Affiliate faculty in Global Studies
My scholarship and teaching investigate the history of film style in a global context. My approach to cinema is interdisciplinary and comparative, with an eye to how film, literature, and other media interrelate. I am particularly interested in the philosophical and reflective capabilities of cinema, hence my focus in recent publications on forms such as the essay film and “contemplative cinema.” My courses at Carolina, whatever their topic, show students how to critically engage with and write about moving images (and sounds) with precision, clarity, and nuance. My aim is not merely to expand students’ knowledge and appreciation of film history but also to improve their perceptual acuity – that is, their audiovisual literacy – and to show them how the expressive resources of cinema and other media participate meaningfully in larger cultural and political conversations.
Assistant Professor, Department of English and Comparative Literature, University of North Carolina at Chapel Hill (2012-)
Visiting Lecturer, Department of English, University of Pennsylvania (2011-12)
Visiting Lecturer, Department of English, Carnegie Mellon University (2008)
The Film-Philosophy Reader, co-edited with Gregory Flaxman and Elena Oxman, forthcoming.
True to the Spirit: Film Adaptation and the Question of Fidelity, co-editor and contributor with Colin MacCabe and Kathleen Murray. Oxford University Press, 2011.
“The Late Work of Jean-Luc Godard,” guest editor and contributor, special issue of Critical Quarterly 51, no. 3 (October 2009).
Selected Articles and Chapters:
“Restyling Suspense in Modern Cinema: Nicholson’s ‘Imploded’ Performance in Antonioni’s The Passenger.” In Great Film Performances, vol. I, edited by Murray Pomerance and Kyle Stevens. Edinburgh: Edinburgh University Press, forthcoming 2017.
“The Essayist among and through Others: Chris Marker’s Symposial Montage in The Owl’s Legacy.” The Cine-Files: A Scholarly Journal of Cinema Studies. Special Issue on Chris Marker and Jacques Rivette, forthcoming 2017.
“Orange is the Warmest Color: Mood and Chromatic Temperature in Robert Altman’s McCabe & Mrs. Miller.” New Review of Film and Television Studies 15, no. 1 (2017): 24-39.
“Essaying the Forms of Popular Cinema: Godard, Farocki, and the Principle of Shot-Countershot.” In The Essay Film: Dialogue, Politics, Utopia, edited by Caroline Eades and Elizabeth Papazian, 28-66. London: Wallflower, 2016.
“Godard’s Stereoscopic Essay: Thinking in and with Adieu au langage.” In The Global Auteur: Politics and Philosophy in 21st Century Cinema, edited by Seung-hoon Jeong and Jeremi Szaniawski, 61-78. New York: Bloomsbury, 2016.
"Filming a Miracle: Ordet, Silent Light, and the Spirit of Contemplative Cinema," Critical Quarterly 57, no. 2 (2015): 46-71.
“The Cinematic Essay as Adaptive Process,” Adaptation 6, no. 1 (2013): 1-24.
“Contempt Revisited: Godard at the Margins of Adaptation.” In True to the Spirit: Film Adaptation and the Question of Fidelity, edited by Colin MacCabe, Kathleen Murray, and Rick Warner, 195-213. New York: Oxford University Press, 2011.
“Go-for-Broke Games of History: Chris Marker Between ‘Old’ and ‘New’ Media.” Post Script: Essays in Film and the Humanities 24, no. 1 (2009): 14-26.
“Shocking Histoire(s): Godard, Surrealism, and Historical Montage.” Quarterly Review of Film and Video 25, no. 1 (2008): 1-15.
Current Book Projects:
A Form that Thinks: Godard and the Cinematic Essay -- an intensive study of one the most dynamic and enduring forms of intellectual filmmaking
The Reinvention of Suspense: Contemplative Rhythms and Atmosheres in Global Art Cinema -- a critical account of the emergence and continuation of "contemplative" film aesthetics since World War II
Courses (current and planned):
CMPL 143 History of Gobal Cinema
CMPL 144 Film Culture: Global Art Cinema Since 1960
CMPL 240 Introduction to Film Theory
CMPL 280 Film Genres (Suspense Thriller; Comedy)
CMPL 375 New Wave Cinema: Its Sources and its Legacies (survey of new wave cinemas across Western and Eastern Europe, North America, Latin America, and East Asia)
ENGL 380 New Hollywood: American Cinema of the 1970s
ENGL 381 Cinema and Literature
CMPL 382 Film and Nature
ENGL 389 Film Directors (Hitchcock/Kubrick; Marker/Godard/Resnais/Varda)
ENGL 410H Documentary Film
CMPL 420 Film, Photography, and the Digital Image
CMPL 463 Cinema and Surrealism
CMPL 484 Cinematic Uses of the Essay Form
ENGL 680 Film Theory and Pedagogy
ENGL 881 Cinemas of Thought: Essayistic and Contemplative Traditions since 1945
Advisory board, Global Cinema Studies
Affiliate faculty, Curriculum in Global Studies
Ph.D. English with Certificate in Film Studies, University of Pittsburgh (2010)
M.A. Film Studies, Emory University (2004)
B.A. English, Georgetown College (2000)