PUBLICATIONS
Book
Late Godard and the Possibilities of Cinema (University of California Press, November 2012).
Journal Articles
“Bazin’s Modernism.” Paragraph (forthcoming 2013).
“Max Ophuls and the Limits of Virtuosity: On the Aesthetics and Ethics of Camera Movement.” Critical Inquiry 38 (Autumn 2011): 127-63.
“The Place of Nature in Godard’s Late Films.” Critical Quarterly 51.3 (Fall 2009): 1-24.
Book
Late Godard and the Possibilities of Cinema (University of California Press, November 2012).
Journal Articles
“Bazin’s Modernism.” Paragraph (forthcoming 2013).
“Max Ophuls and the Limits of Virtuosity: On the Aesthetics and Ethics of Camera Movement.” Critical Inquiry 38 (Autumn 2011): 127-63.
“The Place of Nature in Godard’s Late Films.” Critical Quarterly 51.3 (Fall 2009): 1-24.
Department of English
University of Pittsburgh
526 Cathedral of Learning
Pittsburgh, PA 15260
drmorgan@pitt.edu
ACADEMIC POSITIONS
1
“Rethinking Bazin: Ontology and Realist Aesthetics.” Critical Inquiry 32 (Spring 2006): 443-81.
- Reprinted in The Film Theory Reader, ed. Marc Furstenau (Routledge, 2010): 104-30.
“’No Trickery with Montage’: On Reading a Sequence in Jean-Luc Godard’s Pierrot le fou.” Film Studies 5 (Winter 2004): 8-29.
Book Chapters
“Debates, 1950-1980” in The French Cinema Book, 2nd Edition, eds. Michael Temple and
Michael Witt (Palgrave Macmillan, forthcoming).
“Beyond Destiny and Design: Camera Movement in Fritz Lang’s German Films” in A
Companion to Fritz Lang, ed. Joe McElhaney (Blackwell, forthcoming 2013).
“On Historical Knowledge and Aesthetic Form: Jean-Luc Godard’s Allemagne 90 neuf zéro” in The Image in Violence, eds. Joram ten Brink and Joshua Oppenheimer (Wallflower Press, forthcoming 2012).
“The Afterlife of Superimposition” in Opening Bazin, eds. Dudley Andrew and Hervé Joubert- Laurencin (Oxford University Press, 2011): 127-41.
“The Pause of the World” in Three Documentary Filmmakers: Errol Morris, Ross McElwee, Jean Rouch, ed. William Rothman (State University of New York Press, 2009): 139-56.
Other
“Robert Bresson: A Symposium” in Robert Bresson, ed. James Quandt, revised edition (Toronto
International Film Festival and Indiana University Press, 2012): 595-628.
Invited response to Robert Pippin, “Participants and Spectators.” On the Human, The National Humanities Center, April 2010.
http://onthehuman.org/2010/04/participants_and_spectators/
“Possessing Vision: The Cinema of Jean Rouch.” The Institute of Contemporary Arts (London, June 2000). Program notes for 23 screenings of non-fiction films.
“’No Trickery with Montage’: On Reading a Sequence in Jean-Luc Godard’s Pierrot le fou.” Film Studies 5 (Winter 2004): 8-29.
Book Chapters
“Debates, 1950-1980” in The French Cinema Book, 2nd Edition, eds. Michael Temple and
Michael Witt (Palgrave Macmillan, forthcoming).
“Beyond Destiny and Design: Camera Movement in Fritz Lang’s German Films” in A
Companion to Fritz Lang, ed. Joe McElhaney (Blackwell, forthcoming 2013).
“On Historical Knowledge and Aesthetic Form: Jean-Luc Godard’s Allemagne 90 neuf zéro” in The Image in Violence, eds. Joram ten Brink and Joshua Oppenheimer (Wallflower Press, forthcoming 2012).
“The Afterlife of Superimposition” in Opening Bazin, eds. Dudley Andrew and Hervé Joubert- Laurencin (Oxford University Press, 2011): 127-41.
“The Pause of the World” in Three Documentary Filmmakers: Errol Morris, Ross McElwee, Jean Rouch, ed. William Rothman (State University of New York Press, 2009): 139-56.
Other
“Robert Bresson: A Symposium” in Robert Bresson, ed. James Quandt, revised edition (Toronto
International Film Festival and Indiana University Press, 2012): 595-628.
Invited response to Robert Pippin, “Participants and Spectators.” On the Human, The National Humanities Center, April 2010.
http://onthehuman.org/2010/04/participants_and_spectators/
“Possessing Vision: The Cinema of Jean Rouch.” The Institute of Contemporary Arts (London, June 2000). Program notes for 23 screenings of non-fiction films.
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