Dr. Sarah-Mai Dang

Areas of Specialization
Professional Background & Education

Memberships & Service to the Profession
Fellowships & Grants
Conferences, Workshops, Panel Discussions
Teaching Experience

Areas of Specialization & Current Projects

◦ digital film historiography
◦ scholarly media practices
◦ open science
◦ media aesthetics and experience
◦ film theory, film aesthetics, film history
◦ feminist theory

Postdoc Project: Aesthetics of Access. Data Visualization in Digital Film Historiography
My current research focuses on the epistemic conditions of digital film historiography. I am interested in how digital technologies shape our understanding of history and the way we do history. Fundamental historiographical methods like locating, collecting and interpreting source material are still of great relevance. However, with the increasing proliferation of digital tools and digital artifacts scholarship changes and new approaches supervene. By analyzing digital archives, databases and interactive web documentaries both from a theoretical and practical-exploratory perspective, I seek to understand how digitalization affects the constitution of scholarly knowledge regarding film historiography.

Project leader of the DFG Research Network New Directions in Film Historiography — Digital Tools and Methods in Film and Media Studies (2019-2022)

The goal of the international research network, funded by the German Research Foundation (DFG), is to collaboratively explore how digital technologies shape our understanding of film and cinema history from a media studies perspective.

Independent publishing project: Roger Odin’s Kommunikationsräume (2018-2019)
The translation of Roger Odin’s Les espaces de communication – Introduction à la sémio-pragmatique by Guido Kirsten, Magali Trautmann, Philipp Blum, and Laura Katharina Mücke has been published as a hybrid open access version with my independent publishing website oa books in autumn 2019.

Professional Background & Education

◦ 2018–present: Postdoctoral Researcher, Institute of Media Studies, Philipps University Marburg, Germany
◦ 2016–2018: Postdoctoral Researcher, Media Studies, University of Bayreuth, Germany
◦ 2015/2016: Freelancer & Founder, Berlin, Germany; freelance journalist and project manager; founder of the hybrid publishing project oa books and producer of the website on scholarly publishing oabooks.de; translation of my dissertation and publication in both German (with the self-publishing house tredition and on my website) and English (with Palgrave Macmillan)
◦ 2011–2014: Research Assistant in the project „The Politics of Aesthetics in Western European Cinema“ at the Collaborative Research Center “Aesthetic Experience and the Dissolution of Artistic Limits” (SFB 626), Freie Universität Berlin, Germany
◦ 2008–2014: Dissertation, Film Studies (Dr. phil.), Department of Film Studies, Freie Universität Berlin, Germany, (dissertation title: “Film, Feminism, and Experience. Chick Flicks or, the Genre of the Contemporary Woman’s Film“
◦ 2011–2012: Master of Arts (German Studies, Screen Arts & Cultures, Women’s Studies) and General Student Instructor (GSI), Department of Germanic Languages and Literatures, University of Michigan, USA
◦ 2008–2010: Research Assistant, Department of Film Studies, Freie Universität Berlin, Germany
◦ 1999–2008: Freelance Journalist in the fields of film, culture, local politics and culture; Project Manager and Online Editor (i.a. MTV, IJP e.V., Töchter + Söhne)
◦ Film and Communication Studies at Freie Universität Berlin, Université Sorbonne Nouvelle Paris III, Universität der Künste Berlin, University of Michigan, USA

Memberships & Service to the Profession

Academic Committees and Delegations
◦ Member of the Steering Committee of MediArXiv , an international repository for media, film & communication studies (March 2019-present)
◦ Member of the scientific advisory board of adlr.link, the specialized information service “Communication, Film and Media Studies“ (2016–present)
◦ Section Editor “Film, TV & Media Studies“, German editorial team, Open Library of Humanities (OLH) (2017–present)
◦ Member of the IT advisory board of Philipps University Marburg (March 2019-present)
◦ Deputy spokesperson of the postdoctoral and doctoral researchers at the Department of German Studies and Arts, Philipps University Marburg (Oct 2018–Sep 2020)
◦ Representative of the postdoctoral and doctoral researchers at the Institute of Media Studies, Philipps University Marburg (Oct 2018–present)
◦ Mentor of ProMotivation, Philipps University Marburg (Oct 2018–Sep 2019)
◦ Member of hiring committees (Berufungskommission) and examination boards (Prüfungskommission)

Academic Organizations
◦ Initiator and co-founder of the GfM scholarly interest group (SIG) “Open Science“ (2018–present)
◦ Member of the Marburg Center for Digital Culture & Infrastructure (MCDCI) (2018–present)
◦ Member of the Digital Humanities Germany (DHd) scholarly interest group Film and Video (2018–present)
◦ Member of the expert committee “Urheberrecht” (copyright), Research Society for Music Industry and Music Culture (Gesellschaft für Musikwirtschafts- und Musikkulturforschung) (2017–present)
◦ Member of the Society for Cinema and Media Studies (SCMS) (2011–2013)
◦ Member of the European Network for Cinema and Media Studies (NECS) (2010–present)
◦ Jury member of the GfM Best Publication Award Gender & Medien (2013–2015)
◦ Member of the GfM SIG “Gender/Queer Studies & Media Studies“ and SIG “Film Studies“ (2008–present)
◦ Member of the German Society for Cinema and Media Studies (GfM) (2008–present)

Fellowships & Grants

◦ 2019-2022: DFG Research Network Grant, Project Leader, New Directions in Film Historiography – Digital Tools and Methods in Film and Media Studies
2019: Teaching grant, Doing Audio-Visual Media 6, “Akteurinnen in der Filmpraxis“, lecture series (organized with Tina Kaiser), funded by the State of Hessen and the Hessen Film and Media Academy (hFMA)
◦ 2017/2018: „Open Knowledge“ Fellowship, funded by Wikimedia Germany, Stifterverband, and VolkswagenStiftung
2017: Teaching grant for e-learning and digital teaching, funded by Bayreuth University
◦ 2011/2012: GSI Fellowship, Department of Germanic Languages and Literatures, University of Michigan, USA
◦ 2003/2004: Erasmus Fellowship, Université Sorbonne Nouvelle Paris III, residence at Maison Heinrich Heine, Cité Internationale Universitaire de Paris
◦ 2003: International Journalists‘ Program Fellowship (IJP e.V.), foreign correspondent at Swedish news agency TT, Stockholm
◦ 2000-2006: JONA Fellowship for young journalists, funded by Konrad-Adenauer-Stiftung
◦ 1996-1997: Congress Bundestag Youth Exchange Fellowship, high school year in South Dakota, USA


Some articles and books are available online. If interested in other texts please send me an email.

Gossip, Women, Film and Chick Flicks, London/New York: Palgrave Macmillan, 2017. (peer reviewed)
Chick Flicks. Film, Feminismus und Erfahrung, Berlin/Hamburg: oa books/tredition, 2016. (peer reviewed) (versioned open access hybrid publication of the edited dissertation, oabooks.de)

Edited Publications
Open Media Studies-Blog | ZfM / Hypotheses (initiator and co-curator, with Alena Strohmaier), 2018–present; in addition to oa books, since 2016.
The Sound of Genre
(co-ed. with Jan-Henrik Bakels, Sarah Greifenstein, Hermann Kappelhoff), Berlin: Vorwerk 8, 2020. [in progress]

Publishing work (hybrid open access publications with oa books)
◦ Sarah-Mai Dang: Chick Flicks. Film, Feminismus und Erfahrung, Berlin/Hamburg: oa books/tredition, 2016.
◦ Roger Odin: Kommunikationsräume. Einführung in die Semiopragmatik (Les espaces de communication – Introduction à la sémiopragmatique), translated and edited by Guido Kirsten, Magali Trautmann, Philipp Blum, and Laura Maria Mücke, Berlin/Hamburg: oa books/tredition, 2019.

Journal Articles
◦ “Forschungsdatenmanagement in der Filmwissenschaft: Arbeitspraktiken und Erkenntnisprozesse“, in: Johannes Pause, Niels-Oliver Walkowski (eds.): „Praktiken des Digitalen“, special edition, Montage AV (2020). (peer reviewed) [forthcoming] [preprint]
◦ “Unknowable Facts and Digital Databases: Reflections on the Women Film Pioneers Project and Women in Film History“, in: Manuel Burghardt, Adelheid Heftberger, Johannes Pause, Niels-Oliver Walkowski, Matthias Zeppelzauer (eds.): Digital Humanities Quarterly, special edition on „Digital Humanities & Film Studies: Analyzing the Modalities of Moving Images“ (2020). (peer reviewed) [forthcoming] [cfp]
“Navigating History: Aesthetics and Appropriation and the Interactive Web Documentary Freedom’s Ring“, in: Florian Mundhenke (ed.): New Cinemas: Journal of Contemporary Film, special edition on i-docs,
17 (1), March 2020,  2135. (peer reviewed), https://doi.org/10.1386/ncin_00002_1
“Collective Collecting: The Syrian Archive and New Challenges of Historiography“ (with Alena Strohmaier), in: VIEW Journal of European Television History and Culture, “Audiovisual Data in Digital Humanities“, 7 (14), 2019, 88–102. (peer reviewed)
◦ “Digital Tools & Big Data. Zu gegenwärtigen Herausforderungen für die Film- und Medienwissenschaft am Beispiel der feministischen Filmgeschichtsschreibung“, in: MEDIENwissenschaft 23, 2018, 142–156. (peer reviewed), doi: 10.17192/ep2018.2-3.7836 [article] [preprint]

Articles in Compendia
◦ “Feministische Filmanalyse“, in: Malte Hagener, Volker Pantenburg (eds.): Handbuch Filmanalyse. Wiesbaden: Springer VS, 2018, 1–19. (peer reviewed), doi: 10.1007/978-3-658-13352-8_16-1 [PDF]
◦ “Feministische Filmtheorie“, in: Britta Hartmann, Ursula von Keitz, Markus Kuhn, Thomas Schick, Michael Wedel (eds.): Handbuch Filmwissenschaft, Stuttgart: Metzler Verlag, 2020. [forthcoming]

Book Chapters
Say Without Knowing. Framing the Challenges of Data Visualizations in Film History, in: Malte Hagener, Yvonne Zimmermann (eds.): Histories of Film History. [in progress]
◦ “Publish Less, Communicate More! Reflecting the Potentials and Challenges of a Hybrid Self-publishing Project“, in: Kathie Gossett, Virginia Kuhn (eds.): The Digital Dissertation: History, Theory, Practice, Ann Arbor: Digital Rhetoric Collaborative/University of Michigan, 2020. (peer reviewed) [submitted] [preprint]
◦ “Inszenierte Abwesenheit – eine Frage der Perspektive? Intersektionalität im Film am Beispiel von
Watermelon Woman“ (with Miriam Akkermann), in: Anke Charton, Björn Dornbuch, Kordula Knaus (eds.): Jahrbuch Musik und Gender, „Intersektionalität und Medialität im gegenwärtigen Musikbetrieb“, Hildesheim/Zürich/New York: Olms, 2020, 119–137. (peer reviewed)

◦ “Wer ist Deutschland? – Kino, Identität, Nation und Fatih Akins Film Gegen die Wand„, in: Martina Hülz, Olaf Kühne, Florian Weber (eds.): Heimat. Ein vielfältiges Konstrukt, Wiesbaden: Springer VS, 2019, 341–354. (peer reviewed)
◦ “’Wie soll man denn Momente festhalten?‘ Toni Erdmann und das Kino“, in: Regina Brückner, Bernhard Groß, Matthias Grotkopp, Eileen Rositzka (eds.): Im Verwandeln der Zeit. Reflexionen über filmische Bilder, Berlin: Vorwerk 8, 2019.
◦ “I object! Kategorisierungsprozesse im gegenwärtigen Woman’s Film“, in: Hermann Kappelhoff, Benjamin Wihstutz (eds.): Geschmack und Öffentlichkeit, Zurich: Diaphanes, 2019, 207–222.
◦ “Un/doing Woman. Zum Verhältnis von Gender und Genre am Beispiel von „Miss Undercover“, in: Thomas Morsch, Hanno Berger (eds.): Prekäre Genres, Marburg: Schüren, 2015, 101–125.
◦ “Emma, Elle & Co. Der gegenwärtige Woman’s Film als ästhetische Erfahrungsmodalität“, in: Jennifer Henke, Magdalena Krakowski, Benjamin Moldenhauer, Oliver Schmid (eds.): Hollywood Reloaded? Das Spiel mit Genrekonventionen nach der Jahrtausendwende, Marburg: Schüren, 2013, 112–127.
◦ “Vielseitige Vorstellungen und womögliche Wahrheiten“, in: Thomas Koebner, Fabienne Liptay, Hermann Kappelhoff, Daniel Illger (eds.): Pedro Almodóvar, Film-Konzepte, no. 9, Munich: Edition Text+Kritik, 2008, 69–82. (peer reviewed)

Journalistic Articles in Magazines and Newspapers
◦ “The Road Leads to Nowhere. Leben, Töten, Sterben – die Schaulust am Horrorfilm“, in: film-dienst, Herbst 2007, n.p.
◦ “2046 – Wong Kar-wai“, in Merkur, February 2007, no. 694, 175–78.
◦ Numerous articles on film, film festivals, culture, local politics in: film-dienst, Lübecker Nachrichten, Tagesspiegel, critic.de, ddp etc., 1999–2008.

Book Reviews
◦ Christine Gledhill, Julia Knight (eds.): Doing Women’s Film History: Reframing Cinemas, Past and Future, in: [rezens.tfm], 2017/1.
◦ Laura Mulvey, Anna Backman Rogers (eds.): Feminisms. Diversity, Difference, and Multiplicity in Contemporary Film Cultures, in:[rezens.tfm], 2017/1.

Blog Posts, Statements, Reports
◦ Numerous blog posts on open access and open science on my website oabooks.de, 2016–present.
◦ Blog posts on the initiated and co-curated blog Open Media Studies | ZfM / Hypotheses, 2018–present.
◦ Statements and reports in: CHANCEN-Newsletter of DIE ZEIT, Wikimedia.de, etc.

Conferences, Workshops, Penal Discussions

Upcoming events
◦ “Open Access in der Medienwissenschaft. Akteur:innen, Chancen, Herausforderungen“, presentation with Dietmar Kammerer, Open-Access-Tage 2020, University/FH Bielefeld, Sep 15-17, 2020.
◦ “Open Access und digital-vernetztes Arbeiten. Erarbeitung einer medienwissenschaftlichen Handreichung“, workshop with SIG Open Media Studies (GfM), Open-Access-Tage 2020, University/FH Bielefeld, Sep 15-17, 2020.

◦ “Film and Media Studies and Gender“, invited presentation, „Gender Media Studies“, MA seminar, Faculty of Social and Cultural Science, European University Viadrina, June 30, 2020.
◦ “Open Access und Open Data – verbindliche Standards für die Wissenschaft”, invited panelist, “Universität und Digitalisierung: Forschung und Lehre unter neuen Vorzeichen?”, series of discussions on the occasion of the centenary of USB Cologne (University and City Library), University of Cologne, October 27, 2020.
◦ “Open Access and Digital Tools“, invited lecture, „Politiken des Digitalen“, workshop, Institute for Media and Cultural Studies, Heinrich Heine University Düsseldorf, June 25, 2020. [postponed to winter semester 2020]
◦ “Digitale Datenbanken und Narrative in der Filmgeschichtsschreibung”, presentation, “Digital History: Konzepte, Methoden und Kritiken digitaler Geschichtswissenschaften”, Göttingen State and University Library, March 16-18, 2020. [postponed to March 1-3, 2021]
◦ “Opening Up Women’s Film History. Sharing and Disseminating Research in the Era of Digitalization”, presentation, Doing Women’s Film & Television History Conference V, Maynooth University, Maynooth, Co. Kildare, Ireland, May 20-22, 2020. [postponed to 2021]

“Marginalisierungen und Ermächtigungen“, round table discussion on mediality and intersectionality in the current music industry on the occasion of theyearbook presenation Musik und Gender 12, June 6, 2020.
Interview by
 Anna Luise Kiss on open access und openness in times of Corona, Film Studies Podcast bling bling, May 20, 2020.
◦ Interview by winnovation on open science and currenct challenges in academia as part of a study for the Austrian Federal Ministry of Education, Science and Research (BMBWF), April 2020.
“Tipping Points: Zum Verhältnis von Freiheit und Restriktion im Urheberrecht“, conference organization, together with the expert committee “Urheberrecht” (copyright) of the Research Society for Music Industry and Music Culture (Gesellschaft für Musikwirtschafts- und Musikkulturforschung), Weizenbaum Institute, Berlin, February 20-21, 2020.
“Technisch.Kritisch.Digital. Interdisziplinäre Explorationen.“,  i.a. poster presentation, Winter School organized by Basel University (i.a. Digital Humanities Lab), Filzbach, Switzerland, January 13-17, 2020.

◦ “Kommunizieren statt Publizieren! Open Access und andere Möglichkeiten der Zugangsgestaltung in der Wissenschaft”, invited lecture, “Medien| Utopien”, lecture series at the Institute of Media Studies at University of Paderborn, November 19, 2019.
“Curatorial Challenges in the Digital Era. Filmographic Data and Film Archives”, 2nd workshop of the DFG Network „New Directions in Film Historiography. Digital Tools and Methods in Film and Media Studies, co-coordinator, with Adelheid Heftberger, November 16.-17, 2019, Federal Archive/German Historical Museum, Berlin.
“Kommunikationsräume (Odin): Vorstellung eines hybriden Open-Access-Publikationsprojekts”, with Guido Kirsten, Laura Katharina Mücke, and Vera Rammelmeyer, book launch and discussion, GfM Conference, Cologne, Sep 25-28, 2019.
◦ Kickoff Meeting of the DFG Network „New Directions in Film Historiography. Digital Tools and Methods in Film and Media Studies“, organizer, July 18-19, 2019, Philipps University Marburg.
◦ “Forschungsdaten in der Filmwissenschaft“, input at the 4th workshop of the SIG Film Studies (GfM), „Denn sie wissen nicht, was sie tun? Methodenfrage(n) in der Filmwissenschaft“, Rheinische Friedrich-Wilhelms-Universität Bonn, May 5, 2019.
Doing Audio-Visual Media 6,„Akteurinnen in der Filmpraxis“, lecture series (organized with Tina Kaiser, funded by the State of Hesse and the Hessen Film and Media Academy, hFMA), Philipps University Marburg, summer term 2019.
“Opening Research Data: Amplification and Reduction within Media Research Practices“, 1st workshop of the GfM scholarly interest group Open Media Studies, organized with Simon David Hirsbrunner, in cooperation with Wikimedia e.V., Berlin, March 21, 2019.
“Gutachtende peer-reviewter Zeitschriften im Fokus“, invited panelist, network meeting of „Mentoring Hessen. Women in Science and Economy“, Goethe-University Frankfurt, Feb 11, 2019.
◦ “Mut zur Lücke! Feministische Filmgeschichte am Beispiel des Films Watermelon Woman„, lecture in the context of the University Explorations (Marburger Hochschulerkundungen) at Philipps University Marburg, Jan 30, 2019.

◦ “Distant Reading – On a Not so ‚Distant‘ Phenomenon”, invited lecture, „Histories of Film History. Materials and Methods”, Philipps University Marburg, Dec 13-15, 2018.
◦ “The Audio-visual Art of Curating: How Practices of Selecting, Structuring, and Exhibiting Shape Our Understanding of History“, lecture, Research in Film and History: New Approaches, Debates and Projects, Universität Bremen, November 29-30, 2018.
◦ “Open Innovation – Open Science: Wo liegen Potentiale und Grenzen offener Wertschöpfungsmodelle für Wirtschaft, Wissenschaft und Gesellschaft?“, invited panelist, annual meeting of the Bavarian Board of Trustees of Stifterverband, November 12, 2018.
◦ “Feministische Filmtheorie und Filmwissenschaft“, Skype lecture, invited via Ring-a-Scientist, Media Day of Humboldt School Kiel, October 30, 2018.
◦ “Methoden digitaler Medienforschung“, invited panelist, organized by „Locating Media“ (Siegen University), GfM Conference, Siegen, September 26- 29, 2018.
◦ “Referentielle Medienpraktiken im Spannungsfeld zwischen technischer Reproduzierbarkeit und urheberrechtlicher Regulation: Probleme, Handlungsfelder, Lösungswege”, workshop participant and organizer, together with the expert committee “Urheberrecht” (copyright) of the Research Society for Music Industry and Music Culture (Gesellschaft für Musikwirtschafts- und Musikkulturforschung), GfM Conference, Siegen, September 26- 29, 2018.
◦ “Towards an Art of Participation – Aesthetics and Ethics in Collaborative Documentary Practices“, workshop participant, NECS Conference, Amsterdam, June 27-29, 2018.
◦ “How to make research accessible to a broader public and explore scholarly publishing: a hybrid open access publishing project“, NECS Post-Conference: Open Media Studies, poster presentation, Hilversum, NL, June 30, 2018.
◦ “Lost & Found: Navigating the Digital Archives“, panel presentation, Doing Women’s Film and Television History IV, “Calling the Shots – Then, Now, and Next“, University of Southampton, May 23-25, 2018.
◦ “Interactive Historiography – Re-enactment as Artistic Research Practice“, panel presentation, i-Docs 2018, University of the West of England’s Digital Cultures Research Centre (DCRC), Bristol, March 21-23, 2018.

“Forschung verbreiten. Neue Veröffentlichungsansätze in der Medienwissenschaft““Caring for the Open. Custodianship, Accessibility“, co-organization of workshop and panel discussion, GfM Conference, Erlangen-Nürnberg, October 7, 2017.
◦ “Dynamic Knowledge: Audiovisual Practices in Digital Scholarship“, panel presentation, Film-Philosophy Conference, Lancaster University, June 4-6, 2017.

◦ “Postfeminism and Film”, invited lecture at the seminar “Contemporary positions of postcolonial and feminist theories“, Freie Universität Berlin, Department of Film Studies, July 13, 2016.
◦ L-Beach Festival, panelist of the discussion on the visibility of women in the public sphere, Oldenburg, April 21-24, 2016.

◦ “Where Do We Go Now? New Directions in Romantic Comedy Scholarship“, presentation, “Gender and Genre, Couples and Culture“, Being Human Festival, King’s College, London, November 22, 2014.
◦ “Gender vor Gericht. Zum Einspruch audiovisueller Populärkultur“, panel presentation, GfM Conference, Marburg, October 3-5, 2014.
◦ “Gender on Trial. The Question of Law and Order in Popular Culture“, panel presentation, NECS Conference, Milano, June 19-21, 2014.
◦ “Yes, we can!“ Zur emanzipatorischen Erfahrungsmodalität des gegenwärtigen Woman’s Film“, presentation at lecture series „Genre and History“, Freie Universität Berlin, May 20, 2014.
◦ “Frauen, Film und Feminismus. Vom Woman’s Film zum Chick Flick“, invited lecture, filmArche, Berlin, May 7, 2014.
◦ “Pretty Women. Zur ästhetischen Erfahrung von gender im Genre“, presentation at the SfB Conference “Prekäre Genres“, Freie Universität Berlin, April 11-12, 2014.

◦ “I object! Kategorisierungsprozesse im gegenwärtigen Woman’s Film“, presentation at the SfB Conference “Geschmack und Öffentlichkeit“ (co-organizer), Deutsche Kinemathek Berlin, December 13-14, 2013.
◦ “Herstories. Ein feministischer Blick in die Filmgeschichte“, invited lecture, UT Connewitz, Leipzig, January 25, 2013.
◦ “Warum Frauen ins Frauenkino gehen“, presentation at the 18th International Bremer Symposium on Film, “Zuschauer? Zwischen Kino und sozialen Netzwerken“, January 17-20, 2013.

◦ “Am I dumb or something? – Chick Flicks und Filmerfahrung“, presentation at the conference “screen strike! Gender, Medien, Kritik“, organized by the SIG “Gender & Media“ of the German Society for Film and Media Studies (GfM), Wien, May 10-12, 2012.
◦ “Critical Theory, Media, and Experience“, presentation at the workshop “Media and Experience. Critical Theory, Phenomenology, Cultural Studies“, organized by Screen Arts and Culture and Communication Studies, University of Michigan, Ann Arbor, USA, April 6, 2012.

◦ “A Match Well Made – A Job Well Done: Gossip as Aesthetic Mode of Sociality“, panel presentation, NECS Conference, London, UK, June 20-23, 2011.
◦ “Emma, Elle & Elizabeth – The Contemporary ‚Woman’s Film’ as Aesthetic Mode of Experience“, panel presentation, „Doing Women’s Film History Conference“, Sunderland, UK, April, 7-9, 2011.
◦ “You are Germany – Nation and Identity and Fatih Akin’s Film Gegen die Wand“, panel presentation, SCMS Conference, New Orleans, USA, March 10-13, 2011.

◦ “Emma, Ally & Co – Der zeitgenössische Woman’s Film“, presenation at the conference “Hollywood reloaded? Das Spiel mit Genrekonventionen nach der Jahrtausendwende”, Bremen University, August 18-19, 2010.
◦ “Weiblichkeit als Bildlichkeit“, presentation at the conference “In Bewegung: Das Verhältnis von Medien, Öffentlichkeit und Geschlecht“, organized by the SIG „Media, Public Sphere, Gender“ of the Germany Society for Communication Studies (DG PuK), Freie Universität Berlin, September 7-9, 2010.
◦ “(Cinematic) possibilities of identity – The Hong Kong-Image in 2046″, presentation at the NECS Graduate Workshop “Empty Spaces – Invisible Structures“, Istanbul, June 20, 2010.
◦ “Du bist Deutschland – Nation und Identität und Fatih Akins Film Gegen die Wand“, presentation at the lecture series on contemporary German cinema, Freie Universität Berlin, May 7, 2010.

◦ “Tango in Wort, Bild und Bewegung“, presentation (with Sarah Greifenstein) at “Long Night of the Sciences“, Freie Universität Berlin, June 13, 2009.
◦ Introduction to Pola Negri at the screening of Mme Dubarry (1919), Kino Arsenal, Berlin, June 9, 2009.

Teaching Experience

Teaching Certificates
◦ Completion of the certificate program „Academic Teaching Bavaria“ (2017/2018)
◦ Completion of the certificate program „Digital Resources in Academic Teaching” of Bayreuth University (2018)

Courses Taught

Philipps University Marburg, Department of Media Studies
(Media Studies (BA), Art, Music, and Media (BA), Media and Cultural Practices (MA), Gender Studies (BA))
SS 2020 Research Data in Film and Media Studies (BA)
SS 2020 Data Visualizations (BA)
SS 2020 Concepts of Media Studies (RDM/Differences) (BA, lectures)
WS 2019/2020 Race, gender and technologies (BA, proseminar)
WS 2019/2020 Digitalization and ‚openness‘ in media studies (MA, seminar)
SS 2019 Database and Narrative (proseminar)
SS 2019 Open Science: Openness and access in Scholarship (BA, seminar)
WS 2018/19 Digital film historiography (BA, proseminar)
WS 2018/19 Distant reading vs. close reading (MA, seminar)
WS 2018/19 Feminist film historiography (BA, seminar)
SS 2018 Science Communication (proseminar)

Bayreuth University, Department of Media Studies
(Media Studies and Media Practice (BA), Theater and Media (BA), Literature and Media (MA), Media Culture and Media Industries (MA))
WS 2017/18 Collecting, preserving, exhibiting – the analysis of the archive (MA, seminar)
WS 2017/18 Introduction into studying media studies (BA, lecture + proseminar)

SS 2017 Web publications: Introduction into digital media culture (BA)
SS 2017 Introduction into film analysis (BA, proseminar)
SS 2017 Tutoring of studying media studies (BA, MA)
SS 2017 Herstory: Doing feminist film history (MA, seminar)
SS 2017 On the meaning and aesthetics of digital research communication (MA, seminar)
WS 2016/17 Introduction into media studies (BA, proseminar)
WS 2016/17 Introduction into studying media studies (BA, lecture + proseminar)

Humboldt University of Berlin, Center for transdisciplinary Gender Studies (ZtG)
WS 2013/14 Chick flicks, feminism and mass media (seminar)

University of Michigan, Department of German Studies
Winter 2012 Elementary German (GER 101)
Herbst 2011 Elementary German (GER 101)

Freie Universität Berlin, Department of Film Studies
WS 2012/13 Introduction into film analysis (proseminar)
SS 2011 Gossip as representation of society (proseminar)
WS 2010/11 Introduction into film analysis (proseminar)
SS 2010 Emma, Elizabeth & Co – heroines in cinema (proseminar)
WS 2009/10 Introduction into film analysis (proseminar)
SS 2009 Introduction into film history II (proseminar)
WS 2008/09 Introduction into film history I (proseminar)