Dr. Marco Abel

Professor | University of Nebraska-Lincoln

Academic Employment History

  • August 2009-present: University of Nebraska: Professor of English and Film Studies, Department of English
    • July 2014-present: Department Chair
    • August 2004-July 2009: University of Nebraska: Assistant Professor of English and Film, Department of English
    • June 2004-August 2004: University of Nebraska: Post-Doctoral Research Associate, Department of English
    • August 2003-May 2004: Georgia State University: Visiting Instructor in Film, Department of Communication
    • August 1995-May 2003: The Pennsylvania State University: Graduate Teaching Assistant/Lecturer, Department of English


    • Ph.D., English, The Pennsylvania State University, May 2003
    • M.A., English, The Pennsylvania State University, May 1997
    • B.A., English, Georgia State University, August 1995
    • Universität zu Köln, English and Mathematics, 1991-1992 (attended)
    • Lessing Gymnasium, Köln-Porz-Zündorf, May 1989



      • The Counter-Cinema of the Berlin School Rochester: Camden House. 2013.
      • Reviews

        • Jasmin Krakenberg, Film Quarterly, Spring 2014.
        • “Among the indispensable materials from which [Abel] draws his insights are his own personal correspondences with the filmmakers; German-language film reviews and debates [...]; and [...] his treatment of short films and TV productions, which are simply not available outside of a few archives in Germany. Abel’s study thus enables an advocacy of films and filmmakers who made a name for themselves on the festival circuit and with critics and scholars in the field of German Studies. This book in effect puts the Berlin School on the map of film and media scholarship.”
        • Christina Gerhardt, Cineaste, Spring 2014.
        • “Abel provides not only helpful contextualizing historical and political as well as film historical information and references but also an analysis of what the films do or how they affect the viewer’s “ability to sense and make sense.” [He] stages his very argument in his rhetoric. [...] It speaks not only to Abel’s theoretical acumen to present his very arguments rhetorically but also to his editor’s understanding for why what could have been structured traditionally had to be (allowed to be) formulated in ways that challenge his readers in the same way the films do.”
        • R. Emmett Sweeney, Film Comment, January/February 2014
        • “(The) most ambitious (of several recent English-language studies on the Berlin School). . . . (A)n essential resource for aspiring students of a vital current of contemporary German cinema.”
        • Hans Helmut Prinzler, Film Book of the Month, HHPrinzler.de, December 2013
        • “Abel . . . engages with (the Berlin School filmmakers) at a high theoretical level. . . . One can assume that Abel has seen all of the films by these directors. If he places some of the films more in the foreground, this leads to accentuations and intensifications of the reader’s interest.”


        • Nominated for The Library Association‘s 2014 Richard Wall Memorial Award, which honors exceptional scholarship in the field of recorded performance.
        • Selected as “Film Book of the Month” by Hans Helmut Prinzler, December 2013.

      • Violent Affect: Literature, Cinema, and Critique after Representation. Lincoln: University of Nebraska Press, 2007. Paperback reprint Spring 2009.


      • Wendy C. Hamblet, “A Masocritical Engagement with Marco Abel’s Theory of Violent Affect,” Theory & Event 12.2 (2009).
      • In her conclusion, she writes: “Abel’s masocriticism is itself a metaphysical experience, a magic that is worked upon the subject to move her from her sense of reality in order to teach her lessons about violence, not accessible from within the scholarly frame of reference. Literary and cinematic criticism will be greatly offended by Marco Abel’s new theory of masocritical engagement, but it will also be affected. Further studies in the field of literary and cinematic criticism will be incapable of honest progress until they first address Abel’s fundamental challenge to the founding assumptions of their methodology.”
      • Review is reprinted in Appraisal: The Journal of the Society for Post-Critical and Personalist Studies 7.3 (March 2009): 56-57, as “Thinking ‘Masocritically’ about Violent Images and their Effect on Subjects.”
      • Emma Radley, Scope 14 (June 2009).
      • She writes, “Abel elegantly outlines his methodology, managing to intelligently and insightfully set out an approach which side-steps the problem of the representative value of the violent image without reducing or diminishing the obvious strength of this level of meaning. His argument rarely veers towards the utopic, as is sometimes the case in Deleuzean-inflected criticism. The argument for paying attention to affect and sensation is highly persuasive, particularly in a contemporary culture which is constantly under assault by the visual. Abel makes a strong case for the relevance of Deleuze, and his claim for a critical approach informed by the synthesis of Deleuze and Adorno as a dynamic opposition to the more standard juxtaposition of Lacan and Hegel, or Derrida and Nietzsche, is extremely convincing, if a little underdeveloped in this particular study. [...] Abel’s book is a refreshing and much-needed intervention into the realm of visual culture.”
      • James R. Giles, South Atlantic Review 74.2 (spring 2009).
      • Rosie White, Modern Fiction Studies 56.2 (summer 2010): 466-468.
      • In her conclusion she writes: “Surprisingly, in a work that initially appears to retreat from judgment, the narrative ends on an ethical note, and one that politicians as well as cultural critics, might attend to” (468).
      • Aaron Jaffe, symploke 18.1-2 (2010): 407-409.
      • David Sterritt, Film Quarterly 64.4 (summer 2011): 73-75.

      Edited Books
      • Im Angesicht des Fernsehens—Der Filmemacher Dominik Graf. Ed. with Christoph Wahl, Michael Wedel, and Jesko Jockenhoevel. Munich: edition text + kritik, 2012.



      Book Series Editing
      • Provocations. Co-editor with Roland Végső. Published with the University of Nebraska Press.
      • A book series that bears the ambitious title “Provocations” wears its heart on its sleeves. This is why we find it important to explain that for us the term “provocation” does not simply designate the empty rhetorical gesture of causing trouble for trouble’s sake. A true act of provocation has nothing to do with the egotistical gesture of the contrarian who provokes merely to prove that he is the master of his own rhetoric. Instead, provocation is an experimental response to the historical necessity to act, to bring about change. Unlike the contrarian, we refuse to reduce provocation to a passive noun or a state of being. Rather, we believe that genuine moments of provocation are constituted by a series of actions that are best defined by verbs or even infinitives—verbs in a modality of potentiality, of the promise of action. To provoke is to intervene in the present by speaking truth to power and challenging authority; to invoke an as yet undecided future radically different from what is declared to be possible in the present; and in so doing to arouse the desire for bringing about change, indeed, to effect change.
      • 1st book planned: Frank Ruda, Abolishing Freedom: A Plea for Fatalism.

      Journal Editing

      In Progress

      • With Alexander Vazansky (Assistant Professor, History Department, UNL). “What Was Politics in ’1968′?,” a special issue of The Sixties: A Journal of History, Politics and Culture. Forthcoming Winter 2014/15.
      • Co-author with Alexander Vazansky of issue introduction.
      • Contributors: Timothy Scott Brown, Holger Nehring, Christina Gerhardt, Peter Schweppe, Andrea Gyorody.
      • In Print

        • With Christina Gerhardt (Assistant Professor, Languages and Literatures of Europe and the Americas Department, University of Hawaii). “The Berlin School (1): The DREILEBEN Experiment,” German Studies Review 36.3 (2013): 603-642.
        • Contributors: Marco Abel, Christina Gerhardt, Eric Rentschler, Felix Lenz, and Gerd Gemünden.

        Critical Essays

        • “The Minor Cinema of Thomas Arslan: A Prolegomenon.” Turkish-German Cinema in the New Millennium: Sites, Sounds and Screens. Eds. Sabine Hake and Barbara Mennell. Oxford & New York: Berghahn Books, 2012: 44-55.
        • “22 January 2007: The Establishment Strikes Back: The Counter-Cinema of the ‘Berlin School’ and Its Rejection by the German Film Industry Establishment.” A New History of German Cinema. Eds. Jennifer Kapczynski and Michael Richardson. Rochester: Camden House, 2012: 602-608.
        • “Sehnsucht nach dem Genre: Die Sieger von Dominik Graf.” In Im Angesicht des Fernsehens—Der Filmemacher Dominik Graf: 78-104.
          • This essay is a translation of “Yearning for Genre: The Cinema of Dominik Graf,” to be published in Generic Histories of German Cinema: Film Genre and its Deviations, Jaimey Fisher, ed. (Rochester: Camden House, 2013).
        • “The Counter Cinema of the Berlin School.” Cinema and Social Change in Germany and Austria. Eds. Gabriele and James M. Skidmore. Waterloo: Canada: Wilfrid Laurier University Press. 2012: 25-42.
        • “‘A Sharpening of Our Regard’: Realism, Affect, and the Redistribution of the Sensible in Valeska Grisebach’s Longing [Sehnsucht].” New Directions in German Cinema. Eds. Paul Cooke and Christophe Homewood. London: I.B. Tauris. 2011: 204-222.
        • “Die Sieger.” Quarterly Review of Film and Video 27.5 (2010): 410-413.
        • “Imaging Germany: The (Political) Cinema of Christian Petzold.” The Collapse of the Conventional: German Film and its Politics at the Turn of the Century. Eds. Jaimey Fisher and Brad Prager. Detroit: Wayne State UP, 2010: 258-284.
        • “Yearning for Genre: The Films of Dominik Graf.” Cine-Fils: Cinephile Interview Magazine. March 2010: 4,000 words. This essay is an abbreviated preview of a considerably longer essay forthcoming in Generic Histories of German Cinema: Film Genre and its Deviations. Ed. Jaimey Fisher. Rochester: Camden House, 2013.
        • “Underground Film Germany in the Age of Control Societies: The ‘Cologne Group’.” Quarterly Review of Film and Video 27.2 (2010): 89-107.
        • “Failing to Connect: Itinerations of Desire in Oskar Roehler’s Post-Romance Films.” New German Critique 37 (1 109) (Winter 2010): 75-98.
        • “Intensifying Affect.” Electronic Book Review, October 2008: 11,000 words.
        • “Intensifying Life: The Cinema of the ‘Berlin School’.” Cineaste online 33.4 (Fall 2008): 7,800 words.
          • Reprinted in Portuguese as “Intensificando a vida: o cinema da ‘Escola de Berlim’” in Nova Cinema Independente Alemao: Uma outra politica do olhar, ed. Cristian Borges (São Paulo: Centro Cultural Banco do Brasil 2009): 22-39. This catalogue accompanied a retrospective of the Berlin School that took place in São Paulo 11 February – 1 March, 2009.
          • Reprinted as a slightly shortened version in German as “Das Leben intensivieren: Das Kino der ‘Berliner Schule,” trans. Sabine Wilke, in Literatur für Leser 2/10: 113-125.
        • “The State of Things Part Two: More Images for a Post-Wall Reality–The 56th Berlin Film Festival.” Senses of Cinema 39 (April-June 2006): 8,400 words.
        • “Images for a Post-Wall Reality: New German Films at the 55th Berlin Film Festival.” Senses of Cinema 35 (April-June 2005): 5,500 words.
        • “Don DeLillo’s ‘In the Ruins of the Future’: Literature, Images, and the Rhetoric of Seeing 9/11.” PMLA 118.5 (October 2003): 1236-1250.
        • “Speeding Across the Rhizome: Deleuze Meets Kerouac On The Road.” Modern Fiction Studies 48.2 (Summer 2002): 227-256.
        • “Judgment is not an Exit: Toward an Affective Criticism of Violence with American Psycho.” Angelaki 6.3 (December 2001): 137-154.
        • Reprinted in Contemporary Literary Criticism 229. Ed. Jeffrey W. Hunter. New York: Thomson Gale Group, 2007: 239-253.
        • Fargo: The Violent Production of the Masochistic Contract as a Cinematic Concept.” Critical Studies in Mass Communication 16.3 (September 1999): 308-328.
        • “One Goal is Still Lacking: The Influence of Friedrich Nietzsche’s Philosophy on William Faulkner’s The Sound and the Fury.” South Atlantic Review 60.4 (November 1995): 35-51.


        • “Seeing and Saying.” Berlin School Glossary: An ABC of the New Wave in German Cinema. Eds. Brad Prager, Kristin Kopp, Lutz Koepnick, and Roger Cook. London: Intellect, 2013: 2,100 words ms.
        • “The Agonistic Politics of the Dreileben Project.” German Studies Review 36.3 (summer 2013).
        • This is my contribution to a special section the journal issue devoted to the Dreileben project. Together with Christina Gerhardt (U Hawaii) I am the co-editor of this section, which is based on the panel we co-organized for the GSA conference (October 2012).
          • “Yearning for Genre: The Cinema of Dominik Graf.” Generic Histories of German Cinema: Genre and its Deviations in German Cinema. Ed. Jaimey Fisher. Rochester: Camden House, 2013: 7,500 words ms.

          Critical Review Essays

          • A Critical History of German Film by Stephen Brockmann. German Quarterly 84.4 (December 2011): 504-507.
          • Romuald Karmakar by Olaf Möller and Bilder hinter den Worten by Tobias Ebbrecht. Filmblatt 46/47 (winter 2011/2012): 133-137.
          • German Cinema since Unification by David Clarke, ed. Quarterly Review of Film and Video 26.3 (2009): 229-236.
          • Cinema of the Low Countries by Ernest Mathijs, ed. Quarterly Review of Film and Video 25.5 (2008): 447-453.
          • Trier on von Trier by Stig Björkman. Quarterly Review of Film and Video 25.1 (2008): 81-86.
          • “Spatializing Violence, Violating Space: Towards a New Theory of Violence in Contemporary American Fiction.” The Spaces of Violence by James R. Giles. Published as “Spatializing … Fiction.” South Atlantic Review 71.3 (summer 2006): 121-132.
          • Prosthetic Memory: The Transformation of American Remembrance in the Age of Mass Culture by Alison Landsberg. Quarterly Review of Film and Video 23.4 (2006): 377-388.
          • “Own Your Lack!”: New Lacanian Film Theory Encounters the Real in Contemporary Cinema.” Todd McGowan and Sheila Kunkel, eds., Lacan and Contemporary Film Theory. South Atlantic Review 71.1 (Winter 2006): 132-140.
          • Violence and American Cinema by J. David Slocum, ed. Quarterly Review of Film and Video 19.3 (July-September 2002): 271-277.

          Other Publications

          • “Una experiencia de Alemania más allá de la realidad.” Cahiers du Cinéma España 39, Especial No. 13 (November 2010): 14-16.
          • “‘I Build a Jigsaw Puzzle of a Dream-Germany’: An Interview with German Filmmaker Dominik Graf.” Senses of Cinema 55 (July-September 2010): 22,500 words. Online.
            • A modified version is reprinted in translation as “‘Ich bedaure viele Dinge’: Interview mit Dominik Graf.” In Im Angesicht des Fernsehens—Der Filmemacher Dominik Graf: 11-31.
          • “‘There is no Authenticity in the Cinema’: An Interview with Andreas Dresen.” Senses of Cinema 50 (April-June 2009): 16,000 words ms. Online.
          • “German Desire in the Age of Venture Capitalism.” Yella (dir. Christian Petzold). DVD. New York: The Cinema Guild (March 2009): 3,600 words.
          • “‘The Cinema of Identification Gets on my Nerves’: An Interview with Christian Petzold.” Cineaste 33.3 (Summer 2008): 12,500 words. Online.
          • Program Notes for the “Retrospective of Contemporary German Cinema: The ‘Berlin School’,” Mary Riepma Ross Media Arts Center, Lincoln, NE, March 23 – April 5, 2007: 1,624 words.
          • “Tender Speaking: An Interview with Christoph Hochhäusler.” Senses of Cinema 42 (January-March 2007): 11,000 words. Online.
            • This interview, expanded by an introductory essay, is my translation of the original interview I published in German as “Das Seltene und Kostbare. An Interview with German filmmaker Christoph Hochhäusler.” Filmtext.com (May 2006): 7,200 words. Online.
          • Review of Serial Murder 2nd edition by Ronald M. Holmes and Stephen T. Holmes. Crime, Law and Social Change: An Interdisciplinary Journal 30.3 (1998/99): 292-297.
          • Review of Insights from Film into Violence and Oppression: Shattered Dreams of the Good Life by John P. Lovell. Crime, Law and Social Change: An Interdisciplinary Journal 29.4 (1998): 354-357.
          • “Roddy Doyle.” Dictionary of Literary Biography: British Novelists Since 1960, Second Series 194 (1998): 107-112.
          • “A New Letter by Samuel T. Coleridge.” Notes and Queries 242 (September 1997): 329-330.

          Media Appearances

          • Participant on panel discussion, “Feeding the Soul of the Community.” NET Television, January 26, 2013.
          • Quoted by Dennis Lim in “Summoning Halcyon Days of Failed Ideals,” New York Times, December 7, 2012 on Christian Petzold’s Barbara.
          • Radio Interview (topic: the German filmmaker Dominik Graf) with Germany’s Public Radio, Deutschlandradio, August 6, 2012. Podcast (German language) available here.
          • “Was kann man anbieten, das klickt?” An interview on the Berlin School and Christian Petzold’s Barbara. Skug: Journal für Musik Film.Kunst.Literatur 90 (4-6/2012): 44-47.

          Conference Papers Presented (and forthcoming)

          • Making a Picture of Postunified Germany: The Influence of Bresson, Eustache, and Pialat on Berlin School Filmmaker Thomas Arslan.” Society for Cinema and Media Studies, Seattle, 03/2014. Acceptance decision pending.
          • “What Was ‘Left’ Filmmaking Around 1968: The New Munich Group.” Modern Language Association Conference, Chicago, 01/2014.
          • Co-organizer with Alexander Vazansky of seminar, “What Was Politics in ’1968′?,” German Studies Association, Denver, 10/2013.
            • The seminar will be conducted over three days, including 15 scholars, and it will include my presentation, “Against the ‘Political’ Film in ’1968′: The Forgotten Case of the New Munich Group.”
          • “Political Desires in the Age of Transnational Neoliberalism: The German Berlin School, the Romanian New Wave, and the New Europe.” Society for Cinema and Media Studies, Chicago, 03/2013.
          • “No Turn Back: Dissensus and the Affect-Image in Films of the Berlin School.” Modern Language Association Conference, Boston 1/2013.
          • “Debating Filming/Filming Debate: The Aesthetics and Politics of the Dreileben Project.” German Studies Association Conference, Milwaukee, 10/2012.
            • Paper given in response to a panel I organized. Other participants: Eric Rentschler (Harvard), Christina Gerhardt (U Hawaii), and Felix Lenz (Philipps University Marburg, Germany).
            • Also co-organized and served as moderator for a panel on Christian Petzold.
            • “‘Do You Want to Be Understood?’; or, Schanelec with Spinoza (via Deleuze).” German Studies Association Conference, Louisville, KY 09/2011.
            • Part of a panel on Angela Schanelec’s films that I organized. Other participants: Johannes von Moltke (U Michigan), Brigitta Wagner (U Indiana), and, as commentator, Michael Richardson (Ithaca College)
          • “‘The goal is a cinema that makes life more intense’: The Cinema of Christoph Hochhäusler.” German Studies Association Conference, Oakland, CA 10/2010.
          • “Realism beyond Identity: The Cinema of Thomas Arslan.” Rethinking German-Turkish Cinema Conference, Austin, TX, 3/2010.
          • “Yearning for Genre: The Cinema of Dominik Graf.” Society for Cinema and Media Studies Conference, Los Angeles 3/2010.
          • “Movement and Nation in Die innere Sicherheit.” German Studies Association Conference, Washington D.C., 10/2009.
          • “Towards a New National Cinema: Topographical Singularization of Germany in the ‘Berlin School’ Films.” German Studies Association Conference, St. Paul, MN 10/2008.
            • Also served as moderator for a panel on “Staging the Past in the GDR: Museums, Monuments, and Commemoration”
          • “Untimely Mappings: The Politics of the A-Representational Realism of the ‘Berlin School’.” Cinema and Social Change in Germany and Austria Conference, Waterloo, Canada, 5/2008.
          • “Underground Film Germany: The ‘Cologne Group’.” Society for Cinema and Media Studies Conference, Philadelphia, 3/2008.
          • “Berliner Schule Cinema: Re-visions of Mobility in the Age of post-Wall Globalization.” Popular Culture/American Culture Association National Conference, Boston, April 4-7, 2007.
          • “Imaging Germany: The (Political) Cinema of Christian Petzold.” Society for Cinema and Media Studies Conference, Chicago, 3/2007.
          • “Imaging Mobility in Contemporary German Cinema.” Society for Cinema and Media Studies Conference, Vancouver, Canada, 3/2006.
          • “Representation is not an Exit: Toward an Affective Criticism of Violence in American Psycho.” Violence, Cinema, and American Culture Conference, St. Louis, MO, 4/2001.
          • “Judgment is not an Exit: Toward an Affective Criticism of Violence in American Psycho.” Second Millennium Literature/Film Conference of the Literature/Film Association, Ocean City, MD, 12/2000.
          • “Hitchhike, Take Flight: Speedily Traveling the Rhizome with Deleuze on Kerouac’s On the Road.” Twentieth Century Literature Conference, Louisville, KY, 2/2000.
          • “Maso-Criticism: Towards a Non-Representational Encounter with Violence in Twentieth Century American Literature and Film.” Southwestern Popular Culture Conference, Albuquerque, NM, 2/2000.
          • “Speedily Traveling the Rhizome: Kerouac’s On the Road as an Aesthetic Mapping of the American Political Landscape.” Writing the Journey: A Conference on American, British and Anglophone Travel Writers and Writing, Philadelphia, PA, 6/1999.
          • “Rethinking Ethics Through Deleuzean Suggestions for an Approach to Violent Cinema: Fargo’s Production of the Masochistic Contract as a Cinematic Concept.” 24th Annual Conference on Film and Literature: Violence in Film and Literature, Tallahassee, FL, 1/1999.
          • “The Spectacular ‘Etc.’ in Henry VIII, or, How to Discipline Bodies with(out) Violence.” 24th Annual Conference on Film and Literature: Violence in Film and Literature, Tallahassee, FL, 1/1999.
          • Invited Guest Lectures


            1. “‘So this was Germany!’: Towards Theorizing A People That Will Have Been.” As part of the cross-disciplinary seminar series, “Zeitgeist: What Does It Mean to Be Germany in the 21st Century?,” at the University of Birmingham, UK, November 21, 2011.
            2. “The Counter-Cinema of the ‘Berlin School.” University of Western Ontario, London, Canada, March, 16 2009.
            3. “Innen sicher und aussen mobil: Das Kino der Berliner Schule.” Ruhr-Universität Bochum, Germany, June 19, 2007.


            1. “Promise As Premise: The Berlin School Will Have Been.” As part of “The Berlin School: Films from the Berliner Schule” retrospective of the Berlin School at the Museum of Modern Art, New York City, November 22-23, 2013.
            2. Fellow participants at this two-day symposium, itself part of a two-week retrospective, are all of the directors associated with the Berlin School, as well as Rajendra Roy, the Celeste Bartos Chief Curator of Film at MoMA, and Anke Leweke, independent film critic from Germany.
            3. “Current German Cinema and Its Notion of Germany: On the Berlin School.” University of California at Berkeley, April 6, 2012.
            4. “The Counter-Cinema of the Berlin School: Filming the Nation in the Age of Neoliberalism.” University of California at Davis, April 5, 2012.”
            5. Séance: A Prolegomenon to the Berlin School.” As part of “The Making of Now: New Berlin Cinema,” Dartmouth, 5/2011.
            6. Fellow speakers/participants: Eric Rentschler (Harvard), Gerd Gemünden (Dartmouth), and German filmmaker Christoph Hochhäusler.
            7. “Wither Germany: The Minor Cinema of the Berlin School and the Question of the German People.” As part of “The Fall of the Wall: A Prism for Looking at Germany’s Recent Past and Future” (which was part of the “Freedom without Walls: Fall of the Berlin Wall 1989-2009” campus week at Columbia University). Co-sponsored by NYU’s Deutsches Haus and the German Embassy. New York City, October 22-23, 2009.
            8. “Christian Petzold’s Yella and the Cinema of the Berlin School.” Block Museum of Art at Northwestern University, October 2008.
            9. “Violence, Affect, Ethics: Thinking the Ethics of Violence as the Violence of Ethics.” As part of a public colloquium on “Violence and Ethics” hosted by the Honor’s Program and the John Hazen White Sr. Center for Ethics and Public Service at the University of Rhode Island, April 1, 2008.
            10. Also guest-taught a session on “Bret Easton Ellis’s American Psycho and the Question of Violent ‘Representations’” in Dr. Naomi Mandel’s graduate seminar, “Novels of the Contemporary Extreme,” April 2, 2008.
            11. “How to Survive the Academic Job Market.” The Pennsylvania State University, October 14, 2005.
            12. “Taking Lacan and Heidegger to the Limits of What They Can Do: Kaja Silverman’s Envisioning of Seeing as Lack in World Spectators.” University of South Carolina, February 2003.


              1. “Christian Petzold’s Barbara.” Mary Riepma Ross Media Arts Center, Lincoln, NE, February 3, 2013.
              2. “Werner Herzog’s Cave of Forgotten Dreams.” Mary Riepma Ross Media Arts Center, Lincoln, NE, November 25, 2012.
              3. Ai Weiwei: Never Sorry.” Mary Riepma Ross Media Arts Center, Lincoln, NE, September 16, 2012.
              4. “Christian Petzold’s Yella.” Mary Riepma Ross Media Arts Center, Lincoln, NE March 1, 2009.
              5. “‘The Berlin School’: New Images for a Post-Wall Reality.” Mary Riepma Ross Theatre, Lincoln, NE, March 25, 2007.
              6. “Viva Pedro!: The Films of Pedro Almodóvar.” Mary Riepma Ross Theatre, Lincoln, NE, October 29, 2006.
              7. “Comedy of Reconciliation? Go for Zucker and German-Jewish Relations in the 21st Century.” Mary Riepma Ross Theatre, Lincoln, NE, April 30, 2006.


              • “Contemporary Independent Cinema from Germany: The ‘Westend’ Films by Markus Mischkowski and Kai Maria Steinkühler” at the Mary Riepma Ross Media Arts Center in Lincoln, NE, October 28-November 3, 2011. This event featured German filmmakers Markus Mischkowski and Kai-Maria Steinkühler, the directing duo of the so-called “Westend” series, which consists, to date, of one feature and five short films. This was the first-ever screening of the entire series outside of Germany.
                • Both filmmakers attended my film studies courses to discuss their work with my students.
                • Both filmmakers also went to Doane College to discuss their work there.
              • “Retrospective on Contemporary German Cinema” at the Mary Riepma Ross Media Arts Center in Lincoln, NE, March 23 – April 5, 2007. The retrospective—the 1st of its kind at the time—featured 12 films by directors belonging to the so-called “Berlin School.” Two directors, Benjamin Heisenberg and Christoph Hochhäusler, attended the event for 5 days each.
                • Both filmmakers visited my film studies courses to discuss their work with my students.

            Teaching Experience

            At the University of Nebraska


            • On the Graduate level, I regularly teach the Department’s “Introduction to Theory” (ENG 871) and “Seminar in Theory” (ENG 971) courses. I have also taught “Studies in Film” (ENG 913) and “Introduction to Graduate Research and Scholarship” (ENG 990). For more details, see Teaching.


            • On the Undergraduate level, I regularly teach core courses of the Film Studies major, such as “Introduction to Film Theory” (ENG 373) and “National Cinemas” (ENG 349), as well as “Film Periods” (ENG 269), and “Film Directors” (ENG 239). For more details, see Teaching.

            Independent Studies

                  • Over the years, I have conducted numerous independent studies on both the Graduate and Undergraduate level on topics such as New Media Theories, Antonio Negri, Contemporary Film Theory, Romanian Cinema, Independent Cinema, and Theories of Memory and History.

            Grants & Awards

                  • Recipient of John C. and Nettie V. David Memorial Trust Fund Grant-in-Aid, in the amount of $4,250, awarded by the Research Council at UNL, 2012
                  • Recipient of Jane Robertson Layman Fund Grant-in-Aid, in the amount of $1,125, awarded by the Research Council at UNL, 2011
                    • To be used for the subvention of publication of my co-edited book, Im Angesicht des Fernsehens: Der Filmmacher Dominik Graf
                  • Recipient of Jane Robertson Layman Fund Grant-in-Aid, in the amount of $2,400, awarded by the Research Council at UNL, 2010.
                    • To be used for the subvention of publication of my book, The Counter-Cinema of the Berlin School: Redistributing the Sensible
                  • Recipient of the Maude Hammond Fling Faculty Research Fellowship, in the amount of $6,500, granted by the Research Council at UNL, 2009.
                  • Recipient of the Charles J. Millard Trust Fund research fellowship, in the amount of $6,500, granted by the Research Council at UNL, 2008.
                  • Recipient of the Maude Hammond Fling Faculty Research Fellowship, in the amount of $6,500, granted by the Research Council at UNL, 2006.
                  • I have received numerous UNL Research Council Visiting Scholar grants and Faculty Senate Convocation Committee grants, as well as two College of Arts and Sciences Interdisciplinary Seed grants, totaling $25,000, to support the “Humanities on the Edge” speaker series I co-founded with Dr. Roland Végsö (English) and continue to co-organize with Dr. Jeannette Jones (History) and Dr. Damien Pfister (Communication Studies).
                  • To date, “Humanities on the Edge” has hosted Michael Hardt, Ernesto Laclau, Sande Cohen, Steven Shaviro, Jeffery Nealon, Jodi Dean, Sarah Goyer, Cesare Casarino, Mark Greif, Lutz Koepnick, E. Patrick Johnson and Kristin Ross. See the list of future speakers here.
                  • Nominee for Annis Chaikin Sorensen Distinguished Teaching Award in the Humanities,” 2013.
                  • Recipient of UCARE grant ($2,000) for a project with undergraduate student Heather Barnes on the “Berlin School and its European Context,” 2012.
                  • Recipient of the College of Arts and Sciences Distinguished Teaching Award, 2008.
                  • Nominee for Edgerton Teaching Award, 2007.
                  • Recipient of a Certificate of Recognition for Contributions to Students, awarded by the UNL Parents Association, 2007.
                  • Recipient of the Outstanding Teaching Award for Graduate Students in the College of Liberal Arts, The Pennsylvania State University, 2001. One of two recipients of annual college-wide award.

            Professional Service & Activities

            • Invited participant in a workshop on the “German New Wave” at the University of Missouri, Columbia, MO, November 5-8, 2009.
              • A weekend-long workshop-driven event gathering scholars interested in the “Berlin School” and the Austrian New Wave.
            • Participated in the Missouri Film Institute at Washington University, St. Louis, December 2008
              • A weekend-long workshop-driven event gathering scholars interested in the “Berlin School.”
            • Participated in the German Film Institute at the University of Michigan, Ann Arbor, August 2008
              • Organized by Johannes von Moltke (U of Michigan).
              • Led by Eric Rentschler (Harvard) and Anton Kaes (U California Berkeley).
              • A week-long workshop-driven event gathering scholars interested in German cinema.
            • Blurb writer for Bret Easton Ellis, ed. Naomi Mandel (New York: Continuum 2011), Gordon Bern’s Life Drawing: A Deleuzean Aesthetics of Existence (Fordham UP, 2013), and John Hodgkins’ The Drift: Affect, Adaptation, and New Perspectives on Fidelity (New York: Bloomsbury Academic, 2013).
            • Provided evaluation for Dr. Christoph Wahl’s candidacy for the Werner Heisenberg Professorship in Audiovisual Cultural Heritage at the Hochschule für Film und Fernsehen “Konrad Wolf” in Potsdam, Germany. Dr. Wahl assumed this professorship in Spring 2013.
            • Served as evaluator for “Vigilantismus im amerikanischen Film,” a research project proposed to the Deutsche Forschungsgemeinschaft (DFG, or German Research Foundation), August 2011.
              • The applicant requested in excess of 100,000 Euros for the proposed 2-year-long research project. The DFG is Germany’s largest research funding organization.
            • Reviewed book manuscripts and proposals for Continuum, Fordham UP, and Palgrave-Macmillan.
            • Served as manuscript reader for PMLA (2006-), 20th Century Literature (2003-), German Studies Review (2012-), Germanic Review: Literature, Culture, Theory (2012-), Communication and Critical/Cultural Studies (2005-: Member of the Editorial Board 2007-2010), Critical Studies and Media Communication (2001-2004), and Blackwell Press’s Literature Compass (2006).

            Service at UNL

            Department of English
                      • Co-founder, with Roland Végsö, of “Humanities on the Edge”—a cross-disciplinary speaker series that seeks to foster theoretical research in the Humanities at UNL by bringing in a range of distinguished speakers.
                      • Graduate Studies (August 2012-)
                      • Recruitment (July 2008 – August 2012)
                      • Placement (Spring 2007 – July 2008)
                      • Teaching & Research Committee (Spring 2007)
                      • Teaching & Research Committee (fall 2004 – spring 2008)
                      • Personnel Subcommittee and Chair’s Advisory Committee (fall 2005-spring 2006; fall 2009-spring 2010)
                      • Placement Group (2004 – fall 2006)
            Service at the University, College, or Community Level
                      • Serve on Promotion and Tenure Committee of College of Arts & Sciences (fall 2012-)
                      • Serve as Member of Faculty Senate (fall 2011-)
                      • Serve as Advisory Board Member, Mary Riepma Ross Media Arts Center (fall 2004–)

            Professional Memberships

                    • Modern Language Association
                    • Society for Cinema and Media Studies
                    • German Studies Association