Alphabetical List Germanic Studies Faculty Slavic Studies Faculty Affiliate Faculty Visiting Scholars and Artists Distinguished Guests Staff Graduate Students

People

Nora Alter
Curriculum Vitae

Vice-President / President Elect of Women in German

Ph.D. University of Pennsylvania
nma@clas.ufl.edu

Department of German and Slavic Studies
263 Dauer Hall
PO BOX 117430
University of Florida
Gainesville, FL 32611-2005
352.392.2101 x202 (tel)
nma@ufl.edu

Education

• 1991: Ph.D. Comparative Literature and Literary Theory, University of Pennsylvania.
• 1986: M.A. Comparative Literature and Literary Theory, University of Pennsylvania.
• 1984: B.A. honors in English, minors in French and German, University of Pennsylvania.

Current Position

Professor of German, Film and Media Studies, Affiliate Faculty Centers for Jewish Studies, and Women and Gender Studies.

Academic Appointments

• University of Florida, Professor of German Studies, Film and Media Studies, 2003-present
• University of Florida, Associate Professor of German Studies, Film and Media Studies, 1998-2003
• University of Florida, Assistant Professor of German Studies, Film and Media Studies, 1994-1998
• Old Dominion University, Assistant Professor of English and Director of the Film Program, 1993-1994

Grants, Fellowships, and Awards

• Elected Modern Language Association Executive Film Division: 2007-2011.
• Vice-President/President Elect, Women in German: 2006-10.
• DAAD/AICGS Prize for Distinguished Scholarship in German and European Studies: 2005.
• Florida Blue Key Distinguished Faculty Award: 2005.
• Alexander von Humboldt Twelve Month Research Fellowship, Berlin: 2003-2004.
• University of Florida Research Foundation Professorship Award, Three Year Award: 2002-2004.
• Advanced Seminar in Film Studies, Dartmouth College: 2002
• Scholarship Enhancement Award, University of Florida: 2007, 2002, 1999, 1998, 1997, 1995
• Advanced Seminar in Film Studies, Dartmouth College: 2000.
• Howard Foundation Twelve Month Research Fellowship: 1999-2000.
• National Endowment for the Humanities Twelve Month Research Fellowship: 2000.
• German Film Studies Institute Seminar, The University of Chicago: 1993.
• Mellon Postdoctoral Teaching-Research Fellowship, Department of German Studies, Cornell University: 1992-93.
• National Endowment for the Humanities Summer Seminar: “The City and Modernity,” Berlin: 1992.
• German Academic Exchange Service (DAAD) Grant: Interdisciplinary Summer Seminar in German Studies, Cornell University: 1991.

Publications

Books

• From Cinema to Installation Art: A History of the Audio-Visual Essay. Manuscript in progress. Anticipated submission date June 2008.
•  Chris Marker (Champaign: University of Illinois Press, 2006), pp. 205.
•  Sound Matters: Essays on the Acoustics of German Culture, co-edited with L. Koepnick (New York: Berghahn Books, 2004), pp. 257.
•  Projecting History: Non-fiction German Cinema: 1967-2000 (Ann Arbor: University of Michigan Press, 2002), pp. 221.
•  Vietnam Protest Theatre: The Television War on Stage (Bloomington and Indianapolis: University of Indiana Press, 1996), pp. 225 + xxv.

Articles, Chapters in Books, and Critical Essays

• “Transformations of the Archive,” After the Digital Divide ed. L. Koepnick under consideration.
• “Berlin: Symphony of a City,” Columbia Companion to Weimar Cinema ed. N. Eisenberg (New York: Columbia University Press, forthcoming 2007).
• “Addressing the Global in Recent Nonfiction Film Production,” Sites of German Cinema, eds. L. Koepnick and S. Schindler (Ann Arbor: University of Michigan Press, 2007), 253-268.
• “Translating Philosophy,” Journal of Visual Culture,6:1 (April 2007), 45-58.
• “The Legs of Marlene Dietrich,” Dietrich Icon,eds. G. Gemuenden and M. Desjardins. (Durham: Duke University Press, 2007), 60-78.
• “Hans Richter in Exile: Translating the Avant-garde,” in Caught by Politics, eds. S. Eckmann and L. Koepnick (New York: Palgrave, 2007), 223-243.
• “Mathias Poledna’s Western Recording and the Dialectic’s of Discontinuity,” in Mathias Poledna: Western Recording (Rotterdam: Witte de With Publishers, 2006), 29-39, 85-97, 145-156. Co-written with A. Alberro. With German and Dutch translations.
• “Questions of Methodology in Visual Studies,” German Visual Culture, ed. G. Finney (Bloomington: Indiana University Press, 2006), 31-42.
• “After the Senses,” Beyond the White Cube: A Retrospective of Brian O’Doherty/Patrick Ireland, eds. C. Kennedy and G. Jackson (Dublin: Dublin City Gallery, 2006), 44-55. Co-written with A. Alberro.
• “The Political In/visible in the Essay Film: Farocki’s Images of the World and Inscriptions of War,” in Harun Farocki: Working on the Sight-Lines, ed. T. Elsaesser (Amsterdam: Amsterdam University Press, 2004), 211-236; reprinted from New German Critique, 68 (Spring/Summer 1996), 165–192.
•  “Die Produktion des öffentlichen Raumes,” in Im Geschmack der Zeit: Das Werk von Hans und Marlene Poelzig aus heutiger Sicht, ed. Christian Philipp Muller (Verein zur Förderung von Kunst and Kultur am Rosa-Luxemburg-Platz), 19-27. German only. Republished with English supplement, “The Production of Public Space,” 1-18, by Architecture Museum Basel, 2004. Co-written with A. Alberro.
• “Critical Introduction,” Sound Matters: Essays the Acoustics of German Culture, eds. L. Koepnick and N. M. Alter (New York: Berghahn 2004), 1-32. Co-written with L. Koepnick.
• “The Politics and Sounds of Everyday Life in Kuhle Wampe: Reconsidering Brecht’s Film Theory,” in Sound Matters: Essays the Acoustics of German Culture, eds. L. Koepnick and N. M. Alter (New York: Berghahn 2004), 79-90.
• “Memory Essays,” in Stuff It—The Video Essay in the Digital Age, ed. U. Biemann (Zurich: Voldemeer/Springer, 2003), 12-24.
• „Crisis as Film,” in Literarisches Krisenbewusstsein: Ein Perzeptions—und Produktionsmuster im 20. Jahrhundert, eds. K. Bullivant and B. Spies (Munich: Iudicium, 2001), 195-215.
• “Theses on Godard’s Allemagne 90 Neuf Zéro,” Iris, 29 (Spring 2000), 117-132.
• “Mourning, Sound and Vision: Jean-Luc Godard’s JLG/JLG,” Camera Obscura, 44 (Winter 2001), 75-103.
• “Mettre en scène le politique: répétition, différence et les Cabanes éclatées de Daniel Buren," in Daniel Buren: Cabanes éclatees / Catalogue raisonné thématique--Volume 2, ed. Annick Boisnard (Le Bourget, France: Editions 11/28/48, 2000), 7-12. Co-written with A. Alberro. French only.
• “Beyond the Frame: Renée Green’s Video Practice,” Shadows and Signals (Barcelona: Fundacio Antoni Tapies, 2000), 143-161.
• “Imaging (Post)Gender under Transnational Capital: Valie Export’s Perfect Pair,” in After Postmodernism, ed. W. Riemer (Riverside: Ariadne Press, 2000), 267-282
• “Ottinger’s Benjamin: Countdown’s: Alternative Take on Reunification,” The Germanic Review, 73:1 (Winter 1998), 50-69.
• “Triangulating Performance: Looking After Genre after Feature,” in Triangulated Visions: Women in Recent German Cinema, eds. I. Majer O’Sickey and I. von Zadow (Albany: SUNY Press, 1998), 11-27.
• “Marcel Ophüls’ November Days: German Reunification as Musical Comedy,” Film Quarterly, 51 (Winter 1998), 32-43.
• “Cinematic Reunification under the Sign of Nationalism and Racism,” in Beyond 1989: Re-reading German Literature since 1945, ed. K. Bullivant (Providence: Berghan Books, 1997), 129-152.
• “Excessive Pre/Requisites: Vietnam through the East German Lens,” Cultural Critique, 35 (Winter 1997), 39-79.
• “...und Fried und...: Erich Fried’s Poetry and the Structure of Contemporaneity,” Studies in Twentieth-Century Literature, 21:1 (Winter 1997), 81–112.
• “Documentary as Simulacrum: Tokyo-Ga,” in The Cinema of Wim Wenders: Image, Narrative, and the Postmodern Condition, eds. R. Cook and G. Gemünden (Detroit and London: Wayne State University Press, 1996), 136-162.
• “Vietnamese Theatre of Resistance: Thich Nhat Hanh’s Metaphysical Sortie,” in Imperialism and Theatre, ed. J. E. Gainor (London and New York: Routledge, 1995), 1–18.
• “Chester Himes: Black Guns and Words,” in Alteratives, eds. W. Motte and G. Prince (Lexington: French Forum, 1993), 11–24.
• “Changing Directions in Staging War: Beyond Mann ist Mann,” Communications, 20:1–2 (1991), 70–78.
• “Peter Brook’s Mahabharata: Orality and Literacy,” Theatre Three Journal, 6 (1989),158–168.

Book, Film, Art, Theatre Reviews, and Miscellaneous Publications

• “Akustische Dimensionen: Sound in Skulptur und Film,” Die Bildende,1 (Summer 2006), 14-18.
• “Maria Eichhorn’s Film Projections,” Image Contemporaine: Contemporary Image (Montreal: Vox, 2006). With French translation.
•  “Temples and Templates,” in The Work of Andrea Robbins and Max Becher (Cologne and New York: Sonnabend, 1996) 76-81.
• “Difficult,” in Campus, ed. M. Eichhorn (Bozen: Freie Universität Bozen, 2005).
• “Imagination and the Image,” J. N. Uelsmann, Referencing Art (Tuscon: Nazraeli Press, 2003).
• “The Television of Modern Life: Stan Douglas’s Win, Place or Show” (Gainesville: Harn Museum of Art, 2000).
• “Essay Film,” in Encyclopedia of the Essay, ed. T. Chevalier (London: Fitzroy Dearborn Publishers, 1998), 262-265.
• “History in the Making,” in Children of Golzow (Massachusetts: Ice Storm International, 1999).
• “Whose History, Whose Text, Whose Story?” Memory, History and Critique: European Identity at the Millenium. Proceedings of the Fifth Conference of the International Soceity for the Study of European Ideas, eds. F. Brinkhuis and S. Talmor (CDROM 1998).
• Review: Wallace Steadman Watson, “Understanding Rainer Werner Fassbinder: Film as Private and Public Art,” in South Atlantic Review,65 (Spring 1997).
• “Staging Re/Unification: For and by the West,” The European Legacy: Toward New Paradigms, 1:3 (May 1996), 1242–1247.
• Theatre review: Oedipus Rex, directed by H. Haus, Villanova Theatre, in Communications, 24:1 (May 1995).
• Review: S. Frieden, R. McCormick, et al. (eds.), Gender and German Cinema: Feminist Interventions, in German Studies Review, 18:3 (October 1995).
• Review: B. Kosta, Recasting Autobiography: Women’s Counterfictions in Contemporary German Literature and Film (Ithaca and London: Cornell UP, 1994), in The Germanic Review, LXX:2 (Spring 1995).
• Review: B. Murray and C. Wickam (eds.), Framing the Past: The Historiography of German Cinema and Television, Carbondale, IL: Southern Illinois UP, 1992), German Studies Review 17: 2 (May 1994).
• Review: E. Schlant and J. T. Rimer (eds.), Legacies and Ambiguities: Postwar Fiction and Culture in West Germany and Japan, in German Studies Review, 17: 2 (May 1994).
• Review: H. J. Schmidt, How Dramas End: Essays on the German Sturm und Drang, Büchner, Hauptmann, and Fleisser, in Theatre Survey, 35:1 (Spring 1994).
• Review: H. Kreuzer and H. Schanze (eds.), Fernsehen in der Bundesrepublik Deutschland: Perioden, Zäsuren, Epochen, in German Studies Review, 16:3 (October 1993).
• Review article: “(Con)fusion: Vietnam and the Remasculinization of America,” Polygraph, 4 (1990), 195–203.

PRESENTATIONS

Invited Lectures, Panels, Seminars and Workshops

International

• Respondent to Michel Chion, Non-Simultaneity and Immediacy: An Utopia of Sound, Academy of Fine Arts, Vienna, Austria (May 2008)
• “Sound Movements,” Der Essay Film:Aesthetik and Aktualitaet, University of Lueneburg, Germany (November 2007).
• “Postproduction: Maria Eichhorn’s Cinema,” VOX, Montreal, Canada (November 2006).
• "Sounding it Out: Plumbing the Depths of the Non-visual," Women in the Avant-gardes,Paris, France (February 2006).
• “Editing from Ear to Eye,” Free University, Berlin, Germany (December 2003).
• “Le film expérimental ou/et le film d’essai,” Programme d’études postgrades, Geneva, Switzerland (May 2002).
• “Memory and History: Reels, Tapes or Windows,” The Video Essay in the Digital Age, Migros Museum, Zurich, Switzerland (May 2002).

National

• Keynote address: “The Essay Film,” 19th Annual Graduate Student Conference, Yale University, New Haven (April 2008).
• German Studies Symposium, Emory University (September 2007).
• “The Acoustic Imagination,” Inventions of the Imagination: Interdisciplinary Perspectives on the Imaginary since Romanticism, University of Washington, Seattle (May 2007).
• “Towards the Sonic,” Art in the Age of Globalization,University of Florida (March 2006).
• “Transformations of the Archive,” After the Digital Divide? German Aesthetic Theory in the Age of New Media, Washington University, St Louis (March 2006).
• “Women, Cacophony and the City” Cities of Women, University of Florida (December 2003).
• Keynote address: “The Legs of Marlene Dietrich,” Foreign Languages and Literatures, Stetson University, Florida (March 2002).
• “Addressing the Global in Recent Non-fiction Film Production,” Washington University (March 2002).
• “Human Resources: Politics without Tears,” Villanova University (February 2002).
• “Dietrich’s Legs,” Marlene at 100, Dartmouth University, Hanover, New Hampshire (October 2001).
• “Godard and Sound,” Forever Godard, Tate Modern, London, England (June 2001).
• Seminar participant: Interdisciplinary German Studies, University of Massachusetts, Amherst (April 2001).
• “Between Fact and Fiction: Compiling the Holocaust Film,” Holocaust Film, Kent State University, Ohio (April 2001).
• “From Capitalist Realism to MTV: The Unfunktionierung of American Pop Culture,” German Pop Culture: How ‘American’ is it? University of South Carolina, Columbia (April 2001).
• “Hans Richter in Exile,” Washington University, St. Louis (February 2001).
• “Realism and Documentary,” Harun Farocki Symposium, New York University, NYC (October 2000).
• “Terrorism as Crisis and the Limits of Representation,” The Experience of Crisis in German Literature of the 20th Century, University of Florida (April 2000).
• “A Philosophy of Popular Music: Wim Wenders’ Buena Vista Social Club and the Sound Image,” New York University, NYC (April 2000).
• “Da Habt Ihr mein Leben: Rewinding, Replaying, and Reviewing a Life and a History,” Changes of “Befindlichkeit” in East and West after 1989? Emory University, Atlanta (March 1999).
• “Translating Theory: Sound and Politics in Kuhle Wampe,” Bertolt Brecht at 100, Tisch School of the Arts, NYC (October 1998).
• “Vietnam and Political Theater in the U.S.A., France, Britain and West Germany,” Thirty Years After: 1968 and its Legacies, University of Minnesota, Minneapolis (May 1998).
• “Representing Terrorism in Film and Painting,” Harn Museum of Art, University of Florida (April 1998).
• “Filming Everyday Life: The Children of Golzow,” The Cinema of Eastern Germany: The View From North America, Amherst, Massachusetts (October, 1997).
• “Going Native,” American Association of Teachers of German, Philadelphia (November 1996).
• “Bodies of Evidence and Inscriptions of Ideology,” Vanderbilt University, (October 1995).
• “Class Relations: Filming Kafka’s Amerika,” Princeton University (January 1995).
• “Radio-Activity: Media Theory and Modernity,” University of Pennsylvania (March 1993).
• “A New Nation: Media as Germany’s ‘Founding Father’,” Williams College (February 1993).
• “Negotiating German History through Vietnam,” Cornell University (January 1992).
• “Mapping the Periphery: Vienna-Vietnam,” Stanford University (May 1992).

Conferences Organized

• Co-Organizer: “Imaging the Unimaginable:The Iconicization of Auschwitz.” Interdisciplinary International Conference. Speakers: D. Bathrick, D. Eisenberg, H. Farocki, G. Koch, L. Morris, I. Kacandes, S. Whitfield, et al. University of Florida (November 2007).

• Co-Organizer: “Reconsidering Relationality.” Interdisciplinary International Conference. Speakers: D. Diederichsen, L. Koepnick, C. Pontbriand, J. Ranciere, J. Rebentisch, C. Ruhm, C. Strathausen, S.Wright, et al. Reid Hall, Paris (April 2007).

• Co-Organizer: "'Who?' or  'What?'---Jacques Derrida." Speakers: G. Bennington, H. Cixous, P. Kamuf, A. Lippit, J. H. Miller, G. Schwab, et. al. University of Florida (October 2006).

• Organizer: “Beyond the Screen.” Speakers: R. Bellour, C. Bluemlinger, E. Dimenberg, T. Elsaesser, G. Koch, Y. Rainer, G. Stemmrich, et al. University of Florida (April 2003).

Conference Papers

• “Translating Theory: Raoul Ruiz’s Hypothesis of a Stolen Painting,” Literature on Screen Conference, Atlanta (September, 2007).
• “Sounds without Images,” Society for Cinema and Media Studies, Chicago (March 2006).
• “From Film Theatre to Art Gallery,” Modern Languages Association, Washington D.C. (December 2005).
• “The French Connection,” German Studies Association, Milwaukee (October 2005).
• “Politics of Sound and Image in Godard,” 20th & 21st Century French and Francophone Studies International Colloquium, University of Florida (March 2004).
• “Acoustic Dimensions: Sound in Film and Sculpture,” College Art Association, Atlanta (February 2005).
• “Bringing Back Aesthetics,” German Studies Association, Washington  (October 2004).
• “Viewing Beyond the Plot: German Film and Media Studies in the Age of the Program,” German Studies Association, New Orleans (September 2003).
• “Audio-Visual Echoes,” College Art Association, New York (February 2003).
• “Berlin as Project: The DAAD Künstler Programm,” German Studies Association, San Diego (October 2002).
• “Translating Philosophy,” American Comparative Literature Association, Puerto Rico (April 2002).
• “From Cultural to Visual Studies,” Modern Language Association, New Orleans (December 2001).
• “Filmmaker as Historian,” German Studies Association, Washington D.C. (October 2001).
• “From Vietnam to Sarajevo: Godard’s Sound Politics,” Society for Cinema Studies, Washington D.C. (May 2001).
• “Globalization and Music, Modern Language Association, Washington D.C. (December 2000).
• “Sound Sells: Marketing Film Music,” German Studies Association, Houston (October 2000).
• “Film Studies and Foreign Language Programs: Suture or Jumpcut?” Twentieth Century Conference, University of Pennsylvania, Philadelphia (April 2000).
• “The Video Essay,” American Comparative Literature Association, Yale University, New Haven (February, 2000).
• “Spectres de l’irrationnelle: Surrealist Strategies in Situationist Cinema,” Modern Language Association, Chicago (December 1999).
• “Sound, Realism and Identification,” German Studies Association, Atlanta (October 1999).
• “Reconstructing National Culture: The Visual Arts and Their Role in the New Germany,” American Comparative Literature Association, Montreal, Canada (April, 1999).
• “Reviewing and Era: An Examination of Everyday Life in the GDR,” Society for CinemaStudies, Boca Raton, Florida (April, 1999).
• “Trauma and Representation in German Art: From Image to Text,” Modern Language Association, San Francisco (December, 1998).
• “Making the Transition: From Socialist Realism to Western Style Documentary in the Films of B. and W. Junge,” German Studies Association, Salt Lake City (October, 1998).
• “Screens of Terror,” American Comparative Literature Association, Austin (March 1998).
• “Auto/biography, Digital, Nondigital, and Political,” Division of Autobiography, Modern Language Association, Toronto, Canada (December 1997).
• “Alternative Mediatization of Violence: Germany in Autumn and October 18, 1977,” German Studies Association, Washington (September 1997).
• “Gendering the Past: The Song of the Nibelungen as sung by Hélène Cixous,” International Comparative Literature Association, Leiden, The Netherlands (August 1997).
• “Essay Film as Travelogue,” American Comparative Literature Association, Puerto Vallarta, Mexico (April 1997).
• “Screening Germany: Jean-Luc Godard and Marcel Ophüls,” International Colloquium in Twentieth-Century French Studies, Ohio State University (April 1997).
• “From Deleuze and Godard to Lemmy Caution and Back: Son+image and the Political. Im/perceptible,” Division of Comparative Studies in Twentieth-Century Literature, Modern Language Association, Washington, (December 1996).
• “Featuring History: The Production of Unification,” Conference “Foreign Films and Literature,” Villanova University (November 1996).
• “Imaging Gender under Transnational Capital: Valie Export’s Perfect Pair,” Conference “Crossing Cultural Bounds in Contemporary Austrian Literature and Film,” University of Delaware (September 1996).
• “Whose Body, Whose Discourse, Whose Text? (Hélène Cixous’s L’histoire (qu’on ne connaitra jamais ),” Fifth Annual Conference of the International Society for the Study of European Ideas, Utrecht, The Netherlands (August 1996).
• “Filming Autobiography: JLG/JLG,” Modern Language Association, Chicago (December 1995).
• “The Essay Film as Genre of Philosophy: Adorno and Wenders,” German Studies Association, Chicago (September 1995).
•  “Visualizing Technology as Death: L’Inhumaine, Deathwatch, Until the End of the World,” American Comparative Literature Association, Athens (March 1995).
• “Notes on Re/simulating the Audio-Visual Fascoid,” Germany in Film: Post-Projections II, Gender in Contemporary German Film and Culture, Toronto, Canada (March 1995).
• “Dancing on the Abyss: The First Mountain Film,” Twentieth Annual Conference on Literature and Film, Florida State University (January 1995).
• “Documenting Vietnam through the East German Lens,” German Studies Association, Dallas (October 1994).
• “Staging History: Schlußchor and Reunification,” Fourth Annual Conference of the International Society for the Study of European Ideas, Graz, Austria (August 1994).
• “Translated Culture, Metonymic Holocaust, and Broadcasted Exile: The Poetry of Erich Fried,” American Comparative Literature Association, Claremont (March 1994).
• “Video as Everyday Life: Wenders’ Notebooks on Cities and Clothes,” Literature, Film, and Humanities Conference, Salisbury (December 1993).
• “Radio and the Auralization of Immediacy,” German Studies Association, Washington (October 1993).
•  “Documentary Evidence: A Transition from Modernism to Postmodernism in German Theatre,” American Association of Teachers of German, Chicago (November 1992).
• “Notgeld as the Production and Circulation of National Identity,” German Studies Association, Minneapolis (October 1992).
• “Representing the American War in Vietnam: Hochhuth, Grass, and Weiss,” American Association of Teachers of German, Baden-Baden, Germany (June 1992).
•  “Unmasking Vietnam: Costuming France’s Algerian Conflict,” Conference “Themes in Drama,” University of California, Riverside (February 1992).
•  “The Alienation Effect and Humor in the Documentary,” Literature, Film, and the Humanities Conference, Salisbury (June 1991).
• “Between East and West: Szyszkowitz’s Commander Carrigan,” Contemporary Austrian Literature and Film Conference, University of California, Riverside (May 1991).

Panels Organized and Chaired/Respondent

• Chair: “The Ends of Cinema in the Digital Age,” Modern Language Association, Chicago (December 2007).
• Respondent: “The RAF in Literature and Autobiography,” Modern Language Association, Chicago (December 2007).
• Respondent: “Cultural Memory of the RAF,” German Studies Association, San Diego (October 2007).
• Respondent: “Unsettling Isolation: Transnational Cultural and Political Production,” German Studies Association, San Diego (October 2007).
• Respondent: “Discourse Networks 1200-2000: German Studies in the Age of New Media,” German Studies Association, Pittsburgh (October 2006).
• Chair: “L’eminence grise,” German Studies Association, Milwaukee October 2005.
• Chair: and Organizer panel “Defining Germany: Audio-Visual Production in the Age of Transnationalism and Globalization,” American Association of Teachers in German, Baltimore (November 2005).
• Respondent: “Berlin Temporalities,” German Studies Association, Washington (October 2004).
• Respondent: “Cinematic Flaneurie,” German Studies Association, New Orleans (September 2003).
• Respondent: “Contemporary German Film,” German Studies Association, San Diego (October 2002).
• Chair: “Resounding German: German Music in Film,” Society for Cinema Studies, Washington (May 2001).
• Chair: “The Essay,” American Comparative Literature Association, Yale University, New Haven (February 2000).
• Chair: “New Formations,” American Comparative Literature Association, Montreal, Canada (April 1999).
• Respondent: “Contemporary German Cinema,” German Studies Association, Houston (October 2000).
• Respondent: “German Film and Television: Recent Discourses,” German Studies Association, Salt Lake City (October 1998).
• Chair: “Political Violence and Representation,” German Studies Association, Washington (October 1997).
• Chair: “Imaging Science at Its Limits,” American Comparative Literature Association, Athens (March 1995).
• Chair: “War, Cinema, and the Political Unconscious,” German Studies Association, Dallas (October 1994).
• Respondent: “Literature, Film-Makers, and Film,” German Studies Association, Dallas (October 1994).

Courses

Graduate Seminars

• The Audio-Visual Essay
• Cultures of Performance
• Sound/Image
• Cultural and Aesthetic Theory
• Feminist Theory and Cinema
• From Cultural Critique to Cultural Studies
• New German Cinema and Its Legacy
• Non-fiction Cinema
• Weimar Cinema
• Introduction to the Frankfurt School
• Studies in the Third Reich
• Visual Studies
• Post-war German Culture

Undergraduate Courses

• Documentary Cinema
• Film Theory and Analysis
• Non-fiction Cinema
• Visual Theory
• Sound Theory
• Avant-garde Cinema
• History of Cinema I
• History of Cinema II
• Theories of Performance
• Women and Cinema
• Feminist and Gender Theory
• Fascist Aesthetics
• European Cinema
• Representing the Holocaust
• Contemporary German Drama
• Media Spectacles
• New German Cinema
• Early German Cinema
• Minority Film within Europe
• Introduction to German, Slavic, and Scandinavian Cinema
• Weimar Cinema
• Women and German Literature
• The City
• Representing Vietnam

Administrative Service

Departmental Service

• Associate Chair 2005-06
• Chair T&P Committee for Hana Filip 2007
• Chair T&P Committee for Eric Kligerman 2007
• Chair T&P Committee for Barbara Mennel 2007
• Member Merit Pay Committee 2007
• Graduate Advisor 2005-06
• Chair Merit Pay Committee 2006,
• Chair Graduate Committee 2006
• Member T&P Committee for Galina Rylkova 2006,
• Chair Slavic Search 2005-06
• Chair Germanic Search Committee 2005-06
• Chair Committee to implement Doctoral program in Slavic Studies 2005-06
• Chair Committee to revise Undergraduate Curriculum 2000-2001, 2005-06
• Member Committee to revise Graduate Curriculum 2000-2001, 2005-06
• Chair Senior Scholar/Chair Search Committee 2004-05
• Audio-visual acquisitions coordinator 1994-2006
• Lecture series organizer 1994-2006
• Search Committee Slavic Studies 1999
• Search Committee Germanic Studies 2000
• Liaison faculty to Harn Museum of Art 1994-on going
• By-Laws/Constitution Committee 2002-03

University Service

• Elected College of Liberal Arts and Sciences Faculty Council 2007-2010.
• Elected Senator, University of Florida Senate, 2007-2010, 2001-2003, 1995–1997
• Member Search Committee for Director of Humanities Center 2005-07.
• Member European Union Studies Center 2002-2004
• Member European Studies Program 2002-2004
• Core Member Film and Media Studies 1994-present
• Member Jewish Studies 1999-present
• Member Women and Gender Studies 1994-present
• Member Search Committee Center for Jewish Studies Post-Doctoral Fellowship 2005-06.
• Member Search Committee School of Art and Art History 1999-2000.
• Committee on the Development of the Center for the Humanities and the Public Sphere, University of Florida, 2001-2002.
• Elected College of Liberal Arts and Sciences Steering Committee, University of Florida, 2001-2003.
• Elected College of Liberal Arts and Sciences Nominating Committee, University of Florida, 2001-2003. [Chair 2001-2002]; 2005-2007 [Chair 2005-2006].
• University Senate Nominating Committee 1998-2000.
• Elected University Senate Steering Committee, University of Florida, 1997-2000.
• Humanities Council, University of Florida, 1998-2000.
• University of Florida Drug and Alcohol Committee 1998-2003

Professional Service

• Editorial Board: The Germany Quarterly, 2006-present.
• Elected: Modern Languages Association Task Force Committee on Staffing Standards, 2001-2002.
• Elected Chair: Modern Languages Association Delegate Assembly Organizing Committee, 2001.
• Elected: Modern Languages Association Delegate Assembly Organizing Committee, 1999-2001.
• Elected: Southeast Regional Delegate, Modern Language Association, 1996–1999.
• Appointed: SAMLA Graduate Student Essay Prize Committee 1998, 1999, 2000, 2001.
• Advisory Board: DEFA Film Archive, Amherst, Massaschusetts.
• Manuscript reader (books): for Northwestern University Press, University of Michigan Press, University of Illinois Press, Bedford/St. Martins Press.
• Manuscript reader (journals): PMLA, Mosaic, German Quarterly, Women in German, Cinema Journal, Signs, Seminar.
• Grant Application reader for CUNY research grants.
• Grant Evaluator for the Howard Foundation.
• Tenure and/or Promotion External Reviewer: New York University, University of New Mexico, University of Colorado, University of Tennessee, University of Alabama, University of California, Davis, Northwestern University, University of North Carolina, Chapel Hill, University of Oklahoma, Arizona State University, Hunter College.
• Member: American Association of Teachers of German (AATG), American Comparative Literature Association (ACLA), College Art Association (CAA) German Studies Association (GSA), International Comparative Literature Association (ICLA), Modern Language Association (MLA), Women in German (WIG), Society for Cinema Studies and Media Studies (SCMS), Alexander von Humboldt Alumni Association.

Graduate Committees

Doctoral Dissertation Committees and job placement

• Alan Wright: “Dread Theory: From Dialectical Image to Dub Encounter,” April 1998. Assistant Professor University of Canterbury, New Zealand. (Member)
• Eric S. Faden: “From Invention to Standardization: Early Cinema, Sound, and Digital Images,” September 1999. Assistant Professor Bucknell University. (Member)
• Keng Wah Kenneth Chan: “’Peripheral’ Chinese American and the Cultural Politics of Chinese Diaspora, Transnationalism, and Return,” December 1999. Assistant Professor University of Hong Kong. (Member)
• Tracy Cox: “Consuming Distractions: Commodities, Visual Pleasure and Film Theory,” May 2000. Visiting Assistant Professor Michigan State University, Michigan. (Member)
• Ralph Savarese: “Accident Figures: Walter Benjamin and American Popular and Literary Culture,” December 2000. Assistant Professor Grinnell College, Iowa. (Member)
• Thomas Cohen: “Cinema and Musical Composition,” August 2000. Assistant Professor Rhodes College, Tennessee. (Member)
• Mary Wiles: “The Cinema of Jacques Rivette,” August 2002. Assistant Professor, University of Canterbury, New Zealand. (Member)
• Margit Grieb: “Beyond the Silver Screen,” May 2003. Assistant Professor, University of South Florida, Florida. (Chair)
• David Johnson: “The Accidental in Film” September 2003. Assistant Professor, Salisbury State University, Maryland. (Member)
• Dean Swinford: “Through the Daemon’s Gate: Kepler’s Somnium, Medieval Dream Narratives, and the Polysemy of Allegorical Motifs,” March 2004. (Member)
• Brendan Riley: “Cinema, Computers and War,” April 2004. Assistant Professor, Columbia College, Chicago. (Member)
• Andrea Rochelle Mabry: “In Love in a Movie: Women and Contemporary Romantic Comedy,” December 2004. Visiting Assistant Professor, Florida Atlantic University, West Palm Beach. (Member)
• Kathryn Kanuck Lammens: “A Defense of Conceptual Analysis and Thought Experiments,” June 2005. Assistant Professor James Madison University, Richmond. (Member)
• Rashna Wadia Richards: “Lightning Flashes: A Cinephiliac History of Classic Hollywood,” July 2006. Assistant Professor of English, SUNY, Brockport. (Member)
• Thomas Carl Odde: “The Chronotype Imagination: Aberrant Times and Figures in Cinema,” October 2006 (Member).
• Rebecca Brown “The Uncanny English House in the English Novel From the 1880s to the 1930s,” November 2006 (Member).

Master of Arts Committees:

• Lyndsay Brown 2007 (Member)
  • Jonathan Barnes 2005 (Member)
  • Daniel Blochwitz 2003 (Member)
  • John Cason1999 (Member)
  • Jennifer Coenen 2002 (Chair)
  • Richard Graf 1999 (Member)
  • Allison Grimes 2003 (Member)
  • Natalie Haddad 2006 (Member)
  • Britta Herdegen1998 (Member)
  • William Lehman 1998 (Member)
  • Arthur Liou 1998 (Member)
  • Sedika Mojadidi 1997 (Member)
  • Thomas Odde 1996 (Member)
  • Kerry Oliver-Smith 1999 (Member)
  • Rachel Ward 2001 (Member)
  • Stewart White 2001 (Member)
  • Justin Wyble 2000 (Member)

  Ongoing doctoral supervision:

  • Chair: 5 Ph D Committees
  • Member: 15 Ph.D committees.

  >> back to Keith Bullivant biography

  >> top