Anton Kaes

Anton Kaes

Professor of German and Film & Media

tkaes@berkeley.edu

Office: 5415 Dwinelle

Phone: (510) 642-2009

After his 1973 Ph.D. from Stanford University, Professor Kaes taught Comparative Literature and Film at the University of California at Irvine, serving as Director of Comparative Literature from 1978 to 1981. In Berkeley since 1981, he was Director of the Film Studies Program from 1991-98 and Chair of the German Department from 2001-2006. He received a Distinguished Teaching Award in the Humanities at Berkeley in 2010 and is the recipient of a Rockefeller Foundation Humnities Research Grant (1978), an Alexander von Humboldt Foundation Fellowhip (1984/85; 1986/87); a Guggenheim Fellowship (1989/90), an NEH Research Fellowship, a UC President’s Research Fellowship (1995), and the Alexander von Humboldt Research Prize for 2005/06. He was a Scholar in Residence at the Getty Center for Art History and the Humanities in 1989/90, at the Rockefeller Center at Bellagio in 1998, at the Zentrum für Literaturwissenschaft in Berlin in 2000, and at the IFK (International Research Center for Cultural Studies) in Vienna in 2001. Visiting Professor at the Australian National University in Canberra (1995), Harvard University (1999), and Tel Aviv University (2008). His most recent book on the impact of World War I on the cinema of the Weimar Republic, “Shell Shock Cinema: Weimar Culture and the Wounds of War,” was published by Princeton University Press in 2009 and was awarded the MLA Scaglione Prize for “outstanding scholarly work” in 2011 and the GSA/DAAD book prize in 2010. An expanded German version of the 2007 sourcebook “Germany in Transit: Nation and Migration” (co-edited with Deniz Göktürk) appeared in 2010 under the title “Transit Deutschland: Debatten zu Nation und Migration.” He is currently at work on a book about the emergence of German cinema; another project examines the “double identity” of German-Jewish German filmmakers in Hollywood in the 1930s and 40s. He also works on contemporary documentary film and theory.

Publications

Books
  • Expressionismus in Amerika. Rezeption und Innovation. Tübingen: Max Niemeyer Verlag, 1975. 162pp.
  • Literatur für viele. Studien zur Trivialliteratur und literarischen Massenkommunikation. Co-edited with Bernhard Zimmermann. Göttingen: Vandenhoeck & Ruprecht, 1975. 203pp.
  • Kino-Debatte. Texte zum Verhältnis von Literatur und Film 1909-1929. Edited with introduction and bibliography. Tübingen: Max Niemeyer Verlag, 1978; Munich: Deutscher Taschenbuchverlag, 1978. 200pp.
  • Probleme der Moderne. Studien zur deutschen Literatur von Nietzsche bis Brecht.Festschrift für Walter H. Sokel. Co-edited with Benjamin Bennett and William J. Lillyman. Tübingen: Max Niemeyer Verlag, 1983. 498pp.
  • Weimarer Republik. Texte und Dokumente zur Deutschen Literatur 1918-1933. Edited with introduction, notes, and commentaries. Stuttgart: J.B. Metzler Verlag, 1983. (2nd edition, 1994). 762pp.
  • Deutschlandbilder. Die Wiederkehr der Geschichte als Film. Munich: Edition Text + Kritik, 1987. 264pp.
  • From ‘Hitler’ to ‘Heimat’: The Return of History as Film. Cambridge, Mass.: Harvard University Press, 1989. (Paperback edition, 1992). 273pp.
  • Geschichte des deutschen Films. Co-edited with Wolfgang Jacobsen and Hans Helmut Prinzler. Stuttgart: J.B. Metzler, 1993.. (2nd edition, 2005). 596pp.
  • The Weimar Republic Sourcebook. Co-edited with Martin Jay and Edward Dimendberg. Berkeley/Los Angeles: The University of California Press, 1994. (Paperback edition, 1995). 806pp.
  • M. London: British Film Institute, 2000. (2nd edition 2001). 88pp.
  • A New History of German Literature. Co-edited with David Wellbery, Judith Ryan, Hans Ulrich Gumbrecht, Joseph Leo Koerner, Dorothea von Mücke. Cambridge, Mass.: Harvard University Press, 2004. 1004pp.
  • Germany in Transit: Nation and Migration, 1955-2005. Co-edited with Deniz Göktürk and David Gramling. Berkeley: University of California Press, 2007. 614pp.
  • Shell Shock Cinema: Weimar Culture and the Wounds of War. Princeton, N.J.: Princeton University Press, 2009. 312pp. (Paperback Nov. 2011)
  • Transit Deutschland: Debatten zu Nation und Migration. Co-edited with Deniz Göktürk, David Gramling, Andreas Langenohl. Konstanz: Konstanz University Press, 2011. 878pp.
Articles
  • “Teaching Literature in Translation. An Experiment at the Introductory Level.” Modern Language Journal (May 1972): 306-310. (Co-authored with Elena Offstein)
  • “Brecht und der Amerikanismus im Theater der 20er Jahre: Unliterarische Tradition und Publikumsbezug.” Sprache im technischen Zeitalter no. 56 (1975): 359-371.
  • “Brecht und Amerikanismus. Zum Verhältnis von Theater und Massenkultur in den zwanziger Jahren.” Jahrbuch für Internationale Germanistik (1977): 439-449.
  • “Dokumentarismus – Fiktionalität – Politik. Anmerkungen zum deutschen und amerikanischen Dokumentartheater der 20er und 30er Jahre.” In Theater und Drama in Amerika. Aspekte und Interpretationen. Edited by Edgar Lohner and Rudolf Haas. Berlin: Erich Schmidt Verlag, 1978, pp. 96- 115.
  • “Zwischen Avantgarde und Massenkultur: Die Anfänge der amerikanischen Theaterbewegung.” In Theater und Drama in Amerika. Aspekte und Interpretationen. Edited by Edgar Lohner and Rudolf Haas. Berlin: Erich Schmidt Verlag, 1978, pp. 44-66.
  • “Das Ende der Avantgarde? Tendenzen der gegenwärtigen amerikanischen Erzählprosa.” In Die Literatur der siebziger Jahre. Edited by Helmut Kreuzer. Göttingen: Vandenhoeck & Ruprecht, 1979, pp. 13-36.
  • “The Expressionist Vision in Theater and Cinema.” In Expressionism Reconsidered. Edited by Gertrud B. Pickar and Karl E. Webb. Munich: Fink Verlag, 1979, pp. 80-98.
  • “Verfremdung als Verfahren. Dada und Film.” In Dada – Sinn oder Unsinn? Twelfth Amherst German Colloquium. Edited by Wolfgang Paulsen. Bern: Francke, 1982, pp. 71-83.
  • “Probleme einer literarischen Funktionsgeschichte. Zum Publikumsbegriff der Expressionisten.” In Erkennen und Deuten. Gedenkschrift für Edgar Lohner. Edited by Walter Lohnes and Martha Woodmansee. Berlin: Erich Schmidt Verlag, 1983, pp. 243-253.
  • “Porträt Martin Walser. Ein Gespräch mit Anton Kaes.” German Quarterly no. 57 (Summer 1984): 432-449.
  • “Mass Culture and Modernity: Notes Toward a Social History of Early American and German Cinema.” In America and the Germans: An Assessment of a Three-Hundred-Year History, vol. 2. Edited by Frank Trommler and Joseph McVeigh. Philadelphia: University of Pennsylvania Press, 1985, pp. 317-331.
  • “Über den nomadischen Umgang mit Geschichte. Aspekte zu Alexander Kluges Film Die Patriotin.” Text + Kritik no. 85/86 (January 1985): 132-144.
  • “Distanced Observers: Perspectives on the New German Cinema.” Quarterly Review of Film Studies no. 10 (Summer 1985): 238-245.
  • “Tucholsky und die Deutschen. Anmerkungen zu Deutschland, Deutschland über alles.” Text + Kritik no. 29 (June 1985): 12-23.
  • “History, Fiction, Memory: Fassbinder’s The Marriage of Maria Braun.” Persistence of Vision no. 2 (Fall 1985): 52-60.
  • “Geschichten aus der Geschichte: Zur Filmchronik Heimat von Edgar Reitz.” Augen-Blick. Marburger Hefte zur Medienwissenschaft no. 1/2 (December 1985): 38-51.
  • “History, fiction, memory: Fassbinder’s The Marriage of Maria Braun (1979).” In German Film and Literature: Adaptations and Transformations. Edited by Eric Rentschler. New York/London: Methuen, 1986, pp. 276-288.
  • “Literatur und nationale Identität. Kontroversen um Goethe 1945-49.” In Kontroversen, alte und neue. Akten des V. Internationalen Germanistenkongresses, vol. X. Edited by Albrecht Schöne. Tübingen: Max Niemeyer Verlag, 1986, pp. 199-206.
  • “Massenkultur und Modernität. Notizen zu einer Sozialgeschichte des frühen amerikanischen und deutschen Films.” In Amerika und die Deutschen. Bestandsaufnahme einer 300jährigen Geschichte. Edited by Frank Trommler. Opladen: Westdeutscher Verlag, 1986, pp. 651-665.
  • “The Debate about Cinema: Charting a Controversy (1909-1929).” New German Critique no. 40 (Winter 1987): 7-33.
  • “Vom Expressionismus zum Exil.” In Geschichte der deutschen Literatur. Vol. 3. Edited by Ehrhard Bahr. Tübingen: Francke Verlag, 1988, pp. 233-325.
  • “Die ökonomische Dimension der Literatur: Zum Strukturwandel der Institution Literatur in der Inflationszeit 1918-1923.” In Konsequenzen der Inflation. Edited by Gerald D. Feldman et al. Berlin: Colloquium Verlag, 1989, pp. 307-329.
  • “Is there a German Studies Theory?” German Studies in the USA: A Critique of “Germanistik”? Proceedings of a DAAD Conference in Scottsdale, Arizona. Tempe: Consortium for Atlantic Studies, 1989, pp. 35-38.
  • “New Historicism and the Study of German Literature.” German Quarterly no. 62 (May 1989): 210-219.
  • “Hitler—and History—on Film.” Washington Post, November 19, 1989. 26. “New Historicism: Literaturgeschichte im Zeichen der Postmoderne?” In Geschichte als Literatur: Formen und Grenzen der Repräsentation von Vergangenheit. Edited by Hartmut Eggert et al. Stuttgart: Metzler Verlag, 1990, pp. 56-66.
  • “History and Film: Public Memory in the Age of Electronic Dissemination.” History and Memory no. 2 (Fall 1990): 111-129.
  • “Silent Cinema.” Monatshefte no. 82 (Fall 1990): 246-256.
  • “Aspekte einer neuen deutschen Filmgeschichte.” In Medien/Kultur. Edited by Knut Hickethier and Siegfried Zielinski. Berlin: Wissenschaftsverlag Volker Spiess, 1991, pp. 329-337.
  • “The Staging of Memory: Rewriting the Past in Contemporary German Cinema.” In Fictions of Culture: Essays in Honor of Walter H. Sokel. Edited by Steven Taubeneck. New York: Peter Lang, 1991, pp. 321-342.
  • “Das Unbehagen an der Moderne: Darstellungen des Fremden im Film der Weimarer Republik.” In Akten des VIII. Internationalen Germanisten-Kongresses Tokyo 1990, vol. 9. Munich: Iudicium Verlag, 1992, pp. 120-127.
  • “Filmgeschichte als Kulturgeschichte: Reflexionen zum Kino der Weimarer Republik.” In Filmkultur zur Zeit der Weimarer Republik. Edited by Uli Jung and Walter Schatzberg. Munich/New York/Paris: K. G. Saur, 1992, pp. 54-64.
  • “History and Film: Public Memory in the Age of Electronic Dissemination.” In From the Past: The Historiography of German Cinema and Television. Edited by Bruce A. Murray and Christopher J. Wickham, Carbondale: Southern Illinois University Press, 1992, pp. 308-326.
  • “Holocaust and the End of History: Reflections on Syberberg.” In Probing the Limits of Representation: Nazism and the ‘Final Solution’. Edited by Saul Friedländer. Cambridge, Mass.: Harvard University Press 1992, pp. 206-222.
  • “Modernity and its Discontents: Notes on Alterity in Weimar Cinema.” Qui Parle no. 5 (Spring/Summer 1992): 135-142.
  • “The New Historicism: Writing Literary History in the Postmodern Era.” Monatshefte no 84 (Summer 1992): 148-58.
  • “Rückkehr zur Geschichtlichkeit.” Frankfurter Rundschau, November 3, 1992.
  • “The Cold Gaze: Notes on Mobilization and Modernity.” New German Critique no. 59 (Spring/Summer 1993): 105-117.
  • “Der Film in der Weimarer Republik.” In Geschichte des deutschen Films. Edited by Wolfgang Jacobsen, Anton Kaes, and Hans Helmut Prinzler. Stuttgart: Metzler, 1993, pp. 39-100.
  • “Machine Aesthetics and the Dialectics of Modernity: On Fritz Lang’s Metropolis.” Artistic Exchange: Akten des XXVII. Internationalen Kongresses für Kunstgeschichte. Berlin: Akademie Verlag, 1993, pp. 165-177.
  • “Metropolis: City, Cinema, Modernity.” In Expressionist Utopias. Edited by Timothy O. Benson. Los Angeles: LACMA, 1993, pp. 146-165. (Reprinted by the University of California Press, Berkeley, 2001).
  • “Weimarer Republik.” In Literatur-Lexikon: Begriffe, Realien, Methoden, vol. 14. Edited by Volker Meid. Gütersloh: Bertelsmann, 1993, pp. 477-494.
  • “Cinema and Modernity: On Fritz Lang’s Metropolis.” In High and Low Cultures: German Attempts at Mediation. Edited by Jost Hermand and Reinhod Grimm. Madison: University of Wisconsin Press, 1994, pp. 19-35.
  • “Schreiben und Lesen in der Weimarer Republik.” In Sozialgeschichte der deutschen Literatur: Literatur der Weimarer Republik 1918-1933. Edited by Bernd Weyergraf. Munich: Hanser, 1995, pp. 38-64.
  • “German Cultural History and the Study of Film: Ten Theses and a Postscript.” New German Critique no. 65 (Spring/Summer 1995): 47-58.
  • “What To Do With Germany? American Debates about the Future of Germany 1942-1947.” German Politics and Society no. 13 (Fall 1995): 130-141.
  • “How German Is It? Probleme beim Schreiben einer nationalen Filmgeschichte.” Filmkunst, Special Issue: National Cinema/European Cinema, no. 148 (Winter 1995): 54-63.
  • “German Cinema 1960-1990.” In A History of the Cinema, 1895-1995 Edited by Geoffrey Nowell-Smith. Oxford: Oxford University Press, 1996, pp. 614-626.
  • “Holocaust and the End of History: Postmodern Historiography in Cinema.” In Perspectives on German Cinema. Edited by Terri Ginsberg and Kirsten Moana Thompson. New York: G.K. Hall, 1996, pp. 133-148
  • “Rainer Werner Fassbinder.” In A History of the Cinema, 1895-1995. Edited by Geoffrey Nowell-Smith. Oxford: Oxford University Press, 1996, pp. 618-619.
  • “Sites of Desire: The Weimar Street Film.” In Film Architecture: Set Designs from Metropolis to Blade Runner. Edited by Dietrich Neumann. Munich/New York: Prestel, 1996, pp. 26-32. (Also in German translation: “Schauplätze des Verlanges: Zum Straßenfilm in der Weimarer Republik”).
  • “Werner Herzog.” In A History of the Cinema, 1895-1995. Edited by Geoffrey Nowell-Smith. Oxford: Oxford University Press, 1996, pp. 620-621.
  • “Wim Wenders.” In A History of the Cinema, 1895-1995. Edited by Geoffrey Nowell-Smith. Oxford: Oxford University Press, 1996, pp. 624-625.
  • “1979–the American Television Series Holocaust Is Shown in West Germany: History, Memory, and Film.” In The Yale Handbook of Jewish Writing in Germany. Edited by Sander L. Gilman and Jack Zipes. New Haven: Yale University Press, 1997, pp. 783-790.
  • “Media and Nations: Global Communication and Cultural Identity.” In Cultural Dialogue and Misreading. Edited by Mabel Lee and Meng Hua. Honolulu: University of Hawaii Press, 1997, pp. 299-303.
  • “Cinema and Migration.” In Kolnoa: Studies in Cinema and Television, no. 1, Tel Aviv University. (1998): 101-115.
  • “Der Neue Deutsche Film.” In Internationale Filmgeschichte. Edited by Hans Michael Bock. Stuttgart: Metzler, 1998, pp. 520-545.
  • “Has the Picture Started Yet?” In Von der Nähe der Bilder. Edited by Wolfgang Jacobsen. Berlin: Filme Verlag, 1998, pp. 91-95.
  • “Leaving Home: Film, Migration, and the Urban Experience.” New German Critique no. 74 (Spring/Summer 1998): 179-192.
  • “Die nationale Dimension in der Filmgeschichtsschreibung.” In Literaturforschung heute. Edited by Eckart Goebel and Wolfgang Klein. Berlin: Akademie-Verlag, 1999, pp. 193-200.
  • “Das bewegte Gesicht: Zur Großaufnahme im Film.” In Gesichter der Weimarer Republik. Eine physiognomische Kulturgeschichte. Edited by Claudia Schmölders and Sander Gilman. Oldenburg: Dumont, 2000, pp. 156-174.
  • “The Lure of America: Film History and National Identity.” In History and Literature. Essays in Honor of Karl S. Guthke. Edited by William Collins Donahue and Scott Denham. Tübingen: Stauffenburg Verlag, 2000, pp. 251-258.
  • “War — Film — Trauma.” In Modernität und Trauma. Edited by Inka Mülder-Bach. Vienna: Edition Parabasen, 2000, pp. 121-130.
  • “Der Mythos des Deutschen in Fritz Langs Nibelungen-Film.” In Deutsche Meister–böse Geister? Nationale Selbstfindung in der Musik. Edited by Hermann Danuser and Herfried Münckler. Schliengen: Edition Argus, 2001, pp. 326-343. [A shortened version was reprinted in Filmgeschichte no. 15 (September 2001): 43-50.]
  • “Erinnerung und nationale Identität: Der deutsche Film nach 1962.” In Die USA und Deutschland im Zeitalter des Kalten Krieges 1945-1990, Ein Handbuch, vol. 2. Edited by Detlef Junker. Stuttgart: Deutsche Verlagsanstalt, 2001, pp. 538-547.
  • “Das Kino und die Massen.” In Masse und Medium. Verschiebungen in der Ordnung des Wissens und der Ort der Literatur 1800/2000. Edited by Inge Münz-Koenen and Wolfgang Schäffner. Berlin: Akademie Verlag, 2002, pp. 170-183.
  • “Siegfried—A German Film Star. Performing the Nation in Lang’s Nibelungen Film.” In The German Cinema Book. Edited by Tim Bergfelder, Erica Carter, and Deniz Göktürk. London: British Film Institute, 2002, pp. 63-70. [A slightly different version appeared in L’Uomo Visibile/The Visible Man, edited by Laura Vichi. VIII International Film Studies Conference. Udine: Forum, 2001, pp. 385-394.]
  • “Schlachtfelder im Kino und die Krise der Repräsentation.” In Schlachtfelder: Codierung von Gewalt im medialen Wandel. Edited by Steffen Martus, Marina Münckler, Werner Röcke. Berlin: Akademie Verlag, 2003, pp. 117-128.
  • “Shell Shock: Krieg und Trauma im expressionistischen Film.” In Der (im-) perfekte Mensch: Metamorphosen von Normalität und Abweichung. Edited by Petra Lutz, et al. Cologne: Böhlau, 2003, pp. 129-141.
  • Introduction, “German Exile Cinema in Hollywood. Special Issue.” Co-authored with Gerd Gemünden. New German Critique no. 89 (Spring/Summer 2003): 3-8.
  • “A Stranger in the House: Fritz Lang’s Fury and the Cinema of Exile.” New German Critique no. 89 (Spring/Summer 2003): 33-58.
  • “April 1921. A German Film Introduces Americans to a New Aesthetic: Cinema and Expressionism.” In A New History of German Literature. Edited by David Wellbery, Judith Ryan, Hans Ulrich Gumbrecht, Anton Kaes, Joseph Leo Koerner, Dorothea von Mücke. Cambridge, Mass.: Harvard University Press, 2004, pp. 718-723.
  • “Das Unsichtbare im Film: Zu Fritz Langs M.” In The Many Faces of German: Transformation in the Study of German History and Culture. A Festschrift for Frank Trommler. Edited by John McCarthy. New York/Oxford: Berghahn Books, 2004, pp. 75-85. // Slightly different version in: Electric Laokoon: Zeichen und Medien, von der Lochkarte zur Grammatologie, ed. By Michael Franz, et al., Berlin: Akademie-Verlag, 2007, pp. 172-181.
  • “New German Cinema as National Cinema.” In The United States and Germany in the Era of the Cold War. A Handbook, vol. 2. Edited by Detlef Junker. New York: Cambridge University Press, 2004, pp. 356-364.
  • “Weimar Cinema: The Predicament of Modernity.” In European Cinema. Edited by Elizabeth Ezra. Oxford: Oxford University Press, 2004, pp. 59-77.
  • “Urban Vision and Surveillance: Notes on a Moment in Karl Grune’s Die Strasse.” German Politics & Society no. 74 (Spring 2005): 80-87.
  • “The Cabinet of Dr. Caligari: Expressionism and Cinema.” In Masterpieces of Modernist Cinema. Edited by Ted Perry. Bloomington: Indiana University Press, 2006, pp. 41-59.
  • “Movies and Masses.” In Crowds. Edited by Jeffrey T. Schnapp and Matthew Tiews. Stanford: Stanford University Press, 2006, pp. 41-59, 149-157.
  • “Unterhaltung: Populärkultur und Film.” Co-authored with Edward Dimendberg. In: Wettlauf um die Moderne: Die USA und Deutschland 1890 bis heute. Edited by Christof Mauch and Krian Klaus Patel. Munich: Pantheon 2008, pp. 331-361.
  • 79b. “Film and Television.” Co-authored with Edward Dimendberg. In: The United States and Germany During the Twentieth Century: Competition and Convergence. Edited by Christof Mauch and Kiran Klaus Patel. Cambridge: Cambridge University Press, 2010, pp. 194-210. (Expanded and revised version of 79a).
  • “The Phantasm of the Apocalypse: Metropolis and Weimar Modernity.” In: Noir Urbanisms: Dystopic Images of the Modern City. Edited by Gyan Prakash. Princeton: Princeton University Press, 2010, pp. 17-30.
  • “The Return of the Undead: Weimar Cinema and the Great War.” In: Weimar Publics/Weimar Subjects: Rethinking the Political Culture of Germany in the 1920s. Edited by Kathleen Canning, Kerstin Barndt, and Kristin McGuire. New York and Oxford: Berghahn Books, 2010, pp. 31-41.
  • “Zwischen Parodie und Phantasmagorie: Das ‘Paradies’ in Werner Herzogs Fata Morgana.” In: Paradies: Topografien der Sehnsucht. Edited by Claudia Benthin and Manuela Gerlof. Cologne, Weimar, Vienna: Böhlau 2010, pp. 231-248.
  • “Vorwort.” In: Fritz Lang—”M-Eine Stadt sucht einen Mörder”: Texte und Kontexte. Edited by Christoph Areither and Urs Büttner. Würzburg: Königshausen und Neumann 2010, pp. 7-8.
  • 84. “Mutter Krausens Fahrt ins Glück.” In: Le Giornate Del Cinema Muto Catalogue 2010. Pordenone, pp. 103-104.
  • 85. “Requiem for a Lost Planet: Notes on Werner Herzog’s Fata Morgana.” In: Just Images: Ethics and the Cinematic, Edited by Boaz Hagin, Sandra Meiri, Raz Yosef & Anat Zanger, Newcastle upon Tyne: Cambridge Scholars Publishing 2011, pp. 94-104.
  • “Illusions and Delusions.” In: 3 Silent Classics by Josef von Sternberg, New York: Criterion, 2010, pp. 19 -25
  • Asphalt.” In: Le Giornate Del Cinema Muto Catalogue 2011, Pordenone, in press.
  • “Migration, Mobilität, Medien; Drei Stichpunkte zur US-Germanistik im Zeichen der Globalisierung.” In: Publikationen der Internationalen Vereinigung für Germanistik, vol. 1, Die Zukunft der Germanistik, ed. by Miroslawas Czarnecka et al, in press.
  • “Von der Ziffer zur Vision: Zu Hugo von Hofmannsthals Filmtheorie.“ In: Publikationen der Internationalen Vereinigung für Germanistik, vol. 8, Film und visuelle Medien, ed. by Miroslawas Czarnecka et al, in press.
  • “29 November 1923: Karl Grune Die Straße Inaugurates ‘Street Film’, Foreshadows Film Noir.” In: A New History of German Cinema, ed. Jennifer M. Kapczynski and Michael D. Richardson. Rochester, NY: Camden House, in press.
  • “Fata Morgana.” In: Neuer Deutscher Film 1962 – 1985. Edited by Norbert Grob, Eric Rentschler, Hans Helmut Prinzler. Stuttgart: Reclam, in press.
  • “Siegfried Kracauer: Film Historian in Exile.” In: Escape to Life: German Exiles in New York. Edited by Sigrid Weigel and Eckhart Goebel. New York: De Gruyter Verlag, in press.

Recent Courses

German-Jewish Encounters in German, American, and Israeli Cinema; Media Theory: Benjamin and Kracauer; Cinema of Crisis, 1929-1936; German Exiles and Film Noir; The Essay Film

Research Areas

Modernism/modernity; Weimar cinema; trauma and memory; film history; contemporary cultural theory