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Upcoming Events |
Sun, Nov 8th, @12:15pm - 02:00
The Fire Within: Jews in the Amazonian Rainforest / In Search of the Bene Israel |
Sun, Nov 8th, @1:00pm - 02:30
A Secret |
Sun, Nov 8th, @3:15pm - 06:15
Being Jewish in France |
Sun, Nov 8th, @7:00pm - 09:00
Refusenik |
Sun, Nov 8th, @7:00pm - 09:00
Iceland Mon Frere / Knucks / Jersey Homesteads... |
Sun, Nov 8th, @7:30pm - 08:30
Valentina's Mother |
Sun, Nov 8th, @7:30pm - 09:00
Waltz with Bashir |
Tue, Nov 10th, @12:30pm - 02:15
And Along Come Tourists / The Holocaust Tourist |
Tue, Nov 10th, @3:30pm - 05:30
Refusenik |
Tue, Nov 10th, @7:30pm - 08:30
Amnon's Journey |
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Faculty
 John Belton is Professor of English and Film at Rutgers. In 2008, he was named an Academy Film Scholar by the Academy of Motion Picture Arts and Sciences; in 2005-2006, he also received a Guggenheim Fellowship to research a book on digital cinema. He is the author of five books, including Widescreen Cinema (Harvard University Press, 1992), winner of the 1993 Kraszna Krausz prize for books on the moving image, and American Cinema/American Culture (McGraw Hill, 1994), a textbook written to accompany the PBS series American Cinema. A revised edition of this book was published in 2004. He has edited three books, most recently Alfred Hitchcock's Rear Window (Cambridge University Press, 2000) and Movies and Mass Culture (Rutgers University Press, 1996). He edits a series of books on film and culture for Columbia University Press (1989-on), is a former member of the National Film Preservation Board (1989-96), and former Chair of the Archival Papers and Historical Committee of the Society of Motion Picture and Television Engineers (1985-96).
Professor Belton's webpage
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 Amir Djabini is Instructor in the Center for Middle Eastern Studies at Rutgers. He received a BS from California State University at Sacramento in Communications and a PhD from Brigham Young University in Theater and Cinema, with an emphasis upon the effects of the media on the Middle East. He specializes in Middle Eastern cinema and theater, and since the early 1980s he has been involved in research on the Iranian cinema and the effects of media and technology on Iran and Middle East. For 15 years, he worked as a professor and media specialist for the Department of Performing Arts at the University of Tehran, Iran, where he was in charge of policy development and curriculum planning for the undergraduate and graduate programs. Professor Djabini's courses at the University of Tehran included the graduate seminar “Media and Society,” as well as “The History of Performing Arts on Iran,” “Persian and Middle Eastern Cinema,” “Marketing, Media and Middle Eastern Society,” “Language and Culture through Film,” “Third World Cinema,” and “The Effect of Media in Middle East.” Since 2004, he has taught various classes at Rutgers, including “Contemporary Iranian Cinema,” “The Effect of Media and Technology on the Middle East,” “Language and Culture through Film,” and “Third World Cinema.”
Professor Djabini's webpage
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 Leslie Fishbein is Associate Professor of American Studies, and one of the founding faculty members of the Cinema Studies Program at Rutgers. She has been a member of the Columbia Seminar on Film and Interdisciplinary Expression and has served on the Editorial Board of Film & History. She has presented papers on film and history at the annual conventions of the Organization of American Historians, the American Historical Association, the American Studies Association, and the National Women’s Studies Association and lectured on film throughout Israel during her 1986-1987 tenure as a Fulbright Senior Lecturer at the University of Haifa. Professor Fishbein has published in such scholarly journals as American Quarterly, New York History, Film Historia, Prospects: An Annual Journal of American Cultural Studies, Women’s Studies, Film & History, Labor History, The Journal of Popular Film and Television, and American Studies. She is at work on a book entitled Memoirs of the Sex Trade: A Cultural History of Prostitution that examines both the filmic image of prostitutes and their own efforts at self-representation in documentary form.
Professor Fishbein's webpage
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 Nicole Fleetwood is Assistant Professor of American Studies at Rutgers. She researches and teaches in the areas of visual culture, technology studies, gender theory, and race and representation. Her articles appear in Signs, Social Text, tdr: the journal of performance studies, and edited anthologies. Currently she is completing a manuscript on visuality, discourses of blackness, and gender relations. Professor Fleetwood has worked as a consultant and has collaborated with a number of arts organizations and programs, including the New Museum of Contemporary Art’s Visual Knowledge Program, the Walker Art Center, Southern Exposure, Intersection for the Arts, and Youth Speaks. She is also a video producer and has worked on a number of documentaries.
Professor Fleetwood's webpage
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 Sandy Flitterman-Lewis is Associate Professor of English and Film at Rutgers, where she teaches courses in Cinema Studies and Comparative Literature. She has a PhD in Comparative Literature (French, English and Italian) from the University of California at Berkeley. Her pioneering study of three French women directors (Germaine Dulac, Marie Epstein, and Agnès Varda), To Desire Differently: Feminism and the French Cinema (1st edition, University of Illinois Press, 1990; 2nd edition, Columbia University Press, 1996), outlines the parameters of feminist film theory, a field defined in part by the journal Camera Obscura, for which she was a founding co-editor. She was also a founding coeditor of the cultural studies journal Discourse. She is co-author of New Vocabularies in Film Semiotics (Routledge 1992), which has been translated into four languages, and her essays are anthologized in 26 collections, including, for example, Documenting the Documentary, The Feminism and Visual Culture Reader, and Dada and Surrealist Film. She is currently at work on a book entitled Hidden Voices: Childhood, the Family and Anti-Semitism in Occupation France.
Professor Flitterman-Lewis's webpage
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 Angus Gillespie is Professor of American Studies at Rutgers. In the late 1970s, he was among the first instructors in the American Studies Department at Rutgers to offer a course in film studies, “American Film and American Myth,” which focused on the great Hollywood classics of the 1930s and 1940s. More recently he has offered “Cult Film in America,” a survey of out-of-the mainstream films which characteristically feature atypical heroes and heroines, offbeat dialogue, and highly original story lines. Some of the films treated in this course, such as The Rocky Horror Picture Show, were underrated or neglected at the time of their release; others are mainstream films like Apocalypse Now that have attracted a devoted audience of repeat viewers whose attendance becomes a communal event.
Professor Gillespie's webpage
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 Richard Koszarski is Associate Professor of English and Film at Rutgers. He received his Ph.D. in Cinema Studies from New York University in 1977; before coming to Rutgers he taught at Columbia University, NYU and the School of Visual Arts. From 1977-97 he was curator of the Museum of the Moving Image in New York. He is the recipient of research grants from the American Film Institute, the American Council of Learned Societies, and the National Endowment for the Humanities. In 1991 he was awarded the Prix Jean Mitry for his contributions to silent film scholarship; he has also served as an expert witness for the Walt Disney Company on questions of new media. Professor Koszarski's books include An Evening’s Entertainment: The Rise of The Silent Feature Picture (University of California Press, 1990), Von: The Life and Films of Erich von Stroheim (Limelight, 2001), Fort Lee, the Film Town (Indiana University Press, 2004) and Hollywood on the Hudson: Film and Television in New York from Griffith to Sarnoff (Rutgers University Press, 2008).
Professor Koszarski's webpage
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 Elizabeth Leake is Associate Professor of Italian at Rutgers. Her research and teaching focus on 20th-century Italian narrative, Italian theater, Italian cultural studies, cinema, and women's and gender studies. Her book, The Reinvention of Ignazio Silone, published by University of Toronto Press, received the Modern Language Association's Aldo and Jeanne Scaglione Prize for a Manuscript in Italian Literature in 2003. Professor Leake is currently completing a book-length study, under contract with University of Toronto Press, on the relationship between authorial suicide and readership. She teaches graduate and undergraduate courses on Fascism and film, literature and cinema, and adaptation theory, as well as the Introduction to Italian Cinema.
Professor Leake's webpage
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SUSAN MARTIN-MÁRQUEZ (Program Director) |
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 Susan Martin-Márquez is Professor of Spanish and Cinema Studies at Rutgers. She teaches undergraduate and graduate courses on Spanish-language cinema, World Cinema, and film theory. Her first book, Feminist Discourse and Spanish Cinema: Sight Unseen (Oxford University Press, 1999) addresses questions of authorship and agency, female subjectivity, and national cinema, while providing reconsiderations and recontextualizations of feminist film theory. Her most recent book, Disorientations: Spanish Colonialism in Africa and the Performance of Identity (Yale University Press, 2008), shows how Spanish colonialist films and other cultural texts construct Spanish identities with and against the nation's presumed "African heritage." Professor Martin-Márquez's forthcoming collaborative book is titled Cinema and the Mediation of Everyday Life: An Oral History of Cinema-Going in 1940s and 1950s Spain (Berghahn Books). Based on oral history interviews of filmgoers from four urban centers in Spain, this book studies how weekly movie attendance was imbricated with the management of material hardship and political repression during the Franco dictatorship.
Professor Martin-Márquez's webpage
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 Fatima Naqvi is Associate Professor and Graduate Director in the Department of Germanic, Russian and East European Languages and Literatures at Rutgers. She received her B.A. from Dartmouth College in 1993 and her Ph.D. from Harvard University in 2000. Currently, she teaches courses on post-war literature and film, Vienna 1900, and the Austrian literary tradition. Her book, The Literary and Cultural Rhetoric of Victimhood: Western Europe 1970-2005 (Palgrave, 2007), analyzes the pervasive rhetoric of victimhood in European culture since 1968. She has edited an issue of Modern Austrian Literature devoted to the Austrian Nobel Prize winner Elfriede Jelinek, focusing on Jelinek's more recent writing. She has also written articles on Czech photographer Miroslav Tichý, film adaptation as melancholic translation (Michael Haneke and Ingeborg Bachmann), history and cosmology in Christoph Ransmayr's prose and Anselm Kiefer's works, as well as dilettantism in Thomas Bernhard's novels, among other topics. Her current book project focuses on the films of Michael Haneke.
Professor Naqvi's webpage
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 Albert Nigrin is Cinema Studies Lecturer at Rutgers. Courses he teaches for the American Studies and English Departments include: "American Experimental Film," "Documentary Film," "David Lynch and the American Avant-Garde," "Cult Films in American Culture" and "Major Filmmakers." In addition, he is the Executive Director of the Rutgers Film Co-op/New Jersey Media Arts Center, Inc., which presents the New Jersey Film Festival, the New Jersey International Film Festival, and the United States Super 8mm Film + Digital Video Festival. Professor Nigrin has an M.F.A. in Visual Arts/Film and Video from Rutgers University and he is also an award-winning experimental media artist. He was a 2002 New Jersey State Council on the Arts Media Arts Fellowship winner, and he has also received fellowships from the National Endowment for the Arts/ American Film Institute Mid-Atlantic Media Arts Fellowship Program and the Ford Foundation for his film/video work. In addition, his films/videos were screened as part of the 2004 Enter The Screen: Experimental Film program in Changzhou, China, the 2005 Floating Images: Experimental Film program in Shanghai, China, the 2006 Toronto Images Film Festival, the 1998-2001 Big as Life: An American History of 8mm Filmmaking Retro at the Museum of Modern Art in New York, and at many other Festivals, Media Centers and Universites. His films/videos are distributed by Canyon Cinema.
Professor Nigrin's webpage
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 Michael Rockland is Professor of American Studies at Rutgers. His film experience includes writing the script for and acting in the PBS film Three Days on Big City Waters, in which he plays one of two adventurous Rutgers professors who decide to canoe to Manhattan island starting out in little streams in Central New Jersey and ending up in the ruins of Ellis Island, where the climactic scenes of the film take place. Professor Rockland was also the cultural commentator for three years on PBS's New Jersey Nightly News, producing a multitude of mini-documentaries for that show. He has also been peripherally involved in the making of two major Hollywood films: his son, Jeffrey, played the part of the little boy, Sasha, in Dr. Zhivago, and his home in Morristown was the principal set for the Meryl Streep-Renee Zellwegger-William Hurt movie One True Thing. Professor Rockland also teaches the course "The Nexus of Film and Literature" as a senior seminar principally for majors in American Studies but open as well to Cinema Studies students.
Professor Rockland's webpage
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Martha Rosler is Professor of Photography and Critical Studies at the Mason Gross School of the Arts, Rutgers. She works in video, photo-text, installation, and performance, and writes about art and culture. She has lectured extensively in this country and internationally. Her work in the public sphere, often with an eye to women's experience, ranges from the link between social life and the media to architecture and the built environment, from housing and homelessness to systems of transport. Her work has been seen in the Venice Biennale of 2003; the Liverpool Biennial and the Taipei Biennial (both 2004); as well as the "Documenta" exhibition in Kassel, Germany, and several Whitney biennials, and she has had numerous solo exhibitions. A retrospective of her work, "Positions in the Life World," was shown in five European cities and concurrently at the International Center of Photography and the New Museum for Contemporary Art (1998-2000). Rosler has published numerous essays and ten books of photography, art, and writing. Among them are Decoys and Disruptions: Selected Essays 1975-2001 (MIT Press, 2004) and the photo books Passionate Signals (Cantz, 2005), In the Place of the Public: Airport Series (Cantz, 1997), and Rites of Passage (NYFA, 1995). Rosler has been awarded the Spectrum International Prize in Photography for 2005, which was accompanied by a photo and video retrospective at the Sprengel Museum in Hanover and at NGBK in Berlin, Germany.
Professor Rosler's webpage
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 Dianne Sadoff is Professor of English at Rutgers. She has published Monsters of Affection: Dickens, Bronte, and Eliot on Fatherhood (Johns Hopkins University Press, 1982) and Sciences of the Flesh: Representing Body and Subject in Psychoanalysis (Stanford University Press, 1998) and has co-edited Teaching Contemporary Theory to Undergraduates (MLA, 1994) and Victorian Afterlife: Postmodern Culture Rewrites the Nineteenth Century (University of Minnesota Press, 2000). Her most recently completed book, Victorian Vogue: The Nineteenth-Century British Novel On Screen (University of Minnesota Press, forthcoming), argues that the late twentieth-century and early millennial explosion of Victorian fictions on film functions to arouse and allay anxieties about the perceived crises of marital longevity and fidelity, family and generational relations, masculine capability and female pliability, the failures of conventional biological reproduction, and about the future of high culture and the changing nature of cultural work.
Professor Sadoff's webpage
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 Derek Schilling is Associate Professor of French and Cinema Studies at Rutgers. He has taught courses on time and narrative in the French feature film; on remakes, series, and continuations; on screen representations of the German Occupation; and a survey of the cinema of France since 1959. His monograph Eric Rohmer (Manchester University Press, "French Film Directors," 2007) examines the ways in which the director and onetime Cahiers du cinéma editor enlists André Bazin's notion of ontological realism to create a cinema of great visual transparency and ambiguity which questions divisions between the classic and the modern. Professor Schilling's current research interests include the dialogue between theater and cinema (notably in the work of Jacques Rivette and Alain Resnais) and the evolution of screen representations of urban and suburban space.
Professor Schilling's webpage
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Alan Williams is Professor of French at Rutgers. He has taught a wide range of undergraduate and graduate courses, including "French Cinema of the Occupation," "Cinema Between the World Wars," "Writing Film History," "Film Theory," "Theories of Realism," and "French Stars and Genres." His research centers on film history, broadly defined, particularly on crisis points such as the transition from "silent" cinema to the talkies, the German Occupation, the years of the nouvelle vague and the time of the final negotiations of the General Agreement on Tariffs and Trade. Professor Williams' work also links approaches to cinema that are normally considered distinct, such as theories of spectatorship, genre studies, economic history, and the study of the influence of social events and configurations on filmmaking. His books include Max Ophuls and the Cinema of Desire (Arno, 1980), Republic of Images: A History of French Filmmaking (Harvard University Press, 1992), and the edited volume Film and Nationalism (Rutgers University Press, "Depth of Field," 2002).
Professor Williams' webpage
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Faculty 
