EDUCATION:
1992-95 Ph.D., English, University of Nebraska, Lincoln Degree: May, 1995. Dissertation: Women Film Directors.
1978-83 B.A., English, Minor in Women's Studies Douglass College, Rutgers University, New Brunswick, NJ.
APPOINTMENTS HELD:
2005 - present Professor of English; Coordinator, Film Studies Program, UNL
2001 - 2004 Associate Professor Department of English, UNL
1996 - 2000 Assistant Professor, Department of English, UNL
COURSES TAUGHT:
"Bad Guys, Gangsters and Outsiders" (219)
Advanced Writing for Film (459/859)
"Women's Films 30s & 40s" (413/813)
Film Genre - "Women's Films" (219)
"Forbidden Cinema: Pre-Code Hollywood" (413/813)
Women Filmmakers (239B)
Advanced Feminist Film Theory (413/813)
Advanced Screenwriting (459A)
Advanced Film Theory (413/813)
Film Genre: Gender in 30s Comedy (219)
Film Theory: Feminist Theories of Comedy (373)
Postcolonial Film Theory & Criticism (373)
Film Directors: Gay/Lesbian (239)
Transgressive Identity (Queer) Theory (413/813)
Film Directors: French Filmmakers (239)
Advanced Screenwriting (459/859)
Documentary Film (209)
Film Directors:Women Filmmakers (239)
Advanced Film Criticism, (413/813)
Screenwriting, (259A)
Film Directors: Postmodern Filmmakers (239)
Intro to Film History (213E)
Documentary Film (209)
Screenwriting (259A)
MEMBER AND FELLOW:
Graduate Faculty, Department of English, UNL - Appointed, 1997.
EDITOR IN CHIEF:
Editor-in-Chief of QUARTERLY REVIEW OF FILM AND VIDEO, 1999 to present, an internationally distributed quarterly academic journal on film studies, published by Routledge. QRFV is in the library collections of Yale, Stanford, Rutgers, Vassar, UC-San Diego, UC-Irvine, UC-Berkeley, Swarthmore, Texas A&M, Rice, Purdue, Northwestern, Oberlin, NYU, Duke, Cornell, Dartmouth, Columbia, Colgate, Brown and many other colleges and universities, in addition to numerous individual subscriptions.
PUBLICATIONS - BOOKS (ALL REFEREED PUBLICATIONS):
A Short History of Film, co-authored with Wheeler Winston Dixon. (Rutgers University Press / I.B. Tauris); 2008. 464 pages.
Class-Passing: Performing Social Mobility in Film and Popular Culture (Southern Illinois University Press), 126 pages, 2005.
Identity and Memory: The Films of Chantal Akerman, Revised and Updated American Edition, (Southern Illinois University Press); 203 pages, 2003.
Performing Whiteness: Postmodern Re/Constructions (State University of New York Press); 180 pages, 2003.
Experimental Cinema: The Film Reader, edited by Gwendolyn Audrey Foster and Wheeler Winston Dixon (Routledge); 356 pages, 2002.
Troping The Body: Gender, Etiquette and Performance (Southern Illinois University Press); 144 pages, 2000.
Identity and Memory: The Films of Chantal Akerman (Flicks Books, UK), ed., 199 pages, 1999.
Captive Bodies: Postcolonial Subjectivity in the Cinema (State University of New York Press); 249 pages, 1999.
Women Filmmakers of the African and Asian Diaspora: Decolonizing the Gaze, Locating Subjectivity, (Southern Illinois University Press); 208 pages, 1997.
Women Film Directors: An International Bio-Critical Dictionary (Greenwood Press), 443 pages, 1995.
PUBLICATIONS - ARTICLES AND CHAPTERS (ALL REFEREED):
Essay, "Teaching Film in the Age of Transformation," (co-written with Wheeler Winston Dixon) Teaching Film, Patrice Petro and Lucy Fischer, eds. Forthcoming, MLA Publications.
Essay, "The Colbert Report: Performing the News as Parody for the Postmodern Viewer," Genre and Performance: Film and Television. Christine Cornea, ed. Forthcoming, Edinburgh University Press. (Invited).
Essay, "Self Obliteration and Performativity: Performative Fragmentations and Flexible Notions of the Body in the work of Yayoi Kusama, Yoko Ono, and Mariko Mori," (Un)Making the Cut: Feminism, Filmmaking, Fluidity: A Reader in Experimental Women's Filmmaking, Corinn Columpar and Sophie Meyer, eds., Forthcoming, University of Toronto Press. (Invited).
Essay, "The Corruption of the Family and The Disease of Whiteness in I Walked Witha Zombie," in A Family Affair. Murray Pomerance, Ed. Forthcoming, Wallflower / Columbia University Press. (Invited).
Essay, "Women as Producers of Cinema," Encyclopedia of Women in World History. Oxford University Press, 2007: 384-386. (Invited).
Essay, "Performing and Othering Class: Visions of Class-Passing in New York City," in City That Never Sleeps. Murray Pomerance, Ed., Rutgers University Press, 2007: 151 - 165. (Invited).
"Safi Faye and Trinh T. Minh-ha," Jean Petrolle and Virginia Wright Wexman, Eds., On the Fringe and in the Center: Women and Experimental Filmmaking 1920 2000. University of Illinois Press (forthcoming).
"Interview with Barbara Hammer,"in Film Voices: Interviews from Post Script,Gerald Duchovnay, ed. State University of New York Press, 2004: 109-127.
" 'Every Frame Was Precious': An Interview with Wheeler Winston Dixon, Film Criticism 18.1 (Fall 2003): 53-79.
Monstrosity and the Bad-White Body Film," in Bad: Infamy, Darkness, Evil and Slime on Screen. Murray Pomerance, ed. State University of New York Press, 2004: 38-53.
"Women Filmmakers in British Sound Cinema," in The Encyclopedia of British Film, Brian McFarlane, ed., London: Methuen Press /British Film Institute, 2003: 738.
"Community, Loss and Regeneration" in Senses of Cinema 27, May-July 2003, on-line journal, at <http://www.sensesofcinema.com>.
"Mira Nair," Fifty Key Contemporary Filmmakers ,Yvonne Tasker, ed., New York: Routledge Press 2002, pages 263 272.
"The Post-Colonial Vision of The "Great White" of Lambaréné," Popular Culture Review, 11. 2 (Summer 2000): 113- 119.
"Character "Zone: An Interview with Trinh T. Minh-ha," Countervisions: Asian American Film Criticism, Sandra Liu and Darrell Y. Hamamoto, eds., Philadelphia: Temple University Press, 2000, 204 220.
"Feminist Theory and the Performance of Lesbian Desire in Persona," Ingmar Bergman's Persona, Lloyd Michaels, ed., Cambridge: Cambridge University Press, 2000: 130-146.
"The Mechanics of the Performative Body in The Eighties," (132 149) and "Introduction,"
(1 8); Identity and Memory: The Films of Chantal Akerman, Wiltshire: Flicks Books, 1999.
"Diasporic Representations of Identity and Space in the films of Mira Nair," Deep Focus: A Film Quarterly 7. 3/4 (1999): 47 58.
'"Character Zone," Cinema-Intervals, Trinh T. Minh-ha, ed., New York: Routledge Press (1999); 227 245.
"The Women in High Noon: The Metanarrative of Difference," in The Films of Fred Zinnemann, Arthur Nolletti, ed., State University of New York Press, 1999: 93-102.
"Foreword: Women Filmmakers." Women on the Other Side of the Camera: The St. James Women Filmmakers Encyclopedia. Farmington Hills, MI: Visible Ink Press, 1999, xiii xviii.
"Performativity and Gender in Alice Guy's La Vie du Christ," Film Criticism 23.1 (Fall, 1998): 6-17. Also "Editor's Introduction," Special Issue on Theories of Performativity.
"Safi Faye: Ethnographic Films and Questions of Subjectivity," Popular Culture Review 9. 2 (August 1998).
"Introduction: An Overview of the History of Women Filmmakers," in Women Filmmakers and Their Films, Amy Unterburger, ed., St. James Press, 1998.
"Barbara Hammer, An Interview: Re/Constructing Lesbian Auto/Biographies in Tender Fictions and Nitrate Kisses," Post Script, 16. 3 (1997).
"A Tale of Love: A Dialogue with Trinh T. Minh-ha," Film Criticism 21. 3 (Spring, 1997).
"Third World Women's Cinema: If the Subaltern Speaks, Will We Listen? " in Interventions: Gender, Ideology and Third World Feminisms, Bishnupriya Ghosh and Brinda Bose, eds., Chandra Mohanty, Series Editor, (Garland, 1997).
"Crossdressing and Disruptions of Identity in The Dalton Girls," Film Criticism 20. 3 (Spring 1996).
"No Male Frontal Nudity: The Denial of Female Fetishism in Hollywood Cinema," The Mid-Atlantic Almanack 4 (1995).
"Looking in the Mirror: Women Filmmakers; A Bibliographic Essay," Transformations 6.1 (Spring, 1995).
"The Dialogic Margins of Conduct Fiction: Hannah Webster Foster's The Boarding School," Journal of American Studies Association of Texas 25 (October 1994).
"The Women in High Noon: The Metanarrative of Difference," Film Criticism 28. 3/29.1 (Spring/Fall 1994).
"Wordsworth Renarrated in Victorian Conduct Literature," The Friend: Comment on Romanticism 2. 2 (October 1993).
"Troping the Body: Etiquette Texts and Performance," Text and Performance Quarterly 13.1 (January 1993).
PUBLICATIONS - GUEST EDITOR:
Guest Editor: Special Issue on Theories of Performativity, Film Criticism 23.1 (Fall, 1998)
PUBLICATIONS, REVIEWS AND NOTES (ALL REFEREED):
"Madmen and Dying Swans by Adrienne L. McLean," (Review), forthcoming, Choice.
"The Witch's Flight by Kara Keeling," (Review), forthcoming, Choice.
"Women Screenwriters Today: Their Lives and Their Words by Marsha McCreadie," (Review), Choice 43.9 (May, 2006): 1609.
"I'm No Angel: The Blonde in Fiction and Film by Ellen Tremper," (Review), Choice 44.1 (December 2006):632.
"Marked Woman: Prostitutes and Prostitution in the Cinema by Russell Campbell,"(Review) Choice 44.3 (November 2006): 433.
"The Corporeal Image: Film, Ethnography and the Senses" by David MacDougall, (Review) Choice 43.8 (April 2006): 1385.
"The Violent Woman: Femininity, Narrative, and Violence in Contemporary American Cinema by Hilary Neroni,"(Review) Choice 43.2 (October 2005): 300.
"Hollywood Divas, Indie Queens, and TV Heroines: Contemporary Screen Images of Women by Susanne Kord and Elisabeth Krimmer,"(Review) Choice 42.9 (May, 2005), 1595.
"Women of Vision: Histories in Feminist Film and Video by Alexandra Juhasz," (Review), Quarterly Review of Film and Video (October - December 2003): 295 - 299.
"An Accented Cinema: Exilic and Diasporic Filmmaking by Hamid Naficy," Film Quarterly 56. 2 (Winter 2002 -3).
"Landmarks in Feminist Criticism," PMLA Special Millennium Issue 115.7 (December, 2000).
"The Routledge Reader In Gender and Performance," Quarterly Review of Film and Video 17.1 (2000).
"Black Women Film & Video Artists," edited by Jacqueline Bobo (Review) Film Quarterly, 53.1 (Fall, 1999).
" The Lost Garden,"(Review) Angles: Working Women in Film, 3. 3/4 (1998).
"Lesbian Stories," (Review) Angles: Working Women in Film, 3. 3/4 (1998).
"Cultural Studies in Crisis?; Henry Giroux, Disturbing Pleasures, Marcia Landy, Film, Politics and Gramsci, and John Frow, Cultural Studies and Cultural Value," (Review Essay): Prairie Schooner 71. 4 (Winter, 1997).
"Landscapes of Resistance: The German Films of Danièle Huillet and Jean-Marie Straub by Barton Byg,"(Review), Film Quarterly 50. 4 (Summer, 1997).
"Men, Women and Chainsaws by Carol Clover," (Review), Prairie Schooner 69. 2 (Summer, 1995).
"Streetwalking on a Ruined Map: Cultural Theory and the City Films of Elvira Notari by Giuliana Bruno" (Review): Post Script 13. 2 (Winter/Spring 1994).
PRESENTATIONS (NATIONAL AND INTERNATIONAL):
Presented Paper, "Kusama's Self Obliteration: The Explosion of the Self,"," Alternative Visions in Cinema and Television Conference, Plymouth State University, NH, April 11-12, 2008. (Invited).
Panel Discussion, "Postcolonialism in Film Theory," UNL, March 5, 2008.
Panel Discussion, "Film Journal Editors Panel: Breaking In, Breaking Out,"
The Southwest Texas Popular Culture and American Culture Association 28th National Conference, Albuquerque, New Mexico, February 16, 2007. (Invited).
Paper, "Anti Communist Hysteria: My Son John and the Move Against the Educated Left in 1950s," The Southwest Texas Popular Culture and American Culture Association 28th National Conference, Albuquerque, New Mexico, February 16, 2007. (Refereed).
Presented paper, "Visions of Class-Passing in New York City: Class Mobility in Film and Popular Culture," Popular Culture and American Popular Culture Association Annual Meeting, Albuquerque, NM, Feb, 2006. (Invited).
Workshop Participant, "Editor's Panel: Breaking Into Print, Or What Editors Want Or Need," Representing QRFV as Co-Editor. Popular Culture and American Popular Culture Association Annual Meeting, Albuquerque, NM, Feb, 2006. (Invited).
Presented paper, "Housewife With A Gun: Barbara Stanwyck's Gender Instabilities in Crime of Passion," Society for Cinema and Media Studies International Conference, Vancouver, BC., Canada, March, 2006. (Invited).
Presented Paper, "Voodoo as Postcolonial Critique of Colonial Whiteness in Jacques Tourneur's I Walked with a Zombie," Society for Cinema and Media Studies Annual Conference, March 8, 2003.
Presented Paper: Publish and Flourish Panel, Representing QRFV at the Society for Cinema Studies International Conference, Denver, Co., May 29, 2002.
Member and Speaker, Annual Workshop of The Women Film Pioneers Project - Steering Committee at the Society for Cinema Studies Conference, 2001, 2002.
Member and Speaker, Workshop Panel on Publishing, representing Quarterly Review of Film and Video, Society for Cinema Studies International Conference, Washington, D.C., May 24-26, 2001.
Presented Paper: "Queer Performativity in Claire Denis's Beau Travail," as part of the conference Moving Images: Technologies, Transitions, Historiographies, held at the University of Stockholm, December 3, 2000. (Refereed).
Presented Paper: "Performativity in Chantal Akerman's A Couch in New York," International Conference on European Women Filmmakers in the 1980s and 1990s, held at the Institute of Romance Studies, School of Advanced Studies, University of London, England, March 3, 2000. (Invited).
Presented Paper: "Performing Whiteness in Alice Guy Blaché's Making an American Citizen," The International Literature/Film Association Millennium Conference, The University of Bath, England, July 2, 1999. (Invited).
Chair; Panel on Symbolism in Film, The International Literature/Film Association Millennium Conference, University of Bath, England, July 1, 1999. (Invited).
Presented Paper: "Performativity in Alice Guy-Blaché's La Vie du Christ," for the Women Film Pioneers Special Panel at The International Society for Cinema Studies Conference, Palm Beach, Fl, April 17, 1999. (Invited).
Presented Paper: "Queer Performativity in Chantal Akerman's The Eighties," at the International Conference "Women Filmmakers: Refocusing," sponsored by the Centre for Research in Women's Studies and Gender Relations at the University of British Columbia, Vancouver and the Department of Women's Studies at Simon Fraser University in Burnaby, Canada, March 20, 1999. (Invited).
Presented Film, The Women Who Made the Movies, with lecture and discussion, at The Kemper Museum, Kansas City, KS, February 27, 1999. (Invited).
Invited Guest Speaker: Women's Studies Colloquium, "Early Women Filmmakers, Feminist Texts and Contexts." Sponsored and Invited by the Women's Studies Association, Nebraska Wesleyan University, Lincoln, NE., November 12, 1998.
Presented Paper: "The Imperial White Man and Woman: Colonial Representations of Africa in Western Film and Fiction," The 22nd International Third World Studies Conference," Special Topic: "Regional and Social Conflicts," October 10, 1998, Omaha, Ne, (Invited).
Presented Paper: "Albert Schweitzer: 'The Great White' of Lambaréné: A Study of Whiteness through a Decolonized Gaze," as part of The Film and Colloquia Series, "Framing the Black Diaspora: Crossings, Belongings, Presence," at the invitation of The Center for Culture and History of Black Diaspora, De Paul University, Chicago, IL, May 13, 1998, (Invited).
Presented Paper: "The Problematic of Teaching International Films of the Black Diaspora from a Feminist Perspective." Women's Studies International Colloquia, The University of Nebraska, Lincoln, April 22, 1998, (Invited).
Presented Two Lectures: "Bad Girls and Fallen Women: Two Films of Dorothy Davenport Reid; Linda and The Red Kimona" at the Women Film Pioneers Retrospective at the American Museum of the Moving Image in Astoria, New York, April 19, 1998. (Invited).
Participant: Women Pioneers Project, International Steering Committee Meeting, April 19, 1998 at the American Museum of the Moving Image in Astoria, New York, (Invited.)
Participant: Panel Discussion on Forrest Murray, Producer. Mary Riepma Ross Film Theater, Sheldon Art Gallery, March 14, 1998 (Invited).
Presented Paper: "Dorothy Dandridge and Pam Grier: Constructing Black Female Agency within Colonialist Discourse," at the 23rd International Annual Conference on Film and Literature, Special Topic; "Race in Film and Literature," Florida State University, January 30, 1998. (Invited)
Presentation: Bookmark - "A discussion of Women Filmmakers of the African and Asian Diaspora: Decolonizing the Gaze, Locating Subjectivity," The Department of English, University of Nebraska, Lincoln, October 29, 1997.
Presented Paper, "Ethnographic Films and the Question of Subjectivity: Safi Faye's Selbé et tant d'autres," for a panel on Francophone African Women Film Directors at the Modern Language Association Meeting International Conference, Washington, D. C. (December 29, 1996) (Invited).
Presented Lecture, "Barbara Hammer: The Invention of Lesbian Autobiography," and introduced Tender Fictions at The Museum of Modern Art, New York (November 11, 1996) (Invited).
Presented Paper, "The Body in Question: The Oppositional Cinema of Ngozi Onwurah," at the 2nd Annual Women in Film Conference, University of Oklahoma, March 28, Norman, OK, 1996 (Invited).
Presented Paper, "Wharton and Woolf: Modernism and Dialogism," at The Conference of the South Central Women's Studies Association, "Celebrating Difference/Exploring Commonality," The 1996 Annual Conference at The University of Oklahoma, Norman, OK, March 30, 1996 (Invited).
Presented Paper, "Code Switching; Hybridized Forms and Tropes of Captivity/Slave Narratives in Early American Women's Films," Women In Film: Constructing A New Reality: First Annual Conference, University of Oklahoma, March 25, 1995 (Invited).
Presented Workshop, "Black Filmmaking in the Diaspora" (with Leantin Bracks), for the No Limits Conference, Women's Studies Association, University of Nebraska, Lincoln, March 4, 1995 (Invited).
Presented Paper, "Third World Women's Cinema: If the Subaltern Speaks, Will We Listen?" 17th International Third World Studies Conference, University of Nebraska, Omaha, October 15, 1994, (Invited).
Presented Paper, "Crossdressing and Disruptions of Identity in The Dalton Girls: A Performative Reading," Midwest Women's Studies Association and the Popular Culture/American Culture Association Conference, University of Nebraska, Kearney, NE, March 18, 1994 (Invited).
Presented Lecture on the production of The Women Who Made the Movies, No Limits Women's Studies Conference, Women's Studies Association, University of Nebraska, Lincoln, February 25, 1994 (Invited).
Presented Paper, "No Male Frontal Nudity: The Denial of Female Fetishism in Hollywood Cinema," 4th Annual International Mid-Atlantic Popular/American Culture Association Conference, Philadelphia, Pennsylvania, November 7, 1993 (Invited).
Moderator, Panel Discussion, "Gender and Video Studies," Dallas International Video Festival, Dallas Museum of Art, Dallas Video Association, Dallas TX, November 13, 1993 (Invited).
Presented Paper, "Performing Bodies in The House of Mirth and Mrs. Dalloway: Feminist Dialogics of Modernist Fragmentation," Third Annual Virginia Woolf Conference, Lincoln University, Jefferson City, MO, June 13, 1993 (Invited).
Presented Paper, "Troping the Body: Etiquette Texts and Performance," 1993 EGSA Conference, Department of English, University of Nebraska, Lincoln, Spring 1993 (Invited).
Moderator, and Panel Discussant: "Myth Goes Twentieth Century," Suspect Terrain: Surveying the Women's West, Fourth International Conference of the Coalition for Western Women's History,"University of Nebraska, Lincoln, 1992 (Invited).
Presented Lecture: "Women Filmmakers; a Feminist Reinterpretation of Film History," Peru State College, Peru, NE., 1990. (Invited).
AWARDS AND FELLOWSHIPS:
Maude Hammond Fling Faculty Research Fellowship for book project, A Short History of Film (co-authored with Wheeler Winston Dixon), 2006 -2007; $1,500.
Performing Whiteness selected as an Outstanding Academic Book in the Humanities for 2004 by Choice, Journal of The Association of College & Research Libraries.
College of Arts & Sciences Distinguished Teaching Award, January, 2004.
Grant-In-Aid Fellowship from the John C. and Nettie V. David Memorial Trust, to support the writing of the book Class-Passing: Performing Social Mobility in Film and Popular Culture, Fall 2003; $6,500.
Research Fellowship, UNL Research Council, for the project "The Films of Alice Guy Blaché," Travel to film archives in New Zealand and Amsterdam to view rare film prints of the films of Alice Guy Blaché, 1999; $6,500.
National Emerging Scholar Award, American Association of University Women, 1998, for teaching, research, and the mentoring of women students; $5,000.
Research Grant-In-Aid, UNL Research Council, for the forthcoming book, "Performing Whiteness: Postmodern Re/Constructions," 1998; $3,000.
Nominee: Theater Library Association Award, Women Filmmakers of the African and Asian Diaspora: Decolonizing the Gaze, Locating Subjectivity, (Southern Illinois UP, 1997).
Nominee: Outstanding Teacher of the Year Award, UNL Parents' Awards, 1995-1996.
Ruth E. Adams Fellowship, Douglass College/Rutgers University Alumnae Award, Fall 1993 - Spring 1994, $1,000.
Regents Fellowship, University of Nebraska, Lincoln, Summer 1993, $1,000.
Regents Fellowship, University of Nebraska, Lincoln, Fall 1992 - Spring 1992, $1,000.
Ruth E. Adams Fellowship, Douglass College/Rutgers University Alumnae Award, Fall 1992 - Spring 1993, $1,000.
Regents Fellowship, University of Nebraska, Lincoln, Summer, 1991, $1,000.
Southwest Alternate Media Project, for The First Woman Filmmaker: Alice Guy Blaché, 1992, $2,000. Writer/Director.
Interdisciplinary Arts Fellowship, The Rockefeller Foundation and the National Endowment for the Arts for performance art entitled 'That's Different: Tales of Nebraska.' Performed at Blue Mountain Gallery, 121 Wooster St., NY, NY, Nov. 23, 1987; $1,500. Co-writer/director.
SERVICE:
Supervised revision of the Film Studies Major and Minor, Fall, 2007.
Co-Editor, Quarterly Review of Film and Video, 1999 - present.
Film Selection Committee Member, Mary Riepma Ross Media Arts Center, University of Nebraska, Lincoln, 1995 - Present.
Member, Women's Studies Faculty, 1996 - present.
Member, Appeals Committee, 2007 - 2008.
Member, Chair's Advisory Committee, 2006 - 2007.
Member, Personnel Subcommittee, 2006 - 2007.
Coordinator, Film Studies Program, 2005 - present.
Member, Steering Committee, The Women Film Pioneers Project, Duke University Program in Film & Video, 1997 - present.
Reader; Dissertation Committee - Frances Davis, Tami Burnett, Sandy Byrd and Amber Leichner, present.
Member, Graduate Faculty, Department of English, UNL, 1997 - present.
Chair, Film Studies Search Committee, 2003 - 2004.
Member, Teaching and Research Committee, 2003 - 2004.
Member, Postcolonial Search Committee, 2002 to 2003.
Member, Personnel Subcommittee, 2001 to 2002 .
Editor in Chief, Quarterly Review of Film and Video, 1999to present.
Member, Chair's Advisory Committee, Department of English, 2001 to 2002.
Member, Film Selection Committee, Mary Riepma Ross New Media Center, 2002 to 2003.
Acting Chair, Film Studies Program, Spring, 2000.
Academic Advisor and Research Consultant to the Producer of Turner Classics Movies Festival Women in Film in the Silent Era, Aired Spring 2000.
Member, Steering Committee, The Women Film Pioneers Project, Duke University Program in Film & Video, 1997 to present. (Open term.)
Member, Graduate Fellowship Committee, University of Nebraska, Lincoln, 1998 to 2000.
Member, Undergraduate Program and Curriculum Committee, Department of English, University of Nebraska, Lincoln, 1997 to 2000.
Member, Film Studies Minor, Major and English Concentration Committee, 1996 to present.
Member, Graduate Faculty, Department of English, UNL, 1997 to present.
Juror, Academy of Motion Picture Arts and Sciences Student Film Awards, Mary Riepma Ross Film Theater, 1989, 2001.
Scholarly Humanities Advisor, Nebraska Humanities Council: Women Directors/ Feminist Visions Film Festival, Mary Riepma Ross Film Theater, Lincoln, Ne, 2001.
Juror, Academy of Motion Picture Arts and Sciences Student Film Awards: Mary Riepma Ross Film Theater, 2000.
Chair, Women's Studies Curriculum Committee, 1998 to 1999.
Juror, National Division, 3rd Annual Kansas City Filmmakers Jubilee; February 26 and 27, 1999.
Juror, Telluride Film Festival's Filmmakers of Tomorrow Program, Summer, 2000.
Advisor and Humanities Scholar (Nebraska Humanities Council), The Mary Pickford Film Festival, Mary Riepma Ross Film Theater, Sheldon Art Gallery, Summer, 1998.
Film Selection Committee Member, Mary Riepma Ross Film Theater, Sheldon Memorial Art Gallery, University of Nebraska, Lincoln, 1995 to 2002.
Member, Women's Studies Curriculum Committee, 1997 to 1998.
Member, Editorial Advisory Board, Screening Noir, an electronic journal, 1998 to present.
Faculty Advisor, Women's Studies Association, University of Nebraska, Lincoln, 1995 to 1996.
Member, Women's Studies Faculty, 1996 to present.
Juror, The Southwest Alternate Media Project Fellowship, National Endowment for the Arts, Filmmaking Humanities Fellowships: July 29 to 31, 1993, Houston, TX.
BOOK REVIEWER:
Reviewer for Choice, journal of The Association of College & Research Libraries, 2004 - present.
MANUSCRIPT REVIEWER:
Manuscript Reviewer, Wayne State University Press, 2007 - present.
Manuscript Reviewer, Frontiers, 2007.
Manuscript Reviewer, University of Minnesota Press, 2003 - present.
Manuscript Reviewer, State University of New York Press, 1996 to present.
Manuscript Reviewer, Columbia University Press, 2000 to present.
Manuscript Reviewer, Southern Illinois University Press, 1999 to present.
Manuscript Reviewer, Cinema Journal, 1999 to present.
Manuscript Reviewer, Contours: A New International Magazine of the Literature and Film of the African Diaspora, 1999 to present.
Manuscript Reviewer, University of Nebraska Press, 2000 to present.
Manuscript Reviewer, Angles: Women Working in Film and Video, 1998 to 2001.
Manuscript Reviewer - Film Criticism, Fall 1997 to present.
Manuscript Reviewer, Fairleigh Dickinson University Press, 1996 to 1997.
Manuscript Reviewer, Text and Performance Quarterly, Spring, 1992 to Spring, 1993.
DISSERTATION COMMITTEES:
Reader, Dissertation Committees of Fran Davis, Tami Burnett, Amber Leichner, Sandy Bird, Cody Lumpkin.
Chair, Dissertation Committee: Ian Olney, Graduated 2003. "Playing Dead: Spectatorship, Performance, and Euro-Horror Cinema."
Chair, Dissertation Committee: Melissa Rigney. Graduated 2004.
Member, Dissertation Supervisory Committee: Valery Varble. Graduated 2004.
Reader, M.A. Committee: Chris Halligan, Graduated 2000.
UNDERGRADUATE HONORS ADVISING:
Director - Honors Thesis - Xaviera Flores, "I Ain't So Tough: An Analysis of the Performance of Masculinity in Pre-Code Cinema," December, 2007.
Director - Honors Thesis, Rebecca Jacobson, "Unzipping Gender: Gender Stereotypes, Identity, and Power," 2006. Passed with Distinction.
Director - Honors Thesis, Clint Eckstein, English Degree with Distinction, "Beat Poetry and Film," 2002. Passed with Distinction.
Reader - Honors Thesis, Kyle Wyatt, Honors Thesis, English, 2003. Highest Distinction.
CREATIVE WORK - FILM PRODUCTION:
August, 2002: Women Who Made The Movies signed exclusively to Women Make Movies, Inc. , New York, for a new five year distribution contract in all media. New prints of Women Who Made The Movies acquired by Dartmouth College, The Australian Film /TV/Radio School, Vanderbilt University, Atlanta University, Mount Holyoke College, Central Michigan University.
June, 1994: Writer, screenplay: Squatters, a feature film shot in France, June, 1994; screened at the MIPCOM Festival, Cannes, France; screened on Satellite Network, France; GULF Satellite Network, Middle East; Antenna One Network, Romania, 1995.
July, 1992: Writer, Director, Producer, The Women Who Made the Movies (60 minutes). A documentary on the history of women filmmakers from 1896-1960. A co-production of Nebraska Educational Television Network. Distributed exclusively by Women Make Movies, Inc., New York, New York. Reviewed by Leonard Maltin on Entertainment Tonight, Jan. 4, 1992. Print Reviews: Movie Collector's World, New Directions for Women, Booklist, Library Journal, Women Library Workers Journal.
Women Who Made The Movies is in the permanent collections of: Barnard College,George Mason University, University of Washington, New York University, Harvard University, San Diego State University, Rice University, California Institute of the Arts, Indiana University, University of Oklahoma, The African-American Institute, Forum Yokohama (Japan), Duke University, University of Texas at Austin, California State University at Bakersfield, University of Delaware Avila College, Goucher College, Boston Public Library, Speed Art Museum, University of Evansville, University of Wisconsin-Madison, The University of Washington, The Nederlands Filmmuseum, The University of British Columbiaand numerous other colleges, archives and universities. The film is a standard text used in many film classes, both at the K-12 level and at many universities. It has been screened at numerous international film festivals, and extensively reviewed.
Co-Writer/Director/Producer, Coming Attractions: A History of the Motion Picture Trailer, 1988 (60 min.) A feature length documentary on the Hollywood motion picture "coming attraction."
Held in the Museum of Modern Art Film Archive, the Mary Riepma Ross Film and New Media Centre Archive, Rutgers University Film Archive.
CREATIVE WORK - SCREENPLAYS:
Original Screenplay for Squatters, 1994. Produced in 1995.
Original Screenplay for The Women Who Made the Movies, 1990. Produced in 1992.
Original Screenplay for Coming Attractions, 1988. Produced in 1988.
SELECTED SCREENINGS AND FESTIVALS (ALL REFEREED):
The Women Who Made The Movies (All Invited Screenings)
The Art Institute of Charlotte, NC, June 2007
The College of Santa Fe, NM, May 25, 2007
Western Michigan University, August 2006
University of Rochester, Summer, 2005
Evergreen State College, Summer 2005
Swedish Cinematheque, Summer 1005
College of Wooster, Summer 2005
Art Institute of Atlanta, Summer 2005
National Museum of Women in the Arts, Washington DC, Winter 2005
University of Lethbridge, Alberta, Canada, Winter, 2005
Université Laval, Quebec, Winter, 2005
Indiana University South, Winter 2004
Indiana University, Winter 2003
University of Michigan, Ann Arbor, Winter 2003
Indiana University, Winter 2003
Connecticut State University, Summer 2003
Dartmouth College, Fall 2002
The Australian Film /TV/Radio School, Fall 2002
Vanderbilt University, Fall 2002
Atlanta University, Fall 2002
Mount Holyoke College, Fall 2002
Central Michigan University, Fall 2002
University of Maryland, March 13, 2000.
Berkshire Conference '99, June 3-5, 1999.
City University of Hong Kong, Spring, 1999.
University of Montreal, Spring, 1999.
Michigan State University, Spring, 1999.
Metropolitan Museum of Art, New York, NY, March 20, 1999.
Portland State University, Portland, OR, February 26, 1999.
Vanier College (Quebec, Canada), May 21, 1998.
Minnesota College of Art and Design, April 24, 1998.
University of Akron, March 20, 1998.
Woodstock Artists Association, Woodstock, NY, March 14, 1998.
Lehigh University, February 19, 1998.
Santa Barbara Museum of Art, June 26, 1997.
University of Richmond, November, 1997.
University of Calgary, November, 1997.
City College of San Francisco, August, 1997.
Augustana College, April, 1997.
Texas A & M University , April, 1997.
Illinois Wesleyan University, April 16, 1997.
University of Oklahoma, March 28, 1997.
Feminist Film Series, Pennsylvania, March 21, 1997.
University of Kansas, March 5, 1997.
University of Wisconsin, Milwaukee, January 20, 1997.
University of New Orleans, March, 1996.
International Film Festival of Kerala, India; Spring, 1996.
State Library of Queensland, Australia, Fall 1996.
New York University, Fall, 1996.
Kyobo Center, Korea, Fall, 1996.
San Diego State University, March 14, 1995.
Rice University, March 19, 1995.
California Institute of the Arts, September 21, 1995.
The African American Institute, Alabama, July 22, 1995.
Outfest, Los Angeles, July 6-16, 1995.
Indiana University, November 1, 1995.
Women's Film Festival of Madrid, Spain; November 10-20, 1995.
Films de Femmes Festival, Créteil, France, Spring, 1995.
Films de Femmes Festival, Créteil, France, Spring, 1994
National Women's Studies 15th Annual Conference, June 18, 1994.
Women in Film 9th International Film Festival, Universal City, CA, Mar ch 5, 1994
Dallas Video Festival, November 13, 1993.
The University of Northern Florida, March 1, 1993.
University Film and Video Association National Conference, August 10, 1991
Nebraska Educational Television Network, November 23, 24 and December 31, 1990.
Coming Attractions, Collective for Living Cinema, 41 White Street, NY; December 5-8, 1988. (Invited)Rice Museum Media Center, Film Festival, Houston, TX; October 30, 1987. (Invited)
Multi-Media Performance/Installation, "That's Different: Tales of Nebraska," a performance piece, Blue Mountain Art Gallery, 121 Wooster Street, New York, New York, November 23, 1987, Funded by the Rockefeller Foundation and the National Endowment for the Arts. (Refereed)
FILMS ARCHIVED:
Women Who Made The Movies and Coming Attractions: A History of the Motion Picture Trailer were archived (in both print and original format) in the permanent collection of The Museum of Modern Art in April 2003, as part of MoMA's collection of essential films and videos.
PROFESSIONAL SOCIETIES:
Modern Language Association
Society for Cinema and Media Studies
National Women's Studies Association
The Women Film Pioneers Project - Steering Committee