Cinema Studies

2009

Assistant and associate professor (with tenure), Lewis & Clark College; department chair, political science department, Lewis & Clark College; director, Fellowships and Awards, Lewis & Clark College; political analyst, KPAM Radio and Oregon Public Broadcasting (Portland, Oregon) (2000 - 2009)

Harry S. Truman Scholar, 1985; Special Mention Award, World Association of Public Opinion Research [WAPOR], 1998; Goldsmith Research Award, Harvard University, 1994; Greg Kannerstein Alumni Award, Haverford College, 2010

American Association of Public Opinion Research [AAPOR]; American Conference of Academic Deans [ACAD]; Academy of Financial Services [AFS]; American Political Science Association [APSA]; College Art Association [CAA]; Midwest Political Science Association [MPSA]; National Council of Arts Administrators [NCAA]; Southeastern College Art Conference [SECAC]; World Association of Public Opinion Research [WAPOR]

• "The Political Non-Apology," Society, (2011), Vol. 48: 136-141.
• "Life-Cycle Funds: International Diversification, Reverse Glide Paths, and Portfolio Risk," Second author, with Harold J. Schleef (primary author), in Journal of Financial Planning, January 2011, 50-58.
• "Why Embed?: Explaining the Bush Administration's Decision to Embed Reporters in the 2003 Invasion of Iraq," Second author, with Andrew Cortell (primary author), and Scott Althaus (third author), in American Behavioral Scientist (2009), Vol. 52 (5): 657-677.
• "What Media Bias?: liberal and conservative labeling in major U.S. newspapers, 1992-2004," Primary author (co-authors, John Koehn and Loring Veenstra). Harvard International Journal of Press/Politics (2007), Vol. 12: 17-36.
• The Evolution of Presidential Polling (New York: Cambridge University Press, 2003).
• "Partisan Absolution?: exploring the depths of forgiveness," International Journal of Public Opinion Research (2000), Vol. 12: 245-258.
• "Questioning Cynicism," Society, (July/August 2000), Vol. 37: 55-60.

"Parents, outstanding K-12, college and graduate school teachers-professors, and a constant, passionate love of learning."

Robert M. Eisinger is the Dean of the School of Liberal Arts at SCAD in Savannah, Georgia. He previously worked at Lewis & Clark College in Portland, Oregon, where he was department chair of the political science department. Dr. Eisinger's current research concerns newspaper photographs of scandalized politicians, and measuring incivility on the Internet. He is also working on a book on political and photographic representation (with photographer Meryl Truett). A political scientist by training, Dr. Eisinger has re-discovered artistic inspirations, as evidenced both by taking photographs when time permits, and by attending and exploring museums and exhibits when traveling. He is a tennis player, an avid jazz fan and a self-proclaimed mediocre golfer.

Contact Eisinger by email or by calling 912.525.5823.

2006

Produced several feature and short films, including Headwrecker in Ireland, which won the Irish Academy Award for Best Short Film, 2002. In 2004 he directed his first feature from his own script, Neurotica, starring Amy Sedaris and Brian D'Arcy James. He is a member of the Society for Cinema and Media Studies, the Modern Language Association, the American Studies Association and the Professional Staff Congress of CUNY. In 2010-11 he co-wrote and Co-Executive Produced the feature film Losers Take All, which will be released in late 2011. He has taught at Hunter College, Queensborough College and Lehman College, CUNY at both the graduate and undergraduate levels.

Headwrecker in Ireland, which won the Irish Academy Award for Best Short Film, 2002 Directing and Producing feature films; working with Distinguished Professors Morris Dickstein, Louis Menand, Peter Hitchcock, Robert Sklar and the late great William K. Everson; working with Amy Sedaris, Stephen Colbert, and Abel Ferrara in movies and television; having the Cinema Studies program receive a "First-Rate" review from the External Reviewers from Yale and Penn

Savannah College of Art and Design, Presidential Fellowship; Producer for "Best Short Film," Headwrecker, (Irish Academy Award); Hunter College, CUNY, Lumiere Award for Film Studies Criticism; Hunter College, CUNY, John Gassner Award for Theatre Criticism

Society for Cinema and Media Studies, Modern Language Association, American Studies Association, Professional Staff Congress of CUNY

• "Losers Take All," Independent Feature Film, wrapped (Alex Steyermark): in Post-production for Fall 201 release.
• "Headwrecker," 35mm short for Irish Film Board, (P.J. Dillon, Director), Producer, 2002.
• "Most Important," 35mm film for RTE/Irish Arts Council, (P.J. Dillon, Director) Associate Producer, 1999.
• "Come To," 16mm short, (Marian Quinn, Director), Line Producer, 1998. Winner Best Short film, Galway Film Festival, 1999.
• "A Tribute to Martin Scorsese," Lincoln Center Publishing, essays on "The Last Waltz," and "Taxi Driver."

"Both teaching and learning is an on-going process, ever-evolving. I learn something from every class, and I always try to keep my antennae open to new approaches and new methods of pedagogy that help students best absorb knowledge. My teachers and colleagues have always provided me with valuable examples and lessons, and I always try to incorporate their examples into the classroom, to ensure what works best for student learning."

• CINE 205 Reading Films
• CINE 275 History of Cinema
• CINE 315 American Cinema
• CINE 325 World Cinema
• CINE 703 Research Methodologies in Cinema Studies
• CINE 705 History of Cinema
• CINE 710 Critical Concepts in Cinema Studies: Narratology, Aesthetics and Auteurism
• CINE 715 American Cinema
• CINE 725 World Cinema
• CINE 740 The New Hollywood
• CINE 747 Issues in Cinema Theory

"I approach all artistic endeavors through a Humanist lens, aesthetically, historically, socially; my work is very culturally informed. Though Generation X is just beginning to get their experiences published, there is often a borderline-pathological mistrust of commercial success. The accepted credo of my generation seems to be: 'There is a value in valuelessness… .' That may be a safe-layering of psychic defense against the tides of crass commercialism, but if film is a 'collective effort,' then making them for as many folks as possible shouldn't be an exercise in shame."

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