. Bettina Brandl-Risi, Gabriele Brandstetter and Stefanie Dieckmann (Berlin: Theater der Zeit, 2012), 181-195.
  • “Unframing the Image: Theatricality and the Art World of Bitter Tears,” Wiley-Blackwell’s Companion to RW Fassbinder, ed. Brigitte Peucker,  (London, Wiley-Blackwell, 2012), 352-371.

Recent Lectures:

  • July 2018: “Literary Adaptation, Film and Society,” Yale National Initiative
  • April 2018: ‘“Pictureness” and Anti-Perspectivalism in Modernist Film,’  The University of South Carolina’s School of Visual Art and Design Visiting Artist and Scholar Series
  • Dec. 2017: keynote, “Dissonance: Bodies Between Registers,” The Tableau Vivant – Across Media, History, and Culture. Columbia University
  • Dec. 2017: respondent to Ariel Rogers on “Immersive Screens,” Genealogies of the Excessive Screen
  • Mar. 2016: organized International Film and Painting Conference, at Yale-NUS, Singapore. Talk: “Color, Modernist Film, and the Female Body”
  • Mar. 2015: “Hitchcock and Color,” SCMS Montreal, Canada
  • Oct. 2014: “Aesthetic Space in Greenaway,” keynote speaker, Intermediality in Film conference, Sapientia Hungarian University, Cluj, Romania
  • Mar. 2014: “Enter Ekphrasis: Greenaway Read Rembrandt, SCMS annual conference, Seattle, WA
  • Feb. 2014: “Bad Looking,”Fields of Vision: Observation, Surveillance, Voyeurism, Film Studies Graduate Student Conference
  • Feb. 2014:  “Kracauer and Film Experience,”Tracking Specificity Conference, Yale
  • Dec. 2013: “Enter Ekphrasis: Greenaway Reads Rembrandt,” Symposium on Art Documentaries, Film Museum Ghent, Belgium
  • Nov 2013: Hannah Arendt Symposium, Margarethe von Trotta’s Hannah Arendt, Center for Holocaust Studies, WHC, Yale
  • Sept. 2013: “Aesthetic Space in Greenaway,” Eikones Seminar, Basel, Switzerland
  • Mar. 2013: “Fassbinder’s Lola: Theatricality, Décor, Citation,” Society for Cinema and Media Studies, Chicago, also chaired panel

complete list of publications as PDF