Anikó Imre, Ph.D.
Director of Graduate Studies
Media Arts + Practice Division, Ph.D. Advisor
Anikó Imre is Associate Professor in the Department of Critical Studies. Dr. Imre came to USC after completing a three-year postdoctoral fellowship at the Amsterdam School of Cultural Analysis (ASCA) of the University of Amsterdam, where she participated in a collaborative project on media globalization and post-Wall European transformations. She teaches courses on film and media theory, global television, national and transnational media and European media.
She is the author of Identity Games: Globalization and the Transformation of Post-Communist Media Cultures (MIT Press, 2009), editor of East European Cinemas, published in the AFI Film Readers series (Routledge, 2005) and the Blackwell Companion to East European Cinemas (2012); co-editor of Transnational Feminism in Film and Media, part of Palgrave’s Comparative Feminist Studies series (2007) and of Popular Television in Eastern Europe During and Since Socialism (2012). She has also co-edited special issues of Feminist Media Studies, The European Journal of Cultural Studies, The Journal of Popular Film and Television and Television and New Media.
She is co-editor of the Palgrave book series Global Cinemas and is on the editorial boards of the journals Television and New Media, Studies in East European Cinema and NECSUS_European Journal of Media Studies. She is the recipient of the University of Chicago Press’s inaugural Catharine Stimpson Award for Outstanding Feminist Scholarship (2007).
- “Love to Hate: National Intimacy and Racial Intimacy on Reality TV in the New Europe.” Television and New Media, 2012
- “National History and Cross-National Television Edutainment.” Journal of Popular Film and Television, 2012.
- “The Witty Seven: Late Socialist-Capitalist Satire in Hungary.” Popular Communication, 2012.
- “Reality TV Without Class: The Post-Socialist, Anti-Celebrity Docusoap” (co-authored with Annabel Tremlett). In Reality Television and Class. Ed. Beverley Skeggs and Helen Wood. London: BFI, 2012: 88-103.