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Dr. Sarah-Mai Dang

This is a picture of Sarah-Mai. She is wearing a yellow and white striped t-shirt. She is smiling.
Foto: Denise Neumann

Affiliation & Contact

Philipps-Universität Marburg
Profile (Institute of Media Studies)
E-Mail: sarah-mai.dang[at]uni-marburg.de
Personal Website: oabooks.de
Twitter: @SarahMaiDang

Research Areas

Digital Film Historiography, Data Visualization, Feminist Theory, Open Access/Open Science, Audiovisual Media, Film Theory and Film Aesthetics

Biography

Sarah-Mai Dang is the Principal Investigator of the BMBF research group "Aesthetics of Access. Visualizing Research Data on Women in Film History" (DAVIF). Additionally, she is the Project Leader of the international DFG research network "New Directions in Film Historiography". With a doctoral degree in Film Studies from Freie Universität Berlin and a Master of Arts from the University of Michigan, her current research and teaching focuses on digital data visualization, research data management, film historiography, feminist theory, open Access/open science, and the production and dissemination of scholarly knowledge. Based on her research interests, she founded the hybrid self-publishing project oa books, where she published her dissertation on aesthetic experience, feminist theory and chick flicks and blogs about academic publishing. She also translated her dissertation into English and published it with Palgrave Macmillan. Furthermore, she was fellow of the "Open Science Fellows Program" (funded by Wikimedia, Stifterverband, VolkswagenStiftung) and initiated the Open Media Studies Blog (ZfM) and the Open Media Studies working groug (GfM). She holds numerous posts including member of the Board of Directors of the Marburg Center for Digital Culture and Infrastructure (MCDCI) and the IT Advisory Board of Philipps-Universität Marburg, the Steering Committee of MediArXiv, and the Scientific Advisory Board of adlr.link.

Project-related Publications

Journal Articles

 “Forschung situieren. Zu den Möglichkeiten digitaler Datenvisualisierungen für die feministische Filmgeschichtsschreibung“, in: Laura Niebling, Felix Raczkowski, Sven Stollfuß (eds.): Handbuch Digitale Medien und Methoden, Wiesbaden: Springer VS, 2022. [in progress]

“o.J.“, in: Sandra Hofhues, Konstanze Schütze (eds.): Doing Research. Wissenschaftspraktiken zwischen Positionierung und Suchanfrage (Science Studies), Bielefeld: transcript, 2021. [submitted]

“Representing the Unknown. A Critical Approach to Digital Data Visualization in the Context of Feminist Film Historiography“, in: Malte Hagener, Yvonne Zimmermann (eds.): Histories of Film History, Amsterdam: Amsterdam University Press, 2021. [submitted]

"Unknowable Facts and Digital Databases: Reflections on the Women Film Pioneers Project and Women in Film History", in: Manuel Burghardt, Adelheid Heftberger, Johannes Pause, Niels-Oliver Walkowski, Matthias Zeppelzauer (eds.): Digital Humanities Quarterly, 14 (4), special edition on "Digital Humanities & Film Studies: Analyzing the Modalities of Moving Images", December 2020, n.p. (peer reviewed) [article]

"Navigating History: Aesthetics and Appropriation and the Interactive Web Documentary Freedom's Ring", in: Florian Mundhenke (ed.): New Cinemas: Journal of Contemporary Film, 17 (1), special edition on "i-docs", March 2020, 21–35. (peer reviewed) [article]

"Forschungsdatenmanagement in der Filmwissenschaft: Daten, Praktiken und Erkenntnisprozesse", in: Johannes Pause, Niels-Oliver Walkowski (eds.): Montage AV, 29 (1), special edition on "Praktiken des Digitalen", January 2020, 120–140. (peer reviewed) [article]

"Digital Tools & Big Data. Zu gegenwärtigen Herausforderungen für die Film- und Medienwissenschaft am Beispiel der feministischen Filmgeschichtsschreibung", in: MEDIENwissenschaft 2–3, 2018, 142–156. (peer reviewed) [article]

Discussions & Interviews

"Podcast // Projekt DAVIF macht filmschaffende Frauen im frühen Film sichtbar" (with Frauke Haß), in: Deutsches Filminstitut & Filmmuseum, "Alles ist Film". URL: https://www.dff.film/podcast-projekt-davif/, 2021.