Professor of Film
Department of Media
Creative Edge Building
Tel: 01695 584678
Owen Evans is a Professor of Film in the Department of Media at Edge Hill University. After completing his BA and PhD in German Studies at Swansea University, he worked as a Lektor in the English Department of the Johannes-Gutenberg-Universität Mainz in Germany before his appointment to a lectureship in German at the University of Wales Bangor in 1995. He returned to Swansea in 2005 to teach film in the newly formed Media department, before moving to Edge Hill University in 2011, initially as a Senior Lecturer. He was appointed to a Chair in May 2012.
His research interests embrace German film, literature, history and culture, European cinema, festivals, arts, health and wellbeing, autobiography, and the representation of history and cultural memory on screen. He has published widely on German literature and film, especially work from the former GDR and autobiography, and his most recent monograph is entitled Mapping the Contours of Oppression: Subjectivity, Truth and Fiction in Recent German Autobiographical Treatments of Totalitarianism (Rodopi, 2006). His recent research focus has been on the representation of history and memory in European cinema, in a series of articles and chapters. He is currently working on a monograph on German cinema since 2000, as well as a chapter on the work of Humphrey Jennings and deepening his interest in the social capital of film and arts festivals, having forged a relationship with the Ann Arbor Film Festival, the oldest independent, experimental and avant-garde film festival in the United States, and the Whitstable Biennale in Kent. He is also contributing text to a photographic book by award-winning photographer Rebecca Litchfield, entitled Soviet Ghosts, to be published by Carpet Bombing Culture in 2014.
He has won major research grants from the Arts and Humanities Research Council (AHRC), the British Academy and the DAAD (German Academic Exchange Service). He is a co-founding director of the European Cinema Research Forum (ECRF), as well as a co-founding editor of the international journals Studies in European Cinema and the Journal of Popular European Culture, and sits on the advisory board of the new Modern Languages Open journal and The International Journal of the Image. He is also a member of the AHRC’s Peer Review College.
He leads the modules MED2217 Fact to Fiction, MED2258 History on Screen, MED3205 Identities and Creative Citizenship, MED3224 Contemporary European Cinema and MDM4007 European Cinema.
He is the Departmental Director of Research, sits on the Faculty and University Research Committees, and belongs to the Graduate School Board of Studies Working Group and the University’s Arts and Culture Group. He is also the Faculty Champion for the new Institute for Public Policy and Professional Practice.
BA in German Studies, Swansea University, 1990
PhD in German Studies, Swansea University, 1995
MED 2217 Fact to Fiction
MED 2258 History on Screen
MED3202 (Animation) Dissertation
MED 3205 Identities and Creative Citizenship
MED 3224 Contemporary European Cinema
MDM 4007 European Cinema
FLM 1015 Cinema in Context (1945-Present)
MED 1216 What is Animation?
MED 1410 Film and Television History
MED 2209 Digital Shorts
MED 2215 Genre and Narrative
MED 2258 Advanced Production
MED 3202 Dissertation
MDM 4001 Critical History and Theory
MDM 4002 Contemporary Media Theory and Practice
German film and television
Representations of history
East German history, society and culture
Arts and culture festivals
Arts and health interactions
Representations of totalitarianism
His inaugural lecture can be accessed here:
(a) Books (Single Authored)
Evans, O, (2006), Mapping the Contours of Oppression: Subjectivity, Truth and Fiction in Recent German Autobiographical Treatments of Totalitarianism, Amsterdam/New York: Rodopi, 355 pp
Evans, O. (1996), ‘Ein Training im Ich-Sagen’: Personal Authenticity in the Prose Work of Günter de Bruyn, Berne: Peter Lang, 344 pp
(b) Chapters in edited books
Evans, O. (2013), ‘Memories, Secrets and Lies: The Emotional Legacy of the GDR in Christian Schwochow’s Novemberkind (2008)’, in Anna Saunders and Debbie Pinfold (eds.), Remembering and Rethinking the GDR: Multiple Perspectives and Plural Authenticities, Basingstoke: Palgrave, pp. 214-228
Evans, O. (2013), ‘History, Memory and Melodrama: The Return of the Past in Contemporary Popular Film in Germany’, in John Sundholm (ed.), Cultural Memory in Europe after 1989, Amsterdam/New York: Rodopi, pp. 241-69
Evans, O. (2013), ‘“Ein Botschafter des Vergessenen”: Günter de Bruyn, the Chronicler’, in Axel Goodbody and David Clarke (eds), The Self in Transition: East German Autobiographical Narratives, Amsterdam/New York: Rodopi, pp. 185-97
Evans, O. (2011), ‘Wonderfully Courageous’?: The Human Face of a Legend in Sophie Scholl: The Final Days (2005), in Chris Homewood and Paul Cooke (eds), New Directions in German Cinema, London: I.B. Tauris, pp.57-76
Evans, O. (2011), ‘The Many Ways of Looking at Cinema’: Sight and Sound and the Value of Film’, in Laura Hubner (ed.), Valuing Film: Shifting Perspectives of Worth, Basingstoke: Palgrave, pp. 167-82
Evans, O. (2010), ‘”Bloody Germans! They can’t take a joke, can they?”: The Impact of Humour in Recent German Film’, in Brigid Haines, Stephen Parker and Colin Riordan (eds), Aesthetics and Politics in Modern German Culture: Festschrift in Honour of Rhys W. Williams, Oxford: Peter Lang, pp. 195-207
Evans, O. (2004), ‘Living in the Past? Günter de Bruyn, Prussia and the Mark Brandenburg’, in Osman Durrani and Julian Preece (eds.), Townscapes and Countryside in Contemporary German Writing, Oxford: Peter Lang, pp. 225-41
Evans, O. (2003), ‘Telling Tales: Moral Responsibility and the Stasi in Uwe Saeger’s Die Nacht danach und der Morgen’, in Paul Cooke and Andrew Plowman (eds.), German Writers and the Politics of Culture: Dealing with the Stasi, Basingstoke: Palgrave, pp. 121-38
Evans, O. (2003), ‘“The Most Painful Poetry I Know”: Uwe Saeger and Georg Trakl’s “Grodek”’, in Hinrich Siefken and Anthony Bushell (eds.), Experiencing Tradition: Essays of Discovery, York: Ebor Press, pp. 214?19
Evans, O. (2000), ‘Hope for the Future?: Günter de Bruyn’s Neue Herrlichkeit und Christoph Hein’s Der Tangospieler’, in Graham Jackman (ed.), Christoph Hein in Perspective, Amsterdam: Rodopi, pp. 77-94
Evans, O. (1999), ‘Schlimmeres als geschah, hätte immer geschehen können’: Günter de Bruyn and the GDR in Vierzig Jahre, in Dennis Tate (ed.), Günter de Bruyn in Perspective, Amsterdam: Rodopi, pp.171-88
Evans, O. (1998), ‘Bibliography 1990-98’, in Brigid Haines (ed.), Herta Müller, Cardiff: University of Wales Press, pp.126-53
Evans, O. (1997), ‘”Für mich ist er früh schon wichtig gewesen”: How Heinrich Böll Gave Günter de Bruyn a Helping Hand’, University of Dayton Review, 24 (1997), No. 4, 125-32, Reprinted in Lothar Huber and Robert C. Conard (ed.), Heinrich Böll on Page and Screen, London: University of London, IGS, pp.125-32
(c) Journals (refereed)
Evans, O. (2010), ‘Redeeming the Demon? The Legacy of the Stasi in Das Leben der Anderen/The Lives of Others’, Memory Studies, 3:2, 164-77
Evans, O. (2007), ‘Border Exchanges: The Role of the European Film Festival’, Journal of Contemporary European Studies, 15:1, 23-33
Evans, O. (2006), ‘Taking Stock of the Wende on Screen: Michael Klier’s Ostkreuz (1991) and Hannes Stöhr’s Berlin is in Germany (2001)’, German as a Foreign Language, 1, 60-75
Evans, O. (2005), ‘“Denn wir sind anders”: Zonenkinder in the Federal Republic’, German as a Foreign Language, 2, 20-33
Evans, O. (2004), ‘Tom Tykwer’s Run Lola Run: Postmodern, post-human or post-theory?’, Studies in European Cinema, 1:2, 105-15
(ii) Review Articles
Evans, O. (2011), ‘Stuart Taberner (ed.), Contemporary German Fiction: Writing in the Berlin Republic’, Modern Philology, 119:1, 70-73
Evans, O. (2008), ‘Steve Blandford, Film, Drama and the Break-Up of Britain’, Cyfrwng: Media Wales Journal, 5, 126-27.
Evans, O. (2000) , ‘German Literature: 1945 to the Present Day’, YWMLS, 62, 784?808
Evans O. (1999) , ‘German Literature: 1945 to the Present Day’, YWMLS, 61, 752-75
Evans, O. (1998) 1999, ‘German Literature: 1945 to the Present Day’, YWMLS, 60, 751-76
Evans, O. (1997) 1998, ‘German Literature: 1945 to the Present Day’, YWMLS, 59, 835-59
Evans, O., ‘Back to the Future of Nostalgia: Humphrey Jennings and British Heritage Production’, at Screening European Heritage, University of Leeds, 12-13 September 2013
Evans O. ‘The Other Side of Fatih Akin’, at The Other, 13th Annual European Cinema Research Forum, Edinburgh University, 1-2 July 2013.
Evans, O., ‘Set Patterns?: Art, Cinema and the Dialogue of Design’, at Material Meanings: 3rd Biannual conference of the European Network for Avant-Garde and Modernism Studies (EAM), University of Kent, 7-9 September 2012
Evans, O., ‘Humphrey Jennings: The War Poet’, at Adaptation, Authorship and Ownership, 12th Annual European Cinema Research Forum, Edge Hill University, 16-18 July 2012.
Evans, O., ‘Films and Festivals: Theory, Practice and the Challenge of Achieving Impact in Research’, at the International Conference of Cultural and Social Aspects of Research, University of the Immaculate Word, San Antonio, TX, USA, 22-24 March 2012
Evans, O., ‘Images of a Nation at War: Humphrey Jennings and the Documentary’, Keynote Address at The 2nd International Image Conference, San Sebastian, Spain, 26-27 September 2011.
Evans, O., ‘Gifts to Memory’?: Unlocking the Secrets of the Stasi File Archive’, at Archive, 12th International Conference, British Comparative Literature Association, University of Kent, 5-8 July 2010.
Evans, O. ‘Changing Discourses: German Cinema Face to Face with Europe?’, at Is There Such a Thing as European Cinema?, 10th Annual European Cinema Research Forum, Exeter University, 2-4 July 2010.
Evans, O., ‘Making/Breaking New Waves: German Cinema in the New Millennium’, at European Cinema: Experiment, Mainstream and Praxis, 9th Annual European Cinema Research Forum, Binghamton University, New York, 9-12 July 2009.
Evans, O. ‘Uncovering Reality: Christian Petzold and the Real Germany?’ at 32nd Annual German Studies Association Conference, Saint Paul, Minnesota, 2-5 October 2008.
Evans, O., ‘Redeeming the demon? The Legacy of the Stasi in Das Leben des Anderen (2006)’, at ‘Constructions Of Conflict: Transmitting Memories Of The Past In European Historiography, Literature And Media’, University of Wales Swansea, 10-12 September 2007.
Evans, O., ‘Going Underground: The Metaphorical Spaces in Nimrod Antal’s Kontroll (2003), at 7th Annual European Cinema Research Forum, Ohio State University, 27-29 April 2007.
Evans, O., ‘Willkommen in der Wirklichkeit’?: Youth and Criminality in the New Bundesländer in Post-Wende Film’, at Views from Abroad. Die Aufarbeitung von Geschichte und Folgen der SED-Diktatur aus britscher Perspektive, University of Reading, 13-15 July 2006.
Evans, O., ‘Border Exchanges: The Role of European Film Festival’, at Films Without Frontiers: 6th Annual European Cinema Research Forum, University of Wales, Swansea, 30 June – 2 July 2006.
Evans, O., ‘Over the Border: Hans-Christian Schmid’s Lichter/ Distant Lights (2003)’, at 55th Mountain Interstate Foreign Language Conference, University of Wake Forest, North Carolina, 13-15 October 2005.
Evans O., ‘Welcome to the Real World: The Depiction of Society in Hans-Christian Schmid’s Lichter/ Distant Lights (2003)’, at 5th Annual European Cinema Research Forum, University of Leeds, 1-3 July 2005.
Evans, O., ‘Taking Stock of the Wende: Michael Klier’s Ostkreuz (1991) and Hannes Stöhr’s Berlin is in Germany (2001)’, at Film since the Wende, The Association for Modern German Studies, London School of Economics, 22-23 April 2005.
Evans O., ‘Bloody Germans! Can’t Take a Joke!’: The Role of Humour in Recent German Film’, at Laughing Matters: Comedy and Society, University of Portsmouth 15-17 April 2005.
Evans, O., ‘Whose film is it anyway?: Tom Tykwer’s Heaven’, at 54th Mountain Interstate Foreign Language Conference, University of Tennessee in Knoxville, Tennessee, October 14?16, 2004.
Evans, O., ‘Criss-crossing destinies: Kieslowski and Tykwer’, at European Cinema: Developments and Directions (ECRF 4), University of Northumbria, 9-11 July 2004.
Evans O., ‘“Denn wir sind anders”: Zonenkinder in the Federal Republic’, at Transformationsprozesse in den neuen Bundesländern, Goethe Institut (Association for Modern German Studies), 24-25 April 2004.
Evans, O.,‘The Skies over Berlin: The Depiction of Berlin in Films since the Wende’, at ECRF 3, Bath University, 24-26 April 2003.
Evans, O., ‘“Denn wir sind anders”: Adjusting to a New Life in the Prose Débuts of Jana Simon and Frank Rothe’, in Orientation Processes in German Literature(s) After Unification II panel at Northeast Modern Language Association (NEMLA) 34th Annual Convention, Boston-Cambridge, Mass, 6-9 March 2003.
Evans, O., ‘Living in the Past? Günter de Bruyn, Prussia and the Mark Brandenburg’, at Townscapes and Countryside in Contemporary German Writing, University of Kent at Canterbury, 18-20 April 2002.
Evans O., ‘Telling Tales: Narration, Invention and the Stasi in Uwe Saeger’s Die Nacht danach und der Morgen (1991)’ at Big Brother Then and Now: Literary Representations of the Stasi, University of Liverpool, 25 April 2001.
Evans O., ‘Run Lola Run: Just another arty film or “playfully profound and post-human”?’, at Foreign Film? European Cinema Beyond its Frontiers, Inaugural Conference of the European Cinema Research Forum, University of Wales Bangor, 27-28 January 2001.
Evans, O., ‘Hoffnung auf eine neue DDR?: Günter de Bruyns Neue Herrlichkeit und Christoph Heins Der Tangospieler’, at Christoph Hein: Chronist seiner Zeit, Gesamteuropäisches Studienwerk, Vlotho, Germany, 14-18 July 1999.
Evans O., ‘“The war has ruined us for everything”: All Quiet on the Western Front as the model German expression of doomed youth?’, at The Cultural Impact of War on Twentieth-Century Europe, University of Wales Colloquium, Gregynog, 28-29 September 1997.
Professional Bodies and External Activities
Arts and Humanities Research Council Peer Review College(AHRC)
British Association of Film, Television and Screen Studies (BAFTSS)
European Network of Cinema and Media Studies (NECS)
European Cinema Research Forum (ECRF)
Co-founding editor, Studies in European Cinema (Intellect, 2004-13; Routledge, 2014 – )
Co-founding editor, Journal of European Popular Culture (Intellect)
Advisory Board, The International Journal of the Image (Common Ground)
Advisory Board, Modern Languages Open (Liverpool University Press)
He has externalled at the universities of Stirling, Birmingham and Leeds at undergraduate and postgraduate levels.