Marsha kinder

Download 99 Kb.
Size99 Kb.

(May 2016)

Emerita Prof. of Film & Media Studies Emerita University Professor

SCHOOL OF CINEMATIC ARTS Executive Director of

University of Southern California THE LABYRINTH PROJECT

900 W. 34th Street, Suite 334

Los Angeles, CA 90089‑2211



A.B. (1961), M.A. (1963), Ph.D. (1966), UCLA (English Literature)

Dissertation: "Henry Fielding's Dramatic Experimentation: A Preface to His Fiction"

Director of the Labyrinth Project, a USC Research Initiative on Interactive Narrative

and Digital Scholarship, 1997 ‑ present

Emerita University Professor and Professor of Critical Studies, 2012 - present

University Professor and Professor of Critical Studies, Spanish and Portuguese and Comparative Literature, 2001 - 2012

Professor of Critical Studies, USC School of Cinematic Arts, 1980 ‑ 2012

Professor of Literature and Film, Department of English

Occidental College, 1965 ‑ 1980

Additional teaching as Visiting Professor:

Visiting Professor, School of Art, Design & Media, Nanyang Technological University, Singapore, 2012

International Ph.D. Advisor, Communication University of China, Beijing, 2006 - 2010

Royal Institute of Technology, Stockholm, Fall 2003

Clark University, Summer Institute on Teaching Spanish Cinema, 1992

Universidad Autonoma (Madrid), Seminar on Genre Theory, Spring 1992

UCLA, Critical Studies, Dept. of Cinema and Theater Arts, 1974‑5
ADMINISTRATIVE EXPERIENCE (at University of Southern California)

Assoc. Vice Provost for Research Advancement in the Humanities, Fall 2005-Summer 2007

Chair of the Division of Critical Studies, 2001‑2003

Director of the Labyrinth Research Initiative, 1997‑present

Acting Director of Critical Studies, 1981‑82

Chair of Steering Committee for Film & Literature PhD Program, 1989‑92


University Professor (2001)—for innovative work in transdisciplinary studies

USC Associates Award for Creativity in Research and Scholarship, 1995

USC Innovative Teaching Award, 1992 (for "The Reframing Roger Rabbit" project)

Phi Kappa Phi Research Mentorship Award, 1991‑92 (for "The Roger Rabbit" project)

Graham L. Sterling Memorial Award, 1979 (for Outstanding Professional Achievement

and Teaching at Occidental College)

ADE‑MLA Certificate of Excellence n the Teaching of English, 1970

Occidental Faculty Achievement Award, 1966

Phi Beta Kappa, 1961


Agency for Healthcare Research and Quality (AHRQ) ($1.5 million) for “Interacting with Autism,”

(2010-2013), as co-investigator with Mark Jonathan Harris

University of TelAviv ($20,000) for Jews in the Golden State, 2008-2009

Haas Foundation ($100,000) for “Jews in the GoldenState,” 2007-2009

Righteous Persons ($50,000) for “Jews in the Golden State,” 2007-2008

Haas Foundation ($50,000) for “Jews in the Golden State,” 2006-2007

Casden Institute ($25,000) for “Jews in the Golden State,” 2006-2007

NEH ($75,000) Planning Grant for “Jewish Homegrown History,” 2008

NEH ($180,000) for “Russian Modernism and Its International Dimensions,” 2006-2008

Provost’s Grant ($200,000) for the prototype of an e-learning project called, “Russian

Modernism and Its International Dimensions,” 2004-2006

Korean Studies Institute ($50,000) for “Koreatown: Characterizing the Global City of Los Angeles,” 2006-2007

Stephen O. Lesser ($100,000) for “Global City Exchange Project,” 2006-2015

Provost’s Grant ($250,000) for “A Tale of Two MAO Genes: Exploring the Biology and

Culture of Aggression and Anxiety,” 2004-2006

Skirball Foundation ($50,000) completion grant for “Three Winters in the Sun: Einstein in California,” Fall 2004

Rockefeller Grant ($100,000) for "Level 4" of the Labyrinth Project

Southern California Studies Center (SC2) and the James Irvine Foundation, 1999

Research grant ($30,000) for the Hotel Ambassador electronic project

NEH Summer Seminar, June 16 ‑ July 25, 1997, at the East‑West Center, Honolulu

"The Politics of Representation: Ethnography, Literature and Film,"

Annenberg Center, 1996‑97--Research grant ($170,000) for the "Runaways" project

Program for Cultural Cooperation between U.S. Universities & Spanish Ministry of

Culture, 1991, 1992, 1993: Research grants for projects on Spanish cinema

Phi Kappa Phi, National Honor Society for Scholarly Achievements, 1992‑ present

Rockefeller Grant, Fall 1991 (for Retrospective of Mexican Film, “Border Crossings”)

ISWM Summer Faculty Research Grant, Summer 1990

Del Amo Grant, 1989 (for retrospective of Spanish cinema)

USC Faculty Innovative Research Grant, Summer 1989

Fulbright Postdoctoral Research Fellowship for Study in Spain, 1986‑87

Film Quarterly, Editorial Board, 1977 to present. Involves reading and refereeing of

manuscripts and policy decisions

Quarterly Review of Film & Video, Advisory Board and guest editor of two special

Issues: : Vol. 3, no. 3, Summer 1978; and Vol. 13, no 4, 1991

Dreamworks: An Interdisciplinary Quarterly on Dreams and the Arts, 1980-­

87. Founding co‑editor (with Kenneth J. Atchity); winner of a Push Cart Award

for “the best poetry, short fiction, essays or literary whatnot" published in the smallpresses over the previous year. 

The Spectator, 1981 to present. Founding editor, published by the Critical Studies

Division in the USC School of Cinematic Arts

Console‑ing Passions Book Series, Duke University, co‑editor with Lynn Spigel


Cine‑Discs Series of Bilingual CD‑ROMs on National Media Cultures, general editor, published under the Auspices of the USC Annenberg Center; includes

Blood Cinema: Exploring Spanish Film and Culture (1994) and Yuri Tsivian’s Immaterial Bodies: A Cultural Anartomy of Early Russian Films (1999)

Member of Advisory or Editorial Board of several other journals, including:

Animation, Cinema Journal, Film Historia (Barcelona), Journal of

Spanish Cultural Studies (Duke Univ. Press), Journal of E-media Studies

(Dartmouth College), Secuencias (Madrid), Vectors (USC), Women & Film


Database Narratives from The Labyrinth Project
Cultivating Pasadena: From Roses to Redevelopment, a photographic exhibition, with 25 pairs of then-and-now photographs, with an accompanying interactive museum installation, DVD-ROM and print catalogue. Pasadena Museum of California Art, on October 9, 2004 through March 6, 2005. The exhbition and catalogue were developed in with the Southern California Automobile Association. The DVD-ROM, created and produced by Labyrinth, was released March 1, 2005.
Three Winters in the Sun: Einstein in California, a DVD-ROM and interactive museum installation, funded by USC and the Skirball Foundation, for the “Einstein at the Skirball” exhibition in Los Angeles, September 2004 through May 2005. In conjunction with this project, the Labyrinth team presented all of their works in the Urban Traces series at the Skirball on Sunday, January 23, 2005. The Einstein DVD-ROM, with an accompanying book, was released March 1, 2005.
Bleeding Through: Layers of Los Angeles, 1920-1986, a DVD‑ROM and interactive museum installation developed in collaboration with cultural historian Norman M. Klein whose writings on Los Angeles inspired the project. Co‑produced by the Labyrinth Project and ZKM in Karlsruhe, Germany, this project was featured in the "Future Cinema" exhibition at ZKM in October 2002 and was subsequently exhibited in new media and film festivals worldwide. It was a finalist in the Berlin Bienalle and was chosen for the 4th Seoul Biennale for Multimedia Art, 2006.
Tracing the Decay of Fiction: Encounters with a Film by Pat O'Neill, a DVD ROM and interactive museum installation developed in collaboration with independent filmmaker Pat O'Neill, based on his 35 mm. film about the Hotel Ambassador, "The Decay of Fiction." The DVD-ROM was an official selection at the 2000 Sundance Film Festival. Both the film and DVD ROM were featured in the "Future Cinema" exhibition at ZKM in Karlsruhe, Germany, in fall 2002, and subsequently travelled to Helsinki, Tokyo and Shanghai. Earlier versions of the prototype were exhibited at USC’s Fisher Gallery (1999), at the Museum of Contemporary Art (MOCA, 2000) in Los Angeles, and at the “Visible Evidence Conference” in Brisbane, Australia (December 2001). This piece also appeared in the O’Neill retrospective, “Views from Lookout Mountain” at the Santa Monica Museum in September 2004.

The Crazy Bloody Female Center (1999), an interactive CD-ROM made in collaboration with American independent filmmaker Nina Menkes.
Mysteries and Desire: Searching the Worlds of John Rechy

(winner of the NewMedia INVISION 2000 Gold Award for Best Overall Design).

Funded by the Annenberg Center for Communication, the prototypes of both projects premiered at the Interactive Frictions exhibit at the USC Fisher Gallery, June 4 ‑ 18, 1999 and the final versions at MOCA in September 2000. They were both Official Selections at the 2000 Sundance Film Festival and as part of their online digital film festival. They have also been screened in the Cornell University "Art of CD‑ROM" traveling exhibit; the Expanded Cinema Program at the Rotterdam International Film Festival, February 1999; the 1999 Montreal International Multimedia Festival; and the 2000 Mills Valley Film Festival. The Rechy CD‑ROM was also included in the LA Freewaves show, the Art in Motion (AIM II) show in Santa Monica, the Vipers Film and Media Show in Geneva, an exhibition on autobiography in Vienna, and at the ONE archive in Los Angeles when Rechy won “the One Culture Hero Award” (2006).
The Dawn at My Back: A Memoir of a Black Texas Upbringing, 1900‑2000,” a DVD version of a memoir by African American photographer/ filmmaker Carroll Parrott Blue, Texas University Press, 2002. Winner of the Jury Award for “New Narrative Forms” at the 2003 Sundance On-line Film Festival. This project was funded by grants from the Annenberg, Ford and Rockefeller Foundations.

Jewish Homegrown History: Immigration, Identity and Intermarriage (2012). This large-scale interactive cultural history on Jews in California iwas developed in collaboration with several institutional partners: the Judah L Magnes Museum and Western Jewish History Center in Berkeley, the Huntington-USC Institute on California and the West, the USC Casden Institute for the Study of the Jewish Role in American Life, and the USC Libraries’ IT group AIMS (Archiving, Imaging, Metadata Services). This project enables ordinary people to become actively engaged in writing Jewish cultural history. It emphasizes the complex networking of the local, regional, national and global contexts that have all been enriched by Jewish culture and which, in turn, have helped to inflect and diversify the Jewish experience. It focuses on Jewish immigration trajectories and the kinds of identity issues they generated, requiring immigrants to negotiate rival allegiances to Judaism and America, to the cities they left behind and the new ones where they settled, and to the kinds of Judaism with which they were affiliated. It also addresses patterns of intermingling that were forged within each new settlement and the other specific ethnic communities with whom Jewish émigrés interacted within these locales, and the array of attitudes these patterns helped generate toward intermarriage. By focusing on these three themes of immigration, identity and intermarriage, which recur in all émigré communities in the USA, the project strives to reach a broad public audience including both Jews and non-Jews. The material is presented both as a website and as a museum installation featuring “home-grown movies” as large-multiple screen projections. The installation had its preview at the USC School of Cinematic Arts in October 2011 (as part of the Visions & Voices series) and its premiere exhibition at the Skirball Cultural Center in Los Angeles (from May 4 through September 2, 2012). The project was supported by grants from NEH, the Casden Institute, the Haas Fund, the Righteous Persons Foundation, and Friends of TelAviv University.
The Danube Exodus: The Rippling Currents of the River,” (2002-2011), a multiscreen interactive installation developed in collaboration with Hungarian filmmaker Peter Forgács and based on his film, "The Danube Exodus." This installation premiered at the Getty Museum in Los Angeles, in August‑September, 2002, and was exhibited worldwide for the next ten years. The exhibition sites ZKM’s “Future Cinema” show in Karlsruhe, Germany in January 2003; the Center for Contemporary Culture in Barcelona, July 23 – Sept. 11, 2003; KIASMA 2005 in Helsinki, February 2005; the Judah Magnes Museum in Berkeley, Sept. 2005 – Jan. 2006; the Ludwig Museum in Budapest in February 2006; Occidental College in Los Angeles, 2006; the Jewish Museum in Berlin in 2007; The Hague in 2008; the New York Jewish Museum in 2009, and Amsterdam in 2011.
Russian Modernism and Its International Dimensions (available on-line): This experimental on-line constructivist courseware combines three components: the archive--an annotated database of multimedia materials with a search engine and personal student notebook; the pathways--a series of interactive lectures by leading Russian studies scholars, with challenging interactive assignments that encourage students to use the archive; the game--a role-playing game called “Montage: A Russian History Game for the Masses,” where students navigate through simulated historical sites and control the fate of their avatar, who moves forward and backward in time. The prototype was developed in collaboration with scholars John Bowlt, a specialist in visual culture at USC; Olga Matich, a specialist in Russian literature and diasporic culture at UC Berkeley; and Yuri Tsivian, a specialist in early Russian cinema at U/Chicago. The prototype was initiated with seed-money from USC’s Provost Lloyd Armstrong, and later developed with a grant from NEH.
Dreamwaves, a website that provides an exhibition space for dream‑based art and a discursive space for exploring dreams as a model of interactive database narrative. It documents Kinder’s earlier journal, Dreamworks (1980-1988) developed with Kenneth J. Atchity. Funded by the Annenberg Center as part of the Labyrinth Project and the Rockefeller Foundation, it is available on line at

Interacting with Autism: A Video Resource (launched on September 28, 2013). Funded by two three year grants from AHRQ (the Agency of Healthcare Research and Quality), this project is a video-based website on the latest developments in treating Autism Spectrum Disorder. Divided into three sections (Understanding, Treating, and Living with Autism), it relies primarily on video to present information that is rigorously accurate, emotially compelling, and easily accessible to families, educators, health care workers and individuals on the spectrum. Drawing on the leading scientific experts as consultants, the production team is headed by Oscar-winning documentary filmmaker Mark Jonathan Harris, with Marsha Kinder as co-investigator and Scott Mahoy (a creative director from Labyrinth) as lead designer. It also includes people on the spectrum as part of the creative team. In 2014 it won the Cindy Gold Award in the Category of Health Care Services, and in 2015 a Mandarin translation was added, making the site trilingual (English/Spanish/Mandarin).

A Tale of Two MAO Genes: Exploring the Biology and Culture of Aggression and Anxiety: (2010, in distribution) This interactive DVD-ROM documents thirty years of pioneering biochemical research by Jean Chen Shih and her colleagues on a crucial pair of enzymes, known as the MAO A and MAO B. It uses this case study to show the great advances in biological research and how they are affecting our understanding of human behavior. It also tries to get young people interested in studying science. Funded with seed-money from USC Provost Lloyd Armstrong, this collaboration between USC’s two female University Professors, Jean Shih and Marsha Kinder, brings together their respective research teams at the School of Pharmacy and The Labyrinth Project in the School of Cinematic Arts. With a grant from the National Science Foundation in Taiwan. Labyrinth collaborated with the Chengchi University in Taipei on a Mandarin version. The project was featured in a promotional video by Adobe as a model of interactive digital education.
Three Winters in the Sun: Einstein in California (2005, in distribution), an installation that was part of the major exhibition on Albert Einstein at the Skirball Cultural Center in Los Angeles, where it was seen by over 300,000 museum visitors. It is also available on DVD-ROM. It explores Einstein’s complex relations with six groups during the three years in the early 1930s that he spent as a research professor at the California Institute of Technology in Pasadena: science, Jews, European émigrés, Hollywood, the FBI, and members of his own household.

Documenting the Global City: Los Angeles and Beijing (in process). This summer exchange program between CUC (Communication University of China in Beijing) and USC School of Cinematic Arts in Los Angeles consists of six-week summer workshops on the global city. The first summer workshop took place in Los Angeles at USC in 2006, and the second in Beijing at CUC in 2007. Pairs of American and Chinese students produced ten-minute digital documentaries on these two cities. The documentaries were turned into sixty-minute television shows (which were aired on the Documentary Channel in the US and screened in China. At USC the Principal investigators were Marsha Kinder, Director of The Labyrinth Project and Mark Jonathan Harris, Prof. of Production and 3-time Oscar winning documentary filmmaker.

Reframing Roger Rabbit (1991), a collaborative hypertext or digital anthology that worked interactively with the laser disc version of the film; presented at SCS in May 1991. This project was featured by Apple Inc. in a 1991 brochure on bringing computers into the humanities in innovative ways. Disney prevented its publication, despite the cooperation of Director Robert Zemeckis.
Blood Cinema: Exploring Spanish Film and Culture (1994), a CD‑ROM written and conceived by Marsha Kinder and produced by Charles Tashiro. This CD‑ROM is a companion to my book, Blood Cinema: The Reconstruction of National Identity in Spain. The first interactive hypertext in English-language film studies, it was the first title in the Cine-Discs series.
Runaways (1996) a prototype for a CD‑ROM game for teens, co-written, co-

produced, and co-directed with three-time Oscar winning documentary filmmaker, Mark Jonathan Harris. Funded by the Annenberg Center at USC, this prototype was featured in Games and Gender: From Barbie Dolls to Mortal Kombat, eds. Justine Cassell and Henry Jenkins (MIT Press: 1998).

Immaterial Bodies: A Cultural Anatomy of Early Russian Film (2001), written by Yuri Tsivian and Produced by Barry Schneider, funded by the Annenberg Center. Winner of the 2001 BAFTA (British Academy Film and Television Award) for Interactive Entertainment in the “Education” category. This was the second title in the Cine-Discs series, on which Kinder was General Editor.

My role on all of these digital projects:

Executive Director of the Labyrinth Project, an art collective and research initiative on database narrative and digital scholarship.

Executive Producer and collaborator on interface design for all of the individual projects.

Co-investigator, co-writer and producer of “Interacting with Autism.”

Writer of “Three Winters in the Sun: Einstein in California” and "Mysteries and Desire"

Co-writer, co-director and co-producer on “Runaways,” “A Tale of Two Genes,” and “Jewish Homegrown History.”

For further information, visit our Labyrinth Project website <>

Events sponsored by The Labyrinth Project

Interactive Frictions

an international conference on interactive narrative, June 4‑6, 1999 at USC's

Davidson Conference Center, co‑organized by Marsha Kinder, Tara

McPherson, and Alison Trope
an installation art exhibit at the USC Fisher Gallery, June 4‑18, 1999 co-­curated by Marsha Kinder and Holly Willis, with a printed catalogue

Participation in Multimedia Festivals (a partial list):

Member of the Jury of the 3rd Greater China Region Student Film and TV Festival at HKBU (Hong Kong Baptist University), March 16 – 20, 2005.

Member of the Jury of the International Student Film Festival at CUC (the Communications University of China) in Beijing, in September 2004.
Organizer and moderator of panel on new narrative forms for Sundance Film Festival 2003.
Member of the Grand Jury at the Third Annual Festival of MILIA (Marché International de I'Edition et des Nouveaux Media), the International Publishing and New Media Market in Cannes, France, February 1996
Mentor in a Master class on multimedia for the small screen in the Expanded Cinema Program, at the Rotterdam International Film Festival, January 25‑Feb. 1, 1999
Speaker on plots for new media at the 19th Annual Vancouver Film Festival


Blood Cinema: The Reconstruction of National Identity in Spain. Los Angeles and Berkeley: University of California Press, 1993, with a companion CD‑ROM hypertext.
Playing with Power in Movies, Television and Video Games: From Muppet Babies to Teenage Mutant Ninja Turtles. Los Angeles and Berkeley: University of California Press, 1991.
Spanish Cinema: The Politics of Family and Gender. Los Angeles: The Spanish Ministry of Culture, 1989, a 51‑page catalogue published in conjunction with a retrospective of Spanish films.
Self & Cinema: a Transformalist Perspective (co‑written with Beverle Houston). New York: Redgrave Publishing, 1980.
Close Up: a Critical Perspective on Film (co‑written with Beverle Houston). New York: Harcourt Brace Jovanovich, 1972.
Edited Anthologies

José Luis Borau: At Home Abroad. Eds. Marvin D’Lugo and Marsha Kinder.

Special issue of Studies in Spanish and Latin American Cinemas (SSLAC). Great Britain: Intellect LTD, 2014. Published in conjunction with a special tribute to Borau at the 2014 annual American Cinematheque series on “Recent Spanish Cinema.”

Transmedia Frictions: The Digital, the Arts & the Humanities, ed. Marsha Kinder and Tara McPherson (Berkeley: University of California Press: 2014).
Kids' Media Culture, ed. Marsha Kinder. Durham: Duke University Press, 1999. This anthology includes my introduction, "Kids' Media Culture: An Introduction," and my chapter titled, "Ranging with Power on the Fox Children's Network, or Where on Earth is Children's Educational Television" (177‑204).
Buñuel's The Discreet Charm of the Bourgeoisie, ed. Marsha Kinder. Cambridge: Cambridge University Press, 1998.This anthology includes my introductory essay, "The Nomadic Discourse of Luis Buñuel: a Rambling Overview" (1‑36).
Refiguring Spain: Cinema, Media, Representation, ed. Marsha Kinder. Durham: Duke University Press, 1997. This anthology includes my introduction, “Refiguring Socialist Spain: An Introduction," and my chapter titled, 'Documenting the National and its Subversion in a Democratic Spain" (65‑99).
Remapping the Post Franco Cinema, ed. Marsha Kinder, a special issue of QRFV (Quarterly Review of Film and Video, 13:4 (1991). This collection includes my introduction, "Remapping Post Franco Cinema: An Overview of the Terrain" and my essay "The Spanish Oedipal Narrative from Raza to Bilbao."
The Application of Semiology and Structuralism to Practical Film Criticism, special issue of ORFS (Quarterly Review of Film Studies), 3:3 (Summer 1978). This collection includes my introduction and my essay (co‑written with Beverle Houston), "Insiders and Outsiders in the Films of Nicolas Roeg."

Book in Progress

Narrative and Neuroscience: The Discreet Charms of Serial Autobiography and Database Narrative (single author manuscript in progress).

Chapters in Edited Books

Leo’s Legacy: Overcoming the Success of Furtivos and Failure of Río abajo,” in José Luis Borau At Home Abroad, ed. Marvin D’Lugo and Marsha Kinder. A special issue of Studies in Spanish and Latin American Cinemas (SSLAC). Great Britain: Intellect LTD, Vol. 12, no. 1 (October 2014): 105-117.

“Medium Specificity and Productive Precursors: An Introduction,” in Transmedia Frictions: The Digital, the Arts & the Humanities, ed. Marsha Kinder and Tara McPherson. Berkeley: University of California Press, 2014: 3-19.

“The Room and the Road: Narrative Drive in the Films of Luis Buñuel,”in The Blackwell Companion to Buñuel, ed. Rob Stone and Julian Daniel Gutierrez-Albilla (London: Blackwell, 2013).: 431-453.

“Reenvoicements and Reverberations in Almodóvar’s Macro-Melodrama,” in The Blackwell Companion to Pedro Almodóvar’s Cinema, ed. Marvin D’Lugo (London: Blackwell, 2013): 281-303.

El perro negro: Transnational Readings of Database Documentaries from Spain,” in The Blackwell Companion to East European Cinema, ed. Anikó Imre (London: Blackwell, 2012).: 41-62.

“Reorchestrating History: Transforming the Rippling Currents of The Danube Exodus into a Dabase Documentary,” in Cinema’s Alchemist: The Films of Peter Forgacs, eds. Bill Nichols and Michael Renov (Minneapolis and London: Univ. of Minnesota Press, 2011), 235-255.

“Jewish Homegrown History: In the Golden State and Beyond,” in Jewish California: New Work, New Insights, ed. William Deverell (Los Angeles: The Casden Institute, 2010), 95- 123.

“Mad Love and Melodrama in the Films of Buñuel and Almodóvar,” in Buñuel y/o Almodóvar, El laberinto del deseo, ed. C. M. Martinez Carazo, and Javier Herrera, in Letras Peninsulares, v. 22.1 (Spring 2009), 191-212.

“All About the Brothers: Retro-Seriality in Almodóvar’s Bad Education,” in All About Almodovar, ed. Brad Epps and Despina Kakoudaki (Minneapolis and London: Minnesota University Press, 2009), pp. 267-295.

“The Conceptual Power of On-Line Video: 5 Easy Pieces,” Video Vortex Reader, eds. Geert Lovink and Sabine Niederer (INC Reader #4), Amsterdam: Institute of Network Cultures, 2008): 53-62. Reprinted in Dialog – Konflikt, ed. jezyk@multimedia3 (Wroclaw, 2012): 23-34.

“A Cinema of Intelligent Agents: Lynn Hershman Leeson’s Conceiving Ada and Teknolust,” in The Art and Films of Lynn Hershman Leeson: Secret Agents, Private I, (Berkeley: University of California Press, 2005).

“Einstein in the Labyrinth: An Introduction,” in theThree Winters in the Sun: Einstein

in California catalogue, (Los Angeles: Annenberg Center, 2005), 6-20.

“Cultivating Pasadena as a Digital City Symphony,” in Cultivating Pasadena: From Roses

to Redevelopment (Los Angeles: Southern California Auto Club, 2004). .

“Uncanny Visions of History in Two Experimental Documentaries from Transnational

Spain: Asaltar los cielos (1996) and Tren de sombras (1997),” in European Cinema

Inside Out: Images of Self and Other in Postcolonial European Cinema, ed. Rikki Morgan-

Tamosunas (2003); and in Brokering Spanish Postnationalist Culture:

Globalization, Critical Regionalism and the Role of the Intellectual, ed. Teresa

Vilarós (Duke University Press, 2004.)

“Honoring the Past and Creating the Future in Cyberspace: New Technologies and Cultural Specificity,” The Contemporary Pacific, ed. Vilsoni Heroniko, vol. 15, no. 1 (Spring 2003): 93-115.

”Designing a Database Cinema,” Future Cinema, ed. Jeffrey Shaw and Peter Weibel (Karlsruhe, Germany: ZKM, 2003), 346-353.

“Bleeding Through Database Fictions,” an essay in Bleeding Through Layers of Los Angeles, 1920-1986 (the book that accompanies the DVD-ROM), (Karlsruhe, Germany: ZKM, 2003), 53-55.

“Re-inventing the Motherland: Almodóvar’s Brain-dead Trilogy,” in Internacional Forum on Almodovar, the published proceedings of the conference in Cuenca, ed. Fran Zurian (Cuenca: University of Castilla-La Mancha, 2004). This version is in Spanish.

"Narrative Equivocations between Movies and Games," The New Media Book, ed. Dan Harries (London: The British Film Institute, 2002).

"Hot Spots, Avatars and Narrative Fields Forever: Buñuel's Legacy for New Digital Media and Interactive Database Narrative," in Buñuel 2000, ed. Peter Evans and Isabel Santaolalla 2004)

"Violence American Style: The Narrative Orchestration of Violent Attractions," in Violence and the American Film: an AFI Film Reader, ed. J. David Slocum. Los Angeles: American Film Institute, London and New York: Routledge, 2000, 63- 100.

"From Mutation to Morphing: Cultural Transformation from Greek Myth to Children's Media Culture," in Meta‑Morphing: Visual Transformations in the Culture of Quick Change, ed. Vivian Sobchack. Minneapolis: University of Minnesota Press, 1999, 59-80.

"Sex Change and Cultural Transformation in Aranda and Abril's Camblo de sexo," in The Great Spanish Films, ed. Peter Evans. New York: Oxford University Press, 1999, 129-146.

"The Runaways Project: An Interview with Marsha Kinder," in From Barble to Mortal Kombat: Gender and Computer Games, eds. Justine Cassell and Henry Jenkins. Cambridge: MIT Press, 1998, 214-228.

“ Screen Wars: Transmedia Appropriations from Eisenstein to A TV Dante and Carmen Sandiego," in Language Machines:Technologies of Cultural Production, eds. Jeffrey Masten, Peter Stallybrass, and Nancy Vickers. London and New York: Routledge, 1998, 160-182.

"Feast Your Eyes," Chapter 4 in Tech Girls' Internet Adventures. Chicago: IDG Books, 1997.

"Contextualizing Video Game Violence: From Teenage Mutant Ninja Turtles 1 to Mortal Kombat 2," in Interacting with Video, eds. Patricia M. Greenfield and Rodney Cocking. Norwood, N.J.: Ablex Publishing Corp., 1996, pp. 25‑39.

"Spain after Franco," in The Oxford History of World Cinema, ed. Geoffrey Nowell‑Smith. London: Oxford University Press, 1996, pp. 596‑604.

"Media Wars in Childrens' Electronic Culture: Domesticating the World with Carmen Sandiego and the Mighty Morphin' Power Rangers," in Proceedings of the 29th Annual Hawaii International Conference on System Sciences, vol. 5. Washington: The Computer Society Press, 1996, pp. 126‑32.

"Tonya and Nancy and the Dream Scheme," in Women on Ice, ed. Cynthia Baughman. Ithaca and London: Cornell University Press, 1995.

"From Matricide to Mother Love in Almodóvar's High Heels," in Post Franco, Postmodern: The Films of Pedro Almodóvar, ed. Kathleen Vernon and Barbara Morris. Westport and London: Greenwood Press, 1995, pp. 145‑53.

"Home alone in the 90s: Generational War and Transgenerational Address in American Movies, Television and Presidential Politics," In Front of the Children, ed. Cary Bazalgette and David Buckingham. London: British Film Institute, 1995, 75-91.

"Micro and Macro Regionalism in Vida en sombras and Beyond," in Cine‑Lit: Essays on Peninsular Film and Fiction, ed. George Cabello Castellet, Jaume Martf‑Olivella, and Guy H. Wood. Portland State University, Oregon State University and Reed College, 1992, pp. 131‑46.

"Dialectic Adaptation in Le Mepris: a Thrice‑Told Tale," in Modern European Filmmakers and the Art of Adaptation, ed. Andrew Horton and Joan Magretta. Ungar, 1981.

"The Penetrating Dream Style of Ingmar Bergman," in Film and Dreams, ed. Vlada Petric. New York: Redgrave Publishing, 1981, 57-73.

"Farewell, My Lovely and The Long Goodbye: From Book to Film," in Mystery & Detection Annual, ed. Donald Adams, 1976.

"Experimental Film," Catalogue for the Yankee Film Festival Los Angeles: Occidental College, 1968.

"The American Underground Cinema: Experimentation and Rebellion," The New Vein Catalogue, ed. Connie Perkins. Washington D.C.: Smithsonian Institution, 1968.
Solicited Essays for DVD Editions

“A New Look at Death of a Cyclist,” a solicited print essay that accompanies Criterion’s 2008 DVD edition of this classic Spanish film from the 1950s.

“The Ferocity of Exterminating Angel for the 2008 Criterion edition of the film.

“Revisiting Las Hurdes,” companion essay to 2009 DVD of the film, released by Transflux Films.

Refereed Journal ArticIes

“Restoring Broken Embraces,” Film Quarterly, vol. 63, no. 3 (Spring 2010): 28-34.

“Re-Wiring Baltimore: The Emotive Power of Systemics, Seriality, and the City,” Film Quarterly, vol. 62, no. 2 (Winter 2008-09): 50-57.

“Reverberating Returns in Volver,” Film Quarterly vol. 60, no. 3 (Summer 2007).

“Uncanny Visions of History in Two Experimental Documentaries from Transnational Spain: Asaltar los cielos (1996) and Tren de sombras (1997),” Film Quarterly (Spring 2003)

“Re-inventing the Motherland: Almodóvar’s Brain-dead Trilogy,” Journal of Spanish Cultural Studies, special Almodóvar issue, ed. Paul Julian Smith (Winter 2004), and Film Quarterly (Winter/Spring 2004/2005). This version is in English.

“Moulin Rouge," Film Quarterly (Spring 2002, in vol. 55, no.3)

"Hot Spots, Avatars and Narrative Fields Forever: Buñuel's Legacy for New Digital Media and Interactive Database Narrative," Film Quarterly (Summer 2002): 2-15.

"The Chambermaid on the Titanic," Film Quarterly 52, no. 2 (Winter 1998‑99): 35‑41.

"Jamón, Jamón," Film Quarterly 47, no. 1 (Fall 1993).

"High Heels," i (Summer 1992). Reprinted in special catalogue on

Almodóvar for Venice Bienalle, 1993.

"The Feminist Road Movie: Thelma and Louise and Messidor," Film Quarterly (Spring 1992). Reprinted in Film Quarterly: Forty Years‑‑a Selection, eds. Brian Henderson and Ann Martin. Berkeley and Los Angeles: University of California Press, 1999, pp. 558‑61.

"Playing with Power on Saturday Morning Television and on Home Video Games," i 14, nos. 1‑2 (1992): 29‑59. Reprinted in American Television: New Directions in History and Theory, ed. Nick Browne. Harwood Academic Publishers, 1994, pp. 255‑86.

"The Spanish Oedipal Narrative: From Raza to Bilbao," Quarterly Review of Film & Video 13:4 (Winter 1991/92): 67‑94.

"Ideological Parody in the New German Cinema: Reading The State of Things, Veronika Voss and Germany Pale Mother as Postmodernist Rewritings of The Searchers, Sunset Boulevard, and Blonde Venus," Quarterly Review of Film and Video, Special issue on parody, vol. 12, nos. 1‑2 (May 1990): 73‑103.

"The Subversive Potential of the Pseudo Iterative," Film Quarterly 43, no. 2 (Winter 1989/90): 2‑16. Reprinted in Film Quarterly: Forty Years‑‑a Selection, ed. Brian Henderson and Ann Martin. Berkeley and Los Angeles: University of California Press, 1999, pp. 126‑51.

"A Tribute to Beverle Houston," Cinema Journal 28, no. 1: 6‑9.

"A Tribute to Beverle Houston," Quarterly Review of Film and Video 11, no. 1 (1989): iii‑vi.

"On Female Spectatorship," Camera Obscura, Nos. 20‑21 (1989):199‑204.

"Back to the Future in the 80s with Fathers & Sons, Supermen & PeeWees, Gorillas & Toons," Film Quarterly (Summer 1989): 2‑11.

"Pleasure and the New Spanish Mentality: A Conversation with Pedro Almod6var," Film Quarterly (Fall 1987).

"The Dialectic of Dreams and Theater in the Films of Ingmar Bergman," Dreamworks

V, no. 3‑4 (1987).

"Phallic Film and the Boob Tube: The Power of Gender Identification in Cinema, Television and Music Video," Onetwo‑threefour, Special issue on Music Video, no. 5 (Spring 1987): 33‑49.

"José Luis Borau On the Line of the National/I ntern ational Interface in the Post‑Franco Cinema," Film Quarterly (Winter 1986‑87).

“The Image of Patriarchal Power in Young Mr. Lincoln (1939) and Ivan the Terrible, Part 1(1945)," Film Quarterly (Winter 1985‑86): 29‑49.

"Music Video and the Spectator: Television, Ideology and Dream," Film Quarterly (Fall 1984): 2‑15. Reprinted in Television: The Critical View, 4th ed., ed. Horace Newcomb (New York: Oxford, 1987); and in Przekazy i Opinie (leading Polish Journal of Mass Communication and Broadcast Research).

"The Children of Franco in the New Spanish Cinema," QRFS (Summer 1983).

"The Spirit of The White Hotel," Humanities in Society IV, no. 2‑3 (Spring Summer 1981):143‑170.

"Dream as Art: a Model for the Creative Interplay between Visual Image and

Narrative," Dreamworks (Spring 1982): 216‑225.

"From the Life of the Marionettes to The Devil's Wanton: Bergman's Creative Transformation of a Recurring Nightmare," Film Quarterly (Spring 1981). Reprinted in The Anxious Subject (Undena Publications, 1983).

"El Nido," Film Quarterly (Fall 1981): 34‑41.

"Dream and Performance: an Editorial Overture," Dreamworks (Fall 1980).

"Kagemusha," Film Quarterly (Winter 1980‑81). Reprinted in Akira Kurosawa, ed. Dan Vert (Israel: Massada Publishers, 1987).

"The Plumber," Film Quarterly (Summer 1980).

"Soft Fiction," Film Quarterly (Spring 1980).

"The Adaptation of Cinematic Dreams," Dreamworks (Spring 1980).

"The Power of Adaptation in Apocalypse Now," Film Quarterly (Winter 1979).

"The Meetings of Anna," Film Quarterly (Fall 1979).

"The Deer Hunter as Political Game," Film Quarterly (Summer 1979).

"Carlos Saura: The Political Development of Individual Consciousness," Film Quarterly (Spring 1979).

"The American Friend," Film Quarterly (Winter 1978179).

"Girlfriends," Film Quarterly (Fall 1978).

"Are Movies Poisoning Our Dreams?, " Los Angeles Times Calendar (July 9, 1978).

Tent of Miracles"," Film Quarterly (Summer 1978). Reprinted in Brazilian Cinema, ed. Robert Stam (Associated University Press, 1982).

"Opening Night," Film Quarterly (Summer 1978).

"The Man Who Loved Women," Film Quarterly (Spring 1978).

"Saturday Night Fever," Film Quarterly (Spring 1978).

"The Art of Dreaming in Three Women and Providence," Film Quarterly (Fall 1978).

"The Losey‑Pinter Collaboration," Film Quarterly (Fall 1978).

"Sexual Politics in Sweet Movie," QRFS (Fall 1978).

"Insiders and Outsiders in the Films of Nicolas Roeg," ORFS (Summer 1978).

"Reflections on Jeanne Dielman," Film Quarterly (Summer 1977). Reprinted in Sexual Stratagems, ed. Patricia Ehrens (Ungar, 1978).

"Throne of Blood: a Morality Dance," Literature/Film Quarterly (October 1977).

"Adaptation as Criticism: Tristram Shandy on Film," Eighteenth Century Studies (Spring 1977).

"Creating a Teaching Discipline: Literary/Film Analogies," IQ RFS (Fall 1976).

"The Disastrous Escape," The Contemporary Literary Scene, 1976.

"The Night Porter as Daydream," Literature/Film Quarterly (Fall 1975).

"Outlaws & Oddballs: the Heterosexual Couple Returns to the Screen," Occidental (Summer 1975).

"The Tyranny of Convention in The Phantom of Liberty," Film Quarterly (Summer 1975).

"Scenes from a Marriage," Film Quarterly (Winter 1974).

"The Bouffe and the Barf: Life and Death Matters in the Cinema of Outrage," Film Quarterly (Winter 1974).

"The Return of the Outlaw Couple: Badlands, Thieves Like Us and The

Sugarland Express," Film Quarterly (Summer 1974).

"Zardoz Crystallized," Film Quarterly (Summer 1974).

"Madwomen in the Movies," Film Heritage (Winter 1974).

"Seeing Is Believing: The Exorcist & Don't Look Now," Cinema (1974). Reprinted in American Horrors, ed. Gregor A. Waller (University of Illinois Press, 1987).

"Truffaut's Gorgeous Killers," Film Quarterly (Winter 1973).

"Bertolucci and the Dance of Danger: Last Tango in Paris," Sight & Sound (Fall 1973). Reprinted in Sight and Sound Reader (London: British Film Institute, 1982).

"American Graffiti," Film Heritage (Winter 1973).

"Woman and Manchild in the Land of Broken Promise," Women & Film III‑IV (1973).

"Odd Couples: Woman and Manchild in Harold and Maude, Minnie and Moscowitz, and Murmur of the Heart," Woman & Film 11 (1972).

"Antonioni's Zabriskie Point," Sight & Sound (Spring 1969).

"Rosemary's Baby," Sight & Sound (Spring 1969).

"An Interview with Jacques Demy," Film Heritage (Spring 1967).

"The Knack and How to Get at it," Film Society Review (March 1967).

"Blow‑Up: Antonioni in Transit," Sight & Sound (July 1967). Reprinted in Focus on Blow‑Up, ed. Roy Huss (Englewood‑Cliff s, N.J.: Prentice Hall, 1971); and in Antonioni, vol. 4, ed. Carlo di Carlo (Roma, 19 ).

"The Improved Author's Farce," Costerus (November 1972).

[* Co‑authored with Beverle Houston]
Book Reviews

The Great Spanish Films: 1950‑1990, by Ronald Schwartz. Film Quarterly 46, no. 1 (Fall 1992): 59.

Out of the Past: Spanish Cinema after Franco, by John Hopewell. Film Quarterly (Spring 1988): 49‑51.

Behind the Spanish Lens: Spanish Cinema Under Fascism and Democracy, by Peter Besas. Film Quarterly (Fall 1986): 30‑36.

Fellini: A Critical Biography, in Los Angeles Times (December 7, 1986).

Ingmar Bergman: A Critical Biography, by Peter Cowie. Film Quarterly (Summer 1983).

Graham Greene on Film: Collected Film Criticism 1935‑40," Mystery & Detection Annual (1973).
Film Retrospectives and Special Projects

Curator of a retrospective of Spanish films of the 1990s at Southern Methodist University, October 2000.

Curator of the film series, "Refiguring Spain," USC, January 20‑ February 10, 1996. Co‑sponsored by the Oficina de Educacion, the Spanish Ministry of Culture, and the University of Southern California. A program of 21 films.

Co‑curator of American Cinematheque program of "Recent Spanish Cinema,"

March 1994, the first of what has become an annual series.

Co‑director (with Cristina Venegas) of "Border Crossings," at USC, November

1991, two weekends of screenings and a one‑day conference on contemporary

Mexican and Chicano cinema and video; funded by a Rockefeller Grant.

Co‑curator (with Katherine Kovacs) of "Spanish Cinema: The Politics of Family

& Gender," a retrospective of 20 films screened at USC, Oct. 27‑ Nov.19,

1989; it then traveled to other institutions in new York, Chicago, Buffalo,

Pittsburgh, Worcester, Santa Barbara, Boston, Minneapolis, and Long Beach.

Curator, writer, and commentator, on "The Female Framed: 50 Years of Women

On screen," a program on the representation of women in American cinema,

co‑sponsored by the AF1 and Screen Actors Guild, at the Academy of Motion

Picture Arts and Sciences in L.A., October 17, 1984
Invited Lectures & Presentations at International Conferences Too numerous to list, including papers at conferences and festivals in London, Madrid, Barcelona, Cuenca, Stockholm, Rome, Paris, Cannes, Rotterdam, Amsterdam, Moscow, Beijing, Shanghai, Hong Kong, Taiwan, Tokyo, Mexico City, Havana, Rio, Sao Paulo, Brisbane, Sydney, Adelaide, and many other cities throughout the world, plus presentations at many American Universities (including Harvard, Johns Hopkins, Duke, MIT, UCLA, Swarthmore, Clark, Pennsylvania, NYU, Columbia, U. of Chicago, Michigan/Ann Arbor, UC Berkeley, UC Santa Barbara, UC Riverside, UCLA, UC San Diego, California Institute of the Arts, Oberlin and Smith).
Since 1997, I have presented or exhibited works from The Labyrinth Project and lectured on their implications for media studies at several venues, including (but not limited to) the following:
Educational institutions: Communications University of China in Beijing, University of Shanghai, Russian State University of the Humanities in Moscow, Cornell University, Duke University, Emerson College, Harvard University, Johns Hopkins, MIT, NYU, Northwestern, Occidental College, Royal Institute of Technology (in Stockholm), Univ. of Arizona/Tucson; Univ. of Brisbane, U. of Chicago, U. of Hawaii at Manoa, Univ. of New Mexico; UC/Berkeley, UCLA, UC/Riverside, UC/Santa Barbara, UC/San Diego, University of Glasgow, University of London, University of Michigan/Ann Arbor, U. of Stockholm, U. of Washington.
Film, new media or art festivals: Jewish Museum in Berlin, Center for Contemporary Culture in Barcelona; Contemporary Art in Tokyo; Future Cinema Festival at ZKM in Karlsruhe, Germany; The Getty Museum (Los Angeles); Milia Multimedia Festival in Cannes; Museum of Contemporary Art (Los Angeles); National Gallery in DC; Pasadena Museum of California Art; Rotterdam International Film Festival; San Francisco Film Festival; Santa Monica Museum; Skirball Cultural Center; Sundance Film Festival, Tucson Film Festival, Vancouver Film Festival; the Art of the CD-ROM, a traveling show organized by Cornell University.
Academic conferences: Console-ing Passions Conference in Boston (July 2012), where I gave a Plenary talk on “Three Transformative Moments for Feminist Media Studies,” and another paper titled “Gender and Games: Working at the Pressure Point between Theory and Practice”: Database + Narrative + Archives (DNA), a conference in Montreal in May 2011, where I gave a keynote address titled, “Remixing DNA”; AAASS in Boston, Mass. (American Association for the Advancement of Slavic Studies) (December 2004), where a whole panel was devoted to our Russian Modernism Project; “Berlin & Los Angeles Conference” hosted by UCLA, where I presented a paper on “Bleeding Through Layers of Los Angeles” and another on our other digital city symphonies; “New Cities/New Media” Conference, hosted by the USC School of Architecture, which included a large screen exhibition and an entire

panel devoted to our work; Society for Cinema and Media Studies (a panel was devoted to Labyrinth at the annual meeting in London, in March 2005; plus, two papers were presented by other scholars on our works); the Cinema & Technology Conference at the University of Lancaster in April 2005 (which exhibited a number of our works, and hosted a workshop devoted to our collaborative process); Visible Evidence in Brisbane,

Australia; California Historical Society, at the Gene Autry Museum, where I presented a paper on our database documentaries; 52nd Annual International Flaherty Seminar on Documentary in June 2005 at the Claremont Colleges, where six of our database documentaries were exhibited in the Art Gallery and where we presented a panel discussing the implications of these works for the documentary genre.
Our works have been presented at many other venues by other members of the Labyrinth team. Those listed above are only the ones that I personally attended.

Advisory Council for REMAP, UCLA’s Center for Research in Engineering, Media and Performance,

June 2005 to present.

Library of Congress, "National Digital Information and Infrastructre Preservation

Program" (NDIIPP), November 2001

Jury Member for ACLS Awards

Nominator for the Rockefeller Foundation’s 2001 Film/Video/Multimedia Fellowships

Nominator for the Rockefeller Foundation’s 2002 New Media Awards

Nominator for the MacArthur Genius grant, 2004.

Nominator for the Alpert Award, administered by California Institute of the Arts, 2003.

Advisory Board of MIT Film Project, "The Virtual Screening Room: A Multimedia

Textbook for Film Analysis," directed by Henry Jenkins & Janet H. Murray

Advisory Board of Georgia Tech electronic project, "Griffith in Context"

Sega of America, Inc.‑‑a member of their video game rating council

MILIA‑‑member of Grand Jury, organizing panels, and general consulting

Rotterdam International Film Festival

Saban Entertain ment‑‑on the Power Rangers

The Electronics Conservancy

Sundance Institute‑‑consultation on workshop on writing interactive narrative

Fox Studios and Television‑‑on Saturday morning television

Software Toolworks/Mindscape‑‑a member of their Advisory Board

Robert M. Bennett Awards for Excellence in Local Television Programs, AFI‑‑a judge

Screenplay Systems, Inc.‑‑on development of Dramatica

Chase Polish Enterprises‑‑on media center in Gdansk, June 1990

CBS Records, on music video and postmodernism, December 1987

Jacobs & Gerber, Advertising, on NBC News, 1983

Professional Organizations

Modern Language Association‑‑‑ Executive Committee in the Film Division, (1979‑84)

Society for Cinema and Media Studies: co‑organizer of 1982 Annual meeting; chair of nomination committee 1988; chair of Katherine Singer Kovacs Annual Prize for Best Essay (1998) and Best Book (1999), & continuing ex‑officio member of both Judge for 1st Annual Jay Leyda Prize for Film Scholarship (1988/89).

Share with your friends:

The database is protected by copyright © 2019
send message

    Main page