N.W. (Nicholas) Baer, PhD

Assistant Professor of Film Studies

N.W. (Nicholas) Baer, PhD
n.w.baer rug.nl


  1. 2020
  2. Baer, N. (2020). Transnational Imaginaries: The Place of Palestine in Gershom Scholem, Franz Kafka, and Early Cinema. In R. Braun, & B. Schofield (Eds.), Transnational German Studies (pp. 213–228). (Transnational Modern Languages). Liverpool University Press.
  3. Baer, N. (2020). F. W. Murnau: The Aesthetic Perfectionist. In T. Bergfelder, E. Carter, D. Göktürk, & C. Sandberg (Eds.), The German Cinema Book (2nd ed., pp. 189–191). Bloomsbury Academic.
  4. 2019
  5. Baer, N., Hennefeld, M., Horak, L., & Iversen, G. (2019). Introduction: Envisioning the Unwatchable. In Unwatchable (pp. 1–29). Rutgers University Press.
  6. Baer, N., & Hennefeld, M. (2019). Prophets of Deceit: Post-Truth Politics and the Future of the Left. In C. Howard-Woods, C. Laidley, & M. Omidi (Eds.), #Charlottesville: white supremacy, populism, and resistance OR books.
  7. Baer, N., Hennefeld, M., Horak, L., & Iversen, G. (Eds.) (2019). Unwatchable. Rutgers University Press.
  8. 2018
  9. Baer, N. (2018). Post-Perspectival Aesthetics in The Cabinet of Dr. Caligari. In I. Rossi-Schrimpf (Ed.), The New Berlin, 1912–1932 (pp. 93–99). Royal Museums of Fine Arts of Belgium.
  10. 2017
  11. Baer, N. (2017). Natural History: Rethinking the Bergfilm. In J. Ahrens, P. Fleming, S. Martin, & U. Vedder (Eds.), „Doch ist das Wirkliche auch vergessen, so ist es darum nicht getilgt“: Beiträge zum Werk Siegfried Kracauers (pp. 279–305). Springer.
  12. 2016
  13. Baer, N., Cowan, M., & Kaes, A. (2016). Introduction. In A. Kaes, N. Baer, & M. J. Cowan (Eds.), The Promise of Cinema: German Film Theory, 1907–1933 (1 ed., pp. 1–10). (Weimar and Now: German Cultural Criticism; Vol. 49). University of California Press.
  14. 2015
  15. Baer, N. (2015). Historical Turns: On Caligari, Kracauer, and New Film History. In D. González de Reufels, R. Greiner, & W. Pauleit (Eds.), Film and History: Producing and Experiencing History in Moving Images and Sound (pp. 153–164). Bertz + Fischer.
  16. Baer, N. (2015). Metaphysics of Finitude: Der müde Tod and the Crisis of Historicism. In J. McElhaney (Ed.), A Companion to Fritz Lang (pp. 141–160). (Wiley Blackwell Companions to Film Directors). Wiley-Blackwell. https://doi.org/10.1002/9781118587751.ch8
  17. Baer, N. (2015). Modes of Historical Narration. In J. Jünger (Ed.), Geschichte und Film: 13. Stummfilm-Festival Karlsruhe (pp. 51).
  18. 2014
  19. Baer, N. (2014). ‘Can’t Films be Therapeutic?’: Cinema, Psychoanalysis, and Zionism in Ari Folman’s Waltz with Bashir. In E. Arapoglou, M. Fodor, & J. Nyman (Eds.), Mobile Narratives : Travel, Migration, and Transculturation (pp. 97–110). (Routledge Interdisciplinary Perspectives on Literature; Vol. 18). Routledge.
  20. Baer, N. (2014). Die Nibelungen. In 33rd Pordenone Silent Film Festival Catalogue (pp. 136–138)
  21. Baer, N. (2014). Messianic Musclemen: Homunculus (1916) and Der Golem (1920) as Zionist Allegories. In M. Blumenthal-Barby (Ed.), The Place of Politics in German Film (pp. 35–52). Aisthesis Verlag.
  22. 2013
  23. 2012
  24. Baer, N. (2012). Die freudlose Gasse. In 31st Pordenone Silent Film Festival Catalogue (pp. 118–120)
  25. Baer, N. (2012). Different from the Others. In M. Langford (Ed.), Directory of World Cinema: Germany (pp. 172–173). Intellect.
  26. Baer, N. (2012). Helios and the Apocalypse: Visions of American History in Films by Griffith, Ford, and Stroheim. In R. Grundmann, C. Lucia, & A. Simon (Eds.), The Wiley-Blackwell history of American film (pp. 463–482). Wiley-Blackwell. https://doi.org/10.1002/9780470671153
  27. Baer, N., & Göktürk, D. (2012). Orienting Europe. TRANSIT, 8(1).
  28. 2011
  29. 2010
  30. 2009
  31. Baer, N. (2009). Points of Entanglement: The Overdetermination of German Space and Identity in Walk on Water. In J. Fernandez (Ed.), Diasporas: Critical and Interdisciplinary Perspectives (pp. 301–314). Inter-Disciplinary Press.
  32. 2008
  33. 2007

ID: 122438543