"Der Standard – Forschung Spezial".
Interview mit Mario Wasserfalle über mein Forschungsprojekt "Sonic Imaginaries of Africa", Beitrag ("Fernweh mit kolonialen Misstönen") in Der Standard – Forschung Spezial (19.11. 2025).
I am a musicologist and lecturer, currently working as a senior postdoc in the field of music and media culture at the Centre for Gender Studies and Diversity / University of Music and Performing Arts Graz.
November 2025
Gastvortrag + Filmscreening
"Heimat und Kolonie: Audiovisuelle Verflechtungen im deutschen Film".
Gastvortrag und Filmscreening im Rahmen des Festivals "Heimat! Das Filmfestvial", Filmhaus Nürnberg.
Jänner 2026
Filmhaus Nürnberg
Links
Filmhaus Nürnberg
Interview
"Radio Ö1".
Interview mit Marie-Therese Rudolph über den Workshop DeComposing the Archive: Kunst – Gewalt – Verantwortung, Beitrag in der Sendereihe Neuerscheinungen und andere Entdeckungen. Aktuelle Aufnahmen zeitgenössischer Musik, Sound Art: Zeit-Ton (Radio Ö1, 30.09.2025).
September 2025
Radio Ö1
Links
Sound Art: Zeit-Ton
This project aims to contribute to the emergence and development of the sonic imaginaries of cinematic Africa. From the beginnings of cinematography, Africa is an important production site for commercial films from the global North. Since sounds as a sensual dimension of the everyday form an elementary component of discourses and ideas about the African continent, this project aims to examine the sound of Africa in more detail, both historically and structurally. The processes and conditions of film music production will also be analysed through extensive empirical archive work.
This project aims to contribute to the clarification of the concept of 'home' by showing how it is created in relation to media and pop music
and how it influences a sense of collective identity and social belonging. Since the beginning of the 20th century, the medium of film has proved to be an essential constructive element of 'home' in the German-speaking world. In the research literature on 'homeland' films and mountain films of Austrian/German film production, the important role of music in these films has so far been given little attention.
This book examines the musical performance practice of silent film in Germany in the 1920s and sheds light on the early attempts at a theory and aesthetics of film music. The starting point for the study is the "Allgemeine Handbuch der Film-Musik" from 1927. Thereby, the genesis of film music conventions will be explored as well as the intermedial relationship between silent film music and music-aesthetic traditions.