جستجوی استاد راهنمای دانشگاهی

Barbara Mittlerمشاهده پروفایل

استاد

• Chinese Cultural Studies
• Transcultural Studies
• Cultural Memory
• +۳ مورد دیگر

Prof. Dr. Barbara Mittler is Professor of Sinology at Heidelberg University and founding co-director of the Heidelberg Centre for Transcultural Studies (CATS) and the Cluster of Excellence 'Asia and Europe in a Global Context.' Her research explores Chinese cultural policy, print media, musicology, visual culture, and transcultural studies. Mittler's scholarly contributions include groundbreaking work on Cultural Revolution culture, early Chinese print media (particularly women's magazines), and the transcultural flows of cultural production. Her current projects examine Mao as a global icon and comparative studies of Asian 'fathers of the nation.' Her publication record demonstrates consistent focus on cultural transmission mechanisms, with recent research developing transcultural frameworks for understanding cultural exchange and historical analysis. Publications reflect an interdisciplinary approach combining visual analysis, media studies, and historical methodology. Mittler has received numerous honors including the Fairbank Prize, Heinz-Maier-Leibnitz Prize, and memberships in the Leopoldina and Heidelberg Academy of Sciences. She leads major initiatives like the China-Schul-Akademie developing educational materials about China for German schools.

Enrique Sánchez Lanschمشاهده پروفایل

استاد

• Documentary filmmaking
• Music visualization
• Media dramaturgy
• +۳ مورد دیگر

Enrique Sánchez Lansch is a Professor of Media Dramaturgy at the Institute for Music and Media at Robert Schumann University of Düsseldorf, appointed in 2018. Born in Gijón, northern Spain, and raised in Cologne, he has established himself as a prominent documentary filmmaker with a strong focus on music-related subjects. His educational background includes studies in music with a focus on singing, Romance languages, philosophy, and German studies. He completed his master's thesis on adaptation of literature into music films. After gaining professional experience in fictional series production, he pursued further studies in film and screenwriting at Columbia University and UCLA. Sánchez Lansch's research and creative interests center on the intersection of music and visual media. His work explores how musical experiences can be effectively translated to film, examining the relationship between sound and image. He has particular expertise in documenting musical institutions, historical contexts of music, and the educational aspects of musical performance. His approach combines rigorous historical research with innovative visual storytelling techniques that respect the integrity of musical performance while creating compelling cinematic narratives. His filmography reveals a consistent focus on music documentaries that bridge cultural and historical contexts. Early works focused on major musical institutions and figures, while more recent projects have expanded to examine the relationship between music and broader social, political, and cultural phenomena. His films consistently demonstrate a sophisticated understanding of both musical content and cinematic storytelling. His notable awards include: German Film Award German Documentary Film Award Bavarian Film Award German Critics' Award German Kinogilde Award Franz Hofer Prize Best Documentary Film at Los Angeles Latino International Film Festival Best Documentary Film at SEMINCI Festival de Valladolid Diapason d'Or Emmy nomination for "A Celebration for Gershwin" Sánchez Lansch has served as a mentor to young filmmakers, notably curating and presenting music short films by young talents for the Beethovenfest Bonn from 2006 to 2013. His professional activities extend beyond filmmaking to include teaching at institutions such as the dffb (German Film and Television Academy Berlin) and his current professorship at Robert Schumann University. He is an active member of both the German Film Academy and the European Film Academy, contributing to the broader film community through these organizations. As Professor of Media Dramaturgy, Sánchez Lansch contributes to the academic framework of the Institute for Music and Media, bringing his extensive professional experience to bear on the education of future media creators. His work bridges the gap between academic study and professional practice in the field of music-related visual media.

• Comparative Literature
• Romance Literature
• Literary Anthropology
• +۶ مورد دیگر

Irene Albers is a full Professor at Free University of Berlin's Department of Philosophy and Humanities, holding dual appointments at the Peter Szondi Institute for General and Comparative Literature and Institute for Romance Philology since 2004. She chairs both the Examination Board and Doctoral Committee for General and Comparative Literature, serves as Trustee of Studienstiftung des deutschen Volkes since 2004/05, and has been Principal Investigator for the Friedrich-Schlegel Graduate School for Literary Studies and Cluster Languages of Emotion since 2007. Her research bridges comparative literature, anthropology, and visual culture with institutional leadership spanning editorial projects and international conferences. Her educational background includes: Born in Bremen (1967) Romance Studies, Philosophy, and German Studies at Universities of Tübingen, Tours, and Konstanz M.A. from University of Konstanz (1993) Ph.D. from University of Konstanz (1999) on literature and photography in Émile Zola, Proust, and Claude Simon Albers' core research examines literary anthropology through colonial/postcolonial lenses, focusing on French literary engagement with Africa, surrealism, and literature-photography intersections. She pioneered studies on Michel Leiris' ethnological poetics and Claude Simon's photographic techniques, extending to historical emotion research (anatomy of affects, body language) and romance novella traditions. Her work consistently challenges Eurocentric literary canons through primitivism critique and heteronomy aesthetics, emphasizing textual restitution and cultural reclamation. Recent publications (2018-2025) reveal a sharp turn toward colonial restitution ethics, particularly in oral literature provenance. Articles increasingly analyze literature as colonial loot, connecting French modernism with African/Caribbean contexts through collaborative projects with anthropologists like Eléonore Devevey. This trajectory builds from earlier surrealist studies to concrete frameworks for decolonizing literary scholarship, spotlighting institutional complicity in cultural appropriation while advancing symmetrized modernity revisions. Scientific awards include: Senior Fellow and Prize Winner of the Zukunftskolleg, University of Konstanz (2009) Albers supervises master's and doctoral students through dedicated AVL colloquia while securing major research funding as Principal Investigator for Friedrich-Schlegel Graduate School (2007-present) and Cluster Languages of Emotion (2007-2012). Her current DFG-funded project 'Literature as Colonial Loot?' with Andreas Schmid pioneers philological provenance research. Earlier, she contributed to Collaborative Research Center 511 'Literature and Anthropology' (Konstanz, 1999-2002) and DFG-funded conferences on Claude Simon. She leads the DramaNet research project and co-edits the 'machina' series at transcript Verlag since 2010. As board member (2007-2009) and deputy (2008-2012) of Cluster Languages of Emotion, she coordinates Area D 'Cultural Codings of Emotions'. Her Zukunftskolleg fellowship (2012-2013) and Marcel Proust Society collaborations underscore sustained engagement with literary anthropology networks.

• African theatre and performing arts
• British drama since 1890
• Shakespeare in performance
• +۵ مورد دیگر

Dr. Christine Matzke is a Lecturer in English Literature at the University of Bayreuth's Faculty of Languages and Literatures. She joined in 2011 after teaching at Goethe-University Frankfurt and Humboldt-Universität Berlin. Her research focuses on African theatre (especially Eritrean), postcolonial crime fiction, and medical humanities. She has held editorial roles for African Theatre and Matatu , and is active in academic societies like AfTA and IFTR. Her academic journey includes a PhD from the University of Leeds (2003) and studies at Goethe-University and Queen Mary, University of London. She has authored/co-edited volumes on African theatre history, crime fiction, and diaspora studies. Recent works include entries in Kindlers Literatur Lexikon and co-editing African Theatre 19: Opera & Music Theatre (2020). Research interests span Eritrean performing arts, Shakespeare adaptations, and transnational cultural studies. She collaborates internationally on projects like analyzing a 1960s German-Nigerian TV production. Her publications reflect interdisciplinary engagement with theatre historiography, colonial legacies, and performance in conflict zones.

• Computational Humanities
• Music Information Retrieval
• Audio Analysis
• +۷ مورد دیگر

Christof Weiß is a Professor for Computational Humanities at the CAIDAS / Institute of Computer Science, Julius-Maximilians-Universität Würzburg (JMU), Germany. He serves as Head of the DFG-funded Emmy Noether group on Computational Analysis of Music Audio Recordings: A Cross-Version Approach. His academic journey includes previous positions as Visiting Researcher at University Télécom Paris (2021), Visiting Lecturer at Karlsruhe University of Music (2020, 2021), and Research Assistant at International Audio Laboratories Erlangen (2015-2022) and Fraunhofer Institute for Digital Media Technology (2012-2015). His educational background encompasses a PhD in Media Technology from University of Technology Ilmenau (2017), Concert Diploma in Composition from Würzburg University of Music (2012), Physics Diploma from University of Würzburg (2012), and Music Diploma in Composition from Würzburg University of Music (2011). This unique combination of technical and artistic training forms the foundation of his interdisciplinary research approach. Weiß's research operates at the critical intersection of computer science and musicology, developing novel computational methods for analyzing musical structures in audio recordings. His work bridges technical audio processing with musicological insights, creating methodologies for tonal analysis, key estimation, and cross-version comparison of musical performances. His approach combines deep learning techniques with music theory to extract meaningful patterns from large music corpora, enabling new forms of musicological corpus studies that were previously impossible. His recent publications reveal a clear research trajectory toward integrating advanced machine learning with fundamental musicological questions. The consistent theme across his work involves analyzing classical music structures through computational lenses, with particular emphasis on cross-version consistency in performances, tonal complexity measurement, and developing datasets that support computational musicology. His publications span both highly technical audio processing journals and musicology-focused venues, demonstrating his commitment to bridging these disciplines. Best paper award at the 4th conference on Computational Humanities Research (CHR), 2023 KlarText award for science communication of the Klaus Tschira Foundation, 2018 2nd prize at Festival Pablo Casals composition competition, Prades (France), 2013 Youth Cultural Advancement Award (Kulturförderpreis) of the city of Amberg, Germany, 2011 As principal investigator of the DFG Emmy Noether group, Weiß leads a multidisciplinary research team investigating computational analysis of music audio recordings through a cross-version approach. His research has secured significant funding including the prestigious Emmy Noether program, supporting doctoral and postdoctoral researchers working on various aspects of music information retrieval and computational humanities. His collaborative network spans institutions across Europe, including University Télécom Paris, Queen Mary University of London, and multiple German research centers. Weiß leads the Computational Humanities research group at CAIDAS, which focuses on developing computational methodologies for music analysis with particular emphasis on classical repertoire. The lab creates specialized datasets (including the Wagner Ring Dataset and Schubert Winterreise Dataset), develops algorithms for structural music analysis, and applies these tools to address musicological questions that require computational scale and precision. Their work bridges the gap between technical audio processing capabilities and humanities research questions, creating new pathways for understanding musical structure and evolution.

Chang Bi-Yuمشاهده پروفایل

پژوهشگر

• Cultural Policy
• Identity Construction
• Political Cartography
• +۳ مورد دیگر

Dr. Chang Bi-Yu is a Researcher at the School of Oriental and African Studies (University of London) and a Visiting Fellow at Ruhr University Bochum. Her work focuses on the interplay of culture and power, particularly in the context of Taiwanese identity formation, cultural policy, and spatial representation. She holds a PhD from an unspecified institution, with her dissertation examining Taiwan's post-war cultural policies (1945-2001). Her research has been funded by grants including the Chiang Ching-kuo Foundation and Taiwan's Ministry of Education. Key projects include analyzing cartographic representations of 'China' in Taiwanese maps and exploring spatial constructs like Chung-hsin New Village. She is co-editing Imaging Taiwan and authoring a monograph on spatial narratives in post-war Taiwan. Her work bridges cultural studies, political history, and geography, emphasizing how state power shapes national identity through cultural and spatial frameworks.

• Poetry
• Modern and Contemporary Poetry
• Poetry and Theology
• +۷ مورد دیگر

Michael Symmons Roberts is Professor of Poetry at Manchester Metropolitan University, within the Department of English, Faculty of Arts and Humanities. A renowned poet, librettist, and broadcaster, he holds a degree in Philosophy and Theology from Oxford University and was formerly Executive Producer at BBC Religion & Ethics. Full Name: Michael Symmons Roberts Position: Professor of Poetry Institution: Manchester Metropolitan University Department: Department of English Field: Poetry and Creative Writing His research interests center on modern and contemporary poetry, with a particular focus on intersections between poetry and theology, science, music, and broadcast media. He is deeply engaged in exploring how poetic form interacts with spiritual, scientific, and ethical questions, often through collaborative and interdisciplinary projects. Michael’s recent publications and creative works reflect a sustained exploration of spiritual and existential themes. His poetry collections such as Drysalter and Ransom , radio dramas like Paradise Lost and Utopia , and choral works including Quickening and The Birds of Rhiannon demonstrate a consistent engagement with religious symbolism, myth, and the human condition. His works are frequently shortlisted for major literary prizes, highlighting their critical acclaim. Among his many honors are the Forward Poetry Prize (twice), the Costa Poetry Prize, the T.S. Eliot Prize shortlist (five times), the Jerwood Award for Non-Fiction, and the Sandford St. Martin Award. He is a Fellow of the Royal Society of Literature and a trustee of the Royal Literary Fund. Forward Poetry Prize for Best Collection (2013, 2004) Costa Poetry Prize (2013) T.S. Eliot Prize Shortlist (2001, 2004, 2013, 2017, 2021) Fellowship of the Royal Society of Literature (2014) Whitbread Poetry Award (2004) Eric Gregory Award (1988) BBC Audio Drama Awards (2013, 2014) He supervises PhD students in poetry and creative writing, teaches campus and online workshops, and is active in public engagement through performances, radio broadcasts, and commemorative poetry projects. His collaborations with composer James MacMillan have resulted in major commissions for the BBC Proms, Royal Opera House, and Welsh National Opera, underscoring his impact across literature and music. He has not been associated with any formal research lab but leads creative teams in interdisciplinary performance and literary projects.

• Medieval Music
• Classical Period Music
• Romantic Era Music
• +۷ مورد دیگر

Ann-Katrin Zimmermann is an apl. Professor (non-tenured professor) at the Musicological Institute within the Faculty of Philosophy at the University of Tübingen. She has held this position since 2018, following her time as a private lecturer from 2012-2018. In addition to her academic work, she serves as a dramaturg at the Gewandhaus Leipzig since 2013 and has teaching assignments at LMU Munich, Felix Mendelssohn Bartholdy University of Music and Theatre, and Leipzig University since 2012. Her educational background includes: Habilitation (2012) on "Forms of slow movements in the classical cycle" Promotion/PhD (2006) on "Studies on medieval three-part harmony" Master's degree in musicology, philosophy and art history from University of Tübingen and University of Oxford (1998-2003) Professor Zimmermann's research spans multiple eras and aspects of music history and theory. Her work focuses particularly on polyphony of the 12th and 13th centuries, keyboard music from the 15th-18th centuries, early German-language music terminology, and the works of Heinrich Schütz, composers of the Viennese classics, and Richard Strauss. She has made significant contributions to the fields of organology, instrumentation, music iconography, and 19th-century symphonies, with particular interest in cross-temporal aspects of genre, form, and composition. Her extensive publication record shows a consistent focus on historical music analysis, particularly examining compositional strategies across different periods. Her recent work has increasingly focused on Richard Strauss and Mozart, while maintaining her longstanding interest in early music traditions and terminology. She has published numerous articles in prestigious journals and contributed to important edited volumes in musicology. Professor Zimmermann is actively involved in the academic community: Member of the Society for Music History in Baden-Württemberg since 2009 Member of the DHV since 2012 Throughout her career, Zimmermann has balanced academic research with practical musical experience. She has been a bassoonist and leader of various vocal and instrumental ensembles since 1998, and served as a church musician from 1997-2014. Her work as a dramaturg at the Gewandhaus Leipzig since 2013 demonstrates her commitment to connecting scholarly research with contemporary musical practice.

Stephan Möschمشاهده پروفایل

استاد

• Music Theatre Studies
• Opera History
• Musicology
• +۳ مورد دیگر

Prof. Stephan Mösch is a Professor at the Karlsruhe University of Music, specializing in Music Theatre Studies. He holds a dual habilitation in musicology and theatre studies, focusing on music theatre. His career includes chair positions at the University of Bayreuth and teaching roles at institutions like the University of Zurich and Seoul's Korean National University of Arts. He has led international projects such as the FWF-funded 'Opera between Hermeneutics and Performativity'. Education: Dual degrees in music, theatre & literature from Berlin/Stuttgart; masterclasses with renowned figures like Elisabeth Schwarzkopf. Awards include the Domgraf-Fassbaender Prize and Gottlob Frick Medal (for Opernwelt). Scholarships from German National Academic Foundation and Richard Wagner Foundation. Research interests span opera history, Wagnerian studies, and the intersection of performance art & cultural theory. He has curated conferences globally and serves as a jury member for prestigious competitions like Bundeswettbewerb Gesang and Concours Suisse Ernst Haefliger. Published extensively in Opernwelt and Frankfurter Allgemeine Zeitung , he also contributes to radio/TV broadcasts of major opera festivals. Current roles include German Academy of Performing Arts membership and advisory board positions for institutions like the German Historical Museum (2019-2022).

Arne Stollbergمشاهده پروفایل

استاد

• Musical Aesthetics
• Musical Analysis
• Musical Theater
• +۵ مورد دیگر

Prof. Dr. Arne Stollberg is a Professor of Historical Musicology at the Institute of Musicology and Media Studies at Humboldt University of Berlin, serving as its Deputy Director. He holds a doctorate (2004) and habilitation (2010), with research spanning musical aesthetics, instrumental music, and opera. His work bridges interdisciplinary studies across music, literature, and cultural history. Notable publications include analyses of Erich Wolfgang Korngold’s opera and 18th-century musical anthropology. Awards include the Swiss Academy’s Prix jubilé (2005) and the Theodor Kocher Prize (2011). He co-directs the long-term Erich Wolfgang Korngold Edition project and serves on editorial boards for journals and editions. Education: PhD in Musicology (2004), Stuttgart Habilitation (2010), Munich Research Focus: Musical aesthetics, operatic analysis, cultural history, and interdisciplinary approaches to music. His recent work emphasizes 18th-century musical anthropology and the tragic in orchestral music. He has held a fellowship at the Carl Friedrich von Siemens Foundation (2023/24) and contributes to the Society for Music Research and German Research Foundation (DFG) advisory boards.

Joachim Heldمشاهده پروفایل

استاد

• Historical Lute Instruments
• Early Music
• Baroque Music
• +۳ مورد دیگر

Joachim Held is a Professor of Historical Lute Instruments at the Bremen University of the Arts (Hochschule für Künste Bremen) since 2010. He also teaches at the Royal Conservatory in The Hague since September 2007. Born in Hamburg in 1963, Held received his musical training at the Schola Cantorum Basiliensis under Eugen Dombois and Hopkinson Smith, graduating in 1988 with a Diploma in Early Music. His educational background includes studies with Jürgen Hübscher at the Karlsruhe University of Music from 1988 to 1990, where he completed his artistic final examination. In 1990, he won second prize at the Concours Musica Antiqua of the Flanders Festival in Bruges, launching his international career. Joachim Held is renowned for his expertise in historical lute instruments and early music performance. His research interests span across: Historical Lute Performance Practice Baroque Music Repertoire Renaissance Music Historical Performance Techniques Early Music Instrumentology Lute Musicology Held has built an impressive discography of solo recordings focusing on lute music from various historical periods and regions. His recordings show a particular focus on German, Italian, French, Austrian, Polish, and English lute repertoire from the Renaissance and Baroque periods. His 2006 CD "Erfreuliche Lautenlust" with works by Austrian Baroque composers for Baroque lute earned him the prestigious Echo Klassik 2006 award for the best solo recording in the 17th/18th century category. His notable awards include: Echo Klassik 2006 for the best solo recording in the 17th/18th century category Second prize at the Concours Musica Antiqua of the Flanders Festival in Bruges (1990) As an active performer, Joachim Held has maintained a vibrant international career since the early 1990s. He has performed regularly under the direction of Nikolaus Harnoncourt since 1993 and with Il Giardino Armonico (Milan) since 1992. He has participated in productions of major operas including Francesco Cavalli's "La Calisto" and Monteverdi's "L'Incoronazione di Poppea." His concert activities span across Europe, Africa, Japan, and South America, with performances at major festivals and venues. Held is also involved in academic activities including symposia on early music topics, such as the symposium "John Dowland's Activities on the Continent" held at the HfK Bremen in April 2022. He is scheduled to participate in a Lute Symposium at the Bremen University of the Arts on September 22nd-23rd, 2025.

• Medieval Music
• Renaissance Music
• Venetian Music in the 16th Century
• +۴ مورد دیگر

Prof. Dr. Katelijne Schiltz is a Professor of Musicology at the University of Regensburg and serves as Research Dean of the Faculty of Philosophy, Arts, History, and Social Sciences. She holds a Ph.D. from Katholieke Universiteit Leuven (2001) and a habilitation from LMU Munich (2012). Her research focuses on medieval and Renaissance music, particularly Venetian musical culture, performance practices, and intermediality. Schiltz has led major projects such as the DFG-funded study on German organ sermon prints and is editorial director for Adrian Willaert’s Opera Omnia . Education: Musicology at Katholieke Universiteit Leuven and Early Vocal Music at Brabants Conservatorium Tilburg. Key roles: ERASMUS coordinator, Vice Dean (2015–2017, 2021–2023), and member of national/international academic societies like the Alamire Foundation. Her research interests emphasize musical riddles, liturgical music, and death symbolism in music. Notable awards include the Roland H. Bainton Prize (2016) and the Adrian Willaert Lifetime Achievement Award (2024). Teaching includes courses on music history, notation, and historical performance practices. She advises doctoral students and oversees the Regensburg-based Doctoral College of the Humanities (PUR). Her work bridges historical scholarship with modern interdisciplinary projects, such as virtual exhibitions and collaborations with ensembles like Sourcework and Stimmwerck.

Julia Glesnerمشاهده پروفایل

استاد

• Cultural Management
• Cultural Policy
• Theatre Management
• +۳ مورد دیگر

Julia Glesner is Professor of Culture and Management at Potsdam University of Applied Sciences, serving as Pro-Dean for Studies and Teaching and Chairwoman of the Examination Board. She is a core member of the Institute for Building Research and Conservation within the CITY | BUILDING | CULTURE unit. Her educational foundation includes theatre studies, German philology, and political science at the University of Mainz and Paris, followed by doctoral research at Karlsruhe University of Arts and Design supported by the 'Bild-Körper-Medium' research training group. Glesner's research critically examines cultural governance structures, digital transformation in arts organizations, and sustainable funding models. She investigates participatory democracy in cultural planning, theatre management systems, and the political economy of cultural financing, bridging theoretical frameworks with practical institutional challenges in Europe's cultural sector. Her publication trajectory reveals evolving focus from early digital culture studies (2000s) toward contemporary governance issues, with recent works analyzing audit mechanisms in publicly funded institutions and participation models in cultural development. The corpus demonstrates consistent engagement with power dynamics in cultural policy implementation. Key distinctions include: Segal Research Fellowship at CUNY German National Academic Foundation alumna German Academic Exchange Service recognition Deutsche Bank Cultural Foundation support German Research Foundation affiliation As head of the Arts Management and Cultural Work program, Glesner mentors emerging cultural administrators while drawing on extensive practical experience from leadership roles at Klassik Stiftung Weimar and Erfurt Theatre. Her professional trajectory uniquely integrates frontline cultural institution management with academic scholarship. She actively contributes to the Institute for Building Research and Conservation's mission, examining intersections between architectural heritage, urban development, and cultural policy through the CITY | BUILDING | CULTURE framework.

Nicola Gessمشاهده پروفایل

استاد

• Literary Studies
• Musicology
• Sound Studies
• +۴ مورد دیگر

Nicola Gess is a Professor of German Literature at Basel University, Switzerland, with a focus on interdisciplinary research at the intersection of literary studies, musicology, and sound studies. Her work explores the literary history of listening, the sonic dimension of literature, and the interconnections between literary, philosophical, and scientific discourses on acoustic phenomena. She also investigates themes at the crossroads of literary studies with the history of psychology and ethnology, particularly the early 20th-century discourse on "primitive thought". She is actively involved in collaborative research as a member of the NCCR Iconic Criticism (Basel) and co-director of the Sinergia project "Poetics and Aesthetics of Amazement" (Zurich). Additionally, she co-founded the Berlin-based research network "Auditory Knowledge in Transition" and is currently completing her book Thaumaturgia Poetica: Poetics of Amazement in the 18th Century and Beyond . Her publications demonstrate a consistent exploration of sound's cultural and philosophical implications across historical periods, from the 18th century to contemporary debates. This work spans edited volumes, journal articles, and book chapters that engage with intermedial analysis, critical theory, and interdisciplinary methodologies. Her affiliations include a 2017 fellowship at the Morphomata International Center for Advanced Studies (Cologne University) and collaborations with institutions like the Max Planck Institute for the History of Science. She contributes to academic discourse through editorial roles in projects such as Hörstürze and Barocktheater als Spektakel .

Madeleine Bernstorffمشاهده پروفایل

مدرس

• Documentary Film
• Avant-garde Cinema
• Feminist Film Studies
• +۳ مورد دیگر

Madeleine Bernstorff is a cultural producer, film curator, author, and lecturer at the Institute for Music and Media at Robert Schumann University Düsseldorf. Her work bridges research-based film curating, feminist film history, and avant-garde cinema, with a focus on resistance movements and political documentary forms. Education : Studied media art at the Academy of Fine Arts Munich, University of Munich, and F+F School of Design Zurich Research : Avant-garde cinema, feminist film movements, migrant representation, and socio-political documentation Teaching : Guest professorships at Berlin University of the Arts, Munich Academy of Fine Arts, and international institutions Collaborations : Co-founded Sputnik cinema (1984) and Blickpilotin feminist film collective (1989) Publications : Edited works on Trinh T. Minh-ha, René Vautier, and Afghan cinema Her filmography includes The Fanaticism of the Suffragettes (2010), Candan (2005), and Zitronenfilm (1997), exploring themes of gender, migration, and historical memory through Super8 and video art. She has curated exhibitions at Tromsø Kunstforening and programmed films at institutions like the Arsenal Cinema Berlin and Oberhausen Short Film Festival.