Global Cinema Advisory Board

Gregory Flaxman: Director, Global Cinema Studies 

Associate Professor, Department of English Adjunct Associate Professor, Department of Communication StudiesAffiliated Faculty, Program in Cultural Studies and the Department of American Studies

flaxman1Phone: (919) 962-4043


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 [2014]), on Kant and Holderlin (“The Transcendental Line” for Deleuze Studies [2014]), 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).

CMPL 490: American Comedy, American Democracy, American Cinema
CMPL 390: Film Genre Undergraduate Seminar: The Western
CMPL 390: Film and Nature
ENGL 380: Film History
ENGL 580: Introduction to Film Theory
CMPL 131: Introduction to Comparative Literature: The Baroque
CMPL 131: Introduction to Comparative Literature: Savages, Strangers, Natives, and Others
ENGL 262: Introduction to Literary Theory
ENGL 49: Honors Seminar on Secrecy and Conspiracy
ENGL 90: Introduction to Cultural Studies
ENGL 27: Romantic Comedy
ENGL 142: Film Analysis


Samuel AmagoPhone: (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

Courses: SPAN 361: Hispanic Film and Culture SPAN 362: The Quest for Identity in Contemporary Spain

Sabine Gruffat: Assistant Professor, Art Department
Sabine Gruffat      Email:
     Interests: filmmaking, interactive installations, animation


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 Julia_HaslettEmail:

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

Shayne Legassie: Assistant Professor, Department Of English And Comparative Literature

Shayne Legassie Email:

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.

Courses: Horror and the Global Gothic: Film, Literature, Theory

Hassan Melehy: Associate Professor, Department of Romance Languages, French


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.

Film Courses:

FREN 373 French New Wave Cinema
FREN 398 History of French Cinema

Winifred Forham Metz: Media Librarian &Head, Media Resources Center

libguidefredPhone: 919.962.4099


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.

In the field, Winifred works with documentary filmmakers on licensing and distribution models, advises on post-production, and consults on grant applications and funding. Winifred serves on both the selection committee and programming committee for the Full Frame Documentary Film Festival, is a reviewer for the Journal of Video Ethnography, edits a media column for ATG and serves on the Senior Advisory board for Alexander Street Press.  She is also a freelance writer and critic for film and new media outlets (including Discovery communications and HSW).
Office: Dey 420
Interests: film theory; film, science, & philosophy; animal studies; melodrama
Bio: I have studied Film, German Literature, Philosophy in Kiel, Berlin, Seattle and Chicago and received my Ph.D. degree in Cinema and Media Studies at the University of Chicago in 2011. I have written essays on Dziga Vertov, Hans Richter, Jakob von Uexküll, and the notion of Stimmung in and for the cinema. Currently I am working on a book project on the interrelationship of non-mechanist conceptions of life in German and French philosophy and theory of biology, on the one hand, and film theory and practice, on the other hand.
Phone: (919) 962-1991

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. 


AMST 371: LGTBQ Fiction and Film from 1950 to the present
AMST 483: Seeing the U.S.A: The Film Director as Public Intellectual 

Yaron ShemerPhone: (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.

Rick Warner: Assistant Professor, Department of English and Comparative Literature

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.

Recent publications:
“Essaying the Forms of Popular Cinema: Godard, Farocki, and the Principle of Shot-Countershot.” In The Essay Film: Dialogue, Politics, Utopia, edited by Caroline Eades and Elizabeth Papazian. London: Wallflower, forthcoming 2016.
“Godard’s Stereoscopic Essay: Thinking in and with Adieu au langage.” In The Global Auteur: Politics and Philosophy in 21st Century Cinema, edited by Seung-hoon Jeong and Jeremi Szaniawski. New York: Bloomsbury, forthcoming 2016.
Filming a Miracle: OrdetSilent Light, and the Spirit of Contemplative Cinema,” Critical Quarterly 57, no. 2 (2015): 46-71.
“The Cinematic Essay as Adaptive Process,” Adaptation 6, no. 1 (2013): 1-24.
“Contempt Revisited: Godard at the Margins of Adaptation.” In True to the Spirit: Film Adaptation and the Question of Fidelity, edited by Colin MacCabe, Kathleen Murray, and Rick Warner, 195-213. New York: Oxford University Press, 2011.
CMPL 143: History of Global Cinema
CMPL 144: Film Culture (Global Art Cinema since 1960)
CMPL 375: New Wave Cinema: Its Sources and Legacies
CMPL 463: Cinema and Surrealism
CMPL 490: Special Topics (The Films of Hitchcock)
CMPL 494: Cinematic Uses of the Essay Form
ENGL 380: Film History (New Hollywood: American Cinema of the 1970s)
ENGL 381: Literature and Cinema
ENGL 410: Documentary Film
ENGL 680: Classical and Contemporary Film Theory