School of Arts



Prof. Dr. Mattias Frey is Professor of Film, Media and Culture at the University of Kent. His approach to film and media culture attends coequally to institutions as to human agency and cooperation, concentrating on what were once considered periphery phenomena: criticism, distribution, regulation and other cultural intermediaries.

His research endeavours include specific expertise in genres and production trends (period/historical film and series; arthouse extreme cinema), institutions (film and other arts criticism; video on demand platforms), periods (postwar and contemporary) and geographical areas (German and Austrian film), not to mention classical and contemporary film theory. These publications, informed by media industries, sociology of art, political economy and cultural studies perspectives, demonstrate the productivity of triangulating methods first developed in seemingly distant areas of the humanities and social sciences. Prof. Dr. Frey would welcome serving as a postgraduate supervisor in these and related subjects.

Prof. Dr. Frey received his academic training in Heidelberg, Mannheim and Berlin as well as at Harvard University, where he earned his bachelor and doctoral degrees and taught in the Department for Visual and Environmental Studies. In 2008 he joined the University of Kent. In addition to his research and teaching, he has served as the Director of Internationalisation for the Faculty of Humanities, Director of Learning and Teaching for the School of Arts, Director of Internationalisation for the School of Arts, Director of Recruitment and Marketing for the School of Arts, Head of the Film department, Acting Associate Dean for Research and Innovation for the Faculty of Humanities, Managing Director of the Centre for Film and Media Research and in a variety of other roles.

His numerous articles appear in edited anthologies, reference works and journals such as Cinema Journal, Screen, New German Critique, Artforum, Quarterly Review of Film and Video, Jump Cut and Framework. In the 2000s, he reviewed movies for the Boston Phoenix and for many years he reported on film festivals for Senses of Cinema.

Prof. Dr. Frey is General Editor of the journal Film Studies (Manchester UP). His books include Postwall German Cinema: History, Film History, and Cinephilia (Berghahn, 2013); Cine-Ethics: Ethical Dimensions of Film Theory, Practice, and Spectatorship (Routledge, 2014; co-edited with Jinhee Choi); The Permanent Crisis of Film Criticism: The Anxiety of Authority (Amsterdam UP, 2015); Film Criticism in the Digital Age (Rutgers UP, 2015; co-edited with Cecilia Sayad); Extreme Cinema: The Transgressive Rhetoric of Today’s Art Film Culture (Rutgers UP, 2016); Audio History des Films: Sonic Icons – Auditive Histosphaere – Authentizitaetsgefuehl (Bertz + Fischer, 2018; co-written with Winfried Pauleit and Rasmus Greiner).

From 2015 to 2018, Prof. Dr. Frey received the Philip Leverhulme Prize, which awards ‘the achievement of outstanding researchers whose work has already attracted international recognition and whose future career is exceptionally promising’. He is also recipient of an AHRC Early Career Fellowship in 2013-2014. In 2012 he was awarded the University Teaching Prize for his pedagogical work on film criticism; in 2017 he was recipient of the University Research Prize (Faculty of Humanities). His book Extreme Cinema: The Transgressive Rhetoric of Today’s Art Film Culture received the 2017 BAFTSS (British Association of Film, Television and Screen Studies) Best Monograph Award Honourable Mention. Another, The Permanent Crisis of Film Criticism: The Anxiety of Authority, was a shortlisted finalist for the 2016 BAFTSS Best Monograph Award.

In the academic year 2014-2015 Prof. Dr. Frey served as invited Visiting Professor of Art and New Media at the Universitaet Bremen, where he took part in a research cluster on the audio history of film, funded through the Exzellenzinitiative. In 2011, he was invited guest researcher at the Humboldt Universitaet zu Berlin for a project on cross-cultural film criticism.

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Also view these in the Kent Academic Repository

Pauleit, W., Greiner, R. and Frey, M. (2018). Audio History des Films: Sonic Icons – Auditive Histosphäre – Authentizitätsgefühl. [Online]. Berlin: Bertz + Fischer. Available at:
Frey, M. (2016). Extreme Cinema: The Transgressive Rhetoric of Today's Art Film Culture. New Brunswick, NJ: Rutgers University Press.
Frey, M. (2015). The Permanent Crisis of Film Criticism: The Anxiety of Authority. Amsterdam: Amsterdam University Press.
Frey, M. (2013). Postwall German Cinema: History, Film History, and Cinephilia. Oxford/New York: Berghahn.
Edited book
Frey, M. and Sayad, C. eds. (2015). Film Criticism in the Digital Age. New Brunswick, NJ: Rutgers University Press.
Choi, J. and Frey, M. eds. (2014). Cine-Ethics: Ethical Dimensions of Film Theory, Practice, and Spectatorship. New York: Routledge.
Book section
Frey, M. (2017). Institutional Roles in Using Film to Teach Difficult History: The Federal Agency for Civic Education and The Lives of Others. in: Stoddard, J., Marcus, A. and Hicks, D. eds. Teaching Difficult History Through Film. New York: Routledge, pp. 89-105. Available at:
Frey, M. (2015). Critical Questions. in: Frey, M. and Sayad, C. eds. Film Criticism in the Digital Age. New Brunswick, NJ: Rutgers University Press, pp. 1-20.
Frey, M. (2015). The New Democracy? Rotten Tomatoes, Metacritic, Twitter, and IMDb. in: Frey, M. and Sayad, C. eds. Film Criticism in the Digital Age. New Brunswick, NJ: Rutgers University Press, pp. 81-98.
Frey, M. (2014). The Ethics of Extreme Cinema. in: Choi, J. and Frey, M. eds. Cine-Ethics: Ethical Dimensions of Film Theory, Practice, and Spectatorship. New York: Routledge, pp. 145-162.
Frey, M. (2014). Ekel und Langeweile: Der unbelehrbare Zuschauer. in: Pauleit, W. et al. eds. Filmerfahrung und Zuschauer: Zwischen Kino, Museum und sozialen Netzwerken. Berlin: Bertz + Fischer, pp. 48-62.
Choi, J. and Frey, M. (2014). Introduction. in: Choi, J. and Frey, M. eds. Cine-Ethics: Ethical Dimensions of Film Theory, Practice, and Spectatorship. New York: Routledge, pp. 1-14.
Frey, M. (2012). Tuning Out, Turning In, Walking Off: The Spectator in Pain. in: Gronstad, A. and Gustafsson, H. eds. Ethics and Images of Pain. London: Routledge, pp. 93-111.
Frey, M. (2012). 23 July 1991: ZDF Broadcast of Ostkreuz Initiates Darker Reckoning with the Wende. in: Richardson, M. and Kapczynski, J. eds. A New History of German Cinema. Rochester, NY: Camden House, pp. 512-517.
Frey, M. (2012). Supermodernity, Sick Eros and the Video Narcissus: Benny's Video in the Context of Theory and Time. in: McCann, B. and Sorfa, D. eds. The Cinema of Michael Haneke: Europe Utopia. London: Wallflower, pp. 151-161.
Frey, M. (2011). The Possibility of Desire in a Conformist World: The Cinema of Ulrich Seidl. in: Dassanowsky, R. and Speck, O. eds. New Austrian Film. New York: Berghahn, pp. 189-198.
Frey, M. (2010). The Message and the Medium: Haneke's Film Theory and Digital Praxis. in: Price, B. and Rhodes, J. D. eds. On Michael Haneke. Detroit: Wayne State University Press, pp. 153-165.
Frey, M. (2007). Theorizing Cinema in Sebald and Sebald with Cinema. in: Patt, L. ed. Searching for Sebald: Photography After W.G. Sebald. Los Angeles: Los Angeles: Institute of Cultural Inquiry Press, pp. 226-241.
Frey, M. (2018). A nova democracia?: Rotten Tomatoes, Metacritic, Twitter e IMDb. REBECA: Revista Brasileira de Estudos de Cinema e Audiovisual [Online] 6:343-374. Available at:
Frey, M. (2017). Fassbinder: The Formal Innovator. Sight and Sound 27:28-28.
Frey, M. (2016). Netflix Crit in the Twenty-First Century. Film Criticism [Online] 40. Available at:
Frey, M. (2016). Editorial: Institutions and Agency (Part II). Film Studies [Online] 14:1-4. Available at:
Frey, M. (2015). Editorial: Institutions and Agency (Part I). Film Studies [Online] 13:1-4. Available at:
Frey, M. (2015). The Recalcitrant Discipline. Film Studies [Online] 12:10 -18. Available at:
Frey, M. (2014). Teoretyzowanie kina u Sebalda i Sebalda poprez kino. Konteksty 68:135-144.
Frey, M. (2013). The Greatest of These Is Love: Ulrich Seidl's Paradise Trilogy. Artforum 51:149-150.
Frey, M. (2013). The Critical Question: Sight and Sound's Postwar Consolidation of Liberal Taste. Screen 54:194-217.
Frey, M. (2013). Filmkritik, with and without Italics: Kracauerism and Its Limits in Postwar German Film Criticism. New German Critique 40:85-110.
Frey, M. (2012). Grand Finales: The International Forum of New Cinema at the 62nd Berlin International Film Festival. Senses of Cinema 62:n/a-n/a.
Frey, M. (2011). Searches for Identity: German Films at the 61st Berlin International Film Festival. Senses of Cinema 58.
Frey, M. (2010). A Cinema of Disturbance: The Films of Michael Haneke in Context, 2nd rev. ed. Senses of Cinema 57.
Frey, M. (2010). Art and Artifice: German Films at the 60th Berlin International Film Festival. Senses of Cinema [Online]. Available at:
Frey, M. (2010). Goodbye Germany: Emigration, Reality TV and Schadenfreude. Jump Cut [Online]. Available at:
Frey, M. (2009). Insecure Times, Confident Localities: German Films at the 59th Berlin International Film Festival. Senses of Cinema [Online]:0-0. Available at:
Frey, M. (2008). Gazing Lessons: German Films at the 58th Berlin International Film Festival. Senses of Cinema [Online] 47:0-0. Available at:
Frey, M. (2007). In/Flux: German Films at the 57th Berlin International Film Festival. Senses of Cinema [Online] 43:0-0. Available at:
Frey, M. (2007). The End of Innocence: Scandinavian Films at the 30th Gothenburg International Film Festival. Senses of Cinema [Online] 43:0-0. Available at:
Internet publication
Frey, M. (2017). Who Owns History? Notes on Cultural Appropriation, Authenticity and the Historical Film [online]. Available at:
Frey, M. (2012). Review of: A Companion to Michael Haneke, ed. Roy Grundmann. Historical Journal of Film, Radio and Television 32:127-129.
Frey, M. (2008). Review of: Jörn Ahrens und Stephan Braese, Hg., Im Zauber der Zeichen: Beiträge zu einer Kulturgeschichte des Mediums. MEDIENwissenschaft:145-147.
Frey, M. (2007). Review of Screening the Past: Memory and Nostalgia in Cinema. Film International 5:87-89.
Frey, M. (2007). Review of: Rosalind Galt, The New European Cinema: Redrawing the Map. Film International 5:70-71.
Frey, M. (2006). Review of: Graeme Harper and Andrew Moor, eds., Signs of Life: Medicine and Cinema. Film International 4:78-81.
Edited journal
Frey, M. and Janssen, S. eds. (2018). Special Issue on Sex and the Cinema. Film Studies 18.
Frey, M. ed. (2016). Special issue on Institutions and Agency, Part II. Film Studies [Online] 14:1-123. Available at:
Frey, M. ed. (2015). Special issue on Institutions and Agency, Part I. Film Studies 13:1-120.
Frey, M. (2018). The International Reception of Downfall. in: Fisher, J. and Richardson, M. D. eds. Downfall: A Companion. Berlin: De Gruyter.
Frey, M. (2018). Unstomachable: Irréversible (2002) and the Extreme Cinema Tradition. in: Baer, N. et al. eds. Unwatchable. New Brunswick, NJ: Rutgers University Press.
Frey, M. (2018). The Authenticity Feeling: Language and Dialect in the Historical Film. Research in Film and History.
Frey, M. and Janssen, S. (2018). Researching Sex and the Cinema in the #MeToo Age. Film Studies [Online] 18:1-13. Available at:
Showing 50 of 63 total publications in KAR. [See all in KAR]


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Prof. Dr. Frey convenes the following modules:

  • FI585. Film Criticism

This module examines the theory and history of Anglophone film criticism, but above all is a practical course in writing about film for the print and online media. Each week students view and review a film, post their piece online and receive feedback on their work. In the past, the module has invited world-renowned critics as guest lecturers, including Jonathan Rosenbaum (Chicago Reader), Chris Darke (Film Comment; Sight & Sound), Sophie Mayer (Sight & Sound) and Jonathan Romney (Independent on Sunday). Upon completion of the course, students will have compiled a substantial dossier of film reviews addressed to various contemporary publications.


  • FI587. Extreme Cinema

Why do art films these days, from Funny Games to Nymphomaniac, seem to dwell so graphically on rape, torture and sex addiction? Why does every film festival have a scandal? Why do DVD cases or posters at upscale cinemas resemble smut or gore? Why do otherwise intelligent filmmakers pull childish stunts? And who in their right mind would want to watch these films?

This module probes issues of extreme cinema, i.e., ‘arthouse’ films that, because of sexual, violent or other iconoclastic content, form or style, have created critical or popular controversy. Representative topics include the aesthetics and ethics of representing violence, boundaries between erotic art and pornography, filmmakers’ publicity stunts and media performances, film festival programming, the liberalisation of classification (e.g., at the BBFC), specialist distributors, ‘perverse’ spectators and the role of controversy and ‘moral panic’ in film criticism and the news press.


  • FI822. Screening Histories (MA-level)

Entire media industries thrive on costume films, historical docu-dramas and other period productions, from Downfall to Downton Abbey;cultural and economic activity clusters around ‘heritage’. This module studies the central concerns of the historical film, one of today's most prominent and debated genres: how it endeavours to produce and disseminate understandings of the past and history's significance to the present, how dramatic feature films can stimulate national debates about identity and how they can help us empathise with people different from us. Key topics include: authenticity and 'accuracy', spectacle aesthetics, the role of sound, the biopic, historical empathy and the historical film as cultural, educational and industrial object.


  • FI591. Introduction to Film Theory
  • FI812. Advanced Film Theory (MA-level)

These modules approaches the ‘big questions’ that have surrounded film and the moving image and puts them into historical context. Although specific emphases vary, representative topics may address competing definitions of film and its constitutive elements, the effects that cinema has on spectators, the social, cultural and political implications that moving images reproduce, and the status of the medium between art and entertainment. Students will debate seminal writings on the nature of film and bring their arguments to bear on exemplary film productions.


  • FI537. Postwar European Cinema: Realisms and Waves
  • FI540. Contemporary European Cinema: Trends and Institutions

These modules acquaint undergraduates with major issues in European cinema. Postwar European Cinema grapples with discourses of realism, for example, the aesthetic claims of Italian neorealism and the subjective, political realisms of the New German Cinema. These movements are examined for their claims to interpret the real world, but also interrogated for the economic and artistic motivations behind their existence as critical categories. Contemporary European Cinema examines how the dramatic political events of 1989-1990 and the expansion of the size and role of the EU have left an indelible mark on film production and consumption in Europe.


  • FI311. Introduction to Narrative Cinema II: World Cinema

The introductory course examines a variety of international cinemas. It analyses films as products of their particular national and regional origins and as addressing specific audiences. In addition, it treats topics such as realism, film as personal expression, how film represents or reflects upon history, as well as matters of industry, technology and distribution. It also explores how the films are informed by, or sometimes work to reject, Hollywood traditions of filmmaking. In the seminars students continue to develop skills in close analysis, discussing the style and significance of specific sequences.

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Prof. Dr. Frey’s current projects include a book on how video on demand recommender systems remediate legacy forms of cultural mediation, and a study of streaming services’ effects on media diversity.

His recent publications have concentrated on film and other arts criticism, institutional and media industries analysis, art cinema culture, classical and contemporary film theory, film and arts education as well as historical and contemporary European (especially German and Austrian) cinema.

His work on film criticism, German cinema and on the filmmaking of Michael Haneke is frequently cited and has been translated into several languages. He regularly reviews peers’ book and article manuscripts and grant proposals. He has served as a member of the Arts and Humanities Research Council (AHRC) Peer Review College, on numerous award-granting committees of the Society of Cinema and Media Studies (SCMS), the Steering Committee of the German Screen Studies Network (GSSN), the Advisory Board of the film journal Alphaville and in numerous other validation and examining roles.

He is frequently invited to guest lecture or to speak at research seminars, symposia and other public events, including recently at the British Film Institute, Deutsches Filmmuseum Frankfurt, Filmuniversitaet Babelsberg, Museum of Fine Arts Boston, Cambridge University, Dartmouth College, Harvard University, Kings College London, University of Bristol, University of Edinburgh, University of Sussex, University of Birmingham, Universita di Bologna, Universitet Gent, Waseda University Tokyo, Universitaet Frankfurt, Universitaet Bremen, Universitaet Passau, Boston University and the Freie Universitaet Berlin.

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Prof. Dr. Frey supervises PhD, MA and BA dissertations and welcomes queries about topics from potential applicants.

Recent successful theses have researched Lars von Trier, Pedro Almodovar, British underclass cinema, Siegfried Kracauer, middlebrow taste formation, French political modernism and contemporary ‘slow cinema’.

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Last Updated: 14/09/2018