Kim Wilkins

• Vermeulen, Timotheus & Wilkins, Kim (2024). Metamodern pastiche Introduction. Screen. ISSN 0036-9543. 65(1), s. 116–120. doi: 10.1093/screen/hjae008. Fulltekst i vitenarkiv
• Vermeulen, Timotheus & Wilkins, Kim (2024). Genre pastiche and Community. Screen. ISSN 0036-9543. 65(1), s. 160–168. doi: 10.1093/screen/hjae013. Fulltekst i vitenarkiv
• Wilkins, Kim (2023). Jonze, Spike (1969-), An Introduction to. Contemporary Literary Criticism. ISSN 0091-3421. Fulltekst i vitenarkiv
• Wilkins, Kim (2023). "Road Films and National Identity." (Chapter reprint from American Eccentric Cinema). Contemporary Literary Criticism. ISSN 0091-3421. Fulltekst i vitenarkiv
• Wilkins, Kim (2022). Empathetic Effort in Where’d You Go, Bernadette and Bernie. I Wilkins, Kim & Vermeulen, Timotheus (Red.), Refocus: The Films of Richard Linklater. Edinburgh University Press. ISSN 9781474493826. s. 157–175. Fulltekst i vitenarkiv
• Wilkins, Kim & Vermeulen, Timotheus (2022). Introduction: Linklater's Itinerant Oeuvre. I Wilkins, Kim & Vermeulen, Timotheus (Red.), Refocus: The Films of Richard Linklater. Edinburgh University Press. ISSN 9781474493826. s. 123–142. Fulltekst i vitenarkiv
• Wilkins, Kim (2022). Familiar Spectacles: Nightclub Space in TV Berlin. Mediapolis: A Journal of Cities and Culture. Fulltekst i vitenarkiv
• Wilkins, Kim (2021). Gentrification by Genre? The Berlin Rom-com. NECSUS. European Journal of Media Studies (EJMS). 1(#Solidarity), s. 27–54. doi: 10.25969/mediarep/16264. Fulltekst i vitenarkiv Vis sammendrag

  Over the past few decades, there has been a significant uptick in the number of people relocating to Berlin. This influx is most of-ten viewed as a response to rebranding the reunified German capi-tal as a creative city – a tactic that foregrounded Berlin’s longstand-ing reputation for cheap rent, liberal attitudes, artistic culture, and vibrant nightlife. The housing market responded as vacancies plummeted while rent prices skyrocketed. Alongside the widely lamented changing face of the reunified capital, the spike in rent prices is one tangible outcome of Berlin’s rapid gentrification. This essay examines the aesthetics of gentrifying Berlin through an ex-amination of a genre commonly associated with the imperatives of gentrification: the romantic comedy. Unlike other cinema tradi-tions associated with urban space, the romcom is commonly un-derstood as a genre that frames the city as a site of aspirational af-fluence and consumerism. This framing has, to date, overwhelm-ingly referred to romcoms produced in the American context. Through analyses of three romcoms set in Berlin – Germany’s highest grossing romcom to date KEINOHRHASEN (‘Rabbit With-out Ears’, Schweiger, 2007); the 2019 installment in Emmanuel Benbihy’s ‘City of Love’ anthology film series, BERLIN, I LOVE YOU and Doris Dörrie’s GLÜCK (‘Bliss’, 2012) this essay interro-gates whether romcoms set in Berlin can be, as has been claimed of their US counterparts, understood as a genre of gentrification.

• Wilkins, Kim (2021). Lotte in Weimar: Sex and Poverty in Babylon Berlin. Cinephile. ISSN 1712-9265. Fulltekst i vitenarkiv
• Wilkins, Kim (2021). Indie Courtship: Pursuing the American New Wave. I Abrams, Nathan & Frame, Gregory (Red.), New Wave, New Hollywood:Reassessment, Recovery, and Legacy. Bloomsbury Academic. ISSN 9781501360404. s. 201–220. doi: 10.5040/9781501360374.ch-011. Fulltekst i vitenarkiv
• Wilkins, Kim (2021). Creative resistance: Noah Baumbach’s literary filmography. Textual Practice. ISSN 0950-236X. 35(10), s. 1629–1646. doi: 10.1080/0950236X.2021.1965293. Fulltekst i vitenarkiv Vis sammendrag

  It is frequently asserted in both film scholarship and criticism that Noah Baumbach is a literary filmmaker. While Baumbach’s oeuvre certainly showcases his interest in literature through a range of stylistic techniques, this article presents the case that Baumbach projects his literary filmmaking as an authorial trademark in line with Timothy Corrigan’s conceptualisation of contemporary auteurism. By critically positioning himself as an auteur, Baumbach seemingly defies insurgent pushes toward broad discourses of neoliberal creativity and attendant preoccupations with entrepreneurialism, adaptability, and flexibility. This strategy resonates with the narratives presented in Baumbach’s films, which overwhelmingly centre on the plights of medium-specific artists in crisis. As such, at first glance, Baumbach’s auteurist positioning and his narrative and thematic preoccupation with artists unfulfilled by the promises of the creative class could be read as resistance to neoliberal creativity per se. Yet, as an auteur within the highly marketable American indie tradition, Baumbach’s literary filmmaking ultimately facilitates his participation in the neoliberal creative practices that his discursive auteurist positioning and film narratives appear to resist.

• Wilkins, Kim (2021). Babylon Berlin’s bifocal gaze. Screen. ISSN 0036-9543. 62(2), s. 135–155. doi: 10.1093/screen/hjab019. Fulltekst i vitenarkiv
• Wilkins, Kim (2019). Celebrating 20 Years of Spike Jonze’s ‘Being John Malkovich. Edinburgh University Press Blog. Fulltekst i vitenarkiv
• Wilkins, Kim (2019). "You can be John Malkovich." Celebrity, Absurdity, and Convention in Being John Malkovich. I Wilkins, Kim & Moss-Wellington, Wyatt (Red.), ReFocus: The Films of Spike Jonze. Edinburgh University Press. ISSN 9781474447621. s. 67–85. doi: 10.3366/edinburgh/9781474447621.003.0005. Fulltekst i vitenarkiv
• Wilkins, Kim & Moss-Wellington, Wyatt (2019). Jonze Between the Lines. I Wilkins, Kim & Moss-Wellington, Wyatt (Red.), ReFocus: The Films of Spike Jonze. Edinburgh University Press. ISSN 9781474447621. s. 1–12. doi: 10.3366/edinburgh/9781474447621.003.0001. Fulltekst i vitenarkiv
• Wilkins, Kim (2019). These Violent Delights: Navigating Westworld as “Quality” Television. I Goody, Alex & Mackay, Antonia (Red.), Reading Westworld. Palgrave Macmillan. ISSN 9783030145156. doi: 10.1007/978-3-030-14515-6_2. Fulltekst i vitenarkiv
• Wilkins, Kim (2018). Assembled Worlds: Intertextuality and Sincerity in the films of Wes Anderson. Texas Studies in Literature and Language. ISSN 0040-4691. 60(2), s. 151–173. doi: 10.7560/tsll60203. Fulltekst i vitenarkiv
• Wilkins, Kim (2017). ‘I don’t know who I am most of the time’: Constructed Identity in Todd Haynes’ I’m Not There. Film Criticism. ISSN 0163-5069. 41(1). doi: 10.3998/fc.13761232.0041.103. Fulltekst i vitenarkiv Vis sammendrag

  I'm Not There presents a radical departure from the traditional biopic. Rather than focusing on individual agency as a conduit of history, I'm Not There uses the figure of Bob Dylan as a conduit for identity per se. I'm Not There explores the irreducibility of identity by highlighting biopic representation as a textual construct through intertextual allusion, quotation, and pastiche.

• Wilkins, Kim (2016). This, please, cannot be that’: The Constructed World of P.T. Anderson’s Magnolia. Sydney Studies in English. ISSN 0156-5419. Fulltekst i vitenarkiv
• Wilkins, Kim (2014). Cast of Characters: Wes Anderson and Pure Cinematic Characterization. I Peter, Kunze (Red.), The Films of Wes Anderson: Critical Essays on an Indiewood Icon. Palgrave Macmillan. ISSN 9781349486922. doi: 10.1057/9781137403124_3. Fulltekst i vitenarkiv
• Wilkins, Kim (2013). The Sounds of Silence: Hyper-Dialogue and American Eccentricity. New Review of Film and Television Studies. ISSN 1740-0309. doi: 10.1080/17400309.2013.848736. Fulltekst i vitenarkiv
• Wilkins, Kim (2013). Ortner, Sherry B., Not Hollywood: Independent Film at the Twilight of the American Dream.". Media International Australia: Incorporating Culture & Policy. ISSN 1329-878X. Fulltekst i vitenarkiv

Se alle arbeider i NVA

• Wilkins, Kim & Vermeulen, Timotheus (2022). Refocus: The Films of Richard Linklater. Edinburgh University Press. ISBN 9781474493826. 256 s. Fulltekst i vitenarkiv
• Wilkins, Kim & Moss-Wellington, Wyatt (2019). ReFocus: The Films of Spike Jonze. Edinburgh University Press. ISBN 9781474447621. 264 s. Fulltekst i vitenarkiv
• Wilkins, Kim (2019). American Eccentric Cinema. Bloomsbury Academic. ISBN 9781501336911. 224 s. Fulltekst i vitenarkiv

Se alle arbeider i NVA

• Wilkins, Kim (2021). Creative Resistance: Noah Baumbach’s Literary Filmography. Fulltekst i vitenarkiv
• Wilkins, Kim (2020). Indie Courtship: Pursuing the American New Wave. Fulltekst i vitenarkiv
• Wilkins, Kim (2020). Review of Rob Stone's "Before the End" Video Essay. [in]Transition. 7(3). Fulltekst i vitenarkiv
• Wilkins, Kim (2020). Verdens første møte med Disney-prinsessen. Avisa Vårt land. Fulltekst i vitenarkiv
• Wilkins, Kim (2019). Interview about new book "American Eccentric Cinema". [TV]. TRT World. Fulltekst i vitenarkiv
• Wilkins, Kim (2016). The Daughter. Australian Book Review. ISSN 0155-2864. Fulltekst i vitenarkiv
• Wilkins, Kim (2016). Everybody Wants Some!! Australian Book Review. ISSN 0155-2864. Fulltekst i vitenarkiv
• Wilkins, Kim (2015). Mad Max: Fury Road. Australian Book Review. ISSN 0155-2864. Fulltekst i vitenarkiv

Se alle arbeider i NVA