Cornell University, Ph.D. in Comparative Literature (2013). Dissertation: “Weimar Slapstick: American Eccentrics, German Grotesques.”
Cornell University, M.A. in Comparative Literature (2009).
Northwestern University, B.A. in American Studies with honors, cum laude (2003).
Early and silent-era Cinema, Film Comedy, Weimar cinema, Animation, Psychoanalysis, Critical Theory, Hollywood Cinema Abroad, feminist media theory, theories of sovereignty.
I am currently revising my dissertation, entitled Weimar Slapstick: American Eccentrics, German Grotesques, into a book manuscript. This work examines the influence, effect and reappropriation of American slapstick and cartoon films within visual, intellectual and political cultures of Weimar Germany.
I have recently co-edited with my colleague Katherine Groo a collection of essays entitled New Silent Cinema, published by Routledge in their AFI Film Reader series in September 2015. This book examines contemporary and historical returns to early and silent film across popular and avant-garde cinema, art, literature, and new media. In addition to co-writing an introduction with Dr. Groo, I contributed an essay to the collection on the gendred representation of the archive in films by Bill Morrison and Gustav Deutsch. I also conducted interviews with the filmmaker Guy Maddin and film scholar Rick Altman, which are also featured in New Silent Cinema.
In a second monograph project, I will extend my interests in comedy into an examination of slapstick’s legacy in recent world cinema. Entitled Slapstick after Fordism this project locates continued interest in this genre within a highly altered landscape of immaterial labour, postmodern cityscapes and cybernetic forms of work and leisure. In an essay for a forthcoming collection on fading stardom I have begun to track slapstick’s afterlives, analyzing depictions of Buster Keaton’s silent career in fifties Hollywood and sixties avant-garde cinema.
Beyond these projects, I am also working on several articles that follow previously published work on theories of humor (Freud, Lacan and Bergson) as they intersect historically and philosophically with film comedies of the teens, twenties and thirties.
Introduction to Film
Film History I: Cinema and Modernity
Film History II: Cinema and Revolution
Upper level Seminar: Bordercrossings in Transnational Cinema
Upper level Seminar: Comic Cinemas
Upper level Seminar: Labour, Leisure and the Moving Image
Upper level Seminar / Post-Graduate Seminar: Cinema & Psychoanalysis
Upper Level Seminar / Post-Graduate Seminar: The Animate
Post-Graduate Seminar: Film and Visual Art Theory
- Further Info
Organizer of the Film and Visual Culture Speaker Series, featuring invited speakers from faculty, Ph.D. students and visiting scholars, 2013-Present.
Coordinator of the M.Litt Program in Visual Culture, Spring 2014/Spring 2016. Duties include preparing students in dissertation preparation, research and writing.
Library Representative. Duties include ordering and managing library materials related to department interests and requirements in teaching and research.
Website manager. Duties include updating and maintaining department homepage.
Weimar Slapstick: American Eccentrics, German Grotesques and Hollywood Comedy Abroad, a monograph focusing on the influence and appropriation of American slapstick cinema (Chaplin, Keaton, Lloyd and Felix the Cat) among artists, intellectuals, and filmmakers of the Weimar Republic, based on doctoral research [in manuscript].
Co-editor, New Silent Cinema (Routledge AFI Film Reader, 2015), a collection of essays focusing on returns to early and silent film in popular and avant-garde cinemas, contemporary art, literature and media of the digital age.
Articles and Chapters
“Slapstick after Fordism: WALL-E, Automatism, and Pixar’s Fun Factory,” animation: an interdisciplinary journal special issue on animation and politics (2016).
“The Great Stoneface as Ruin: From The Buster Keaton Story to Film,” Lasting Screen Stars: Personas that Endure and Images that Fade, edited by Lucy Bolton and Julie Wright (Palgrave Macmillan, 2016).
“‘A Fairytale for Grownups’: Cinematic and Financial Crises in The Trunks of Mr. O.F.,” Continuity and Crisis in German Cinema 1928-1936, edited by Barbara Hales, Mihaela Petrescu and Valerie Weinstein (Camden House, 2016).
“Supposing that the Archive is a Woman,” New Silent Cinema (Routledge AFI Film Reader, 2015).
“Introduction: Celluloid Specters, Digital Anachronisms” (with Katherine Groo), New Silent Cinema (Routledge AFI Film Reader, 2015).
“Humor Your Symptom!” a: the journal of culture and the unconscious XI (2014).
“Life Driven by Death: Animation Aesthetics and the Comic Uncanny,” Screen, 54:1 (Spring 2013).
“The Creature in the Cinematic Machine,” Biblion: The Boundless Library, No. 2 (2012).
“Lacan’s Harpo,” Cinema Journal, 50:4 (Summer 2011).
“Brecht, Chaplin and the Comic Inheritance of Marxism,” The Brecht Yearbook, Vol. 35 (2010).
Reviews, Entries and Posts
“Review: Bill Morrison Collected Works (1996-2013),” The Moving Image (2016) [in progress].
“The Weimar Beiprogramm,” forthcoming in German Cinema: A Critical Filmography to 1945, edited by Todd
Herzog and Todd Heidt (Caboose Books, 2015).
“Passion (Lubitsch, 1919),” “Deception (Lubitsch, 1920)” and “Viktor and Viktoria (Schünzel, 1933),”
The Directory of World Cinema: Germany Volume 2, edited by Michelle Langford (Intellect Books, 2013).