Aniko Bodroghkozy
Professor  |   Historian   |   Author

Aniko Bodroghkozy is a founding faculty member of the Media Studies Program at the University of Virginia, where she has been on its faculty since 2001. She is currently a Professor of Media Studies and co-director of the Media Studies’ Distinguished Majors Program. 

Professor Bodroghkozy is a media historian with a particular focus on American television, the social change movements of the 1960s, media audiences and reception practices in historical context, and the development of television journalism in the 1960s. More recently, she has been focusing on media and white supremacy in comparative historical context.  

Her work has appeared in scholarly journals such as Cinema Journal; Screen; Television and New Media; Camera Obscura; The Sixties: A Journal of History, Politics, and Culture, and in popular online sites such as,, and The Conversation. A recent article drawn from her Making #Charlottesville book appeared in The Boston Globe’s online publication, The Emancipator. 


The 2017 "Summer of Hate" in Charlottesville became a worldwide media event, putting at center stage the resurgence of emboldened and empowered white supremacy and "alt-right" extremism, as well as the antiracist movement opposing it. Aniko Bodroghkozy’s trenchant study examines this formative moment in recent U.S. history by juxtaposing it against two other epochal moments that put American racism and the struggle against it on worldwide display: the 1963 Birmingham and 1965 Selma campaigns of the civil rights movement.

Making #Charlottesville investigates the historical "rhymes" in the mass media’s treatment of these events, separated by half a century, along with the ways that activists on both sides made use of the new media environment of their day to organize and amplify their respective messages. Bodroghkozy teases out the connections, similarities, and resonances among these events—from the ways all three places were consciously chosen as stage sets for media campaigns, to the similarly iconic and heavily circulated images they produced, to the sustained cultural purchase they continue to hold in the United States and around the world.