{"id":13,"date":"2011-11-24T01:49:10","date_gmt":"2011-11-24T01:49:10","guid":{"rendered":"http:\/\/www.charlesmusser.com\/?page_id=13"},"modified":"2012-02-02T16:39:03","modified_gmt":"2012-02-02T16:39:03","slug":"vita","status":"publish","type":"page","link":"http:\/\/www.charlesmusser.com\/?page_id=13","title":{"rendered":"Vita"},"content":{"rendered":"

\u00a0\"\"<\/a><\/strong><\/p>\n


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\n

Charles Musser<\/strong><\/p>\n

Education<\/span>:<\/p>\n

Yale University, B.A., 1975, Major: Film and Literature
\nNew York University, Ph.D., October 1986, Dept of Cinema Studies<\/p>\n

Academic Experience<\/span>:
\n2000-present:\u00a0 Professor of American Studies, Film Studies and Theater Studies, Yale University.\u00a0 Co-chair, Film Studies Program (to July 2008). Director Yale Summer Film Institute.<\/p>\n

1995-2000: Associate Professor of American Studies and Film Studies, Yale University.\u00a0 Director of Undergraduate Studies, Film Studies Program.<\/p>\n

1992-1995: Assistant Professor of\u00a0 American Studies and Film Studies, Yale University.\u00a0 Director of Undergraduate Studies, Film Studies Program.<\/p>\n

1985-1995: co-chair: University Seminar, Columbia, on Cinema and Interdisciplinary Interpretation. <\/strong><\/p>\n

1991-1992: Visiting Assistant. Professor, Dept. of Film and Television, UCLA.<\/p>\n

1988-1992: Adjunct Assistant Professor, <\/strong>Film Division, School of the Arts, Columbia University.<\/p>\n

Spring 1990: Visiting Assistant Professor, <\/strong>Department of Cinema Studies, New York University.<\/p>\n

1987-Fall 89: Adjunct Assistant Professor, <\/strong>Department of Cinema Studies, New York University.<\/p>\n

Fall 1988: Visiting Adjunct,<\/strong> Film Department, State University of New York-Purchase.<\/p>\n

Spring 1987: Visiting lecturer, <\/strong>College seminar, Yale University.<\/p>\n

 <\/p>\n

Curatorial Experience:<\/span><\/p>\n

1980-present:<\/strong> film historian for the Thomas A. Edison Papers<\/em>, at Rutgers University.<\/p>\n

2007-present:<\/strong> film curator, International Festival of Arts & Ideas<\/em> (New Haven) including \u201cThe Iraq Experience: Four Films of Petra Epperlein and Mike Tucker\u201d (2011), \u201cA Weekend with Errol Morris and His Films (2010), \u201cThe Future Will Be Possible: Documentary Films on Today\u2019s Refugees\u201d (2009).<\/p>\n

2006:<\/strong> co-curator Giornate del Cinema Muto<\/em>,<\/strong> Pordenone, Italy.\u00a0 \u201cRediscovered Treasures: British and American Films from the 1890s\u201d <\/em>(with Vanessa Toulmin).<\/p>\n

2005:<\/strong> co-curator,\u00a0<\/strong>Edison: The Invention of the Movies\u201d\u00a0 4 DVD set. With Stephen Higgins, Kino\/Museum of Modern Art<\/em>.\u00a0 “FASCINATING \u2026.A REVELATION \u2026.A SPLENDIDLY PRODUCED BOX SET produced by two of the leading scholars of early film” Dave Kehr, New York Times.<\/em> Top DVD set of the year\u2014Amazon.com<\/p>\n

2001:<\/strong> co-curator,\u00a0<\/strong>Oscar Micheaux and His Circle: African American Filmmaking and Race Cinema of the Silent Period<\/em> (with Pearl Bowser and Jane Gaines).\u00a0 A touring seven-part program with catalog, organized through Duke University. World premiere at the Giornate del Cinema Muto (Saclie, Italy), October 2001.<\/p>\n

1998-9:<\/strong> co-curator<\/strong>, two film series with program notes, which accompanied the Centennial Exhibition Paul Robeson: Artist and Citizen<\/em>, organized by the Paul Robeson Cultural Center, Rutgers University. \u00a0 \u201cPaul Robeson: Star of Stage and Screen\u201d at UCLA Film & Television Archives, \u00a0 October 1998 (with Ed Guerrero and Mark Reid) and “Borderlines: Paul Robeson and Film” at MoMA, June-July1999 (with Ed Guerrero).<\/p>\n

1997:<\/strong> curator\/programmer, Edison Motion Pictures, 1890-1900<\/em>, a\u00a0 multi-part retrospective, G<\/em>iornate del Cinema Muto,<\/em> Pordenone, Italy.
\n.<\/p>\n

1978-9, 1990-1991, 1994:<\/strong>\u00a0 curator, programmer for the Museum of Modern Art (NYC): World Cinema to 1900<\/em> (guest curator with Eileen Bowser); A\u00a0 History of American Cinema: The Silent Years<\/em>, co-curated with Eileen Bowser and Richard Koszarski; A Tribute to Edwin S. Porter<\/em>, a four-part retrospective with program notes. Restored\u00a0 many of the Museum’s Porter\/Edison films.\u00a0 Worked on the restoration of other early Griffith\/Biograph and Vitagraph shorts.<\/p>\n

1989-1991: guest<\/strong> curator for the New-York Historical Society:<\/strong>\u00a0 The film series American History\/American Film<\/em> and Race and Class in New York<\/em>, including screenings with panels and program notes.<\/p>\n

1983-1986:<\/strong> co-curator: Before Hollywood: Turn of the Century American Films from American Archives<\/em><\/strong> (with Jay Leyda) for the American Federation of the Arts<\/strong>. <\/strong>Six programs of American films with 200-page catalog.\u00a0 Opened at the Whitney Museum, NYC in January-February 1987 and followed by an international tour.<\/p>\n

 <\/p>\n

Grants, Awards and Fellowships:<\/span><\/strong><\/p>\n

-Honorable Mention, Katherine Kovacs Prize for Outstanding Essay in Media Studies for \u201cThe Clash between Theater and Film: \u00a0Germaine Dulac, Andr\u00e9 Bazin and La Souriante Madame Beudet<\/em>,\u201d New Review of Film and Television Studies<\/em> 5:2 (Summer 2007), pp 111-134.<\/p>\n

-Clark Art Institute Residential Fellowship (Spring 2006)<\/p>\n

-Academy Film Scholar, Academy of Motion Picture Arts and Sciences (for 2005).<\/p>\n

\u2013Katherine Kovacs Prize for Outstanding Essay in Media Studies (2000) for “To Redream the Dreams of White Playwrights: Resistance and Reappropriation in Oscar Micheaux\u2019s Body and Soul<\/em>,” in Yale Journal of Criticism<\/em>, 12:2 (1999), 321-356.<\/p>\n

\u2013Honorable Mention, Katherine Kovacs Prize for Outstanding Book in Media Studies (1998) and Honorable Mention, Theater Library Book Award for Best Book on Motion Pictures, Radio and Television for Edison Motion Pictures, 1890-1900: An Annotated Filmography <\/em>(1997)<\/p>\n

\u2013Prix Jean Mitry (Cineteca Friuli, Le Giornate del Cinema Muto) (October 1996)<\/p>\n

\u2013Morse Fellowship (for 1994-95 academic year)<\/p>\n

\u2013Griswold Research Grants, Yale University (1993,1994,1995,1996,1997,1998, 2000, 2001, 2002, 2011<\/p>\n

\u2013George Eastman Society International Scholar Award (1992)<\/p>\n

\u2013Grants for Edison Motion Pictures, 1890-1900: An Annotated Filmography<\/em>: New York State Council for the Arts, 1990; and New Jersey Historical Commission, 1991; University Seminars, 1992;\u00a0 Hilles Publication Fund, 1994.<\/p>\n

\u2013Jay Leyda Prize in Cinema Studies; the Theater Library Association Award for best book on motion pictures, radio and television; and the Katherine Singer Kovacs Prize for best book in Film, TV and Video Studies; Honorable Mention, MLA Prize for Independent Scholars for The Emergence of Cinema: the American Screen to 1907 <\/em>(1990).<\/p>\n

\u2013National Endowment for the Humanities Fellowship (for 1990-1991 academic year).<\/p>\n

\u2013Selective\/competitive festival screenings in 1982-83 for Before the Nickelodeon: <\/em>\u00a0New York Film Festival (world premiere), Berlin, London, Sydney, New Delhi, Florence (Festival dei Populi) film festivals.<\/p>\n

–Film production grants for Before the Nickelodeon: The Early Cinema of Edwin S. Porter: <\/strong>National Endowment for the Arts and New York State Council on the Arts, 1980-1982.<\/p>\n

\u2013SCS Student Award for Scholarly Writing, for “The Early Cinema of Edwin S. Porter,” Cinema Journal<\/span> 19:1(Fall 1979), 1-38.<\/p>\n

\u2013”Blue Ribbon,” American Film Festival; “Best in Category –Fine Arts” S.F. Film Festival; CINE “Golden Eagle” for An American Potter <\/em>(1976).<\/p>\n

\u2013Film production grants for An American Potter: National Endowment for the Arts and New Hampshire Commission on the Arts, 1976.<\/p>\n

-Honors for specific books, essays and films also listed under individual items.<\/strong><\/p>\n

\u00a0<\/span><\/p>\n

Publications and Films<\/span><\/strong>:<\/p>\n

Books<\/span>:<\/p>\n

The Emergence of Cinema: the American Screen to 1907 <\/strong>(New York: Scribner’s Sons, 1990).\u00a0 Received the Jay Leyda Prize in Cinema Studies; the Theater Library Association Award for best book on motion pictures, radio and television; and the Katherine Singer Kovacs Prize for best book in Film, TV and Video Studies; Honorable Mention, MLA Prize for Independent Scholars.\u00a0 An Outstanding Academic Book of 1991\u2013\u2013Choice<\/em>; One of the Notable Books of 1991\u2013\u2013New York Times<\/em>.\u00a0 \u201cMusser\u2019s work constitutes a revolution in the study of early American cinema\u201d\u00a0 Stephen Bottomore, Historical Journal of Film, Radio and Television.<\/em><\/p>\n

 <\/p>\n

Before the Nickelodeon: Edwin S. Porter and the Edison Manufacturing Company <\/strong>(Berkeley: University of California Press, 1991).\u00a0 Part of a book\/film project.\u00a0 Revision of dissertation that passed with distinction.\u00a0 “Musser enables us to understand Porter’s adherence to what are neatly termed ‘cinematic strategies outside the repertoire of later classical cinema,’ and the way this was linked to his reluctance to go over to a hierarchical form of studio production.\u00a0 The book is lucidly written, well illustrated and beautifully laid out, with an abundance of frame stills and relevant non-filmic inserts, making it one of the most pleasurable of scholarly books to use.”\u00a0 Charles Barr, Sight and Sound<\/em>.<\/p>\n

 <\/p>\n

High-Class Moving Pictures: Lyman H. Howe and the Forgotten Era of Traveling Exhibition, 1880-1920 <\/strong>(Princeton: Princeton University Press, 1991).\u00a0 In collaboration with Carol Nelson.\u00a0 Funded in part by Pennsylvania Council for the Humanities.\u00a0 “An important contribution to American cultural history and film practice at the turn of the century.” American Historical Review<\/em><\/p>\n

\u00a0<\/em><\/p>\n

Thomas A. Edison and His Kinetographic Motion Pictures <\/strong>(New Brunswick: Rutgers University Press for the Friends of Edison National Historic Site, 1995).\u00a0 A short account of information appearing in Before the Nickelodeon<\/em> and The Emergence of Cinema<\/em>, designed for a general audience.\u00a0 \u201cThis slim, attractively packaged volume is one of those rarities that speak to both scholars and general audiences.\u00a0 Academics will find it a handy guide to Edison\u2019s film-related career, while others will appreciate it as a refreshingly straightforward and entertaining history book unimpeded by obscure and ponderous references, jargon and footnotes.\u00a0 Journal of Popular Film and Television<\/em>.<\/p>\n

\u00a0<\/strong><\/p>\n

Edison Motion Pictures, 1890-1900: An Annotated Filmography. <\/strong>(Washington, D. C. and Friuli, Italy: Smithsonian Institution Press and Le Giornate del Cinema Muto, 1997); incorporates Filmmaking for Edison’s Kinetoscope, 1890-1895: A Filmography with Documentation<\/strong> (New York: Center for Film and Historical Research, 1994).\u00a0 Honorable Mention, Katherine Singer Kovacs Prize in Film, TV and Video Studies.\u00a0 Honorable Mention, Theater Library Book Award.\u00a0 \u201cA model for works of this sort, Musser\u2019s filmography not only includes detailed information on every Edison film (Fred Ott\u2019s Sneeze<\/em> is already number nineteen), but frame enlargements when available, and extensive annotations and bibliographic interpolations.\u00a0 Clearly this is an invaluable labor of love from Musser and everyone connected with it\u2026\u201d Film Comment.<\/em><\/p>\n

Moving Pictures: American Art and Early Film, 1890-1910. <\/strong>(New York: Hudson Hills Press, 2005) as second author; first author Nancy Mowell Mathews. Catalog for touring show.\u00a0\u00a0 Grey Art Gallery, New York City: September-December 2006.<\/p>\n

 <\/p>\n

Books in process<\/span><\/p>\n

Media Shifts: Transformations in Audio-Visual Media and the US Presidential Elections of 1892\/1896 and 2004\/2008<\/strong><\/p>\n

\u00a0Theater Transformed: Stage and Screen in the 1920s.<\/strong><\/p>\n

\u00a0Crossing Boundaries:\u00a0 Paul Robeson, Performance and Film<\/strong><\/p>\n

\u00a0Truth and Documentary in the Age of George W. Bush <\/strong><\/p>\n

May\u2019s Kiss:\u00a0 The 20-second Film that Changed American Culture<\/strong><\/p>\n

Films:<\/span><\/strong><\/p>\n

Errol Morris: A Lightning Sketch <\/strong>[incorporates Plan B: A Conversation with Errol Morris at the Globe Department Store<\/em>.] (New York: New York-Hollywood Feature Film Company, 2011). A 70-minute documentary that was shown as a work in progress at the International Festival of Arts and Ideas (New Haven) as part of \u201cA Weekend with Errol Morris and His Films.\u201d <\/strong><\/p>\n

Before the Nickelodeon: The Early Cinema of Edwin S. Porter <\/strong>(New York: New York-Hollywood Feature Film Company, 1982), 60-minute documentary funded in part by the NEA and NYSCA.\u00a0 Screenings at New York, Berlin, London, Los Angeles (Filmex), Sydney, New Delhi, Florence (Festival dei Populi) and Milan (American Independent) film festivals.\u00a0 Kino video release, 1998.\u00a0 “the rare document that enchants while it educates, bristling with social history, movie gossip, and all the fresh wonder of a pioneer smacking his lips at his newfoundland.”\u2013\u2013Carrie Rickey, Village Voice<\/em>.\u00a0 One of the year’s best documentaries\u2013\u2013Rickey, Village Voice<\/em>.<\/p>\n

An American Potter <\/strong>(New York: New York-Hollywood Feature Film Company, 1976) 36-minute documentary on craftsman Gerry Williams.\u00a0 Funded in part by NEA.\u00a0 “Blue Ribbon,” American Film Festival; “Best in Category –Fine Arts,” S.F. Film Festival; CINE “Golden Eagle.”\u00a0 “Stretches far beyond the confines of the studio into the philosophical and psychological regions in which all life thrives.”\u2013\u2013Denise Hare, Crafts Horizon<\/em>.<\/p>\n

Editor<\/span>:<\/p>\n

Black Representations, <\/strong>special issue of Film History<\/em> <\/strong>23:2 (2011).<\/strong><\/p>\n

Documentary Before Verit\u00e9, <\/strong>special issue of Film History<\/em> <\/strong>18:4 (2006).<\/strong><\/p>\n

Oscar Micheaux and His Circle: African-American Filmmaking and Race Cinema of the Silent Period,<\/strong> co-edited with Pearl Bowser and Jane Gaines (Indiana University Press, Friuli-Germona, Giornate del Cinema Muto, 2001). “an informative, interesting, and very important collection of essays\u2026lively and readable, casting light on an underrepresented facet of American film history.” Library Journal<\/span>, August 2001, 112.<\/p>\n

Resisting Images: Essays on Cinema and History <\/strong>co-edited with Robert Sklar <\/strong>(Philadelphia: Temple University Press, 1990). \u00a0<\/strong>Expands a special issue on film and history in Radical History Review<\/span>, Spring 1988 (No. 41).\u00a0 Special NYSCA grant for this issue. Part of the MARHO series.<\/p>\n

Before Hollywood: Turn of the Century American Film <\/strong>(New York: American Federation for the Arts, 1987), with Jay Leyda.\u00a0 “A\u00a0 fascinating look at the cinema that flourished between 1895 and 1915 in America, before movies could be mentioned in family newspapers.”\u2013New York Times<\/em>.<\/p>\n

Motion Picture Catalogs by American Producers and Distributors 1894-1908: A Microfilm Edition<\/strong>. (Frederick, Maryland: University Publications of America, 1984.) With the Thomas Edison Papers. “Everything about this project is exemplary.\u00a0 All six reels of microfilm are easy to read.\u00a0 To accompany the microfilm reels, UPA has issued a splendid fifty-page booklet, with an informative text by Charles Musser, along with a detailed listing of each item on the microfilm.\u00a0 This project can be recommended for all libraries with extensive motion picture related holdings and should be a mandatory acquisition for any student or scholar studying the early years of the American film industry.” \u2013Microfilm Review<\/em>.<\/p>\n

 <\/p>\n

General Editor, Smithsonian Institution Press.<\/strong>\u00a0 A\u00a0 book series focusing on History of American Film and Media.\u00a0 Published:<\/p>\n

\u2013Kyoko Hirano, Mr. Smith Goes to Washington: Japanese Cinema Under the American Occupation, 1945-1952<\/span> (1992).<\/p>\n

\u2013Gaylyn Studlar and David Desser, eds., Reflection in a Male Eye: John Huston and the American Experience<\/span> (1993).<\/p>\n

\u2013Gregory Waller, Main Street Amusements: Movies and Commercial Entertainments in a Southern City, 1896-1930<\/span> (1995),winner of the Theater Library Association Award for best book on motion pictures, radio and television (1995) and the Katherine Singer Kovacs Prize for best book in Film, TV and Video Studies (1995-97).<\/p>\n

\u2013Frank Couvares, ed., Cinema and Censorship<\/span> (1996)<\/p>\n

\u2013Jan Christopher Horak, Making Images Move: Photographers and Avant-garde Cinema<\/span> (1997)<\/p>\n

\u2013Frank Krutnick, Inventing Jerry Lewis<\/span> (2000)<\/p>\n


\n<\/span><\/p>\n

Articles and Reviews on Ethnicity and Race in American Cinema<\/span><\/p>\n

– <\/strong>\u201cRobeson and Britain\u2019s Cinema of Empire\u201d in Lee Grieveson and Colin McCabe, eds. Colonial Film: Moving Images of the British Empire<\/em> (forthcoming)<\/strong><\/p>\n

– \u201cWhy Did Negroes Love Al Jolson and The Jazz Singer?: <\/em>\u00a0Melodrama, Blackface and Cosmopolitan Theatrical Culture\u201d in Film History<\/em>, 23:2 (2011) 198-222.<\/p>\n

-\u201cPaul Robeson and the End of His \u2018Movie\u2019 Career,\u201d Cinemas <\/em>19:1 (2009), 147-179.<\/p>\n

\u2013”Despite All Barriers: Paul Robeson & Song of the Rivers<\/em>,” in Andr\u00e9 Stufkens, ed., Cinema Without Borders: The Films of Joris Ivens: A Catalog<\/span> (Nijmegen, The Netherlands: European Foundation Joris Ivens, 2002), 62-71.<\/p>\n

-“African Americans and Film, 1894-1914” in Phyllis Klotman, ed., African Americans and the Cinema<\/span>, CD (Black Film archive\/University of Indiana, 2002).<\/p>\n

“The Colored Players Film Corporation, An Alternative to Micheaux” in Pearl Bowser, Jane Gaines and Charles Musser eds., Oscar Micheaux and His Circle: African-American Filmmaking and Race Cinema of the Silent Era<\/span> (Bloomington: Indiana University Press, 2001), 178-187.<\/p>\n

-“Richard D. Maurice and the Maurice Film Company” (with Pearl Bowser) in Bowser, Gaines and Musser eds., Oscar Micheaux and His Circle<\/span>, 190-194.<\/p>\n

-“To Redream the Dreams of White Playwrights: Resistance and Reappropriation in Oscar Micheaux\u2019s Body and Soul<\/em>,” in Yale Journal of Criticism<\/span>, 12:2 (1999), 321-356; reprinted in Charlene Regester, Blacks in Film<\/span> (Kendall\/Hunt Publishing Company, 2003),\u00a0 Revised and expanded version in Pearl Bowser, Jane Gaines and Charles Musser eds., Oscar Micheaux and His Circle: African-American Filmmaking and Race Cinema of the Silent Era<\/span> (Bloomington: Indiana University Press, 2001), 97-131.\u00a0 Winner of the Katherine Kovacs Prize for Outstanding Scholarship (essay) published in 1999-2000.<\/p>\n

-“Troubled Relations: Paul Robeson, Eugene O’Neill and Oscar Micheaux,” in Jeffrey Stewart, ed., Paul Robeson: Artist and Citizen<\/span> (New Brunswick, N.J.: Rutgers University Press, 1998), 81-102+.<\/p>\n

-“William Greaves: Chronicler of the Afro-American Experience,” Film Quarterly <\/span>45:3 (Spring 1992), 513-25, reprinted in Michael T. Martin, ed., Cinemas of the Black Diaspora : Diversity, Dependence & Oppositionality <\/span>(Detroit: Wayne State Press, 1995), 389-404 (with Adam Knee).<\/p>\n

–<\/strong>“Ethnicity, Roleplaying and Film Comedy,” in Lester Friedman, ed., Unspeakable Images: Ethnicity and the American Cinema<\/span> (Carbondale: University of Illinois: 1991), 41-81.<\/p>\n

-“L-O-V-E and H-A-T-E: Spike Lee’s Do The Right Thing,” Cineaste<\/span> 17:4 (1990), 37-38.<\/strong><\/p>\n

 <\/p>\n

Articles and Essays on Documentary Film and Photography:<\/span><\/p>\n

–\u201c<\/strong>Political Documentary, YouTube and the 2008 US Presidential Election: Focus on Robert Greenwald and David N. Bossie,\u201d Studies in Documentary Film<\/em> 4:1 (2010), 199-210.<\/p>\n

\u2013\u201cTruth and Rhetoric in Michael Moore\u2019s Fahrenheit 9\/11,\u201d <\/em>in Mathew Bernstein, ed., Michael Moore: Filmmaker, Newsmaker, Cultural Icon<\/em> (University of Michigan Press, 2010), 167-201.<\/p>\n

\u2013\u201cCarl Marzani & Union Films: Making Left-wing Documentaries during the Cold War, 1946-53\u201d The Moving Image<\/em>, 9:1 (Spring 2009): 116-172.<\/p>\n

\u2013\u201cFilm Truth in the Age of George W. Bush,\u201d Framework<\/em> 48:2 (Fall 2007), 9-35.<\/p>\n

-\u201cIntroduction: Documentary Before Verit\u00e9,\u201d Film History<\/em> 18:4 (2006), 355-360.<\/p>\n

-\u201c Presenting \u201ca True Idea of the African of To-day\u201d: Two Documentary Forays by Paul and Eslanda Robeson, in Film History<\/em> 18:4 (2006), 412-439.<\/p>\n

-\u201cThe Search for an Achievable Utopia: Robeson and Documentary\u201d in Paul Robeson: Portraits of the Artist <\/em>(Criterion DVD Set), <\/em>pp 45-52.<\/p>\n

\u2013”Utopian Visions in Cold War Documentary: Paul Robeson, Joris Ivens & Song of the Rivers <\/em>(1954),” in Cin\u00e9mas: Revue d\u2019etudes Cin\u00e9matographiques<\/span> vol.12, no 3 (Spring 2002\/3), 109-153.<\/p>\n

\u2013”Changing Conceptions of Truth in Photography, Chronophotography and Cinematography, 1887-1900,” in Fran\u00e7ois Albera, Marta Braun and Andre Gaudreault, eds., Stop Motion, Fragmentation: Exploring the Roots of Modern Visual Culture<\/span> (Lausanne: Editions Payot, 2002), 69-90.<\/p>\n

\u2013Three chapters on the history of documentary 1) 1895-1930; 2) 1930-1960 and 3) 1960 to 1995) for Geoffrey Nowell-Smith, ed., The Oxford History of World Cinema<\/span> (London: Oxford University Press, 1997), 86- 95, 322-333, 527-537.\u00a0 Book received the 1996 Theater Library Book Award.<\/p>\n

\u2013”Film Truth, Documentary and the Law: Justice at the Margins,” University of San Francisco Law Review<\/span> 30:4 (Summer 1996), 963-984.<\/p>\n

\u2013”Documentary Filmmaking in New York,” in Ken Jackson, ed., The Encyclopedia of New York City<\/span> (New Haven: Yale University Press, 1995), 337-338.<\/p>\n

\u2013”Locations, Fantasy, Response,” in Daan Hertogs and Nico de Klerk, eds., NonFiction From the Teens<\/span> (Amsterdam: Amsterdam Workshop, 1995), 28-37.<\/p>\n

\u2013”Recent Soviet Documentaries,” Cineaste<\/span> 17:2 (1989), 27-28.<\/p>\n

\u2013Dziga Vertov’s Enthusiasm, in McGill’s Survey of Cinema: Foreign Language Films<\/span> (Los Angeles: Salem Press, 1985).<\/p>\n

\u00a0<\/span><\/p>\n

Articles on American Film, Adaptation and Intermediality<\/span><\/p>\n

-“The Devil’s Parody: Horace McCoy’s Appropriation and Refiguration of Two Hollywood Musicals,” in Robert Stam and Alessandra Raengo, eds., A Companion to Literature and Film<\/span> (Malden, MA: Blackwell Publishing, 2004), 229-257.<\/p>\n

-\u201cThe Hidden and the Unspeakable: On Theatrical Culture, Oscar Wilde and Ernst Lubitsch\u2019s Lady Windermere’s Fan <\/em>(1925),\u201d Film Studies<\/span> 4 (Summer 2004), 12-47.<\/p>\n

-\u201cTowards a History of Theatrical Culture: imagining an integrated history of stage and screen,\u201d in John Fullerton, ed., Screen Culture: History and Textuality<\/span> (Eastleigh: England: John Libbey Publishing, 2004), 3-20.<\/p>\n

\u2013”DeMille, Divorce and the Comedy of Remarriage,” and “DeMille, Il Divorzio, e Le Commedie Coniugali,” in Paolo Cherchi-Usai and Lorenzo Cordelli, ed., L’Eredit\u00e0 DeMille\/The DeMille Legacy<\/span> (Pordenone: Edizioni Biblioteca dell’Immagine, 1991), 262-283; an expanded and revised version of the above appears in Henry Jenkins and Kristine Karnick, eds., Classical Film Comedy: Narrative\/Performance\/ Ideology<\/span> (New York: Routledge\/AFI, 1994), 282-313.<\/p>\n

 <\/p>\n

Articles and Essays on French cinema and Jean Renoir:<\/span><\/p>\n

–\u201cThe Clash between Theater and Film: Germaine Dulac, Andr\u00e9 Bazin and La Souriante Madame Beudet,\u201d <\/em>New Review of Film and Television Studies<\/span> (5:2 (August\u00a0 2007), 111-134.\u00a0 Honorable Mention, Katherine Kovacs Award for Best Essay in Media Studies<\/p>\n

-The Senses and Subjectivity: Germaine Dulac\u2019s La Souriante Madame Beudet<\/em> (1923) in The Five Senses of Cinema<\/span> <\/em>(Udine: 9th<\/sup> Congress of the Study of the Film, 2005), 127-129.<\/p>\n

\u2013”L’industrie du cin\u00e9ma en France et aux \u00c9tats-Unis entre 1900 et 1920: l’evolution du mode de production,” in Pierre-Jean Benghoizi et Christian Delage, eds., Une Histoire \u00c9conomique du Cin\u00e9ma Francais, 1895-1995: Regards franco-am\u00e9ricans<\/span> (Paris: Editions L’Harmattan, 1997), 63-80.<\/p>\n

\u2013”Social Roles\/Political Responsibilities:\u00a0 The Role of the Artist in the French Films of Jean Renoir, 1928-1939,” Film Historia<\/span>, 4:1(February 1994) 3-30.<\/p>\n

\u2013Jean Renoir’s La Chienne, in McGill’s Survey of Cinema: Foreign Language Films<\/span>.<\/p>\n

\u2013Jean Renoir’s Le Crime de\u00a0 M. Lange in McGill’s Survey of Cinema: Foreign Language Films<\/span>.<\/p>\n

\u00a0<\/span><\/p>\n

Articles on early and pre-classical cinema<\/span>:<\/p>\n

\u2013\u00a0\u00a0\u00a0\u00a0\u00a0 \u201cNationalism, Contradiction, and Identity: or, A Reconsideration of Early Cinema in the Philippines,\u201d in Nick Deocampo, ed., Origins of Cinema in Asia: Anthology of Writings on Early Cinema in Asia<\/em> (forthcoming, Indiana University Press)<\/p>\n

\u2013\u00a0\u00a0\u00a0\u00a0\u00a0 “The Stereopticon and Cinema: Media Form or Platform?” French translation in Fran\u00e7ois Albera and Maria Tortajada, eds. Cin\u00e9-dispositifs: spectacles, cinema, television, literature \u02c6(Lausanne, Suisse: L\u2019age de Homme as \u201c<\/em>Le Stereopticon et le Cinema: Forme de Media Form or Plate-forme de Medias?” 133-168, xxiii-xxiv.<\/p>\n

\u2013\u201c The Wages of Feminism: Alice Guy Blach\u00e9\u2019s Late Feature Films,\u201d in Joan Simon, ed., The Great Adventure: Alice Guy Blach\u00e9, Cinema Pioneer<\/em> (Yale University Press, Fall 2009), 81-100.<\/p>\n

\u2013\u201c1896-1897: Movies and the Beginnings of Cinema\u201d in Andre Gaudreault, eds. American Cinema 1890-1909: Themes and Variations<\/em> (New Brunsick,NJ, Rutgers University Press, 2009), 45-65.<\/p>\n

\u2013\u201cA Cinema of Contemplation, A Cinema of Discernment: Spectatorship, Intertexutality and Attractions in the 1890s,\u201d in Wanda Stauven, ed. Cinema of Attractions Reloaded<\/span> (Amsterdam: Amsterdam University Press, 2006), 159-179.<\/p>\n

\u201cThe Spectacle of Space,\u201d in Melik Ohanian and Jean-Christophe Royoux, Cosmograms<\/span> (New York: Lukas and Sternberg, 2005), 27-36.\u00a0 Also appeared in Portuguese as Cosmograms<\/em> (Sao Paolo, Brazil: Kristale, 2005), pp 5-6.<\/p>\n

\u2013\u201cThe May Irwin Kiss: Performance and Early Cinema,\u201d in Vanessa Toulmin and Simon Popple, eds., Visual Delights-two: Exhibition and Reception<\/span> (Eastleigh, UK: John Libbey, 2005), 96-115.<\/p>\n

-\u201cA Cornucopia of Images: Comparison and Judgment across Theater, Film, and the Visual Arts during the Late Nineteenth Century,\u201d in Nancy Mathews with Charles Musser, Moving Pictures: American Art and Early Film, 1890-1910<\/span> (New York: Hudson Hills Press, 2005), 5-37.<\/p>\n

-\u201c\u2019A Personality So Marked\u2019: Eugen Sandow and Visual Culture,\u201d in Nancy Mathews with Charles Musser, Moving Pictures: American Art and Early Film, 1890-1910<\/span> (New York: Hudson Hills Press, 2005), 104-110.<\/p>\n

-\u201cHistoriographic Method and the Study of Early Cinema,\u201d Cinema Journal <\/span>44:1 (Fall 2004), 101-107.<\/em><\/p>\n

\u2013”Movies, the Media and the War of 1898,” in The War of 1898<\/span> (in preparation)<\/p>\n

\u2013\u201cAt the Beginning: Motion Picture Production, Representation and Ideology at the Edison and Lumi\u00e8re companies.\u201d\u00a0\u00a0 In Lee Grieveson, ed., Silent Cinema Reader<\/em> (London: Routledge, 2003), 25-56.<\/p>\n

\u2013\u201cStory Films Become the Dominant Product, 1903-1904,\u201d in Lee Grievson, ed., Silent Cinema Reader<\/em> (London: Routledge, 2003), 200-233.<\/p>\n

-“Introducing Cinema to the American Public: The Vitascope in the United States, 1896-1897,” in Gregory Waller, ed., Moviegoing in America<\/span> (Oxford, UK: Blackwell Publishers, 2002), 13-27.<\/p>\n

\u2013”Nationalism and the Beginnings of Cinema: The Lumi\u00e8re Cin\u00e9matographe in the United States, 1896-1897,” Historical Journal of Film, Radio, & Television<\/span> 19: 2 (June 1999), 149-176.<\/strong><\/p>\n

\u2013”Reading Local Histories of Early Film Exhibition, Part II: Roger William Warren’s “History of the Motion Picture Exhibition in Denver, 1896-1911,” Historical Journal of Film, Radio, & Television<\/span> 19:2 (June 1999), 247–253.<\/p>\n

\u2013”Respektabilit\u00e4t und Aktualit\u00e4t.\u00a0 Gedanken zum kultrellen Stellenwert von Edisons filmen in der Kinetoscope-\u00c4ra,” in KINtop, Jahrbuch zur Erforshcung\u00a0 des fr\u00fchen Films<\/span> 6 (Basel; Frankfurt am Main: Stroemfold\/Roter Stern, 1997), special issue on Aktualit\u00e4ten, 67-79.<\/p>\n

\u2013”Filmer Buffalo Bill et Les Indiens.\u00a0 Commentaires sur deux films Edison pour le kinetoscope, r\u00e9alis\u00e9s le 24 September 1894,” 1895<\/span> (May 1996), 63-65.<\/p>\n

–“Reading Local Histories of Early Film Exhibition: Sylvester Quinn Breard’s ‘A History of the Motion Picture in New Orleans, 1896-1908,'” Historical Journal of Film, Radio, & Television<\/span> 15:4 (1995) 581-585.<\/p>\n

\u2013”Film Propaganda and World War I: Images of War During the First Months of Neutrality,” Roland Cosandey and Fran\u00e7ois Albera, eds. Images Across Borders, 1896-1918: Internationality in World Cinema: Representations, Markets, Influences, and Reception<\/span> (Lausanne: Editions Payot, 1995), 261-271.<\/p>\n

\u2013”Rethinking Early Cinema:\u00a0 Cinema of Attractions and Narrativity,” Yale Journal of Criticism<\/span> 7:2 (1994): 203-232; reprinted in Wanda Stauven, ed. Cinema of Attractions Reloaded<\/em> (Amsterdam: Amsterdam University Press, 2006), 389-416. French version: “Pour une approche du cin\u00e9ma des premiers temps: Le cin\u00e9ma d’attractions et la narrativit\u00e9,” in Michele Lagney, Michel Marie, Jean A Gili and Vincent Pinel, eds., Les vingt Premi\u00e8res ann\u00e9es du cinema fran\u00e7ais<\/span> (Paris: Presses de la Sorbonne Nouvelle, 1996), 147-175.<\/p>\n

\u2013”On ‘Extras,’ Mary Pickford, and the Red-Light Film: Filmmaking in the United States, 1913,” and an Italian translation, “Comparse, Mary Pickford e Film a Luce Rossa: Il cinema american nel 1913,” Griffithiana <\/span>50 (May 1994), 148-175.<\/p>\n

\u2013”Passions and the Passion Play: Theater, Film and Religion, 1880-1900,” Film History<\/span>.5:4 (1993), 419-456; French version: “Les Passions et les Myst\u00e8res de la Passion aux \u00c9tats-Unis (1880-1900) in Roland Cosandey et al., eds., Une Invention du Diable?: Cinema Des Premiers Temps et Religion<\/span> (Quebec City: Les Presses de L’Universit\u00e9 Laval, 1992), 145-186; a somewhat shortened version in Frank Couvares, ed., Cinema and Censorship (<\/span>Washington, D.C.: Smithsonian Institution Press, 1996).<\/p>\n

\u2013”Pre-Classical American Cinema: Its Changing Modes of Film Production,” Persistence of Vision<\/span> 9 (Fall 1991), 46-65; a somewhat revised version appears in Richard Abel, ed., Silent Film<\/span> (New Brunswick: Rutgers University Press, 1996), 85-108; a French version of this revision, “Le cin\u00e9ma Am\u00e9ricain des premiers temps et ses mod\u00e8les de production,” appears in Vingti\u00e8me siecle. Revue d’histoire <\/em>\u00a046 (April-June 1995), 45-63. A Japanese translation “Kotenki Izen no America-Eiga\u2013\u2013Eiga Seisaku ni Okeru sono Henlcam mudo,” in Cinema 101<\/span> (Spring and Summer 1996), 32-45.<\/p>\n

\u2013”Work, Ideology and Chaplin’s Tramp,” in Robert Sklar and Charles Musser, eds., Resisting Images: Essays in Cinema and History<\/span> (Philadelphia: Temple University Press, 1990), 36-67; This is a refined version of an article appearing in Radical History Review<\/span> (Spring 1988); an earlier version also appeared as “Chaplin’s Tramp and Ideological Appropriation,” in Eileen Bowser, ed., The Slapstick Symposium<\/span> (Brussels: FIAF, 1988), 61-80.\u00a0 French version in Film \u00e9change<\/span> No. 44 (1988), 1-17; condensed version in Steven Mintz and Randy Roberts, eds., Hollywood’s America: United States History Through Its Films<\/span> (St James, NY: Brandywine Press, 1993), 53-63.<\/p>\n

\u2013”Vitagraph, 1901-1905. Gli anni dimenticati” in Paolo Cherchi-Usai, ed., Vitagraph Company of America<\/span> (Pordenone, Italy: Le Giornate del Cinema Muto, 1987), 87-103.<\/p>\n

\u2013”Benshi Search,” Wide Angle<\/span> 9:2, 72-90. (with Horoshi Komatsu).<\/p>\n

\u2013”The Changing Status of the Actor,” in Leyda and Musser, eds., Before Hollywood: Turn of the Century Films from American Archives<\/span>, 57-62; reprinted in Pamela Robertson Wojcik, Movie Acting, The Film Reader<\/em> (New York: Routledge, 2004), 51-58.<\/p>\n

\u2013”Another Look at the ‘Chaser Theory,” Studies in Visual Communication<\/span> 10:4 (November 1984), 24-44+.<\/p>\n

\u2013”The Travel Genre in 1903-4: The Move Toward Fictional Narrative,” Iris<\/span> 2:1 (Spring 1984), 47-59; reprinted in Adam Barker and Thomas Elsaesser, Early Cinema: Space Frame Narrative<\/span> (London: BFI, 1990), 123-132; Italian translation, “Il genere dei “film di viaggio” negli anni 1903-1904,” in Riccardo Redi, ed., Da Edison a Griffith<\/span> (Genova: Di Giacomo Editore, 1990), 33-42.<\/p>\n

\u2013”Toward a History of Screen Practice,” Quarterly Review of Cinema Studies<\/span> 9:1(Winter 1984), 59-69.<\/p>\n

\u2013”The Nickelodeon Era Begins: Establishing Hollywood’s Mode of Representation,” Framework<\/span> 22\/23 (Autumn 1983), 4-11.\u00a0 A Japanese translation appears in Image Forum<\/span> (May 1985); revised version in Adam Barker and Thomas Elsaesser, eds., Early Cinema: Space Frame Narrative<\/span>, 256-273; Italian translation, “Cominicia l’era del nickelodeon,” in Riccardo Redi, ed., Da Edison a Griffith<\/span> (Genova: Di Giacomo Editore, 1990), 57-71; German translation, “Die Nickelodeon-\u00c4ra beginnt,”\u00a0 in Kintop<\/span> 5 (1996): 13-35; Czech translation, \u201c\u00c9ra nickelodeonu zac\u00edn\u00e1.\u00a0 Vytvoren\u00ed podm\u00ednek pro hollywoodsky modus reprezentace,\u201d in Petr Szczepanik, ed., Nov\u00e1 Filmov\u00e1 Histoire (Praque: Nakladatelstvi Herrmann & synovee, 2004) 224-245<\/p>\n

\u2013”American Vitagraph: 1897-1901,” Cinema Journal<\/span> 22:3 (Spring 1983), 4-46; and in John Fell, ed., Film Before Griffith<\/span> (Berkeley: University of California Press, 1984), 22-66; revised version, Italian translation in Paolo Cherchi-Usai, ed., Vitagraph Company of America<\/span> (Pordenone, Italy: Le Giornate del Cinema Muto, 1987), 29-102.<\/p>\n

\u2013”The Eden Musee in 1898: Exhibitor as Creator,” Film and History<\/span> (December 1981), 73-83+.\u00a0 An expanded French version appeared in film \u00e8change<\/span> (Winter 1984), 9-20.<\/p>\n

\u2013”The Early Cinema of Edwin S. Porter,” Cinema Journal<\/span> 19:1(Fall 1979), 1-38.\u00a0 An earlier version appeared in Roger Holman, ed., Cinema 1900-1906: An Analytic Study<\/span> (London: FIAF, 1982) 261-280;\u00a0 French translation in Cahiers de la Cinematheque<\/span> (Winter 1979).\u00a0 Article was awarded the 1978 Society for Cinema Studies Student Award for Scholarly Writing.<\/p>\n

 <\/p>\n

Essays, Reviews, Discussions, etc.<\/span>:<\/p>\n

Introduction: <\/strong>\u201cBlack Representations, Film History<\/em> 23:2 (2011), 107-109.<\/p>\n

Book Review:<\/strong> \u201c<\/em>Nickelodeon City: Pittsburgh at the Movies, 1905-1929,\u201d Film History<\/em> vol 22, no 3 (2010), 282-285.<\/strong><\/p>\n

Book Review: \u201c<\/strong>Entertainment Industrialised: The Emergence of the International Film Industry, 1890-1940,\u201d Journal of Modern History<\/em> (December 2010), 913-915. <\/strong><\/p>\n

Book Review: \u201c<\/strong>The Man Who Made Movies: W.K.L. Dickson,\u201d Historical Journal of Film, Radio and Television<\/em> vol. 30, no 2 (June 2010), 229-231.<\/strong><\/p>\n

Book Review: <\/strong>\u201c<\/span>Seven Up,\u201d Film Quarterly<\/em> 62: 4 (Summer 2009): 91-92.<\/strong><\/p>\n

Book Review: \u201c<\/strong>D. W. Griffith\u2019s <\/em>The Birth of a Nation: A History<\/em> <\/strong>of \u201cThe Most Controversial Motion Picture<\/em> <\/strong>of All Time.\u201d<\/em> Journal of American History (March 2009), 1207-1209.<\/strong><\/p>\n

Film Notes:\u00a0 <\/strong>Grandma\u2019s Looking Glass<\/em> (G.A. Smith, 1900) and Grandpa\u2019s Looking Glass<\/em> (1902), Pordenone Silent Film Festival 2008 Catalog<\/em>, pp 132-135.<\/p>\n

Book Review:\u00a0 <\/strong>\u201cMigrating to the Movies: Cinema and Black Urban Modernity<\/em>,\u201d Film<\/em> Quarterly<\/em>, 62, No 1 (Sept. 2008): 89\u201391<\/p>\n

Foreword: <\/strong>Dan Strieble, Fight Pictures: A History of Boxing and Early Cinema<\/em> (UC Press, 2008), xii-xvi.<\/strong><\/p>\n

Liner Notes for fiip cards: <\/strong>\u201cSandow,\u201d \u201cThe May Irwin Kiss,\u201d Annabelle Butterfly Kiss,\u201d \u201cThe Corbett-Courtney Fight,\u201d <\/em>for Optical Toy Company (2007).<\/p>\n

Film Note: <\/strong>\u201cOn Shoes and Kisses,\u201d Fashion in Film Festival\/Between Stigma and Enigma (London, May 2006).<\/p>\n

Film Notes:<\/strong>\u00a0 \u201cIncunabula,\u201d 25TH<\/sup> Pordenone Silent Film Festival 2005 Catalog, pp 115-122. (with Vanessa Toulmin)<\/p>\n

Book Reivew: <\/strong>\u201cEncyclopedia of Documentary Film<\/em>,\u201d Documentary Box<\/em>\u00a0 27 (2006), 33. English and Japanese editions.<\/p>\n

-Encyclopedia Entries: <\/strong>\u201cEdison Manufacturing Company,\u201d Elias Burton Holmes, Lyman H. Howe, Edwin S. Porter,\u201d \u201cEugen Sandow,\u201d <\/strong>in <\/strong>Richard Abel, ed., Encyclopedia of Early Cinema<\/span> (London: Routledge, 2005), 200-203, 303-304, 304-305, 526-517, 562-563. Theater Library Book Award for Best Book on Film and Television. <\/strong><\/p>\n

Film Note:\u00a0 <\/strong>on A Sixth Part of the World<\/em> (Vertov, 1926) (written with John MacKay)\u00a0 in Le Giornate del Cinema Muto 2004 Catalog (Pordenone: Giornate del Cinema Muto, 2004), 55-88<\/p>\n

Hommage: <\/strong>‘Noel Burch, Film Practice<\/em> und das Studium des fr\u00fchen Kinos – eine pers\u00f6nliche Erinnerung’, in: KINtop. Jahrbuch zur Erforschung des fr\u00fchen Films – 12: Theorien zum fr\u0192hen Kino<\/span>, Frankfurt am Main, Basel: Stroemfeld Verlag, 2003, pp. 87-90.<\/p>\n

Short essays: <\/strong>\u201cThe Coming of Angelo\u201d and \u201cThe Mistake\u201d<\/em> inPaolo Cherchi Usai, ed. The Girffith Project<\/em>, vol 7: Films Produced in 1913 (London: BFI Publishing, 2003), 10104-108.<\/p>\n

Letter to the Editor:<\/strong> Comments of the Before Screwball Issue Film History<\/em> vol. 15, no 1 (2003), 110-115.<\/p>\n

Filmography: <\/strong>\u201cAn Oscar Micheaux Filmography: From the Silents through His Transition to Sound, 1919-1931,\u201d (with Corey K. Creekmur, Pearl Bowser, J. Rohald green, Charlene Regester, and Louise Spence,\u201d in Pearl Bowser, Jane Gaines and Charles Musser eds., Oscar Micheaux and His Circle: African-American Filmmaking and Race Cinema of the Silent Era<\/em> (Bloomington: Indiana University Press, 2001), 228-277.<\/p>\n

Filmography: <\/strong>\u201cA Colored Players Film Corporation Filmography,\u201d in Bowser, Gaines and Musser eds., Oscar Micheaux and His Circle: African-American Filmmaking and Race Cinema of the Silent Era<\/em>, 278-285.<\/p>\n

Program notes<\/strong>: By Right of Birth<\/em> <\/strong>(Lincoln Motion Picture Company, 1921), The Pilgrim<\/em> (Chaplin, 1923), Show Boat<\/em> (Universal, 1929),\u00a0 for the Giornate Del Cinema Muto (Sacile, Italy; October 2001), Body and Soul <\/strong><\/em>\u00a0(Micheaux, 1925), Hallelujah<\/em> <\/strong>(Metro-Goldwyn-Mayer, US, 1929), The Darktown Revue (Micheaux, 1931), Ten Nights in a Bar Room<\/em> (Colored Players Film Corporation, 1926), Ten Nights in a Bar Room<\/em> (Blazed Trails Productions\/ Arrow Film Corporation, 1921), Eleven, P.M.<\/em> (written with Pearl Bowser) (Maurice Film Company, ca. 1929) in Giornate del Cinema Muto, Catalog<\/em> (October 2001).\u00a0 <\/strong><\/p>\n

Entries: <\/strong>\u00a0\u201cThe Studio System\u201d and \u201cCharles Chaplin\u201d for Encyclopedia of American Studies<\/span> (New York: Grolier, 2001), vol 1: 295-297; vol 4: 191-194.<\/p>\n

Short Essay: <\/strong>\u201cTurning the Tables\u201d (on Micheaux\u2019s Body and Soul<\/span>), Film Comment<\/span> (September 2000), 67-69.<\/p>\n

Career Overview: <\/strong>“The Innovators 1900-1910 (Edwin Porter),” Sight and Sound<\/span>, March 1999, 16-18.<\/p>\n

Program notes: <\/strong>Body and Soul<\/span> (1925),Sanders of the River<\/span> (1935), Show Boat<\/span> (1936), My Song Goes Forth<\/span> (1937), Big Fella<\/span> (1937), The Proud Valley<\/span> (1940), Tales of Manhattan<\/span> (1942), People’s Congressman<\/span> (1948), Song of the Rivers<\/span> (1954), Earl Robinson and Paul Robeson Sing for the DDR<\/span> (1954) and Paul Robeson: Here I Stand<\/span> (1999)\u00a0 for retrospectives at UCLA Film & Television Archive (Los Angeles, October 1998) and\/or Museum of Modern Art (June-July 1999).<\/p>\n

Program note: <\/strong>Show Boat<\/span> (1936) Academy of Motion Picture Arts & Sciences (11 September 1998)<\/p>\n

Translation\/Intertitles: <\/strong>from the French, for restoration of Symbol of the Unconquered<\/span> (Oscar Micheaux, 1920) for Museum of Modern Art and Turner Entertainment.<\/strong><\/p>\n

Entry:<\/strong> “western films” in Howard Lamar, ed., The New Encyclopedia of the West<\/span> (New Haven: Yale University Press, 1998), 364-369. (with S. B.)<\/p>\n

Liner notes for laser disk: <\/strong>The Lumi\u00e8re Brothers First Films<\/span> (Kino Video).<\/p>\n

Notes for video box:<\/strong>\u00a0 Oscar Micheaux’s Body and Soul<\/span> (Kino Video, uncredited)<\/p>\n

Foreword: <\/strong>for Jan-Christopher Horak’s Moving the Image: Films by Photographers<\/span> (Washington, D. C.: Smithsonian Institution Press, 1997).<\/p>\n

Book Review: <\/strong>“Futoshi Koga’s Lumi\u00e8re! Les Lumi\u00e8re! et le Japon, 1895-1995<\/span>” in Film Quarterly<\/span> 50:1 (Fall 1996), 62-63<\/p>\n

Entries: <\/strong>“Astoria Studios,” “Biograph Company,” “Edison Manufacturing Co,” “Sidney Lumet,” \u201cVitagraph Company” in Ken Jackson, ed., The Encyclopedia of New York City<\/span> (New Haven: Yale University Press, 1995), 64, 110, 364, 699-700, 1229-1230.<\/p>\n

Entry: <\/strong>“Marx Brothers,” in The Encyclopedia of New York City<\/span> (New Haven: Yale University Press, 1995), 732-733 (with David Nasaw).<\/p>\n

Essay: <\/strong>“Filmmaking in New York City,” in Ken Jackson, ed., The Encyclopedia of New York City<\/span> (New Haven: Yale University Press, 1995), 403-407.<\/p>\n

Foreword: <\/strong>for Gregory Waller’s Main Street Amusements: Film and Commercial Entertainments in Lexington, Ky., 1895-1930 <\/span>(Washington, D. C.: Smithsonian Institution Press, 1995).<\/p>\n

Homage: <\/strong>“‘That Crazy Italian’: Angelo Humouda,” <\/strong>Griffithiana<\/span> (April 1995), 50-51.<\/p>\n

Booklet:\u00a0 <\/strong>The Movies Begin: \u00a0<\/strong>Annotated Notes on Five Programs of Early Films<\/span>, Kino International, accompanying the release of five videos.<\/p>\n

Book Review:<\/strong> Dwight W. Hoover\u2019s Middletown<\/span><\/em>: The Making of a Documentary Series<\/span>, in Film Quarterly<\/span> 47:2 (1994), 54-56.<\/strong><\/p>\n

Book Review:\u00a0 <\/strong>Douglas Gomery’s Shared Pleasures<\/span>, in Journal of American History<\/span> 80:2 (September 1993), 711.<\/p>\n

Foreword: <\/strong>for David Desser and Gaylyn Studlar, eds., Reflections in a Male Eye: John Huston and the American Experience<\/span> (Washington, D. C.: Smithsonian Institution Press, 1993).<\/p>\n

Book Review: <\/strong>John Barnes’s Filming the Boer War<\/span>, in Film Quarterly<\/span> 46: 3 (Spring 1993), 62.<\/p>\n

Book Review: <\/strong>Celia Bertin’s Jean Renoir: A Life in Pictures<\/span>” in Film Quarterly<\/span>\u00a0 46:2 (Winter 1992-93), 54-55.<\/p>\n

Foreword: <\/strong>for Kyoko Hirano\u2019s Mr. Smith Goes to Washington: Japanese Cinema Under the American Occupation, 1945-1952<\/span> (Washington, D. C.: Smithsonian Institution Press, 1992)<\/p>\n

Book Review: <\/strong>Thomas W. Benson and Carolyn Anderson’s <\/strong>Reality Fictions: The Films of Frederick Wiseman<\/span> in Film Quarterly<\/span> 45: 4 (Summer 1992), 59. <\/strong><\/p>\n

Book Review: <\/strong>Patricia King Hanson, executive editor, The American Film Institute Catalog of Motion Pictures Produced in the United States, Feature Films, 1911-1920<\/span> in Cineaste<\/span> 17:3 (1990): 64.<\/p>\n

Book Review: <\/strong>“Bela Balasz,” in Cineaste<\/span> 16:4 (1988), 57-58.<\/strong><\/p>\n

Book Review: <\/strong>“Three Books on Film Comedy,” in Film Quarterly<\/span> (Summer 1988), 32-33.<\/p>\n

Book Review: <\/strong>John Barnes’s The Rise of the Cinema in Great Britain<\/span>, in Film Quarterly<\/span> (Spring 1987), 53.<\/p>\n

Biographical Survey: <\/strong>\u00a0“Edwin S. Porter,” World Film Directors, Vol 1, 1890-1945<\/span> (New York, Wilson Company, 1987), 870-881.<\/p>\n

Book Review<\/strong>: Roy Rosenzweig’s Eight Hours for What We Will<\/span>, in Film Quarterly<\/span> (Summer 1985), 45.<\/p>\n

Book Review<\/strong>: Gorham Kindem, ed., The American Movie Industry<\/span> in Cineaste<\/span> 14:2 (1985), 49-50.<\/p>\n

Book Review<\/strong>: Richard Koszarski’s The Man You Love to Hate<\/span>, in Film<\/span> Quarterly<\/span> (Summer 1984), 56-7.<\/p>\n

Symposium: <\/strong>“The Humanities and the Moving Image Media: Institutional Self-study for the Moving Image Museum at Astoria”: participant and presented paper: “The Astoria Museum: Making an Intervention.”<\/p>\n

Short article<\/strong>: “The London Film Fest: Making a Deal,” The Independent<\/span> (July-August 1984), 28.<\/p>\n

Short article<\/strong>: “A Filmmaker’s Diary of A Journey to Berlin,” The Independent<\/span> (October 1983), 22-24.<\/p>\n

Debate: <\/strong>“An Exchange with Douglas Gomery,” Cinema Journal<\/span> (Summer 1983), 58-64.<\/p>\n

Translation<\/strong>: from the French: article by Andr\u00e9 Gaudreault, “Detours of Film Narrative,” Cinema Journal<\/span> 19: 1(Fall 1979), 39-59.<\/p>\n

Short article: <\/strong>“Bob the Fireman: Une Presentation pour lanterne magique,” Cahiers de la Cin\u00e9matheque<\/span> (Winter 1979), 147-151.<\/p>\n

Translation<\/strong>:\u00a0 from the Russian: Vladamir Mayakovsky’s poem, “Film and Film,” The Independent<\/span> (1976).<\/p>\n

Short Article: <\/strong>“The Pottery Film,” Studio Potter<\/span> (1974).<\/p>\n

Film Reviews: <\/strong>Yale Daily News<\/span> (1971-2).<\/p>\n

 <\/p>\n

Selected Lectures and Presentations: <\/span><\/strong><\/p>\n

-\u201cWhen Did Cinema Become Cinema?: Problems in Historiography and Theory,\u201d Conference on The Impact of Technological Innovations on the Historiography and Theory of Cinema<\/em>, Cin\u00e9math\u00e8que Quebecoise (Montreal), 5 November 2011.<\/p>\n

\u201cThe Unstable Text, Variable Spectators and Interpretation: Al Jolson, Blackface and The Jazz Singer<\/em>\u201d lecture in class on Theory of Media, Yale University, 13 October 2011.<\/p>\n

-Presentation of Errol Morris: A Lightning Sketch<\/em>, Visible Evidence 18 (New York University), 13 August\u00a0 2011.<\/p>\n

-\u201cThe Prisoner<\/em> and Other Documentaries on Abu Ghraib,” The Iraq Experience, International Festival of Arts and Ideas (New Haven, CT), 19 June 2011.<\/p>\n

\u2013”The Stereopticon and Cinema: Media Form or Platform?” University of Lausanne (Switzerland), 5 May 2011.<\/p>\n

-\u201cShifting the Historical Paradigm from Film Studies to Media Studies:\u00a0 Audio-Visual Media in the Presidential Campaigns of 1892 and 1896,\u201d American Studies Symposium, Yale University (New Haven, CT), 29 April 2011.<\/p>\n

-Presentation of Errol Morris: A Lightning Sketch<\/em>, Brooklyn College, 7 April 2011.<\/p>\n

-\u201c”Cinema, Newspapers and the US Presidential Election of 1896,” 8th Seminar on the Origins and History of Cinema (Girona Spain), 1 April 2011.<\/p>\n

-\u201cShifting the Historical Paradigm from Film Studies to Media Studies: Audio-Visual Media in The Presidential Campaigns of 1892 and 1896,\u201d SCMS Conference (New Orleans), 12 March 2011.<\/p>\n

\u201cWhy Did Negroes Love The Jazz Singer <\/em>(1927),\u201d presentation for English 327 (John Williams), Yale University, 2 March 2011.<\/p>\n

-\u201cLa Via del Petrolio (Bernardo Bertolucci, 1966), Seminar on \u201cControversial Modernity: Cinema, Industry and Society in Italian Documentaries from ENI Archives Yale University, 24 February 2011.<\/p>\n

-Presentation of Errol Morris: A Lightning Sketch<\/em>, SUNY-Purchase, 16 February 2011.<\/p>\n

-\u201cSome Thoughts on Fantomas<\/em>,\u201d Fantomas Conference<\/em>, Yale University, 12 February\u00a0 2011.<\/p>\n

-Presentation of Errol Morris: A Lightning Sketch<\/em>, Yale University, 13 January 2011.<\/p>\n

-Orphans Redux: Presenting The Investigators,\u201d <\/em>Anthology Film Archives (New York, NY), 12 January 2011.<\/p>\n

-\u201cComments on British Documentaries, 1942-43,\u201d Films From the Darkest Hour: Europe 1942-43<\/em> (Yale University, 4 December 2010).<\/p>\n

-Screening & Discussion of Errol Morris: A Lightning Sketch<\/em> (a work in progress), Queens Theatre, Belfast, Ireland, 22 November 2010.<\/p>\n

-\u201cDemons of Representations; Al Jolson and The Jazz Singer<\/em> (1927),\u201d (Research and Postgraduate Seminar, Queens University, Belfast Ireland, 22 November 2010)<\/p>\n

–<\/strong>\u201cOrphans of NYC: People\u2019s Congressman<\/em> (1948), DOC NYC (IFC Center, NY; 7 November 2010)<\/p>\n

-\u201c<\/strong>The Transformative Powers of Newspaper Research \u2013\u2013and Serendipitous Film Viewing: The Case of The Jazz Singer<\/em> (Tecnol\u00f3gico de Monterrey, Mexico, 5 November 2010).<\/p>\n

-Film Presentation: Plan B: A Conversation with Errol Morris at the Globe Department Store<\/em> (Tecnol\u00f3gico de Monterrey, Mexico, 4 November 2010)<\/p>\n

-\u201cFilm Studies-Media Studies\u201d History and Theory of Media Seminar, Yale University, 9 November 2010.<\/p>\n

-\u201cDocumentary and the Public Humanities,\u201d for AMST903a, Introduction to Public Humanities (Yale University, 1 November 2010).<\/p>\n

-\u201c Demons of Racial Representation: Al Jolson and The Jazz Singer<\/em> ,\u201d guest lecture, English 127a Yale University (13 October 2010).<\/p>\n

–\u201cRobeson and Colonial Cinema,\u201d Colonial Film Conference, Bierbeck College (London, UK; 7 July 2010)<\/p>\n

-\u201cVirtual Binaries: The Documentaries of Errol Morris,\u201d International Festival of Arts and Ideas (New Haven, CT, 19 June 2010)<\/p>\n

-\u201c <\/strong>The Environmental Documentary and the Contemporary Moment,\u201d SCMS Conference (Los Angeles, CA, 19 March 2010).<\/p>\n

-\u201cHow Alice Guy Blache: Worked Through her Anxieties on Film,\u201d Alice Guy Blache: After the Exhibition, Maison Fran\u00e7aise, Columbia University (New York, 13 March 2010)<\/p>\n

-Comments on Native Land<\/em>,\u201d Leo Hurwitz Retrospective, Anthology Film Archive (New York, 12 March 2010).<\/p>\n

– Respondent, Graduate Student Conference on Exhibition, Yale University (New Haven, CT., 28 January 2010).<\/p>\n

– Panelist, Roundtable \u201cAlice Guy Blach\u00e9\u00b4: Cinema Pioneer,\u201d in conjunction with the opening of the Alice Guy Blach\u00e9 Retrospective @ the Whitney Museum, Fall and Winter Readings, 192 Books (New York City, 5 November 2009).<\/p>\n

-“The Beginnings of Cinema\/The Rise of YouTube,” Film Studies Program Colloquium on the Discipline, Yale University, 30 October 2009.<\/p>\n

-\u201c\u201cThe Historical and Theoretical Framework of Cinema Verit\u00e9,\u201d Visible Evidence Conference, USC (Los Angeles, CA, 17 August 2009).<\/p>\n

-\u201c The Politics of Depicting Motion,\u201d Planning Seminar for Edweard Muybridge Exhibition, Corcoran Gallery of Art (Washington, D.C., 9 June 2009).<\/p>\n

\u2013\u201cNationalism, Contradiction and Identity: Reassessing the Origins of Filipino Cinema,\u201d Krtitika Kultura Lecture Series,<\/em> Ateneo de Manila University (Quezon City, Philippines, 8 May 2009).<\/p>\n

\u2013\u201cLooking for Cinema Verit\u00e9\u2019s Theoretical Roots,\u201d Cinema Verit\u00e9 Then, Cinema Verit\u00e9 Now Conference, Yale University, 2 May 2009.<\/p>\n

-\u201cFrom The Beginnings of Cinema to YouTube and Our Computers,\u201d Conference on the History of Film Theory (Udine, 25 March 2009)<\/p>\n

\u2013\u201cLooking for Cinema Verit\u00e9\u2019s Theoretical Roots,\u201d Cinema Verit\u00e9 Then, Cinema Verit\u00e9 Now Conference, Yale University, 2 May 2009.<\/p>\n

-\u201cThe Documentaries of Abu Ghraib,\u201d St. Paul\u2019s School, 27 February 2009.<\/p>\n

-Oscar Micheaux and Cecil B. DeMille: From Within Our Gates to Symbol of the Unconquered,\u201d Faded Glory: Oscar Micheaux and the Pre-War Black Independent Cinema Conference (Columbia University, Feb 6-7, 2009)<\/p>\n

-\u201cVictorian Film,\u201d Material Study Sessions (with Vanessa Toulmin), Annual meeting, North American Victorian Studies Association, Yale University) 14 and 15 November 2008.<\/p>\n

\u2013\u201c Le Retour de la Vie<\/em> and La Vie est a Nous<\/em>,\u201d 1936: Film Fronts<\/em>, Yale University, 16 October 2008.<\/p>\n

\u2013\u201cThe Brighton Conference, 30 Years Later,\u201d panel, Giornate del Cinema Muto (Pordenone, Italy), 7 October 2008.<\/p>\n

-\u201cDemons of Representation: Al Jolson and The Jazz Singer<\/em>,\u201d Colgate University, 22 September 2008.<\/p>\n

\u201cThe Documentaries of Abu Ghraib,\u201d Hamilton College, 21 September 2008.<\/p>\n

\u201cClyde Taylor, Cinema and \u201cto be Underdeveloped,\u201d A Celebration of Professor Clyde Taylor, New York University, 20 September 2008.<\/p>\n

\u2013\u201cDocumentary and Abu Ghraib,\u201d Visible Evidence Conference, University of Lincoln, (Lincoln, UK; August 6, 2008)<\/p>\n

\u2013\u201cJohn Szwed and Film Studies,\u201d Conference in Honor of John Szwed, Yale University 9 May 2008.<\/p>\n

-\u201cRevisiting the Touchy Subject of Race: Al Jolson and The Jazz Singer<\/em>,\u201d Emory University (Atlanta, April 7, 2008)<\/p>\n

-\u201cPeople\u2019s Congressman <\/em>& Union Films: Progressive\/Left Wing Filmmaking Immediately After World War II,\u201d Orphans 6; A Film Symposium, New York University (29 March 2008).<\/em><\/p>\n

\u2013\u201cJoris Ivens\u2019s A Tale of the Wind,\u201d <\/em>conference on 1989: Film Culture and the Fall of the Wall, Yale University (February 9, 2008)<\/p>\n

-\u201cWriting and Research: Everyday Habits and Exceptiona Moments,\u201d Comparative Literature Dept, Yale University, October 29, 2007.<\/p>\n

\u201cOn Charles Burnett,\u201d Introductory talk for a conversation with Charles Burnett, \u201cThe Films of Charles Burnett,\u201d Cinema at the Whitney (Yale University, 20 October 2007)<\/p>\n

-\u201c Early Cinema in Asia, India & the Philippines,\u201d Conference on Origins of Cinema in Asia, 9th<\/sup> Osian\u2019s Cinefan, The Festival of Asian and Arab Cinema (New Delhi, India; 22 July 2007)<\/p>\n

-\u201cNew Tricks for Old Dogs: Film Historical Research and the Internet,\u201d Symposium: \u201cOpen Collections: Exploring Online Cultural Resources,\u201d American Museum of the Moving Image (NYC), 18 June 2007.<\/p>\n

\u2013\u201cEdison and Lumi\u00e8re: Early Cinema, Fine Art and the Clash of Cultures,\u201d Phillips Collection (Washington, D.C.), 19 April 2007.<\/p>\n

-\u201cMoving Pictures: American Art and Early Cinema, 1880-1910: A Film Scholar\u2019s Viewpoint,\u201d <\/strong>Film & Video Within the Gallery Walls Round Table<\/em>, SCMS Conference (Chicago, Il, 8 March 2007).<\/p>\n

\u2013\u201cLong Live Titay Molina, Edward Meyer Gross and Filipino Film Culture; or, a Reconsideration of Early Cinema in the Philippines,\u201d SCMS Conference (Chicago, Il, 8 March 2007).<\/p>\n

\u2013\u201cFilm Truth in the Age of George W. Bush,\u201d War, Documentary and Iraq: A Conference at Yale University (New Haven, Ct.), 2 February 2007.<\/p>\n

\u2013\u201cThe Dawn of Cinema and the Transformation of American Culture,\u201d One Day University (Purchase, New York), 18 November 2006.<\/p>\n

\u201cTruth and Documentary in the Age of George W. Bush,\u201d F. Ross Johnson Distinguished Speaker Series, Centre for the Study of the United States, University of Toronto (Toronto, Canada) 11 November 2006.<\/p>\n

\u2013Moderator of Panel: \u201cMoving Pictures: Fine Art, Early Cinema and the Politics of Culture,\u201d Center for Media and Religion (NYU, New York), 20 October 2006<\/p>\n

Panelist, \u201cNew Trends in Film Studies,\u201d Giornate del Cinema Muto (Sacle, Italy), 12 October 2006.<\/p>\n

\u2013\u201cLumiere and Edison: The Beginnings of Cinema and the Clash of Culture\u201d La Maison Fran\u00e7aise<\/em> (NYU, New York), 3 October 2006<\/p>\n

\u2013\u201cThe Thread of Destiny: New York and the Origins of the Cinema,\u201d with Deac Rossell, New York Film\/Video Council (Eastman Kodak Company, New York), 5 May 2006.<\/p>\n

-Colloquium: <\/em>\u201cMay Irwin’s Kiss: The Beginnings of Cinema and the Transformation of American Culture,\u201d Colloquium, Comparative Media Program, MIT (Cambridge, Ma.), 4 May 2006.<\/p>\n

\u2013Testimonial for Don Krim,\u201d Anthology Film Archives Awards, New York City, 27 March 2006.<\/p>\n

-\u201c May Irwin\u2019s Kiss: Film and the Transformation of Culture,\u201d Clark Art Institute, (Williamstown, MA), 28 February 2006.<\/p>\n

-Joris Ivens at a Crossroads: La Seine Meets Paris (1957) Europe at the Crossroads: Cinema circa 1956 Conference, Yale University (New Haven, Ct, 9 February 2006).<\/p>\n

-May Irwin\u2019s Kiss: Film and the Transformation of Culture, \u201cLookalikeness\u201d Conference, Duke University (Durham, NC), 13 January 2006.<\/p>\n

-The Clash between Theater and Film: Germaine Dulac in the 1920s,\u201d \u201cWhat is Theater in What is Cinema?: <\/em>A Symposium around Andr\u00e9 Bazin, <\/em>Yale University 3 December 2005.<\/p>\n

-\u201cArt and Cinema: Challenges and Questions Posed by the Moving Pictures Exhibition,\u201d <\/em>Conference on <\/em>Moving Pictures: Art and Early Cinema, 1880-1910, Williams College Museum of Art (Williamstown, Mass.: 21 October 2005) (keynote)<\/p>\n

-Participant, Panel Discussion Francesco Casetti\u2019s The Eye of the 20th<\/sup> Century<\/em>,\u201d Giornate del Cinema Muto (9 October 2005)<\/p>\n

-\u2018The New Film Truth: Documentary after 9\/11,\u201d Visible Evidence Conference XII (Montreal, Canada), 23 August 2005\u00a0 (plenary)<\/p>\n

-\u201cEdison and Lumi\u00e8re: a Comparison,\u201d Appreciating Early Film History, University of Philippines-Dilman (Quezon City), 29 July 2005<\/p>\n

-\u201cEarly Film History; Its Subject and Its Writing,\u201d Origins of Cinema in South East Asia Conference (Mowelfund Film Institute, Quezon City, Philippines) 27 July 2005.<\/p>\n

-Edison: the Invention of the Movies\u201d Con Edison (Queens, New York) 9 June 2005<\/p>\n

-\u201cFilm Truth\/Legal Truth: Documentaries versus the Courts,\u201d \u00a0Documentary and the Law Conference, Hofstra University (New York; 5 May 2005).<\/p>\n

-\u201c <\/strong>Documentary and the War in Iraq: The Emergence of a New Film Truth,\u201d Humanities Institute SUNY-Stoney Brook (Stoney Brook, NY; 2 May 2005).<\/strong><\/p>\n

-Views of a Filmmaker turned Scholar and Administrator,\u201d on panel “FILM EDUCATORS:\u00a0CAN CREATIVITY BE TAUGHT?” <\/em>\u00a0Yale in Cinema, Newport Beach Film Festival (Newport Beach, Ca., 23 April 2005)<\/p>\n

-\u201cJay Leyda as a Teacher,\u201d for Jay Leyda: His Life, Work and Legacy Conference (NYU, 9 April\u00a0 2005)<\/p>\n

-\u201cRobeson\u2019s Core Films,\u201d Paul Robeson International Conference (Lafayette College, 8 April 2005)<\/p>\n

-\u201cThe Uncertain Future: Humphrey Jennings\u2019s Diary for Timothy<\/em> (1945),\u201d Somewhere in Europe Circa 1945 <\/em>\u00a0(Yale University, <\/em>17 February 2005)<\/p>\n

-\u201cFilm and Night,\u201d presentation for Shelia de Brettville\u2019s course \u201cNight,\u201d (Yale University, 9 February 2005)<\/p>\n

-\u201cFilm Truth and The Think Blue Line<\/em>,\u201d invited talk, Documentary and the Law course (Prof Regina Austin), University of Pennsylvania Law School, 27 October 2004.<\/p>\n

Invited Participant and session co-chair, Re-Assembling the Programme Conference (Amsterdam, Netherlands Filmmuseum, 21-24 July 2004)<\/p>\n

-Gallery Talk (with Toni Dorfman), \u201cStage Struck in America: Artists, Entertainers & Audiences, 1906-1956,\u201d Yale Art Gallery, 16 April 2004.<\/p>\n

-Panel Member, \u201cThe Strange Case of The Fall of Jerusalem<\/em>,\u201d (Columbia, South Carolina; Orphan Film Symposium, 26 March 2004)<\/p>\n

-\u201cVersions and Variations: Two Films by Germaine Dulac,\u201d (Gradisca, Italy; International Film Studies Spring School; Topic: Multiple Versions at the Beginning of the Sound Era: Film and Other Media; 19 March 2004)<\/p>\n

-\u201cThe Senses and Subjectivity: Germaine Dulac\u2019s La Sourinate Madame Beudet<\/em> (1923),\u201d (Udine, Italy; The Five Sense of Cinema Conference (XI Convegno Internazionale di Studi sul Cinema, 17 March 2004,)<\/p>\n

-\u201cVirtual Binaries: The Documentaries of Errol Morris,\u201d SCMS Conference (Atlanta, March 5, 2004)-chaired session on Film Truth, Memory and the Films of Errol Morris<\/p>\n

-\u201cPaul Robeson and the End of His Movie Career,\u201d Black Cinema Reconsidered Conference (NYU, November 7, 2003)<\/p>\n

-\u201c Alice Guy and La Fee aux Choux<\/em>: A Response to Jane Gaines,\u201d University Seminars, Columbia University (New York, Oct 23, 2003)<\/p>\n

-\u201cIvan Mojuskine and Germain Dulac: Some Thoughts on French Cinema of the 1920s,\u201d Collegia, Giornate del Cinema Muto (Sacile, Italy, Oct 18, 2003)<\/p>\n

-\u201c The Soul of Cinema: Film, Theater, and Germaine Dulac,\u201d Dulac Conference (University of California-Berkeley, Sept 25, 2003)<\/p>\n

-\u201c Memory & History: The Documentary Films of Errol Morris,\u201d University of Lugano\/Italian Switzerland (Lacarno, August 7, 2003)<\/p>\n

-\u201cMemory & History: The Documentary Films of Paul Robeson,\u201d University of Lugano\/Italian Switzerland (Lacarno, August 6, 2003)<\/p>\n

-\u201cInsiders\u2019 View of Yale,\u201d Reunion Weekend, Yale University (May 29, 2003)<\/p>\n

–\u201cMay irwin\u2019s Kiss: Film and the Trnasformation of Theatrical Culture,\u201d University of Chicago (sponsored by Mass Culture Workshop, May 6, 2003).<\/p>\n

\u2013\u201cPaul Robeson\u2019s Documentary Forays,\u201d University of Chicago (sponsored by the Race\/Film Study Group, May 5, 2003).<\/p>\n

\u2013\u201cVisual, Material and Performance Culture in American Studies,\u201d Yale University (New Haven, Ct.) 11 April 2003.<\/p>\n

-Chair and commentator, Oscar Micheaux and His Circle: One Year Later, Africana\u00a0 Studies, New York University, 9 November 2002<\/p>\n

Paul Robeson and My Song Goes Forth<\/span> (1937): History & Context,” Margaret Mead Film Festival (New York) 8 November 2002<\/p>\n

-Paul Robeson and Africa: My Song Goes Forth<\/span> (1937), Orphans of the Storm Conference (Columbia, SC), 26 September 2002<\/p>\n

-Edison and Motion Pictures,” Edison National Historic Site (West Orange, NJ), 18 August 2002<\/p>\n

-“Film and Theatre: The Case of the May Irwin Kiss (1896),” British Film Institute<\/span> (London), 16 July 2002.<\/p>\n

-“May Irwin and Her Kiss,” Visual Delights: A Conference on Turn of the Century Visual Culture (Sheffield, England), 13 July 2002.<\/p>\n

-“Introduction to American premiere of the restored Emperor Jones <\/span>(1933), American Museum of the Moving Image, 18 May 2002.<\/p>\n

-“Ivens, Pudovkin, Robeson: Rivers and Film,” Joris Ivens Retrospective, Walter Reade Theater, 23 March 2002.<\/p>\n

-“Constructing Racial Identities in the Cinema: From D.W. Griffith to Oscar Micheaux’s Symbol of the Unconquered<\/span> (1920), Rhode Island College, 14 November 2001.<\/p>\n

-A Close Look at La Souriante Madame Beudet<<\/em>” Women and the Silent Screen Conference, 3 November 2001 (UC-Santa Cruz, ca)<\/p>\n

-Oscar Micheaux and Race Cinema,” Giornate del Cinema Muto (Sacile, Italy), 13-21 October 2001 (several talks and presentations).<\/p>\n

– <\/strong>\u201cFrom Griffith and the Nickelodeons to Micheaux and Race Cinema: Constructing Identities, 1906-1920,\u201d Plenary presentation, IAMHIST Conference, Universitat Leipzig (20 July 2001)<\/p>\n

-“Presenting Africa: Two Documentary Forays by Paul and Eslanda Robeson,” Society For Cinema Studies Conference (Washington, D.C), 25 May 2001.<\/p>\n

\u2013\u201cRobeson and Documentary Film,\u201d American Studies Symposium, Yale University, 4 May 2001.<\/p>\n

-\u201cDulac\u2019s La Souriante Madame Beudet<\/em>,\u201d Cinema Studio, Trinity College (Hartford, Ct), 19 April 2001.<\/p>\n

-\u201cHis Films Go Forth: The Orphaned Films of Paul Robeson,\u201d<\/p>\n

-Panel Member, \u201cBoola Boola\u2026Yale Goes Coed,\u201d Yale University Centennial (New Haven), 20 March 2001.<\/p>\n

-Commentator, Key Cinema Series on What\u2019s Cooking<\/span> (2000), Madison, Ct., 5 November 2000.<\/p>\n

-Discussant of Within Our Gates<\/span>, \u201cScreening Prejudice,\u201d Brooklyn Academy of Music, 3 November 2000.<\/p>\n

-\u201cThe British Mutoscope and Biograph Company,\u201d Giornate del Cinema Muto (Sacile, Italy), 18 October 2000.<\/p>\n

\u201cReconceptions of Truth in Photography\/Cinematography, 1887-1900,\u201d Stop Motion and Fragmentation of Time Conference (Montreal, 4-7 October 2000)<\/p>\n

“Theater and Film in the 1920s: Reception Among African-American Audiences,” NorFA Research Seminar on Reception: Film, TV, Digital Culture (Stockholm University, Stockholm), 5 Jun 2000.<\/p>\n

\u2013”Actors and Spectators: The Dialectics of Imagination and Roleplaying,” SCS Conference (Chicago, Ill), 12 March 2000.<\/p>\n

\u2013”Theater and Film 1894-1925: Some Reflections,\u201d Brown University, 8 December 1999.<\/p>\n

\u2013”Paul Robeson and the End of His Film Acting Career,\u201d American Studies Association Conference (Montreal, Canada), 28 October 1999.<\/p>\n

\u2013”Memory and the Silent Films of Oscar Micheaux,\u201d Giornate del Cinema Muto (Sacile, Italy), 19 October 1999.<\/p>\n

\u2013”A Symbol of the Unconquered: Oscar Micheaux\u00a0 and His Silent Films,\u201d Orphans of the Storm Conference, University of South Carolina (Columbia, SC), 24 September 1999.<\/p>\n

\u2013” Paul Robeson: From Fiction to Documentary: Some Theoretical Issues Raised by Tales of Manhattan<\/em> (1942) ” Museum of the City of New York (New York), 11 June 1999.<\/p>\n

\u2013”Jay Leyda et le projet historique des debuts du cinema americain,” Universit\u00e9 de Paris VIII (Paris, France),11 May 1999.<\/p>\n

\u2013Nationalism and Cinema: An Historical Perspective,”\u00a0 George Eastman House (Rochester, NY), 5 May 1999.<\/p>\n

\u2013”Movies and Media in the War of 1898,” Society for Cinema Studies Conference (West Palm Beach, FL) 17 April 1999.<\/p>\n

\u2013”They Shoot Horses Don’t They<\/em>: Horace McCoy’s Refiguration of Two Warner Brothers Musicals,” University Seminar on Film and Interdisciplinary Interpretation, Columbia University (New York), January 1999.<\/strong><\/p>\n

\u2013”Movies, the Media and the War of 1898,\u201d Duke University, 2 December 1998.<\/p>\n

\u2013”The Uses of Contradiction: Paul Robeson and Film,\u201d Paul Robeson: Star of Stage and Screen Symposium, UCLA, 11 October 1998.<\/p>\n

\u2013Paul Robeson and Show Boat<\/em>,” Academy of Motion Picture Arts & Sciences (Beverly Hills, Ca.), 11 September 1998.<\/p>\n

\u2013”A Separate Cinema,” panel discussion, Apollo Theater\u00a0 (New York City), 7 July 1998.<\/p>\n

\u2013”Screening New York,” Municipal Art Society (New York, NY), 17 and 24 June 1998.<\/p>\n

\u2013”Robert Townsend’s Hollywood Shuffle<\/em>,” Landmarks of African-American Cinema, Rutgers University-Camden,13 April 1998.<\/p>\n

\u2013”Paul Robeson: Ideological Entrapment and Contradiction,” Society for Cinema Studies Conference (San Diego, Ca.), 6 April 1998.<\/p>\n

-“Edison Films in the Year 1898,” Guest Speaker, The War of 1898 Conference, Dartmouth College, 2 April 1998.<\/p>\n

\u2013”Resistance and Reappropriation: Critical Strategies in <\/em>Oscar <\/em>Micheaux’s Body and Soul<\/em>,” American Studies Association Conference (Washington, D.C.), 1 November 1997.<\/p>\n

\u2013”On Early Cinema Filmographies,” Roundtable discussion with Michele Aubert of the National Film Center, Giornate del Cinema Muto (Pordenone, Italy) October 1997.<\/p>\n

–“Before the Rapid Firing Kinetograph: Representation and Exploitation in Edison Films of the 1890s,” Thomas A. Edison Conference, Rutgers University (New Brunswick, N.J.) 26 June 1997.<\/p>\n

\u2013”Troubled Relations: Robeson, Eugene O’Neill and Oscar Micheaux,” Society for Cinema Studies Conference (Ottawa, Canada), 17 May 1997.<\/p>\n

\u2013”Documentary Film and the Rise of Multi-Culturalism, 1968-1975″ Yale-New Haven Teachers’ Institute (New Haven), 26 March 1996.<\/p>\n

-“Film Truth and Legal Rights of Marginal Groups,” Conference on Law and Lawyers in the Visual Media (San Francisco, Ca.), 21 March 1996.<\/p>\n

\u2013”Caught Comically Between Theater and Film: Ernst Lubitsch’s Lady Windermere’s Fan” <\/em>Society\u00a0 for Cinema Studies Conference (Dallas, Texas), 7-10 March 1996.<\/p>\n

-“American and French Cinema during the 1910s: World War I and Changing Modes of Production,”\u00a0 Histoire du cinema fran\u00e7ais Conference (Paris, France), 15 February 1996.<\/p>\n

-“Who Invented Cinema: A\u00a0 Debate,” National Film Theatre (BFI, London), 26 October 1995.<\/p>\n

\u2013”Representations at a Historic Conjunction,” Celebrating 1895: An International Conference on Cinema Before 1920, National Museum of Photography, Film and Television (Bradford, England), 16 June 1995.<\/p>\n

\u2013”Nationalism and Discourse: The Lumi\u00e8re Cin\u00e9matographe in the United States, 1896-1898,” Congres Lumi\u00e8re (Lyons, France), 7 June 1995.<\/p>\n

\u2013”Cinema’s Beginnings in the United States,” keynote speaker, Annual meeting of the Japanese Society of Image Arts and Science (Kobe, Japan), 2 June 1995.<\/strong><\/p>\n

\u2013”Hollywood Cinema and Mass Production: Reconsidering the Factory System of Production,” presentation at the Paris Center for Critical Studies (Paris France) 17 May 1995.<\/p>\n

\u2013”From Eugene O’Neill’s The Emperor Jones <\/em>to <\/em>Oscar <\/em>Micheaux’s Body and Soul<\/em>,” Smith College, 25 April 1995.<\/p>\n

\u2013”African American Filmmaking and Race Cinema of the Silent Era,” Yale-New Haven Teachers’ Institute, 24 April 1995.<\/p>\n

\u2013”They’d Shoot Ruby Keeler, Wouldn’t They?: Horace McCoy’s Refiguration of Two Warner Brothers Musicals,” Society for Cinema Studies (New York, NY), 6 March 1995.<\/p>\n

\u2013”Resistance, Collaboration, and Reappropriation: From Eugene O’Neill’sThe Emperor Jones <\/em>to <\/em>Oscar <\/em>Micheaux’s Body and Soul<\/em>.” Oscar Micheaux and His Circle Conference, Yale University, January 1995.<\/p>\n

\u2013”American Slapstick,” Pordenone Silent Film Festival (Pordenone, Italy) October 1994.<\/p>\n

\u2013”Movie-making for Edison’s Kinetoscope:\u00a0 Production, Representation and Exploitation.”<\/p>\n

American Center (Paris, France), in conjunction with opening of the “Before Hollywood Series,” October 1994.<\/p>\n

\u2013”Celebrating the Spirit of Collaboration,” Thomas A. Edison Papers (Edison National Historic Site, West Orange, NJ), 8 September 1994.<\/strong><\/p>\n

\u2013The Significance of Locale in Early Documentary Film,” Netherlands Film Museum (Amsterdam, June 1994).<\/p>\n

\u2013Three-day Workshop on “Constructing the Hollywood Cinema: Considering the First 20 Years of American Film,” Cinemateca Nacional (Caracas, Venezuela), 16-18 May 199).<\/p>\n

\u2013”Movie-making for Edison’s Kinetoscope:\u00a0 Production, Representation and Exploitation.” Williams Center for the Arts (Rutherford, NJ), 23 April 1994.<\/p>\n

\u2013French Cinema: History and Historiography. commentator, CUNY-Graduate Center, 5 April 1994.<\/p>\n

\u2013”Anxieties of Consumption: Advertising and Gender in American Film Comedies of the late 1950s.” Society for Cinema Studies Conference (Syracuse, NY), 4-6 March 1994.<\/p>\n

\u2013”Rethinking Early Cinema:\u00a0 Cinema of Attractions and Narrativity,” Conference on “Les 20 premi\u00e8res ann\u00e9es du cinema fran\u00e7ais,” Sorbonne (Paris), 4-6 November 1993.<\/p>\n

\u2013”Documentary and New York City,” for NEH seminar, New York University, 21 June 1993.<\/p>\n

\u2013”Rethinking Film History:\u00a0 Primitive Cinema, Early Cinema, Cinema of Attractions,\u201d The Movies Begin Conference, Yale University, May 1993.<\/p>\n

\u2013”Documentary Film and the Rise of Multi-Culturalism, 1968-1975″ presentation at the OAH (Anheim, Ca.), April 1993.<\/p>\n

\u2013”Power, Moving Images and the Los Angeles Riots,” presentation at the Society for Cinema Studies (New Orleans), February 1993.<\/p>\n

\u2013”Documentary Film and the Ocean Hill-Brownsville Crisis of 1968,” New York University, December 1992.<\/p>\n

\u2013”Reconsidering Cinema’s Beginnings: Image, Projection, Editing,” George Eastman House (Rochester, NY), September 1992.<\/p>\n

\u2013”Opposing and Reworking Melodrama: American Documentary and the Theater , 1960-1972,” BFI melodrama Conference (London), July 1992.<\/p>\n

\u2013”Film and Propaganda in America during the Period of Neutrality, 1914-1917,” Domitor Conference (Lausanne), June 1992.<\/p>\n

\u2013”Censorship and Film Comedy,” Society for Cinema Studies Conference (Pittsburgh, Pa. ) May 1992.<\/p>\n

\u2013Panel member for day long symposium discussing film JFK<\/span>, “History as Fiction, Film as Truth,” UCLA Film and Television Archive, April 1992.<\/p>\n

\u2013”War, Masculinity and Comedy: Preston Sturges Looks At Small Town America,” New-York Historical Society, March 1992.<\/p>\n

\u2013”Documentary Film and the Rise of Multi-Culturalism, 1968-1975″ Cal State-Fullerton, Feb 1992.<\/p>\n

\u2013”Ethnic Diversity and Documentary Practice in New York City,” Society for Cinema Studies Conference (Los Angeles), May 1991.<\/p>\n

\u2013Respondent, Panel on Reviewing Historical Documentaries, American Historical Association Conference (New York, December 1990).<\/p>\n

\u2013”Film Truth: From Kino Pravda<\/em> to The Thin Blue Line” University of Wisconsin at Madison (November 1990)<\/p>\n

\u2013”The Challenge Posed by American Studies to Cinema Studies: The Cutting Off of Historical Perspective,” American Studies Association Conference (New Orleans), November 1990.<\/p>\n

\u2013”Film Truth:\u00a0 The Challenge posed by The Thin Blue Line and Who Killed Vincent Chin?” Conference on Representations of the State, New York University, October 1990.<\/p>\n

\u2013”Capitalism and Hollywood: The Movies as Corporate Product,” Communication Forum, MIT Center for Technology, Policy and Industrial Development (Cambridge, Ma.), October 1990.<\/p>\n

\u2013”Film Truth and The Presentation of Self,” Society for Cinema Studies Conference (Washington), May 1990.<\/p>\n

\u2013”From Lights and Shadows to City Symphonies,” American Historical Association (San Francisco), December 1989.<\/p>\n

\u2013”Jean Renoir Investigates: The Artist’s Role in Society,” Renoir Conference, NYU, December 1989.<\/p>\n

\u2013”Memory, Narrative and Radio Bikini,” <\/em>Seminar on History and Culture on Film, New York University, September 1989.<\/p>\n

\u2013”Early Cinema and Its Modes of Production,” Society for Cinema Studies (Iowa City, IA.) March 1989.<\/p>\n

\u2013 “Film Comedy and the Coming of Sound,” American Studies Association (), October 1988.<\/p>\n

\u2013”Ethnicity and Film Comedy in New York City,” IREX Conference on New York\/Budapest 1880-1930 (Budapest, Hungary), August 1988.<\/p>\n

\u2013”Early Film Adaptations of Stage Melodramas,” New York Public Library, April 1988.<\/p>\n

\u2013”Nickels Count: The Nickelodeon Era Begins,” Columbia University Seminar, October 1987.<\/p>\n

\u2013Panel member, Le Giornate del Cinema Muto (Pordenone, Italy), October 1987.<\/p>\n

\u2013Respondent on Early Cinema panel, Society for Cinema Studies (Montreal), spring 1987.<\/p>\n

\u2013Presentation in conjunction with opening of “Before Hollywood” show, Whitney Museum (New York, NY), January 1987.<\/p>\n

\u2013Presentation of current research, University of Wisconsin, Dept. of Speech (Madison) April 1986.<\/p>\n

\u2013Panel Chair: Biography as Historical Strategy: Its Uses\/Abuses and Theory\/Practice, Society for Cinema Studies Conference (New York), June 1985.<\/p>\n

\u2013”Chaplin and Slapstick Comedy,” FIAF Conference at Museum of Modern Art (New York, NY), May 1985.<\/p>\n

\u2013Presentation of Before the Nickelodeon, Boston Museum of Fine Arts, April 1985.<\/p>\n

\u2013Japan Tour with Before the Nickelodeon, March 1985.<\/p>\n

\u2013Paper presention, Modern Language Association Conference (Washington, D.C.), December 1984.<\/p>\n

\u2013\u201dToward a History of Screen Practice,\u201d Society for the History of Technology Conference\u00a0 (Boston, 2 November 1984).<\/p>\n

\u2013Paper presentation, Society for Cinema Studies (Madison, Wi.) April 1984.<\/p>\n

\u2013Presented several programs of films by Edwin Porter in conjunction with a screening of Before the Nickelodeon, Chicago Art Institute and Ohio State University.<\/p>\n

\u2013George Eastman House (December 1983) with Before the Nickelodeon (March 1983).<\/p>\n

\u2013Toured with Before the Nickelodeon to Pacific Film Archives, Kansas City Movie Center, Webster College, University of Nebraska and University of Iowa (September 1983).<\/p>\n

\u2013”The Suppressed Films of Edwin S. Porter,” University of East Anglia (England), December 1983.<\/p>\n

\u2013Presentation of Before the Nickelodeon and a paper, Society for Cinema Studies Conference and Carnegie Institute, Museum of Art (Pittsburgh, March 1983).<\/p>\n

\u2013”Contra the Robert Allen Theories,\u201d Columbia University Seminar (New York), September 1983.<\/p>\n

\u2013Paper presentation, Society for Cinema Studies Conference (Los Angeles), July 1982.<\/p>\n

\u2013”The Exhibitor as Creator: Edwin Porter at the Eden Musee,\u201d Society for Cinema Studies Conference (New York, NY), April 1981.<\/p>\n

\u2013Discussed researching American cinema in Dissertation Seminar, Columbia University (Fall 1980).<\/p>\n

\u2013Lecture tour funded by NEH, New Jersey State Libraries (1979-80).<\/p>\n

\u2013Presented a group of early films (with Tom Gunning), Collective for Living Cinema (New York 1979).<\/p>\n

\u2013”The Early Cinema of Edwin S. Porter,\u201d FIAF Conference (Brighton, England, 1978).<\/p>\n

\u2013Presentation of An American Potter, Boston Public Library\u00a0 (1977).<\/p>\n

\u2013Presented paper on Porter’s Life of An American Fireman arguing that the copyright version corresponded closely to the original release, American Seminar on Film (New York, 1977).<\/p>\n

 <\/p>\n

Filmmaking Experience<\/span>:<\/p>\n

2010-11: producer\/director\/editor Errol Morris: A Lightning Sketch.\u00a0 <\/strong>70 min. documentary on Errol Morris.<\/p>\n

 <\/p>\n

1988-89: researcher:\u00a0 In the Blood, <\/strong>documentary feature film on the Roosevelt Family, directed by George Butler.<\/p>\n

1985: creative consultant:\u00a0 Hard Choices<\/strong>, fictional feature directed by\u00a0 Rick King.\u00a0 Filmex.\u00a0 “It tells a riveting story and sucks the audience into its grip with wrenching force.” Rex Reed, N.Y. Post<\/span>.\u00a0 “One of the year’s ten best.” \u2013Roger Ebert<\/p>\n

 <\/p>\n

1983-4: co-producer\/editor: 1877: The Grand Army of Starvation,<\/strong> 30 min. documentary about the 1877 general strike, the first general strike in the United States.\u00a0 Produced & directed by Stephen Brier. 2nd prize, American History, National Educational Film Fest; Silver Medal, Houston International Film Fest.<\/p>\n

 <\/p>\n

1982: producer\/director\/co-writer\/editor: Before the Nickelodeon<\/strong>, 60 min. documentary on Edwin Porter and early cinema. Funded in part by NEA and NYSCA. New York, Berlin, London, Los Angeles (Filmex), Sydney, New Delhi, Florence (Festival dei Populi) and Milan (American Independent) film\u00a0 festivals.<\/p>\n

1982: editor: Staus, <\/strong>60 min. dramatic film produced by the Labor Theater.\u00a0 Funded by the NEH.<\/p>\n

1981: researcher: Zelig, <\/strong>directed by Woody Allen.<\/p>\n

1980-1: head of research: Ragtime, <\/strong>directed by Milos Forman. A Dino de Laurentiis Production.<\/p>\n

1979-80: associate producer\/editor: A Private Life,<\/strong> <\/strong>30 min. dramatic film directed by Mikhail Bogin.\u00a0 A Peter O. Almond Production.\u00a0 Blue Ribbon, American Film Festival.<\/p>\n

1977-8: producer\/editor: Between the Wars.<\/strong> Four episodes in a 16-part documentary series on American foreign policy between WWI and WWII. A Mobil Showcase. Alan Landsburg Productions. “A first-rate series”–N.Y. Times.<\/span><\/p>\n

1976: Producer\/director\/editor: An American Potter,<\/strong> <\/strong>36 min. documentary, “Blue Ribbon,” American Film Festival; “Best in Category –Fine Arts” S.F. Film Festival; CINE “Golden Eagle”; PBS Broadcast.<\/p>\n

1975-6: editor\/writer:\u00a0 Sons of Bwiregi<\/strong>, <\/strong>28 min. <\/strong>documentary filmed inTanzania.\u00a0 Amram Nowak Associates.<\/p>\n

1972-4: 1st asst. editor: Hearts and Minds:<\/strong> feature documentary directed by Peter Davis; Oscar, “Best Documentary”; Prix Georges Sadoul.<\/p>\n

1972:\u00a0 camera: Film produced by\u00a0 D. A. Pennebaker\u00a0 for\u00a0 the French Cin\u00e9matheque.\u00a0 On Henri Langlois.<\/p>\n

additional credits on request.<\/em><\/strong><\/p>\n


<\/span><\/p>\n

Reviews about and Interviews with:<\/span><\/p>\n

Reviews of Oscar Micheaux and His Circle<\/span><\/strong>: Film Quarterly, Vol. 58, No. 3, (2005),\u00a0 65-67; Library Journal<\/span>, August 2001, 112; Afterimage<\/span> September\/October 2001, 11-13; Data Newsweekly<\/span> (New Orleans), 8 September 2001; Black Issues Book Review<\/span>, September-October 2001.<\/p>\n

Reviews of Edison Motion Pictures, 1890-1900: An Annotated Filmography<\/span><\/strong>: Film\u00a0 Comment <\/span>34:1 (Jan\/Feb 1998), 42; Historical Journal of Film, Radio, & Television<\/span> 19:2 ( June 1999), 255-257; <\/em>Living Pictures<\/span>1:2 (2001), 109.<\/p>\n

Reviews of Thomas A. Edison and His Kinetographic Motion Pictures<\/span><\/strong>:\u00a0 Journal of Popular Film and Television<\/span> 25:1 (Spring 1997), 46; American Cinematographer<\/span>, January 1996.<\/strong><\/p>\n

Reviews of The Emergence of Cinema<\/span><\/strong>: New York Times<\/span>, Book Review Section, 1 September 1991, 2, 25-26;\u00a0 New York Review of Books<\/span>, 30 May 1991;\u00a0 Los Angeles Times<\/span>, 5 May 1991, Book Review Section, 5; Choice<\/span>, June 1991, 1648; Griffithiana<\/span>.41 (October 1991), 205-209;\u00a0 Persistence of Vision<\/span> 9 (Fall 1991), 107-117; American Journalism<\/span>, Fall 1991, 269-272; Velvet Light Trap<\/span> 28 (Fall 1991), 86-91; Film Quarterly<\/span> 45:3 (Spring 1992), 54-57; Film Culture<\/span> 76 (June 1992), 47-48; Cin\u00e9math\u00e8que<\/span>, 1 (1992), 119-123; American Historical Review<\/span> 97:4 (October 1992), 1298-1300; ANQ: Quarterly Journal of Short Articles, Notes, and Reviews<\/span>, April\/July 1993, 156-158; Bianco e nero<\/span>\u00a0 3\/4 (1996),129-133.<\/strong><\/p>\n

Reviews of Before the Nickelodeon<\/span> (book):<\/strong> The Nation<\/span>, 4 November 1991, 557-560; Sight and Sound<\/span>, October 1991, 34; Cineaste<\/span>, 28:4 (Fall 1991), 55-56; Choice<\/span>, December 1991, p. 603; American Historical Review<\/span>, December 1992, 1614-1615; Over Here: Reviews in American Studies<\/span>, 12:1, 130-131; Substance<\/span>, No 70 (1993), 119-122; Business History Review<\/span> (Sept 1993), 596-598.<\/p>\n

Reviews of High-Class Moving Pictures<\/span>:<\/strong> The New Republic<\/span>, 19 August 1991, 26-27; Griffithiana<\/span>.41 (October 1991), 204-205;\u00a0 Cineaste<\/span>, 28:4 (Fall 1991), 55-56; Film Quarterly<\/span>, 45:4 (Summer 1992), 46-48; Perforations<\/span>, 12:1; Pennsylvania History<\/span>, 59:2 (April 1992), 175-176; Historical Journal of Film, Radio and Television<\/span> 12:3, 279-284; American Historical Review<\/span> 97:4 (October 1992), 1297-1298; Journal of American Studies<\/span>, 26:3, 448-449; Academic Library Book Review <\/span>(June 1993), 34-35.<\/p>\n

Reviews of Resisting Images<\/span>:\u00a0 <\/strong>Film Quarterly<\/span>, 45:4 (Winter 1991-92).<\/p>\n

Interview:<\/strong>\u00a0 “The Filmmaker as Scholar and Entertainer: An Interview with Charles Musser by Roberta Pearson,” Cineaste<\/span>, 8:2 (1984), 22-24; “Charles Musser: pensamiento silente en blanco y negro,” El Globo,<\/span> (Caracas, Venezuela) 19 May 1994, 32; “It’s Been a Lively 100 Years of Moving Pictures,” The Christian Science Monitor,<\/span> 13 September 1995, 12-13; \u201cFilm Historian traces documentaries from the silent Era,\u201d North Adams Transcript, <\/em>20-21 May 2006, 1, 9.<\/em><\/p>\n

Reviews of Before the Nickelodeon (film):\u00a0 <\/strong>New York Times<\/span>, 9 October 1982; Variety<\/span>, 13 October 1982; Village Voice<\/span>, 19 Oct 1982;\u00a0 Film Quarterly<\/span>, Summer 1983, 21-25;\u00a0 San Francisco Examiner<\/span>, 9 Sept 1983; St. Louis Post-Dispatch<\/span>, 16 Sept 1983; Washington Pos<\/span>t, 25 October 1983; The Guardian<\/span>, 24 November 1983; The Times<\/span>, 25 November 1983; Financial Times<\/span>, 25 November 1983; Los Angeles Times<\/span>, 3 December 1983; Framework<\/span>, Autumn 1983; Film Monthly Bulletin<\/span> (cover story), December 1983; Chicago Tribune<\/span>, 23 March 1984. Library Journal<\/span>, 15 October 1998.<\/p>\n

Reviews of An American Potter<\/strong>:\u00a0 Crafts Horizon<\/span>, April 1977, 12+; Film Library Quarterly<\/span> , 11:1&2 (1978), 66; Film News<\/span>, 35. No. 3 (Summer 1978), 38-39.<\/p>\n

 <\/p>\n

Service to the Field:<\/span><\/p>\n

\u2013Editorial Board, Film History<\/span> (1992-\u00a0 )<\/p>\n

\u2013Editorial Board, Journal of History of Film, Radio and Television<\/span> (1992-\u00a0\u00a0\u00a0 )<\/p>\n

\u2013Editor, Yale Journal of Criticism<\/span> (1993-1999)<\/p>\n

\u2013Committee Member, Preservation and Access, Society for Cinema Studies (1991-1992).<\/p>\n

\u2013Reader\/Reviewer for Princeton University Press, University of Illinois Press, University of Wisconsin Press, University of California Press, Duke, University of North Carolina Press and NEH<\/p>\n

\u2013Editorial Board, Cinema Journal<\/span> (Society for Cinema Studies), 1990-1992.<\/p>\n

\u2013Member of working group, Center for History and Culture on Film (NYU)<\/p>\n

\u2013Board Member, Domitor, International Society of Early Cinema. (1987-1991)<\/p>\n

\u2013Member of Advisory Board, AFI publication series (1986-1990)<\/p>\n

\u2013Member of Advisory Board, University Publications of America Cinema Series. (1987- 1997 )<\/p>\n

\u2013Consultant, American Museum of the Moving Image (1984-1987).<\/p>\n

 <\/p>\n

Service at Yale:<\/span><\/p>\n

Film Studies Committee<\/p>\n

Executive Committee, American Studies Program<\/p>\n

Graduate Studies Program Committee, American Studies Program<\/p>\n

Digital Media Center for the Arts Committee (1997-98)<\/p>\n

Sudler Prize Committee (1996-1998, 2000-2002)<\/p>\n

Yale Cable TV Committee (1998-2000)<\/p>\n

\u00a0<\/span><\/p>\n

Associations<\/span>:<\/p>\n

American Studies Association
\nSociety for Cinema and Media Studies
\nLocal 771, IATSE (Film and Video Editors, inactive)
\nDomitor (Association for Early Cinema)
\nInternational Documentary Association<\/p>\n

 <\/p>\n

Courses Taught<\/span> (through 2011)<\/span><\/p>\n

American Cinema to 1915
\nAmerican Cinema of the 1960s and early 1970s
\nAmerican Documentary
\nAmerican Documentary Film and Photography (co-taught with Laura Wexler, graduate\/undergraduate course)
\nAmerican Film and Popular Culture, 1890-1920
\nAmerican Theater\/American Film (as both a graduate and an undergraduate course)
\nAuthors and Authorship: Jean Renoir and John Ford (graduate course)
\nCinematic Expression
\nClassical Film Theory (M.A. core course)
\nClassical Hollywood Cinema (graduate\/undergraduate course)
\nContemporary Documentary Film and Video
\nContemporary Problems in Documentary (combination graduate and undergraduate enrollment)
\nThe Documentary Tradition to 1974 (as both a graduate and an undergraduate course)
\nD. A. Pennebaker and Contemporary Documentary
\nDigital Documentary and the Internet
\nDocumentary Film Workshop (production workshop for seniors and graduate students)
\nErrol Morris and Contemporary Documentary
\nFilm Comedy
\nFilm Noir and American Cinema of the 1940s
\nFilm and Popular Culture, 1890-1920 (graduate)
\nFilm Theory and Aesthetics: Munsterberg to Mulvey
\nHistory of American Cinema, 1895 to the present (undergraduate survey course, 20 class meetings of 4 hours each)
\nThe Hollywood Novel\/The Hollywood Film
\nIntroduction to Film Studies
\nProblems in Film History
\nRace and Representation in American Cinema
\nSeminar in Historiography (Ph.D. core course)
\nThe “Silent” Screen:\u00a0 International Cinema to 1929
\nWorld Documentary: Global Nonfiction after the Cold War<\/p>\n","protected":false},"excerpt":{"rendered":"

\u00a0 Charles Musser Education: Yale University, B.A., 1975, Major: Film and Literature New York University, Ph.D., October 1986, Dept of Cinema Studies Academic Experience: 2000-present:\u00a0 Professor of American Studies, Film Studies and Theater Studies, Yale University.\u00a0 Co-chair, Film Studies Program (to July 2008). Director Yale Summer Film Institute. 1995-2000: Associate Professor of American Studies and […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"open","ping_status":"open","template":"","meta":[],"_links":{"self":[{"href":"http:\/\/www.charlesmusser.com\/index.php?rest_route=\/wp\/v2\/pages\/13"}],"collection":[{"href":"http:\/\/www.charlesmusser.com\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"http:\/\/www.charlesmusser.com\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"http:\/\/www.charlesmusser.com\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"http:\/\/www.charlesmusser.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=13"}],"version-history":[{"count":10,"href":"http:\/\/www.charlesmusser.com\/index.php?rest_route=\/wp\/v2\/pages\/13\/revisions"}],"predecessor-version":[{"id":110,"href":"http:\/\/www.charlesmusser.com\/index.php?rest_route=\/wp\/v2\/pages\/13\/revisions\/110"}],"wp:attachment":[{"href":"http:\/\/www.charlesmusser.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=13"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}