NORA M. ALTER

NORA M. ALTER received her PhD in comparative literature from the University of Pennsylvania. Professor Alter is author of Vietnam Protest Theatre: The Television War on Stage (Indiana University Press), Projecting History: Non-Fiction German Film (University of Michigan Press) and Chris Marker (University of Illinois Press) and co-editor with Lutz Koepnick of Sound Matters: Essays on the Acoustics of Modern German Culture (Berghahn Books). She has published more than fifty essays on a broad range of topics including film and media studies, German and European studies, cultural and visual studies and contemporary art. She has been awarded year-long research fellowships from the National Endowment for the Humanities, the Howard Foundation and the Alexander von Humboldt Foundation. In 2005, she was awarded the DAAD Prize for Distinguished Scholarship in German and European Studies. From 2008 to 2010 she was elected president of the Coalition of Women in German. She currently serves on the editorial board of The German Quarterly. She is completing a new book on the international essay film and has begun research on a new study devoted to sound. Her teaching and research have been focused on cultural and visual studies of the twentieth century and twenty-first century from a comparative perspective.

Books

  • Chris Marker (Champaign: University of Illinois Press, 2006), pp. 205.
  • Sound Matters: Essays on the Acoustics of German Culture, co-edited with L. Koepnick (New York: Berghahn Books, 2004), pp. 257. Re-issued in 2005.  (.pdf)
  • Projecting History: Non-fiction German Cinema: 1967-2000 (Ann Arbor: University of Michigan Press, 2002), pp. 221.
  • Vietnam Protest Theatre: The Television War on Stage (Bloomington and Indianapolis: University of Indiana Press, 1996), pp. 225 + xxv.

Articles, Chapters in Books, and Critical Essays

  • “Composing in Fragments: Music in the Essay Films of Resnais and Godard,”  in SubStance, eds. David F. Bell, Paul Harris, Éric Méchoulan,(Board of Regents, University of Wisconsin System, 2012), 24-39. (.pdf)
  • “2000: Movies and a Year of Anti-climaxes and Disenchantments,” in American Cinema of the 2000’s, ed. Tim Corrigan (New Brunswick: Rutgers University Press, 2012) 19-39.
  • Acoustic Shapings: Sound, Film and Sculpture,” Kunstlicht #33 “Music Issue,” 2012, 30-38.(.pdf)
  • “The Moving Still,” in Stan Douglas, Abbott & Cordova, 7 August 1971, ed. Robert Ballantyne (Vancouver: Arsenal Pulp, 2011) 56-71. (.pdf)
  • “Places and People of Exception,” in Ulrike Ottinger, ed. Marius Babius (Cologne: Walther König Verlag, 2011) 170-185. With German translation.
  • “Sound Thoughts: Hearing the Essay,” in Der Essay Film: Äethetik und Aktuaität, ed. Sven Kramer and Thomas Tode (Konstanz: UVK Verlag Konstanz University Press, 2011) 175-188. (.pdf)
  • “Screening Out Sound: Arnheim and Cinema’s Silence,” in Arnheim for Film and Media Studies, ed. Scott Higgins (London: Routledge, 2011) 69-88. (.pdf)
  • “Sound Scores: Musical Armature in Displaced Person,” in Postwar: The Films of Daniel Eisenberg, ed. Jeffrey Skoller (London: Black Dog Press, 2010) 48-65. (.pdf)
  • “Staging the Political: Repetition, Difference, and Daniel Buren’s Cabanes Eclatees,” co-written with A. Alberro, Grey Room, 40, (Summer 2010) 6-23.
  • “New Values: John Miller and the Political Economy of Everyday Life,” in John Miller: A Refusal to Accept Limits (Zurich: JRP/Ringier,  2010) 102-112. With German translation.
  • “Listening as Method,” in Immediacy and Non Simultaneity: Utopia of Sound, ed. Diedrich Diederichsen and Constanze Ruhm (Schriften der Akademie der bildende Kuenste Wien: Vienna, 2010) 29-42.
  •  “Transformations of the Archive,” in After the Digital Divide: German Aesthetic Theory in the Age of New Media, ed. L. Koepnick and E. McGlothlin (Rochester: Camden House, 2009) 153-166.
  • “Berlin: Symphony of a City,” in Columbia Companion to Weimar Cinema, ed. N. Isenberg (New York: Columbia University Press, 2009) 193-215.
  • “Addressing the Global in Recent Nonfiction Film Production,” in Sites of German Cinema, eds. L. Koepnick and S. Schindler (Ann Arbor: University of Michigan Press, 2007) 253-268. (.pdf)
  • “Translating the Essay into Film and Installation,” Journal of Visual Culture, 6:1 (April 2007) 45-58. (.pdf)
  • “The Legs of Marlene Dietrich,” in Dietrich Icon, eds. G. Gemuenden and M. Desjardins. (Durham: Duke University Press, 2007) 60-78. (.pdf)
  • “Hans Richter in Exile: Translating the Avant-garde,” in Caught by Politics, eds. S. Eckmann and L. Koepnick (New York: Palgrave, 2007), 223-243. (.pdf)
  • “Mathias Poledna’s Western Recording and the Dialectic’s of Discontinuity,” in Mathias Poledna: Western Recording (Rotterdam: Witte de With Publishers, 2006) 29-39, 85-97, 145-156. Co-written with A. Alberro. With German and Dutch translations.
  • “Questions of Methodology in Visual Studies,” in German Visual Culture, ed. G. Finney (Bloomington: Indiana University Press, 2006) 31-42.
  • “After the Senses,” in Beyond the White Cube: A Retrospective of Brian O’Doherty/Patrick Ireland, eds. C. Kennedy and G. Jackson (Dublin: Dublin City Gallery, 2006) 44-55. Co-written with A. Alberro.
  • “The Political In/visible in the Essay Film: Farocki’s Images of the World and Inscriptions of War,” in Harun Farocki: Working on the Sight-Lines, ed. T. Elsaesser (Amsterdam: Amsterdam University Press, 2004), 211-236; reprinted from New German Critique, 68 (Spring/Summer 1996) 165–192. (.pdf)
  •  “Die Produktion des öffentlichen Raumes,” in Im Geschmack der Zeit: Das Werk von Hans und Marlene Poelzig aus heutiger Sicht, ed. Christian Philipp Muller (Verein zur Förderung von Kunst and Kultur am Rosa-Luxemburg-Platz), 19-27. German only. Republished with English supplement, “The Production of Public Space,” 1-18, by Architecture Museum Basel, 2004. Co-written with A. Alberro.
  • “Critical Introduction,” in Sound Matters: Essays the Acoustics of German Culture, eds. L. Koepnick and N. M. Alter (New York: Berghahn 2004) 1-32. Co-written with L. Koepnick.
  • “The Politics and Sounds of Everyday Life in Kuhle Wampe: Reconsidering Brecht’s Film Theory,” in Sound Matters: Essays the Acoustics of German Culture, eds. L. Koepnick and N. M. Alter (New York: Berghahn 2004) 79-90.
  • “Memory Essays,” in Stuff It—The Video Essay in the Digital Age, ed. U. Biemann (Zurich: Voldemeer/Springer, 2003) 12-24.
  • “Crisis as Film,” in Literarisches Krisenbewusstsein: Ein Perzeptions—und Produktionsmuster im 20. Jahrhundert, eds. K. Bullivant and B. Spies (Munich: Iudicium, 2001) 195-215.
  • “Theses on Godard’s Allemagne 90 Neuf Zéro,” Iris, 29 (Spring 2000) 117-132. (.pdf)
  • “Mourning, Sound and Vision: Jean-Luc Godard’s JLG/JLG,” Camera Obscura, 44 (Winter 2001) 75-103. (.pdf)
  • “Mettre en scène le politique: répétition, différence et les Cabanes éclatées de Daniel Buren,” in Daniel Buren: Cabanes éclatees / Catalogue raisonné thématique—Volume 2, ed. Annick Boisnard (Le Bourget, France: Editions 11/28/48, 2000) 7-12. Co-written with A. Alberro. French only.
  • “Beyond the Frame: Renée Green’s Video Practice,” Shadows and Signals (Barcelona: Fundacio Antoni Tapies, 2000) 143-161.
  • “Imaging (Post)Gender under Transnational Capital: Valie Export’s Perfect Pair,” in After Postmodernism, ed. W. Riemer (Riverside: Ariadne Press, 2000) 267-282
  • “Ottinger’s Benjamin: Countdown’s: Alternative Take on Reunification,” The Germanic Review, 73:1 (Winter 1998) 50-69.
  • “Triangulating Performance: Looking After Genre after Feature,” in Triangulated Visions: Women in Recent German Cinema, eds. I. Majer O’Sickey and I. von Zadow (Albany: SUNY Press, 1998) 11-27.
  • “Marcel Ophüls’ November Days: German Reunification as Musical Comedy,” Film Quarterly, 51 (Winter 1998) 32-43.
  • “Cinematic Reunification under the Sign of Nationalism and Racism,” in Beyond 1989: Re-reading German Literature since 1945, ed. K. Bullivant (Providence: Berghan Books, 1997) 129-152.
  • “Excessive Pre/Requisites: Vietnam through the East German Lens,” Cultural Critique, 35 (Winter 1997) 39-79.
  • “…und Fried und…: Erich Fried’s Poetry and the Structure of Contemporaneity,” Studies in Twentieth-Century Literature, 21 (Winter 1997) 81–112.
  • “Documentary as Simulacrum: Tokyo-Ga,” in The Cinema of Wim Wenders: Image, Narrative, and the Postmodern Condition, eds. R. Cook and G. Gemünden (Detroit and London: Wayne State University Press, 1996) 136-162.
  • “Vietnamese Theatre of Resistance: Thich Nhat Hanh’s Metaphysical Sortie,” in Imperialism and Theatre, ed. J. E. Gainor (London and New York: Routledge, 1995) 1-18.
  • “Chester Himes: Black Guns and Words,” in Alteratives, eds. W. Motte and G. Prince (Lexington: French Forum, 1993) 11-24.
  • “Changing Directions in Staging War: Beyond Mann ist Mann,” Communications, 20 (1991) 70-78.
  • “Peter Brook’s Mahabharata: Orality and Literacy,” Theatre Three Journal, 6 (1989) 158-168.

Book, Film, Art, and Theatre Reviews, and Miscellaneous Publications

  •  “Listening to Farocki,” in Harun Farocki: Against What, Against Whom, ed. Kodwo Eshun and Harun Farocki (Cologne: Walter Konig Verlag, 2010) 171-178.
  • “The Remains of the Voice,” in Queer Voice, ed. Ingrid Schaffner (Philadelphia: University of Pennsylvania Institute of Contemporary Art, 2010) 32-33.
  • “View While Listening,” in Renee Green: Ongoing Becomings 1989-2009 (Zurich: Ringier Verlag, 2009) 95-101.
  • “Bare Facts,” in Dispersion (London: Institute for Contemporary Arts, 2008) 36-40.
  • Contributor to Forum “The Role of Translation in German Studies,” The German Quarterly 81 (Summer 2008) 258-260.
  • “Akustische Dimensionen: Sound in Skulptur und Film,” Die Bildende 1 (Summer 2006) 14-18.
  • “Maria Eichhorn’s Film Projections,” in Image Contemporaine: Contemporary Image (Montreal: Vox, 2006). With French translation.
  •  “Temples and Templates,” in The Work of Andrea Robbins and Max Becher (Cologne and New York: Sonnabend, 2006) 76-81.
  • “Difficult,” in Campus, ed. M. Eichhorn (Bozen: Freie Universität Bozen, 2005).
  • “Imagination and the Image,” in Referencing Art, ed. J. N. Uelsmann (Tuscon: Nazraeli Press, 2003).
  • “The Television of Modern Life: Stan Douglas’s Win, Place or Show” (Gainesville: Harn Museum of Art, 2000).
  • “Essay Film,” in Encyclopedia of the Essay, ed. T. Chevalier (London: Fitzroy Dearborn Publishers, 1998) 262-265.
  • “History in the Making,” in Children of Golzow (Massachusetts: Ice Storm International, 1999).
  • “Whose History, Whose Text, Whose Story?” Memory, History and Critique: European Identity at the Millenium. Proceedings of the Fifth Conference of the International Soceity for the Study of European Ideas, eds. F. Brinkhuis and S. Talmor (CDROM 1998).
  • Review: Wallace Steadman Watson, “Understanding Rainer Werner Fassbinder: Film as Private and Public Art,” in South Atlantic Review, 65 (Spring 1997).
  • “Staging Re/Unification: For and by the West,” The European Legacy: Toward New Paradigms, 1:3 (May 1996) 1242–1247.
  • Theatre review: Oedipus Rex, directed by H. Haus, Villanova Theatre, in Communications, 24:1 (May 1995).
  • Review: S. Frieden, R. McCormick, et al. (eds.), Gender and German Cinema: Feminist Interventions, in German Studies Review, 18:3 (October 1995).
  • Review: B. Kosta, Recasting Autobiography: Women’s Counterfictions in Contemporary German Literature and Film (Ithaca and London: Cornell UP, 1994), in The Germanic Review, LXX:2 (Spring 1995).
  • Review: B. Murray and C. Wickam (eds.), Framing the Past: The Historiography of German Cinema and Television, Carbondale, IL: Southern Illinois UP, 1992), German Studies Review 17:2 (May 1994).
  • Review: E. Schlant and J. T. Rimer (eds.), Legacies and Ambiguities: Postwar Fiction and Culture in West Germany and Japan, in German Studies Review, 17:2 (May 1994).
  • Review: H. J. Schmidt, How Dramas End: Essays on the German Sturm und Drang, Büchner, Hauptmann, and Fleisser, in Theatre Survey, 35:1 (Spring 1994).
  • Review: H. Kreuzer and H. Schanze (eds.), Fernsehen in der Bundesrepublik Deutschland: Perioden, Zäsuren, Epochen, in German Studies Review, 16:3 (October 1993).
  • Review article: “(Con)fusion: Vietnam and the Remasculinization of America,” Polygraph, 4 (1990), 195–203.

 

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