Daniel Morgan. Curriculum Vitae

Transcription

1 Daniel Morgan Curriculum Vitae Department of English University of Pittsburgh 526 Cathedral of Learning Pittsburgh, PA ACADEMIC POSITIONS Assistant Professor, Department of English, University of Pittsburgh present. Secondary Appointment, Department of Philosophy. Graduate Coordinator, Interdisciplinary Ph.D. in Film Studies Acting Director, Film Studies Program, Fall 2012 Visiting Lecturer, Committee on Cinema and Media Studies, University of Chicago Visiting Lecturer, Department of Film and Visual Arts, University of East London EDUCATION University of Chicago. Ph.D. in Cinema and Media Studies, Birkbeck College, University of London. MA (with Distinction) in Cinema and Television Studies, Harvard College. A.B. with High Honors in Social Studies (Phi Beta Kappa), 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): The Place of Nature in Godard s Late Films. Critical Quarterly 51.3 (Fall 2009):

2 Rethinking Bazin: Ontology and Realist Aesthetics. Critical Inquiry 32 (Spring 2006): Reprinted in The Film Theory Reader, ed. Marc Furstenau (Routledge, 2010): No Trickery with Montage : On Reading a Sequence in Jean-Luc Godard s Pierrot le fou. Film Studies 5 (Winter 2004): Book Chapters Debates, in The French Cinema Book, 2 nd 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): 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): Other Robert Bresson: A Symposium in Robert Bresson, ed. James Quandt, revised edition (Toronto International Film Festival and Indiana University Press, 2012): Invited response to Robert Pippin, Participants and Spectators. On the Human, The National Humanities Center, April Possessing Vision: The Cinema of Jean Rouch. The Institute of Contemporary Arts (London, June 2000). Program notes for 23 screenings of non-fiction films. TALKS AND PRESENTATIONS Invited Talks Film, Philosophy, Fantasy: Camera Movements and the Problem of Point of View. Department of Philosophy, Columbia University, November Triangle Film Salon (University of North Carolina at Chapel Hill, Duke University, and North Carolina State University), November

3 Play with Danger : Vernacular Modernism and the Problem of Criticism. Cinema and the Legacies of Critical Theory: International Conference in Memory of Miriam Hansen. Columbia University, September Cinema, Painting, and the Status of History in Godard s Histoire(s) du cinéma. Stanford University, May Tradition and the Modernist Filmmaker: Godard and Frampton, Histoire(s) and Metahistory. Colgate University, March French Moralism Revisited: Cinephilia and Criticism, Imagination and Ethics. boundary 2 Symposium. University of Pittsburgh, November Max Ophuls and the Limits of Virtuosity: On the Aesthetics and Ethics of Camera Movement. Moral Literacy and Moral Imagination: A Conference Celebrating the Work and Influence of Barbara Herman. University of California Los Angeles, April The Johns Hopkins University, October Film Studies, Philosophy, and New Media. Futures Seminar. Humanities Center, The Johns Hopkins University, October Endings and Beginnings, Histoire(s) and Metahistory. Critical Mass: The Legacy of Hollis Frampton. University of Chicago, February The Afterlife of Superimposition: Remarks on Ontology, Style, and Montage in Bazin and Godard. Philadelphia Cinema and Media Seminar, October Problems of New Media: Technology and Artworks. University of Western Ontario, Canada, March The Afterlife of Superimposition. Opening Bazin. Yale University, December Nature and History in Late Godard. Pittsburgh Film Colloquium, February How to Do Things with Cinema: On Projection and History in Godard s Late Work. University of Western Ontario, Canada, February 2007 University of Pittsburgh, February 2007 York University, Canada, February 2007 The Johns Hopkins University, February 2007 University of Wisconsin-Madison, November 2007 Cinema after the End of Cinema (Again): Godard s Idea of Projection. Chicago Film Seminar, January

4 Realist Aesthetics and the Ontology of Film in Bazin's 'Theater and Cinema' Essays. The Usher s Flashlight and the Crystal Chandelier: Theorizing Cinema through Theater in France. Yale University, December Conference Presentations Introduction to Abram Room, A Severe Young Man (1936). Russian Film Symposium, University of Pittsburgh, May Where Are We?: Camera Movements and the Problem of Point of View. Humanities Center, University of Pittsburgh, April Virtual Camera Movements, Rear Projection, and the Turn to Phenomenology. Society for Cinema and Media studies, Boston, March Respondent to panel on What s New in Classical Film Theory? Society for Cinema and Media Studies, Boston, March Invited Panelist, Art and Objecthood and Beyond. Stanley Cavell s Aesthetics. University of Chicago, March Invited Panelist, Phenomenologies of Projection, Aesthetics of Transition: Anthony McCall , University of Chicago, February It Was Difficult to Generalize : The Western, Three Westerns, and the Myth of America. Author Meets Critics: Robert Pippin, Hollywood Westerns and American Myth. American Philosophical Association, Pacific Division, April Why André Bazin Was Wrong, or, The Consistency of Orson Welles s Style. Society for Cinema and Media Studies, New Orleans, March Co-chair and respondent to panel on Godard and Screen Pedagogy. Society for Cinema and Media Studies, New Orleans, March Introduction to Kira Muratova, Melody for a Street Organ (2009). Russian Film Symposium, University of Pittsburgh, May Respondent to panel on The New Bazin. Society for Cinema and Media Studies, Los Angeles, March Thinking France through Italy: Godard on Bazin on Neo-realism. Society for Cinema and Media Studies, Los Angeles, March Moderator and Respondent to panel on Infrastructures, Transmedia Work, Other Cinemas. The Material and the Code: Disciplinary Crossings of Cinema and New Media. University of Chicago, February

5 Introduction to the French New Wave: Godard and Resnais. Yinka Shonibare MBE. National Museum of African Art, Smithsonian Institute, Washington, DC. January Response to Ian Christie on Alexsandr Sokurov s Alexandra (2007). Russian Film Symposium, University of Pittsburgh, May Bazin in the Digital World. Society for Cinema and Media Studies, Philadelphia, March Bazin: Ontology, Realism, Modernism. Real Things: Matter, Materiality, Representation, 1880 to the Present. York University, England, July Nature, History, and Cinema in Godard s Late Work. Society for Cinema and Media Studies, Chicago, March The Work of Aesthetics: Godard on Solitude, Philosophy, and the End of Art. The Mass Culture Workshop, University of Chicago, March Bazin s Modernism: An Essay on Ontology and Realist Aesthetics. The Contemporary Philosophy Workshop, University of Chicago, April No Trickery with Montage : On Reading a Sequence in Jean-Luc Godard s Pierrot le fou. The Mass Culture Workshop, University of Chicago, October Guest Lectures Vertigo and the Paradoxes of Desire. Guest Lecture for Lectures in Literature (Hannah Johnson). University of Pittsburgh, November 2011; March Orson Welles Macbeth. Guest Lecture for Shakespeare and Adaptation (Jennifer Waldron). University of Pittsburgh, October 2010 The History and Ontology of Cinema in Godard s Histoire(s) du cinéma. Guest Lecture for Ontologies of Cinema: Movement, Projection and Photography (Tom Gunning). University of Chicago, June Godard s Éloge de l amour. Guest lecture for Thinking Through Ten Films (Richard Neer and Joel Snyder). University of Chicago, May Apocalypse Now and the War Film. Guest Lecture for Lectures in Literature (James Seitz). University of Pittsburgh, November 2008; March AWARDS Fellow, Humanities Center, University of Pittsburgh. Spring

6 Chester Dale Fellowship, Center for Advanced Study in the Visual Arts, National Gallery of Art, Washington, D.C Andrew W. Mellon Dissertation Fellowship Andrew W. Mellon Fellowship for Humanistic Studies TEACHING EXPERIENCE Graduate Courses, University of Pittsburgh Theory/Technology/Media from Plato to Video Games (Spring 2013; co-taught with Jennifer Waldron) Film and Aesthetics (Fall 2011) Film History/Theory (Spring 2010) The Late Works of Jean-Luc Godard (Fall 2008) Directed Reading: Historical Research and Formal Analysis (Fall 2012) Undergraduate Courses, University of Pittsburgh Advanced Seminar in Film Studies: New Waves (Spring 2013) Animation (Fall 2012) Film Analysis (Fall 2009; Fall 2008) Introduction to New Media (Spring 2011, Fall 2011) Advancer Seminar in Film Studies: Theory and Practice (Spring 2011) World Film History (Spring 2010; Spring 2009) Orson Welles (Fall 2009) Topics in Contemporary Cinema: An Introduction to New Media (Spring 2009) Advanced Seminar in Film Studies: Realism and Film (Spring 2008) Contemporary Film (Spring 2008) Film and Politics (Fall 2007) Independent Study: The Narrative Structure of MMORPG s (Fall 2009) Independent Study: Non-Western Human Rights Cinema (Fall 2008) Undergraduate Courses, Other Institutions The Frankfurt School, Cinema, Modernity (University of Chicago, Spring 2007) American Cinema (University of East London, Spring 2001) Intro to Film (University of East London, Spring 2001) Semiotics, Critical and Cultural Theory (University of East London, Fall 2000) August