Associate Professor, Department of Cinema and Media Studies and the College. Director of Graduate Studies.

Research Interests: Film and philosophy; classical film theory; experimental and avant-garde cinema; nonfiction cinema; animation; cinema and the other arts; European and Classical Hollywood cinema; modernism and realism; new media.

My research and teaching focuses largely on the intersection between cinema and aesthetics, and in particular the way in which the close analysis of films supports or enables a range of broader theoretical and philosophical arguments. My first book, Late Godard and the Possibilities of Cinema (2012), is about the films and videos of Jean-Luc Godard since the late 1980s, especially Soigne ta droite (1987), Nouvelle vague (1990), and Allemagne 90 neuf zéro (1991)—as well as the monumental video series, Histoire(s) du cinéma (1988-1998). Through detailed analyses of extended sequences, technical innovations, and formal experiments, I argue that a tradition of philosophical aesthetics can be used to make sense of many of the most striking and compelling features of this body of work; I also argue that Godard’s late films and videos transform basic terms and categories of aesthetics in and for the cinema.

I am currently writing a book on the history and aesthetics of camera movement, and co-authoring a book on film and philosophy with Richard Neer.

 

Before joining Cinema and Media Studies in Fall 2013, I taught at the University of Pittsburgh for six years.

 

Selected Recent Publications:

Late Godard and the Possibilities of Cinema (University of California Press, 2012).

“Aesthetic Form and Ethnographic Discourse” in Looking with Robert Gardner, eds. William Rothman and Charles Warren (State University of New York Press, forthcoming).

“Beyond Destiny and Design: Camera Movement in Fritz Lang’s German Films” in A Companion to Fritz Lang, ed. Joe McElhaney (Blackwell, forthcoming).

“Bazin’s Modernism.” Paragraph 36.1 (Spring 2013): 10-30.

“Max Ophuls and the Limits of Virtuosity: On the Aesthetics and Ethics of Camera Movement.” Critical Inquiry 38 (Autumn 2011): 127-63.

“The Afterlife of Superimposition” in Opening Bazin, eds. Dudley Andrew and Hervé Joubert-Laurencin (Oxford University Press, 2011): 127-41.

“The Place of Nature in Godard’s Late Films.” Critical Quarterly 51.3 (Fall 2009): 1-24.

“The Pause of the World” in Three Documentary Filmmakers: Errol Morris, Ross McElwee, Jean Rouch, ed. William Rothman (State University of New York Press, 2009): 139-56.

“Rethinking Bazin: Ontology and Realist Aesthetics.” Critical Inquiry 32 (Spring 2006): 443-81.

            - Reprinted in The Film Theory Reader, ed. Marc Furstenau (Routledge, 2010): 104-30.