Irvin Hall in the Fall Irvin Hall in the Fall

Dr. Mariana Ivanova

Dr. Mariana Ivanova

Dr. Mariana Ivanova
Assistant Professor

EDUCATION HISTORY

  • Ph.D. University of Texas, Germanic Studies, 2011. Dissertation: “DEFA and Eastern European Cinemas: Co-Productions, Transnational Exchange, and Artistic Collaborations.” Dissertation Committee: Sabine Hake (Chair), Kirsten Belgum, David Crew, Bernhard Moeller, Joan Neuberger.
  • M.A., University of Pittsburgh, German Languages and Literatures, 2003.
  • B.A., University of Shumen, Bulgaria, German Studies, 2001.

MEMBERSHIPS IN PROFESSIONAL ORGANIZATIONS

  • German Studies Association
  • Association of Slavic, East European and Eurasian Studies
  • Society for Cinema and Media Studies
  • Modern Language Association
  • European Network for Cinema and Media Studies

FELLOWSHIPS, AWARDS, RECOGNITIONS

  • 2013 - Max Kade Research Grant for participation in the DLA Seminar in Marbach, Germany
  • 2011 - Travel and Research Grant of the Hochschule für Film und Fernsehen, Potsdam, Germany
  • 2010 - Van Dusen Graduate Fellowship, awarded for excellence in undergraduate teaching, University of Texas at Austin
  • 2010 - Helmut and June Rehder Graduate Fellowship
  • 2008-2009 - Hogg Continuing Research Fellowship
  • 2008 - The DEFA Film Library Award, awarded for the Production of three documentaries by the DEFA Film Library, Amherst, MA
  • 2007 - DEFA-Foundation Travel Grant
  • 2006 - Trans-Atlantic Summer Institute Research Grant, awarded by the Centre for Contemporary Historical Research, Potsdam, Germany

TEACHING AND RESEARCH INTERESTS

  • 20th and 21st Centuries German Culture and Literature
  • East German and Eastern European Cinema
  • Post-unification Film
  • German Women Writers and Filmmakers in the 20th Century
  • Film Theory and Transnational cinema

SELECTED PUBLICATIONS

  • “Co-Productions (Un)Wanted: 1950s East/West German Film Collaborations and the impact of Sovietisation on DEFA’s Prestige Agenda.” Sovietisation and Planning in the Film Industries of Soviet Bloc Countries: A Comparative Perspective on East Germany and Czechoslovakia 1945-1960. Eds. Pavel Skopal and Lars Karl. New York, Oxford: Berghahn. (forthcoming in 2014)
  • “Die Prestige-Agenda der DEFA: Koproduktionen mit Erich Mehls Filmfirma Pandora (1954-1957).” Trans. Michael Wedel. DEFA International: Grenzüberschreitende Filmbeziehungen vor und nach dem Mauerbau. Eds. Michael Wedel, Barton Byg et al. Wiesbaden: Springer VS. 2013, 217-232.
  • “Die DDR aus der Perspektive einer jungen Generation: Erkundungsreisen und Grenzerfahrungen zwischen Träumen und Realität in deutschen Filmen seit 2005.” Kino in Bewegung: Analysen und Perspektiven zum aktuellen deutschen Film. Eds. Tobias Ebbrecht and Thomas Schick. Film, Fernsehen, Medienkultur: Schriftenreihe der Hochschule für Film und Fernsehen “Konrad Wolf.” Wiesbaden: VS Verlag, 2011.
  • “You Have to Draw a Line Somewhere: Tropes of Division in DEFA Films from 1961 to 1964.” Berlin Divided City, 1945-1989. Eds. Phillip Broadbent and Sabine Hake. New York, Oxford: Berghahn, 2010. 126-140.
  • “Interview with Bulgarian Screenwriter Angel Wagenstein. December 2007, Sofia, Bulgaria.” Special feature. Goya or the Hard Way to Enlightenment. IceStorm Entertainment/ DEFA Film Library, Amherst. DVD, 2010.
  • “Interview with Tatyana Lolova. December 2007, Sofia, Bulgaria.” Special feature. Goya or the Hard Way to Enlightenment. IceStorm Entertainment/ DEFA Film Library, Amherst. DVD, 2010.
  • “Angel Wagenstein Remembers.” Film Interview. Stars. IceStorm Entertainment/ DEFA Film Library, Amherst. DVD, 2011.

WORKS OR PROJECTS IN PROGRESS

Dr. Ivanova is currently revising her dissertation, DEFA and Eastern European Cinemas: Co-Productions, Transnational Exchange, and Artistic Collaborations, for publication. This book focuses on the exchange of the East German film studio DEFA (Deutsche Film-Aktiengesellschaft, 1949-1989) with West and East European partners. It revisits patterns of institutional and transnational collaboration during the Cold War in order to challenge the predominant cliché of the isolation of East European film industries. The discussion is structured around three categories that define the interplay between the East German studio’s co-production agenda and state-imposed film policy: cultural prestige, popular entertainment, and international solidarity.

LANGUAGES

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