VITA

 

EDUCATION

Indiana University, Ph.D., Comparative Literature, 1978
Indiana University, M.A., Classics, 1975
Indiana University, M.A., Comparative Literature, 1972
University of Chicago, A.B., General Studies in the Humanities, 1970

EMPLOYMENT HISTORY

Adjunct Professor of Jazz Studies, Columbia University, 2014-present
Professor of Comparative Literature, SUNY Stony Brook, 1981-2014
Assistant Professor, Dept. of English, Stephens College, 1979-1981
Assistant Professor, Depts. of Classics and Modern Languages, University of South Dakota, 1977-1979

SCHOLARSHIP

BOOKS:

Better Git It in Your Soul: An Interpretive Biography of Charles Mingus.

University of
California Press, 2016.

Hotter Than That: The Trumpet, Jazz, and American Culture.

Faber and Faber/Farrar, Straus and Giroux, 2008.

Black Magic: White Hollywood and African American Culture.

Rutgers University Press, 2004.

Psychiatry and the Cinema, Second Edition.

American Psychiatric Press, 1999. (With Glen O. Gabbard, M.D.) First edition: 1987, University of Chicago Press. Italian translation by Paolo Pancheri: Cinema e psichiatria (Milano: Raffaello Cortina, 2000).   Turkish translation by Yusuf Aradam:  Psikiyatri ve Sinema (2003)

Jammin’ at the Margins: Jazz and the American Cinema.

University of Chicago Press, 1996.

EDITED BOOKS:

Screening Genders

Rutgers University Press, 2008 (with William Luhr).

Representing Jazz

Duke University Press, 1995.

Jazz Among the Discourses

Duke University Press, 1995.

INTERNET BIBLIOGRAPHY

Editor in Chief, Cinema and Media Studies

Oxford Bibliographies.

ARTICLES:

“They Always Get the Better of You Somehow: Preston Sturges in Black and White.”

ReFocus: The Films of Preston Sturges, ed. Jeff Jaeckle and Sarah Kozloff. Edinburgh University Press, 2015, pp. 155-172.

 

“Noiring the Pitch: The Conflicted Soundtracks of Out of the Past, The Blue Gardenia, and The Long Goodbye.”

Film Noir, ed. Homer B. Pettery and R. Barton Palmer. Edinburgh University Press, 2014, pp. 103-121.

 

“The Vanishing Love Song in Film Noir.”

Kiss the Blood Off My Hands: On Classic Film Noir, ed. Robert Miklitsch. University of Illinois Press, 2014, pp. 62-79.

 

“Friz Freleng’s Jazz: Animation and Music at Warner Bros.”

The Wiley-BlackwellHistory of American Film, Vol II: 1929-1945, ed. Cynthia Lucia, et al. Wiley-Blackwell, 2012, pp. 379-396.

“The Hypertexts of Short Cuts: The Jazz in Altman’s Carver Soup.”

Robert Altman: Critical Essays, ed. Rick Armstrong.  McFarland, 2011, pp. 20-37.

 

“Signifyin(g) the Phallus: Mo’ Better Blues and Representations of the Jazz Trumpet.”

New Horizons in Jazz  Research,  ed. Michael S. Molasky.  Tokyo:  Artes Press, 2010.  (Japanese translation of my article from 1996.)

 

“Eddie Murphy: The Rise and Fall of the Golden Child.”

Acting  for America: Movie Stars of the 1980s, ed. Robert  Eberwein.  Rutgers University Press, 2010, pp. 120-138.

“Al Jolson: The Man Who Changed Movies Forever.”

Idols  of Modernity: Movie Stars of the 1920s, ed. Patrice Petro.  Rutgers University Press, 2010, pp. 202-226.

 

“How Many Miles? Alternate Takes on the Jazz Life.”

Thriving on a Riff: Jazz and Blues Influences in African American Literature and Film, ed. Graham Lock and David Murray. Oxford University Press, 2009, pp. 184-200.

 

“Struttin’ With Some Brass: African American Transformations of the Trumpet.”

Early Twentith-Century Brass Idioms: Art, Jazz, and Other Popular Traditions, ed. Howard T. Weiner. Scarecrow Press, 2008, 41-48.

 

“1998: Movies, Dying Fathers, and a Few Survivors.”

American Cinema of the 1990s: Themes and Variations, ed. Chris Holmlund. Rutgers University Press, 2008, pp. 203- 224.

 

“The Jazz Actor in the Racial Matrix.”

The American Psychoanalyst 41:4 (2007): 21 – 39.

 

“White Face, Black Noise: Miles Davis and the Soundtrack.”

Beyond the Soundtrack: Representing Music in Cinema, ed. Daniel Goldmark, et al. University of California Press, 2007, pp. 260-276

 

“‘What Does the Eye Demand?’: Sexuality, Forbidden Vision and Embodiment in Peter Jackson’s The Lord of the Rings Trilogy.”

From Hobbits to Hollywood: Essays on Peter Jackson’s “The Lord of the Rings”, ed. Ernest Mathijs and Murray Pomerance. New York and Amsterdam: Rodopi, 2006, pp. 265-281. (With Ruth Goldberg)

 

“Miles Davis and the Soundtrack of Modernity.”

Cinema and Modernity, ed. Murray Pomerance. Rutgers University Press, 2006, pp. 155-174.

 

“Miles From Home: Miles Davis and the Movies.”

The Source 1 (2004): 27-41

 

“Improvisation and Imitation: Marlon Brando as Jazz Actor.”

The Other Side of Nowhere, ed. Daniel Fischlin and Ajay Heble. Wesleyan University Press, 2004, pp. 298-318.

 

“Paris Blues: Ellington, Armstrong, and Saying It With Music.”

Uptown Conversations: The New Jazz Studies, ed. Robert G. O’Meally, et al. Columbia University Press, 2004, pp. 297-311.

“Saving It Twice: Preserving Jazz in Documentaries, Compilation Films, and Short Subjects” and “The Decline and Fall of the Jazz Biopic.”

All That Jazz: From New Orleans to Hollywood and Beyond, ed. Franco La Polla. Milan, Italy: Edizioni Olivares, 2003, pp. 109-131.

 

“Stanley Kubrick and the Art Cinema.”

Stanley Kubrick’s “A Clockwork Orange”, ed. Stuart Y. McDougal. Cambridge Film Handbooks. Cambridge University Press, 2003, pp. 85-108. (With Shailja Sharma)

 

“Whose Jazz, Whose Cinema?”

Movie Music: The Film Reader, ed. Kay Dickinson. Routledge, 2003, pp. 121-32.

 

“The Word Jazz” and “Images of Jazz.”

The Cambridge Companion to Jazz, ed. Merwyn Cooke and David Horn. Cambridge University Press, 2002, pp. 1-6, 332-46.

 

“The Day the Clown Quit: Jerry Lewis Returns to The Jazz Singer’s Roots.”

Enfant Terrible: Jerry Lewis in American Film, ed. Murray Pomerance. New York University Press, 2002, pp. 91-106.

 

“Saving Private Ryan Too Late.”

The End of Cinema As We Know It… American Film in the Nineties, ed. Jon Lewis. New York University Press, 2001, pp. 131- 38.

 

“Borrowing Black Masculinity: The Role of Johnny Hartman in The Bridges of Madison County.”

Soundtrack Available: Essays on Film and Popular Music, ed. Arthur Knight and Pamela Robertson. Duke University Press, 2001, pp. 295-316.

 

“Redeemed by Ludwig Van: Kubrick’s Musical Strategy in A Clockwork Orange.”

Cinesonic: Experiencing the Soundtrack, ed. Philip Brophy. North Ryde, Australia: Australian Film Television and Radio School, 2001, pp. 149-67.
 

“‘Someone’s Got to Pay’: Resurgent White Masculinity in Ransom.”

Masculinity: Bodies, Movies, Culture, ed. Peter Lehman. Routledge, 2001, pp. 7-23.

 

“Revenge of the Nerds: Black Jazz Artists and Their White Shadows.”

Ladies and Gentlemen, Boys and Girls: Gender in Film at the End of the 20th Century, ed. Murray Pomerance. SUNY Press, 2001, pp. 233-47.

 

“Race and Reappropriation: Spike Lee Meets Aaron Copland.”

American Music 18.4 (2000): 370-90. Rpt. in Postmodern Music/Postmodern Thought, ed. Judy Lochhead and Joseph Auner. Routledge, 2002, pp. 303-21, and in The Spike Lee Reader, ed. Paula Massood. Temple University Press, 2008, 175-95.

 

“Kansas City Dreaming: Robert Altman=s Jazz History Lesson.”

Music and Cinema, ed. James Buhler, Caryl Flinn, and David Neumeyer. Westport: Wesleyan University Press, 2000, pp. 142-57.

 

“Evidence: Thelonious Monk as Documentary Subject.”

Black Music Research Journal 19.2 (1999): 207-25.

 

“Actor and Musician: Louis Armstrong and his Films.”

The Louis Armstrong Companion: Eight Decades of Commentary, ed. Joshua Berrett. New York: Schirmer, 1999, pp. 201-233. (Reprint of a chapter from Jammin’ at the Margins.)

 

“Reel Collection: Notes on the Cinematic Depiction of Memory.”

Psyart: A Hyperlink Journal for Psychological Study of the Arts, 1999. (With Harvey R. Greenberg, M.D.)

 

“The Ethnic Oedipus: The Jazz Singer and Its Remakes.”

Play It Again, Sam: Retakes on Remakes, ed. Andrew Horton and Stuart Y. McDougal. University of California Press, 1998, pp. 95-114.
 

“Louis Armstrong and His Audiences.”

Jazz: A Century of Change, ed. Lewis Porter. New York: Schirmer, 1997, pp. 164-70.

 

“Psychoanalysis and Film Study in the 1990s.”

The American Psychoanalyst 29.4 (1996): 34-35.

 

“The Circulation of Sado-Masochistic Desire in the Lolita Texts.”

Journal of Film and Video 46.2 (1994): 19-30. Rpt. in Psyart:A Hyperlink Journal for Psychological Study of the Arts, 1997.

 

“Reel Significations.”

Screen Memories, by Harvey R. Greenberg, M.D. New York: Columbia University Press, 1993, pp. 17-37. (With Harvey R. Greenberg, M.D.)

 

“‘Phallic’ Women in Contemporary Cinema.”

American Imago 50.4 (1993): 421- 39. (With Glen O. Gabbard, M.D.)

 

“The Jazz Canon and Its Consequences.”

Annual Review of Jazz Studies 6 (1993): 65-98.

 

“Signifyin(g) the Phallus: Mo’ Better Blues and Representations of the Jazz Trumpet.”

Cinema Journal 32.1 (1992): 43-62.

 

“The Quoter and His Culture.”

Jazz in Mind: Essays on the History and Meanings of Jazz, ed. Reginald T. Buckner and Steven Weiland. Wayne State Univ. Press, 1991, pp. 92-111.

 

“The White Hotel and the Traditions of Ring Composition.”

Comparative Literature Studies 27.3 (1990): 230-48.

 

“Play It Again, Sigmund: Psychoanalysis and the Classical Hollywood Text.”

Journal of Popular Film and Television 18.1 (1990): 6-17. (With Glen O. Gabbard, M.D.)

 

“Reel Significations: An Anatomy of Psychoanalytic Film Criticism.”

Psychoanalytic Review 77.1 (1990): 89-110. (With Harvey R. Greenberg, M.D.)

 

“Wrong Man With a Horn.”

University of Hartford Studies in Literature 21.3 (1989): 13-24.

 

“The Female Psychoanalyst in the Movies.”

Journal of the American Psychoanalytic Association 37.4 (1989): 1031-49. (With Glen O. Gabbard, M.D.)

 

“Aliens and the New Family Romance.”

Post Script 8.1 (1988): 29-42.

 

“Updike, Shaffer and the Centaurs.”

Helios 14.1 (1987): 47-58.

 

“The Science Fiction Film and Psychoanalysis: Alien and Melanie Klein’s Night Music.”

Psychoanalytic Approaches to Literature and Film, ed. Maurice Charney and Joseph Reppen. Cranbury, NJ: Associated University Presses, 1987, pp. 171-80. (With Glen O. Gabbard, M.D.)

 

“Countertransference in the Movies.”

Psychoanalytic Review 72 (Spring, 1985): 171-84. (With Glen O. Gabbard, M.D.)

 

“The Metamorphosis of the Centaur in Fifth-Century Greek Arts and Society.”

Bucknell Review 29.1 (1984): 89-104.

 

“Vicissitudes of Narcissism in the Cinematic Autobiography.”

Psychoanalytic Review 71 (Sept., 1984): 319-28. (With Glen O. Gabbard, M.D.)

 

“Religious and Political Allegory in Robert Wise’s The Day the Earth Stood Still.”

Literature/Film Quarterly 10 (1982): 150-54.

 

“Altman’s 3 Women: Sanctuary in the Dream World.”

Literature/Film Quarterly 8 (1980), 258-64.

 

“From Psycho to Dressed to Kill: The Decline and Fall of the Psychiatrist in the Movies.”

Film/Psychology Review 4 (1980): 157-62. (With Glen O. Gabbard, M.D.)

 

REVIEWS:

Moving Images: Psychoanalytic Reflections on Film, by Andrea Sabbadini

(New Library of Psychoanalysis, 2014). Psychoanalytic Psychology 32.5 (December 2015): 117-120.

 

Sinatra: All or Nothing at All

(2015; directed by Alex Gibney). Journal of American History 102.3 (December 2015): 970-972.

 

The Hollywood Film Music Reader, edited by Mervyn Cooke

(Oxford University Press, 2010). American Music 30.1 (2012): 111-112.

 

Cadillac Records

(2008; directed by Darnell Martin). Journal of American History 96.1 (June 2009): 323-324.

 

The Pervert’s Guide to Cinema

(2006; directed by Sophie Fiennes, written by and starring Slavoj Zizek). Projections: The Journal for Movies and Mind 1.2 (Winter 2007): 101-108.

 

Hollywood Fantasies of Miscegenation: Spectacular Narratives of Gender and Race, 1903-1967

by Susan Courtney (Princeton University Press, 2005). Film Quarterly 60.1 (Fall 2006): 66-67.

 

Making Jazz French: Music and Modern Life in Interwar Paris

by Jeffrey H. Jackson (Duke University Press, 2003). Contemporary French Civilization 29.1 (2005): 172-74.

 

Jazz Noir: Listening to Music from Phantom Lady to The Last Seduction

by David Butler (Praeger, 2002). Genre 37.2 (2004): 344-46.

 

What Is This Thing Called Jazz? African American Musicians as Artists, Critics, and Activists

by Eric Porter (University of California Press, 2002). Current Musicology 71-73 (Spring 2001-Spring 2002): 477-83.

 

Larkin’s Blues: Jazz, Popular Music, and Poetry

by B.J. Leggett (Louisiana State University Press, 1999). The Comparatist 26 (May 2002): 158-60.

 

Heroes in Hard Times: Cop Action Movies in the U.S.

by Neal King (Temple University Press, 1999). Gender and Society 15.1 (February 2001):159-60.

 

Saving Private Ryan

(1998; directed by Steven Spielberg). International Journal of Psychoanalysis 81.1 (February 2000): 177-79.

 

Masked Men: Masculinity and the Movies in the Fifties

by Steven Cohan (Indiana University Press,1997). Men and Masculinities 1.4 (1999): 399-401.

 

Space Is the Place: The Lives and Times of Sun Ra

by John Szwed (Pantheon, 1997). American Music 16.2 (Summer 1998): 230-32.

 

A Great Day in Harlem

(1996; directed by Jean Bach). Journal of Musicological Research 16.4 (1997): 321-26.

 

Kansas City

(1996; directed by Robert Altman). American Historical Review (October 1997): 1274-75.

 

Louis Armstrong: A Cultural Legacy

ed. Marc H. Miller (University of Washington Press, 1995). African American Review 30.2 (1996): 306-08.

 

The Quick and the Dead

(1995; directed by Sam Raimi). Psychoanalytic Review 82.5 (1995): 766-69.

 

Running Scared: Masculinity and the Representation of the Male Body

by Peter Lehman (Temple University Press, 1994). Film Quarterly 48.4 (Summer 1995): 54-56.

 

Upside Your Head! Rhythm and Blues on Central Avenue

by Johnny Otis (University Press of New England, 1993). Journal of Popular Music Studies 6 (1994): 77-80.

 

Bad Girls

(1994; directed by Jonathan Kaplan). Psychoanalytic Review 81.4 (1994): 763-66.

 

The Psychoanalytic Movement

by Ernest Gellner (London: Paladin Books, 1985). New Ideas in Psychology 12.1 (1994): 119-20.

 

Formations of Fantasy

ed. Victor Burgin, James Donald, and Cora Kaplan (London and New York: Methuen, 1986). New Ideas in Psychology 8.3 (1990): 405-407.

 

The Reception of Jazz in America: A New View

by James Lincoln Collier (Brooklyn: Institute for Studies in American Music, 1988). American Music 7.3 (1990): 345-6.

 

Psychotherapy: Portraits in Fiction

ed. Jesse D. Beller and Paul D. Spector (Jason Aronson, Inc., 1987). Bulletin of the Menninger Clinic 53.2 (March 1989): 168-69.

 

The Culture of Criticism and the Criticism of Culture

by Giles Gunn (Oxford University Press, 1987). Ethics 99.1 (October 1988): 195-96.

 

“The Poetry of Tess Gallagher.”

Open Places 29 (Spring, 1980): 53-56; rpt. in Contemporary Literary Criticism 18 (1981): 170

 

OTHER PUBLICATIONS

“Music.”

Cultural Encyclopedia of the Penis, ed. Michael Kimmel, et al. (Rowman & Littlefield, 2014): 124-125.

 

“Growing Up Going to Bed with the Tonight Show.”

Oxford University Press Blog, February 2013.

 

“Jazz and Film.”

Discover Jazz, ed. John Edward Hasse and Tad Lathrop (Pearson, 2012): 156-157.

 

“Il jazz de ‘Friz’ Freleng” and “Guardalo per dieci centesimi: Il jazz nei soundies.”

Il Secolo del jazz, ed. Daniel Soutif (Milano: Skira, 2008): 151-155, 203-209. Trans.

 

“Le jazz de ‘Friz’ Freleng” and “Dix cents le film: Le jazz dans les soundies.”

Le Siecle du jazz, ed. Daniel Soutif (Paris: Skira Falmmarion, 2009): 151-155, 203-209. (Italian and French translations of my essays for a museum catalogue.)

 

“A Jazzman Reborn.”

Chronicle of Higher Education 55.3 (Sept 12, 2008): B16-17.

 

“Charles Mingus’s Changes.”

Jazz Times (September 2005): 70-71.

 

“Cinema and Media Studies: Snapshot of an ‘Emerging’ Discipline.”

Chronicle of Higher Education 52.24 (Feb 17, 2006): B14-15.

 

“Shrinks Duel for Cable Prestige as Showtime ‘Huff’s at ‘The Sopranos.'”

Chronicle of Higher Education 51.11 (Nov. 8, 2004): B14-16.

 

“John Wayne.”

Men and Masculinities: A Social, Cultural, and Historical Encyclopedia, ed. Michael Kimmel and Amy Aronson. Santa Barbara: ABC-Clio, 2004: II, 819-821.

 

“Black Angels.”

Chronicle of Higher Education 49.39 (June 6, 2003): B15-16.

 

“Jazz on Television at the Library of Congress.”

Performing Arts: Broadcasting, ed. Iris Newsom. Washington, DC: Library of Congress, 2002, pp. 170-85.

 

“About Boys, Not About Women.”

Chronicle of Higher Education 48.38 (May 31, 2002): B15.

 

“Revisiting a Noir Classic.”

Chronicle of Higher Education 48.30 (April 5, 2002): B16.

 

“Ralph Ellison, Visible Man.”

Chronicle of Higher Education 48.23 (Feb. 15, 2002): B20.

 

“Jazz Canon,” “Jazz: Etymology,” and “Jazz and Film: Cultural Meanings.”

Entries in The New Grove Dictionary of Jazz, 2nd Edition. London and New York: Macmillan, 2002, pp. I:380-82, I:798-801, II:389-93.

 

“A Roundtable on Ken Burns’s Jazz.”

Journal of Popular Music Studies 13.2 (Fall, 2001): 207-25. (With Geoffrey Jacques, Bernard Gendron, Scott DeVeaux, and Sherrie Tucker)

 

“Miles Passed, Miles Ahead.”

Chronicle of Higher Education 47.36 (May 18, 2001): B17-19.

 

“Ken Burns’s ‘Jazz’: Beautiful Music, but Missing a Beat.”

Chronicle of Higher Education 47.16 (Dec. 15, 2000): B18-19.

 

“Louis Armstrong’s Life As a Man.”

Chronicle of Higher Education 46.43 (June 30, 2000): B9-B10.

 

“Therapy’s ‘Talking Cure’ Still Works in Hollywood.”

Chronicle of Higher Education 46.23 (Feb. 11, 2000): B9-B10.

 

“Celebrity According to Woody.”

CultureFront 8.3-4 (1999): 18-22, 76-77.

 

“Innocence Lost: American Movies Revisit Jazz.”

Chronicle of Higher Education 46. 2 (Sept. 3, 1999): B10-B11.

 

“Cinematic Stereotypes Contributing to the Stigmatization of Psychiatrists.”

Stigma and Mental Illness, ed. Paul Jay Fink and Allan Tasman. Washington, DC: American Psychiatric Press, 1992, pp. 113-26. (With Glen O. Gabbard, M.D.)

 

Reply to Lawrence Gushee.

American Music 8.3 (1990): 360-62.
 

“Mind Doctor in the Dream Factory: The Psychiatrist in the Movies.”

The Psychiatric Times 5.3 (March, 1988): 17-18. (With Glen O. Gabbard, M.D.)

 

“The Pselluloid Psychiatrist.”

Menninger Perspective 18.2 (Aug., 1987): 25-27.

 

Invited Lectures

“The Sinatra Century.”

Tribeca Performing Arts Center, New York, November 2015.

“The Triumph of Orson Welles.”

Tribeca Performing Arts Center, New York, October 2015.

“The Art of the Jazz Singer.”

Tribeca Performing Arts Center, New York, April 2015.

“Kubrick’s Music.”

Tribeca Performing Arts Center, New York, March 2015.

“Bearden Painting Homer.”

Columba University, New York, February 2015.

“From Chios to 125th Street: Toward a Black Odysseus.”

Columba University, New York, December 2014.

“The Art of the Choreographer.”

November Tribeca Performing Arts Center, New York, November 2014.

“Alfred Hitchcock Looks at You.”

Tribeca Performing Arts Center, New York, October 2014.

“Storytelling.”

A series of five lectures on African American literature and performance,Chung Ahn University, Seoul, South Korea, June 30 – July 4.

“Happy Birthday, Duke: A Celebration of the Music of Duke Ellington.”

Tribeca Performing Arts Center, New York, April 2014.

“The Sum of the Parts: Great Comedy Teams on Film.”

Tribeca Performing Arts Center, New York, March 2014.

“The Trumpet in Jazz.”

Tribeca Performing Arts Center, November 2013.

“Reading Jazz, Listening to ECM.”

Conference on ECM records, Oslo, Norway, October 2013.

“Playing the Clown: Charles Mingus, Jimmy Knepper, and Tom Cruise.”

University of Copenhagen, Denmark, October 2013.

“The Vanishing Love Song in Film Noir.”

Norwegian University of Science and Technology, Trondheim, Norway, October 2013.

“Reading Jazz, Listening to ECM.”

University of Goteborg, Sweden. October 2013.

“Creature Features: A Grown-Up’s Guide to Our Favorite Monsters.”

Tribeca Performing Arts Center, New York, September 2013.

“Robert Altman’s Music.”

Altmannerisms: Conversations Celebrating the Opening of the Robert Altman Archive, University of Michigan, June 2013.

“Scenes Through the Cinema Lens: A Connoisseur’s Guide to Jazz Singing.”

Tribeca Performing Arts Center, New York, April 2013.

“Scenes Through the Cinema Lens: Shatter the Tale to Fragments: Jazz Artists in Hollywood Movies.”

Tribeca Performing Arts Center, New York, February 2013.

“Scenes Through the Cinema Lens: Forgotten Laughter.”

Tribeca PerformingArts Center. New York, October 2012.

“Sur un air de Charleston.”

International meeting of the Columbia University Jazz Study Group, Paris, October 2012.

“Playing ‘The Clown’: Jimmy Knepper with Charles Mingus.”

Historic Brass Society, New York, July 2012.

“Scenes Through the Cinema Lens: Sing Me a Song of Jazz.”

Tribeca Performing Arts Center. New York, April 2012.

“Scenes Through the Cinema Lens: The Silent Clowns.”

Tribeca Performing Arts Center. New York, February 2012.

Interview with Terence Blanchard.

Jazz at Lincoln Center, New York, January 2012.

“Scenes Through the Cinema Lens:  The First Talkie Musicals.”

Tribeca Performing Arts Center.  New York, October 2011.

“Response to Keynote Address by Ronald Radano.

International Conference on Global Jazz.  Amsterdam, Netherlands, August 2011.

“The Vanishing Love Song in Film Noir.”

University of Nebraska, March 2011.

“Scenes Through the Cinema Lens: Ladies Sing the Blues.”

Tribeca Performing Arts Center.  New York, April 2011.

“Scenes Through the Cinema Lens: Now That’s Dancing.”

Tribeca Performing Arts Center.  New York, March 2011.

“The Vanishing Love Song in Film Noir.”

University of Vermont, February 2011

“Scenes Through the Cinema Lens: Mingus, Monk, and Dizzy.”

Tribeca Performing Arts Center.  New York, November 2010.

“Crises of Masculinity in Contemporary Cinema.”

Suffolk Institute for Psychotherapy and Psychoanalysis.  Huntington, NY, April 2010

 

“Scenes Through the Cinema Lens: The Great Jazz  Singers.”

Tribeca Performing Arts Center.  New York, April 2010 .

 

“Scenes Through the Cinema Lens: The Art of the Jazz Soloist.”

Tribeca Performing Arts Center.  New York, February 2010.

 

“Scenes Through the Cinema Lens: Big Bands on  Film.”

Tribeca Performing Arts Center.  New York, October 2009.

 

“Self-Portrait in Three Colors: Mediating Mingus.”

Keynote Address at International Jazz Conference, University of Salford, Manchester, UK, November 2009.

 

“Scenes Through the Cinema Lens: From the Charleston to Hip Hop.”

Tribeca Performing Arts Center. New York, May 2009.

 

“Scenes Through the Cinema Lens: The Great Jazz Pianists.”

Tribeca Performing Arts Center. New York, April 2009.

 

In Treatment in Context.”

UCLA Conference on In Treatment and Be-Tipul. Los Angeles, April 2009.

 

“Scenes Through the Cinema Lens: Kubrick’s Music.”

Tribeca Performing Arts Center. New York, March 2009.

 

“Scenes Through the Cinema Lens: The Art of the Jazz Singer.”

Tribeca Performing Arts Center. New York, February 2009.

 

“Scenes Through the Cinema Lens: Mutant Musicals.”

Tribeca Performing Arts Center. New York, December 2008.

 

“Scenes Through the Cinema Lens: The Jazz Trumpet on Film.”

Tribeca Performing Arts Center. New York, November 2008.

 

“When Brothers Talk About Women.”

Association for Psychoanalytic Medicine. Columbia University, New York, October 2008.

 

“Scenes Through the Cinema Lens: Monk, Blakey, and the Small Bands.”

Tribeca Performing Arts Center. New York, October 2008.

 

“Lost Jazz Shrines: We Want Miles.”

Tribeca Performing Arts Center. New York, May 2008.

 

“Lost Jazz Shrines: The Singers.”

Tribeca Performing Arts Center. New York, April 2008.

 

“Lost Jazz Shrines: Legacies II.”

Tribeca Performing Arts Center. New York, March 2008.

 

“Miles Davis and the Movies.”

Rhode Island College, March 2008.

 

“Lost Jazz Shrines: The Mingus Connection.”

Tribeca Performing Arts Center. New York, February 2008.

 

“Miles Davis and the Movies.”

University of Iowa, February 2008

 

“Lost Jazz Shrines: Dancers.”

Tribeca Performing Arts Center. New York, November 2007.

 

“Lost Jazz Shrines: Legacies.”

Tribeca Performing Arts Center. New York, September 2007.

 

“Jazz on Film: Latin Jazz and Beyond.”

Tribeca Performing Arts Center. New York, May 2007.

 

“Jazz on Film: Jazz Innovators.”

Tribeca Performing Arts Center. New York, April 2007.

 

“Jazz on Film: The Big Band Era.”

Tribeca Performing Arts Center. New York, March 2007.

 

“Looking at Jazz.”

Kent State University, February 2007.

 

“Jazz on Film: The Vocalists.”

Tribeca Performing Arts Center. New York, February 2007.

 

“Jane Campion and the Therapeutic Discourse.”

Colloquium on the films of Jane Campion. University of Otago, Dunedin, New Zealand, December 2006.

 

“Jazz on Film: The Harlem Renaissance and the Jazz Age.”

Tribeca Performing Arts Center. New York, November 2006.

 

“Jazz on Film: New Orleans.”

Tribeca Performing Arts Center. New York, October 2006.

 

“Looking at Jazz.”

Special meeting for jazz scholars sponsored by National Video Resources. Chicago, September 2006.

 

“Redeemed by Ludwig Van: Stanley Kubrick and the Art Cinema.”

Rider University, March 2006.

 

“Writing the Jazz Life: The Many Faces of Miles Davis.”

University of Pittsburgh, November 2005.

 

“Writing the Jazz Life: The Many Faces of Miles Davis.”

Duke University, October 2005.

 

“Struttin’ with Some Brass: African American Transformations of the Trumpet.”

Institute of Jazz Studies. Rutgers University, Newark, November 2005.

 

“Desiring Jazz, Desiring Blackness?”

Columbia University Jazz Study Group. New York, October 2005.

 

“Robert Altman’s Kansas City.”

Columbia University, New York, September 2005.

 

“Teaching Jazz as American Culture.”

Taught for one day in NEH Summer Institute for Teachers, Washington University, St. Louis, July 2005.

 

“White Face, Black Noise: Miles Davis and the Soundtrack.”

Texas A&M University, December 2004.

 

“White Face, Black Noise: Miles Davis and the Soundtrack.”

University of Hawaii, November 2004.

 

“Writing the Jazz Life: The Many Faces of Miles Davis.”

Criss Cross (Conference on Jazz and Culture). Nottingham (England) University, June 2004.

 

“White Face, Black Noise: Miles Davis and the Soundtrack.”

Beyond the Soundtrack: Representing Music in Cinema. University of Minnesota, April 2004.

 

Roundtable on Jazz and Cinema.

Locarno (Switzerland) International Film Festival. August 2003.

 

“The New Jazz Studies Today.”

Keynote address at Ninth Annual Leeds International Jazz Educators’ Conference. Leeds (England) College of Music, April 2003.

 

McCabe and Mrs. Miller: Revising the Latency Stage Western.”

Washington (D.C.) Psychoanalytic Association, November 2002.

 

“Miles from Home.”

Keynote address at Guelph Jazz Symposium. Guelph, Ontario, September 2002.

 

“In All Languages.”

Panelist at the conference, “Talking Jazz: Live at the Village Vanguard,” sponsored by the National Arts Journalism Program. New York, April 2002.

 

“Miles Davis and the Movies.”

University of Tennessee, Knoxville, April 2002.

 

“Marlon Brando as Jazz Actor.”

University of Vermont, April 2002.

 

“Miles Davis as Cinematic Text.”

Yale University, New Haven, March 2002.

 

“Throw It Away: Abbey Lincoln and the American Cinema.”

Conference on Abbey Lincoln. Columbia University, December 2001.

 

“Clinical Masochism and Film Noir.”

American Psychoanalytic Association. New York, December 2001.

 

“The Female Psychotherapist in the Movies.”

Freudian Society of Long Island. Little Neck, October 2001.

 

“Miles Davis as Cinematic Text.”

College of William and Mary, Williamsburg, October 2001.

 

“Miles Davis as Cinematic Text.”

Conference on Miles Davis. Washington University, St. Louis, May 2001.

 

“Resisting Louis.”

University of North Carolina Jazz Festival. Chapel Hill, March 2001.

 

“Louis Armstrong on Film.”

Smithsonian Institution. Washington, D.C., December 2000.

 

“Redeemed by Ludwig Van: Kubrick’s Musical Strategy in A Clockwork Orange.”

Columbia University Seminar on Cinema and Interdisciplinary Interpretation. New York, September 2000.

 

“Jazz in Hollywood: Is There Hope?”

Newport Jazz Festival. Newport, Rhode Island, August 2000.

 

“The Greatest Music the World Has Ever Known: Kubrick Markets High Culture.”

Third Annual Cinesonic Conference on Cinema and Sound. Melbourne, Australia, July 2000.

 

“Jazz in Hollywood.”

University of Kansas, April 2000.

 

“Spike Lee Meets Aaron Copland.”

Carnegie Hall, New York City, February 2000.

 

“Paris Blues: Duke Ellington Meets Louis Armstrong.”

Columbia University, February 2000.

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“Freud on Film.”

Michigan State University, February 2000.

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“Borrowing Black Masculinity: The Role of Johnny Hartman in The Bridges of Madison County.”

University of Virginia, December 1999.

 

“Duke Ellington Signifies on Hollywood.”

Gulbenkian Foundation. Lisbon, Portugal, July 1999.

 

“Toward a New Jazz Studies.”

Keynote address at Fifth Annual Leeds International Jazz Educators’ Conference. Leeds (England) College of Music, April 1999.

 

“Goin’ Up: Duke Ellington Revises Cabin in the Sky.”

University of North Carolina Jazz Festival. Chapel Hill, February, 1999.

 

“Paris Blues and the Discourses of Art.”

Seton Hall University, April 1998.

 

“Images of Jazz.”

University of Missouri, April 1998.

 

“Monk as Documentary Subject.”

University of North Carolina Jazz Festival. Chapel Hill, February 1998.

 

“Male Bodies, Black and White.”

University of Arizona, January 1998.

 

“Borrowing Black Masculinity: The Role of Johnny Hartman in The Bridges of Madison County.”

Colby College, March 1997.

 

“Constructing the Artist: 32 Short Films About Glenn Gould.”

Villanova University, February 1997.

“All Night Long: A Jazz Othello.”

Library of Congress. Washington, D.C., October 1996.

 

“Quacks, Savants, and Advice Columnists: Representations of The Psychiatrist in the Media.”

Stony Brook Health Sciences Center Grand Rounds. February 1996.

 

“Duke Ellington and the Cinema.”

Music Department Colloquium, SUNY Stony Brook, November 1995.

 

“The Early Films of Duke Ellington.”

Duke Ellington Society. New York, June 1995.

 

“Duke Ellington and the Cinema.”

Jazz Research Roundtable. Rutgers University, May 1995.

 

“The Female Psychiatrist in the Movies.”

Stony Brook Health Sciences Center Grand Rounds. April 1995.

 

“Jazz and Pagan Modernism.”

Columbia University Seminar on Cinema and Interdisciplinary Interpretation. New York, December 1994.

“Is Jazz Art? Paris Blues and Duke Ellington’s Response.”

Duke Ellington Society. New York, April 1994.

 

“The Repression of Race and Aging in Basic Instinct.”

American Psychoanalytic Association. New York, December 1993.

 

“Trickster or Uncle Tom: Reading Louis Armstrong and His Films.”

Humanities Institute at SUNY Stony Brook, December 1993.

 

“Jazz Becomes Art: Tracking a Discourse.”

Music Department Colloquium, SUNY Stony Brook, March 1993.

 

“The Ethnic Oedipus: The Jazz Singer and Its Remakes.”

American Jewish Congress. New York, March 1993.

“Jazz Becomes Art: Tracking a Discourse.”

Columbia University Seminar on Cinema and Interdisciplinary Interpretation. New York, December 1992.

 

“Casablanca and the Traditions of Cult Cinema.”

American Academy of Psychoanalysis. New York, November 1992.

 

“The Myth of the Phallic Woman in Contemporary Cinema.”

Long Island Institute for Psychoanalysis. March 1992.

 

“From Working Girl to Thelma and Louise.”

Forum for the Psychoanalytic Study of Film. Washington, DC, November 1991.

 

“The Myth of the Phallic Woman in Contemporary Cinema.”

American Society of Psychoanalytic Physicians. New York, October 1991.

 

“The Circulation of Sado-Masochistic Desire in the Lolita Texts.”

American Psychoanalytic Association. New Orleans, May 1991.

 

“Dracula and the P-Word: Reply to William Luhr.”

Columbia University Seminar on Cinema and Interdisciplinary Interpretation. New York, January 1991.

 

“The Impact of Freud’s Discoveries on 20th Century Thought and Culture.”

Institute for Psychoanalytic Training and Research, Columbia University. New York, December 1990.

 

“Otto Preminger’s Whirlpool.”

Anthology Film Archives. New York, December 1990.

 

“The Search for the Phallic Woman.”

American Psychiatric Association. New York, May 1990.

 

“Psychopathology in Cinema, Then and Now.”

American Academy of Psychoanalysis. New York, December 1989.

 

“Marshall Brickman’s Lovesick.”

Anthology Film Archives. New York, November 1989.

 

“Music: A Voice Beyond the Literary.”

SUNY Binghamton Conference on Literature and Film. October 1988.

 

“Play It Again, Sigmund: Psychoanalysis and the Classical Hollywood Text.”

American Society of Psychoanalytic Physicians. New York, June 1988.

 

“The Female Psychiatrist in the Movies.”

Manhattan Psychiatric Center Grand Rounds. January 1988.

 

“Psychiatry in Film and Real Life.”

New York University Medical Center. October 1987.

 

Conference Papers

“My Unsuspected Journey: Charting New Research Paths in Our Disciplines.”

Society for Cinema and Media Studies, Montreal, March 2015.

“Listening to Jazz in Film Noir.”

Society for Cinema and Media Studies, Montreal, March 2015.

“Everything but the Burden: Negrophilia in Springbreakers.”

Society for Cinema and Media Studies, Seattle, March 2014.

“What Is This Music?: Jimmy Knepper with Charles Mingus and Tom Cruise.”

Society for Cinema and Media Studies, Chicago, March 2013.

“Throw It Away: Abbey Lincoln in Hollywood.”

Society for Cinema and Media Studies. Boston, March 2012.

“Isn’t it Bromantic: The Erotics of Male Bonding in I Love You, Man.”

Society for Cinema and Media Studies.  New Orleans, March 2011.

 

“Charles Mingus’s Autobiographical Self-Embodiment.”

American Comparative Literature Association.  New Orleans, April 2010.

 

“The Vanishing Love Song in Film Noir.”

Society for Cinema and Media Studies, Los Angeles, March 2010.

 

“The Vanishing Love Song in Film Noir.”

Music/Film/Sound Symposium. Syracuse University, October 2009.

 

“Malle Meets Miles: Jazzing the French Cinema.”

UCLA Conference on Music and Film. Los Angeles, March 2009.

 

“Malle Meets Miles: Jazzing the French Cinema.”

European Cinema Research Forum. Dublin, Ireland, July 2008.

 

“Bolden’s Brass: The Cornet and the Invention of Jazz.” Historic Brass Society. New Orleans, July 2008.

“The Circulation of Homo-Erotic Desire in Troy and 300.”

Society for Cinema and Media Studies. Philadelphia, March 2008.

 

“Preaching with Brass: The Cornet, Early Jazz, and the Evangelical Connection.”

International Musicological Society. Zurich, July 2007

 

“Regendering the Trumpet.”

Society for Cinema and Media Studies. Chicago, March 2007.

 

“Art in a New York Minute: Kirchheimer’s Stations of the Elevated.”

Society for American Music. Chicago, March 2006.

 

“Writing the Jazz Life: The Many Faces of Miles Davis.”

Society for Cinema and Media Studies. Vancouver, British Columbia, March 2006.

 

“Racing the Life, Sexing the Subject: Miles Davis’s Autobiography.”

Cultural Studies Association. Tucson, Arizona, April 2005.

 

“Autobiography as Masquerade: The Many Faces of Miles Davis.”

Experience Music Project. Seattle, Washington, April 2005.

 

“Last Jazz Hero: Johnny Staccato and the Domestication of Night Life.”

Society for Cinema and Media Studies, London (UK), March 2005.

 

“Marlon Brando’s Masculinity and the White Negro Aesthetic.”

Florida State University Conference on Literature and Film. Tallahassee, January 2004.

 

“Miles to Go: Reading Miles: The Autobiography.”

Modern Language Association. San Diego, December 2003

 

“Miles From Home: Miles Davis and the Movies.”

International Association for the Study of Popular Music, Los Angeles, September 2003.

 

“To Die For: Black Violence in White Cinema.”

Society for Cinema Studies. Minneapolis, March 2003.

 

“The Big White Out: Music and Race in Fargo.”

Florida State University Conference on Literature and Film. Tallahassee, January 2003.

 

“African American Angels: A Millennial Solution to the ‘Race Problem.'”

Modern Language Association. New York, December 2002.

 

“The Sexiest Man Alive: Richard Gere’s Life As a Man.”

Society for Cinema Studies. Denver, May 2002.

 

“Magical Negritude: Millennial Solutions to the Race Problem.”

Florida State University Conference on Literature and Film. Tallahassee, January 2002.

 

“‘I’m Through With Love’: Singing the Demise of the Classical Musical.”

Modern Language Association. New Orleans, December 2001.

 

“Pomo-Crypto-Afro: White Racial Politics in Pleasantville and The Talented Mr. Ripley.”

Screen Studies Conference. Glasgow, Scotland, June 2001.

 

“Pomo-Crypto-Afro: White Racial Politics in Pleasantville and The Talented Mr. Ripley.”

Florida State University Conference on Literature and Film. Tallahassee, January 2001.

 

“Bricolage in Black and White: Ralph Ellison’s Jazz.”

Modern Language Association. Washington, DC, December 2000.

 

“Hipsters and Nerds: Representing the Jazz Record Collector.”

American Musicological Association. Toronto, November 2000.

 

“Carnivalizing Jazz: Sun Ra on Film.”

Jazz Study Group. Columbia University, May 2000.

 

“Carnivalizing Jazz: Sun Ra on Film.”

Society for Cinema Studies. Chicago, March 2000.

 

“Spike Lee Meets Aaron Copland.”

Florida State University Conference on Literature and Film. Tallahassee, January 2000.

 

“The Invisible Signifier: Race and the Soundtrack.”

Modern Language Association. Chicago, December 1999.

 

“Saving Private Ryan Too Late, or How Spielberg Gets Away With It.”

Florida State University Conference on Literature and Film. Tallahassee, January 1999.

 

“Synaesthesizing Jazz: The Case of Marlon Brando.”

Modern Language Association. San Francisco, December 1998.

 

“In Search of a Jazz Aesthetic.”

Society for Cinema Studies. San Diego, April 1998.

 

“‘Someone’s Got to Pay’: Resurgent White Masculinity in Ransom.”

Florida State University Conference on Literature and Film. Tallahassee, January 1998.

“Listeners at the Movies, Competent and Incompetent.”

Society for Cinema Studies. Ottawa, May 1997.

 

“Kansas City Dreaming: Altman’s Jazz History Lesson.”

Florida State University Conference on Literature and Film. Tallahassee, January 1997.

 

“Borrowing Black Masculinity: The Role of Johnny Hartman in The Bridges of Madison County.”

Society for Cinema Studies. Dallas, March 1996.

 

“‘If I Can Make It There’: The Death of Jazz and the Performance of Gender in Scorsese’s New York, New York.”

Florida State University Conference on Literature and Film. Tallahassee, January 1996.

 

“Visualizing a Jazz Composer: Duke Ellington and the Spectacles of Negrophilia.”

Society for Cinema Studies. New York, March 1995.

 

“How Duke Ellington Signified on Cabin in the Sky and Got Away With It.”

Florida State University Conference on Literature and Film. Tallahassee, January 1995.

 

“Is Jazz Art? Paris Blues and Duke Ellington’s Response.”

Modern Language Association. San Diego, December 1994.

 

“Louis Armstrong and Cinematic Discourses of Art.”

Society for Cinema Studies. Syracuse, March 1994.

 

“Remaking Nat King Cole.”

Florida State University Conference on Literature and Film. Tallahassee, January 1994.

 

“How the Ellington Band Transformed Cabin in the Sky.”

International Duke Ellington Conference. New York, August 1993.

 

“Jazz Becomes Art: Tracking a Discourse.”

American Comparative Literature Association. Bloomington, Indiana, March 1993.

 

“Black and Tan Fantasies: Questions of Influence in the White Jazz Biopic.”

Society for Cinema Studies. New Orleans, February 1993.

 

“Is The Jazz Singer Transgressive?”

Florida State University Conference on Literature and Film. Tallahassee, January 1993.

 

“Gender and Race in the Jazz Singer Texts.”

Modern Language Association. New York, December 1992.

 

“The Ethnic Oedipus: The Jazz Singer and Its Remakes.”

Conference on Remakes. New Orleans, September 1992.

 

“Jazz Among the Discourses.”

American Comparative Literature Association. New York, April 1992.

 

“The Circulation of Sado-Masochistic Desire in the Lolita Texts.”

Florida State University Conference on Literature and Film. Tallahassee, February 1992.

 

“Cinematic Representations of the Jazz Trumpet.” American Musicological Society. Chicago, November 1991.

“The Construction of Masculinity in Mo’ Better Blues.”

Society for Cinema Studies. Los Angeles, May 1991.

 

Lolita: Novel, Film and Intertexts.”

American Comparative Literature Association. San Diego, March 1991.

 

“Mo’ of the Same Blues: Spike Lee Confronts the History of Jazz in Cinema.”

Florida State University Conference on Literature and Film. Tallahassee, February 1991.

 

“Woody Allen, Preston Sturges and the Traditions of Hollywood Reflexivity.”

Florida State University Conference on Literature and Film. Tallahassee, February 1990.

 

“Jazz and Classical Cinema: The Case of Young Man with a Horn.” Society for Cinema Studies. Iowa City. April 1989.

“The Disempowerment of Psychoanalysis.”

Florida State University Conference on Literature and Film. Tallahassee, January 1989.

 

“Alien Within, Aliens Without.”

Florida State University Conference on Literature and Film. Tallahassee, January 1988.

 

“Jazz and the Avant-Garde.”

Avant-Garde Art and Literature Conference. Hofstra University, November 1985.

 

“Ring Composition in Homer and D.M. Thomas.”

International Comparative Literature Association Triennial Congress. Paris, August 1985.

 

“Plot and Symbol in Persona.”

American Comparative Literature Association Triennial Congress. Santa Barbara, March 1983.

 

“Updike, Shaffer and the Centaurs.”

Brooklyn College Comparative Literature Conference. November 1982.

 

“Growing Up with Homer: Browning’s ‘Development.'”

Classical Association of the Middle West and South. Columbia, SC, March 1980.

 

“Religious and Political Allegory in The Day the Earth Stood Still.”

Conference on the Fantastic. Fort Lauderdale, March 1980.

 

“The Metamorphosis of the Centaur.”

Classical Association of the Middle West and South. Madison, Wisconsin, April 1979.

 

“Altman’s 3 Women.”

Purdue University Film Conference. April 1979.

 

Community Service

“Some Like it Hot.”

Association for Psychoanalytic Medicine Film Night. New York, February 2009.

 

“Publishing at a Trade Press.”

Stony Brook Graduate Student Conference. February 2007.

 

The Notorious Bettie Page.”

Great Neck Art Center, Long Island, April 2006.

 

The Battle of Algiers.”

Belleport Public Library, Belleport, Long Island, May 2005.

 

The Jazz Singer and Cinema History.”

Sutton Place Synagogue, New York City. March 2005.

 

“Posing Questions.”

Stony Brook Graduate Student Conference. March 1999.

 

“Science Fiction Films of the Cold War.”

Smithtown High School Conference on the Cold War. Smithtown, NY, May 1994.

 

“Popularizing the Academy.”

Stony Brook Graduate Student Conference. November 1994.

 

“The Power of Images.”

Humanities Institute at SUNY Stony Brook. May 1993.

 

“Black and Tan Fantasies: Questions of Influence in the White Jazz Biopic.”

Thursdays at Noon, SUNY Stony Brook. February 1993.

 

“Jazz and the New Curriculum.”

Stony Brook Faculty Development Workshop on American Pluralism. May 1991.

 

“Opening the Canon.”

Superintendent Seminars at Stony Brook. March 1990.

 

“The Invisible Language of the Cinema.”

Stony Brook Evening for Adult Learners. October 1987.

“The American Cinema in the Age of Reagan.”

Stony Brook Alumni Association College Day. October 1986.

 

NATIONAL OFFICE

 
2012-2013 Program Committee, 2013 Music and the Moving Image conference

2012- Editorial Board, Quarterly Review of Film and Video

2006-2007 Consultant, National Video Resources

2006- present Editorial Board, Jazz Perspectives

2006- present Editorial Board, Projections: Movies and the Mind

2006-present  Editorial Board, Jazz Research Journal

2006-present Editorial Board, Music and the Moving Image

2005-2006 Chair, Program Committee, 2006 Conference of Society for Cinema and Media Studies

2004- Editorial Board, Popular Music History

2003-2006 Member, Executive Council, Society for Cinema and Media Studies

2001- 2002 President, MLA Division on Film Studies

1999 Society for Cinema Studies committee to choose best dissertation in Cinema Studies

1995-1998 Editorial Board, Cinema Journal

1994-2006 Book Review Editor, Men and Masculinities

1989- present Advisory Board, Forum for the Psychoanalytic Study of Film

1987-1990 Chair, Student Affairs Committee, American Comparative Literature Association

 

COURSES TAUGHT

Graduate:

Classical Tradition
Comparative Literature Methodology
Film and Narrative Theory
Film Theory/Literary Theory
History of Comedy
History of Literary Theory, Plato to Kant
Introduction to Cultural Studies

Major Authors: Hitchcock/Kubrick
Music and Cinema
Philosophy and Literature
Popular Culture and Critical Theory
Psychoanalysis, Literature, and Film

 

Undergraduate:

American Pluralism in Literature and Film
Cinema and Cultural Theory
Classical Drama
Classical Mythology
The Classical Tradition
The Comic Spirit in Literature and Film
Contemporary Drama
Death in Literature
English Composition
Film History and Theory
Film and Video Narrative
Film Comedy
Great Novels
Greek Literature in Translation
History of Comedy
Hollywood in the 1960s
Hollywood Mythology and its Revisions
Homer (in Greek and in translation)
The Horror Film
The Impact of World War II on Literature and Film
International Cinema
Introduction to Drama
Introduction to Film
Introduction to Literature
Introduction to Television Studies

Jazz and American Culture
Jazz and Film
Jazz and High/Low Culture
The Jazz Life: Studies in Jazz Music and Biography
Literary Survey: Enlightenment Through Modern
Literary Theory
Literature and Film
Literature and Painting
Masculinity in the Movies
Miles Davis and American Culture
Modern Drama
Modern Literature and the Other Arts
Music and Cinema
Senior Seminar in Cinema and Cultural Studies
Sexuality in Literature
Theorizing Cinema and Culture

 

DEPARTMENTAL SERVICE AT SUNY, STONY BROOK

2011 —  Director of Graduate Studies, Department of Comparative Literary And Cultural Studies

2008- 2010 — Chair, Department of Comparative Literary and Cultural Studies

2007- 2008 — Director of Graduate Studies, Department of Comparative Literary And Cultural Studies

2007 — Chair, Search committee for assistant professor of digital media

2006-2007 — Chair, Search committee for junior position in Comparative Literary and Cultural Studies

2004-2006 — Director of Graduate Studies, Department of Comparative Literary and Cultural Studies

2003-2004 — Director of Undergraduate Studies, Department of Comparative Literature

1996-2002 — Chair, Department of Comparative Literature>

1996 — Director of Graduate Studies, Program in Comparative Literature

1994-1995 — Member, Search committee for junior position in Comparative Literature

1992 — Acting Director of Undergraduate Studies, Department of Comparative Literature

1992-1993 — Advisor to undergraduate majors in Humanities Program

1992-1994 — Member, Graduate Studies Committee, Program in Comparative Literature

1991-1997 — Advisor to undergraduate majors in Comparative Literature

1991-1992 — Member, Ad-hoc committee to revise undergraduate curriculum

1989-1990 — Chair, Search committee for junior position in Comparative Literature

1988-1989 — Member, Search committee for junior position in Comparative Literature

1986-1990 — Member, Classics Advisory Committee

1982-1989 — Member, Comparative Literature Undergraduate Studies Committee

1985-1986 — Member, Comparative Literature By-Laws Committee

1982-1984 — Member, Search committee for senior position in Comparative Literature

1982-1984 — Director of Graduate Studies, Program in Comparative Literature

1981-1982 — Director of Undergraduate Studies, Programs in Comparative Literature, Classics and Humanities

 

OTHER ACTIVITIES

2005 – 2011 — Co-Chair, Columbia University Seminar on Cinema and Interdisciplinary Interpretation (previously held same position 1995 – 1998)

1993 — “Ellington ’93.” Selected, scheduled, and coordinated 3 days of papers for 11th annual international conference on the music of Duke Ellington. New York, August 1993.

1987-1996 — Record and book reviewer for Cadence, a monthly jazz periodical

1976-1989 — Announcer/producer of weekly radio program on American jazz at various radio stations