Author of Media, Surveillance and Affect. Narrating Feeling-States (forthcoming with Routledge) and Making the British Muslim: Representations of the Rushdie Affair and Figures of the War on Terror Decade (Palgrave Macmillan, 2014). Scholar of British Literary and Cultural Studies. Research focus on the representational history of the Muslim minority in Britain, Victorian aesthetic ideology, discourses of order, heroization, surveillance and media-cultural theory. Senior Lecturer at the University of Freiburg, Germany. Member of the Coordinated Research Center “Heroes, Heroisations, Heroisms” at the University of Freiburg, Alumna of the Center of Excellence “Cultural Foundations of Social Integration”, University of Constance and the Graduate School “Factual and Fictional Narration”, University of Freiburg.



Habilitation (German post-doctoral lecturing qualification) for British Literary and Cultural Studies obtained from the University of Freiburg, 2017. Doctor phil. (PhD) In British Literary and Cultural Studies at the University of Constance, Germany, 2012. Read English and American Literature, Sociology and Linguistics at the University of Constance and the University of Massachusetts at Amherst, Master of Arts from the University of Constance, 2006.

Research Grants

2016-2019 “Heroization in British Television Dramas of the 21st Century: Discourses and Aesthetics in a Popular Medium”, research project as part of the Collaborative Research Center “Heroes, Heroisms, Heroizations”, University of Freiburg (Germany) co-head with Prof. Dr. Barbara Korte (Freiburg). Funding Body: DFG (German Research Council)

2014-2016 “CCTV beyond Surveillance”, research project, University of Freiburg, Germany. Funding Body: DFG (German Research Council)

2012 Member of an Exchange Project Australia Go8, German Excellence Initiative “Memory and Its Media”, headed by Prof. Dr. Roseanne Kennedy (National University of Australia, Canberra) and Prof. Dr. Silvia Mergenthal (University of Konstanz). Funding Body: DAAD (German Academic Exchange Service)

2010 Visiting Scholar at the University of California at Riverside. Funding Body: DAAD (German Academic Exchange Service)


On this site, you will find links and updates to Projects I have coordinated or am involved in, student forums for ongoing and past seminars, new publications and links to interesting studies in my fields of interest.


2 thoughts on “About

  1. Albert-Ludwigs-Universität Freiburg i. Br.
    The Detective in British Television Series (Dr. Nicole Falkenhayner)
    Anna-Mareike Bergmann (4130421)
    13th May, 2017

    Response 1 – Question 2 (Television Analysis)

    When looking at some kind of ‘text’, in this case television or film, there are many more factors to take into consideration than just the story and plot. Textual analysis is the key. According to Glen Creeber’s text ‘Analysing Television – Issues and Methods in Textual Analysis’, textual analysis is basically “the means by which all texts […] are interpreted” (Creeber 2006: 26). By ‘texts’ not only written documents are meant but also fashion, photography, painting, plays, films, television, and so on. It is almost completely based on critical interpretation and “attempts to uncover [a text’s] potential meaning through detailed close readings” (ibid.). This “educated ‘guess work’” is therefore highly subjective which leads to a great debate about whether a text’s ‘real’ meaning lies within the text itself or whether it can be derived through the audiences interpretation. Their reading is culturally specific and, “[a]s society and the individuals within [them] change, […] the meanings of the texts change also” (Selby 1995: 30).
    Nowadays textual analysis is rather complex and includes numerous different methods. One example is semiotics, another is narratology which “attempts to unravel the means by which narratives are constructed, attempting to locate exactly what it is that turns a flow of words and images into a story” (Creeber 2006: 26). For example, it can reveal how a complex, multilayered TV drama can still be reduced to a surprisingly straightforward narrative structure. Closely related to this is genre theory which aims to understand and categorise the fundamental characteristics of textual groups. All of the above are tied up with various forms of ideological analysis. This method “focuses on the way that the text produces and perpetuates a distorted perception of the world; it prescribes and constructs reality in such a way that it maintains the structural inequalities of a capitalist society” (ibid. 32). Psychoanalytical theory can be useful in “unravelling the possible means by which desire and pleasure are unconsciously activated by audiences” (ibid.). More commonly used is content analysis. These many (and more) different forms of textual analysis available to a TV critic, make it essential that one distinguishes the form employed from the beginning and also states why this particular form is chosen. Regardless of the approach chosen, one must always be aware that all methods have benefits and deficits. The approach chosen then has a great impact on what the audience “gets out” of a text. Looking for the ‘visual text’ enables the viewer to “read between the lines”, not only in the literal sense of what is said by the characters on screen. One can make oneself aware of the methods that are actually being used by the creators of a text (visual literacy). These include various camera movements, framing, ways of editing, camera angles, and many more. They serve to influence the viewer’s perception – what one sees and what one feels about what is seen. Without these means a film or other motion picture would be very simple and rather boring. They represent cultural codes, also non-verbal ones. By addressing various senses at the same time (multimodality) a film or similar, requires the viewers concentration and attention and can therefore capture them completely and make them feel as if they had actually been part of the plot, i.e. take them to a different world.
    Personally, I find sound one of the most fascinating features used in film making. I feel like it makes me so much more emotional when watching a film and I have found myself linking films to music very much. When I hear a song that has been part of a movies soundtrack it immediately reminds me of that film. One of the best examples is probably the song “Inner Smile” which has been part of the movie “Bend it like Beckham” or goosebumps I get whenever the Harry Potter intro is played, even though it might just be on someone’s phone.

    (653 words)

    Creeber, Glen. Tele-Visions. An Introduction to Studying Television. British Film Institue, 2006. Print.
    Selby, Keith and Ron Cowdery. How to Study Television. MacMillan Press, 1995. Print.

    1. Hello Mareike, you posted on the “about” site, could you please post again on the site where the questions are, the site for the seminar? That way, everyone can find it.
      Thank you

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