I obtained my B.A. degree in 'Asian and African Studies' with a research focus on Indonesia/Southeast Asia from the Humbolt-Universität zu Berlin. In 2016, I graduated in the M.A. program "Modern South- and Southeast Asian Studies" with a thesis on an Indonesian Horror Survival Video Game (DreadOut), it's representations, mechanics and ghosts. My thematic foci included Southeast Asian pop-, film-, queer- and horrorculture as well as media in cross-cultural comparison. Address: Berlin, Land Berlin, Germany
In: Ghost Movies in Southeast Asia and Beyond Narratives, Cultural Contexts, Audiences, ed. by Pe... more In: Ghost Movies in Southeast Asia and Beyond Narratives, Cultural Contexts, Audiences, ed. by Peter J. Bräunlein & Andrea Lauser. Leiden: Brill, 2016.
Paper aus dem Q-Tutorium: Distanzlosigkeit, Amoralität & Identifikation: Das Serienmördermotiv in... more Paper aus dem Q-Tutorium: Distanzlosigkeit, Amoralität & Identifikation: Das Serienmördermotiv in der US-amerikanischen Populärkultur am Beispiel aktueller TV-Serien (Lehrender Dominik Eichhorn) 2014.
Das Paper befasst sich mit der ersten Staffel der britisch/irischen Koproduktion "The Fall", der konstruierten Dualität der Hauptcharaktere, dem modus operandi des Mörders und das Motiv der Wiederholung in Form von "schönen weiblichen Leichen" (Vgl. Elisabeth Bronfen, 1987,1994)
In: Benjamin Baumann, Stefan Hoffmann, Maren Wilger [Hrsg.] (2013) Der Tod im Kulturvergleich. S... more In: Benjamin Baumann, Stefan Hoffmann, Maren Wilger [Hrsg.] (2013) Der Tod im Kulturvergleich. Süd- und Südostasiatische Perspektiven. SOA Working Papers No. 51.
In: Nadja-Christina Schneider und Fritzi-Marie Titzmann (Hg.)(2014). Studying Youth, Media and Ge... more In: Nadja-Christina Schneider und Fritzi-Marie Titzmann (Hg.)(2014). Studying Youth, Media and Gender in Post-Liberalisation India. Focus on and beyond the ‘Delhi Gang Rape'. Berlin: Frank & Timme, Reihe: Kommunikationswissenschaft, Band 6.
Abstract:
A brutal rape incident took place at the end of 2012 in the southern part of New Delhi which became publically known as the “Delhi gang rape”. The incident sparked intense national and international debate and between December 2012 and February 2013 it could be found all over the on- and offline media on a daily base.
The permanent reporting on the condition of the victim and the surrounding output had strong traits of a disruptive media event: The rape case and its consequences were reported on a variety of Indian and international channels. As a result, a wide audience came into contact with this subject. Mourning-, commemoration- and protest marches were held and broadcasted; References to previous input were made and an ongoing historiography was created.
Based on the observations on the social news aggregator reddit.com and Emer O’Tool´s commentary on theguardian.com (O'Toole, 2013) which dealt with the neocolonial flavor of the reports on the case, I argue that the rape case had a primary Eurocentric and neocolonial bias within the Western hemisphere and especially on the plattform reddit.com.
This article aims to show the dynamics of online discussions on the gang rape case by using methods of netnography, which relocates the ethnographic field from a physical space to a digital one. The online fieldwork was conducted on the America-based social news aggregator reddit.com in order to highlight how users of this online community discussed the case and its media coverage.
Conference: Ghost-Movies in Southeast Asia and Beyond. Narratives, cultural contexts, audien... more Conference: Ghost-Movies in Southeast Asia and Beyond. Narratives, cultural contexts, audiences. at BMBF Competence Network "Dynamics of Religion in Southeast Asia", Department of Social and Cultural Anthropology, University of Göttingen. 03.10.2012 - 06.10.2012, Göttingen.
Sundelbolong, a gruesome furious female ghost with a hole on her back, originates from Javanese tradition. A woman transforms into Sundelbolong when she commits suicide during her pregnancy (Siddique, 2002). Her revengeful spirit seeks justice by viciously slaughtering her rapists. Analysing two films from Indonesia, Sundelbolong (1981) and its remake Sundel Bolong (2009), this paper aims to underline the representation of woman, -or womanhood-, during the New Order and post-Authoritarian regime. Against the hegemonic ideology of Indonesian New Order, which Suryakusuma (1996) describes as a regime of State Ibuism -State of Motherhood- as cultural and structural mean of the state to control its female population, this paper should ask furthermore whether woman represented as Sundelbolong embodies this propagated state ideology? Or does it question, reject and propose another possible model? How did this representation change in its remake, almost decade after the fall of New Order regime? Is it possible to think of Sundelbolong as symbolizing image of a/any subaltern position of women within the ever contested imagined Indonesia?
Siddique, Sophie (2002). “Haunting Visions of the Sundelbolong. Vampire Ghosts and the Indonesian National Imaginary”, in: Harmony Wu (edt.). Axes to Grind: Re-Imagining the Horrific in Visual Media and Culture. Special Issue of Spectator 22:2 (Fall 2002) 24-33. 24. http://cinema.usc.edu/assets/098/15878.pdf [13.05.12]
Suryakusuma, Julia (1996) „State and Sexuality in New Order Indonesia.“, in: Fantasizing the Feminine in Indonesia, editor:
M.A. thesis as handed in 14.07.2016. Humboldt Universität, not published.
In December 2012, Bandu... more M.A. thesis as handed in 14.07.2016. Humboldt Universität, not published. In December 2012, Bandung-based Company Digital Happiness turned to the internet community to promote and fund their planned Indonesian horror survival game DreadOut with a Indiegogo funding campaign. They wanted to introduce new and “unique” experiences of Indonesian horror to the gamer audience. The planned indie game created quite a buzz in the indie- and horror-gaming scene, due to its genuine and mostly "new" setting and ghostly appearances. But is DreadOut really unique? If so, in what ways? And if not, which known formulas, conventions and intermedial representations can be identified? While this thesis does not seek to construct the Indonesian context of the game as “too different/other” to be decoded, it rather aims to differentiate between the features and formulas aimed primarily at an Indonesian audience, the features which are globally sold as “truly Indonesian” and those which are adapted from existing international horror (video game) conventions.
In: Ghost Movies in Southeast Asia and Beyond Narratives, Cultural Contexts, Audiences, ed. by Pe... more In: Ghost Movies in Southeast Asia and Beyond Narratives, Cultural Contexts, Audiences, ed. by Peter J. Bräunlein & Andrea Lauser. Leiden: Brill, 2016.
Paper aus dem Q-Tutorium: Distanzlosigkeit, Amoralität & Identifikation: Das Serienmördermotiv in... more Paper aus dem Q-Tutorium: Distanzlosigkeit, Amoralität & Identifikation: Das Serienmördermotiv in der US-amerikanischen Populärkultur am Beispiel aktueller TV-Serien (Lehrender Dominik Eichhorn) 2014.
Das Paper befasst sich mit der ersten Staffel der britisch/irischen Koproduktion "The Fall", der konstruierten Dualität der Hauptcharaktere, dem modus operandi des Mörders und das Motiv der Wiederholung in Form von "schönen weiblichen Leichen" (Vgl. Elisabeth Bronfen, 1987,1994)
In: Benjamin Baumann, Stefan Hoffmann, Maren Wilger [Hrsg.] (2013) Der Tod im Kulturvergleich. S... more In: Benjamin Baumann, Stefan Hoffmann, Maren Wilger [Hrsg.] (2013) Der Tod im Kulturvergleich. Süd- und Südostasiatische Perspektiven. SOA Working Papers No. 51.
In: Nadja-Christina Schneider und Fritzi-Marie Titzmann (Hg.)(2014). Studying Youth, Media and Ge... more In: Nadja-Christina Schneider und Fritzi-Marie Titzmann (Hg.)(2014). Studying Youth, Media and Gender in Post-Liberalisation India. Focus on and beyond the ‘Delhi Gang Rape'. Berlin: Frank & Timme, Reihe: Kommunikationswissenschaft, Band 6.
Abstract:
A brutal rape incident took place at the end of 2012 in the southern part of New Delhi which became publically known as the “Delhi gang rape”. The incident sparked intense national and international debate and between December 2012 and February 2013 it could be found all over the on- and offline media on a daily base.
The permanent reporting on the condition of the victim and the surrounding output had strong traits of a disruptive media event: The rape case and its consequences were reported on a variety of Indian and international channels. As a result, a wide audience came into contact with this subject. Mourning-, commemoration- and protest marches were held and broadcasted; References to previous input were made and an ongoing historiography was created.
Based on the observations on the social news aggregator reddit.com and Emer O’Tool´s commentary on theguardian.com (O'Toole, 2013) which dealt with the neocolonial flavor of the reports on the case, I argue that the rape case had a primary Eurocentric and neocolonial bias within the Western hemisphere and especially on the plattform reddit.com.
This article aims to show the dynamics of online discussions on the gang rape case by using methods of netnography, which relocates the ethnographic field from a physical space to a digital one. The online fieldwork was conducted on the America-based social news aggregator reddit.com in order to highlight how users of this online community discussed the case and its media coverage.
Conference: Ghost-Movies in Southeast Asia and Beyond. Narratives, cultural contexts, audien... more Conference: Ghost-Movies in Southeast Asia and Beyond. Narratives, cultural contexts, audiences. at BMBF Competence Network "Dynamics of Religion in Southeast Asia", Department of Social and Cultural Anthropology, University of Göttingen. 03.10.2012 - 06.10.2012, Göttingen.
Sundelbolong, a gruesome furious female ghost with a hole on her back, originates from Javanese tradition. A woman transforms into Sundelbolong when she commits suicide during her pregnancy (Siddique, 2002). Her revengeful spirit seeks justice by viciously slaughtering her rapists. Analysing two films from Indonesia, Sundelbolong (1981) and its remake Sundel Bolong (2009), this paper aims to underline the representation of woman, -or womanhood-, during the New Order and post-Authoritarian regime. Against the hegemonic ideology of Indonesian New Order, which Suryakusuma (1996) describes as a regime of State Ibuism -State of Motherhood- as cultural and structural mean of the state to control its female population, this paper should ask furthermore whether woman represented as Sundelbolong embodies this propagated state ideology? Or does it question, reject and propose another possible model? How did this representation change in its remake, almost decade after the fall of New Order regime? Is it possible to think of Sundelbolong as symbolizing image of a/any subaltern position of women within the ever contested imagined Indonesia?
Siddique, Sophie (2002). “Haunting Visions of the Sundelbolong. Vampire Ghosts and the Indonesian National Imaginary”, in: Harmony Wu (edt.). Axes to Grind: Re-Imagining the Horrific in Visual Media and Culture. Special Issue of Spectator 22:2 (Fall 2002) 24-33. 24. http://cinema.usc.edu/assets/098/15878.pdf [13.05.12]
Suryakusuma, Julia (1996) „State and Sexuality in New Order Indonesia.“, in: Fantasizing the Feminine in Indonesia, editor:
M.A. thesis as handed in 14.07.2016. Humboldt Universität, not published.
In December 2012, Bandu... more M.A. thesis as handed in 14.07.2016. Humboldt Universität, not published. In December 2012, Bandung-based Company Digital Happiness turned to the internet community to promote and fund their planned Indonesian horror survival game DreadOut with a Indiegogo funding campaign. They wanted to introduce new and “unique” experiences of Indonesian horror to the gamer audience. The planned indie game created quite a buzz in the indie- and horror-gaming scene, due to its genuine and mostly "new" setting and ghostly appearances. But is DreadOut really unique? If so, in what ways? And if not, which known formulas, conventions and intermedial representations can be identified? While this thesis does not seek to construct the Indonesian context of the game as “too different/other” to be decoded, it rather aims to differentiate between the features and formulas aimed primarily at an Indonesian audience, the features which are globally sold as “truly Indonesian” and those which are adapted from existing international horror (video game) conventions.
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Papers by M. Wilger
Das Paper befasst sich mit der ersten Staffel der britisch/irischen Koproduktion "The Fall", der konstruierten Dualität der Hauptcharaktere, dem modus operandi des Mörders und das Motiv der Wiederholung in Form von "schönen weiblichen Leichen" (Vgl. Elisabeth Bronfen, 1987,1994)
Abstract:
A brutal rape incident took place at the end of 2012 in the southern part of New Delhi which became publically known as the “Delhi gang rape”. The incident sparked intense national and international debate and between December 2012 and February 2013 it could be found all over the on- and offline media on a daily base.
The permanent reporting on the condition of the victim and the surrounding output had strong traits of a disruptive media event: The rape case and its consequences were reported on a variety of Indian and international channels. As a result, a wide audience came into contact with this subject. Mourning-, commemoration- and protest marches were held and broadcasted; References to previous input were made and an ongoing historiography was created.
Based on the observations on the social news aggregator reddit.com and Emer O’Tool´s commentary on theguardian.com (O'Toole, 2013) which dealt with the neocolonial flavor of the reports on the case, I argue that the rape case had a primary Eurocentric and neocolonial bias within the Western hemisphere and especially on the plattform reddit.com.
This article aims to show the dynamics of online discussions on the gang rape case by using methods of netnography, which relocates the ethnographic field from a physical space to a digital one. The online fieldwork was conducted on the America-based social news aggregator reddit.com in order to highlight how users of this online community discussed the case and its media coverage.
Books by M. Wilger
Talks by M. Wilger
Sundelbolong, a gruesome furious female ghost with a hole on her back, originates from Javanese tradition. A woman transforms into Sundelbolong when she commits suicide during her pregnancy (Siddique, 2002). Her revengeful spirit seeks justice by viciously slaughtering her rapists. Analysing two films from Indonesia, Sundelbolong (1981) and its remake Sundel Bolong (2009), this paper aims to underline the representation of woman, -or womanhood-, during the New Order and post-Authoritarian regime. Against the hegemonic ideology of Indonesian New Order, which Suryakusuma (1996) describes as a regime of State Ibuism -State of Motherhood- as cultural and structural mean of the state to control its female population, this paper should ask furthermore whether woman represented as Sundelbolong embodies this propagated state ideology? Or does it question, reject and propose another possible model? How did this representation change in its remake, almost decade after the fall of New Order regime? Is it possible to think of Sundelbolong as symbolizing image of a/any subaltern position of women within the ever contested imagined Indonesia?
Siddique, Sophie (2002). “Haunting Visions of the Sundelbolong. Vampire Ghosts and the Indonesian National Imaginary”, in: Harmony Wu (edt.). Axes to Grind: Re-Imagining the Horrific in Visual Media and Culture. Special Issue of Spectator 22:2 (Fall 2002) 24-33. 24. http://cinema.usc.edu/assets/098/15878.pdf [13.05.12]
Suryakusuma, Julia (1996) „State and Sexuality in New Order Indonesia.“, in: Fantasizing the Feminine in Indonesia, editor:
Thesis Chapters by M. Wilger
In December 2012, Bandung-based Company Digital Happiness turned to the internet community to promote and fund their planned Indonesian horror survival game DreadOut with a Indiegogo funding campaign. They wanted to introduce new and “unique” experiences of Indonesian horror to the gamer audience. The planned indie game created quite a buzz in the indie- and horror-gaming scene, due to its genuine and mostly "new" setting and ghostly appearances. But is DreadOut really unique? If so, in what ways? And if not, which known formulas, conventions and intermedial representations can be identified? While this thesis does not seek to construct the Indonesian context of the game as “too different/other” to be decoded, it rather aims to differentiate between the features and formulas aimed primarily at an Indonesian audience, the features which are globally sold as “truly Indonesian” and those which are adapted from existing international horror (video game) conventions.
Das Paper befasst sich mit der ersten Staffel der britisch/irischen Koproduktion "The Fall", der konstruierten Dualität der Hauptcharaktere, dem modus operandi des Mörders und das Motiv der Wiederholung in Form von "schönen weiblichen Leichen" (Vgl. Elisabeth Bronfen, 1987,1994)
Abstract:
A brutal rape incident took place at the end of 2012 in the southern part of New Delhi which became publically known as the “Delhi gang rape”. The incident sparked intense national and international debate and between December 2012 and February 2013 it could be found all over the on- and offline media on a daily base.
The permanent reporting on the condition of the victim and the surrounding output had strong traits of a disruptive media event: The rape case and its consequences were reported on a variety of Indian and international channels. As a result, a wide audience came into contact with this subject. Mourning-, commemoration- and protest marches were held and broadcasted; References to previous input were made and an ongoing historiography was created.
Based on the observations on the social news aggregator reddit.com and Emer O’Tool´s commentary on theguardian.com (O'Toole, 2013) which dealt with the neocolonial flavor of the reports on the case, I argue that the rape case had a primary Eurocentric and neocolonial bias within the Western hemisphere and especially on the plattform reddit.com.
This article aims to show the dynamics of online discussions on the gang rape case by using methods of netnography, which relocates the ethnographic field from a physical space to a digital one. The online fieldwork was conducted on the America-based social news aggregator reddit.com in order to highlight how users of this online community discussed the case and its media coverage.
Sundelbolong, a gruesome furious female ghost with a hole on her back, originates from Javanese tradition. A woman transforms into Sundelbolong when she commits suicide during her pregnancy (Siddique, 2002). Her revengeful spirit seeks justice by viciously slaughtering her rapists. Analysing two films from Indonesia, Sundelbolong (1981) and its remake Sundel Bolong (2009), this paper aims to underline the representation of woman, -or womanhood-, during the New Order and post-Authoritarian regime. Against the hegemonic ideology of Indonesian New Order, which Suryakusuma (1996) describes as a regime of State Ibuism -State of Motherhood- as cultural and structural mean of the state to control its female population, this paper should ask furthermore whether woman represented as Sundelbolong embodies this propagated state ideology? Or does it question, reject and propose another possible model? How did this representation change in its remake, almost decade after the fall of New Order regime? Is it possible to think of Sundelbolong as symbolizing image of a/any subaltern position of women within the ever contested imagined Indonesia?
Siddique, Sophie (2002). “Haunting Visions of the Sundelbolong. Vampire Ghosts and the Indonesian National Imaginary”, in: Harmony Wu (edt.). Axes to Grind: Re-Imagining the Horrific in Visual Media and Culture. Special Issue of Spectator 22:2 (Fall 2002) 24-33. 24. http://cinema.usc.edu/assets/098/15878.pdf [13.05.12]
Suryakusuma, Julia (1996) „State and Sexuality in New Order Indonesia.“, in: Fantasizing the Feminine in Indonesia, editor:
In December 2012, Bandung-based Company Digital Happiness turned to the internet community to promote and fund their planned Indonesian horror survival game DreadOut with a Indiegogo funding campaign. They wanted to introduce new and “unique” experiences of Indonesian horror to the gamer audience. The planned indie game created quite a buzz in the indie- and horror-gaming scene, due to its genuine and mostly "new" setting and ghostly appearances. But is DreadOut really unique? If so, in what ways? And if not, which known formulas, conventions and intermedial representations can be identified? While this thesis does not seek to construct the Indonesian context of the game as “too different/other” to be decoded, it rather aims to differentiate between the features and formulas aimed primarily at an Indonesian audience, the features which are globally sold as “truly Indonesian” and those which are adapted from existing international horror (video game) conventions.