Guests



Gina Annunziata teaches History of Cinema at the University of Naples “L’Orientale” and at the Academy of Fine Arts of Naples. In 2010, she holds a PhD in “Visual Studies” form University of Siene - The Italian Institute of Human Sciences (SUM). Her principal research interests lie primarily in otherness in Italian cinema and in Cinema of North Africa and the Middle East. She is also Member of the Scientific Committee of the Academic Book Series Postcolonial Film and Media Studies directed by L. De Franceschi for the Italian publisher Aracne (Rome).  She also works as independent film curator and, since 2008, she collaborates with national and international film festivals.


Born  in Düsseldorf, living in Berlin. Studies in Political science, philosophy, history and psychology in Berlin, Paris and Munich. After being promoted in Political science she started her career as a scriptwriter for Bavaria Filmcompany, Volker Schlöndorff and Ula Stöckl. She wrote radioplays and directed them. In 1975 she realized her first film as scriptwriter, director and producer. 10 films followed. All her films have been shown on international festivals and in retrospectives around the world and won national and international awards. She made video performances, wrote essays and books.  She was professor of film at the University of fine arts in Berlin and is a member of the Academy of fine arts. During all these years she was engaged in a lot of women’s initiatives. 


Rita Casale (1968) studied philosophy and history in Bari, Paris and Freiburg im Breisgau, receiving her Ph.D. in 1997. She taught at the Universities of Frankurt a. M., of Zürich, of Vienna and Fribourg before joining Universität of Wuppertal in 2009, where she is the professor for philosophy and history of education. Her research interests are: Philosophy (Phenomenology, Critical Theory, Poststructuralism), Feminism and History of Knowledge. 


Richard Dyer has an MA in French from St Andrews and a PhD in Cultural Studies from Birmingham. In addition to posts in British universities, he has taught and lectured widely internationally. He organised the first season of lesbian and gay films in 1997 at the National Film Theatre in London. His books include Stars, Heavenly Bodies: Film Stars and Society, Now You See It, White, The Culture of Queers, Pastiche, In the Space of a Song, Lethal Repetition and La dolce vita.


Retired Prof. Dr. Sibylla Flügge, born in 1950, studied law in Frankfurt am Main and has been active in the women’s health movement. Since 1983, she has been co-editor of the feminist legal journal STREIT. Flügge practiced law and gave birth to two children. From 1990 to 1994, she served as an advisor for health policy and sex work in the women’s department of the City of Frankfurt. From 1994 to 2016, she was engaged as a professor at Frankfurt University of Applied Sciences with a concentration on women’s rights, at the same time serving as the officer for women’s affairs at the university. She has conducted research on legal history concerning women, the history of midwifery and family law.


Annette Förster, independent curator and film historian is a central protagonist in the Dutch feminist filmcommunity since the 1980s. She has curated numerous women’s film festivals and programs and does international research on women and the cinema, with a strong focus on the silent era. Her extraordinary book Women in the Silent Cinema. Histories of Fame and Fate (Amsterdam University Press) was published in 2017.


Pavla Frýdlová is a film director, screenwriter and published author. Up until 1990, she worked as a dramaturge and editor at Barrandov Studios in Prague. At the same time, she focussed actively on the areas of film theory and criticism, publishing her study “FrauenFilme in Osteuropa” with Trafoverlag in 1996 with funding from the Berlin Senate. She is co-founder of the Prague-based NGO Gender Studies, where she directed the international oral history project “Women´s Memory: Searching for Identity under Socialism” over the course of 12 years. She has released a series of publications, radio shows and documentary films on the basis of interviews conducted with women from different generations. Frýdlová is a recipient of the American Zirin Prize for her outstanding contributions to the field of women’s studies in Central and Eastern Europe.


Borjana Gaković studied media and film studies in Potsdam and Berlin. Co-editor of the 68th edition of the feminist film journal Frauen und Film (on women filmmakers of the 60s) and the quarterly magazine on cinema politics Kinema Kommunal. She is spokeswoman for the German Association of Municipal and Cultural Cinemas and presents film programs in various cinemas. She has participated in numerous film, theater and media(theory) related projects, inter alia as co-curator of the symposium Reluctant Feminism within the 17th goEast – Festival of Central and Eastern European Film in Wiesbaden 2017, Aufbruch der Autorinnen (The Rise of Women Directors) initiated by Sabine Schöbel (Zeughauskino Berlin, 2015 and 2016), the exhibition and film series Cinema Archeology within the project Living Archive – Archive Work as a Contemporary Artistic and Curatorial Practice (2013) as well as Asynchronous – Documentaries and Experimental Films on the Holocaust (2015) of the Arsenal - Institute for Film and Video Art. She is living in Berlin.


Hadija Haruna-Oelker (*1980) is a political scientist, living and working as an author, editor and presenter in Frankfurt am Main. She is working primarily for Hessischer Rundfunk (Hessian Broadcasting Corportation), e.g. for the daily show Der Tag (hr2 Kultur). Her work focuses on young people and social issues, migration and the research of racism. Haruna-Oelker is a co-publisher of the anthology Spiegelblicke - Perspektiven Schwarzer Bewegung in Deutschland (Orlando Verlag). In 2012 she was honoured with the KAUSA Medienpreis „Macht sie sichtbar – Bildungswege von Migrantinnen und Migranten“, funded by the Federal Ministry of Education and Research. She won the broadcasting award ARD-Hörfunkpreis Kurt Magnus in 2015. In addition, she actively participates in the Initiative of Black People in Germany (ISD) and the journalistic association Neue Deutsche Medienmacher (NDM). More about her


Adelheid Heftberger is a slavicist and film scholar, and currently holds the position of head of access in the film department of the German Federal Archive (Berlin). Previously she held positions at the Brandenburg Center for Media Studies (Potsdam) and the Austrian Film Museum (Vienna) as researcher, curator and archivist. Her main areas of expertise include Digital Humanities, Film Cultural Heritage and Russian/Soviet Film. She is the author of the book Kollision der Kader. Dziga Vertovs Filme, die Visualisierung ihrer Strukturen und die Digital Humanities and has published on Russian cinema, archival collections and visualization of filmic structures.


Borjana Gaković studied media and film studies in Potsdam and Berlin. Co-editor of the 68th edition of the feminist film journal Frauen und Film (on women filmmakers of the 60s) and the quarterly magazine on cinema politics Kinema Kommunal. She is spokeswoman for the German Association of Municipal and Cultural Cinemas and presents film programs in various cinemas. She has participated in numerous film, theater and media(theory) related projects, inter alia as co-curator of the symposium Reluctant Feminism within the 17th goEast – Festival of Central and Eastern European Film in Wiesbaden 2017, Aufbruch der Autorinnen (The Rise of Women Directors) initiated by Sabine Schöbel (Zeughauskino Berlin, 2015 and 2016), the exhibition and film series Cinema Archeology within the project Living Archive – Archive Work as a Contemporary Artistic and Curatorial Practice (2013) as well as Asynchronous – Documentaries and Experimental Films on the Holocaust (2015) of the Arsenal - Institute for Film and Video Art. She is living in Berlin.


Recha Jungmann studied in the 1950s at the Academy of Music and Theatre in Hannover and subsequently worked as an actress, e.g. at the Schauspielhaus Frankfurt . 1968 she shot her first documentary film, Renate, which was screened and well received at national and international festivals. In 1972, she directed the short Two Right, Two Left, Drop One, which celebrated its world premiere at the 1st Women’s Film Festival of Toronto. From 1975 to 1978, she worked as an author and director for the ZDF programme Schülerexpress. Her fiction feature Etwas tut weh (1979) had its world premiere at Rotterdam Film Festival and was screened at the Berlinale in 1980 in the "Forum"-programme. Her next fiction feature Zwischen Mond und Sonne, had its world premiere at the Berlinale the following year. In 1981/82, Jungmann realised the three-part television mini-series Unsere Mütter, Unsere Väter, which features both documentary and fictional elements. Jungmann continued to work from the early 1990s on for television, realising numerous television documentaries for ZDF, HR, WDR, SWF and more. In addition, she has served as a writer for the HR series “Bücher, Bücher” and developed screenplays for TV movies and reports for informational formats. Recha Jungmann lives in Frankfurt. 


Kathi Kamleitner is a PhD candidate at the University of Glasgow. Her research focusses on the history of women’s film festivals and feminist film culture. She has worked with a variety of film festivals including the Berlinale in Germany and Africa in Motion in Scotland, and programs film events at feminist institutions like the Glasgow Women’s Library. She is also involved with the Radical Film Network Scotland, a loose collective of alternative cultural organisations in Scotland. In 2018 Kathi co-founded Femspectives, a feminist film festival in Glasgow. She currently works on finishing her doctoral thesis as well as the first edition of Femspectives in March 2019.


Maren Kroymann, Schauspielerin, Kabarettistin und Sängerin, eroberte viele Herzen mit ihrem ersten Bühnenprogramm „Auf Du und Du mit dem Stöckelschuh“. Einem breiten Publikum wurde sie durch ihre Rollen in den TV-Serien „Oh Gott, Herr Pfarrer“ und „Mein Leben und ich“ bekannt. Als erste Frau hatte sie ihre eigene Satiresendung „Nachtschwester Kroymann“ in den 90ern in der ARD, die seit 2017 mit der Sketch-Comedy-Show KROYMANN eine aktuelle Nachfolge erfährt und 2018 mit dem Grimme-Preis ausgezeichnet wurde. Mit ihrer ausdrucksstarken Stimme überzeugt sie als Hörbuchsprecherin (aktuell ERINNERUNG EINES MÄDCHENS von Annie Ernaux) und Sängerin, so auch in ihrem Bühnenprogramm „In My Sixties“.


Laura Mulvey was one of the founders of the Women’s Event of the Edinburgh International Film Festival in 1972. She is a Fellow of the British Academy and Professor of Film at Birkbeck College, University of London. She is the author of the ‘landmark’ essay and feminist manifesto ‘Visual Pleasure and Narrative Cinema’ (1975). Furthermore, she is author of – inter alia – Visual and Other Pleasures (Macmillan 1989/2009) and Death Twenty- four Times a Second: Stillness and the Moving Image (Reaktion Books 2006), that again touched a contemporary nerve with, that is, the shift from traditional to digital modes of spectatorship, as well as three co-edited collections of essays. She made six ‘essay films’ in collaboration with Peter Wollen including Riddles of the Sphinx (British Film Institute 1977; dvd 2013) and Frida Kahlo and Tina Modotti (Arts Council 1980). She has received four honorary doctorates and is an honorary member of the Society for Cinema and Media Studies.


Lynda Myles was one of the founders of the Women’s Event of the Edinburgh International Film Festival in 1972. She has been Director of the Edinburgh International Film Festival from 1973 to 1980 before she spent two years as Director and Curator of Film at the Pacific Film Archive at the University of California, Berkeley. After her return she joined Columbia Pictures as a Senior Vice-President and spent two years as Commissioning Editor for Drama at the BBC. Since the 90s she continuously work as a producer independent films such as award- winning The Commitments (1991) directed by Alan Parker as well as The Snapper and The Van, both directed by Stephen Frears. Besides her continuous work as a producer Myles was co-executive director of the East-West Producers Seminar, a training program for young producers in Eastern Europe from 1990 to 1994. From 2004 to 2017, she was Head of Fiction Directing at Britain’s National Film and Television School. She continues to work as an independent producer and is currently in development with several projects.


Sibylle Nägele, born in Brettach/Heilbronn, has lived in Berlin since 1977. Nägele studied German, English and philosophy at the Free University of Berlin and Trinity College Dublin in Ireland. A prolific author, she is known in particular for her prose, which includes crime novels and stories, as well as short audio-plays and children’s stories that have been broadcast on the radio. In 2011, she published the book Die Potsdamer Straße. Geschichten, Mythen und Metamorphosen, co-written with Joy Markert. Since 2009, she has been running the Literary Salon Potsdamer Straße together with Joy Markert, putting on over 200 events to date, including readings, city tours, and studio and gallery tours.


Dr Helen Pankhurst is a women's rights activist and senior advisor to CARE International, based in the UK and in Ethiopia. She has extensive media experience including national and international radio and print interviews, and was involved in the 2015 film Suffragette. Her work in Ethiopia includes support to program development across different sectors, focused on the interests and needs of women and girls. In the UK she is a public speaker and writer on feminist issues. She also leads CARE International's #March4Women event in London on the 4th March. Helen is the great-granddaughter of Emmeline Pankhurst and granddaughter of Sylvia Pankhurst, leaders of the British suffragette movement.


Sophie Charlotte Rieger is a journalist, film critic and blogger. In 2014 she launched the feminist online film magazine FILMLÖWIN, where she focuses on movies by and about women as well as gender equality on and off screen. She also gives lectures and workshops about the before mentioned topics and is a member of different juries, like the Juliane Bartel Medienpreis.


Gabriella Rosaleva began her career as a director in 1980, when she bought her first camera and shot several short films. This would be her first step in the world of cinema. In the following years she directed many films, among which Processo a Caterina Ross (1982), Spartaco (1985), Sonata a Kreutzer (1985), La Sposa di San Paolo (1989). She also directed TV movies, documentaries (such as La vocazione, released in 1984) and radio dramas. Rosaleva is an eclectic artist; during her life, she has explored many possibilities of fostering her passion for the construction of images. Rosaleva is also an eccentric auteur: her film style and production routines perfectly match those of the experimental cinema of the 1980s and 1990s. The use of electronic music, the presence of disorienting inserts and freeze-frame shots, the pictorial composition of the image are just some of the elements that characterize her cinema, distancing it from any conventional practice. 


Rosalinde Sartorti, Ph.D., Cultural Scientist, Slavicist, Translator; Academic Councillar at Eastern-Europe-Institute, Freie Universität Berlin.  
Focus of research and teaching: Russian Cultural History  (19th and 20th century) and Cultural Theory, Visual Media and Political Iconography with a focus on film and photography. Numerous published works covering photography, everyday culture, myth-making in Modernism and the cultural memory.


Sabine Schöbel has a PhD in Film Studies and works as a cultural manager and experimental filmmaker. Published works: DIE ZWEI. Weibliche Doppelfiguren im europäischen Aufbruchskino (2009), Aufbruch. Regisseurinnen der 60er, Frauen und Film No 68 (Ed. with Borjana Gaković, 2016). Cinema programmes: Czech on Tour (with Marketa Šantrochová ad Doreen Blau, 2012/2013), El cine de la transición (2013), Aufbruch der Autorinnen (2015), Aufbruch der Autorinnen II (2016), Die umstrittene Transición (2016). Her experimental feature lupinen löschen premiéred at the Forum Expanded section of 2007's Berlin International Film Festival. GRUNSKE, an experimental short about the ruins of the Palast der Republik (Palace of the Republic), debuted in 2009/10 at Rencontres Internationales. The German Film Critics Association nominated EZB 2011-2012 for 2014's Best Experimental Feature Award.


Tatjana Turanskyj has a Master in Literature, Media and Sociology (MA). Since the Mid 90s she´s working in theatre productions, performances and video art. She was a founding member of Berlin women's film collective "Hangover Ltd.*" (2001-2007) Since 2008 Turanskyj is a joint partner in turanskyj&ahlrichs*** GbR. Her acclaimed and award winning film THE DRIFTER (EINE FLEXIBLE FRAU) is her first project with producers turanskyj&ahlrichs*** and had successful runs at more than 15 international festivals, such as Berlinale, Gothenburg and Cannes, and was nominated for a number of awards (Teddy Award for Queer Cinema; Debuter, German Independence)  and won the „Nuovi Sguardi“ Award for best feature in Milan 2011. Since then she made two more feature length films (TOP GIRL, 2014) and (Disorientation isn´t a crime 16, together with Marita Neher). All her films have been shown on international festivals around the world. Turanskyj also works  as a feminist activist and is a co-founder of the Pro Quote Film movement for gender equality and diversity in the filmworld. 


Born in Vienna in 1973, Barbara Wurm studied Russian and German Studies as well as Comparative Literature in Vienna, Innsbruck, Warsaw, Moscow and Munich and is now teaching Slavic Literature and Film at the Humboldt University in Berlin. She recently completed her PhD with a study on the Soviet Kulturfilm of the 1920s, she co-edited two books on Dziga Vertov and published several articles in the field of Russian and Soviet media, film and literature. Besides her academic interests, she works as a freelance critic (for "taz", "epd film", "ray", "kolik" film, "senses of cinema", "filmdienst", "cargo", and "sight and sound") and as a curator for film festivals (goEast, Dok Leipzig) and cinemathèques.