2015 Ph.D., Brown University, Modern Culture and Media
2007 M.A., Brown University, Modern Culture and Media
2004 B.A., Michigan State University, English
My research focuses on histories and theories of experimental cinema, with an emphasis on the postwar American avant-garde. My current book project centers on the 1960s film culture, the New American Cinema. It examines this film culture's promotion of cinema as a medium of personal expression, situating this view within the context of widespread transformations to private and public life in post-WWII America. Essays related to this project have appeared in Alternative Projections: Experimental Film in Los Angeles, 1945-1980 (John Libbey, 2015), The Global Sixties in Sound and Vision: Media, Counterculture, Revolt (Palgrave Macmillan, 2014), and the online journal World Records (Fall 2020).
Since 2009, I have also pursued film curating and programming as an outlet for research. At Amherst, this interest led me to begin a film series devoted to experimental media called X (Unknown Quantity). Prior to Amherst, I assisted with programming at the Film-Makers’ Cooperative in New York City, and at Magic Lantern Cinema in Providence, RI. Programs that I curated or compiled for these organizations have screened at Microscope Gallery, Anthology Film Archives, Pacific Film Archive, Museum of Contemporary Art Detroit, Union Docs, Balagan, and other venues.
I teach courses in film and media studies that range from introductory surveys to upper-level seminars based on my research. At Amherst, my seminars have included “American Avant-Garde Cinema,” “Film and Video Curation,” “Andy Warhol, Filmmaker,” “Intimate Film Cultures,” and “Conversations with Experimental Filmmakers.” All of my courses revolve around critical, theoretical, and scholarly writing on film and media. But they also draw from other discourses such as cultural studies, art history, and critical theory. Students in my courses explore different forms of writing about the moving image and sometimes work on integrated projects that combine critical analysis with creative expression. Many of my courses involve off-campus activities, such as screenings at local cultural institutions, where students examine the social, experiential, and practical dimensions of film culture. In upper-level seminars, these activities are frequently paired with in-class visits by guest filmmakers, curators, or scholars who present students with outside perspectives on a given subject of inquiry.
Special Dossier on “Documentary World-Making,” Co-editor with Toby Lee, World Records, Vol. 4, Fall 2020.
“One Hundred and One Sinkholes: Notes on the Film Loop,” Flow 23:2, Special Issue on Loop Media, October 2016.
“In All Directions: An Interview with Fern Silva,” Millennium Film Journal, No. 63, Fall 2015.
“Against Transparency: Jonas Mekas, Vernon Zimmerman, and the West Coast Contribution to the New American Cinema,” Alternative Projections: Experimental Film in Los Angeles, 1945-1980, ed. David E. James, 2015, John Libbey.
“Turning Inwards: the Politics of Privacy in the New American Cinema,” Sounds and Visions: Music, Counterculture, and the Global 1968, eds. Timothy S. Brown and Andrew E. Lison, Palgrave Macmillan, 2014.
“Baudrillard, Obscenity, and the Intimate Cinema of Saul Levine,” Theorizing Visual Studies: Writing Through the Discipline, ed. James Elkins, et al, Routledge, 2012.