PhD, Indiana University, Bloomington
Phone: (954) 236-1182
Areas of Expertise: film history and historiography; the material and cultural history of aesthetic forms; Shakespeare studies; adaptation studies; refractions of postcoloniality, trans- and inter-nationality, and globalization in artistic texts
Anthony Guneratne researches the role that film, literature, and other artistic media play in cultural interactions, as well as the interrelations of written and spoken language, images, and music. An advocate of the arts and proponent of their power to blend creative expression with social agency, he has extended theoretical perspectives drawn from semiotics, microhistory, New Historicism, and the Bakhtin Circle to a broad range of performance studies. His primary fields of research include historical and contemporary interpretations of Renaissance texts (particularly those of Shakespeare), film history (focusing on the study of film movements), and the cultural history of aesthetic forms ranging from classical dance and lyric opera to printed books and picture postcards. As a practitioner as well as a theorist, he has been involved in film production, in programming film retrospectives, and in performing a musical repertoire that ranges from the late Renaissance to the mid-twentieth century. A fellow of the Folger Shakespeare Library, the American Philosophical Society, and FAU's Dorothy F. Schmidt College, he takes an interdisciplinary approach to teaching film and audio-visual culture. He presently directs FAU’s interdisciplinary Certificate in Film and Culture; interested students can contact him directly at his department website address.
Selected Book Chapters and Journal Articles
“Shakespeare, Italian Music Drama, and Contemporary Performance: Space, Time, and the Acoustic Worlds of Romeo and Juliet and The Tempest.” In Shakespeare and the Italian Renaissance. Ed. Michele Marrapodi. London: Ashgate, 2014. Forthcoming.
“Four Funerals and a Bedding: Freud and the Post-Apocalyptic Apocalypse of Jean-Luc Godard’s King Lear.” In Apocalyptic Shakespeares. Ed. Melissa Croteau and Carolyn Jess-Cooke. Jefferson, NC: MacFarland Press, 2009. 197-215.
“‘Thou dost usurp authority’: Herbert Beerbohm Tree, Max Reinhardt, Laurence Olivier, Orson Welles and the Politics of Adapting Shakespeare.” In A Concise Companion to Shakespeare on Film. Ed. Diana Henderson. London: Basil Blackwell, 2006. 31-53.
“Listening to Richard: On Reading the First Shakespearean Feature Film.” European English Messenger 10.1 (Spr. 2001): 17-21.
“The Chronotopes of Mongrel Literatures: Rushdie, Ondaatje, Naipaul and the Problems of Postcoloniality.” World Literature Written in English 27.1 (1998/99): 5-23.
“Mediating the Rise of Neo-nationalism in India: Television, Cinema and Carnival.” Social Identities 4.2 (June 1998): 263-281.
“The Birth of a New Realism: Painting, Photography and the Advent of Documentary Cinema.” Film History Vol. 10.2 (1998): 165-187.
Exhibition Catalogue Introduction
FIL 4036: Film to the 1940's
FIL 4037: Film Since the 1940's
FIL 4851: Film Criticism
FIL 3083: Film Theory
FIL 6026: Film History and Historiography*
FIL 6807: Film Theory and Criticism*
*Required course for the Certificate in Film and Culture [see School of Communication Website: http://www.fau.edu/scms/ad_grad_courses.php]