Dr. Mila Ganeva

EDUCATION HISTORY

• Ph.D., Germanic Studies, University of Chicago. 2000.

AFFILIATIONS

Film Studies, Jewish Studies

MEMBERSHIPS IN PROFESSIONAL ORGANIZATIONS

German Studies Association, Women in German, American Association of Teachers of German

FELLOWSHIPS, AWARDS, RECOGNITIONS

• Internationales Forschungszentrum Kulturwissenschaften (IFK), Vienna, Austria, Residential Research Grant, Spring 2014
• Research Travel Grant, German Academic Exchange Service (DAAD) February 2012.
• Research Grant, Institute for Human Sciences (Institut für die Wisschenschaften vom Menschen), Vienna, Austria, September 2011
• Research Grant, Stiftung Preußischer Kulturbesitz (Berlin) for research in the archives of the Berlin State Museums, Germany (2010)
• Best Article Prize of the German Studies Association and German Academic Exchange Service (DAAD) for “Weimar Film as Fashion Show: Konfektionskomödien or Fashion Farces from Lubitsch to the End of the Silent Era,” German Studies Review, 30.2. (May 2007) 288-310

TEACHING AND RESEARCH INTERESTS

German language and the literatures and cultures of German speaking countries; Berlin in film and literature; Film history and contemporary German film; Member of Film Studies and Jewish Studies Programs; Literature, film, and fashion of the Weimar Republic; Visual culture of the Cold War; Berlin in film and literature; Aesthetics, consumerism, and mass culture

SELECTED PUBLICATIONS

Books:

• Film and Fashion Amidst the Ruins of Berlin: Between Nazism and Cold War, 1945-1953. Rochester, NY: Camden House, 2018. Pp. 256
• Helen Hessel, Ich schreibe aus Paris. Über die Mode, das Leben und die Liebe, edited by Mila Ganeva (Zürich: NIMBUS, 2014)
• Women in Weimar Fashion: Discourses and Displays in German Culture (Rochester, NY: Camden House, 2008). Reviewed in German Studies Review, Germanic Review, H-German, Monatshefte, Filmblatt, Women in German Newsletter, and querelles-net.

Articles:

•  “‘Stoffe über die Luftbrücke’: Film und Mode trotz der Blockade.” In Die Berliner Luftbrücke: Erinnerungsort des Kalten Krieges, edited by Corinne Defrance, Bettina Greiner, and Ulrich Pfeil, 253–70. Berlin: Christoph Links Verlag, 2018.
• Mode und Film in Ost- und Westdeutschland: Modell Bianka (1951) und Ingrid. Geschichte eines Fotomodells (1954).” Zeithistorische Forschungen/Studies in Contemporary History 14 (2017) 384-394.
• “Vicarious Consumption: Fashion and Fashion Media in Germany during the War Years 1939-1943,” The Consumer on the Home Front: Second World War Civilian Consumption in Comparative Perspective, ed. Felix Römer, Jan Logermann, and Hartmut Berghoff (Oxford: Oxford University Press, 2017) 199-221.
• “Fashion Amidst the Ruins: Revisiting the Early Rubble Films And the Heavens Above (1947) and The Murderers are Among Us (1946),” German Studies Review, 37:1 (March 2014) 61-85.
• “Miss Germany, Miss Europe, Miss Universe: Beauty Pageants in the Popular Media of the Weimar Republic,” Globalizing Beauty, ed. Thomas Kühne and Hartmut Berghoff (New York: Palgrave MacMillan, 2013) 111-130.
• "Ruth Goetz." Women Film Pioneers Project, ed. Jane Gaines, Radha Vatsal, and Monica Dall’Asta. Center for Digital Research and Scholarship. New York, NY: Columbia University Libraries, 2013. Web.  September 27, 2013.   https://wfpp.cdrs.columbia.edu/pioneer/ccp-ruth-goetz/
• “21 January 1914: Premiere of Die Firma heiratet Inaugurates Fashion Farce,” New History of German Cinema, ed. Jennifer Kapczynski and Michael Richardson (Rochester, NY: Camden House 2012) 64-69.
• “Berlin Remembers 13 August 1961,” Germanic Review, vol. 87:1, 2012, 91-102.
• “Trümmer, Kitsch und Wirklichkeit: Martina und das Ende der langen ’Stunde Null,’” Filmblatt, 16, Nr. 46/47, Winter 2011/2012, 94-105.
• “Romantic Encounters on a Street Corner: Sommer vorm Balkon and the Return of the Berlin Film,” in TRANSIT: A Journal of Travel, Migration and Multiculturalism (http://german.berkeley.edu/transit/). Spring 2010.
• “Elegance and Spectacle in Berlin: The Gerson Fashion Store and the Rise of the Modern Fashion Show in the Early Twentieth Century,” The Places and Spaces of Fashion: 1800-2007, ed. John Potvin (New York: Routledge, 2009) 121-138.
• “Weimar Film as Fashion Show: Konfektionskomödien or Fashion Farces from Lubitsch to the End of the Silent Era,” German Studies Review, 30.2. (May 2007) 288-310.
• “From West-German Väterliteratur to Post-Wall Enkelliteratur: The End of the Generation Conflict in Marcel Beyer’s Spione and Tanja Dückers’ Himmelskörper,” Seminar. A Journal of Germanic Studies, 43:2 (May 2007): 149-162.
• “Female Flâneurs: Judith Hermann’s Sommerhaus, später und Nichts als Gespenster”in Gegenwartsliteratur. A German Studies Yearbook (2004) 250-277.
• “No History, Just Stories: Berlin Films of the 1990s,” in Berlin: The Symphony Continues, ed. Carol Anne Costabile-Heming, Rachel Halverson and Kristie Foell (Berlin: Walter de Gruyter 2004) 261-278.
• “Fashion Photography and Women’s Modernity in Weimar Germany: The Case of YVA.” Women’s Studies Association Journal. A Special Issue on “Modernism between the Wars” 15:3 (Fall 2003): 1-25.

LANGUAGES

• German (near native)
• English (near native)
• Russian (reading)
• Bulgarian (native)