I am currently the Head of Film and a member of the executive committee for the Centre for Film and Media Research. I have a PhD in Cinema Studies from New York University and before coming to Kent in 2008 I taught at NYU, Vassar College, and the University of Chicago.
I have three main areas of research: film authorship, criticism, and the horror genre. I currently teach two modules related to some of these research areas: Film Criticism and Film Genre (Horror). See Teaching.
My latest monograph, Performing Authorship: Self-Inscription and Corporeality in the Cinema (I.B. Tauris, 2013), examines how performance theory can illuminate the controversial figure of the film author.
My most recent book is a co-edited collection (with Mattias Frey) titled Film Criticism in the Digital Age (Rutgers University Press, 2015), and it explores the effects of the Internet on the function and the status of the film critic.
I also have a book on Charlie Kaufman published in Portuguese (O jogo da reinvenção: Charlie Kaufman e o lugar do autor no cinema, Alameda, 2008).
I am currently researching alternative ways of understanding the relationship between horror films and reality, with a focus on mock found-footage horror movies and ghost hunting reality shows (see Publications).
Also view these in the Kent Academic Repository
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FI585/FI600: Film Criticism
This module introduces students to the history and theory of film criticism, stressing the coexistence of different approaches to the analysis, evaluation and appreciation of film. The module also contains a practical aspect, offering students the opportunity to write critical pieces on the films screened for the class. In addition to traditional lectures and seminars, sessions are devoted to writing and to analysing fellow students' work. Participants are also encouraged to reflect critically on different media of film criticism (newspapers, magazines, academic journals, the internet) and on the current state of film criticism.
FI595/FI615: Film Genre (Horror)
This course covers the production of American horror films from the 1960s to the present, and combines aesthetic and narrative analysis with the history of the genre. We look at horror from a variety of approaches, including psychoanalytical, feminist, and reception theories. The historical portion of the course examines horror?s growing commercial viability, the proliferation of subgenres, the relaxing of censorship, and the growing attention of academics. Topics include gender politics, representations of sexuality, political commentary, allegory and the film's connection with a surrounding reality.
My latest monograph is titled Performing Authorship: Self-Inscription and Corporeality in the Cinema (I.B. Tauris, 2013). It proposes a different take on film authorship by examining directors who inscribe themselves into their films, either openly performing or somehow evoking an authorial function in various modes: fiction (mainly comedy), essay and documentary films.
I am also interested in the current state of film criticism. I co-edited a collection on the topic with Mattias Frey titled Film Criticism in the Digital Age (Rutgers University Press, 2015), and in 2012 I co-organised a symposium that discussed the role of the critic in film, theatre, art and literature.
My other area of interest is the connection between horror films and reality. I explore this in an article titled ‘Found-Footage Horror and the Frame’s Undoing,’ forthcoming in Cinema Journal 55.2 (February 2016).
In Brazil I published a book on Charlie Kaufman that accounts for his unusual status as an auteur-screenwriter prior to his directorial debut.
I am also a member of the executive committee for the Centre for Film and Media Research and co-editor of the Film Studies journal.
I'm interested in supervising students working on the following areas: horror movies, film authorship, film criticism, the essay film, theories of national and transnational cinemas, realism, the French New Wave, Latin American cinema (especially Brazilian), and American cinema from the postwar to the present.