Frank P. Tomasulo
- Courses2
- Reviews6
- School: Pace University
- Campus: ALL
- Department: Film
- Email address: Join to see
- Phone: Join to see
-
Location:
1 Pace Plaza
New York, NY - 10038 - Dates at Pace University (all): April 2013 - May 2016
- Office Hours: Join to see
Biography
Pace University ALL - Film
Award-winning Professor, Teacher, Scholar, Editor, and Academic Administrator
Frank P.
Tomasulo, Ph.D.
New York, New York
Frank P. Tomasulo regularly teaches on-line graduate seminars in various aspects of film history and genre for National University. In recent years, he has taught cinema and television studies classes in-person at Hunter College of CUNY; Pace University; Sarah Lawrence College; and CCNY.
Over the course of his career, he has also taught numerous film-media history, theory, and screenwriting/filmmaking classes at UCLA, Ithaca College, and the University of California, Santa Cruz. As an academic administrator, he was Director of the BFA Program at the Florida State University Film School, Chair of the Cinema-Television Division at Southern Methodist University, and Chair of the Department of Communication at Georgia State University. He is the winner of numerous national and international awards for his teaching, research, and service.
The author of 100 scholarly articles and over 170 scholarly papers, Dr. Tomasulo also served as Editor of JOURNAL OF FILM AND VIDEO (1991-96) and CINEMA JOURNAL (1997-2002). He is co-editor of an anthology on screen acting: MORE THAN A METHOD: TRENDS AND TRADITION IN CONTEMPORARY FILM PERFORMANCE (Wayne State University Press, 2004). Tomasulo's most recent book is MICHELANGELO ANTONIONI: AMBIGUITY IN THE MODERNIST CINEMA (Lambert Academic Publishing, 2019).
Experience
Education
New York University
M.A.
Cinema Studies
University Fellowship, 1971-1973.University of California, Los Angeles
Ph.D.
Film & Television Studies
Teaching Fellow/Master T.A., 1977-1981.City University of New York-Brooklyn College
B.A.
Philosophy
New York State Regents Scholarship, 1963-1967.
Publications
Book Review/Essay, Jacques Rancière's "THE EMANCIPATED SPECTATOR"
The Projector: A Journal on Film, Media, and Culture (Fall 2012): 94-98.
A description and critique of Ranciere's ideas about active, "emancipated" viewership for film and theater spectators.
Book Review/Essay, Jacques Rancière's "THE EMANCIPATED SPECTATOR"
The Projector: A Journal on Film, Media, and Culture (Fall 2012): 94-98.
A description and critique of Ranciere's ideas about active, "emancipated" viewership for film and theater spectators.
Book Review/Essay, Dennis Bingham’s WHOSE LIVES ARE THEY ANYWAY?: THE BIOPIC AS CONTEMPORARY FILM GENRE
Senses of Cinema (Australia)
Describes and analyzes Bingham's significant scholarly update of the biopic genre.
Book Review/Essay, Jacques Rancière's "THE EMANCIPATED SPECTATOR"
The Projector: A Journal on Film, Media, and Culture (Fall 2012): 94-98.
A description and critique of Ranciere's ideas about active, "emancipated" viewership for film and theater spectators.
Book Review/Essay, Dennis Bingham’s WHOSE LIVES ARE THEY ANYWAY?: THE BIOPIC AS CONTEMPORARY FILM GENRE
Senses of Cinema (Australia)
Describes and analyzes Bingham's significant scholarly update of the biopic genre.
"ADAPTATION as Adaptation: From Susan Orlean's THE ORCHID THIEF to Charlie Kaufman's Screenplay to Spike Jonze's Film"
Authorship in Film Adaptation, edited by Jack Boozer (Austin: University of Texas Press, 2008), 173-190.
Makes the case that "fidelity" to the source is not the most important aspect of filmic adaptation, using Spike Jonze's self-reflexive and contradictory movie ADAPTATION as its exemplar.
Book Review/Essay, Jacques Rancière's "THE EMANCIPATED SPECTATOR"
The Projector: A Journal on Film, Media, and Culture (Fall 2012): 94-98.
A description and critique of Ranciere's ideas about active, "emancipated" viewership for film and theater spectators.
Book Review/Essay, Dennis Bingham’s WHOSE LIVES ARE THEY ANYWAY?: THE BIOPIC AS CONTEMPORARY FILM GENRE
Senses of Cinema (Australia)
Describes and analyzes Bingham's significant scholarly update of the biopic genre.
"ADAPTATION as Adaptation: From Susan Orlean's THE ORCHID THIEF to Charlie Kaufman's Screenplay to Spike Jonze's Film"
Authorship in Film Adaptation, edited by Jack Boozer (Austin: University of Texas Press, 2008), 173-190.
Makes the case that "fidelity" to the source is not the most important aspect of filmic adaptation, using Spike Jonze's self-reflexive and contradictory movie ADAPTATION as its exemplar.
"Life Is Inconclusive: A Conversation with Michelangelo Antonioni"
MICHELANGELO ANTONIONI: INTERVIEWS, edited by Bert Cardullo (Jackson: University Press of Mississippi, 2008), 162-168.
An in-depth interview with the Italian filmmaker that covers his work from his early documentary period to MYSTERIES OF OBERWALD (1981).
Book Review/Essay, Jacques Rancière's "THE EMANCIPATED SPECTATOR"
The Projector: A Journal on Film, Media, and Culture (Fall 2012): 94-98.
A description and critique of Ranciere's ideas about active, "emancipated" viewership for film and theater spectators.
Book Review/Essay, Dennis Bingham’s WHOSE LIVES ARE THEY ANYWAY?: THE BIOPIC AS CONTEMPORARY FILM GENRE
Senses of Cinema (Australia)
Describes and analyzes Bingham's significant scholarly update of the biopic genre.
"ADAPTATION as Adaptation: From Susan Orlean's THE ORCHID THIEF to Charlie Kaufman's Screenplay to Spike Jonze's Film"
Authorship in Film Adaptation, edited by Jack Boozer (Austin: University of Texas Press, 2008), 173-190.
Makes the case that "fidelity" to the source is not the most important aspect of filmic adaptation, using Spike Jonze's self-reflexive and contradictory movie ADAPTATION as its exemplar.
"Life Is Inconclusive: A Conversation with Michelangelo Antonioni"
MICHELANGELO ANTONIONI: INTERVIEWS, edited by Bert Cardullo (Jackson: University Press of Mississippi, 2008), 162-168.
An in-depth interview with the Italian filmmaker that covers his work from his early documentary period to MYSTERIES OF OBERWALD (1981).
The Guinea as Gangster Hero: The Complex Representation of Italian Americans in THE SOPRANOS
THE ESSENTIAL “SOPRANOS” READER, edited by David Lavery, Doug Howard, and Paul Levinson (Lexington: University of Kentucky Press, 2011), 196-207.
Describes and analyzes the complex representation of Italian American tropes and characters in the significant HBO television series, THE SOPRANOS. Emphasis is on ethnic stereotypes of prejudice, use of language, clothing, and violence.
Book Review/Essay, Jacques Rancière's "THE EMANCIPATED SPECTATOR"
The Projector: A Journal on Film, Media, and Culture (Fall 2012): 94-98.
A description and critique of Ranciere's ideas about active, "emancipated" viewership for film and theater spectators.
Book Review/Essay, Dennis Bingham’s WHOSE LIVES ARE THEY ANYWAY?: THE BIOPIC AS CONTEMPORARY FILM GENRE
Senses of Cinema (Australia)
Describes and analyzes Bingham's significant scholarly update of the biopic genre.
"ADAPTATION as Adaptation: From Susan Orlean's THE ORCHID THIEF to Charlie Kaufman's Screenplay to Spike Jonze's Film"
Authorship in Film Adaptation, edited by Jack Boozer (Austin: University of Texas Press, 2008), 173-190.
Makes the case that "fidelity" to the source is not the most important aspect of filmic adaptation, using Spike Jonze's self-reflexive and contradictory movie ADAPTATION as its exemplar.
"Life Is Inconclusive: A Conversation with Michelangelo Antonioni"
MICHELANGELO ANTONIONI: INTERVIEWS, edited by Bert Cardullo (Jackson: University Press of Mississippi, 2008), 162-168.
An in-depth interview with the Italian filmmaker that covers his work from his early documentary period to MYSTERIES OF OBERWALD (1981).
The Guinea as Gangster Hero: The Complex Representation of Italian Americans in THE SOPRANOS
THE ESSENTIAL “SOPRANOS” READER, edited by David Lavery, Doug Howard, and Paul Levinson (Lexington: University of Kentucky Press, 2011), 196-207.
Describes and analyzes the complex representation of Italian American tropes and characters in the significant HBO television series, THE SOPRANOS. Emphasis is on ethnic stereotypes of prejudice, use of language, clothing, and violence.
"Motel Thoughts"
SIGHT & SOUND
This brief Letter to the Editor was written to correct a few factual errors in a previously published article by Mark Cousins on Orson Welles's TOUCH OF EVIL
Book Review/Essay, Jacques Rancière's "THE EMANCIPATED SPECTATOR"
The Projector: A Journal on Film, Media, and Culture (Fall 2012): 94-98.
A description and critique of Ranciere's ideas about active, "emancipated" viewership for film and theater spectators.
Book Review/Essay, Dennis Bingham’s WHOSE LIVES ARE THEY ANYWAY?: THE BIOPIC AS CONTEMPORARY FILM GENRE
Senses of Cinema (Australia)
Describes and analyzes Bingham's significant scholarly update of the biopic genre.
"ADAPTATION as Adaptation: From Susan Orlean's THE ORCHID THIEF to Charlie Kaufman's Screenplay to Spike Jonze's Film"
Authorship in Film Adaptation, edited by Jack Boozer (Austin: University of Texas Press, 2008), 173-190.
Makes the case that "fidelity" to the source is not the most important aspect of filmic adaptation, using Spike Jonze's self-reflexive and contradictory movie ADAPTATION as its exemplar.
"Life Is Inconclusive: A Conversation with Michelangelo Antonioni"
MICHELANGELO ANTONIONI: INTERVIEWS, edited by Bert Cardullo (Jackson: University Press of Mississippi, 2008), 162-168.
An in-depth interview with the Italian filmmaker that covers his work from his early documentary period to MYSTERIES OF OBERWALD (1981).
The Guinea as Gangster Hero: The Complex Representation of Italian Americans in THE SOPRANOS
THE ESSENTIAL “SOPRANOS” READER, edited by David Lavery, Doug Howard, and Paul Levinson (Lexington: University of Kentucky Press, 2011), 196-207.
Describes and analyzes the complex representation of Italian American tropes and characters in the significant HBO television series, THE SOPRANOS. Emphasis is on ethnic stereotypes of prejudice, use of language, clothing, and violence.
"Motel Thoughts"
SIGHT & SOUND
This brief Letter to the Editor was written to correct a few factual errors in a previously published article by Mark Cousins on Orson Welles's TOUCH OF EVIL
Teaching Film Studies within a Production Context
TEACHING FILM: ESSAYS ON CINEMATIC PEDAGOGY, edited by Lucy Fischer and Patrice Petro (New York: Modern Language Association, 2012), 618-646.
Presents various pedagogical strategies for enhancing the value of cinema history/theory/aesthetics classes for production and screenwriting students.
Book Review/Essay, Jacques Rancière's "THE EMANCIPATED SPECTATOR"
The Projector: A Journal on Film, Media, and Culture (Fall 2012): 94-98.
A description and critique of Ranciere's ideas about active, "emancipated" viewership for film and theater spectators.
Book Review/Essay, Dennis Bingham’s WHOSE LIVES ARE THEY ANYWAY?: THE BIOPIC AS CONTEMPORARY FILM GENRE
Senses of Cinema (Australia)
Describes and analyzes Bingham's significant scholarly update of the biopic genre.
"ADAPTATION as Adaptation: From Susan Orlean's THE ORCHID THIEF to Charlie Kaufman's Screenplay to Spike Jonze's Film"
Authorship in Film Adaptation, edited by Jack Boozer (Austin: University of Texas Press, 2008), 173-190.
Makes the case that "fidelity" to the source is not the most important aspect of filmic adaptation, using Spike Jonze's self-reflexive and contradictory movie ADAPTATION as its exemplar.
"Life Is Inconclusive: A Conversation with Michelangelo Antonioni"
MICHELANGELO ANTONIONI: INTERVIEWS, edited by Bert Cardullo (Jackson: University Press of Mississippi, 2008), 162-168.
An in-depth interview with the Italian filmmaker that covers his work from his early documentary period to MYSTERIES OF OBERWALD (1981).
The Guinea as Gangster Hero: The Complex Representation of Italian Americans in THE SOPRANOS
THE ESSENTIAL “SOPRANOS” READER, edited by David Lavery, Doug Howard, and Paul Levinson (Lexington: University of Kentucky Press, 2011), 196-207.
Describes and analyzes the complex representation of Italian American tropes and characters in the significant HBO television series, THE SOPRANOS. Emphasis is on ethnic stereotypes of prejudice, use of language, clothing, and violence.
"Motel Thoughts"
SIGHT & SOUND
This brief Letter to the Editor was written to correct a few factual errors in a previously published article by Mark Cousins on Orson Welles's TOUCH OF EVIL
Teaching Film Studies within a Production Context
TEACHING FILM: ESSAYS ON CINEMATIC PEDAGOGY, edited by Lucy Fischer and Patrice Petro (New York: Modern Language Association, 2012), 618-646.
Presents various pedagogical strategies for enhancing the value of cinema history/theory/aesthetics classes for production and screenwriting students.
"Researching Your Teaching: A Mini-Manifesto"
Cinema Journal 50.3 (Spring 2011): 84-86.
Argues that professors serve students best when they conduct research and publish their findings on material and texts that they regularly teach in their classes, rather than teaching their research.
Book Review/Essay, Jacques Rancière's "THE EMANCIPATED SPECTATOR"
The Projector: A Journal on Film, Media, and Culture (Fall 2012): 94-98.
A description and critique of Ranciere's ideas about active, "emancipated" viewership for film and theater spectators.
Book Review/Essay, Dennis Bingham’s WHOSE LIVES ARE THEY ANYWAY?: THE BIOPIC AS CONTEMPORARY FILM GENRE
Senses of Cinema (Australia)
Describes and analyzes Bingham's significant scholarly update of the biopic genre.
"ADAPTATION as Adaptation: From Susan Orlean's THE ORCHID THIEF to Charlie Kaufman's Screenplay to Spike Jonze's Film"
Authorship in Film Adaptation, edited by Jack Boozer (Austin: University of Texas Press, 2008), 173-190.
Makes the case that "fidelity" to the source is not the most important aspect of filmic adaptation, using Spike Jonze's self-reflexive and contradictory movie ADAPTATION as its exemplar.
"Life Is Inconclusive: A Conversation with Michelangelo Antonioni"
MICHELANGELO ANTONIONI: INTERVIEWS, edited by Bert Cardullo (Jackson: University Press of Mississippi, 2008), 162-168.
An in-depth interview with the Italian filmmaker that covers his work from his early documentary period to MYSTERIES OF OBERWALD (1981).
The Guinea as Gangster Hero: The Complex Representation of Italian Americans in THE SOPRANOS
THE ESSENTIAL “SOPRANOS” READER, edited by David Lavery, Doug Howard, and Paul Levinson (Lexington: University of Kentucky Press, 2011), 196-207.
Describes and analyzes the complex representation of Italian American tropes and characters in the significant HBO television series, THE SOPRANOS. Emphasis is on ethnic stereotypes of prejudice, use of language, clothing, and violence.
"Motel Thoughts"
SIGHT & SOUND
This brief Letter to the Editor was written to correct a few factual errors in a previously published article by Mark Cousins on Orson Welles's TOUCH OF EVIL
Teaching Film Studies within a Production Context
TEACHING FILM: ESSAYS ON CINEMATIC PEDAGOGY, edited by Lucy Fischer and Patrice Petro (New York: Modern Language Association, 2012), 618-646.
Presents various pedagogical strategies for enhancing the value of cinema history/theory/aesthetics classes for production and screenwriting students.
"Researching Your Teaching: A Mini-Manifesto"
Cinema Journal 50.3 (Spring 2011): 84-86.
Argues that professors serve students best when they conduct research and publish their findings on material and texts that they regularly teach in their classes, rather than teaching their research.
Film Review/Essay, "Totó" (Peter Schreiner, 2009)
Italian American Review 2.1 (Winter 2012): 62-65.
Deconstructs Peter Schreiner's difficult "documentary."
Book Review/Essay, Jacques Rancière's "THE EMANCIPATED SPECTATOR"
The Projector: A Journal on Film, Media, and Culture (Fall 2012): 94-98.
A description and critique of Ranciere's ideas about active, "emancipated" viewership for film and theater spectators.
Book Review/Essay, Dennis Bingham’s WHOSE LIVES ARE THEY ANYWAY?: THE BIOPIC AS CONTEMPORARY FILM GENRE
Senses of Cinema (Australia)
Describes and analyzes Bingham's significant scholarly update of the biopic genre.
"ADAPTATION as Adaptation: From Susan Orlean's THE ORCHID THIEF to Charlie Kaufman's Screenplay to Spike Jonze's Film"
Authorship in Film Adaptation, edited by Jack Boozer (Austin: University of Texas Press, 2008), 173-190.
Makes the case that "fidelity" to the source is not the most important aspect of filmic adaptation, using Spike Jonze's self-reflexive and contradictory movie ADAPTATION as its exemplar.
"Life Is Inconclusive: A Conversation with Michelangelo Antonioni"
MICHELANGELO ANTONIONI: INTERVIEWS, edited by Bert Cardullo (Jackson: University Press of Mississippi, 2008), 162-168.
An in-depth interview with the Italian filmmaker that covers his work from his early documentary period to MYSTERIES OF OBERWALD (1981).
The Guinea as Gangster Hero: The Complex Representation of Italian Americans in THE SOPRANOS
THE ESSENTIAL “SOPRANOS” READER, edited by David Lavery, Doug Howard, and Paul Levinson (Lexington: University of Kentucky Press, 2011), 196-207.
Describes and analyzes the complex representation of Italian American tropes and characters in the significant HBO television series, THE SOPRANOS. Emphasis is on ethnic stereotypes of prejudice, use of language, clothing, and violence.
"Motel Thoughts"
SIGHT & SOUND
This brief Letter to the Editor was written to correct a few factual errors in a previously published article by Mark Cousins on Orson Welles's TOUCH OF EVIL
Teaching Film Studies within a Production Context
TEACHING FILM: ESSAYS ON CINEMATIC PEDAGOGY, edited by Lucy Fischer and Patrice Petro (New York: Modern Language Association, 2012), 618-646.
Presents various pedagogical strategies for enhancing the value of cinema history/theory/aesthetics classes for production and screenwriting students.
"Researching Your Teaching: A Mini-Manifesto"
Cinema Journal 50.3 (Spring 2011): 84-86.
Argues that professors serve students best when they conduct research and publish their findings on material and texts that they regularly teach in their classes, rather than teaching their research.
Film Review/Essay, "Totó" (Peter Schreiner, 2009)
Italian American Review 2.1 (Winter 2012): 62-65.
Deconstructs Peter Schreiner's difficult "documentary."
IDENTIFICATION OF A WOMAN
Cineaste
Review/Essay on new DVD release of Antonioni's 1982 film.
Book Review/Essay, Jacques Rancière's "THE EMANCIPATED SPECTATOR"
The Projector: A Journal on Film, Media, and Culture (Fall 2012): 94-98.
A description and critique of Ranciere's ideas about active, "emancipated" viewership for film and theater spectators.
Book Review/Essay, Dennis Bingham’s WHOSE LIVES ARE THEY ANYWAY?: THE BIOPIC AS CONTEMPORARY FILM GENRE
Senses of Cinema (Australia)
Describes and analyzes Bingham's significant scholarly update of the biopic genre.
"ADAPTATION as Adaptation: From Susan Orlean's THE ORCHID THIEF to Charlie Kaufman's Screenplay to Spike Jonze's Film"
Authorship in Film Adaptation, edited by Jack Boozer (Austin: University of Texas Press, 2008), 173-190.
Makes the case that "fidelity" to the source is not the most important aspect of filmic adaptation, using Spike Jonze's self-reflexive and contradictory movie ADAPTATION as its exemplar.
"Life Is Inconclusive: A Conversation with Michelangelo Antonioni"
MICHELANGELO ANTONIONI: INTERVIEWS, edited by Bert Cardullo (Jackson: University Press of Mississippi, 2008), 162-168.
An in-depth interview with the Italian filmmaker that covers his work from his early documentary period to MYSTERIES OF OBERWALD (1981).
The Guinea as Gangster Hero: The Complex Representation of Italian Americans in THE SOPRANOS
THE ESSENTIAL “SOPRANOS” READER, edited by David Lavery, Doug Howard, and Paul Levinson (Lexington: University of Kentucky Press, 2011), 196-207.
Describes and analyzes the complex representation of Italian American tropes and characters in the significant HBO television series, THE SOPRANOS. Emphasis is on ethnic stereotypes of prejudice, use of language, clothing, and violence.
"Motel Thoughts"
SIGHT & SOUND
This brief Letter to the Editor was written to correct a few factual errors in a previously published article by Mark Cousins on Orson Welles's TOUCH OF EVIL
Teaching Film Studies within a Production Context
TEACHING FILM: ESSAYS ON CINEMATIC PEDAGOGY, edited by Lucy Fischer and Patrice Petro (New York: Modern Language Association, 2012), 618-646.
Presents various pedagogical strategies for enhancing the value of cinema history/theory/aesthetics classes for production and screenwriting students.
"Researching Your Teaching: A Mini-Manifesto"
Cinema Journal 50.3 (Spring 2011): 84-86.
Argues that professors serve students best when they conduct research and publish their findings on material and texts that they regularly teach in their classes, rather than teaching their research.
Film Review/Essay, "Totó" (Peter Schreiner, 2009)
Italian American Review 2.1 (Winter 2012): 62-65.
Deconstructs Peter Schreiner's difficult "documentary."
IDENTIFICATION OF A WOMAN
Cineaste
Review/Essay on new DVD release of Antonioni's 1982 film.
"The Intentionality of Consciousness: Subjectivity in LAST YEAR AT MARIENBAD"
Hyperborean Wind: Reflections on Design and the City, edited by Matti Itkonen, Iris Aravot, and Paul Majkut (Finland: University of Jyväskylä Press, 2012), 307-321.
A phenomenological analysis of Alain Resnais's LAST YEAR AT MARIENBAD (1961) that argues that the film is not necessarily about a single consciousness but about Human Consciousness itself.
Book Review/Essay, Jacques Rancière's "THE EMANCIPATED SPECTATOR"
The Projector: A Journal on Film, Media, and Culture (Fall 2012): 94-98.
A description and critique of Ranciere's ideas about active, "emancipated" viewership for film and theater spectators.
Book Review/Essay, Dennis Bingham’s WHOSE LIVES ARE THEY ANYWAY?: THE BIOPIC AS CONTEMPORARY FILM GENRE
Senses of Cinema (Australia)
Describes and analyzes Bingham's significant scholarly update of the biopic genre.
"ADAPTATION as Adaptation: From Susan Orlean's THE ORCHID THIEF to Charlie Kaufman's Screenplay to Spike Jonze's Film"
Authorship in Film Adaptation, edited by Jack Boozer (Austin: University of Texas Press, 2008), 173-190.
Makes the case that "fidelity" to the source is not the most important aspect of filmic adaptation, using Spike Jonze's self-reflexive and contradictory movie ADAPTATION as its exemplar.
"Life Is Inconclusive: A Conversation with Michelangelo Antonioni"
MICHELANGELO ANTONIONI: INTERVIEWS, edited by Bert Cardullo (Jackson: University Press of Mississippi, 2008), 162-168.
An in-depth interview with the Italian filmmaker that covers his work from his early documentary period to MYSTERIES OF OBERWALD (1981).
The Guinea as Gangster Hero: The Complex Representation of Italian Americans in THE SOPRANOS
THE ESSENTIAL “SOPRANOS” READER, edited by David Lavery, Doug Howard, and Paul Levinson (Lexington: University of Kentucky Press, 2011), 196-207.
Describes and analyzes the complex representation of Italian American tropes and characters in the significant HBO television series, THE SOPRANOS. Emphasis is on ethnic stereotypes of prejudice, use of language, clothing, and violence.
"Motel Thoughts"
SIGHT & SOUND
This brief Letter to the Editor was written to correct a few factual errors in a previously published article by Mark Cousins on Orson Welles's TOUCH OF EVIL
Teaching Film Studies within a Production Context
TEACHING FILM: ESSAYS ON CINEMATIC PEDAGOGY, edited by Lucy Fischer and Patrice Petro (New York: Modern Language Association, 2012), 618-646.
Presents various pedagogical strategies for enhancing the value of cinema history/theory/aesthetics classes for production and screenwriting students.
"Researching Your Teaching: A Mini-Manifesto"
Cinema Journal 50.3 (Spring 2011): 84-86.
Argues that professors serve students best when they conduct research and publish their findings on material and texts that they regularly teach in their classes, rather than teaching their research.
Film Review/Essay, "Totó" (Peter Schreiner, 2009)
Italian American Review 2.1 (Winter 2012): 62-65.
Deconstructs Peter Schreiner's difficult "documentary."
IDENTIFICATION OF A WOMAN
Cineaste
Review/Essay on new DVD release of Antonioni's 1982 film.
"The Intentionality of Consciousness: Subjectivity in LAST YEAR AT MARIENBAD"
Hyperborean Wind: Reflections on Design and the City, edited by Matti Itkonen, Iris Aravot, and Paul Majkut (Finland: University of Jyväskylä Press, 2012), 307-321.
A phenomenological analysis of Alain Resnais's LAST YEAR AT MARIENBAD (1961) that argues that the film is not necessarily about a single consciousness but about Human Consciousness itself.
"'Sick Eros': The Sexual Politics of Antonioni's Trilogy"
Projections: The Journal for Movies and Mind 3.1 (Summer 2009): 1-23.
Argues that Antonioni's L'AVVENTURA (1960), LA NOTTE (1961), and L'ECLISSE (1962) represent a sociological and psychological indictment of the Italian bourgeoisie of the "boom" era of postwar recovery.
Book Review/Essay, Jacques Rancière's "THE EMANCIPATED SPECTATOR"
The Projector: A Journal on Film, Media, and Culture (Fall 2012): 94-98.
A description and critique of Ranciere's ideas about active, "emancipated" viewership for film and theater spectators.
Book Review/Essay, Dennis Bingham’s WHOSE LIVES ARE THEY ANYWAY?: THE BIOPIC AS CONTEMPORARY FILM GENRE
Senses of Cinema (Australia)
Describes and analyzes Bingham's significant scholarly update of the biopic genre.
"ADAPTATION as Adaptation: From Susan Orlean's THE ORCHID THIEF to Charlie Kaufman's Screenplay to Spike Jonze's Film"
Authorship in Film Adaptation, edited by Jack Boozer (Austin: University of Texas Press, 2008), 173-190.
Makes the case that "fidelity" to the source is not the most important aspect of filmic adaptation, using Spike Jonze's self-reflexive and contradictory movie ADAPTATION as its exemplar.
"Life Is Inconclusive: A Conversation with Michelangelo Antonioni"
MICHELANGELO ANTONIONI: INTERVIEWS, edited by Bert Cardullo (Jackson: University Press of Mississippi, 2008), 162-168.
An in-depth interview with the Italian filmmaker that covers his work from his early documentary period to MYSTERIES OF OBERWALD (1981).
The Guinea as Gangster Hero: The Complex Representation of Italian Americans in THE SOPRANOS
THE ESSENTIAL “SOPRANOS” READER, edited by David Lavery, Doug Howard, and Paul Levinson (Lexington: University of Kentucky Press, 2011), 196-207.
Describes and analyzes the complex representation of Italian American tropes and characters in the significant HBO television series, THE SOPRANOS. Emphasis is on ethnic stereotypes of prejudice, use of language, clothing, and violence.
"Motel Thoughts"
SIGHT & SOUND
This brief Letter to the Editor was written to correct a few factual errors in a previously published article by Mark Cousins on Orson Welles's TOUCH OF EVIL
Teaching Film Studies within a Production Context
TEACHING FILM: ESSAYS ON CINEMATIC PEDAGOGY, edited by Lucy Fischer and Patrice Petro (New York: Modern Language Association, 2012), 618-646.
Presents various pedagogical strategies for enhancing the value of cinema history/theory/aesthetics classes for production and screenwriting students.
"Researching Your Teaching: A Mini-Manifesto"
Cinema Journal 50.3 (Spring 2011): 84-86.
Argues that professors serve students best when they conduct research and publish their findings on material and texts that they regularly teach in their classes, rather than teaching their research.
Film Review/Essay, "Totó" (Peter Schreiner, 2009)
Italian American Review 2.1 (Winter 2012): 62-65.
Deconstructs Peter Schreiner's difficult "documentary."
IDENTIFICATION OF A WOMAN
Cineaste
Review/Essay on new DVD release of Antonioni's 1982 film.
"The Intentionality of Consciousness: Subjectivity in LAST YEAR AT MARIENBAD"
Hyperborean Wind: Reflections on Design and the City, edited by Matti Itkonen, Iris Aravot, and Paul Majkut (Finland: University of Jyväskylä Press, 2012), 307-321.
A phenomenological analysis of Alain Resnais's LAST YEAR AT MARIENBAD (1961) that argues that the film is not necessarily about a single consciousness but about Human Consciousness itself.
"'Sick Eros': The Sexual Politics of Antonioni's Trilogy"
Projections: The Journal for Movies and Mind 3.1 (Summer 2009): 1-23.
Argues that Antonioni's L'AVVENTURA (1960), LA NOTTE (1961), and L'ECLISSE (1962) represent a sociological and psychological indictment of the Italian bourgeoisie of the "boom" era of postwar recovery.
"THE CABINET OF DR. CALIGARI: Politics, Psychoanalysis, Cinema"
Cinema and Politics: Turkish Cinema and the New Europe, edited by Deniz Bayrakdar (Newcastle upon Tyne, U.K.: Cambridge Scholars Publishing, 2009), 40-50.
Argues that the German Expressionist classic, THE CABINET OF DR. CALIGARI (1920), exhibits themes and subtexts related to the politics of the Weimar Republic, the theories of Sigmund Freud, and the aesthetics of film.
Book Review/Essay, Jacques Rancière's "THE EMANCIPATED SPECTATOR"
The Projector: A Journal on Film, Media, and Culture (Fall 2012): 94-98.
A description and critique of Ranciere's ideas about active, "emancipated" viewership for film and theater spectators.
Book Review/Essay, Dennis Bingham’s WHOSE LIVES ARE THEY ANYWAY?: THE BIOPIC AS CONTEMPORARY FILM GENRE
Senses of Cinema (Australia)
Describes and analyzes Bingham's significant scholarly update of the biopic genre.
"ADAPTATION as Adaptation: From Susan Orlean's THE ORCHID THIEF to Charlie Kaufman's Screenplay to Spike Jonze's Film"
Authorship in Film Adaptation, edited by Jack Boozer (Austin: University of Texas Press, 2008), 173-190.
Makes the case that "fidelity" to the source is not the most important aspect of filmic adaptation, using Spike Jonze's self-reflexive and contradictory movie ADAPTATION as its exemplar.
"Life Is Inconclusive: A Conversation with Michelangelo Antonioni"
MICHELANGELO ANTONIONI: INTERVIEWS, edited by Bert Cardullo (Jackson: University Press of Mississippi, 2008), 162-168.
An in-depth interview with the Italian filmmaker that covers his work from his early documentary period to MYSTERIES OF OBERWALD (1981).
The Guinea as Gangster Hero: The Complex Representation of Italian Americans in THE SOPRANOS
THE ESSENTIAL “SOPRANOS” READER, edited by David Lavery, Doug Howard, and Paul Levinson (Lexington: University of Kentucky Press, 2011), 196-207.
Describes and analyzes the complex representation of Italian American tropes and characters in the significant HBO television series, THE SOPRANOS. Emphasis is on ethnic stereotypes of prejudice, use of language, clothing, and violence.
"Motel Thoughts"
SIGHT & SOUND
This brief Letter to the Editor was written to correct a few factual errors in a previously published article by Mark Cousins on Orson Welles's TOUCH OF EVIL
Teaching Film Studies within a Production Context
TEACHING FILM: ESSAYS ON CINEMATIC PEDAGOGY, edited by Lucy Fischer and Patrice Petro (New York: Modern Language Association, 2012), 618-646.
Presents various pedagogical strategies for enhancing the value of cinema history/theory/aesthetics classes for production and screenwriting students.
"Researching Your Teaching: A Mini-Manifesto"
Cinema Journal 50.3 (Spring 2011): 84-86.
Argues that professors serve students best when they conduct research and publish their findings on material and texts that they regularly teach in their classes, rather than teaching their research.
Film Review/Essay, "Totó" (Peter Schreiner, 2009)
Italian American Review 2.1 (Winter 2012): 62-65.
Deconstructs Peter Schreiner's difficult "documentary."
IDENTIFICATION OF A WOMAN
Cineaste
Review/Essay on new DVD release of Antonioni's 1982 film.
"The Intentionality of Consciousness: Subjectivity in LAST YEAR AT MARIENBAD"
Hyperborean Wind: Reflections on Design and the City, edited by Matti Itkonen, Iris Aravot, and Paul Majkut (Finland: University of Jyväskylä Press, 2012), 307-321.
A phenomenological analysis of Alain Resnais's LAST YEAR AT MARIENBAD (1961) that argues that the film is not necessarily about a single consciousness but about Human Consciousness itself.
"'Sick Eros': The Sexual Politics of Antonioni's Trilogy"
Projections: The Journal for Movies and Mind 3.1 (Summer 2009): 1-23.
Argues that Antonioni's L'AVVENTURA (1960), LA NOTTE (1961), and L'ECLISSE (1962) represent a sociological and psychological indictment of the Italian bourgeoisie of the "boom" era of postwar recovery.
"THE CABINET OF DR. CALIGARI: Politics, Psychoanalysis, Cinema"
Cinema and Politics: Turkish Cinema and the New Europe, edited by Deniz Bayrakdar (Newcastle upon Tyne, U.K.: Cambridge Scholars Publishing, 2009), 40-50.
Argues that the German Expressionist classic, THE CABINET OF DR. CALIGARI (1920), exhibits themes and subtexts related to the politics of the Weimar Republic, the theories of Sigmund Freud, and the aesthetics of film.
Film Review/Essay, "Jack Goes Boating" (Philip Seymour Hoffman, 2010)
www.yam.com.
A review and analysis of the late actor Philip Seymour Hoffman's first (and only) directorial effort on film.
Book Review/Essay, Jacques Rancière's "THE EMANCIPATED SPECTATOR"
The Projector: A Journal on Film, Media, and Culture (Fall 2012): 94-98.
A description and critique of Ranciere's ideas about active, "emancipated" viewership for film and theater spectators.
Book Review/Essay, Dennis Bingham’s WHOSE LIVES ARE THEY ANYWAY?: THE BIOPIC AS CONTEMPORARY FILM GENRE
Senses of Cinema (Australia)
Describes and analyzes Bingham's significant scholarly update of the biopic genre.
"ADAPTATION as Adaptation: From Susan Orlean's THE ORCHID THIEF to Charlie Kaufman's Screenplay to Spike Jonze's Film"
Authorship in Film Adaptation, edited by Jack Boozer (Austin: University of Texas Press, 2008), 173-190.
Makes the case that "fidelity" to the source is not the most important aspect of filmic adaptation, using Spike Jonze's self-reflexive and contradictory movie ADAPTATION as its exemplar.
"Life Is Inconclusive: A Conversation with Michelangelo Antonioni"
MICHELANGELO ANTONIONI: INTERVIEWS, edited by Bert Cardullo (Jackson: University Press of Mississippi, 2008), 162-168.
An in-depth interview with the Italian filmmaker that covers his work from his early documentary period to MYSTERIES OF OBERWALD (1981).
The Guinea as Gangster Hero: The Complex Representation of Italian Americans in THE SOPRANOS
THE ESSENTIAL “SOPRANOS” READER, edited by David Lavery, Doug Howard, and Paul Levinson (Lexington: University of Kentucky Press, 2011), 196-207.
Describes and analyzes the complex representation of Italian American tropes and characters in the significant HBO television series, THE SOPRANOS. Emphasis is on ethnic stereotypes of prejudice, use of language, clothing, and violence.
"Motel Thoughts"
SIGHT & SOUND
This brief Letter to the Editor was written to correct a few factual errors in a previously published article by Mark Cousins on Orson Welles's TOUCH OF EVIL
Teaching Film Studies within a Production Context
TEACHING FILM: ESSAYS ON CINEMATIC PEDAGOGY, edited by Lucy Fischer and Patrice Petro (New York: Modern Language Association, 2012), 618-646.
Presents various pedagogical strategies for enhancing the value of cinema history/theory/aesthetics classes for production and screenwriting students.
"Researching Your Teaching: A Mini-Manifesto"
Cinema Journal 50.3 (Spring 2011): 84-86.
Argues that professors serve students best when they conduct research and publish their findings on material and texts that they regularly teach in their classes, rather than teaching their research.
Film Review/Essay, "Totó" (Peter Schreiner, 2009)
Italian American Review 2.1 (Winter 2012): 62-65.
Deconstructs Peter Schreiner's difficult "documentary."
IDENTIFICATION OF A WOMAN
Cineaste
Review/Essay on new DVD release of Antonioni's 1982 film.
"The Intentionality of Consciousness: Subjectivity in LAST YEAR AT MARIENBAD"
Hyperborean Wind: Reflections on Design and the City, edited by Matti Itkonen, Iris Aravot, and Paul Majkut (Finland: University of Jyväskylä Press, 2012), 307-321.
A phenomenological analysis of Alain Resnais's LAST YEAR AT MARIENBAD (1961) that argues that the film is not necessarily about a single consciousness but about Human Consciousness itself.
"'Sick Eros': The Sexual Politics of Antonioni's Trilogy"
Projections: The Journal for Movies and Mind 3.1 (Summer 2009): 1-23.
Argues that Antonioni's L'AVVENTURA (1960), LA NOTTE (1961), and L'ECLISSE (1962) represent a sociological and psychological indictment of the Italian bourgeoisie of the "boom" era of postwar recovery.
"THE CABINET OF DR. CALIGARI: Politics, Psychoanalysis, Cinema"
Cinema and Politics: Turkish Cinema and the New Europe, edited by Deniz Bayrakdar (Newcastle upon Tyne, U.K.: Cambridge Scholars Publishing, 2009), 40-50.
Argues that the German Expressionist classic, THE CABINET OF DR. CALIGARI (1920), exhibits themes and subtexts related to the politics of the Weimar Republic, the theories of Sigmund Freud, and the aesthetics of film.
Film Review/Essay, "Jack Goes Boating" (Philip Seymour Hoffman, 2010)
www.yam.com.
A review and analysis of the late actor Philip Seymour Hoffman's first (and only) directorial effort on film.
Book Review/Essay: Murray Pomerance, MICHELANGELO RED ANTONIONI BLUE
Quarterly Review of Film and Video 29.5
A description and critique of Pomerance's ideas and methodology in regard to Antonioni's color films.
Book Review/Essay, Jacques Rancière's "THE EMANCIPATED SPECTATOR"
The Projector: A Journal on Film, Media, and Culture (Fall 2012): 94-98.
A description and critique of Ranciere's ideas about active, "emancipated" viewership for film and theater spectators.
Book Review/Essay, Dennis Bingham’s WHOSE LIVES ARE THEY ANYWAY?: THE BIOPIC AS CONTEMPORARY FILM GENRE
Senses of Cinema (Australia)
Describes and analyzes Bingham's significant scholarly update of the biopic genre.
"ADAPTATION as Adaptation: From Susan Orlean's THE ORCHID THIEF to Charlie Kaufman's Screenplay to Spike Jonze's Film"
Authorship in Film Adaptation, edited by Jack Boozer (Austin: University of Texas Press, 2008), 173-190.
Makes the case that "fidelity" to the source is not the most important aspect of filmic adaptation, using Spike Jonze's self-reflexive and contradictory movie ADAPTATION as its exemplar.
"Life Is Inconclusive: A Conversation with Michelangelo Antonioni"
MICHELANGELO ANTONIONI: INTERVIEWS, edited by Bert Cardullo (Jackson: University Press of Mississippi, 2008), 162-168.
An in-depth interview with the Italian filmmaker that covers his work from his early documentary period to MYSTERIES OF OBERWALD (1981).
The Guinea as Gangster Hero: The Complex Representation of Italian Americans in THE SOPRANOS
THE ESSENTIAL “SOPRANOS” READER, edited by David Lavery, Doug Howard, and Paul Levinson (Lexington: University of Kentucky Press, 2011), 196-207.
Describes and analyzes the complex representation of Italian American tropes and characters in the significant HBO television series, THE SOPRANOS. Emphasis is on ethnic stereotypes of prejudice, use of language, clothing, and violence.
"Motel Thoughts"
SIGHT & SOUND
This brief Letter to the Editor was written to correct a few factual errors in a previously published article by Mark Cousins on Orson Welles's TOUCH OF EVIL
Teaching Film Studies within a Production Context
TEACHING FILM: ESSAYS ON CINEMATIC PEDAGOGY, edited by Lucy Fischer and Patrice Petro (New York: Modern Language Association, 2012), 618-646.
Presents various pedagogical strategies for enhancing the value of cinema history/theory/aesthetics classes for production and screenwriting students.
"Researching Your Teaching: A Mini-Manifesto"
Cinema Journal 50.3 (Spring 2011): 84-86.
Argues that professors serve students best when they conduct research and publish their findings on material and texts that they regularly teach in their classes, rather than teaching their research.
Film Review/Essay, "Totó" (Peter Schreiner, 2009)
Italian American Review 2.1 (Winter 2012): 62-65.
Deconstructs Peter Schreiner's difficult "documentary."
IDENTIFICATION OF A WOMAN
Cineaste
Review/Essay on new DVD release of Antonioni's 1982 film.
"The Intentionality of Consciousness: Subjectivity in LAST YEAR AT MARIENBAD"
Hyperborean Wind: Reflections on Design and the City, edited by Matti Itkonen, Iris Aravot, and Paul Majkut (Finland: University of Jyväskylä Press, 2012), 307-321.
A phenomenological analysis of Alain Resnais's LAST YEAR AT MARIENBAD (1961) that argues that the film is not necessarily about a single consciousness but about Human Consciousness itself.
"'Sick Eros': The Sexual Politics of Antonioni's Trilogy"
Projections: The Journal for Movies and Mind 3.1 (Summer 2009): 1-23.
Argues that Antonioni's L'AVVENTURA (1960), LA NOTTE (1961), and L'ECLISSE (1962) represent a sociological and psychological indictment of the Italian bourgeoisie of the "boom" era of postwar recovery.
"THE CABINET OF DR. CALIGARI: Politics, Psychoanalysis, Cinema"
Cinema and Politics: Turkish Cinema and the New Europe, edited by Deniz Bayrakdar (Newcastle upon Tyne, U.K.: Cambridge Scholars Publishing, 2009), 40-50.
Argues that the German Expressionist classic, THE CABINET OF DR. CALIGARI (1920), exhibits themes and subtexts related to the politics of the Weimar Republic, the theories of Sigmund Freud, and the aesthetics of film.
Film Review/Essay, "Jack Goes Boating" (Philip Seymour Hoffman, 2010)
www.yam.com.
A review and analysis of the late actor Philip Seymour Hoffman's first (and only) directorial effort on film.
Book Review/Essay: Murray Pomerance, MICHELANGELO RED ANTONIONI BLUE
Quarterly Review of Film and Video 29.5
A description and critique of Pomerance's ideas and methodology in regard to Antonioni's color films.
Book Review/Essay, Lester D. Friedman's CITIZEN SPIELBERG and Warren Buckland's DIRECTED BY SPIELBERG: POETICS OF THE HOLLYWOOD BLOCKBUSTER
Journal of Film and Video 63.4 (Winter 2011): 53-59.
Describes and analyzes two books about director Steven Spielberg, with an emphasis on the Friedman and Buckland's respective scholarly methodologies, ideologies, and stylistic assessments.
Book Review/Essay, Jacques Rancière's "THE EMANCIPATED SPECTATOR"
The Projector: A Journal on Film, Media, and Culture (Fall 2012): 94-98.
A description and critique of Ranciere's ideas about active, "emancipated" viewership for film and theater spectators.
Book Review/Essay, Dennis Bingham’s WHOSE LIVES ARE THEY ANYWAY?: THE BIOPIC AS CONTEMPORARY FILM GENRE
Senses of Cinema (Australia)
Describes and analyzes Bingham's significant scholarly update of the biopic genre.
"ADAPTATION as Adaptation: From Susan Orlean's THE ORCHID THIEF to Charlie Kaufman's Screenplay to Spike Jonze's Film"
Authorship in Film Adaptation, edited by Jack Boozer (Austin: University of Texas Press, 2008), 173-190.
Makes the case that "fidelity" to the source is not the most important aspect of filmic adaptation, using Spike Jonze's self-reflexive and contradictory movie ADAPTATION as its exemplar.
"Life Is Inconclusive: A Conversation with Michelangelo Antonioni"
MICHELANGELO ANTONIONI: INTERVIEWS, edited by Bert Cardullo (Jackson: University Press of Mississippi, 2008), 162-168.
An in-depth interview with the Italian filmmaker that covers his work from his early documentary period to MYSTERIES OF OBERWALD (1981).
The Guinea as Gangster Hero: The Complex Representation of Italian Americans in THE SOPRANOS
THE ESSENTIAL “SOPRANOS” READER, edited by David Lavery, Doug Howard, and Paul Levinson (Lexington: University of Kentucky Press, 2011), 196-207.
Describes and analyzes the complex representation of Italian American tropes and characters in the significant HBO television series, THE SOPRANOS. Emphasis is on ethnic stereotypes of prejudice, use of language, clothing, and violence.
"Motel Thoughts"
SIGHT & SOUND
This brief Letter to the Editor was written to correct a few factual errors in a previously published article by Mark Cousins on Orson Welles's TOUCH OF EVIL
Teaching Film Studies within a Production Context
TEACHING FILM: ESSAYS ON CINEMATIC PEDAGOGY, edited by Lucy Fischer and Patrice Petro (New York: Modern Language Association, 2012), 618-646.
Presents various pedagogical strategies for enhancing the value of cinema history/theory/aesthetics classes for production and screenwriting students.
"Researching Your Teaching: A Mini-Manifesto"
Cinema Journal 50.3 (Spring 2011): 84-86.
Argues that professors serve students best when they conduct research and publish their findings on material and texts that they regularly teach in their classes, rather than teaching their research.
Film Review/Essay, "Totó" (Peter Schreiner, 2009)
Italian American Review 2.1 (Winter 2012): 62-65.
Deconstructs Peter Schreiner's difficult "documentary."
IDENTIFICATION OF A WOMAN
Cineaste
Review/Essay on new DVD release of Antonioni's 1982 film.
"The Intentionality of Consciousness: Subjectivity in LAST YEAR AT MARIENBAD"
Hyperborean Wind: Reflections on Design and the City, edited by Matti Itkonen, Iris Aravot, and Paul Majkut (Finland: University of Jyväskylä Press, 2012), 307-321.
A phenomenological analysis of Alain Resnais's LAST YEAR AT MARIENBAD (1961) that argues that the film is not necessarily about a single consciousness but about Human Consciousness itself.
"'Sick Eros': The Sexual Politics of Antonioni's Trilogy"
Projections: The Journal for Movies and Mind 3.1 (Summer 2009): 1-23.
Argues that Antonioni's L'AVVENTURA (1960), LA NOTTE (1961), and L'ECLISSE (1962) represent a sociological and psychological indictment of the Italian bourgeoisie of the "boom" era of postwar recovery.
"THE CABINET OF DR. CALIGARI: Politics, Psychoanalysis, Cinema"
Cinema and Politics: Turkish Cinema and the New Europe, edited by Deniz Bayrakdar (Newcastle upon Tyne, U.K.: Cambridge Scholars Publishing, 2009), 40-50.
Argues that the German Expressionist classic, THE CABINET OF DR. CALIGARI (1920), exhibits themes and subtexts related to the politics of the Weimar Republic, the theories of Sigmund Freud, and the aesthetics of film.
Film Review/Essay, "Jack Goes Boating" (Philip Seymour Hoffman, 2010)
www.yam.com.
A review and analysis of the late actor Philip Seymour Hoffman's first (and only) directorial effort on film.
Book Review/Essay: Murray Pomerance, MICHELANGELO RED ANTONIONI BLUE
Quarterly Review of Film and Video 29.5
A description and critique of Pomerance's ideas and methodology in regard to Antonioni's color films.
Book Review/Essay, Lester D. Friedman's CITIZEN SPIELBERG and Warren Buckland's DIRECTED BY SPIELBERG: POETICS OF THE HOLLYWOOD BLOCKBUSTER
Journal of Film and Video 63.4 (Winter 2011): 53-59.
Describes and analyzes two books about director Steven Spielberg, with an emphasis on the Friedman and Buckland's respective scholarly methodologies, ideologies, and stylistic assessments.
"EROS and Civilization: Sexuality and the Contemporary International Art Cinema"
Film International 6.6 (November 2008): 28-39.
Describes and analyzes the three short films by Wong Kar-Wai, Steven Soderbergh, and Michelangelo Antonioni that comprise the anthology film, EROS (2004). The three works, from three different cultures, are investigated from the point of view of a potential globalized sexuality and a possible international sexual aesthetic.
Book Review/Essay, Jacques Rancière's "THE EMANCIPATED SPECTATOR"
The Projector: A Journal on Film, Media, and Culture (Fall 2012): 94-98.
A description and critique of Ranciere's ideas about active, "emancipated" viewership for film and theater spectators.
Book Review/Essay, Dennis Bingham’s WHOSE LIVES ARE THEY ANYWAY?: THE BIOPIC AS CONTEMPORARY FILM GENRE
Senses of Cinema (Australia)
Describes and analyzes Bingham's significant scholarly update of the biopic genre.
"ADAPTATION as Adaptation: From Susan Orlean's THE ORCHID THIEF to Charlie Kaufman's Screenplay to Spike Jonze's Film"
Authorship in Film Adaptation, edited by Jack Boozer (Austin: University of Texas Press, 2008), 173-190.
Makes the case that "fidelity" to the source is not the most important aspect of filmic adaptation, using Spike Jonze's self-reflexive and contradictory movie ADAPTATION as its exemplar.
"Life Is Inconclusive: A Conversation with Michelangelo Antonioni"
MICHELANGELO ANTONIONI: INTERVIEWS, edited by Bert Cardullo (Jackson: University Press of Mississippi, 2008), 162-168.
An in-depth interview with the Italian filmmaker that covers his work from his early documentary period to MYSTERIES OF OBERWALD (1981).
The Guinea as Gangster Hero: The Complex Representation of Italian Americans in THE SOPRANOS
THE ESSENTIAL “SOPRANOS” READER, edited by David Lavery, Doug Howard, and Paul Levinson (Lexington: University of Kentucky Press, 2011), 196-207.
Describes and analyzes the complex representation of Italian American tropes and characters in the significant HBO television series, THE SOPRANOS. Emphasis is on ethnic stereotypes of prejudice, use of language, clothing, and violence.
"Motel Thoughts"
SIGHT & SOUND
This brief Letter to the Editor was written to correct a few factual errors in a previously published article by Mark Cousins on Orson Welles's TOUCH OF EVIL
Teaching Film Studies within a Production Context
TEACHING FILM: ESSAYS ON CINEMATIC PEDAGOGY, edited by Lucy Fischer and Patrice Petro (New York: Modern Language Association, 2012), 618-646.
Presents various pedagogical strategies for enhancing the value of cinema history/theory/aesthetics classes for production and screenwriting students.
"Researching Your Teaching: A Mini-Manifesto"
Cinema Journal 50.3 (Spring 2011): 84-86.
Argues that professors serve students best when they conduct research and publish their findings on material and texts that they regularly teach in their classes, rather than teaching their research.
Film Review/Essay, "Totó" (Peter Schreiner, 2009)
Italian American Review 2.1 (Winter 2012): 62-65.
Deconstructs Peter Schreiner's difficult "documentary."
IDENTIFICATION OF A WOMAN
Cineaste
Review/Essay on new DVD release of Antonioni's 1982 film.
"The Intentionality of Consciousness: Subjectivity in LAST YEAR AT MARIENBAD"
Hyperborean Wind: Reflections on Design and the City, edited by Matti Itkonen, Iris Aravot, and Paul Majkut (Finland: University of Jyväskylä Press, 2012), 307-321.
A phenomenological analysis of Alain Resnais's LAST YEAR AT MARIENBAD (1961) that argues that the film is not necessarily about a single consciousness but about Human Consciousness itself.
"'Sick Eros': The Sexual Politics of Antonioni's Trilogy"
Projections: The Journal for Movies and Mind 3.1 (Summer 2009): 1-23.
Argues that Antonioni's L'AVVENTURA (1960), LA NOTTE (1961), and L'ECLISSE (1962) represent a sociological and psychological indictment of the Italian bourgeoisie of the "boom" era of postwar recovery.
"THE CABINET OF DR. CALIGARI: Politics, Psychoanalysis, Cinema"
Cinema and Politics: Turkish Cinema and the New Europe, edited by Deniz Bayrakdar (Newcastle upon Tyne, U.K.: Cambridge Scholars Publishing, 2009), 40-50.
Argues that the German Expressionist classic, THE CABINET OF DR. CALIGARI (1920), exhibits themes and subtexts related to the politics of the Weimar Republic, the theories of Sigmund Freud, and the aesthetics of film.
Film Review/Essay, "Jack Goes Boating" (Philip Seymour Hoffman, 2010)
www.yam.com.
A review and analysis of the late actor Philip Seymour Hoffman's first (and only) directorial effort on film.
Book Review/Essay: Murray Pomerance, MICHELANGELO RED ANTONIONI BLUE
Quarterly Review of Film and Video 29.5
A description and critique of Pomerance's ideas and methodology in regard to Antonioni's color films.
Book Review/Essay, Lester D. Friedman's CITIZEN SPIELBERG and Warren Buckland's DIRECTED BY SPIELBERG: POETICS OF THE HOLLYWOOD BLOCKBUSTER
Journal of Film and Video 63.4 (Winter 2011): 53-59.
Describes and analyzes two books about director Steven Spielberg, with an emphasis on the Friedman and Buckland's respective scholarly methodologies, ideologies, and stylistic assessments.
"EROS and Civilization: Sexuality and the Contemporary International Art Cinema"
Film International 6.6 (November 2008): 28-39.
Describes and analyzes the three short films by Wong Kar-Wai, Steven Soderbergh, and Michelangelo Antonioni that comprise the anthology film, EROS (2004). The three works, from three different cultures, are investigated from the point of view of a potential globalized sexuality and a possible international sexual aesthetic.
"1976: Movies and Cultural Contradictions"
American Cinema in the 1970s: Themes and Variations, edited by Lester Friedman (New Brunswick, N.J.: Rutgers University Press, 2007), 157-204.
Explores the themes and cinematic techniques of the American cinema in the Bicentennial year of 1976, with particular attention to the five Academy Award nominees for Best Picture: ROCKY (Winner: Best Picture), NETWORK, TAXI DRIVER, ALL THE PRESIDENT'S MEN, and BOUND FOR GLORY. Suggests that these films represent a culture that was deeply divided by economics, politics, race, class, and gender.
Book Review/Essay, Jacques Rancière's "THE EMANCIPATED SPECTATOR"
The Projector: A Journal on Film, Media, and Culture (Fall 2012): 94-98.
A description and critique of Ranciere's ideas about active, "emancipated" viewership for film and theater spectators.
Book Review/Essay, Dennis Bingham’s WHOSE LIVES ARE THEY ANYWAY?: THE BIOPIC AS CONTEMPORARY FILM GENRE
Senses of Cinema (Australia)
Describes and analyzes Bingham's significant scholarly update of the biopic genre.
"ADAPTATION as Adaptation: From Susan Orlean's THE ORCHID THIEF to Charlie Kaufman's Screenplay to Spike Jonze's Film"
Authorship in Film Adaptation, edited by Jack Boozer (Austin: University of Texas Press, 2008), 173-190.
Makes the case that "fidelity" to the source is not the most important aspect of filmic adaptation, using Spike Jonze's self-reflexive and contradictory movie ADAPTATION as its exemplar.
"Life Is Inconclusive: A Conversation with Michelangelo Antonioni"
MICHELANGELO ANTONIONI: INTERVIEWS, edited by Bert Cardullo (Jackson: University Press of Mississippi, 2008), 162-168.
An in-depth interview with the Italian filmmaker that covers his work from his early documentary period to MYSTERIES OF OBERWALD (1981).
The Guinea as Gangster Hero: The Complex Representation of Italian Americans in THE SOPRANOS
THE ESSENTIAL “SOPRANOS” READER, edited by David Lavery, Doug Howard, and Paul Levinson (Lexington: University of Kentucky Press, 2011), 196-207.
Describes and analyzes the complex representation of Italian American tropes and characters in the significant HBO television series, THE SOPRANOS. Emphasis is on ethnic stereotypes of prejudice, use of language, clothing, and violence.
"Motel Thoughts"
SIGHT & SOUND
This brief Letter to the Editor was written to correct a few factual errors in a previously published article by Mark Cousins on Orson Welles's TOUCH OF EVIL
Teaching Film Studies within a Production Context
TEACHING FILM: ESSAYS ON CINEMATIC PEDAGOGY, edited by Lucy Fischer and Patrice Petro (New York: Modern Language Association, 2012), 618-646.
Presents various pedagogical strategies for enhancing the value of cinema history/theory/aesthetics classes for production and screenwriting students.
"Researching Your Teaching: A Mini-Manifesto"
Cinema Journal 50.3 (Spring 2011): 84-86.
Argues that professors serve students best when they conduct research and publish their findings on material and texts that they regularly teach in their classes, rather than teaching their research.
Film Review/Essay, "Totó" (Peter Schreiner, 2009)
Italian American Review 2.1 (Winter 2012): 62-65.
Deconstructs Peter Schreiner's difficult "documentary."
IDENTIFICATION OF A WOMAN
Cineaste
Review/Essay on new DVD release of Antonioni's 1982 film.
"The Intentionality of Consciousness: Subjectivity in LAST YEAR AT MARIENBAD"
Hyperborean Wind: Reflections on Design and the City, edited by Matti Itkonen, Iris Aravot, and Paul Majkut (Finland: University of Jyväskylä Press, 2012), 307-321.
A phenomenological analysis of Alain Resnais's LAST YEAR AT MARIENBAD (1961) that argues that the film is not necessarily about a single consciousness but about Human Consciousness itself.
"'Sick Eros': The Sexual Politics of Antonioni's Trilogy"
Projections: The Journal for Movies and Mind 3.1 (Summer 2009): 1-23.
Argues that Antonioni's L'AVVENTURA (1960), LA NOTTE (1961), and L'ECLISSE (1962) represent a sociological and psychological indictment of the Italian bourgeoisie of the "boom" era of postwar recovery.
"THE CABINET OF DR. CALIGARI: Politics, Psychoanalysis, Cinema"
Cinema and Politics: Turkish Cinema and the New Europe, edited by Deniz Bayrakdar (Newcastle upon Tyne, U.K.: Cambridge Scholars Publishing, 2009), 40-50.
Argues that the German Expressionist classic, THE CABINET OF DR. CALIGARI (1920), exhibits themes and subtexts related to the politics of the Weimar Republic, the theories of Sigmund Freud, and the aesthetics of film.
Film Review/Essay, "Jack Goes Boating" (Philip Seymour Hoffman, 2010)
www.yam.com.
A review and analysis of the late actor Philip Seymour Hoffman's first (and only) directorial effort on film.
Book Review/Essay: Murray Pomerance, MICHELANGELO RED ANTONIONI BLUE
Quarterly Review of Film and Video 29.5
A description and critique of Pomerance's ideas and methodology in regard to Antonioni's color films.
Book Review/Essay, Lester D. Friedman's CITIZEN SPIELBERG and Warren Buckland's DIRECTED BY SPIELBERG: POETICS OF THE HOLLYWOOD BLOCKBUSTER
Journal of Film and Video 63.4 (Winter 2011): 53-59.
Describes and analyzes two books about director Steven Spielberg, with an emphasis on the Friedman and Buckland's respective scholarly methodologies, ideologies, and stylistic assessments.
"EROS and Civilization: Sexuality and the Contemporary International Art Cinema"
Film International 6.6 (November 2008): 28-39.
Describes and analyzes the three short films by Wong Kar-Wai, Steven Soderbergh, and Michelangelo Antonioni that comprise the anthology film, EROS (2004). The three works, from three different cultures, are investigated from the point of view of a potential globalized sexuality and a possible international sexual aesthetic.
"1976: Movies and Cultural Contradictions"
American Cinema in the 1970s: Themes and Variations, edited by Lester Friedman (New Brunswick, N.J.: Rutgers University Press, 2007), 157-204.
Explores the themes and cinematic techniques of the American cinema in the Bicentennial year of 1976, with particular attention to the five Academy Award nominees for Best Picture: ROCKY (Winner: Best Picture), NETWORK, TAXI DRIVER, ALL THE PRESIDENT'S MEN, and BOUND FOR GLORY. Suggests that these films represent a culture that was deeply divided by economics, politics, race, class, and gender.
"You CAN Play Mathematical Equations on the Violin!": Quantifying Artistic Learning Outcomes for Assessment Purposes"
Journal of Film and Video 60.3-4 (Fall/Winter 2008): 115-122. Reprinted on the Society for Cinema and Media Studies Web site: http://www.cmstudies.org, 2010.
Describes the way that 24 artistic elements in the student (and professional) filmmaking process -- screenplay, cinematography, editing, sound, etc. -- can be evaluated by using a Criterion-based numerical scale.
Book Review/Essay, Jacques Rancière's "THE EMANCIPATED SPECTATOR"
The Projector: A Journal on Film, Media, and Culture (Fall 2012): 94-98.
A description and critique of Ranciere's ideas about active, "emancipated" viewership for film and theater spectators.
Book Review/Essay, Dennis Bingham’s WHOSE LIVES ARE THEY ANYWAY?: THE BIOPIC AS CONTEMPORARY FILM GENRE
Senses of Cinema (Australia)
Describes and analyzes Bingham's significant scholarly update of the biopic genre.
"ADAPTATION as Adaptation: From Susan Orlean's THE ORCHID THIEF to Charlie Kaufman's Screenplay to Spike Jonze's Film"
Authorship in Film Adaptation, edited by Jack Boozer (Austin: University of Texas Press, 2008), 173-190.
Makes the case that "fidelity" to the source is not the most important aspect of filmic adaptation, using Spike Jonze's self-reflexive and contradictory movie ADAPTATION as its exemplar.
"Life Is Inconclusive: A Conversation with Michelangelo Antonioni"
MICHELANGELO ANTONIONI: INTERVIEWS, edited by Bert Cardullo (Jackson: University Press of Mississippi, 2008), 162-168.
An in-depth interview with the Italian filmmaker that covers his work from his early documentary period to MYSTERIES OF OBERWALD (1981).
The Guinea as Gangster Hero: The Complex Representation of Italian Americans in THE SOPRANOS
THE ESSENTIAL “SOPRANOS” READER, edited by David Lavery, Doug Howard, and Paul Levinson (Lexington: University of Kentucky Press, 2011), 196-207.
Describes and analyzes the complex representation of Italian American tropes and characters in the significant HBO television series, THE SOPRANOS. Emphasis is on ethnic stereotypes of prejudice, use of language, clothing, and violence.
"Motel Thoughts"
SIGHT & SOUND
This brief Letter to the Editor was written to correct a few factual errors in a previously published article by Mark Cousins on Orson Welles's TOUCH OF EVIL
Teaching Film Studies within a Production Context
TEACHING FILM: ESSAYS ON CINEMATIC PEDAGOGY, edited by Lucy Fischer and Patrice Petro (New York: Modern Language Association, 2012), 618-646.
Presents various pedagogical strategies for enhancing the value of cinema history/theory/aesthetics classes for production and screenwriting students.
"Researching Your Teaching: A Mini-Manifesto"
Cinema Journal 50.3 (Spring 2011): 84-86.
Argues that professors serve students best when they conduct research and publish their findings on material and texts that they regularly teach in their classes, rather than teaching their research.
Film Review/Essay, "Totó" (Peter Schreiner, 2009)
Italian American Review 2.1 (Winter 2012): 62-65.
Deconstructs Peter Schreiner's difficult "documentary."
IDENTIFICATION OF A WOMAN
Cineaste
Review/Essay on new DVD release of Antonioni's 1982 film.
"The Intentionality of Consciousness: Subjectivity in LAST YEAR AT MARIENBAD"
Hyperborean Wind: Reflections on Design and the City, edited by Matti Itkonen, Iris Aravot, and Paul Majkut (Finland: University of Jyväskylä Press, 2012), 307-321.
A phenomenological analysis of Alain Resnais's LAST YEAR AT MARIENBAD (1961) that argues that the film is not necessarily about a single consciousness but about Human Consciousness itself.
"'Sick Eros': The Sexual Politics of Antonioni's Trilogy"
Projections: The Journal for Movies and Mind 3.1 (Summer 2009): 1-23.
Argues that Antonioni's L'AVVENTURA (1960), LA NOTTE (1961), and L'ECLISSE (1962) represent a sociological and psychological indictment of the Italian bourgeoisie of the "boom" era of postwar recovery.
"THE CABINET OF DR. CALIGARI: Politics, Psychoanalysis, Cinema"
Cinema and Politics: Turkish Cinema and the New Europe, edited by Deniz Bayrakdar (Newcastle upon Tyne, U.K.: Cambridge Scholars Publishing, 2009), 40-50.
Argues that the German Expressionist classic, THE CABINET OF DR. CALIGARI (1920), exhibits themes and subtexts related to the politics of the Weimar Republic, the theories of Sigmund Freud, and the aesthetics of film.
Film Review/Essay, "Jack Goes Boating" (Philip Seymour Hoffman, 2010)
www.yam.com.
A review and analysis of the late actor Philip Seymour Hoffman's first (and only) directorial effort on film.
Book Review/Essay: Murray Pomerance, MICHELANGELO RED ANTONIONI BLUE
Quarterly Review of Film and Video 29.5
A description and critique of Pomerance's ideas and methodology in regard to Antonioni's color films.
Book Review/Essay, Lester D. Friedman's CITIZEN SPIELBERG and Warren Buckland's DIRECTED BY SPIELBERG: POETICS OF THE HOLLYWOOD BLOCKBUSTER
Journal of Film and Video 63.4 (Winter 2011): 53-59.
Describes and analyzes two books about director Steven Spielberg, with an emphasis on the Friedman and Buckland's respective scholarly methodologies, ideologies, and stylistic assessments.
"EROS and Civilization: Sexuality and the Contemporary International Art Cinema"
Film International 6.6 (November 2008): 28-39.
Describes and analyzes the three short films by Wong Kar-Wai, Steven Soderbergh, and Michelangelo Antonioni that comprise the anthology film, EROS (2004). The three works, from three different cultures, are investigated from the point of view of a potential globalized sexuality and a possible international sexual aesthetic.
"1976: Movies and Cultural Contradictions"
American Cinema in the 1970s: Themes and Variations, edited by Lester Friedman (New Brunswick, N.J.: Rutgers University Press, 2007), 157-204.
Explores the themes and cinematic techniques of the American cinema in the Bicentennial year of 1976, with particular attention to the five Academy Award nominees for Best Picture: ROCKY (Winner: Best Picture), NETWORK, TAXI DRIVER, ALL THE PRESIDENT'S MEN, and BOUND FOR GLORY. Suggests that these films represent a culture that was deeply divided by economics, politics, race, class, and gender.
"You CAN Play Mathematical Equations on the Violin!": Quantifying Artistic Learning Outcomes for Assessment Purposes"
Journal of Film and Video 60.3-4 (Fall/Winter 2008): 115-122. Reprinted on the Society for Cinema and Media Studies Web site: http://www.cmstudies.org, 2010.
Describes the way that 24 artistic elements in the student (and professional) filmmaking process -- screenplay, cinematography, editing, sound, etc. -- can be evaluated by using a Criterion-based numerical scale.
Book Review/Essay, Howard Suber's "The Power of Film"
Journal of Film and Video 61.3 (Fall 2009): 65-68.
Describes and analyzes Suber's book, a distillation of the esteemed UCLA professor's wisdom and advice about film and filmmaking.
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