Julia Lesage Vita
English, University of Oregon
Eugene OR 97403
Ph.D., Comparative Literature, Indiana University, 1976. Dissertation: The Films of Jean Luc Godard and Their Use of Brechtian Dramatic Theory.
M.A.T., Comparative Literature, Indiana University, 1962.
A.B., Cornell University, 1960.
University of Oregon, Associate Professor, English, 1992 to present.
University of Oregon, Associate Professor (promoted to Associate Professor with tenure, March 1990), Telecommunications and Film, 1988-1992 (department abolished in 1992 due to state-wide budget cuts).
School of the Art Institute of Chicago, Lecturer, Film, 1987.
University of Oregon, Visiting Professor, Telecommunications and Film, 1986.
School of the Art Institute of Chicago, Lecturer, Film, 1986.
University of Rochester, NY, Visiting Professor, Film/Women's Studies, 1985.
San Francisco State University, Visiting Professor, Film, 1984.
University of Illinois, Champaign, Visiting Professor, Unit for Criticism, School of the Humanities, 1983.
Central Sandinista de Trabajadores, Taller de Cine Super 8, Managua, Nicaragua, Technical Advisor, November 1981; Taller de Video, September l984 and August 1987.
Northwestern University, Evanston IL, Visiting Professor, Film, 1981.
University of Wisconsin at Milwaukee, Visiting Professor, English, 1979-80.
Antioch College, Yellow Springs OH, Visiting Professor, English, 1979.
University of Illinois at Chicago, Assistant Professor, English, 1973-78.
Queens University, Kingston, Ontario, Visiting Professor, Film, Summer 1977.
Indiana University, Bloomington, Lecturer, Comparative Literature and Film, 1972-73.
Pontifical Catholic University, Lima, Peru, Assistant Director, Foreign Languages, 1967-70.
Charles E. Johnson Award for Distinguished Social Service to the University Community, University of Oregon, June 1997
Alpert Award in the Arts, Nominator for Video Art, CalArts, 2001
Center for Study of Women and Society, Travel Grant to Screen Studies Conference, Glasgow, and Console-ing Passions Television Conference, Bristol, UK. June/July 2001.
Center for Study of Women and Society, Travel Grant to Visible Evidence Conference, Cardiff, Wales. June 1996.
Fulbright Scholar Awards Judge, Media Arts, Disciplinary Advisory Committee, Council for International Exchange of Scholars, 1993-95.
Center for Study of Women and Society, University of Oregon and Office of International Development, University of Oregon. Travel grants to Screen Studies Conference, Glasgow, Scotland, 1992.
Indiana University, 1970-72, West European Studies Graduate Fellowship.
Indiana University, 1973, Foreign Study Fellowship.
Cornell University, 1956-60, Honorary Dean's Scholarship.
National Merit Scholarship Competition, Certificate of Merit, 1956.
Columbus International Film Festival, 1992, prize winner for IN PLAIN ENGLISH.
North Carolina International Film and Video Festival, 1992, prize winner for IN PLAIN ENGLISH.
Rockefeller Foundation Grant, "A University for Everyone," 1991, production grant for IN PLAIN ENGLISH.
Center for New Television, Chicago, 1991, grant for production of IN PLAIN ENGLISH.
Center for New Television, Chicago, May, 1990, grant for production of IN PLAIN ENGLISH.
Retrospective of Lesage video work, 7th Australian International Video Festival, fall 1990.
NO-TV Video Competition, Visual Studies Workshop, Rochester NY, 1989, prize winner for WILFRED'S PARK and THE SCHOOL.
Herland Film and Video Festival, Albany NY, 1988, prize winner for LAS NICAS.
Humboldt County Video Festival, 1988, prize winner for EL CRUCERO.
Eugene Celebration Video Festival, 1988, prize winner for WILFRED'S PARK.
Mayor's Office of Cultural Affairs, Chicago IL, 1988, grant for production of TROUBADOURS.
Center for New Television, Chicago, 1987, grant for production of EL CRUCERO.
Making a Difference: University Students of Color Speak Out (Boston: Rowman and Littlefield, in press). Senior author, with Abby Ferber, Debbie Storrs, and Donna Wong.
Culture, Media, and the Religious Right, ed. with Linda Kintz (Minneapolis: University of Minnesota, 1998)
A Research Guide to Jean-Luc Godard (Boston: G.K. Hall, 1979).
The Viewer's Dialectic by Tomás Gutierrez Alea. Translated by Lesage (Havana: Casa de las Americas, 1989). Originally published in Jump Cut, Nos. 29, 30, 31 (1984-87).
Book Manuscripts in Preparation
Jump Cut Anthology, solicited by Temple University Press.
Documentary Moments, essays in documentary theory.
Articles in Edited Collections
"Women's Fragmented Consciousness in Feminist Experimental Autobiographical Video," Feminism and Documentary, ed. Diane Waldman and Janet Walker (Minneapolis: University of Minnesota Press, 1999)
"Contested Territory in FINDING CHRISTA,"Documenting the Documentary, ed. Barry Grant (Detroit: Wayne State University Press, 1998)
"Christian Coalition Training Tapes,"in Culture, Media, and the Religious Right, ed. Lesage and Kintz.
"The Religious Right and the Media,"in Culture, Media, and the Religious Right, ed. Lesage and Kintz.
Entries written for Latin American Video Database and Directory (New York: International Media Resource Exchange, 1995)
Learning through Documentaries,"
in Shared Differences: Multicultural Media in the Classroom, ed. Les Friedman and Diane Carson (Champaign: University of Illinois Press, 1995).
ET JULIE VONT AU BATEAU," reprinted in part
in Cinema Accíon, Paris, translated into French by Berenice Reynaud, 1994. Originally "Subversive Fantasy in CELINE AND JULIE GO BOATING," Jump Cut, Nos. 24-25 (Winter 1980-81).
in Discurso feminino actual, ed. Adelaida L. Martinez (Ponce: University of Puerto Rico Press, 1996). Translated into Spanish from Jump Cut, No. 20 (Fall 1979).
American and Caribbean Women in Film and Video"
in Multiple Voices in Feminist Film Criticism, ed. Diane Carson, Janice Welsch, Linda Dittmar (Minneapolis: University of Minnesota Press, 1994).
Make Media: Three Modes of Production,"
in The Social Documentary in Latin America, ed. Julianne Burton (Pittsburgh: University of Pittsburgh Press, 1990).
Political Aesthetics of the Feminist Documentary,"
in Issues in Feminist Criticism, ed. Patricia Erens (Bloomington: Indiana University Press, 1990) from Quarterly Review of Film Studies, Fall 1978.
This essay was also excerpted in the book Films for Women, ed. Charlotte Brundson (London: BFI Publications, 1986).
in Marxism and the Interpretation of Culture, ed. Cary Nelson and Larry Grossberg (Champaign, IL: University of Illinois Press, 1988) from Jump Cut, No. 31 (1985).
History in THE OTHER FRANCISCO,"
forthcoming in Counter-Canon: Critics and Latin American Cinema, ed. Julianne Burton, from Jump Cut, No. 30 (January 1985).
and RULES OF THE GAME,"
reprinted in Movies and Methods II, ed. Bill Nichols (Berkeley: University of California Press, 1985) from Jump Cut, Nos. 12-13 (Winter 1975-77).
Our Urgent Use: Film and Video on Central America,"
revised for Jump Cut: Hollywood, Politics, and Counter-Cinema, ed. Peter Steven (Toronto: Between the Lines Press, 1985) from Jump Cut, No. 27 (July 1982).
Also reprinted in The Documentary Today Conference Booklet, Minneapolis, November 1983.
Griffith's BROKEN BLOSSOMS: Artful Racism, Artful Rape,"
reprinted in Jump Cut: Hollywood, Politics, and Counter-Cinema (see above).
Also reprinted in Home Is Where the Heart Is, ed. Christine Gledhill (London: British Film Institute, 1986) from Jump Cut, No. 26 (December 1981)
Feminist Documentary--Politics and Aesthetics"
in Show Us Life: Toward a History and Aesthetic of the Committed Documentary, ed. Thomas Waugh (Metuchen, NJ: Scarecrow Press, 1984). Combines two revised essays: "JoAnn Elam's RAPE and the Ideology of Rape: Films about Combating Rape" from Jump Cut, No. 19 (Winter 1978) and "The Political Aesthetics of the Feminist Documentary Film," from Quarterly Review of Film Studies, Fall 1978.
Film Criticism: Theory and Practice,"
revised for Sexual Stratagems: The World of Women in Film, ed. Patricia Erens (New York: Horizon Press, 1978) from Women and Film, Nos. 5-6 (1974).
Translated into German: "Feministiche Filmkritik: Theorie und Praxis," Frauen und Film, No. 4 (1975).
VA BIEN and COUP POUR COUP: Radical French Film in Context,"
reprinted in WOMEN IN THE CINEMA, ed. Karyn Kay and Gerald Peary (New York: E.P. Dutton, 1977) from Cineaste 5, No. 3 (Summer 1972).
Translated into Swedish, Fant, No. 24 (1973).
Essays in Journals other than Jump Cut
"Cinematic Sex-Sisters," Review of SHE MUST BE SEEING THINGS (1987), SEDUCTION: THE CRUEL WOMAN (1984), and THE VIRGIN MACHINE (1988). National Women's Studies Association Journal, 1992.
"Me/My Female Spectator," Camera Obscura, Winter 1989-90.
"Why Christian Television Is Good TV," The Independent 10, No. 4 (May 1987).
"Left Film Criticism," Review of The Cineaste Interviews; A Decade of Cuban Documentary Film: 1972-82; NACLA: Report on the Americas -- "Toward a New Information Order" and "The Media Go to War", Journal of the University Film Association 35, No. 3 (Summer 1983).
"The Hegemonic Female Fantasy in AN UNMARRIED WOMAN and CRAIG'S WIFE," Film Reader, No. 5 (1982).
"Innocence, Seduction and Ruin in PRETTY POISON and LULU," The Actress, Film Center of the School of Chicago Art Institute (January 1979).
"Stones and Birds: Consistency and Change in the Poetry of Pablo Neruda," Hispaña 9 (Summer 1977). With Russell Salmon.
"Visual Distancing in Godard," Wide Angle 1, No. 3 (Winter 1976-77).
"Teaching the Comparative Analysis of Novels and Films," Style 9 (Fall 1975).
"The Human Subject -- You, Me, or He?" Review of the Brecht and Film issue of Screen (Summer 1974) published in Jump Cut, No. 4, (November-December 1974). Reprinted in SCREEN 16, No. 2 (1975) and responded to by SCREEN's editors.
"The Fallacy of Prolepsis: A Critique of Yves DeLaurot's 'Cinema Engage,'" Cineaste 5, No. 4 (1973). With Chuck Kleinhans.
"THE GREEN WALL, Peruvian Women and Us," Women and Film 1, Nos. 3-4 (1973).
"THE GREEN WALL," Take One, 1973.
Book review of a French translation of Bertolt Brecht's Sur le Cinéma, Cineaste 5, No. 2 (Spring 1972).
Essays in Jump Cut: A Review of Contemporary Media on Feminist Criticism:
"Teaching the Multicultural Requirement," Jump Cut, No. 37 (1993).
"The Politics of Sexual Representation," with Chuck Kleinhans, Jump Cut, No. 30 (January 1985).
"Women and Pornography: Initial Questions," Jump Cut, No. 26 (December 1981).
"Lesbians and Film," with Edith Becker, Michelle Citron, and B. Ruby Rich, Jump Cut, Nos. 24/25 (Winter 1980-81). Reprinted in Jump Cut anthology, ed. Steven (see above).
"Whose Heroines?" (a review of Joan Mellen's Women and Their Sexuality in the New Film), Jump Cut, No. 1 (May-June 1974).
"Resources: Women and Film," Jump Cut, No. 1 (May-June 1974).
Essays in Jump Cut: A Review of Contemporary Media on Counter Cinema:
"MEMORIES OF UNDERDEVELOPMENT," Jump Cut, No. 1 (May-June 1974).
"Godard and Gorin's Left Politics: 1967-72," Jump Cut, No. 25 (April 1983).
"Talking to Us: Jon Jost's SPEAKING DIRECTLY," Jump Cut, No. 5 (January-February 1975).
"Godard and Gorin's WIND FROM THE EAST: Looking at a Film Politically," Jump Cut, No. 4 (November-December 1974).
Translations from the Spanish in Jump Cut: A Review of Contemporary Medi
"The Photographic Image of Underdevelopment," by Edmundo Desnoës, translated by Lesage, Jump Cut, No. 33 (1988).
"Life and Work at El Crucero," interviews collected, edited and translated, in Radical America 19, No. 5 (1985).
"Betamax and Super8 in Revolutionary El Salvador," interview with Daniel Solis, gathered and translated, Jump Cut, No. 29 (February 1984).
Interviews Conducted with Julia Lesage by Others
China Film Weekly. Interview with Giangui Wu, translated into Chinese, March 1992.
"On Art and Artists" Series of videotaped interviews distributed by the Video Data Bank of the Art Institute of Chicago, 1991
Afterimage (Rochester, NY: Visual Studies Workshop) 13, No. 3 (October 1985).
L.A.M.P. (Syracuse, NY: Art Media Studies, Syracuse University), 1986.
Interviews by Lesage and Roundtable Discussions
"Listening to the Heartbeat: Interview with Marlon Riggs," Jump Cut, No. 36 (1991).
Interview with Lilith Video Collective, translated and edited by Julianne Burton, Global Television, Boston: MIT Press, 1991
"Feminist Filmmaking in India: Interview with Deepa Danraj," Jump Cut, No. 30 (January 1985).
"Women and Film: A Discussion of Feminist Aesthetics," New German Critique, No. 13 (Winter 1978). With others.
"Kartemquin Interviewed: Filming for the People," Jump Cut, No. 17 (April 1978). With Chuck Kleinhans, Robin Lakes, and Anna Marie Taylor.
"Filming for the City," Cineaste 7, No. 1 (Fall 1975). Interview with Kartemquin filmmaking collective.
Pre-tenure Conference Papers and Workshops
Feminist Film Criticism and Theory
Delivered often at women's film festivals at the following locations: University of Michigan, 1973; Indiana University, 1974; University of Iowa, 1974; 2nd International Woman's Film Festival, NYC, 1976; Toronto Film Festival, 1976; Newberry Library, Chicago, 1977; MMLA Convention, Chicago, 1977; National Women's History Conference, Minneapolis, 1977; Purdue Conference on Film Study, 1978; Alternative Cinema Conference, Bard College, 1979; Concordia University, Montreal, 1979; St. Louis University, St. Louis, 1979; Conference on Women's Art, University of Pittsburgh, 1980; Southern Illinois University, 1980; University of Maryland, Baltimore, 1983; City Movie Center, Kansas City, MO, 1983; Nova Scotia School of Art And Design, Halifax, 1982; SUNY-Brockport, 1982; Canadian Images Festivals, Peterboro, Ontario, 1982; University of Michigan, 1983; University of Illinois, Champaign, 1983; University of California, Santa Cruz, 1983; University of South Carolina, 1983; Duke University, 1983; Southern Methodist University, 1983; University of Texas at Dallas, 1983; University of Texas at Austin, 1983; University of Illinois, Champaign, 1983; Feminist Theory Seminar, keynote speech, University of California, Berkeley, 1984; Concordia University, Montreal, 1985; University of Chicago, 1985; Southern IL University, 1986; National Women's Studies Conference, 1987; University of Texas, Dept. of Speech Communication, Austin, 1988; Third Wave International Women's Film and Video Festival, Austin, 1988; Women of the Americas Film and Video Festival, San Francisco, 1988; Feminist Film Series, University of Oregon, Summer 1989.
Film/Video and Social Issues
Oberlin College, 1972; University of Wisconsin at Milwaukee, 1975; Critical Communications Conference keynote speech, Madison, WI, 1980; Third World Cinema Conference, Hunter College, NYC, 1983; Film in the Cities, Minneapolis, 1983; Visual Communications Conference, Annenberg School, University of PA, 1985, on music video; Southern Illinois University, 1988; School of the Art Institute of Chicago, 1988; Salute to the Documentary, keynote panel, 50th Anniversary of the Canadian Film Board, Montreal, 1989.
Films and Video of Jean-Luc Godard
Oberlin College, 1973; MLA Convention, San Francisco, 1975; University of Illinois, Champaign, 1983; Society for Cinema Studies (also Godard panel organizer and moderator), 1980; Godard retrospective, Toronto Film Festival, 1980; Chicago Art Institute, 1985; School of the Art Institute of Chicago, five lectures in a series, 1987; Randolph Street Gallery, Chicago, 1988, two lectures.
Romanticism and Film Theory
MLA Convention, NYC, 1978; University of Michigan, 1983; Duke University, Durham, NC, 1983; University of Rochester, NY, 1984.
Women's Studies: Indiana University, 1975; Great Lakes Women's Studies Conference, 1978; NWSA Conference, Indiana University, 1979; Women in the Director's Chair, Chicago, 1984; Women and Dance Conference, University of Oregon, 1989.
Film/Video Studies: Screen Educator's Society Summer Institute, Northwestern University, Evanston, IL, 1978; Ithaca College, 1985; Visual Studies Workshop, 1985; National Women's Studies Conference, 1986; Society for Cinema Studies, 1987.
Literature: MLA Convention, Chicago, 1977.
Latin American Film and Video
Latin American Studies Convention, Atlanta, 1975; MLA Convention, NYC, 1976; Purdue Conference on Film Studies and Society for Cinema Studies, 1979; Northeastern Illinois University, 1980; University of Texas at Dallas, 1983; University of Massachusetts, Amherst, 1983; Duke University, 1983; University of California, San Diego, 1984; Ohio University Film Conference, 1987; Union for Democratic Communications Conference, 1987.
"Making Thrifty Media,"University Film and Video Association Conference, Oregon State University, Corvallis, June 1991.
"Teaching Documentary Production," Society for Cinema Studies, USC, Los Angeles, April 1991.
"Teaching about Latin American Women through Film and Video," Society for Cinema Studies, University of Pittsburgh, March 1992
"The Rape Threat Scene in Narrative Cinema," Screen Studies Conference, John Logie Baird Center for Television Studies, University of Glasgow, Scotland, June 1992.
"The Rape Threat Scene in Narrative Cinema," Society for Cinema Studies, New Orleans, Feb. 1993.
"Between Two Cultures: Making and Learning," Visible Evidence Documentary Conference, Duke University, Durham NC, Sept. 1993.
"Christian Coalition Organizing Videotapes," Console-ing Passions Television Studies Conference, Univ. of AZ, Tucson, April 1994
"The Theory of the Subject and Reality Based Television," Visible Evidence Documentary Conference, USC, Los Angles, Sept. 1994
"The History of Feminist Film in Chicago," at a videotaped symposium for the CUTTING EDGE: The History of Feminist Film and Video Project, the MacArthur Foundation, Chicago, Nov. 1994
"Directing Videos for Your Campus Community," Society for Cinema Studies, Dallas, March 1995.
"Faculty of Color and the University" Panel, Society for Cinema Studies, Dallas, March 1995.
"Modernist Autobiographical Video [with a focus on the work of video artist Lynn Hershman]," Console-ing Passions Television Conference, Seattle, April 1995.
"Constructing a Relationship by Making a Tape: Finding Christa," Visible Evidence Documentary Conference, Harvard, August 1995.
"Teaching Interactive Screenwriting for CD-Rom," Athens Film Conference, Ohio University, Athens OH, November 1995.
"Taxonomy of Autobiographical Video, SCS, New York, 1996.
Society for Cinema Studies Plenary Session, "The Religious Right and the Media," NY, 1996.
"Feminist Experimental Autobiographical Video," Visible Evidence Documentary Conference, Cardiff Wales, 1996.
"Metaphor in Recuperative Autobiography," Console-ing Passions Conference, Montreal, Concordia University, 1997
"Narrative and the Statement of Identity," Final Plenary panelist, Sex on the Edge: Culture and Media Conference, Concordia University, Montreal, October 1998
"Space/Place/Image," Panel Chair, Visible Evidence Conference, San Francisco, August 1998.
"Irony and Wit in the Lyrical Documentary," Society for Cinema Studies, NY, March 1999.
Invited Speaker, University of North Texas, speaking on "Making Thrifty Media" and showing my video work, November, 1999.
"Lonely Planet Travel Media," Console-ing Passions Conference, Notre Dame, May 2000.
"Documentary Theory and Human Geography," March 2000, SCS, Chicago
"The Travel Channel," Visible Evidence, University of Utrecht, Netherlands, August 2000.
Scholarly Editorship of Jump Cut: A Review of Contemporary Media
Co-founder and editor, 1974 to present. For the past ten years, this has been an annual publication. Regular responsibilities include working with writers; providing guidelines for the most effective ways of presenting their critical ideas; soliciting articles and encouraging new writers; editing copy; financing a small publication; doing computerized layout; managing distribution. I am generally responsible for critiquing all manuscripts, corresponding with authors about revisions, doing all the copyediting, doing all the computerized layout with Quark Xpress, communicating with the printer.
1995. GETTING AROUND. A videotape in production showing the experiences of students with disabilities on the University of Oregon Campus.
1992. IN PLAIN ENGLISH: STUDENTS SPEAK OUT. 43 min., color. Students of color at the University of Oregon speak out about their experiences on and off campus.
1987 and 1989. MENSAJEROS/TROUBADOURS, 55 min., color, Spanish and English versions. A grass-roots musical group from Estelí performs original compositions and those of others, accompanied by images of daily life in Nicaragua.
1987. EL CRUCERO, 60 min., color, Spanish and English versions.
1985. LAMENTO, 12 min., black and white, experimental documentary, Spanish. Families tell of torture and degradation first from Somoza and now from the contras.
1985. PARQUE WILFREDO VALENZUELA/WILFRED'S PARK, 8 min., color, and LA ESCUELA/THE SCHOOL, 11 min., color, Spanish and English versions. These are two narrations about childhood under Somoza, with images of childhood from contemporary Nicaragua.
1984. HOME LIFE, 35 min., color, bilingual.
1984 and 1986. LAS NICAS, 45 min., color, Spanish and English versions.
IN PLAIN ENGLISH in permanent collections [as of 1995]
Arusha Center, Calgary Alberta. Bates College. Bennington College. Brigham Young University. California State University, Northridge. Chemekta College, Salem. City of Tacoma. Hunter College. Institute for Ethnic Studies, Univ. of Colorado. International Communications Institute, Portland. Montclair State College, NJ. Oregon State University. Southern Oregon State University. Towson State University, MD. University of California, Berkeley. University of Alaska. University of Buffalo, NY. University of Illinois, Champaign. University of Mass. University of Minnesota. University of Nebraska. University of Oregon, two copies. University of Utah. Western Washington University. Willamette High School. Willamette University. William Patterson College, NJ
Invitations for distribution rights to IN PLAIN ENGLISH
Canyon Cinema, National Black Programming Consortium, The 90s (Boulder CO), Facets Multimedia, City TV of Santa Monica, CA, 1993 [multiple showings on regional cable channels in Southern California organized by City TV] ; Free Speech TV, Boulder.
Scholarly Service to the Profession
Selection committee for papers for 1998 Conference of Society of Cinema Studies; reading and evaluating over 300 paper and panel proposals
Frequent manuscript reviewing for university presses and journals such as Signs, Cinema Journal, International Journal of Cultural Studies, Journal of Film and Video
Tenure review letters for University of Arizona, Mass Communications; University of Toledo, Film Studies; Florida Atlantic University, Communications; San Francisco State University, Film Studies; University of Arizona, Fine Arts; UCSB, Cinema; Wayne State University, Mass Communications; Oregon State University; University of Delaware, Film Studies/English
Courses and Areas Taught in the English Department
Graduate Level: film theory and genres; interrelations between art, media and literary history from the 19th century to the present; Realism and documentary theory; narrative theory; experimental film; feminist criticism; the writing of film criticism; contemporary cultural theory.
Advanced Undergraduate Level: various genres--film noir, documentary film/video, experimental film/video, autobiographical film, melodrama; film and social change; gays and lesbians in film; race and representation; dramatic scriptwriting; Romanticism or Realism in film, fine arts, and literature; Macintosh desktop publishing and computer graphics.
Basic Courses: media aesthetics; race and issues of ethnic representation in film and television; women and film; introduction to film, video, and television; film and humanities.
Film and television theory and criticism. Realism and Romanticism from the 19th century to the present. Contemporary cultural theory. Narrative theory. Documentary. Dramatic screenwriting. Gender studies.
Areas of Pedagogical and Research Interest
Documentary studies. Non-fiction television. Representation of space and place in the media, including the Internet. Feminist theory. Non-verbal communications, and cultural geography theory. Women directors. Latin American film and video. International and comparative studies of mass culture, especially use of consumer format video and computer technology by grass roots movements and in the third world. Documentary production. Autobiography. Experimental film/video history, criticism, and production. Scriptwriting. Textual analysis of film, video, television. Romanticism and its legacy. Realism. Brecht and film/video. Subcultures' responses to and uses of dominant culture. Writing and publishing film/video criticism.
Dissertations and Theses at the University of Oregon
Katherine Sullivan, English, University of Oregon "Horror Novels of Peter Straub and Stephen King," Ph. D. dissertation, June 2000, committee member.
Shelly Kowalski, Sociology, University of Oregon "Doris Ullman and the Rise and Fall of Artistic Reputation," Ph. D. dissertation, June 2000, committee member.
Mark Gallagher, English, University of Oregon "The Construction of Masculinity in Action Films and Novels," Ph. D. dissertation, June 2000, committee member.
Lesli Larson, English, University of Oregon "The Cinematic Aspects of Modernist Poetry," Ph. D. dissertation, March 2000, committee member.
Ron Gregg, Telecommunications and Film, University of Oregon, "The Star Persona of Joel McCrea and Shifts in the Construction of Masculinity in 30s Hollywood Film" Ph.D. dissertation, June 1996, Chair.
Jyotika Virdi, Telecommunications and Film, University of Oregon, "Hindi Popular Cinema and the Ideology of the Woman," Ph. D. dissertation, June, 1996, Chair.
Nanci LaVelle, Telecommunications and Film, University of Oregon, "Docu-dramas," November 1995. Ph.D. dissertation, Chair.
Jeff Land, Telecommunications and Film, University of Oregon, "Radio Pacifica" Telecommunications and Film, May 1994. Ph.D. dissertation , Committee member.
Anabel Martin, Comparative Literature, 1994, "The Ideological Production of Woman in Fascist Spain," Ph.D. dissertation. Committee member.
Nancy Breaux, Telecommunications and Film, University of Oregon, 1994, "The Women's Music Industry". Ph.D. dissertation. Member of Committee.
Erick Heroux, English Department,"Hypermedia and English Pedagogy," Ph.D. preliminary oral exam. Committee member. 1994-5.Kate Sullivan, English Department, Horror Films and the Gothic Tradition,” Ph.D. preliminary oral exam. Committee member. 1994-5.
Lydia Yukman, English Department, University of Oregon, 1993, Ph.D. preliminary oral exam. Chair.
Mashoed Bailie, Telecommunications and Film, University of Oregon, 1993, "Video Production Pedagogy". Ph.D. dissertation. Committee member.
Irene Fang-chi, Telecommunications and Film, University of Oregon, 1993, Popular Music and Working Class Girls’ Culture in Taiwan,” Masters thesis.
Kathleen Rowe, Telecommunications and Film, 1992, "The Unruly Woman: Gender and the Genres of Laughter. [Ph.D. dissertation. Committee member.
Cassandra Van Buren, Telecommunications and Film, 1991, "Women Documentarists: The Case of Japanese-North American Internment Film and Video". Master's thesis. Chair.
Rick Jonnasse, Telecommunications and Film, 1991, "The National Endowment for the Arts and the Public Sphere". Master's thesis. Committee member.
Jacqueline Bobo, Telecommunications and Film, 1990, "Articulation and Hegemony: Black Women's Response to THE COLOR PURPLE" [Ph.D. dissertation]. Committee member.
M.Paul Kelly, Education, 1989, "Theories of Semiotic Structuralism as Deeper Coded Cultural Messages in Relation to Form in Textbook Design." Committee member.
Michael V. Walker, Telecommunications and Film, 1990. "Buñel as Surrealist" [master's thesis]. Committee member.
Terry Broomberg, Telecommunications and Film, 1990, "When I Say No, I Mean No." [masters video project]. Committee member.
Jeff Dickey. Honors College senior thesis project, 1991: an independent video production. Chair.
Anabel Martin, Honors Writing Project, 1992: "Realism." Chair.
Meredith Li. Honors College senior thesis with Distinction, 1993: "The Myth of the Model Minority and Asian Americans." Chair.
Jason Cortlund. Honors College senior thesis project, 1994, "Bon Appetit," an original dramatic screenplay. Chair.
Peter Blackman, "Losing Ground" [dramatic screenplay], Masters Thesis. Environmental Studies, August 1995. Chair.
Diane Dunn, "Lesbian Avengers Go South," Journalism, Masters Videotape, 1997. Committe member.
Tara Choate, "The Embracement Narrative from Jane Austin to Contemporary Romance Fiction," Honors College, Chair, May 1996.
Jesse Lawler, Jacks, independent fiction film, Honors College thesis with Distinction, Chair, June 1999.
Anna Hirsh, "Rape in Hollywood Cinema,"Honors College thesis with Distinction, June 2000 , Chair.
Lisa Elliot, original screenplay based on Sir Gawain and the Green Knight, Honor College thesis with Honors, May 2001, committee member.
University Committee Participation and Other Service since Tenure
Women's Studies Committee, Board of Center for the Study of Women and Society, Disability Committee, University Foreign Studies Committee, Faculty Grants Awards for the Humanities Center, Arts Lectureship Committee for the Humanities Center; Comparative Literature Committee; Latin American Studies Committee
Faculty Personnel Committee, Faculty Grievance Appeal Committee, Faculty Senate, President's Task Force on Affirmative Action, CAS Curriculum Committee