Geb. 1957, Professor seit 2004, London, Großbritannien/Nordirland

Medienwissenschaft - German Studies - Anderes Fachgebiet (siehe Forschungsgebiete) (Fachgebiet) - Deutsche Filmgeschichte; Film und (Post)Kolonialismus; Filmtheorie; Cultural Studies; Gender, Konsum- und Populärkultur (Lehrgebiet)

Kontaktinformationen:

University of London, King's College - Department of German, King's College London - Strand, London WC2R 2LS

Forschungsgebiete

• #Methodologie
• #Medienwissenschaft, Medientheorie, Mediengeschichte
• #Text und Bild, Multimedia
• #Historische Kulturwissenschaft
• #Genderforschung

Besondere Forschungsgebiete Deutschprachiger Film und Filmgeschichte; filmische Archivarbeit im postkolonialen Kontext; frühe Filmtheorie, insbes. Béla Balázs; Kinogeschichte in ehemaligen britischen Kolonien; Gender in der deutschsprachigen Film- und Populärkultur.

Monographien Dietrich’s Ghosts. The Sublime and the Beautiful in Third Reich Film (British Film Institute, 2004); How German is She? Post-war West German Reconstruction and the Consuming Woman (University of Michigan Press, 1997)

Aufsätze und Beiträge ‘Activating the Archive: Feminism and German Women’s Film Heritage, 2010 – 2020,’ Feminist German Studies, 2022; ‘Introduction,’ in ‘Dossier/ Lotte Eisner: A Reappraisal,’ Screen, Volume 62, Issue 3, Autumn 2021, Pages 375–381; ‘The Social Body of Béla Balázs,’ New German Critique, 47 (3 (141)), pp. 7–20, 2020; ‘A Lost Film’s Several Lives,’ in Stefanie Schulte-Strathaus & Markus Ruff, eds., Adamu Halilu. Shaihu Umar. DVD Booklet (Berlin: Arsenal Institute for Film and Video Art, 2020), pp.41-47; ‘Feminism and Women’s Cinema’ (with Claudia Sandberg), in Tim Bergfelder, Erica Carter, Deniz Göktürk & Claudia Sandberg, eds, The German Cinema Book 2nd ed. (London: BFI/Bloomsbury, 2020); ‘Transnational stars: Dietrich, Knef, Schneider,’ in Tim Bergfelder, Erica Carter, Deniz Göktürk & Claudia Sandberg, eds, The German Cinema Book 2nd ed. (London: BFI/Bloomsbury, 2020); ‘Contact Zones and Boundary Objects. The Media and Entangled Representations of Gender,’ in Friederike Brühöfener, Karen Hagemann and Donna Harsch, eds., Gendering Post-1945 German History: Entanglements (Oxford and New York: Berghahn, 2019); ‘The Visible Woman in and against Béla Balázs,’ in Malte Hagener, ed., Studying the Cinema. Knowledge Production, Institution Building and the Emergence of Film Culture in Europe, 1919-1939. London: Berghahn; ‘Werner Herzog’s African Sublime,’ in Brad Prager, ed., A Companion to Werner Herzog (Oxford: Blackwell, 2012) ‘Sissi the Terrible: Melodrama, Victimhood, and Imperial Nostalgia in the Sissi Trilogy,’ in Paul Cooke, and Marc Silberman, eds., Screening War. Perspectives on German Suffering (Rochester, New York: Camden House, 2010), pp.81-101 ‘Die Mörder sind unter uns“ in 24 Frames - The Cinema of Germany, ed. Joseph Garncarz (London: Wallflower, at press) ‚Frauen und die Öffentlichkeit des Konsums,’ in Heinz-Georg Haupt & Claudius Torp, eds., Die Konsumgesellschaft in Deutschland 1890-1990 (Campus Verlag, 2009), pp.154-171 ‘Culture and legitimacy’ (co-author Mary Vincent), in Peter Romijn & Martin Conway, eds., The War for Legitimacy in Politics and Culture1936-1946 (Berg 2008), pp.147-176 ‘Stars after Sound’ in Pam Cook ed., The Cinema Book, (BFI 2007), pp.122-125 ‘Marlene Dietrich – The Prodigal Daughter,’ in Tim Bergfelder, Erica Carter and Deniz Göktürk, eds., The German Cinema Book (BFI, 2002), pp.71-80. Reprinted in Gerd Gemunden & Mary R Desjardins, eds., Dietrich Icon (Duke University Press, 2007) ‘Men in Cardigans. Canaris (1954) and the 1950s West German Good Soldier,’ in Danielle Hipkins and Gill Plain, eds., War-Torn Tales. Representing Gender and World War II in Literature and Film (Peter Lang, 2007), pp. 195-222. ’Sweeping up the Past: Gender and History in the Post-War German Rubble Film,’ in Ulrike Sieglohr, ed., Heroines without Heroes. Reconstructing National Identities in European Cinema, 1945-51 (Cassell, 2000), pp. 91-112. ‘Culture, history and national identity in the two Germanies since 1945,” in Mary Fulbrook, ed. German History since 1800 (Edward Arnold, 1997), pp. 432-453. ‘’Deviant Pleasures? The Consuming Woman in West German Melodrama,’ in Victoria de Grazia and Ellen Furlough, eds. The Sex of Things: Gender and Consumption in Historical Perspective (U.of California Press, 1996), pp.359-380. ‘Intimate Outscapes. Problem-page letters and the remaking of the 1950s German family,’ in Leslie G. Roman et al., eds. Becoming Feminine. The Politics of Popular Culture (Falmer 1988), pp. 60-75. ‘Alice in the Consumer Wonderland. West German case studies in gender and consumer culture,’ in Angela McRobbie and Mica Nava, eds. Gender and Generation (Macmillan 1984), pp. 185-214. Reprinted in Ann Gray and Jim McGuigan, eds. Studying Culture. An Introductory Reader (Edward Arnold 1993), and in Robert G. Moeller, ed. West Germany under Construction. Politics, Society and Culture in the Adenauer Era (University of Michigan Press 1997) ‘Béla Balázs, Visible Man, or the Culture of Film (1924)’, Screen 48 (1), 2007, pp. 91-108 ‚Stanislaw Muchas Die Mitte: zur Wiederentdeckung von ‘Mitteleuropa’ im deutschen Film’, gfl-online, Spring 2007 ‘El sujeto en la fotografia de la República Democrática Alemana’ and ‘’Declaraciones de Helga Paris, Ingrid Hartmetz y Joachim Richau’, Cultura Moderna 1, Spring 2005, pp.73-106 ‘The New Third Reich Film History,’ German History Vol.17, No.4, 1999, pp.565- 583 ‘The aesthetics of rationality. Braun in 1950s West Germany,’ things 3, 1995, pp. 57-69. ‘Vorüberlegungen zu einer Theorie der Wohlstandskultur. Feministische Kritik, populäre Kultur und Konsumismus,’ Feministische Studien 8 (2), 1990, pp. 35-54. ‘Romance as retro-chic: romance, feminism and fashion in the 1980s,’ Das Argument SB172/173, 1988, pp.46-59. ‘Happy End und Kalter Krieg,’ Das Argument 150, 1985, pp.188-203. ‘Interview