The ZdC Colloquium series invites faculty from the School of Cinematic Arts, University of Southern California, and outside universities to present their research in an informal setting designed to enhance graduate student understanding of academic work and life. Past speakers have included Sarah-Banet-Weiser, Tom Gunning, Aniko Imre, Ravi Vasudevan, Richard Jewell, Charlotte Brunsdon, Ben Wright and Tom Kemper.
Speakers for Spring 2012:
“Multicasting: Lesbian Programming and the Changing Landscape of Cable Television”
Thursday, February 9th at 7pm in SCA 112
Julia Himberg is a Visiting Assistant Professor in Critical Studies at USC’s School of Cinematic Arts, where she received her Ph.D. She is currently turning her dissertation, “Producing Lesbianism: Television, Niche Marketing, and Sexuality in the 21st Century,” into a book manuscript. She is also writing a series of columns about lesbian TV celebrity for Flow. She is the editor of “Race, Sexuality, & Television,” a special issue of Spectator: The University of Southern California Journal of Film and Television Criticism and her work on TV advertising has been published in The Hummer: Myths and Consumer Culture.
Friday, February 24th at 12pm in SCA 316
Aniko Bodroghkozy joined the Media Studies Program and English Department at the University of Virginia in 2001. Prior to coming to Virginia, she taught in the Film and Media Studies Program at the University of Alberta and at Concordia University in Montreal. Between 2003–2006 she served as the Interim Director of the Media Studies Program. She now serves as Director of Undergraduate Studies. Prof. Bodroghkozy received her PhD in 1994 from the University of Wisconsin/Madison’s Department of Communication Arts where she worked with John Fiske and Lynn Spigel. She received an MFA in Film from Columbia University in New York, and a BA High Honours from the Department of Film Studies at Carleton University, Ottawa, Canada.
Prof. Bodroghkozy’s first book, Groove Tube: Sixties Television and the Youth Rebellion was published by Duke University Press in 2001. She is currently completing her second book, tentatively titled, Negotiating Civil Rights in Prime-Time: Television Audiences and the Civil Rights Era. She has published numerous articles on American cinema and television and the social change movements of the postwar era. Her work has appeared in scholarly journals such as Cinema Journal, Screen, Television and New Media, and the online TV Studies journal Flow. Her work has also been frequently reprinted and anthologized in volumes such as Television: The Critical View, Hop on Pop: The Pleasures and Politics of Popular Culture, and Critiquing the Sitcom. She teaches film and television history and historiography, feminist media theory, and Cultural Studies approaches to media analysis.
Priya Jaikumar, Associate Professor, Department of Critical Studies, School of Cinematic Arts, USC
A historian and theorist of colonial and postcolonial cinemas, Prof. Jaikumar’s writing has focused on questions of state power, comparative modernities and aesthetics, and transnational cultural formations. Her book Cinema at the End of Empire: A Politics of Transition in Britain and India from Duke University Press (2006) details the intertwined industrial, regulatory and aesthetic histories of British and Indian cinema during the late colonial period. Her scholarly work has appeared in Cinema Journal, The Moving Image, Post Script, Screen, World Literature Today, and in recent anthologies like Hollywood Abroad and Transnational Feminism in Film and Media. Her current projects include a co-edited anthology on the state titled Undoing Leviathan, and research on the visual production of place in cinema about South Asia. She is writing on the emergence, management and persistence of territorial imaginaries that depend on the mimetic capacities of photography and cinema. This interest has taken her into a few related areas of visual study, such as: colonial tourist photography; circulation of images of insurgent cities; film and architecture; Euro-American filmmakers using Indian film locales; and location shooting more broadly.