Cinema Studies

2006

Taught film history and analysis at The University of Florida for 5 years on a teaching fellowship while earning a Ph.D., then taught Critical Theory and Film Studies at Kalamazoo College in Michigan for 6 years before coming to SCAD

Publications in camera obscura, Spectator and Critical Essays on Mary Wollstonecraft Shelley; regular conference participation

Two-time recipient of "Excellence in Teaching Award," University of Florida; SCAD Presidential Fellowship Award, summer 2007

Society for Cinema and Media Studies

Publications

• "Consuming Distractions in Prix de Beauté [1930]," camera obscura 50, vol. 17, no. 2, 2002, 40-67.
• "Frankenstein and its Cinematic Translations," in Critical Essays on Mary Wollstonecraft Shelley, ed. Mary Lowe-Evans (New York: G.K. Hall & Co., An Imprint of Simon & Schuster Macmillan, 1998) 214-229.
• "Diary of a Lost Spectator: Carving a Space for Female Desire in Patriarchal Cinema," Spectator [The University of Southern California Journal of Film and Television Criticism], special issue on "Eccentric Consumption," ed. Ellen Strain, vol. 16, no. 1, Fall/Winter 1995, 32-43.

Presentations
Presented papers at 17 national conferences in the last 16 years. Most recently, presented "Busby Berkeley and Primitivism" at the Society for Cinema and Media Studies Conference in New Orleans, March 2011.

"I enjoy introducing students to the pleasures of cinema. They usually come to class well aware of the pleasures of watching familiar cinema, but I introduce them to the pleasures of stretching our mental and perceptual habits to accommodate unfamiliar cinematic modes-great films from world cinema or from avant-garde traditions that can lead us to unpredictable places. Likewise, I introduce them to the pleasures of thinking about cinema in new ways, opening up new avenues of inquiry and introducing students to a world they often didn't know existed-a wondrous, challenging, enlightening world where images and sounds combine to create meanings that have the power to change us as artists and humans. I am honored to share this experience with future filmmakers and scholars who discover that analyzing the mechanical and thematic components of films and studying their historical context adds a whole new layer of enjoyment and forever changes their relationship to not only cinema but to artistic creation in general."

• CINE 205 Reading Films
• CINE 325 World Cinema
• CINE 703 Cinema Studies Methodologies
• CINE 710 Issues in Cinema Studies: Narratology, Aesthetics and Auteurism
• CINE 725 World Cinema CINE 747 Cinema Theory

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."

imdb.com/name/nm1018780/