(Des)encuentros
Censura y la configuración del clasicismo cinematográfico
- Lea Jacobs,
- Janet Staiger,
- Lee Grieveson,
- Nora Gilbert,
- Eric Schaefer,
- Richard Maltby,
- Carmen Guiralt Gomar,
- Pablo Hernández Miñano,
- Violeta Martín Núñez
Lea Jacobs
University of Wisconsin-Madison
Biografía
University of Wisconsin-Madison
Biografía
Biografía del autor/a
Lea Jacobs is Professor of Film at the Department of Communication Arts at the University of Wisconsin-Madison. Her Research areas include the history of the American studio system, performance, silent cinema, and film stylistics. Her most recent book, Film Rhythm After Sound: Technology, Music and Performance (University of California Press, 2015), examines the rhythmic dimensions of performance and sound in a diverse set of case studies. She has also published The Decline of Sentiment: American Film in the 1920s (University of California Press, 2008), Theatre to Cinema: Stage Pictorialism and the Early Feature Film (Oxford University Press, 1997), written with Ben Brewster, and The Wages of Sin: Censorship and the Fallen Woman Film (University of Wisconsin Press, 1991).
Janet Staiger
University of Texas
Biografía
University of Texas
Biografía
Biografía del autor/a
Janet Staiger is William P. Hobby Centennial Professor Emeritus of Communication and Professor Emeritus of Women’s and Gender Studies at the Department of Radio-Television-Film, at University of Texas at Austin. As a theoretician and historian of American film and television, Janet Staiger researches and has published on the following topics: authorship theory, various modes of production including classical Hollywood, “Indie” cinema, and world cinema, cultural and political issues of representation, especially involving gender, sexuality, and race/ethnicity, genre theory, the historical reception of cinema and television, and historiographical issues in writing media histories. Dr. Staiger has served on various national committees including the National Film Preservation Board of the U.S. Library of Congress (1992-96) and the jury for the American Film Institute’s Television Awards (2010, 2012). She is past president of the Society for Cinema and Media Studies (1991-93) and has served on the Executive Committees of the Cultural Studies Association (U.S.) (2005-09) and the Reception Studies Society (2005-present). At The University of Texas at Austin, she was Director of the Center for Women’s and Gender Studies (2001-04) and Chair of the University’s Faculty Council (2009-10). Author and editor of twelve books and over 60 essays, her book publications include: Political Emotions, co-ed. with Ann Cvetkovich, and Ann Reynolds (Routledge, 2010), Media Reception Studies (New York University, 2005), Authorship and Film, co-ed. with David Gerstner (Routledge, 2003), Perverse Spectators: The Practices of Film Reception (New York University Press, 2000), Bad Women: Regulating Sexuality in Early American Cinema (University of Minnesota Press, 1995), The Studio System (ed.) (Rutgers University Press, 1995), Interpreting Films: Studies in the Historical Reception of American Cinema (Princeton University Press, 1992) and The Classical Hollywood Cinema: Film Style and Mode of Production to 1960, co-author with David Bordwell and Kristin Thompson (Routledge & Kegan Paul/Columbia University Press, 1985).
Lee Grieveson
University College London
Biografía
University College London
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Biografía del autor/a
Lee Grieveson is Professor of Media History at University College London. He has taught previously at the University of Exeter, at King’s College, London, and as a Visiting Associate Professor at Harvard University. Grieveson works on cinema/media and political economy. His book Cinema and the Wealth of Nations: Media, Capital, and the Liberal World System (University of California Press, 2018) examines the way cinema was utilized by states and corporations to facilitate the establishment of a transnational liberal political economy in the interwar years of the twentieth century. Grieveson was co-principal investigator, with Colin MacCabe, of a major UK Arts and Humanities Research Council funded project entitled “Colonial Cinema: Moving Images of the British Empire,” a project which both aimed to digitally archive British colonial cinema spanning the twentieth-century and to organize scholarly gatherings to investigate these materials. Grieveson is author of Policing Cinema: Movies and Censorship in Early Twentieth Century America (Berkeley: University of California Press, 2004), and co-editor of several volumes, including: The Silent Cinema Reader (London: Routledge, 2004), with Peter Kramer; Mob Culture: Hidden Histories of the American Gangster Film (New Brunswick, N.J.: Rutgers University Press, 2005), with Peter Stanfield and Esther Sonnet; Inventing Film Studies (Durham, N.C.: Duke University Press, 2008), with Haidee Wasson; and Cinema’s Military Industrial Complex (Berkeley: University of California Press, 2018), with Haidee Wasson. He is the author of numerous essays on aspects of cinema and media history, including “Fighting films: race, morality, and the governing of cinema” (Cinema Journal, 38:1 (Fall 1998)); and “The Work of Film in the Age of Fordist Mechanization” (Cinema Journal, 51: 3 (Spring 2012), 25-51). Grieveson is on the editorial boards of Screen and Film Studies, the British Film Institute Film Classics series, and Bloomsbury Screen Studies; he is co-editor, with Haidee Wasson, of the Cultural Histories of Cinema book series with the British Film Institute.
Nora Gilbert
College of Liberal Arts & Social Sciences at the University of North Texas
Biografía
College of Liberal Arts & Social Sciences at the University of North Texas
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Biografía del autor/a
Nora Gilbert is Associated Professor at the Department of English of the College of Liberal Arts & Social Sciences at the University of North Texas. Nora Gilbert jointly specializes in the areas of nineteenth-century British literature and classical Hollywood film, with particular interests in gender and sexuality studies, the medical humanities, and the intersection of law and culture. Her first book, Better Left Unsaid: Victorian Novels, Hays Code Films, and the Benefits of Censorship (Stanford UP, 2013), is a comparative exploration of the paradoxical ways in which the novels written during the Victorian era and the films produced under the Production Code were stirred and stimulated by the very forces meant to restrain them. Dr. Gilbert has articles published or forthcoming in PMLA, Film & History, Nineteenth-Century Literature, Victorian Review, Nineteenth-Century Gender Studies, Eighteenth-Century Life, and JNT: Journal of Narrative Theory. She is presently at work on two separate but thematically related books that are provisionally entitled Gone Girls: The Runaway Woman Narrative in Eighteenth- and Nineteenth-Century British Fiction and Unwomaned: Hollywood Stardom and the Threat of Female Independence.
Eric Schaefer
Emerson College
Biografía
Emerson College
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Biografía del autor/a
Eric Schaefer is Professor at the Department of Visual & Media Arts of Emerson College. He is a film and media historian who specializes in exploitation film and other marginalized cinemas, and the author of the award-winning “Bold! Daring! Shocking! True!”: A History of Exploitation Films, 1919–1959 (Duke University Press), in multiple printings. His edited collection, Sex Scene: Media and the Sexual Revolution, was recently published by Duke. Dr. Schaefer’s essays have been published in Cinema Journal, Film Quarterly, The Moving Image and other journals, and anthologies including Looking Past the Screen: Case Studies in American Film History and Method (Duke UP), Sleaze Artists: Cinema at the Margins of Taste, Style, and Politics (Duke UP), American Cinema of the 1960s: Themes and Variations (Rutgers UP), The Wiley-Blackwell History of American Film (Blackwell) and Learning With the Lights Off: Educational Film in the United States (Oxford UP). His most recent essays appear, or are forthcoming, in The Journal of Scandinavian Cinema, Film History, and Porn Studies. He is working on Massacre of Pleasure: A History of Sexploitation Films, 1960–1979 and a collection of interviews with «adults only» filmmakers. Dr. Schaefer has twice served on the Board of Directors of the Society for Cinema and Media Studies (SCMS) and is a recipient of the SCMS Service Award. He is a Collections Advisor for the Kinsey Institute for Research in Sex, Gender and Reproduction at Indiana University, has served on the Board of Advisors of Northeast Historic Film for many years, and has been on the editorial board of The Moving Image, the journal of the Association of Moving Image Archivists (AMIA), since its inception in 2001. He founded SCMS’s Adult Film History Scholarly Interest Group in 2014.
Richard Maltby
Flinders University
Biografía
Flinders University
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Biografía del autor/a
Richard Maltby is the Matthew Flinders Distinguished Professor of Screen Studies and Executive Dean of the Faculty of Education, Humanities and Law at Flinders University, South Australia. His publications include Hollywood Cinema: Second Edition (Blackwell’s, 2003, Hua Xia Press: Beijing, 2007), “Film Europe” and “Film America”: Cinema, Commerce and Cultural Exchange, 1925-1939, which won the Prix Jean Mitry for cinema history in 2000, and seven edited books on the history of movie audiences and exhibition history, the most recent being Explorations in New Cinema History: Approaches and Case Studies (Wiley-Blackwell, 2011) and Cinema, Audiences and Modernity: New Perspectives on European Cinema History (Routledge, 2012). He is Series Editor of Exeter Studies in Film History, and the author of over 50 articles and essays. His writings on cinema have been published in Germany, France, Japan, Sweden, the US and the UK, and translated into Chinese, Czech, Italian, Polish, Spanish, and Slovenian. Richard is a Fellow of the Australian Academy of the Humanities, and has been the lead investigator on three Australian Research Council Discovery projects examining the political history of the American film industry, the structure of the distribution and exhibition industry in Australia and the history of Australian cinema audiences.
Carmen Guiralt Gomar
Valencian International University
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Valencian International University
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Biografía del autor/a
Carmen Guiralt Gomar holds a PhD in Art History from the Universitat de València, a bachelor’s degree in Art History from the same university and a master’s degree in the History and Aesthetics of Film from the Universidad de Valladolid. Her research interests focus on the history and aesthetics of classical American cinema. In this regard, she has published numerous research articles in avariety of specialist journals, such as Film History: An International Journal (USA), Observatorio (OBS*) Journal (Portugal) and L’Atalante: Revista de estudios cinematográficos. She is also the author of the book Clarence Brown (Cátedra, 2017), the first dedicated study in the world to be published on the filmmaker. Currently, she works as an associate lecturer at the Universidad Antonio de Nebrija de Madrid, and as a lecturer at the Universidad Internacional de Valencia (VIU, Valencian International University).
Pablo Hernández Miñano
Universitat Politècnica de València
Biografía
Universitat Politècnica de València
Biografía
Biografía del autor/a
Pablo Hernández Miñano has a degree in Audiovisual Communication from the Universitat de València and a Master's degree in Film Script from the Fundación para la Investigación del Audiovisual-Universidad Internacional Menéndez Pelayo (FIA-UIMP). Linked to different projects of cultural associationism, he was a member of the driving team of both the Cinefòrum L'Atalante and its editorial project, L’Atalante. Revista de estudios cinematográficos. He has participated in the technical organisation of different conferences and seminars related to cinema and, between 2008 and 2013, he has worked as a cultural management technician in the communication department of La Filmoteca Valenciana. Since then, he has been the coordinator of the Aula de Cinema de la Universitat de València for several years and regularly gives monographic courses on cinema at the Universitat Politècnica de València. Recently, he has collaborated in the organization of the festival Mostra la Ploma de València, as well as in the programming of Zinegoak of Bilbao, cinema and scenic arts festival.
Violeta Martín Núñez
Martín Gràfic
Biografía
Martín Gràfic
Biografía
Biografía del autor/a
Violeta Martín Núñez holds a degree in Audiovisual Communication and Journalism from the Universitat de València and a Master's degree in New Trends and Innovation Processes in Communication from the Universitat Jaume I. She has been a member of Cinefórum L’Atalante, association which managed the Universitat de València's Aula de Cinema from 2004 to 2018, and of the selection commitee of the Curts programme (Generalitat Valenciana), from 2013 to 2017. She is part of the executive editorial boards of L’Atalante. Revista de estudios cinematográficos and Archivos de la Filmoteca . She is CEO of the company Martín Gràfic.
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