"European Images of Africa: Film Expedition and Sound Archiving".
"12th Iberian Congress of African Studies (CIEA)", University of Barcelona.
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.
Guest lecture
"(Colonial) Sound Heritage in Audiovisual Media".
"Soundtracks of Power: the Nexus of Film Music, Political Narratives and Moving Images", international conference, Universitatea Națională de Muzică din București.
November 2024
National University of Music Bucharest
Links
University of Music Bucharest
Guest lecture
"Creating Unheard Music of Heimat".
"Transatlantic Mountain Cinema", international conference, Department of American Studies, University of Innsbruck.
November 2024
University of Innsbruck
Links
Decolating Mountains
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.