Chair and Professor
- School of Modern Languages
As Chair of the School of Modern Languages, Professor Anna Westerstahl Stenport leads a dynamic group of fifty-five tenure-stream faculty, lecturers, and staff. She provides oversight to the unit’s multi-varied research foci, academic and curricular priorities, numerous study abroad programs in South America, Europe, Asia, and Africa, and supports the public engagement mission of the School. Holding a PhD in Comparative Literature from the University of California at Berkeley, Dr. Stenport’s expertise includes transnational cinema and media, modern literature and drama, and visual and cultural studies. Her teaching includes courses in Global Cinema (“Green Screen: Environments in World Cinema” ML3813/LMC3257) and direction of undergraduate research projects.
Dr. Stenport is an expert in Arctic and Nordic cinema and media studies, and has published widely on these topics in journals such as Camera Obscura, Cinema Journal, Convergence, Film History, Journal of Scandinavian Cinema, Media, Culture & Society, and The Moving Image. Her books include the groundbreaking volume Films on Ice: Cinemas of the Arctic (Edinburgh UP, 2015; co-ed. w/ Scott MacKenzie), the first comprehensive examination of filmmaking in the global circumpolar north from 1896 to the present, as well as Arctic Environmental Modernities: From the Age of Exploration to the Era of the Anthropocene (Palgrave Studies in World Environmental History series, 2017; co-ed. w/ Lill-Ann Körber & Scott MacKenzie) and Arctic Cinemas and the Documentary Ethos (Indiana UP, advance contract; co-ed. w/ Lilya Kaganovsky and Scott MacKenzie). Current research includes “Visualizing Climate Change Through Arctic Moving Images” (w/ Scott MacKenzie), “Arctic Women Film Pioneers” (w/ Mariah Larsson), and a study of the construction of heritage sites and the use of public history in Sápmi, Northern Sweden, and Svalbard (w/ Dag Avango and Mark Safstrom). Dr. Stenport also co-curates Arctic film programs at conferences (ASTRA 2015, Visible Evidence 2015, SASS 2016,) and for film festivals, including the 5th Annual Polar Film Festival at the Explorers Club in NYC (2016), the 13th Verzio International Human Rights Documentary Film Festival, Budapest (2016), and the European Union Film Festival, Chicago (2017).
Her scholarship on contemporary Scandinavian film includes a monograph on New Queer Cinema director Lukas Moodysson’s Show Me Love, published in the Nordic Film Classics series (U Washington P, 2012) and articles in a special Moodysson issue of Scandinavica (51:3, 2014). She has also written extensively about Scandinavian popular culture, including Nordic Noir crime fiction and film and the Millenium series, and was interviewed on NPR’s Diane Rehm Show on the topic. Further research in this area includes “Cinemas of Elsewhere: A History of Global Nordic Film Cultures” (w/ Arne Lunde).
As a scholar of modernism in literature, theatre, and the arts, Dr. Stenport has published in journals such as ARTMargins, Comparative Literature, English Language Notes, Modern Drama, and Modernism/Modernity. She is an expert on playwright, novelist, and artist August Strindberg, and her publications in this area include Locating August Strindberg’s Prose: Modernism, Transnationalism, Setting (U Toronto P, 2010), The International Strindberg: New Critical Essays (ed., Northwestern UP, 2012), and Strindberg and Radicalism – Strindberg and the Avant-Garde: A Hundred Year Legacy, an extended special issue of the journal Scandinavian Studies (2012 84:3; co-edited w/Eszter Szalczer). Current research in this area includes the project “August Strindberg and Visual Culture: The Emergence of Optical Modernity in Theater, Text, and Image” (w/ Eszter Szalczer and Jonathan Schroeder).
Before joining Georgia Tech in 2016, Dr. Stenport held the position of Conrad Humanities Scholar and Professor of Scandinavian Studies – with appointments in Comparative Literature, Gender and Women’s Studies, Global Studies, Media and Cinema Studies, and Theatre – at the University of Illinois at Urbana-Champaign. There she also served as Director of the Campus Office of Undergraduate Research and Director of the European Union Center, a Title VI National Resource Center and a Jean Monnet Center of Excellence. She has been a Visiting Professor and Anna Lindh Fellow at Stanford University and a Visiting Scholar at the University of California, Berkeley; Queen’s University, Canada; and at several institutions in Scandinavia, including the Universities of Gothenburg and Stockholm; the Danish Film Institute; and KTH Royal Institute of Technology, where she regularly teaches in interdisciplinary field site summer program Environment and Society in a Changing Arctic.
Anna has given hundreds of presentations about her research and academic interests, and can be contacted at email@example.com.
- Climate Change Adaptation
- Digital Humanities
- Digital Media
- Environmental Ethics
- Literary and Cultural Studies
- Media Studies
- Science and Technology Studies
- Europe (North)
- North America
- Inequality and Social Justice
- Digital Communication
- Digital Humanities
- Education Policy
- Film History and Theory
- Globalization and Localization
- Higher Education: Teaching and Learning
- History and Memory
- Intercultural Issues
- Language and Popular Culture
- Mediatized Culture
- Science and Technology
- LMC-3257: Global Cinema
- ML-3813: Special Topics
- Arctic Cinemas and the Documentary Ethos
- Arctic Environmental Modernities: From the Age of Exploration to the Era of the Anthropocene.
- Films on Ice: Cinemas of the Arctic
- Nordic Film Classics: Director Lukas Moodysson and ‘Show Me Love’
- The International Strindberg: New Critical Essays
- Locating August Strindberg’s Prose: Modernism, Transnationalism, Setting
- “The Global Politics of Color in the Arctic Landscape: Blackness at the Center of Frederic Edwin Church’s Aurora Borealis (1865) and Nineteenth-Century Limits of Representation”
- “Action, Avatar, Ecology, and Empire: Digitality, Death, and Gaming in Werner Herzog’s Arctic Archive.”
- “Arnait: Inuit Women’s Collective Filmmaking, Coalitional Politics, and a Globalized Arctic”
- “Modern Drama as Historiography and Cultural Critique: Prisons, Poverty, Nationalism, and Political Economy in August Strindberg’s Dance of Death I (1900).”
- “Polar Bears and Ice: Cultural Connotations of Arctic Environments that Contradict the Science of Climate Change.”
- “Documentary Filmmaking as Colonialist Propaganda and Cinefeminist Intervention: Mai Zetterling’s Of Seals and Men (1979).”
- “The Eradication of Memory: Film Adaptations and Algorithms of the Digital”
- “Lilya 4-ever: Post-Soviet Neoliberal Angels and Nordic Intellectual Secularism.”
- “Playing with Art Cinema: Digitality Constructs in Ruben Östlund's Play"
- “‘I Believe in Ketchup!’: Girlhood, Punk, and Moodysson’s Vi är bäst!”
- “All That’s Frozen Melts Into Air: Arctic Cinemas at the End of the World.”
- “Charting and Challenging Digital Media Convergence Practice and Rhetoric through Media Population Surveys.”
- “Strindberg and Radicalism/Strindberg and the Avant-Garde.”
- “Comparative Scandinavian Modernisms?”
- “Interiority Conceits: Domestic Architecture, Grafophone Recordings, and Colonial Imaginations in August Strindberg’s The Roofing Ceremony (1907).”
- “National Betrayal: Language, Location, and Lesbianism in August Strindberg’s Novel A Madman’s Defense.”
- “Original or Copy? Urban Proto-Modernism in August Strindberg’s Novel The Red Room (1879).”
- “The Mind and Nature of Locked Rooms: Tarjei Vesaas’ The Ice Palace.”
- “Corporations, Crime, and Gender Construction in Stieg Larsson’s The Girl With the Dragon Tattoo: Exploring Twenty-first Century Neoliberalism in Swedish Culture.”
- “Helga Crane’s Copenhagen: Denmark, Colonialism, and Transnational Identities in Nella Larsen’s Quicksand.”
- “Bodies Under Assault. Nation and Immigration in Henning Mankell’s Faceless Killers.”
- “Estetik, ironi och emotioners fysiologi: Om Göran Tunströms roman Juloratoriet.”
- “From Arsonists and Bastards to Vampires and Zombies: Urban Spatio-Pathologies in Strindberg’s Chamber Plays.”
- “Swedish Women’s City Writing and Anna Branting’s Lena: Complexities of Voice, Vision, Divorce, and Desire."
- “Imagining a New Stockholm: Strindberg’s Gamla Stockholm and the Construction of Metropolitan Space.”
- “Contemporary Experimental Feminist Sámi Documentary: The Autobiographical Politics of Liselotte Wajstedt and Elle-Máijá Tailfeathers.”
- “Nordic Remakes: The North in Hollywood.”
- “Introduction: What Are Arctic Cinemas?”
- “The Threat of the Thaw: The Cold War on the Screen.”
- “Introduction: A Madman’s Defense and European Literature.”
- “We Train Auteurs: Education, Decentralization, and Regional Funding in New Swedish Cinema.”
- “Corporations, the Welfare State, and Covert Misogyny in The Girl with the Dragon Tattoo.”
- “International Credit Transfer: Money Metaphors and Economic Discourse in August Strindberg’s Creditors.”
- “Introduction.” In The International Strindberg
- “Scandinavian Modernism: Stories of the Transnational and the Discontinuous.”
- ”Introduction.” The Plays of August Strindberg, 2 vols.
- ’’’Som potatisar i en säck.’ Den franske bonden hos Strindberg, Zola och Marx.”
- “Memfis Film and Lukas Moodysson: From the Local to the Global.” In Swedish Film:
- “Inledning. Från kvinnohat till maskulinitetskris: Strindberg som genuskonstruktion.”
- “Röda rummet som nationsbygge.” Strindbergiana 19
- “Writing the City: Women Novelists, Gendered Spatiality, and Authoritative Voice in Early Twentieth-Century Stockholm.”
- “Introduction: Arctic Environmental Modernities From the Age of Exploration to the Era of the Anthropocene.”
- “Tearing Up the Screen: Pia Arke’s Post-Colonial Processes.”
- “The Polarities and Hybridities of Arctic Cinemas.”