ACADEMIC VITA

Frank P. Tomasulo, Ph.D.

New York, New York 10128 646-***-**** adab0v@r.postjobfree.com

EDUCATION

Ph.D.: University of California, Los Angeles. Film and Television Studies. Dissertation: The Rhetoric of Ambiguity: Michelangelo Antonioni and the Modernist Discourse. Advisor: Nick Browne.

M.A.: New York University. Cinema Studies.

B.A.: Brooklyn College, City University of New York. Philosophy. Minor in Art History.

ACADEMIC EMPLOYMENT

Certified Core Adjunct Full Professor, Department of English, National University, La Jolla, California. 2008-present.

Visiting Adjunct Full Professor, Department of Film and Media Studies, Hunter College, City University of New York. 2015-16.

Visiting Adjunct Full Professor, Film and Screen Studies, Department of English, Pace University. 2012-16.

Visiting Adjunct Full Professor, Department of Film History, Sarah Lawrence College. 2011-12.

Visiting Adjunct Full Professor of Film History, Department of Art, Westchester Community College, SUNY. 2011-12.

Visiting Adjunct Full Professor, Department of Media and Communication Arts, City College of New York, CUNY. 2010-14.

Professor and Director, BFA Program (Tenured), College of Motion Picture Arts, Florida State University, Tallahassee. 2004-2009.

Professor and Chair (Tenured), Division of Cinema and Television, Southern Methodist University, Dallas, Texas. 2001-2004.

Associate Professor (Tenured), Department of Communication, Georgia State University, Atlanta. 1991-2001.

Chair (Tenured), Department of Communication, Georgia State University, Atlanta. 1991-94.

Associate Professor (Tenured), Department of Cinema and Photography, Ithaca College, Ithaca, New York. 1987-91.

Visiting Associate Professor, Theater Arts Department, Cornell University, Ithaca, New York. 1991.

Visiting Associate Professor, Theater Arts Board, University of California, Santa Cruz. 1989-90.

Assistant Professor, Department of Cinema and Photography, Ithaca College, Ithaca, New York. 1981-87.

Teaching Fellow/Research Associate/Master T.A., Theater Arts Department, University of California, Los Angeles. 1978-81.

Instructor, Department of Cinema, Moorpark College, Moorpark, California. 1977-78.

Film and Video Director, Research Foundation of CUNY, Medgar Evers College, Brooklyn, New York. 1975-76.

Film Instructor, Department of Communication Arts, St. John's University, Jamaica, New York. 1974-75.

Instructor, Film Production, Hollyco Studios, Hollywood, California. 1976-77.

Instructor, Film and Television Acting, Theater of Arts, Hollywood, California. 1976-77.

Instructor, Film and Video Production, Fiedel School, Glen Cove, New York. 1975.

COURSES TAUGHT

Pace University

-History of Film: 1895-the present

-History of Film I: 1895-1945

-History of Film II: Postwar International Cinema

-Major Film Movements: Postwar European Cinema

-Genre: American Film Comedy

-Major Auteurs: Alfred Hitchcock

-Major Auteurs: Martin Scorsese

-The Art of Film

-Major Auteurs: Martin Scorsese

-Sex and Cinema: Eros and Gender in International Film

City College of New York, CUNY

-Introduction to Film Studies

-Independent Film

-Independent Film (Honors College)

-Film History and Aesthetics (senior seminar)

-Film History and Theory I: From the Beginning to Citizen Kane

-Film History and Theory II: From World War II to the Present

Hunter College, CUNY

-Film Genres: Horror

-Cult Television and Its Audience

National University, La Jolla, California (On-line M.A. seminars)

-Film History: The Silents

-American Film History

-Film Genres: Fear

-Italian Cinema

Sarah Lawrence College

-Television History & Criticism -Television Criticism & Analysis

Westchester Community College, SUNY

-Fiction into Film (on-line)

-Film History I: 1895-1945

-Film History II: 1945-today

Florida State University

-Introduction to Film

-History of Motion Pictures

-Film Genres/Filmmakers

-Film Aesthetics for Screenwriters (Grad seminar)

-Screenwriting II

Southern Methodist University

-Television Criticism

-Mass Communication Theory (Graduate seminar)

-Critical Issues in Arts Criticism

Georgia State University

-Film Theory and Criticism (graduate and undergraduate)

-Advanced Film Theory (Graduate seminar)

-Film and Literature (graduate and undergraduate)

-History of Motion Pictures (Honors program)

-Film Aesthetics and Analysis

-Major American Film Directors (graduate and undergraduate)

-Major American Film Directors (Honors program)

-Major European Directors (graduate and undergraduate)

-The Consequences of Literacy (Honors colloquium)

-Legal Reelism: The Law in Film (Honors symposium)

-Violence: The Individual to the State (Honors colloquium)

-Contemporary Hollywood Cinema (graduate and undergraduate)

-Contemporary Hollywood Cinema (Graduate seminar)

-Issues and Perspectives in Communication (Graduate seminar)

-Modern Communication Theory (Graduate seminar)

Ithaca College

-Introduction to Film Aesthetics and Analysis

-Film and Literature

-American Film

-Advanced Film Analysis

-Fiction Film Theory

-Film as Art

-Television Criticism

-Film and Television Comedy

-The Art of Alfred Hitchcock

-Fiction Film Production (16 mm.)

-Film Production Workshop (16 mm.)

-Screenwriting

-Advanced Screenwriting

Cornell University

-Writing About Film

University of California-Santa Cruz

-The Film Experience

-Film Theory and Criticism

-Film History I: Silent German and Soviet Cinemas

-Film History II: International Sound Cinemas

-Film Authors: Alfred Hitchcock

University of California-Los Angeles (graduate and undergraduate)

-American Film History

-European Film History

-Documentary Film History

-American Film Comedy

-Genres: Film and TV Comedy

-Film and Social Change

-Problems in Teaching Film and Television

Moorpark College

-History of World Cinema

-Masterpieces of International Cinema

-Film Production

-Advanced Film Production (16 mm.)

St. John's University

-Film Production (16mm.)

-Screenwriting

BOOKS

More Than a Method: Trends and Traditions in Contemporary Screen Performance, with Diane Carson and Cynthia Baron. Detroit: Wayne State University Press, 2004.

Michelangelo Antonioni: Ambiguity in the Modernist Cinema. Lambert Academic Publishing, 2019.

SELECTED PUBLICATIONS

Articles, Essays, and Book Chapters

"Independent Cinema: El Topo and the Midnight Movie Phenomenon," The Projector. (Winter 2019). Available at https://www.theprojectorjournal.com/el-topo

"Teaching Creativity: A Practical Guide for Training Filmmakers, Screenwriters, and Cinema Studies Students," Journal of Film and Video 71.1 (Spring 2019): 51-62.

"The Sopranos and Long-Form Television Narrative," Quarterly Review of Film and Video 35.3 (2018): 3-22.

"Teaching Film Studies within a Production Context," Teaching Film: Essays on Cinematic Pedagogy, edited by Lucy Fischer and Patrice Petro (New York: Modern Language Association, 2012), 618-646.

"The Intentionality of Consciousness: Subjectivity in Last Year at Marienbad," Hyperborean Wind: Reflections on Design and the City, edited by Matti Itkonen, Iris Aravot, and Paul Majkut (Finland: University of Jyväskylä Press, 2012), 307-321.

"The Guinea as Gangster Hero: The Complex Representation of Italian Americans in The Sopranos," The Essential "Sopranos" Reader, edited by David Lavery, Doug Howard, and Paul Levinson (Lexington: University of Kentucky Press, 2011), 196-207.

"Researching Your Teaching: A Mini-Manifesto," Cinema Journal 50.3 (Spring 2011): 84-86.

"'Sick Eros': The Sexual Politics of Antonioni's Trilogy," Projections: The Journal for Movies and Mind 3.1 (Summer 2009): 1-23.

"The Cabinet of Dr. Caligari: Politics, Psychoanalysis, Cinema," Cinema and Politics: Turkish Cinema and the New Europe, edited by Deniz Bayrakdar (Newcastle upon Tyne, U.K.: Cambridge Scholars Publishing, 2009), 40-50.

"Adaptation as Adaptation: From Susan Orlean's The Orchid Thief to Charlie Kaufman's Screenplay to Spike Jonze's Film," Authorship in Film Adaptation, edited by Jack Boozer (Austin: University of Texas Press, 2008), 173-190.

"Eros and Civilization: Sexuality and the Contemporary International Art Cinema," Film International 6.6 (November 2008): 28-39.

"'You CAN Play Mathematical Equations on the Violin!': Quantifying Artistic Learning Outcomes for Assessment Purposes," Journal of Film and Video 60.3-4 (Fall/Winter 2008): 115-122. Reprinted on the Society for Cinema and Media Studies Web site: http://www.cmstudies.org, 2010.

"Life Is Inconclusive: A Conversation with Michelangelo Antonioni," reprinted in Michelangelo Antonioni: Interviews, edited by Bert Cardullo (Jackson: University Press of Mississippi, 2008), 162-168.

"Japan through Others' Lenses: Hiroshima Mon Amour (1959) and Lost in Translation (2003)," Japan Studies Review 11 (2007): 143-155. Also available on the Internet at http://asianstudies.fiu.edu.

"The Bourgeoisie Is Also a Class: Class as Character in Michelangelo Antonioni's L'Avventura," Jump Cut: A Review of Contemporary Media 49 (Spring 2007). Available on the Internet at http://www.ejumpcut.org/trialsite/Tomasulo/index.html.

"1976: Movies and Cultural Contradictions," American Cinema in the 1970s: Themes and Variations, edited by Lester Friedman (New Brunswick, N.J.: Rutgers University Press, 2007), 157-204.

"Propaganda Films," Schirmer Encyclopedia of Film, edited by Barry Keith Grant (New York: Schirmer, 2007), 339-348.

"'You're Telling Me You Didn't See': Hitchcock's Rear Window and Antonioni's Blow-Up," After Hitchcock: Imitation, Influence, and Intertextuality, edited by David Boyd and R. Barton Palmer (Austin: University of Texas Press, 2006): 145-172.

"Teaching the Introductory Cinema Studies Course: Some Strategies and Resources," Cinema Journal 34.4 (Summer 1995): 72-78.

"Resources for Teaching Film and Video Courses," Cinema Journal 34.4 (Summer 1995): 71-72.

"Introduction: What Is Cinema? What Is Cinema Journal?" Cinema Journal 43.3 (Spring 2004): 119-121.

"Introduction: More than the Method; More than One Method," More Than a Method: Trends and Traditions in Contemporary Screen Performance, edited by Cynthia Baron, Diane Carson, and Frank P. Tomasulo (Detroit: Wayne State University Press, 2004), 1-19.

"'The Sounds of Silence': Modernist Screen Acting in Michelangelo Antonioni's Blow-Up (1966)," More Than a Method: Trends and Traditions in Contemporary Screen Performance, edited by Cynthia Baron, Diane Carson, and Frank P. Tomasulo (Detroit: Wayne State University Press, 2004), 94-125.

"Injustice for All: The Politics of Creativity in the Commercial Hollywood Cinema," 2002.

"Empire of the Gun: Steven Spielberg's Saving Private Ryan and American Chauvinism," The End of Cinema as We Know It: American Film in the 1990s, edited by Jon Lewis (New York: New York University Press, 2001), 115-130.

"The Gospel According to Spielberg in E.T.: The Extra-Terrestrial," Quarterly Review of Film and Video 18.3 (Spring 2001): 273-282.

"What Kind of Film History Do We Teach?: The Introductory Survey Course as a Pedagogical Opportunity," Cinema Journal 41.1 (Fall 2001): 110-114.

"Sigmund Freud," "Base and Superstructure," "Phenomenology," "Viewer,” “Epistemology," "Ontology," "Fort-Da Game," Critical Dictionary of Film and Television Theory (London: Routledge, 2001), 456-463.

"Bicycle Thieves: A Re-reading," Vittorio De Sica: An Anthology of Criticism, edited by Stephen Snyder and Howard Curle (Toronto: University of Toronto Press, 2000), 160-171.

"Raging Bully: Postmodern Violence and Masculinity in Raging Bull," Mythologies of Violence in Postmodern Media, edited by Christopher Sharrett (Detroit: Wayne State University Press, 1999), 175-197.

"The Mass Psychology of Fascist Cinema: Triumph of the Will," Documenting the Documentary, edited by Barry Grant and Jeannette Sloniowski (Detroit: Wayne State University Press, 1998), 99-118.

"Theory to Practice: Integrating Cinema Theory and Film Production," Cinema Journal 36.3 (Spring 1997): 113-117.

"Teaching Film Production and Cinema Studies," Cinema Journal 36.3 (Spring 1997): 106-107.

"Film Pedagogy: Classroom Strategies for Film/Media," Cinema Journal 36.2 (Winter 1997): 100-101.

"Narrate and Describe? Point of View and Narrative Voice in Citizen Kane's Thatcher Sequence," Perspectives on "Citizen Kane", edited by Ronald Gottesman (New York: G. K. Hall, 1996), 504-517.

"Masculine/Feminine: The 'New Masculinity' in Tootsie (1982)," The Velvet Light Trap 38 (Fall 1996): 4-13.

"'I'll See It When I Believe It': Rodney King and the Prison-House of Video," The Persistence of History: Cinema, Television, and the Modern Event, edited by Vivian Sobchack (New York and London: Routledge, 1996), 69-88.

"Italian Americans in the Hollywood Cinema: Filmmakers, Characters, Audiences," Voices in Italian Americana 7.1 (Spring 1996): 65-77. Selected for reprinting in Voices in Italian Americana 26.1 (Spring 2015) as one of the most significant essays published in VIA.

"The Maltese Phallcon: The Oedipal Trajectory of Classical Hollywood Cinema," Authority and Transgression in Literature and Film, edited by Bonnie and Hans Braendlin (Gainesville: University Press of Florida, 1996), 78-88.

"Resources for Teaching Film and Video Courses," Cinema Journal 34.4 (Summer 1995): 71-72.

"Teaching the Introductory Cinema Studies Course: Some Strategies and Resources," Cinema Journal 34.4 (Summer 1995): 72-78.

"Injustice for All: The Politics of Creativity in the Commercial Hollywood Cinema," Creative Screenwriting 2 (Spring 1995): 53-68..

"The Architectonics of Alienation: Antonioni's Edifice Complex," Wide Angle 15 (Summer 1993): 3-21.

"Annie Hall and Feminism: A Study in Ambivalence," Women and Society, edited by Sue Lawrence (Poughkeepsie, N.Y.: Marist College Press, 1992), 34-48.

"The Politics of Ambivalence: Apocalypse Now as Pro-War and Anti-War Film," From Hanoi to Hollywood: The Vietnam War in American Film, edited by Linda Dittmar and Gene Michaud (New Brunswick, N.J.: Rutgers University Press, 1991), 145-158.

"Phenomenology: Philosophy and Media Theory--An Introduction," Quarterly Review of Film and Video 13 (Summer 1990): 163-170.

"Selected Bibliography: Phenomenology and Film," Quarterly Review of Film and Video 13 (Summer 1990): 261-263.

"Colonel North Goes to Washington: Observations on the Intertextual Re-Presentation of History," Journal of Popular Film and Television 17 (Summer 1989): 82-88.

Review/article on the "1986 Society for Cinema Studies Conference," Quarterly Review of Film Studies 11 (Spring 1989): 347-380.

"The Intentionality of Consciousness: Subjectivity in Last Year at Marienbad," Post Script 7 (Winter 1988): 58-71.

"The Text-in-the-Spectator: The Role of Phenomenology in an Eclectic Theoretical Methodology," Journal of Film and Video 40 (Summer 1988): 20-32.

"Georges Méliès: Proto-Surrealist," The Michigan Academician 20 (Spring 1988): 234-250.

"Narrate and Describe?: Point of View and Narrative Voice in Citizen Kane's Thatcher Sequence," Wide Angle 8 (1986): 45-52.

"Television and the Spectator-in-the-Tube," Media Today, edited by Donald F. Ungurait, Thomas W. Bohn, and Ray Eldon Hiebert (New York: Longman, 1985), 142-147.

"Life Is Inconclusive: A Conversation with Michelangelo Antonioni," On Film 13 (Fall 1984): 61-64.

"The Spectator-in-the-Tube: The Rhetoric of Donahue," Journal of Film and Video 36.1 (Spring 1984): 5-12.

"The Rhetoric of Anti-Closure: Michelangelo Antonioni and the Open Ending," Purdue Film Studies Annual (1983): 133-139.

"The Cabinet of Dr. Caligari: History/Psychoanalysis/Cinema," On Film 11 (Summer 1983): 2-7.

"Bicycle Thieves: A Re-reading," Cinema Journal 21 (Spring 1982): 2-13. (Posted as a Jstor Recommended Classroom Reading.)

"Mr. Jones Goes to Washington: Myth and Religion in Raiders of the Lost Ark," Quarterly Review of Film Studies 7 (Fall 1982): 331-340.

"Bicycle Thieves: Style and Ideology," Purdue Film Studies Annual (1982): 139-144.

"Psychoanalysis and Cinema?" On Film 10 (1980): 11-14. Translation of a Pascal Bonitzer article in Ca Cinéma.

Book Review/Essays

Todd Berliner, Hollywood Aesthetic: Pleasure in American Cinema. Projections: The Journal for Movies and Mind 13.3 (2019). In press.

Jacques Rancière, The Emancipated Spectator, Studies in the Humanities 39.1-2 (June-December 2012): 303-305.

Murray Pomerance, Michelangelo Red Antonioni Blue: Eight Reflections on Cinema, Quarterly Review of Film and Video 29.5 (Winter 2012): 464-471.

Lester D. Friedman, Citizen Spielberg and Warren Buckland's Directed by Spielberg: Poetics of the Contemporary Hollywood Blockbuster, Journal of Film and Video 63.4 (Winter 2011): 53-59.

Dennis Bingham, Whose Lives Are They Anyway?: The Biopic as Contemporary Film Genre, Senses of Cinema (Australia). (October 2011).

Howard Suber, The Power of Film, Journal of Film and Video 61.3 (Fall 2009): 65-68.

Steve Neale, Genre and Hollywood, Quarterly Review of Film and Video 20.4 (Fall 2003): 265-271.

Peter Brunette, Michelangelo Antonioni, Journal of Film and Video 51.3-4 (Fall-Winter 1999-2000): 102-105.

Michael Coyne, The Crowded Prairie: American National Identity in the Hollywood Western, Men and Masculinities 6.1 (October 1998): 229-233.

Michelangelo Antonioni, The Architecture of Vision: Writings and Interviews on Cinema, Journal of Film and Video 48.4 (Winter 1996-97): 54-56.

Susan Jeffords, Hard Bodies: Hollywood Masculinity in the Reagan Era, Film Quarterly 49.1 (Fall 1995): 47-49.

William J. Palmer, The Films of the Eighties: A Social History, The Hitchcock Annual (Fall 1994): 183-194.

Edward Branigan, Point of View in the Cinema, The Journal of Aesthetics and Art Criticism 45 (Spring 1987): 309-312.

Seymour Chatman, Story and Discourse: Narrative Structure in Fiction and Film, Journal of the University Film Association 22 (Fall 1980): 71-74.

Film Reviews/Analyses

"Ironwood (Shahin Izadi, 2016)," Journal of Film and Video 69.3 (Fall 2017): 55-58.

"Identification of a Woman (Michelangelo Antonioni, 1982)," Cineaste 37.2 (Spring 2012): 56-58.

"Totó (Peter Schreiner, 2009)," Italian American Review 2.1 (Winter 2012): 62-65.

"Jack Goes Boating (Philip Seymour Hoffman, 2010)," www.yam.com.

"Odile and Yvette at the Edge of the World (André Burke, 1995)," Journal of Film and Video 48.1-2 (Spring-Summer 1996): 102-104.

CONFERENCE PAPERS AND ACADEMIC PRESENTATIONS – Partial List

Participant, Teaching Workshop on "Handouts for Filmmaking and Screenwriting Courses: Best Practices." University Film and Video Association Conference, New Mexico State University, Las Cruces, New Mexico, 2018.

"Lesbian Sexuality vs. Straight Male Film Style: How Conventional Cinematic Techniques are Used to Mainstream Same-Sex Desire in The Color Purple," University Film and Video Association Conference, California State University, Los Angeles, 2017.

"L.A.'s Rodney King Videotape: Then and Now – Reflections on Documentaries that Matter," University Film and Video Association Conference, California State University, Los Angeles, 2017.

Presenter/Respondent, Stanley Kubrick's Little-Known Documentary: The Seafarers, 1953). "From the Archives," University Film and Video Association Conference, California State University, Los Angeles, 2017.

"Martin Scorsese's Casino: Hollywood Movie or Indie Production?" University Film and Video Association Conference, University of Nevada, Las Vegas, 2016.

Juried Screening, L.A.X. (feature-length experimental documentary), University Film and Video Association Conference, University of Nevada, Las Vegas, 2016.

Respondent, Ironwood, University Film and Video Association Conference, University of Nevada, Las Vegas, 2016.

"Frankenstein: Novel (1818) and Film (1931): Science and the New Prometheus," American Comparative Literature Association, Harvard University, 2016.

"Taxi Driver and the American Bicentennial: A Study in the Ideology of Cinematic Style," University Film and Video Association Conference, American University, Washington, D.C., 2015.

"Teaching Creativity: A Practical Guide for Training Filmmakers, Screenwriters, and Cinema Studies Students," University Film and Video Association Conference, Los Angeles, CA, 2015. First-Prize (Gold) Award Winner, UFVA Juried Paper Competition, 2017.

"Adjuncts of the World, Unite! You Have Nothing to Lose but Your Paltry Salaries," University Film and Video Association Conference, American University, Washington, D.C., 2015.

"The Children are Watching Us: Youngsters and Parents in Italian Neorealist Cinema," Conference on "Bambini, Ragazzi, Giovani: Children and Youth in Italy and the Italian Diaspora," John D. Calandra Italian American Institute, The City University of New York Graduate Center, 2015. Also aired on Italics (CUNY-TV) and posted on YouTube: www.youtube.com/ItalicsTV.

"Old Vino in New Bottles? HBO's The Sopranos and Long-Form Narrative," University Film and Video Association Conference, Montana State University, 2014. First-Prize (Gold)Award Winner, UFVA Juried Paper Competition, 2015.

"The Academic Job Market in Cinema and Media Studies: Questions and Answers for Junior and Senior Scholars," Society for Cinema and Media Studies Conference, Seattle, 2014.

"Can Creativity Be Taught?: Pedagogical Reflections and Strategies," University Film and Video Association Conference, Chapman University, Orange, California, 2013.

"Teaching Mise-en-Scène Analysis with Antonioni's Eclipse," University Film and Video Association Conference, Columbia College, Chicago, 2012.

"Finding and Obtaining Your First Academic Job: Free Advice and Recommendations," University Film and Video Association Conference, Columbia College, Chicago, 2012.

"'Chick TV': Rizzoli & Isles – Ethnicity, Gender, Genre, and Intertext," Society for Cinema and Media Studies Conference, Boston, 2012.

Discussion Moderator, "Jean-Luc Godard's Film socialisme (2011)," Society for Cinema and Media Studies Conference, Boston, 2012.

"The Gospel According to Spielberg: Catholic Iconography in E.T.: The Extra-Terrestrial," Catholics and Cinema conference, Oxford University, United Kingdom, 2011.

"El Topo and the Rise of the Midnight Movie Phenomenon," University Film and Video Association Conference, Emerson College, Boston, 2011.

"Dumbing Down: Lowered Expectations in Higher Education and Film-Media Studies," University Film and Video Association Conference, Champlain College, Vermont, 2010.

"Revisioning Antonioni: The Spectator as Auteur," Society for Cinema and Media Studies Conference, Los Angeles, 2010.

"Dumbing Down – By State Law?!: Paulo Freire and Lowered Expectations in Higher Education," Society for Cinema and Media Studies Conference, Los Angeles, 2010.

"Hands Off!: A Laissez-Faire Approach to Teaching Screenwriting and Film Production," University Film and Video Association Conference, University of New Orleans, 2009.

"The Aesthetics of Alienation: Michelangelo Antonioni's Edifice Complex," American Association for Italian Studies Conference, St. John's University, New York, 2009.

"Curricular Strategies for Cinema History/Theory Classes," University Film and Video Association Conference, Colorado College, 2008.

"'Total Heavy-osity': Teaching Film Aesthetics with Annie Hall (1977)," University Film and Video Association Conference, Colorado College, 2008. First-Place (Gold) Award, University Film and Video Association Juried Paper Competition, 2009.

"The Gangster as Guinea Hero: The Complex Representation of Italian Americans in David Chase's The Sopranos," The Sopranos Wake Conference, Fordham University, 2008.

"The Guinea as Tragic Hero: The Complex Representation of Italian Americans in The Sopranos," Society for Cinema and Media Studies Conference, Philadelphia, 2008.

"Hitchcock as Moralist: The Case of Vertigo," Southwest-Texas Popular Culture Association/American Culture Association Conference, Albuquerque, New Mexico, 2008. Accepted for delivery but cancelled due to travel funding freeze at FSU.

"The Spielberg Literature: The Good, the Bad, and the Ugly," Spielberg at Age 60 conference, University of Lincoln, United Kingdom, 2007. Accepted for delivery but cancelled due to travel funding freeze at FSU.

"Adapting the Book to the Screenplay, Adapting the Script to the Screen: Adaptation (2002)," Association of Literature on Screen Studies, Oglethorpe University, Atlanta, 2007. Accepted for delivery but cancelled due to travel funding freeze at FSU.

"Teaching Film with Television: A Critical Intervention," University Film and Video Association Conference, University of North Texas, 2007.

Respondent (ex officio), "Promotion and Tenure" panel, University Film & Video Association Conference, University of North Texas, 2007.

"'We Are All Sopranos': The Italian American Gangster as Tragic Hero," Society for Cinema and Media Studies Conference, Chicago, 2007.

"The Uses (and Abuses) of Television in the Cinema Studies Curriculum," SCMS Committee on Teaching Workshop, Society for Cinema and Media Studies Conference, Chicago, 2007.

"Three Auteurs, Three National Cinemas?: Cosmopolitanism in the Anthology Film Eros (Wong Kar-wai/Steven Soderbergh/Michelangelo Antonioni, 2004)," Florida State University Conference on Film and Literature, Tallahassee, 2007.

"Adaptation: A Meta-Adaptation of Susan Orlean's The Orchid Thief," University Film and Video Association Conference, Chapman University, Orange, California, 2006.

"'You Can Play Mathematical Equations on a Movie Camera': Assessment Strategies for Cinema Studies," Society for Cinema and Media Studies Conference, Vancouver, Canada, 2006.

"'Comedy = Tragedy + Time': Humor and the Holocaust in Roberto Benigni's La Vita è bella (Life Is Beautiful, 1997)," Florida State University Conference on Film and Literature, Tallahassee, 2006.

"'You Can Play Mathematical Equations on the Violin': Assessment Strategies for Film Schools," University Film and Video Association Conference, Columbia College, Chicago, 2005.

"The Secrets of Our Success: Pedagogical Strategies of the Florida State University Film School," University Film and Video Association Conference, Columbia College, Chicago, 2005.

"1976: A 'Rocky' Bicentennial Year," Society for Cinema and Media Studies Conference, University of London, 2005.

"Lost in Xenophobia: Sophia Coppola's Lost in Translation (2003) and Trans/National Cultural Tourism," Florida State University Conference on Film and Literature, Tallahassee, 2005.

"'You're Tellin' Me You Didn't See'": The Influence of Hitchcock's Rear Window on Antonioni's Blow-Up," University Film and Video Association Conference, University of Toledo, 2004. Winner, Bronze Award, UFVA Juried Paper Competition, 2005.

"Squaring the Circle: Integrating Cinema Theory and Filmmaking Practice at the FSU Film School," University Film and Video Association Conference, University of Toledo, 2004.

"The Academic Job Interview: Vita Preparation and Other Professional Recommendations," Society for Cinema and Media Studies Conference, Atlanta, 2004.

"Textual Politics: Observations on Cinematic Aesthetics and Ideology," Florida State University Conference on Film and Literature, Tallahassee, 2004.

"'Sick Eros': Sexuality in the Art Cinema of Michelangelo Antonioni, Part III--Red Desert, Blow-Up, and Identification of a Woman," University Film and Video Association Conference, University of South Carolina, 2003.

"Revisiting Classical Theories of Screen Acting: Béla Belázs on Monica Vitti," Society for Cinema and Media Studies Conference, Minneapolis, 2003.

"The Introductory Cinema Textbook: The Film Experience," Society for Cinema and Media Studies Conference, Minneapolis, 2003.

"Playing Against Type: The Comic and Tragic Masks of Frank Sinatra, Jazz Actor," University Film and Video Association Conference, Ithaca College, 2002.

"The Four 'W's of Film Scholarship: Who, What, Where, and Why to Publish," Society for Cinema Studies Conference, Denver, 2002.

"Non-Narratives about a Master: Art and Artists in Michelangelo Antonioni's Blow-Up, Identification of a Woman, and Beyond the Clouds," Florida State University Conference on Film and Literature, Tallahassee, 2002.

"Michelangelo Antonioni's Identification of a Woman: Identification with a Man?" University Film and Video Association Conference, Rochester, New York, 2001. Paper accepted but not delivered due to injury.

"Empire of the Gun: Saving Private Ryan and the Contemporary American War Movie," Society for Cinema Studies Conference, Washington, D.C., 2001.

"Modernist Screen Acting: 'Less Is More' Performance in the Cinema of Michelangelo Antonioni," Society for Cinema Studies Conference, Washington, D.C., 2001.

"The On-Line Scholarly Journal: Cinema Journal and Project Muse as Exemplar," Society for Cinema Studies Conference, Washington, D.C., 2001.

"'Reciprocal Pity': Performance, Identity, and the 'Silent Soliloquy' in Michelangelo Antonioni's L’Avventura," Florida State University Conference on Film and Literature, Tallahassee, 2001.

"'Post-Methodist' Screen Acting II: Performance, Identity, and the 'Silent Soliloquy' in Michelangelo Antonioni's Blow-Up," University Film and Video Association Conference, Colorado College, 2000.

"'I Can't Think for Them': Instilling Progressive Social Values in the Film/Video Curriculum," University Film and Video Association Conference, Colorado College, 2000.

"The Scholarly Film Journal in the Age of the Internet," University Film and Video Association Conference, Colorado College, 2000.

"'Post-Methodist' Screen Acting: Performance, Identity, and the 'Silent Soliloquy' in Michelangelo Antonioni's The Passenger," Society for Cinema Studies Conference, Chicago, 2000.

"Dissertation to Book: A Practical Primer," Society for Cinema Studies Conference, Chicago, 2000.

"The Politics of Power: Film/Video Studies in the non-

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