Professor Creech's most recent book, Mothers, Comrades, and Outcasts in East German Women's Film (Indiana University Press, 2016), addresses political filmmaking in the former East Germany from the period of the "freeze" (1965) to the fall of the Wall (1989). At a time when the East German film studios (DEFA) suffered from strict political and aesthetic censorship, filmmakers retreated from narratives of overt political critique into the safety of domestic narratives. Creech's work considers the location of DEFA's so-called "women's films" within the context of the freeze, suggesting that during these decades in particular, representations of personal desire and disappointment were used strategically to assert a more covert political critique of real existing socialism. Her work draws on feminist theories of the private/public divide, the male gaze, the female voice and maternal desire to illustrate how these films negotiated viewer needs and desires, state expectations and censorship, as well as artistic goals of creating a critical socialist cinema.
Courses Offered (subject to change)
- GER 203 Introduction to German Literature (Fall 2017)
- GER 204 Marx and Marxism (Spring 2014)
- GER 215 Berlin: Tales of a City (Fall 2013)
- GER 256 Advanced Topics in German Studies: Germany Year Zero: Post-War German Literature, 1945-1989 (Spring 2016)
- GER/WST 272 Gender and Sexuality in the Twentieth Century (Fall 2016)
- GER 282 The Films of Rainer Werner Fassbinder (Fall 2014)
- GER 283 Cinema and Revolution: The West German Avant-Garde (Spring 2013)
- GER 284 Hollywood Behind the Wall: Introduction to East German Cinema (Fall 2017)
- GER 285 Men of Marble, Women of Steel: Introduction to East European Cinema (Spring 2015)
- GER 286 New Austrian Cinema (Fall 2015)
- GER 288 Mothers, Comrades, and Whores: Women in Post-War German Cinema (Spring 2016)
- Mothers, Comrades, and Outcasts in East German Women’s Film. Indiana UP, 2016. New Directions in National Cinemas.
- With Thomas O. Haakenson, editors. Spectacle. Peter Lang, 2015. German Visual Culture 2.
- "Gudrun is Not a Fighting Fuck Toy: Femininity, Terrorism, and Spectacle in The Baader-Meinhof Complex and The Raspberry Reich." Spectacle, edited by Jennifer L. Creech and Thomas O. Haakenson, Peter Lang, 2015, pp. 187-216. German Visual Culture 2.
- "A Few Good Men: Gender, Ideology, and Narrative Politics in The Lives of Others and Good Bye, Lenin!" Women in German Yearbook: Feminist Studies in German Literature and Culture, vol. 25, 2009, pp. 100-126. JSTOR, www.jstor.org/stable/20688315.
- "Image, Voice, and Truth: Narrating Women's History in Helke Misselwitz's Winter adé." Seminar: A Journal of Germanic Studies, vol. 43, no. 4, Nov. 2007, pp. 411-26. U of Toronto P Journals, doi:10.3138/seminar.43.4.411.
Selected Invited Presentations
- "Mad Men and Alpha Wives: Feminism in 'Post-Feminist' Culture." Susan B. Anthony Institute for Gender and Women's Studies Undergraduate Conference, Mar. 2010, U of Rochester, Rochester. Keynote address.
- "'Documenting' Women's History: Helke Misselwitz's Winter adé." Thirty-Third Annual German Studies Association Conference, 8-11 Oct. 2009, Washington, DC.
- "The Most Important Art? Lenin and Post-Wende German Film." Got Art? Intersections of Art and Politics in German Culture. DAAD Weekend, Sep. 2008, Cornell U, Ithaca.
Honors and Activities
- Women in German Best Article Prize for "A Few Good Men: Gender, Ideology, and Narrative Politics in 'The Lives of Others' and 'Good Bye, Lenin!,'" 2010