Dr Berenike Jung

I am the module lead for "Global Cinemas"; I am co-teaching the MA module "Digital Screen Cultures," the BA class "What is Cinema? Film, Art, Technology" and the "Film Dissertation" module.

I am the Study Abroad coordinator for film, and co-organiser of the Research Seminar series.

I obtained my PhD in Film and Television Studies from the University of Warwick in 2016, and I developed the dissertation into a monograph which was published by Edinburgh University Press in 2020 as The Invisibilities of Political Torture: The Presence of Absence in US and Chilean Cinema and Television. In this book, I analyse how torture committed during the War in Iraq and under the Pinochet dictatorship in Chile was documented and dramatised across a range of material, including photographs, nonfiction films and television series. I demonstrate how some audiovisual texts succeed in making emotional and collective consequences of torture experientially available to the audience, thereby expanding epistemological approaches towards torture to include such long-term and seemingly ‘invisible’ repercussions.
Before joining the faculty at the University of Southampton, I worked as a Lecturer in Film Studies at King’s College London, the University of Tübingen, and at the University of Groningen.

In my teaching and research, I am committed to the study of film as ethical practice, and to advance Film Studies education. To this end, I organised a Roundtable on Decolonising the Curriculum in Film and Media Studies at King’s College. Together with a colleague at the University of Witwatersrand in Johannesburg, I wrote an essay on "Decolonising Film Studies" for the Film Education Journal in which we reflected on our experiences teaching Global Film modules across different institutional and scholarly contexts, and with diverse student bodies; on this topic, we gave a keynote at the Fifth Scottish International Film Education Conference in June 2022.

My research centres around a) ethical and political questions that arise in, and through, audiovisual screens as sites of encounter with violent conflict, trauma, and memory within a transnational paradigm; b) decolonising film education  and c) configurations of moving images today in such formats such as short-video apps and smartphone games.