Cinema Studies Institute and Department of Germanic Languages & Literatures
Office: Room 230, Innis College
Research and Teaching:
Angelica Fenner maintains a persistent interest in the representational politics of migration, exile, diaspora and other terms of mobility associated with late 20th- and 21st-century globalization processes in Europe. Her monograph Race Under Reconstruction in German Cinema investigates the implications of early West German discourses around race and integration for visualizing the terms of belonging within postwar society and beyond. She has also authored several articles and book chapters on the thematics of labor migration in contemporary German cinema, and is currently pursuing two research strands. One focuses on autobiographical and personal filmmaking in Germany, for which she is co-editing the anthology The Autobiographical Turn in German Documentary and Experimental Film (Camden Press) and preparing a monograph of conceptual essays. She is also working on a book-length project on the relationship between sound, space, and mobility in select European films.
Professor Fenner has taught third-year courses in documentary history and theory, world cinema, race & representation, as well as a senior seminar on film sound/film music. Through the German Department, she also teaches German film history. At the graduate level, she has developed seminars on diasporic cinemas, on visual culture in Weimar Germany, and on non-fiction filmmaking in Germany, with the latter sometimes focused on autobiographical documentary and, at others times, on the essay film.
Race Under Reconstruction in German Cinema: Robert Stemmle's Toxi. University of Toronto Press, 2011. 283 pp.
Fascism and Neo-Fascism: Critical Writings on the Radical Right in Europe. Co-edited with Eric Weitz. NY: Palgrave, 2004. 286 pp.
ARTICLES IN BOOKS
"Roots and Routes of the Diasporic Documentarian: A Psychogeography of Fatih Akin's Wir haben vergessen zürück zu kehren." In Turkish-German Cinema in the New Millenium: Sites, Sounds, and Screens, eds. Sabine Hake and Barbara Mennell, 59-71. New York: Berghahn Press, 2012.
"Jennifer Fox's Transcultural Talking Cure: Flying: Confessions of a Free Woman." In The Cinema of Me: The Self and Subjectivity in First Person Documentary Film, ed. Alisa Lebow. 119-141. London: Wallflower Press, 2012. [Reprint]
“Cinematic Discourses of Race and Reconstruction in Transnational Perspective.” In From Black to Schwarz: Cultural Crossover between African America and Germany, eds. Maria Diedrich & Jürgen Heinrichs, 227-244. LIT Verlag, 2010.
“The Reterritorialization of Enjoyment in the Adenauer Era.” In Framing the Fifties: Cinema in a Divided Germany, eds. John Davidson & Sabine Hake, 166-179. NY: Berghahn, 2007.
"Beyond the Pleasure Principle: Repetition Trauma and the Tyrannies of Genre in Frieder Schlaich's Otomo." In Fascism and Neo-Fascism: Critical Writings on the Radical Right in Europe, eds. Angelica Fenner & Eric Weitz, 259-278. NY: Palgrave, 2004.
"Traversing the Representational Politics of Migration in Xavier Koller's Journey of Hope." In Moving Pictures, Traveling Identities: Exile, Migration, Border Crossing in Cinema, ed. Eva Rueschmann, 18-38. Oxford: University of Mississippi Press, 2003.
"Theorizing the Internet: Scholarly Collaboration, Authorial Identity, and the Bounds of Listserver Culture." In After Postmodernism: Austrian Literature and Film in Transition, ed. Willy Riemer, 348-361. Riverside, CA: Ariadne Press, 2001.
ARTICLES IN ACADEMIC JOURNALS
“Jennifer Fox’s Transcultural Talking Cure: Flying: Confessions of a Free Woman.” Journal of Feminist Media Studies 9.4 (2009): 427-445. Special Issue: Transcultural Media and the Transnational Politics of Difference.
“Aural Topographies of Migration in Yamina Benguigui’s Inch’Allah dimanche.” Camera Obscura 66 (2007): 93-127.
“Turkish Cinema in the New Europe: Visualizing Ethnic Conflict in Sinan Çetin's Berlin in Berlin." Camera Obscura 44 (2001): 105-149.
"Personal Vendettas and their Public Appropriations: The Politics of Film Reception in Sibylle Schönemann’s Verriegelte Zeit." GDR Bulletin 24 (Spring 1997): 47-57.
"Versuch eines interkulturellen Dialogs: Mehrstimmigkeit als Erzählstrategie in Helma Sanders-Brahms' Shirin's Hochzeit." Frauen in der Literaturwissenschaft Rundbrief 49
(Dezember 1996): 25-29.
"The Hybrid Approach: An Interview with the Filmmaker Branwen Okpako." Women in German Yearbook 28 (2012): 113-137.
“The Dialogical Documentary: Jennifer Fox on Finding a New Film Language.” CineAction 77 (May 2009): 25-33.
“Seyhan Derin: ‘She has her own way of asserting herself.’” Women in German 21 (2005): 43-61.
DVD AUDIO COMMENTARY
Toxi (Robert Stemmle, 1952, Germany, 89 min.). Produced by the DEFA Library, University of Massachusetts, 2011).
Michael Renov. The Subject of Documentary (Minneapolis: University of Minnesota, 2004) in Quarterly Review of Film & Video 25.3 (2008): 251-256.
Jacqueline Levitin, Judith Plessis, Valerie Raoul, eds. Women Filmmakers Refocusing (NY: Routledge, 2003) in Jump Cut 49 (Spring 2007) <www.eJumpcut.org>.
Caryl Flinn. The New German Cinema: Music, History, and the Matter of Style (Berkeley: University of California Press, 2004) in Journal of Film Music 1.4 (Winter 2006).
Linda Schulte-Sasse. Entertaining the Third Reich: Illusions of Wholeness in Nazi Cinema (Durham, NC: Duke University Press, 1996) in Film Quarterly 54.1 (Fall 2000): 44-46.
Marc Silberman, German Cinema: Texts in Context (Detroit: Wayne State UP, 1995) and Wallace Steadman Watson. Understanding Rainer Werner Fassbinder: Film as Private and Public Art (Columbia: University of South Carolina, 1996) in Film Quarterly 51.2 (Winter 1998): 57-58.
Book Review: Tina Campt. Image Matters: Archive, Photography, and the African Diaspora in Europe (Durham, NC: Duke University Press, 2012) in Journal of Family History 38.3 (July 2013).
Tobias Nagl. Die unheimliche Maschine: Rasse und Representation im Weimarer Kino. (München: Edition Text+Kritik, 2009) in Film Blatt 15.43 (Fall 2010).
Christine Haase. When Heimat Meets Hollywood: German Filmmakers and America, 1985-2005 (Rochester, NY: Camden House, 2007) in German Studies Review 33.3 (October 2010): 706-7.
Heide Fehrenbach. Race after Hitler: Black Occupation Children in Postwar Germany and America (Princeton, NJ: Princeton University Press, 2005) in German Studies Review 31.1 (February 2008): 178-79.
Nora Alter & Lutz Köpnick, eds. Sound Matters: Essays on the Acoustics of Modern German Culture (New York: Berghahn Books, 2004) in German Studies Review 30.1 (February 2007): 235.
Ian Balfour & Atom Egoyan, eds. Subtitles: On the Foreignness of Film. (Boston: MIT Press, 2004) in Journal of Popular Film & Television 34.2 (June 2006): 95-96.