Gregory Flaxman: Director, Global Cinema Studies
Office: Greenlaw 508
Bio: Flaxman’s research broadly concerns the relationship between art—especially literature, cinema, and painting—and philosophy. The author of Gilles Deleuze and the Fabulation of Philosophy (Minnesota, 2011) and the editor of The Brain is the Screen (Minnesota, 2000), he is currently finishing a book on cinema and philosophy, collaborating on another devoted to “cinematic thinking,” and co-editing an anthology of philosophical writings on the cinema (“from Bergson to Badiou”). At the same time, he is co-editing a collection devoted to biopolitics in post-disciplinary societies. Forthcoming work includes essays on Antonin Artaud’s film criticism (“This Is Your Brain on Cinema” for the Cambridge Companion to Film and Philosophy [Cambridge 2014]), on cinema and vitalism (“The Inorganic Life of the Cinema” for Substance ), on Kant and Holderlin (“The Transcendental Line” for Deleuze Studies ), on William and Henry James (“A More Radical Empiricism” for Deleuze and Pragmatism [Routledge 2013]), on Deleuze and Antonioni (“Eros is Sick” for At the Edges of Thought [Edinburgh 2014]), on William and Henry James (“A More Radical Empiricism” for Deleuze and Pragmatism [Routledge 2014]), as well as the preface to Anne Sauvagnargue’s new book on ecology, philosophy, and media (Edinburgh 2014).
Phone: (919) 962-3889
Office: Dey 318
Interests: Modern and Contemporary Spanish fiction and film; reflexivity as narrative strategy; historical memory and cultural representations of the Spanish Civil War; ethics & aesthetics of garbage
Bio: I teach courses on modern and contemporary Spanish literary history, cinema and culture. My most recent book is Spanish Cinema in the Global Context: Film on Film . I co-edited Unearthing Franco’s Legacy: Mass Graves and the Recuperation of Historical Memory in Spain , an interdisciplinary volume dedicated to the analysis of the ongoing ramifications of Franco’s repression and how the country’s violent past continues to manifest itself in the present. My first book, True Lies: Narrative Self-Consciousness in the Contemporary Spanish Novel , is a comprehensive study of the evolving functions of narrative self-consciousness in contemporary Spain, with chapters on Rosa Montero, Nuria Amat, Javier Cercas, Juan José Millás, Javier Marías, and Carlos Cañeque. My current research project is on trash and cinema in democratic Spain.
Recent Publications: Spanish Cinema in the Global Context: Film on Film
Bio: Sabine Gruffat is a digital media artist. She received her BFA from the Rhode Island School of Design and MFA from The School of The Art Institute of Chicago.Sabine’s films and videos have screened at festivals worldwide including the Image Forum Festival in Japan, the Split Film Festival in Croatia, the Ann Arbor Film Festival, the PDX Film Festival in Portland OR, the Dallas Video Festival, Migrating Forms in New York, The Gene Siskel Film Center in Chicago, and The Gramercy Theater in New York.
Her photographs, videos, and installations have been shown at the Zolla Lieberman Gallery in Chicago, Yerba Buena Center for the Arts, Art In General, Devotion Gallery, MOMA/ PS1 Contemporary Art Museum, and Hudson Franklin in New York, Brissot-Linz Gallery in Paris,and the Centro Cultural Telemar in Brazil.
Currently she is finishing a feature film about Dubai and Detroit entitled I have Always Been A Dreamer, working on a three screen interactive installation inspired by The Rite Of Spring, and developing mobile media applications for iPhone.
Art 490 Special Topics Visual Arts: 3D Modeling & Animation
Julia Haslett: Assistant Professor, Department Of Communication Studies Email: firstname.lastname@example.org
Office: Swain 205
Interests: documentary film production and theory; the essay film; first person cinema; archival and found footage filmmaking; documentary ethics and the politics of attention; hybrid forms
Bio: Julia Haslett is a documentary filmmaker whose work has shown at festivals, theaters, and on broadcast television around the world. Her most recent feature-length project, An Encounter with Simone Weil, is a personal essay film inspired by the French thinker, activist, and mystic, Simone Weil. It premiered at IDFA (Amsterdam), won Michael Moore’s Special Founder’s Prize at the Traverse City Film Festival, and was a New York Magazine Critic’s Pick during its 2012 US theatrical run. She is producer/director of the highly acclaimed Worlds Apart series about cross-cultural medicine, and producer of the companion hour-long documentary Hold Your Breath (PBS 2007). Her documentary shorts have screened at Full Frame, Black Maria, and Rooftop Films, among many others. Julia has received fellowships from the MacDowell Colony and the IFP Documentary Lab, and her work has been supported by numerous foundations, including the Vital Projects Fund, the Greenwall Foundation, and the Florence Gould Foundation. She has worked at WGBH-Boston (PBS), the Discovery Channel, and as a Filmmaker-in-Residence at the Stanford University Center for Biomedical Ethics. From 2013–2014, she was a visiting professor and Head of Film & Video Production in The University of Iowa’s Department of Cinematic Arts. Currently, she is developing Pushed up the Mountain, an essay film about environmental history and British botanical exploration in China’s Yunnan Province.
COMM 690: First Person Documentary Filmmaking (Advanced Topics in Communication Studies)
COMM 635: Documentary Production
COMM 230: Audio/Video/Film Production and Writing
Office: Greenlaw 424
Interests: cinema’s relationships to painting and literature; horror film; medieval literature; literary and film theory
Bio: I am a specialist in medieval literature by training, but have interests that embrace later periods and other media. Currently, I am writing a book about the invention of travel narrative as a literary genre in the Middle Ages. My second book will consider horror film’s treatment of the fly. Its primary argument is that cinematic treatments of the fly, particularly in horror, were shaped ideas–many of them ancient–passed down through painting, philosophy, theology, medicine, and the natural sciences.
Recent Publications: Shayne Aaron Legassie, “The Lies of the Painters: Artisan Trickery and Craft Knowledge in Boccaccio’s Decameron” in Journal of Medieval and Early Modern Studies 43, 3 (Fall 2013), 487-519. “The Gothic Fly” in The Future We Want/Burn after Reading, ed. Jeffrey Jerome Cohen, Eileen A. Joy, and Myra Seaman (New York: Oliphant Books, 2013), forthcoming.
Office: Dey Hall 224
Interests: modern French and comparative literary studies, the French Nouvelle vague, classic Hollywood cinema, the New Hollywood, philosophy and film, literature and film
Bio: Though he specializes in early modern French and comparative literary studies, Hassan Melehy recently completed Kerouac: Language, Poetics, and Territory, to be published by Bloomsbury in 2016, a book that explores the Beat Generation author’s experiments with his native French as an integral part of his poetics. Prof. Melehy’s new research focuses on the relationship between political writing and literature in sixteenth- and seventeenth-century France and England, in further development of his 2010 book The Poetics of Literary Transfer in Early Modern France and England (Ashgate), and the collection he recently co-edited with Catherine Gimelli Martin, French Connections in the English Renaissance (Ashgate). He has also written numerous articles on early modern literature and philosophy, recent and contemporary critical theory, and film studies. In addition to his critical writing, he also regularly publishes poetry. He teaches courses on the French Renaissance, the Anglo-French Renaissance, film studies, and critical theory to both undergraduate and graduate students.
FREN 373 French New Wave Cinema
FREN 398 History of French Cinema
Office: Media Resources Center, Undergraduate Library
Interests: documentary film, interactive media & storytelling, classic and contemporary American cinema, transmedia narratives
Bio: At UNC, Winifred consults on media production, analysis and consumption, leveraging the use of film, television and new media for instruction and research. She is passionate about visual and media literacies, speaks on documentary studies and actively curates UNC’s research-level media collection. Winifred runs and advises on campus film screenings, participates as an advisor on the UHB faculty group, and serves on UNC’s Faculty Council.
Phone: (919) 966-1642
Office: Greenlaw 529
Interests: detective and crime fiction, film studies, YA fiction, 19th and 20th century sectarian religious movements, and lgbtq literature and film
Bio: Michelle Robinson is an Assistant Professor of American Studies. She received her doctorate from Boston University’s New England and American Studies Program, a master’s in theological studies from Harvard Divinity School, and a bachelor’s degree in English and American Literature from Harvard University. Her book Dreams for Dead Bodies: Blackness, Labor and Detection in American Literature (U Michigan Press 2016) foregrounds an interracial context for genre formation, and argues that the detective genre’s lineage lies in experimental texts on the margins of what we recognize as classical detective fiction today. Her current project, tentatively titled “The Genius of the Broken System,” studies sexuality in post-WWII Hollywood Cinema.
Phone: (919) 962-5428
Office: New West 109
Interests: Middle Eastern cinema, Israeli cinema, ethnicity in cinema
Bio: Yaron Shemer is Assistant Professor of Israel Cultural Studies at The University of North Carolina. He earned his PhD in Film Studies from the University of Texas at Austin in 2005. His publications focus on Mizrahi and Arab cinema. He is the author of Identity, Place, and Subversion in Contemporary Mizrahi Cinema in Israel. Shemer has directed films in Israel, Poland, and the US, including Pilgrimage of Remembrance: The Jews of Poland and The Road to Peace: Israelis and Palestinians.
Courses: ASIA 235: Israeli Cinema: Nation, Gender, and Ethnicity ASIA 435: The Cinemas of the Middle East and North Africa
Phone: (919) 962-4048
Office: Greenlaw 439
Interests: Film Aesthetics, Film Theory and Philosophy, Film in Relation to Other Arts and Media, Global Cinema History, Classical and Post-Classical American Cinema, French Cinema, Avant-garde/Experimental Cinema
Rick Warner is Assistant Professor and Kenan Fellow in the Department of English and Comparative Literature. He is guest editor of the Critical Quarterly special issue, “The Late Work of Jean-Luc Godard” (2009), and co-editor with Colin MacCabe and Kathleen Murray of True to the Spirit: Adaptation and the Question of Fidelity (Oxford University Press, 2011). He has published articles on such topics as Chris Marker’s new media historiography, Jean-Luc Godard’s videographic montage, and the use of the long take in contemporary Chinese art cinema. He is currently at work on a book concerning cinematic uses of the essay form, as well as a second book that examines “contemplative” aesthetics in global art cinema since World War II.