A video essay about title sequences from films by Alfred Hitchcock and David Fincher. An exploration of motion graphic design from analog to digital.

This primer in “cognitive cultural studies” explores the cultural fantasy of perfect access to mind through body. It shows that different genres and media—movies, novels, classic Chinese operas, medieval ribald tales, musicals, paintings, documentaries, stand-up comedy, and photography—have different strategies for making us think that we have ju…[Read more]

This primer in “cognitive cultural studies” explores the cultural fantasy of perfect access to mind through body. It shows that different genres and media—movies, novels, classic Chinese operas, medieval ribald tales, musicals, paintings, documentaries, stand-up comedy, and photography—have different strategies for making us think that we have ju…[Read more]

Argues that the documentary Paper Clips exemplifies the ways in which Holocaust education can unwittingly foster competing victimization narratives between blacks and Jews, sanitize both European and U.S. history, and serve subtle
but pernicious forms of supersessionism.

Film review of Woman in Gold (2015) as a cinematic rendering of the material turn in Holocaust memory.

If Jane Austen had wanted to write about zombies, what might she have known about the walking dead in the early nineteenth century? In this 2010 presidential address for EC/ASECS, subsequently published in the society’s newsletter, I examine this question and take a look at Pride and Prejudice and Zombies and Sense and Sensibility and Sea Monsters.

This article maps the emergence and prevalence of the white heterosexual male psychopath in modern American commercial television through an analysis of the final three episodes of Breaking Bad (2009-2013).

“¿En qué idioma escribe Ud.?” (142) “In which language are you writing?” This question, that Juan Crisóstomo Ibarra, the protagonist of José Rizal’s novel Noli me tangere (1887), addresses to the old scholar Don Anastasio, better known as Tasio, is more than just an expression of curiosity when he sees the latter writing, of all things, hiero…[Read more]

This article offers an interdisciplinary perspective on Jean-Luc Godard’s video short Puissance de la parole (1988). It engages with key historical figures in film, visual art and music, positioning Godard’s video mashup as a violent intermedial space where past and future meet. Exploring techniques of fragmentation, decontextualization and rec…[Read more]

This article offers an interdisciplinary perspective on Jean-Luc Godard’s video short Puissance de la parole (1988). It engages with key historical figures in film, visual art and music, positioning Godard’s video mashup as a violent intermedial space where past and future meet. Exploring techniques of fragmentation, decontextualization and rec…[Read more]