- American Cinema
- National Cinema
- Critical Theory
My research in film studies is informed by historical materialism, and the humanists of the Frankfurt School in particular. I believe that its principles continue to hold great relevance to how we can understand a world so overdetermined by global capital, and critique a media culture so regulated by conglomerates and driven by commerce. I approach films with great emphasis on aesthetics and thus believe that textual analysis is invaluable and necessary. These principles guide my writing on a variety of topics in cinema and media studies, including national film historiography, digital cinematography, CNBC host Jim Cramer, film music theory, and my discipline’s engagement with race. The book, The Subject of Film and Race, Retheorizing Politics, Ideology, and Cinema, is contracted with Bloomsbury Academic and due in 2014. My current project, which began recently with a Senior Visiting Research Fellowship at the Asia Research Institute in 2013, attempts to define a poetics for postcolonial cinema, and will try to expand views of how postcolonial history manifests itself in national cinemas by studying cultures that express it through film spatiality, sound, and genre.
I enjoy being complemented by colleagues in film studies at FAU who share a view that films can simultaneously be aesthetic objects, products of the culture industry, as well as instruments of social change. I am reminded at every faculty colloquium and hallway chat of how our intellectual community – based in a place like Boca Raton, no less – is enlivened by the diversity of our individual interests.
“Social Justice and Cinema,” in Routledge International Handbook of Social Justice, edited by Michael Reisch (London: Routledge, forthcoming 2014).
“Said's Marxism: Orientalism’s Relationship to Film Studies and Race," Discourse 34.2 (2012): 240-262.
“The Other Person in the Bathroom: Mixed Emotions about Cognitivist Film Music Theory,” Quarterly Review of Film and Video 30.4 (2012): 309-322.
“Jim Cramer's Mad Money: Disavowals of a Late Capitalist Investor,” Rethinking Marxism 24.2 (2012): 307-316.
“When and Where is the Digital Revolution in Cinematography?” Projections 6.1 (2012): 79-100.