2014 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, Homeless Movies: The Redemptive Project of the New American Cinema, examines the politics of intimacy in the 1960s film culture, the New American Cinema. It centers on the films and writings of artists such as Jonas Mekas, Ron Rice, Lionel Rogosin, and Shirley Clarke, considering how their interest in filmmaking as a personal expression emerged in response to 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) and The Global Sixties in Sound and Vision: Media, Counterculture, Revolt (Palgrave Macmillan, 2014). Details for these and other publications are noted below.
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 courses such as "Coming to Terms: Cinema" to upper-level seminars based on my research. At Amherst, my seminars have included “American Avant-Garde Cinema,” “Film and Video Curation,” and “Conversations with Experimental Filmmakers.” Outside of Amherst, I have taught courses on such subjects as intimacy and cinema, film and modernity, and global film and media at Brown University, The New School, and Mount Holyoke College.
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, critical theory, artists’ writing, and art history. Students in my courses explore many forms of writing about the moving image, from analytical essays to film diaries, interviews, and manifestos. In addition, students often work on integrated projects that combine critical analysis with creative expression, such as storyboards or curated film programs. Many of my courses involve community-based learning activities in which students travel to local cultural institutions to study the social, experiential, and practical dimensions of film culture. In upper-level seminars, these off-campus activities are typically paired with in-class visits by guest filmmakers, curators, or scholars, as a way of presenting students with outside perspectives on a given subject of inquiry.
“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.