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]CHRISTELLE LE FAUCHEUR
Curriculum Vitae
Department of History
University of Texas
1 University Station B7000
Austin, TX 78712
13010 Stagecoach Way
Manchaca, Texas, 78652
512 922 6856
lefaucheurc@mail.utexas.edu
Education
2002-present Ph.D. candidate, History, University of Texas at Austin
Dissertation: German Cinematic Apparatus During the Third Reich (see abstract)
Committee: David Crew and Sabine Hake (co-chairs), Judith Coffin, Joan Neuberger,
and Janet Staiger
2002
Magister (M.A.), History, University of Cologne, Germany.
Secondary field: French Studies. Examiners: Michael Wala and Michael Zahrnt
1994-96
Germanic Studies, University of Nanterre, Paris, France
Work Experience
2011-present Program Coordinator, Peer Academic Coaching Program at the Sanger Learning and
Career Center, University of Texas, Austin
2010-2011
Assistant Instructor, University of Texas, Austin
 Introduction to European Studies
 German History through its Cinema
2002-2009
Teaching Assistant, University of Texas, Austin
 Europe since 1919
 Western Civilization in Modern Times (1500-present)
 United States, 1865-present
 United States, 1492-1865
Teaching Training
 Supervised Teaching in History
 Supervised Teaching in Foreign Languages
 Teaching Portfolio with the UT’s ASPECTS - Advancing Students' Professional Excellence
with Certificates in Teaching Series
Selected Research and Teaching Interests
Western Civilization
Modern European History
German History
The Third Reich and the Holocaust
European Studies
European Cinemas
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Fellowships and Grants
2008-2009
 Continuing Fellowship, University of Texas, Austin
 Centennial Graduate Student Support Award, University of Texas, Austin
2007-2008
 DAAD Scholarship, German Academic Exchange Service, twelve months
2006
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DAAD Scholarship, German Academic Exchange Service, six months
Centennial Graduate Student Support Award, University of Texas, Austin
Dora Bonham Fund Travel Grant, University of Texas, Austin
2005
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Centennial Graduate Student Support Award, University of Texas, Austin
Dora Bonham Fund Travel Grant, University of Texas, Austin
Publications
Forthcoming
 Review of Max Bonacker, Goebbels’ Mann beim Radio. Der NS-Propagandist Hans Fritzsche
(1900-1953), H- German, 2011.
 Review of Jana F. Burns, Nazi Cinema’s New Women, H-German, 2011.
Published
 Review of Gerwin Strobl, The Swastika and the Stage. German Theater and Society, 19391945, H- German, May 2009. http://www.h-net.org/reviews/showrev.php?id=24743
 Review of Sylvie Lindeperg, “Nuit et Brouillard:” Un film dans l’histoire, H-German,
July 2008. http://www.h-net.org/reviews/showrev.php?id=14790
 Review of Ernst Jäger. Filmkritiker, edited by Heinrich Lewinski, Historical Journal
of Film, Radio and Television, Volume 27, Issue 3, 2007.
 Review of Cinema and the Swastika: The International Expansion of Third Reich
Cinema, edited by Roel Vande Winkel and David Welch, H- German, October 2007.
http://www.h-net.org/reviews/showrev.php?id=13765
 Review of Antony Beevor, The Mystery of Olga Chekhova, H- German, January 2007.
http://www.h-net.org/reviews/showrev.php?id=12715
 Review of André Eckardt, Im Dienst der Werbung. Die Boehner-Film, 1926-1967, HGerman, October 2006. http://www.h-net.org/reviews/showrev.php?id=12382
 Review of Sophie Scholl- Die letzen Tagen, Director: Marc Rothemund, Germany, 2004,
H-German, March 2006. http://www.h-net.org/reviews/showrev.php?id=15461
 Review of Béatrice Durand, Cousins par alliance. Les Allemands en notre miroir, HGerman, September 2005. http://www.h-net.org/reviews/showrev.php?id=10865
 Review of Harald Welzer, et al., Opa war kein Nazi: Nationalsozialismus und Holocaust
im Familiengedächtnis, H-German, April 2004.
http://www.h-net.org/reviews/showrev.php?id=9159
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Conference Papers
 ““Film und Theater sind zweierlei.” Emancipating Film from Theatre in the 1930s,”
German Studies Association, 33rd Annual Conference, Washington DC, October 8-11,
2009.
 Organization of the panel “The Politics of Performance. 20th Century German Theatre,”
German Studies Association, 33rd Annual Conference, Washington DC, October 8-11,
2009.
 “Hans Albers and the Culture of Tonfilmschlager,” German Studies Association, 32nd Annual
Conference, St. Paul, Minnesota, October 2-5, 2008.
 Organization of the panel “The Sounds of 20th Century Germany,” German Studies
Association, 32nd Annual Conference, St. Paul, Minnesota, October 2-5, 2008.
 “Just About Movies?: German Film Press During the Third Reich,” German Studies
Association, 31st Annual Conference San Diego, California, October 4-7, 2007.
 “”So Very French!”: Reception of French Films in Nazi Germany,” 53rd Annual Meeting
of the Society for French Historical Studies, Houston, March 15-17, 2007.
 “Filmwelt im Weltkrieg: German Film Press during World War II,” Fourth Biennial
Conference of Film and History, in conjunction with the Film and History League,
Dallas, November 08-12, 2006.
 “Femmes Fatales in Vichy’s Cinema?” Western Society for French History, 33rd Annual
Meeting, Colorado Springs, Colorado, October 27-29, 2005.
 “Ambiguous Screening / Alternative Reading of Sexuality in the Third Reich,” German Studies
Association, 29th Annual Conference, Milwaukee, Wisconsin, September 29-October 2,
2005.
 “Consuming the Femme Fatale in Kora Terry (Georg Jacoby, 1940),” Gender
Symposium, University of Texas, Austin, September 23, 2005.
 “Films for the Third Generation: Normalizing the Past?” 58th Annual Kentucky Foreign
Language Conference, University of Kentucky, Lexington, April 21-23, 2005.
 “Franco German Cinematic Dialogues about World War II,” Trans/National Film and
Literature: Cultural Production and the Claims of History, Florida State University
Conference on Literature and Film, January 27-29, 2005.
 “New Ways of Dealing with the Past? German Cinema of the 1990s,” Third Biennial
Conference of Film and History, sponsored by the Film and History League and the
Literature/Film Association, Dallas, November 11-14, 2004.
International Workshops
 12th Transatlantic Doctoral Seminar in German History, University of Freiburg,
April 26-29, 2006. Sponsored by the German Historical Institute in Washington DC
 Trans-Atlantic Summer Institute in German Studies: “Mass Cultures and Mass Media in
20th-Century Germany,” July 13-28, 2005, Berlin. Sponsored by the Center for German
and European Studies, University of Minnesota
Professional Organizations
American Historical Association; German Studies Association; Modern Language Association;
Society for Cinema and Media Studies
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Professional Activities
 Organizer of the Film Series 21st Century European Cinemas, spring 2011. Sponsored by the
Center for European Studies, University of Texas, Austin.
 Graduate student organizer for the workshop Rethinking German Modernities, University
of Texas at Austin, February 14-15, 2009.
 Co-director, Gender Symposium in History, University of Texas at Austin, 2004-2005.
See http://www.utexas.edu/cola/depts/history/graduate/gender/
 Graduate student representative for the Southwest Workshop for the Study of German
History, Culture and Society, April 16, 2005, University of Texas, Austin.
 Graduate Student facilitator for Völker Schlöndorff’s visit at UT and screening of Der
Neunte Tag, February 23rd 2005.
 Graduate Student facilitator for Margarethe von Trotta’s visit at UT and screening of
Rosenstraße, November 22nd 2004.
Research, Translation, Tutoring and Other Services
 Research Assistant for Alain Kerzoncuf’s essay “Alfred Hitchcock and The Fighting
Generation,” published at
http://archive.sensesofcinema.com/contents/08/49/hitchcock-fighting-generation.html
 Research, professional translation and proof-reading for Mark Lawrence, University of Texas,
Austin, for his book Constructing Vietnam: The United States, Europe, and the Making of the
Cold War in Indochina, 1944-1950, Berkeley: University of California Press, 2005.
 Tutoring services in French and German for graduate students, high schools students, and
professionals.
 Student Advisor during orientation sessions and Room Supervisor for placement tests for the
Measurement and Evaluation Center (MEC) of the University of Texas, Austin.
Languages
French (native speaker), German and English (near native fluency in both).
References
 Dr. David Crew, Dept. of History, University of Texas, Austin, dfcrew@mail.utexas.edu,
512-475-7232
 Dr. Judith Coffin, Dept. of History, University of Texas, Austin, jcoffin@mail.utexas.edu
512-475-7235
 Dr. Sabine Hake, Dept. of Germanic Studies, University of Texas, Austin,
hake@mail.utexas.edu, 512-232-6379
 Dr. Howard Miller, Dept. of History, University of Texas, Austin, hmiller@mail.utexas.edu
512-475-7212
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Dissertation Abstract
My dissertation uncovers the relationships between the film industry, the theater, and the music
and press industries during the Third Reich. I demonstrate how, amidst geopolitical upheavals,
governmental efforts to control the cultural landscape, and radical changes in the functions of culture
and media, German filmmaking remained a dynamic endeavor with numerous cross fertilizations
between the media. Unlike previous works, which have focused on individual media, looking at the
periphery of filmmaking—from the theater to the radio—allows me to delineate the tensions,
negotiations, and compromises that characterized filmmaking during this period.
My first chapter traces the continuation of a decades long debate about the relationship between
film and theater. Amidst the brutal control and the wide-ranging instrumentalization of the arts and the
media by the national socialist regime, film, theater and opinion makers, such as Gustaf Gründgens and
Wolfgang Liebeneiner, continued to engage with the new possibilities of film (artistic, technological
and ideological). From Propaganda Minister Joseph Goebbels’ call for a new Laocoon for the cinema
in 1936 to filmmaker Helmut Käutner’s “Thanks to the Theater” in 1945, film’s relation to the theater
played, once again, a prominent part in conceptualizing, experimenting with, and evaluating new
cinematic trends.
In an effort to re-examine the role the institution played in the larger ambitions of National
Socialism, chapter 2 traces the opening of the heavily funded German Film Academy (DFA, 19381940), delineates its organization, staff, and curriculum, and details the reasons for its ultimate failure.
While this chapter situates the DFA within Goebbels’ attempts to control the film industry and to
consolidate film’s status as a form of art, equal to theater, I also argue that the DFA responded
practically to general, often publicly expressed concerns about the film industry's weaknesses,
especially the need to train film newcomers.
Chapter 3 follows the continued efforts to deal with this problem in the form of the
“Apprenticeship Place for the Film Newcomers” (1941-44). In contrast to the centralized DFA, these
government-supervised apprenticeship places were first run by individual film companies that clearly
prioritized their own interests. Soon, material shortages and the regime’s desire to have more control
led, once again, to the centralization of the training.
Next to the theater, music had always played a major role in cinematic creation, and even more
since the arrival of sound in 1929. My fourth chapter delineates the numerous discussions about genres
(singer films, operettas and the revue films of Marika Rökk), and the need for a new generation of
filmmakers with a musical sensibility. Helmut Käutner’s and Wolfgang Liebeneiner’s self-reflexive
use of sound in film are telling examples of attempts to achieve the harmony of image, word, and
music, in an effort to create the ultimate artwork.
Underlying all these chapters is the first detailed analysis of the contemporary film press.
Focusing on three major publications – a trade journal, a “people” magazine, and the regime’s official
publication – chapter 5 uncovers lively, theoretical and practical discussions about film, its
achievement under the new regime, its weaknesses and the need for improvement.
Rooted in a cross-disciplinary approach, which combines close textual and filmic analysis,
individual biographies, and institutional history, my project not only contributes to a better
understanding of the Nazi regime, showing the extent and the limits of its utilization of culture and
media. It also illustrates an important moment in German film history with sustained lively debates
about technical, aesthetics, and social aspects of film. In short, I demonstrate that film was not simply
an ideological apparatus that started and stopped with the Nazis, but continued to develop and produce
a rich set of questions.