PhD, Film Studies, University of Iowa
BS, Biology, Duke University
Email: gsim [at] fau [dot] edu
Areas of Expertise: American and Postcolonial Cinema, Critical Theory, Film Sound and Music, New Media Studies, Algorithmic Culture
Gerald Sim’s research and teaching is grounded in theoretically informed film and media studies. His writing appears in Convergence, positions, Discourse, Rethinking Marxism, Projections, Quarterly Review of Film and Video, Inter-Asia Cultural Studies, Asian Cinema, and Film Quarterly. They include essays about data Platonism in Moneyball, Netflix’s data operations and its place in media history, CNBC personality Jim Cramer’s Marxist investment advice, Edward Said’s influence on film studies, film music theory, and cinema’s transition to digital cinematography.
He is currently interested in how data epistemologies determine political agency. His work-in-progress considers how technopolitics inform public imaginings of datafication through cinema. It highlights iconic films that have embedded themselves within the cultural infrastructures of technological literacy.
Sim’s second monograph, Postcolonial Hangups in Southeast Asian Cinema: Poetics of Space, Sound, and Stability (2020) inaugurated the Critical Asian Cinemas series at Amsterdam University Press. The book reveals how the region’s unique postcoloniality manifests stylistically in films, including the way that Singapore's spatial preoccupations fashion a cartographic cinema, the import of Malay aural culture in the films of Yasmin Ahmad, and the persistence of stability discourse within the Indonesian investment in genre. The project was supported by two Visiting Senior Research Fellowships at the Asia Research Institute, and the Lee Kong Chian NUS-Stanford Distinguished Fellowship on Contemporary Southeast Asia. Sim’s first book, The Subject of Film and Race: Retheorizing Politics, Ideology, and Cinema (Bloomsbury Academic) was published in 2014.
(Photo by Rod Searcey)
“ ‘How can you not be romantic about baseball?’ Or how we are platonic about data.” Convergence: The International Journal of Research into New Media Technologies (2020).
“Postcolonial Cacophonies: Yasmin Ahmad’s Sense of the World,” in positions: asia critique 26, 3 (2018): 389-421.
“Individual Disruptors and Economic Gamechangers: Netflix, New Media, and Neoliberalism,” in The Netflix Effect: Technology and Entertainment in the 21st Century, edited by Kevin McDonald and Daniel Smith-Rowsey (New York: Bloomsbury Academic, 2016).
"Race and the Cinematic “Machine”," in The Routledge Companion to Media and Race, edited by Christopher P. Campbell (New York: Routledge, 2016).
The Subject of Film and Race: Retheorizing Politics, Ideology, and Cinema is the first comprehensive intervention into how film critics and scholars have sought to understand cinema's relationship to racial ideology. MORE...
"Social Justice and Cinema," in Routledge International Handbook of Social Justice, edited by Michael Reisch (London: Routledge, 2014), 502-12.
"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.
"Said's Marxism: Orientalism's Relationship to Film Studies and Race." Discourse 34.2 (2012): 240-262.
FIL 2000: Film Appreciation
FIL 4037: Film Since the 1940’s
VIC 4943: Multimedia Practicum
FIL 3803: Film Theory
FIL 4036: Film to the 1940s
FIL 4843: Studies in Asian Cinema
FIL 4851: Film Criticism
COM 4332: Studies in New Media
MMC 6715: Studies in New Media (grad)