|German and Russian Studies @ the University of Missouri
451 Strickland Hall | Columbia, MO 65211-4170
email: firstname.lastname@example.org | phone: 573-882-4328 | fax: 573-884-8456
| Faculty | Prager
Professor of German
Brad Prager is Professor of German and an active member of the Program in Film Studies. His areas of research include Film History and Contemporary German Cinema, Holocaust Studies, and the art and literature of German Romanticism. He is the author of After the Fact: The Holocaust in Twenty-First Century Documentary Film (New York: Bloomsbury, 2015), The Cinema of Werner Herzog: Aesthetic Ecstasy and Truth (London: Wallflower, 2007) and Aesthetic Vision and German Romanticism: Writing Images (Rochester: Camden House 2007). He is the co-editor of a new volume on Visual Studies and the Holocaust entitled Visualizing the Holocaust: Documents, Aesthetics, Memory (Camden House, 2008), of a volume on contemporary German cinema entitled The Collapse of the Conventional: German Cinema and its Politics at the Turn of the Twenty-First Century (Wayne State UP, 2010), the editor of A Companion to Werner Herzog (Wiley-Blackwell, 2012), and, together with Roger F. Cook, Lutz Koepnick, and Kristin Kopp, of Berlin School Glossary: An ABC of the New Wave in German Cinema (Intellect, 2013).
Professor Prager has been a DAAD Guest Professor at the University of Paderborn, where he organized the conference “The Holocaust on Screen in the 21st Century." He has been a guest at the United States Holocaust Memorial Museum, is the University of Missouri System Representative to the state’s Holocaust Education and Awareness Commission, and he is the co-organizer of the annual documentary film conference “Based on a True Story” at MU.
He is on the editorial boards of New German Critique, the German Studies Review, and together with Erin McGlothlin, he is the co-editor of the book series Dialogue and Disjunction: Studies in Jewish German Writing and Thought.
Professor Prager has taught a range of courses including:
After the Fact: The Holocaust in Twenty-First Century Documentary Film (New York: Bloomsbury, 2015)
A Companion to Werner Herzog, ed. Brad Prager (Boston and London: Wiley-Blackwell, 2012)
The Collapse of the Conventional: German Film and Its Politics at the Turn of the Twenty-First Century, eds. Jaimey Fisher and Brad Prager (Detroit: Wayne State, 2010)
The Cinema of Werner Herzog: Aesthetic Ecstasy and Truth (London: Wallflower, 2007).
Aesthetic Vision and German Romanticism: Writing Images (Rochester: Camden House, 2007).
New German Critique. Special issue, “German Memory and the Holocaust: New Films.” No. 123 (Fall 2014).
Colloquia Germanica. Special issue, "Screening German Perpetration." 43.3 (2010). With Michael D. Richardson. (Table of Contents).
'A challenge, maybe the greatest for a filmmaker': Televisual Perspectives on Rainer Werner Fassbinder's Martha, in German Television: Historical and Theoretical Perspectives, eds. Larson Powell and Robert Shandley (Berghahn Books, 2015) forthcoming.
The Act of Digging: Archaeology, Photography, and Forensics in "Birthplace" and "Holocaust by Bullets" in Holocaust Cinema in the Twenty-First Century: Images, Memory, and the Ethics of Representation, eds. Gerd Bayer and Oleksandr Kobrynskyy (Wallflower/ Columbia University Press, 2015) forthcoming.
Lars Kraume’s "Die kommenden Tage" and the History of the Near Future: Apocalypse Another Day, The Place of Politics in German Film, ed. Martin Blumenthal-Barby (Bielefeld: Aisthesis Verlag, 2014), 269-86.
The Warsaw Ghetto, Seen from the Screening Room: The Images that Dominate "A Film Unfinished,” New German Critique 123 (2014), 135-57.
The Trail Runs Cold: DEFA's Crime Films in DEFA at the Crossroads of East German and International Film Culture: A Companion, eds. Marc Silberman and Henning Wrage (Berlin: Walter de Gruyter, 2014) 157-176.
Aux limites du cadre: Werner Herzog n’est pas Alfred Hitchcock, Décadrages 25 (automne 2013), 8-20.
Nazi, Interrupted: Cutting into the Past in Malte Ludin's Documentary "2 oder 3 Dinge, die ich von ihm weiß" in Colloquia Germanica (2010 [published 2013]) 43.3, 215-234.
Leben heißt Posieren: Bilder aus dem Warschauer Ghetto - mit Susan Sontag betrachtet in Fotogeschichte 126 (2012) 37-48.
Gegenspieler und innere Dämonen - Dominik Grafs "Im Angesicht des Verbrechens" in Im Angesicht des Fernsehens: Der Filmemacher Dominik Graf, eds. Chris Wahl, Marco Abel, Jesko Jockenhövel and Michael Wedel (text + kritik, 2012) 215-237.
Offending the Public: Handke, Herzog, Hypnosis in Telos 159 (2012) 93-104.
Only the Wounded Honor Fights'" Züli Aladag's "Rage" and the Drama of the Turkish German Perpetrator in Turkish German Cinema in the New Millennium: Sites, Sounds, and Screens, eds. Sabine Hake and Barbara Mennel (Berghahn Books, 2012) 109-120.
Werner Herzog's Companions: The Consolation of Images in A Companion to Werner Herzog, (Boston and London: Wiley-Blackwell Publishing, 2012) 1-31.
Occupation as the Face of War: Concealing Violence in the Diary "A Woman in Berlin" in Fighting Words and Images: Representing War Across the Disciplines, eds. Elena Baraban, Stephan Jaeger, and Adam Muller (University of Toronto Press, 2012) 65-83.
Through the Looking Glass: Fassbinder's "World on a Wire" in A Companion to Rainer Werner Fassbinder, ed. Brigitte Peucker, (Boston and London: Wiley-Blackwell Publishing, 2012) 245-66.
Music After Mauthausen: Re-Presenting the Holocaust in Stefan Ruzowitzky's "The Counterfeiters" in New Directions in German Cinema, eds. Paul Cooke and Christopher Homewood (I.B. Tauris, 2011) 77-93.
Mit den Augen des Tieres: Werner Herzogs Primaten in Lektionen in Herzog: Neues über Deutschlands verlorenen Filmautor und sein Werk, ed. Chris Wahl (text + kritik, 2011) 210-33.
On the Liberation of Perpetrator Photographs in Holocaust Narratives in Visualizing the Holocaust: Documents, Aesthetics, Memory, eds. David Bathrick, Brad Prager, and Michael D. Richardson (Rochester: Camden House, 2008) 19-37.
The Haunted Screen (Again): The Historical Unconscious of Contemporary German Thrillers in Victims and Perpetrators: 1933-1945 and Beyond. (Re)Presenting the Past in Post-Unification Culture, eds. Laurel Cohen-Pfister and Dagmar Wienroder-Skinner (Berlin: Walter de Gruyter, 2006) 296-315 [pdf].
Air War and Allegory in Bombs Away!: Representing the Air War over Europe and Japan, eds. William Rasch and Wilfred Wilms (Amsterdamer Beiträge zur neueren Germanistik, 2006) 25-43.
The Good German: W.G. Sebald and the Risks of Holocaust Writing, New German Critique 96 (2005) 75-102.
A Collection of Damages: Critiquing the Violence of the Air War, Forum on Modern Language Studies 41.3 (2005) 308-19. [pdf]
The Erection of the Berlin Wall: Thomas Brussig's Heroes Like Us and the end of East Germany, Modern Language Review 99.4 (2004) 983-98.
The Face of the Bandit: Racism and the Slave Trade in Herzog's Cobra Verde, Film Criticism 28.3 (2004) 2-20.
Werner Herzog’s Hearts of Darkness: Fitzcarraldo, Scream of Stone and Beyond, Quarterly Review of Film and Video 20.1 (2003) 23-36.
Beleaguered under the Sea: Wolfgang Petersen’s Das Boot as a German Hollywood Film in Light Motives: German Popular Film in Perspective, ed. Randall Halle and Maggie McCarthy (Detroit: Wayne State UP, 2003) 237-258.
Modernism in the Contemporary Graphic Novel: Chris Ware and the Age of Mechanical Reproduction, International Journal of Comic Art 5.1 (2003) 195-213 [pdf].
Kant in Caspar David Friedrich’s Frames, Art History 25.1 (2002) 68-86. [abstract ]
Taming Impulses: Murnau’s Sunrise and the Exorcism of Expressionism, Literature/ Film Quarterly 28.4 (2000) 284-292.
The Contours of the Visual Arts in Tieck’s Franz Sternbalds Wanderungen: Text/ Image/ Phantasm, Seminar: A Journal of Germanic Studies 35.3 (1999) 189-206.
The Death Metaphysics of Heiner Müller’s "The Task," New German Critique 73 (Winter 1998) 67-80.