University of California, Los Angeles

UCLA Chancellor's Postdoctoral Fellow

Price’s current research investigates AfroAsian juncture and disjuncture through performance practices

New Professional Theater

Artistic Associate

Ran and coordinated monthly Writer’s Festival which consisted of staged public readings during which I wore multiple hats including: stage manager, technical director, talent coordinator, and designed all programs and materials in support of the Writer’s Festival. In addition, I maintained and configured all IT and software. Bookkeeper (QuickBooks). Read and maintained script library. Updated and maintained website. Wrote and researched grant proposals.

Texas A&M University

Assistant Professor

Zachary worked at Texas A&M University as a Assistant Professor

UC Santa Barbara

Doctoral Candidate (UC President's Dissertation Year Fellow) 2012-2013

Zachary worked at UC Santa Barbara as a Doctoral Candidate (UC President's Dissertation Year Fellow) 2012-2013

UC Santa Barbara

Teaching Assistant

Zachary worked at UC Santa Barbara as a Teaching Assistant

Japan Exchange and Teaching Program(me) (JET)

Assistant Language Teacher

Promoted international exchange through instruction in both English and Japanese to improve communicative abilities in Junior High Schools, Elementary Schools, and Community Centers. The Japan Exchange and Teaching (JET) Programme, is aimed at promoting grass-roots international exchange between Japan and other nations. The number of countries sending participants has risen over the years, as has the number of participants. In 2010, the Programme has welcomed 4,334 participants from 36 countries.

Bunche Center's Hollywood Diversity Report 2014

UCLA/Bunche Center

Bunche Center's Hollywood Diversity Report 2014

UCLA/Bunche Center

Economies of Enjoyment and Terror in Django Unchained and 12 Years a Slave

http://postcolonialist.com/

This article uses Django Unchained (2012) and 12 Years a Slave (2013) to consider slave cinema (films that take slavery as their main subject) as unique sites of labor in which Black bodies are organized as commodities to perform economies of “pleasure and terror” (Hartman:1997) on the screen as cultural workers under the rubric of United States capitalism and structural hierarchies that privilege a white lens within the Hollywood film industry. The economies of terror and pleasure produced through these films reify colorblind ideology and perpetuate a racial regime that denies audiences the ability to emphasize with Black people or view them as full human beings.

Bunche Center's Hollywood Diversity Report 2014

UCLA/Bunche Center

Economies of Enjoyment and Terror in Django Unchained and 12 Years a Slave

http://postcolonialist.com/

This article uses Django Unchained (2012) and 12 Years a Slave (2013) to consider slave cinema (films that take slavery as their main subject) as unique sites of labor in which Black bodies are organized as commodities to perform economies of “pleasure and terror” (Hartman:1997) on the screen as cultural workers under the rubric of United States capitalism and structural hierarchies that privilege a white lens within the Hollywood film industry. The economies of terror and pleasure produced through these films reify colorblind ideology and perpetuate a racial regime that denies audiences the ability to emphasize with Black people or view them as full human beings.

Review of Yellow Power Yellow Soul: The Radical Art of Fred Ho ed. by Roger N. Buckley, Tamara Roberts

Journal of Asian American Studies

Bunche Center's Hollywood Diversity Report 2014

UCLA/Bunche Center

Economies of Enjoyment and Terror in Django Unchained and 12 Years a Slave

http://postcolonialist.com/

This article uses Django Unchained (2012) and 12 Years a Slave (2013) to consider slave cinema (films that take slavery as their main subject) as unique sites of labor in which Black bodies are organized as commodities to perform economies of “pleasure and terror” (Hartman:1997) on the screen as cultural workers under the rubric of United States capitalism and structural hierarchies that privilege a white lens within the Hollywood film industry. The economies of terror and pleasure produced through these films reify colorblind ideology and perpetuate a racial regime that denies audiences the ability to emphasize with Black people or view them as full human beings.

Review of Yellow Power Yellow Soul: The Radical Art of Fred Ho ed. by Roger N. Buckley, Tamara Roberts

Journal of Asian American Studies

The Odyssey Project: A Martial Arts Journey Toward Recovery and Liberation

Theatre Topics/Johns Hopkins University Press

In “The Odyssey Project: A Martial Arts Journey Toward Recovery and Liberation,” Zachary Price also theorizes practice in his discussion of the use of martial arts in a community-based theatre project for which he served as the fight choreographer. Far more than merely theorizing the ways in which the martial arts can frame embodiment as discourse, Price explores the complex discourses of identity experienced by the young men of a correctional institution when they joined the company of an adaptation of The Odyssey produced at a major California research university. This case study considers the interactions of bodies and identity, place and class in a single, powerful theatrical performance.