Foto Prof. Dr. Bettina Henzler

Prof. Dr. Bettina Henzler

Professur für Filmwissenschaft


Film scholar, habilitated in film studies and aesthetic education. Author of »Filmästhetik und Vermittlung« and »Filmische Kindheitsfiguren«.

0049 221.920188-0


Dr. habil. Bettina Henzler studied Comparative Literature, English and German Studies at the Rheinische Friedrich-Wilhelms-Universität Bonn and the Université libre de Bruxelles. She then worked as a freelancer in the field of festivals, film culture and mediation before becoming a research assistant at the Institute for Art Studies – Film Studies – Art Education at the University of Bremen in 2006, where she subsequently supervised various third-party funded projects in teaching development and research. In her dissertation, published in 2013 under the title »Filmästhetik und Vermittlung«, she focussed on the history, theory and practice of Alain Bergala’s aesthetic approach to film education and mediation. Her habilitation (published under the title »Filmische Kindheitsfiguren«, 2022) focused on film aesthetic figurations of childhood in French cinema.

In cooperation with Universität Bremen (ZeMKI) and Université Sorbonne Nouvelle Paris (IRCAV), she is currently researching and evaluating film-aesthetic education processes as part of the Erasmus+-funded international film education project »Exploring cinéma, cent ans de jeunesse«.

Bettina Henzler has taught at the University of Bremen and the Film University Konrad Wolf and was guest professor at the Free University of Berlin. She also works as a trainer, author and reviewer in (school) film education – cooperating with film cultural institutions such as Deutsche Kinemathek Berlin or Deutsches Filminstitut & Filmmuseum Frankfurt am Main. She co-edited several publications on film education und childhood studies (including »Filme sehen, Kino verstehen«, 2009; »Learning from the cinema«, 2010; »Childhood, cinema, and film aesthetics«, 2017).

Research Affiliations:

ZemKI – Zentrum für Medien, Kommunikations- und Informationsforschung, Universität Bremen
IRCAV –Institut de Recherche Cinéma et Audiovisuel, Université Sorbonne Nouvelle (Paris 3)



Filmische Kindheitsfiguren. Bewegung – Fremdheit – Spiel. Berlin: Vorwerk 8 2022.

Filmästhetik und Vermittlung. Zum Ansatz von Alain Bergala: Kontexte, Theorie und Praxis (Bremer Schriften zur Filmvermittlung). Marburg: Schüren 2013.



Kino und Kindheit. Figur – Perspektive – Regie. Berlin: Bertz+Fischer 2017 (hg. zus. m. Winfried Pauleit).

Childhood, Cinema & Film Aesthetics. Berlin: Bertz+Fischer 2018 (hg. zus. m. Winfried Pauleit).

Filmvermittlung. Nachdemfilm, Nr. 13, 2013, (hg. zus. m. Manuel Zahn und Winfried Pauleit).

Vom Kino lernen. Internationale Perspektiven der Filmvermittlung, Berlin: Bertz+Fischer 2010, (hg. zus. m. Winfried Pauleit, Christine Rüffert, Karl-Heinz Schmid, Alfred Tews).

Learning from the cinema. International Perspectives on Film Education, E-book, Berlin: Bertz+Fischer 2010 (hg. zus. m. Winfried Pauleit, Christine Rüffert,
Karl-Heinz Schmid, Alfred Tews).

Filme sehen, Kino verstehen. Methoden der Filmvermittlung (Bremer Schriften zur Filmvermittlung). Marburg: Schüren 2008 (hg. zus. m. Winfried Pauleit).

Alain Bergala: Kino als Kunst. Filmvermittlung an der Schule und anderswo (Bremer Schriften zur Filmvermittlung). Marburg: Schüren 2006 (hg. zus. m. Winfried Pauleit).

Other Publications

Complete list of publications: ORCID

In my work for the ifs, I would like to advocate building bridges between academia, film practice and mediation, because I am convinced that each of these areas can benefit from this. In research, this means not only concentrating on finished works, reception processes or cultural-historical contexts, but also including film production and examining films as transformational processes in which creation, work aesthetics and viewer experience interact. Film practice has a particularly innovative potential - also from a historical point of view - when it sees itself as a researcher, when it is willing to experiment and opens up film history as a reservoir of possibilities. In film education - especially in schools, but also in the context of informal fan cultures - film practice is playing an increasingly important role in the wake of digitalisation. But film practice can also function fundamentally as a form of mediation that can illustrate facts, provide access to unknown phenomena, shape perception and stimulate reflection. The educational potential of cinematic aesthetics and filmic creative processes in particular is still largely unexplored: How do films shape the way we perceive and remember, how we relate to others and to the world, how cultures and societies develop? I am very much looking forward to exploring these connections together with the students at the ifs and hope that this will also help me to further develop my own research into aesthetic education and film production processes.

Bettina Henzler

Professor Film Studies