Roy Grundmann

Associate Professor of Film Studies

Film Studies Program Director

Associate Faculty, American and New England Studies Program (AMNESP)

Contact Information:

Department of Film and Television
Boston University
640 Commonwealth Ave.
Boston MA 02215
(617) 353-6185
roygr@bu.edu

Education

Ph.D., New York University, 1998, Cinema Studies
M.A., New York University, 1992, Cinema Studies

Professional Affiliations:

Contributing Editor, Cineaste Magazine (www.cineaste.com)
Member, Society for Cinema and Media Studies (SCMS)(www.cmstudies.org)

Research Interests/Areas of Specialization:

I am interested in film and media in various modernist and postmodernist contexts and across a spectrum of modes of production ranging from mainstream narrative cinema and art cinema to avant-garde film and experimental media. My work focuses on the distinctive and intersecting histories of these media forms and their political, cultural, and philosophical implications. I teach and I write on the history of avant-garde film and experimental media, on American cinema history from World War II to the present, on select European cinemas, as well as on film and media theory and minority representation (for details on teaching, see section on course offerings).

My book, Andy Warhol's Blow Job (Temple University Press, 2003; 228pp.) takes Warhol's 1964 film of the same title as object and reference point for a discussion of Warhol's larger body of work, of modernist and postmodernist film theory, and of postwar American history and culture. Closely analyzing various examples from Warhol's cinema and his pre-Pop and Pop art, the book's critical project is motivated by an effort to reframe Warhol's significance for a wide range of debates in film studies and art history and to link Warhol's work more explicitly to issues of gay and lesbian history and gay male authorship.

My current research is on filmmaker Michael Haneke, whose work I position at the intersection of modernism and postmodernism. My forthcoming monograph (Wiley-Blackwell, 2013) reads Haneke's films through a discussion of Theodor W. Adorno's concept of aesthetics. My discussion of Haneke's work seeks to place Adorno in dialogue with philosophers as diverse as Jean-Francois Lyotard and Jacques Ranciére.

Because of my interest in aesthetics, intertextuality, and the relation between film and the other arts, I strongly encourage interdisciplinarity in the humanities and, indeed, between the humanities and the natural sciences. I believe that film and media studies must continue its dual approach of theory and criticism, renewing its commitment to theoretical rigor and philosophical complexity, while also remaining invested in its venerable tradition of intellectually informed, sophisticated film criticism that preceded academic film studies and continues to exert its vital influence within and without the academy. My own work seeks to partake in both these directions. I have a continued interest in intervening in academic debates on film and media theory and their relation to culture and society. At the same time, my writings regularly appear in a non-academic film quarterly, Cineaste magazine (cineaste@cineaste.com), for which I served as an Editor for ten years and for which I am now a Contributing Editor.

Curatorial and Conference Projects:

"Cinema/Opera/Art: The Passion of Werner Schroeter"

  • Organizer of International Interdisciplinary Conference, Boston University, Fall 2012

"Ulrike Ottinger: A Critical Symposium"

"Michael Haneke's Cinema of Provocation"

  • Chief Curator of the first comprehensive North American retrospective of the films of Michael Haneke, New York (MoMA) and Boston (HFA, MFA), October 2007.
  • Conference Director of a three-day international interdisciplinary conference on the films of Michael Haneke, Boston University, October 25-27
    (www.bu.edu/com/special/haneke)
  • Initiator of Michael Haneke Masterclass, Boston University Department of Film and Television, October 2007

"Matthias Müller: Multimedia Poet"

"Andy Warhol's Homoerotic Cinema"

  • Guest curator of 10-film retrospective of Warhol's queer-themed cinema for Mix Brasil 2002: The 10th São Paolo International Film Festival of Sexual Diversity, São; Paolo, November 10-23, 2002

"Labour in a Single Shot"

  • A Three-Day International, Interdisciplinary Conference on Harun Farocki and Antje Ehmann's Global Workshop Project" Boston University, November 13-15, 2014.

Invited Lectures and Conference Presentations (Selection):

  • "Andy Warhol's My Hustler" Invited Lecture. Thursday, June 26, 2014. Film Museum, Frankfurt, Germany
  • "Andy Warhol's My Hustler" Invited Lecture. Wednesday, June 25, 2014. Academy of Media Arts, KHM, Cologne, Germany
  • Opening Lecture and Panel Discussion. "All About Haneke" Thursday, February 28, 2013. Istanbul Modern
  • "Kino an der Schnittstelle von Ethik und Ästhetik: Zum Werk Michael Hanekes" Thursday, October 18, 2012. University of Bochum, Germany
  • "Towards Emancipation: Aesthetics and Spectatorship in Haneke's Films" Invited Lecture. Thursday, March 1, 2012. Harvard University
  • "Traversing Time, Space, and the Media: The Crystal Image as Guiding Concept in the Work of Matthias Mueller." Invited Lecture, Wednesday, November 23, 2011. Queen Mary University, London, UK
  • "Who Was Edgar Allan?" Panel with Fatima Naqvi and Catherine Wheatley. Invited Panel Participation, Tuesday, November 22, 2011. Austrian Cultural Forum, London, UK
  • "History as Cinematic Subject: The Role of Contingency in Michael Haneke's The White Ribbon. "Invited Lecture, Tuesday, October 18, 2011. New York University, Center for European Studies
  • "Between Film Noir and the Woman's Film: Gender and Marketing in the Classical Hollywood Era. "Invited Lecture, Wednesday, September 21, 2011. Boston University Communication Research Colloquium
  • "In Search of Michael Haneke." Invited Panel Participation/Book Presentation with Fatima Naqvi, Thursday, December 9, 2010, Austrian Cultural Forum New York.
  • "A New American Grain: Experimental Sounds Practices in Recent American Non-fiction Films," Conference Paper. Visible Evidence XVII: The International Conference on Non-fiction Film and Media, Istanbul, Wednesday, August 11, 2010.
  • "Aestheticizing Injustice, Dramatizing Irreconcilability: The Lyotardian Elements in Michael Haneke's Cinema." Michael Haneke Conference Strasbourg: "Un Parcours de Cinema. "Invited Conference Paper; Thursday, November 12, 2009
  • Opening Remarks, "Ulrike Ottinger: A Critical Symposium. "Boston University and the Goethe-Institut, Boston, October 13, 2009. Participants: Laurence Rickels, Noll Brinckmann, Nora Alter, Ute Meta Bauer, Barton Byg, Alexandra Juhasz, Deborah Swedberg, and Ulrike Ottinger
  • "Michael Haneke's Caché."Invited Participation in Roundtable Discussion, Philoctetes Society, New York, November 8, 2008. Participants: Brigitte Peucker, Brian Price
  • "Funny Games Again: Michael Haneke's Violent Encore. "Academic Paper, Brazilian Society for Cinema Studies (SOCINE) Annual Conference, Brasilia, October 15, 2008
  • Introduction to Berlin Alexanderplatz, Episodes 4-7, on the Occasion of the Release of the Restored Version of Fassbinder's Series, ICA Boston, March 28, 2008
  • "TV Collage and the Limits of Political Media Practice: Michael Haneke's Obituary for a Murderer," Conference Paper, Visible Evidence XIV, Bochum, Germany, December 18, 2007.
  • "Representing Self-victimization: Aura, Communication, and the Frontal Perspective," Academic Paper delivered at "Michael Haneke: A Cinema of Provocation," an international, interdisciplinary conference on the cinema of Michael Haneke, Boston University, October 26, 2007.
  • "Michael Haneke's Code Unknown. "Introductory remarks by the Chief Curator of the originating retrospective "Michael Haneke: A Cinema of Provocation," on the occasion of the screening of Code Unknown, Michael Haneke Retrospective, Museum of Modern Art, New York, October 13, 2007.
  • "Magical Mystery Tour: the American Post-war Avant-garde. "Invited Lecture on the cinema of Andy Warhol and other American underground filmmakers, Cologne School of Media Arts (Kunsthochschule für Medien, Köln), Germany, June 27, 2007.
  • "40 Years of Video Art in Germany: the 1970s." Invited Lecture as part of a series of talks on the history of video art in Germany from the beginnings to the present. Delivered on the occasion of three days of lectures and presentations to the public of "40 Years of Video Art in Germany," based on the originating retrospective curated by Wolf Herzogenrath, Germany, 2006. Goethe-Institut, Boston, May 1, 2007.
  • "40 Years of Video Art in Germany: Roundtable Discussion"Participation in Roundtable Discussion with Ute Meta Bauer, Michael Rush, John Hanhardt, and Judith Barry. Co-sponsored by the Goethe-Institut, Boston, and MIT, on the occasion of three days of lectures and presentations to the public of "40 Years of Video Art in Germany," based on the originating retrospective curated by Wolf Herzogenrath, Germany, 2006. May 3, 2007.
  • "Theatricality in Contemporary Art" Invited Respondent to Presentations by Joan Jonas, Judith Barry, and Constanze Ruhm. MIT, November 3, 2006. Ute Meta Bauer, Curator
  • "Found Footage and the Crystals of Time," Academic Paper "Matthias Müller: Multimedia Poet," a two-day international interdisciplinary Conference and Retrospective, Boston University, Sept. 29 and 30, 2006.
  • "Curt McDowell's Thundercrack and 70s Underground Film"Introductory talk on McDowell's underground classic; Introduction of the late Curt McDowell's sister, Melinda McDowell; fielding of Q&A after screening. Boston Underground Film Festival, April 9, 2005
  • "Andy Warhol's Blow Job: A Reading." Institute for Contemporary Art, Boston. Invited Book Reading and Lecture on Blow Job and Warhol's cinema. February 24, 2005

Publications:

Books:

  • Michael Haneke Monograph
    Malden, Mass., and Oxford: Wiley-Blackwell Publishers, 2016
  • Andy Warhol's Blow Job
    Philadelphia: Temple University Press, 2003.
    228pp. 40 images

Edited Collections:

  • A Companion to Michael Haneke.
    Malden, Mass.: Wiley-Blackwell Publishers, 2010.
    625pp.
  • The Wiley-Blackwell History of American Film, 4 Volumes Malden, Mass.: Wiley-Blackwell Publishers, 2012
    Co-edited with Cynthia Lucia and Art Simon
    Volume I: Origins to 1928. 532 pp.
    Volume II: 1929-1945. 566 pp.
    Volume III: 1946-1975. 652 pp.
    Volume IV: 1976-present. 612 pp.
    Two-volume paperback forthcoming 2015
  • The Passion of Werner Schroeter
    Vienna: Synema. Forthcoming 2017
  • Michael Haneke: Interviews
    Co-edited with Fatima Naqvi and Colin Root
    University of Mississippi Press. Forthcoming 2016

Articles and Reviews (Selection):

  • "Cinema and Experience: Siegfried Kracauer, Walter Benjamin, and Theodor W. Adorno." Cineaste Vol. XXXIX, No. 3 Summer 2014. pp. 74-76.
  • "Experimental Cinema and the Crystals of Time: Matthias Müller's Visual Poems," Millenium Film Journal, No. 58, Summer 2013, pp. 118-123.
  • "The Tenderness of Scissors in Haircut
    (No. 1).
    " Warhol in Ten Takes. Gary Needham and Glyn Davis eds. London: Palgrave MacMillan/BFI Publishing, 2013, pp. 67-83.
  • "Esthétiser l'injustice, dramatiser l'irréconciliable: les éléments lyotardiens chez Haneke. Fragments Du Monde: retour sur l'oeuvre de Michael Haneke. Valérie Carré ed. Paris: Le Bord De L'Eau, 2012, pp. 141-162.
  • "Gender, Genre, and Hollywood Labor in The Strange Love of Martha Ivers." The Wiley-Blackwell History of American Film. Cynthia Lucia, Roy Grundmann, Art Simon Co-editors. Malden, Mass., and Oxford: Wiley-Blackwell, 2012. Pp. 595-629.
  • "Querelle's Finality." The Wiley-Blackwell Companion to Rainer Werner Fassbinder. Brigitte Peucker ed. Malden, Mass., and Oxford: Wiley-Blackwell, 2011.
  • "Der Dampfer im Film." Motive im Film: Ein Kasuistischer Fischzug. Christine Noll Brinckmann and Britta Hartmann eds. Marburg: Schueren, 2011. Pp. 62-70.
  • "Painting Pointing Past Itself: Heterogeneity and Contingency in The Fulbright Triptych." The Suspension of Time: Reflections on Simon Dinnerstein and the Fulbright Triptych. Daniel Slager ed. Minneapolis: Milkweed Editions, 2011. Pp. 156-173.
  • "Kunst und Schmuddel: Andy Warhols Porno Pop. Porno Pop II: Im Erregungs-dispositiv. Joerg Metelmann ed. Wuerzburg: Verlag Koenigshausen und Neumann, 2010. Pp. 273-290.
  • "Introduction: Haneke's Anachronism," A Companion to Michael Haneke. Roy Grundmann ed. Malden, Mass. and Oxford: Wiley-Blackwell Publishers, 2010, pp. 1-50.
  • "Between Adorno and Lyotard: Michael Haneke's Aesthetic of Fragmentation," A Companion to Michael Haneke. Roy Grundmann ed. Malden, Mass., and Oxford: Wiley-Blackwell Publishers, 2010, pp. 374-419.
  • "Michael Haneke's Subversive Games," The Chronicle of Higher Education, Vol. 54, No. 25, February 29, 2008, pp.B14-15
  • "Populist Motifs in John Ford's Films."John Ford in Focus: Essays on the Filmmaker's Life and Work. Kevin Stoehr and Michael C. Connolly eds. Jefferson, NC, and London: McFarland & Company, Inc., Publishers, 2008. pp. 187—204.
  • "Auteur de Force: "Michael Haneke's Cinema of Glaciation." Cineaste Vol. 33, no. 2 (Spring 2007), pp. 3-9.
  • "Old Europe Shows New Media Art" Afterimage, Vol. 34, nos. 1-2 Special Issue on Media Arts Activism (Fall 2006), pp. 3-4.
  • "Brokeback Mountain" Cineaste Vol. 31, no. 1 (Spring 2006), pp. 65-67.
  • "Queer Media Pedagogy: A Roundtable Discussion," Terri Ginsberg ed. GLQ: A Journal of Lesbian and Gay Studies Vol. 12, no. 1 (Winter 2006), pp. 117-134. Written Contrib. To Roundtable Discussion.
  • "Gay-Themed Films of the German Silent Era." Cineaste Vol. 30, no. 4 (Winter 2005), pp. 72-75
  • "Subtitles: On the Foreignness of Film," Cineaste Vol. 30, no. 3 (Fall 2005), 48-50.
  • "Too Darn Hot: Kinsey and the Culture Wars." Cineaste Vol. 30, no. 2 (Spring 2005), pp. 4-10.
  • "Masters of Ceremony: Media Demonstration as Performance in Three Instances of Expanded Cinema." The Velvet Light Trap no. 54 (Fall 2004), pp. 48-64.
  • "Los Angeles Plays Itself." Cineaste Vol. 30, no. 1 (Winter 2004), p. 80.
  • "White Man's Burden: Eminem's Movie Debut in 8 Mile,"in White Noise: The Eminem Collection. Hilton Als and Darryl F. Turner eds. New York: Thunder's Mouth Press, 2003. PP. 111-128. Reprinted from Cineaste 28:1 (Spring 2003).
  • "Dual Screen Projection" Lexikon derFilmbegriffe des Bender Verlages (on line). Hans J. Wulff und Theo Bender eds. Mainz: Theo Bender Verlag, 2003.German 
Language Encyclopedia Entry on Dual Screen Projection.

Course Offerings:

American Cinema History:

  • “American Masterworks”
    Intensive graduate survey course (5hrs/week) on American cinema history
  • “The Hollywood Blacklist”
    HUAC in Hollywood, 1930s-1950s, and historical ramifications 1950s-present
  • “Gender and the Modern Horror Film”
    The American horror film, 1968-present through theories of gender and sexuality
  • “African-American Representation”
    Comparative survey, Hollywood Independent Film, Television
  • “American Film in the Sixties”
    Overview of stratification of U.S. media landscape, 1960-1969
  • “The Hollywood Blockbuster: Cultural Studies, Film Theory, Cinephilia”
    Select approaches to the Cinema of Spectacle, 1970s to the Present

National Cinemas/International Auteurs:

  • “The Concept of National Cinema”
    Comparative histories, paradigms, methods
  • “The French New Wave”
    Historical Survey (French cinephilia, short films, 1959-1962, epigones, legacy)
  • “The New German Cinema, 1962-1982”
    Survey of films, directors and approaches (national cinema, tv, authorship, history)
  • “Comparative Directors: Bresson, Haneke, Dumont, Dardenne Brothers”
    Comparative approaches (film theory, authorship, national contexts)
  • “Comparative Directors: Greenaway, von Trier, Jeunet”
    Comparative approaches (film theory, authorship, national contexts)
  • "Michael Haneke: Multiple Critical Perspectives"
    Film and TV in Nat./Intl. Contexts, Film Theory and Philosophy, Spectatorship

Avant-garde and Experimental Cinema:

  • “History of Avant-garde: Film and Experimental Media: A Comprehensive Four Semester Curriculum”
    • Part 1: Intl. modernist avant-garde movements between the two world wars
    • Part 2: American avant-garde cinema from Maya Deren to Andy Warhol
    • Part 3: Media/movements ‘60s-‘80s (structuralism, video, third cinema, feminism)
    • Part 4: Cross-section of recent/contemporary film, video, DV, installation art (incl. identity politics, postcolonial media, globalization, cinephilia, new lyricism)

Film and Media Theory, Cultural Studies, LGBT Representation:

  • “Film and Media Theory”
    Introductory survey to major film theories
  • “The City in Film and Media”
    City representations in photography, literature, and avant-garde and narrative film
  • “LGBT Representation”
    Comparative historical survey of Hollywood, art cinema, recent global examples
  • “Independent Queer-Authored Representation”
    Cross-section of recent queer literature, media, and art, Queer Theory
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Comments  |  31 July 2007