Resume

• 2007

  “Film Analysis After Film

  ” Review of Framed Time: Towards a Postfilmic Cinema. Garrett Stewart. University of Chicago Press

  The Boss’s Film: Expert Amateurs and Industrial Culture

  Midcentury Rural Modern: French Agricultural Cinema and the Art of Persuasion

  Courses:\n• Introduction to Cinema\n• History of International Cinema I (to 1945)\n• History of International Cinema II (1945-present)\n• Senior Seminar (Cinematic Time)\n• History of Global Cinema Before World War II (Graduate Course)

  University of Southern California

  Consultant

  Television ratings analysis focused on identifying micro-genres

  Initiative

  Conference Organizer

  Critical Studies Graduate Student Conference -- \"Deaths of Cinema\"

  University of Southern California

  IBM

  RTP Site

  Java/JSP programming

  Summer Co-op

  RTP Site

  Developed ANT automated testing scripts and performed daily build analysis of development projects.

  Post-Graduate Co-op

  IBM

  FILM PROGRAMMING\nExciterbulb -- Monthly 16mm Film Series\n• 2011-2012: Cinema/Nature/Technology\n\nTEACHING\nUndergraduate Courses:\n• History of International Film (Fall 2012)\n• Studies in Film Genre [Science Fiction] (Spring 2012)\n• Introduction to Screen Studies (Fall 2011)\n• Culture and the Moving Image [Cinema and Architecture] (Fall 2011)\n\nGraduate Courses:\n• Critical Approaches to Screen Studies: Theory/History/Screen (Fall 2012)\n• Moving Images and Industrial Modernity (Spring 2012)\n\nInvited Lectures:\n• Introduction to European Studies [Cinema and Europe] (Fall 2011

  Fall 2012)

  Oklahoma State University

  Conference Organizer

  “Look Out! Visual Culture and the Future of the Humanities” – August 29-30

  2014\n\nWhat place does visual culture have in the ongoing debates about the future of higher education that have generated fatalistic proclamations about the impending demise of the humanities? This conference

  organized by Brian Jacobson at the University of Southern California Visual Studies Research Institute with funding from the Social Science Research Council

  brings together early career visual culture scholars from across humanities disciplines and beyond academia to imagine an alternative

  brighter future for the humanities with visual culture at its core.

  Visual Studies Research Institute

  University of Southern California

  Research Assistant

  Study of local media outlets in Cambridge

  MA.

  MIT

  French

  Society for Cinema and Media Studies Dissertation Award

  Carnegie Trust Research Grant

• 2005

  Review of An Amorous History of the Silver Screen: Shanghai Cinema

  1896-1937. Zhang Zhen. University of Chicago Press

  Workers of the World Cup

  This essay situates the development of early ‘glass house’ film studios in the history of nineteenth-century glass-and-iron architecture. It focuses on Georges Méliès’s first studio (built in 1897) and describes its roots in structures including the Galeries des Machines at Paris’s international expositions and the photography studio on the roof of Méliès’s magic theatre in Paris. Filmmakers such as Méliès used the same materials and designs that changed turn-of-the- century Western cities to create the first buildings for film production. In doing so

  they made the primary characteristics of nineteenth-century architecture – spatial plasticity and fluidity

  artificiality

  and the manipulation of light – defining elements of both the first film studios and the films created there. This essay argues that early cinema

  especially in its relationship to architecture

  played a significant role in the changes of industrial modernity that historians of technology describe as the greatest technological revolution in history: the construction of an increasingly artificial

  human-built world. As urban populations adjusted to the artificiality of modern space

  cinema arrived to both re-imagine the built environment and re-create artificial worlds on the screen. Filmmakers such as Méliès

  who built and worked in the first studios

  occupied a unique position: both the films they made and the spaces in which they worked were at the vanguard of fraught changes in the experience of Western urban reality. While early film historians have detailed the ways that urban modernity affected cinematic spectatorship

  this essay shows that film production spaces were part and parcel of that process.

  The ‘imponderable fluidity’ of modernity: Georges Méliès and the architectural origins of cinema

  Fire and Failure: Studio Technology

  Environmental Control

  and the Politics of Progress

  How the Oil Barrel Became an Economic Concept: An Object Lesson

  Toward a History of French Ecocinema: Nature in Dimitri Kirsanoff’s Modernity

  Any Given Sunday

  Abstract\n\nThis article examines film studio architecture in the Los Angeles region in the 1910s. Building on the work of architectural historian Reyner Banham

  it argues that studio architects developed “fantastic functionality” to meet their dual task of creating functional sites for efficient production while also giving film companies a public face that might mediate local anxieties about the new industry. By focusing on studio spaces rather than studio films

  the article stresses the value of expanding our view of film production to include its architectural forms

  and of pushing visual analysis beyond the film text to include the spaces of filmmaking. As an addendum

  this essay also reprints and examines the demolition permit for Lois Weber’s film studio.

  Fantastic Functionality: Studio Architecture and the Visual Rhetoric of Early Hollywood

  A Business Without a Future?: The Parisian Vidéo-Club

  Past and Present

  Big Oil’s High-Risk Love Affair with Film

  Doctor of Philosophy (Ph.D.)

  Film/Cinema/Video Studies

  University of Southern California

• 2003

  Master of Science (MS)

  Communication and Media Studies

  Massachusetts Institute of Technology

• 1998

  Bachelor of Science (BS)

  Computer Science

  Appalachian State University

• 1901

  Film

  Technology

  and Imperialism at the Pan-American Exposition

  Infrastructure and Intermediality: Network Archaeology at Gaumont's Cité Elgé

  The Black Maria: Film Studio

  Film Technology (Cinema and the History of Technology)

  Brian R.

  Jacobson

  MIT

  Initiative

  University of Rochester

  University of St Andrews

  University of Toronto

  University of Southern California

  Visual Studies Research Institute

  University of Southern California

  Oklahoma State University

  IBM

  IBM

  Assistant Professor of Cinema Studies and History

  Toronto

  Canada Area

  University of Toronto

  Rochester

  New York Area

  Faculty Fellow

  Humanities Center

  University of Rochester

  Lecturer in Film Studies

  United Kingdom

  University of St Andrews

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  Qualitative Research

  Research

  Lecturing

  Film

  New Media

  Academic Writing

  Web Design

  History

  University Teaching

  Teaching

  Researcher

  Zotero

  Film Production

  Found Memories of Film History: Industry in a Post-Industrial World; Cinema in a Post-Filmic Age

  Found Memories of Film History: Industry in a Post-Industrial World; Cinema in a Post-Filmic Age

  The Oil Stays in the Picture: The tar sands

  and a war of images

  Infrastructural Affinity: Film Technology and the Built Environment in New York circa 1900

  Studios Before the System: Architecture

  Technology

  and the Emergence of Cinematic Space