Roy Grundmann

Associate Professor of Film Studies

Co-founder, Cinema and Media Studies Major (CIMS)

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


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

Professional Affiliations:

Contributing Editor, Cineaste Magazine (
Member, Society for Cinema and Media Studies (SCMS)(

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) anchors its analysis of Haneke's television films and theatrical features in the critical framework of the Frankfurt School. At the same time, I explore how Haneke’s films help identify affinities between critical theory and various strands of postmodernism, rather than reaffirming the widely perceived divide between these paradigms.

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 (, for which I served as an Editor for ten years and for which I am now a Contributing Editor.

Curatorial and Conference Projects:

"Labour in a Single Shot"

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

"Ulrike Ottinger: A Critical Symposium"

"Michael Haneke's Cinema of Provocation"

"Matthias Müller: Multimedia Poet"

"Andy Warhol's Homoerotic Cinema"

Invited Lectures and Conference Presentations (Selection):



Edited Collections:

Articles and Reviews (Selection):

Course Offerings:

American Cinema History:

National Cinemas/International Auteurs:

Avant-garde and Experimental Cinema, Non-fiction Film:

Film and Media Theory, Cultural Studies, LGBT Representation: