Dr. Catherine Russell
Professor
Mel Hoppenheim School of Cinema

Concordia University FB-319
1455 de Maisonneuve Blvd. W.
Montreal, Quebec
Canada H3G 1M8
Tel:   (514) 848-2424 ex. 4657
Fax:  (514) 848-4255
e-mail:

Nationality: Canadian
Website: http://cinemafac.hybrid.concordia.ca/index.php/russell/

EDUCATION

• PhD. Cinema Studies, New York University, 1990. Dissertation: “Narrative Mortality: Death and Closure in International Postwar Cinema.” Passed with distinction.
• M.A. Cinema Studies, New York University, 1985
• B.A. Philosophy, University of Toronto, 1983

EMPLOYMENT

• Professor, Mel Hoppenheim School of Cinema, Concordia University, 2004 to present
• Associate Professor, Mel Hoppenheim School of Cinema, Concordia University, 1995-2004
• Assistant Professor, Dept. of Cinema, Concordia University, 1990-1994
• Lecturer, Dept. of Film Studies, Queen’s University, Kingston, Ontario, 1988-1990
• Instructor, Cinema Studies, New York University, 1987

PUBLICATIONS

Books

• Classical Japanese Cinema Revisited. New York: Continuum, 2011.
• The Cinema of Naruse Mikio: Women and Japanese Modernity. Durham NC: Duke University Press, 2008. Chinese Translation (by Lian Cheng) from Fudan University Press.
• Experimental Ethnography: The Work of Film in the Age of Video. Durham NC:  Duke University Press, 1999.
• Narrative Mortality: Death, Closure and New Wave Cinemas. Minneapolis: University of Minnesota Press, 1995.

Edited Books and Journals

• “Cinema as Timepiece: Perspectives on The Clock,” Dossier in Framework 54.2 (Fall 2013).
• New Women of the Silent Screen: China, Japan, Hollywood. Special Issue Editor. Camera Obscura 60 Vol 30 no. 3 (2005).
• “Dossier on Cinephilia and Womens’ Cinema in the 1920s,” edited by Catherine Russell and Rosanna Maule,  Framework 46 no. 1 (Spring 2005).
• Le cinématographe, nouvelle technologie du 20e siècle / The Cinema, A New Technology for the 20th Century. Eds. André Gaudreault, Pierre Véronneau and Catherine Russell. Lausanne: Editions Payot, 2004.
• Le cinéma muet au Québec et au Canada: nouveaux regards sur une pratique culturelle. Co-edited with Pierre Veronneau. Special Issue of Cinémas (Vol 6, no. 1): Fall 1995.

Journal Articles

• “Leviathan and the Discourse of Sensory Ethnography: Spleen et idéal” Visual Anthropology Review 31.1 Spring 2015: 27-34.
• “DMZ International Documentary Film Festival: Film, Peace, and the Cold War industry” Synoptique 3.2 (2015). 86-92. [Download the PDF]
• “The Barbara Stanwyck Show: Melodrama, Kitsch, and the Media Archive.” Criticism 55.4 (Fall 2013): 567-592. [Download the PDF]
• “Archival Cinephilia in The Clock.” Framework: The Journal of Cinema and Media 54.2 (Fall 2013): 243–258. [Download the PDF]
• “Dossier: Cinema as Timepiece: Critical Perspectives on The Clock.” Framework: The Journal of Cinema and Media 54.2 (Fall 2013): 163–176. [Download the PDF]
• “Round table discussion: Documentary, Ethnography, and the Avant-garde,” with Pratap Rughani, Ben Russell, and Chris Wright and chaired by Erika Balsom, in Moving Image Research Journal 2.1 (2013): 80-90.
• “Films about Ordinary People: The Japanese Home Drama and Ethnographic Film Criticism,” in Art as Ethnography: Critical Practices and Sensory Anthropology, Special Issue of Journal of the Royal Anthropological Institute, Edited by: Rupert Cox, Andrew Irving and Christopher Wright, forthcoming.
• “The Restoration of The Exiles: The Untimeliness of Archival Cinema,” Screening the Past 34 September 2012 http://www.screeningthepast.com/issue-34/
• “Japanese Cinema in the Global System: An Asian Classical Cinema,” The China Review Vol. 10 no. 2, 2010: 15-36.
• “Mini-Cinema: A Digital Diary for iPod,” CineAction! 73/74 (2008): 2-7.
• “Dialectical Film Criticism: Walter Benjamin’s Historiography,Cultural Critique and the Archive,” Transformations No.15 (2007).
  http://www.transformationsjournal.org/journal/issue_15/article_08.shtml
• “Cinephilia and the Travel Film: Gambling, Gods and LSD,” e- JumpCut 48 (Winter 2006). 
  http://www.ejumpcut.org/archive/jc48.2006/GodsLSD/index.html (refereed journal)
• “New Women of the Silent Screen: China, Japan, Hollywood,” Introduction to Special Issue of Camera Obscura 60 Vol 30 no. 3 (2005): 1-13. (refereed journal)
• “Naruse Mikio’s Silent Films: Gender and The Discourse of Everyday Life in Interwar Japan,”Camera Obscura 60 Vol 30 no.3 (2005): 57-89. (refereed journal)
• “Another Cinephilia: Women’s Cinema in the 1920s,” Co-authored with Rosanna Maule, Introduction to dossier of articles in Framework 46 no.1 (Spring 2005). 51-55.
• “New Media and Film History: Walter Benjamin and the Awakening of Cinema.”Cinema Journal. 43.3 (Spring 2004). 81-85 (refereed journal).
• “Three Japanese Actresses of the 1950s: Modernity, Femininity, and the Performance of Everyday Life.” CineAction! 60 (2003): 34-44.
• “’Ladies Please Remove Your Hats:’ Fashion, Moving Pictures and Gender Politics of the Public Sphere 1907-1911.” Co-authored with Louis Pelletier. Living Pictures2:1 (2003): 61-84. (refereed journal) PDF.
• “Men with Swords and Men with Suits: The Cinema of Akira Kurosawa.” CineasteXXVII No. 1 (Winter 2002): 4-13.
• “Tokyo, the Movie.” Japan Forum 14(2) (2002) (refereed journal): 211-224.
• “From Women’s Writing to Women’s Films in 1950s Japan: Hayashi Fumiko and Naruse Mikio.”Asian Journal of Communications 11(2) 2001: 101-120 (refereed journal).
• “Parallax Historiography: The Flâneuse as Cyberfeminist.” Scope, an on-line journal, posted 1/07/00 (refereed journal)
• “Archiveology,” Public 19 Lexicon 20th Century A.D. Vol. 1, p.22 (2000).
• “Mikio Naruse and the Japanese Women’s Film.” Asian Cinema Vol. 10 no.1 (Fall 1998): 120-125
• “Dystopian Ethnography: Peter Kubelka’s Unsere Afrikareise Revisited.” Canadian Journal of Film Studies, Vol. 7 no.1 (Spring 1998): 3 -15 (refereed journal).
• “Playing Primitive: In the Land of the Headhunters and/or War Canoes.” Visual Anthropology, Vol.8 (1996): 55-77 (refereed journal).
• “’Overcoming Modernity’: Gender and the Pathos of History in Japanese Film Melodrama.” Camera Obscura 35 (May 1995): 131-158 (refereed journal).
• “Mourning the Woman’s Film: The Dislocated Spectator of The Company of Strangers,” The Canadian Journal of Film Studies Vol 3 No. 2 (Fall 1994): 25-40 (refereed journal).
• “Beyond Authenticity: The Discourse of Tourism in Ethnographic and Experimental Film.” Visual Anthropology 5:2 (1992): 131-141 (refereed journal).
• “Passionate Dialectics Revisited: Women and Film in the University.” The Independent Eye (Toronto), Spring/Summer 1991: 9-14.
• “The Life and Death of Authorship in Wim Wenders’ The State of Things.” Canadian Journal of Film Studies 1:1 (1990): 15-28 (refereed journal).
• “The Figure in the Monitor: Beckett, Lacan, Video.” Cinema Journal 28:4 (Summer 1989): 20-37 (refereed journal).
• “David Rimmer’s Found Footage: Reproduction and Repetition of History.”CineAction! (Spring 1989): 52-58.
• “The Work of Film in the Age of TV/Video Production.” Canadian Journal of Political and Social Theory XI:1-2 (Winter/Spring, 1987): 152-160.
• “The Politics of Putting Art on Film: Derek May and the National Film Board of Canada.” Journal of Canadian Studies 2:1 (Spring 1986): 104-115 (refereed journal).

 Book Chapters

• “Films about Ordinary People: The Japanese Home Drama and Ethnographic Film Criticism,” in Beyond Text, Edited by: Rupert Cox, Andrew Irving and Christopher Wright, Manchester University Press, 2016.
• “Paris 1900: Archiveology and the Compilation Film,” in New Silent Film, Paul Flaig and Katherine Groo eds. Routledge, 2015.
• “Benjamin, Prelinger and the Moving Image Archive,” in L’avenir de la mémoire : patrimoine, restauration et réemploi cinématographiques ed. André Habib et Michel Marie, eds. Paris: Éditions du Septentrion, 2013.
• “Women in Cities: Comparative Modernities and Cinematic Space in the 1930s,” In Transcultural Montage, Berghahn Books, eds. Christian Suhr and Rane Willerslev. New York: Berghahn Books, 2013. [Download the PDF].
• “In the Mood for Cinema: Wong Kar-wai and the Diasporic Phantasmagoria,” In The Presence of Pleasure: The Work of Cinephilia in the Age of Digital Reproduction, Jason Sperb and Scott
• Balcerzak eds. Wallflower Press, 2012.
• “Women’s Stories in Postwar Japan: Mikio Naruse’s Bangiku.” In Japanese Cinema: Texts and Contexts. Eds. Julian Springer and Alastair Phillips. London: Routledge, 2007. 124-43
• “The Inhabited View: Landscape in the Films of David Rimmer,” Landscape and Film, Ed. Martin Lefebvre, (New York: Routledge, 2006). 149-166.
• “Video.” Essay-length entry for Schirmer Encyclopedia of Film, Ed. Barry Keith Grant, Schirmer Reference, New York, 2006.
• “Cinephilia.” Essay-length entry for Schirmer Encyclopedia of Film, Ed. Barry Keith Grant, Schirmer Reference, New York, 2006.
• “Surrealist Ethnography: Las Hurdes and the Documentary Unconscious.” In F is for Phony: Readings on the Fake Documentary. Eds. Alex Juhasz and Jesse Lerner. Minneapolis: University of Minnesota Press, 2006.
• “Meiji Cinema: Motion Pictures and Japanese Modernity.” In Le cinématographe, nouvelle technologie du 20e siècle / The Cinema, A New Technology for the 20^th Century. Eds. André Gaudreault, Pierre Véronneau and Catherine Russell. Lausanne: Editions Payot, 2004.
• “Introduction,” With André Gaudreault, Pierre Véronneau, Le cinématographe, nouvelle technologie du 20e siècle / The Cinema, A New Technology for the 20^th Century. Eds. André Gaudreault, Pierre Véronneau and Catherine Russell. Lausanne: Editions Payot, 2004.
• “Too Close to Home: Naruse Mikio and Japanese Cinema of the 1950s.” In Global Cities: Cinema, Architecture, and Urbanism in a Digital Age. Eds. Linda Krause and Patrice Petro. New Brunswick, NJ: Rutgers University Press, 2003. 87-114.
• “The Lisa Steele Tapes: Investigation and Vision.” In North of Everything: English Canadian Cinema Since 1980. Eds. Bill Beard and Jerry White. Edmonton: University of Alberta Press, 2002. 430-445.
• “Role Playing and the White Male Imaginary in Atom Egoyan’s Exotica.” In Canada’s Best Features: Critical Essays on 16 Canadian Films. Ed. Gene Walz. New York: Edition Rodopi B.V. 2002). 321-342.
• “Being Two Isn’t Easy: The Uneasiness of the Family in 1960s Tokyo.” In Kon Ichikawa. Ed. James Quandt. Toronto: Cinémathèque Ontario, 2001. 255-266.
• “Tokyo Olympiad: A Symposium.” Co-authored with James Quandt, Mitsuhiro Yoshimoto, Markus Abe Nornes and Eric Cazdyn. In Kon Ichikawa. Ed. James Quandt. Toronto: Cinémathèque Ontario, 2001. 315-338.
• “Culture as Fiction: The Ethnographic Impulse in the Films of Peggy Ahwesh, Su Friedrich and Leslie Thornton.” In New American Cinema. Ed. Jon Lewis. Durham: Duke University Press, 1998. 353-378.
• “Subjectivity Lost and Found: Bill Viola’s I Do Not Know What It Is I am Like.” In Documenting the Documentary. Eds. Barry Grant and Jeannette Sloniowski. Detroit: Wayne State University Press, 1998. 344-359.
• “Insides and Outsides: Cross-Cultural Criticism and Japanese Film Melodrama.” In Melodrama and Asian Cinema. Ed. Wimal Dissanayaki. New York: Cambridge University Press, 1993. 143-154.
• “Decadence, Violence and the Decay of History: Notes on the Spectacular Representation of Death in Narrative Cinema.” In Crisis Cinema: The Apocalyptic Vision in Postmodern Narrative Film. Ed.Christopher Sharrett. Washington: Maisonneuve Press, 1993. 173-202.
• “Twilight in the Image Bank.” David Rimmer: Films & Tapes 1967-1993 Toronto: Art Gallery of Ontario, 1993. 17-58.

• Review of Naruse Mikio: Women and Japanese Modernity, by Chris Fujiwara, Cineaste Summer 2009.
• Review of Naruse Mikio: Women and Japanese Modernity, by Rachel Hutchinson, in Monumenta Nipponica 64:1 (2009).
• Review of Experimental Ethnography: The Work of Film in the Age of Video. By Alison Griffiths. Film Quarterly Vol. 54 No. 2 (Winter 2000/2001): 52-54.
• Review of Experimental Ethnography: The Work of Film in the Age of Video. By Ralph A. Litzinger. American Anthropologist. Vol. 102 No. 3 (September 2000).
• Review of Narrative Mortality: Death, Closure and New Wave Cinemas.  By Jim Leach. Canadian Journal of Film Studies 5:1 (Spring 1996): 83-87.

PUBLIC PRESENTATIONS

Conference Papers

• “Walter Benjamin, Archiveology, and Critical Film Practice,” Society for Cinema and Media Studies, Montreal, March 2015.
• “Barbara Stanwyck as the Bad Mother,” Society for Cinema and Media Studies, Atlanta Georgia, 2016.
• “Awakening from Hollywood: Rose Hobart as Star of the Archive.” SCMS 2014, Seattle, Friday, March 21 2014 [Conference Program]
• “The Special Effect of the Archive,” La magie des effets spéciaux. Cinéma-Technologie-Réception / The Magic of Special Effects. Cinema-Technology-Reception, Montreal, November 2013
• “Paris 1900 and the Archival Imaginary,” Visible Evidence, Stockholm Sweden, August 2013
• “Barbara Stanwyck in the Jungle,” Film Studies Association of Canada conference, Victoria, BC, June 2013.
• “Archival Cinephilia in The Clock,” SCMS Conference, Chicago, 2013.
• “Paris 1900:  Compilation, Collection and the Dialectical Image,” Film Studies Association of Canada conference, Waterloo, Ontario, June 2012.
• “The Barbara Stanwyck Show: Melodrama and the Media Archive,” SMCS Conference, Boston, March 2012.
• “The Barbara Stanwyck Show: Melodrama, Kitsch and the Media Archive,” Workshop on Melodrama, Concordia University, Sept. 15, 2011.
• “Memory as Medium: Essay, Archive and the Found Footage Film,” Society for Cinema Studies New Orleans March 2011.
• “Phantasmagoria, Cinephilia, and Archival Film Practices,” The Arthemis International Conference On the History and Epistemology of Film and Moving Image Studies, Concordia University, June 4-7 2010.
• “Benjamin, Prelinger and the Moving Image Archive,” L’Avenir de la Mémoire: Patriomoine, Restauration et Rémploi Cinématographiques, Montreal Fevrier 2010.
• “Classic Modernity: Melodramatic Features of Japanese Cinema,” SCMS conference Los Angeles, March 2010.
• “Classic Modernity: Melodramatic Features of Japanese Cinema,” FSAC Conference, Ottawa, June 2009.
• “Women in Cities: Comparative Modernities and Cinematic Space in the 1930s,” Transcultural Montage, International Conference at Moesgaard Estate, University of Aarhus, DK, August 24 to 26, 2009.
• “Women in Cities: Comparative Modernities and Cinematic Space in the 1930s,” Space Matters: Reframing Early Cinema and Modernity, University of Michigan April 2009.
• “The Uses and Abuses of Cinephilia,” Society for Cinema and Media Studies Conference, Philadelphia, PA, March 2008.
• “’Films about ordinary people’: The Japanese shoshimin-eiga and ethnographic film criticism.” Beyond Text Image:Voice::Sound:Object: Synaesthetic and Sensory Practices in Anthropology, Manchester England June 30th to July 2nd 2007
• “Japanese Cinema as Classical Cinema,” Transnationalism, Globalization and North Asian Cinema Workshop, Montreal, May 4-6, 2007
• “Japanese Cinema as Classical Cinema,” Kinema Club VIII, Frankfurt, Germany, April 29-22, 2007
• “Walter Benjamin, Film Criticism and Historiography,” Society for Cinema and Media Studies, Chicago Ill, March 11, 2007.
• “Voyage to the Ends of Cinema,” Vues sur l’exotisme: Voyages aux premiers temps du cinéma. Projections et atelier, Cinématheque Quèbecoise, Novembre 2006.
• “Cinephilia and the Travel Film: Gambling, Gods and LSD,” Visible Evidence, Montreal, August 2005
• “FromHome Front to “Revolutionary Democracy”: Naruse During the 1940s,” Kinema Club 5, Tokyo, June 2005.
• “Cinephilia, Collecting and Vernacular Modernism as Critical Method,” Cinema and Anthropology, Sussex University, Brighton England, May 2005
• “Not a Monumental Cinema: Naruse Mikio’s War-Time Cinema,” Film Studies Association of Canada Conference, London Ontario, May 2005
• “The Epistemology of the Travel Film: Gambling, Gods and LSD,” Avant 2004, Karsltad, Sweden August 2004.
• “Naruse Mikio’s Silent Films: Gender and The Discourse of Everyday Life in Interwar Japan,” Women and the Silent Screen Conference, Montreal June 2004.
• “Naruse at P.C.L. (1935-1937): Japanese Cinema as Vernacular Modernism,” Kinema Club III, New York University, February 2004.
• “Naruse Mikio in the 30s and the Discourse of Everyday Life,” Kinema Club Conference, Hawaii, June 2003;
• “Meiji Cinema: Motion Pictures and Japanese Modernity,” Domitor Conference on Early Cinema, Montreal, June 2002
• “Ozu, Naruse, and the Gendered Space of Japanese Cinema,” Society for Cinema Studies Conference, May 2001.
• “Architecture, Genre, Gender: Negotiating Modernity in the Postwar Japanese Home-Drama,” Global Cities conference, University of Wisconsin-Milwaukee, April 2001.
• “Naruse Mikio and Hayashi Fumiko: Cinema, Literature and the Female Subject,” Conference on Japanese Women Filmmakers, Boulder Colorado, October 2000.
• “Tokyo: The Movie” Presented at:
• “Cinema and Urban Remains: An inaugural gathering on cinema and the city,” Musée d’art contemporain de Montréal, May  2000.
• Japanese Studies Association of Canada conference, October 1999, McGill University, Montreal.
• Film Studies Association of Canada conference, University of Sherbrooke, Sherbrooke, Quebec, June 1999.
• “Acting In and Acting Out: Japanese Actresses in the 50s,” Society for Cinema Studies, Chicago, March 2000.
• “Parallax Historiography: The Flâneuse as Cyberfeminist,” Centre de recherche sur l’intermédialité, Musée d’art contemporain de Montréal, May 1999.
• “Mikio Naruse and the Japanese ‘Women’s Film’,” Asian Cinema Studies Society Conference, Trent University, Peterborough, Ontario, August 1997.
• “Archival Apocalypse: Found Footage as Ethnography,” Society for Cinema Studies Conference, Ottawa, Ontario, May 1997.
• “The Body as the Main Attraction: Winter Sports in Quebec, 1903,” Society for Cinema Studies Conference, Dallas TX, March 1996.
• “The Ethno-Avant-garde and the Pornographic Gaze: Unsere Afrikareise Revisited,” Society for Cinema Studies Conference, New York City, March 1995.
• “Playing Primitive: In the Land of the Headhunters and/or War Canoes,” Film Studies Association of Canada/Learned Societies, University of Calgary, June 1994.
• “Subjectivity Lost and Found: Bill Viola’s I do not Know what it is I am Like,” Visible Evidence Conference: Strategies and Practices in Documentary Film and Video, Duke University, Durham, North Carolina, September 1993.
• “Mourning the Woman’s Film: The Dislocated Spectator of The Company of Strangers,” Film Studies Association of Canada Conference, Carleton University, June 1993.
• “The Representation of History in Japanese Film Melodrama,” British Film Institute Conference on Melodrama, London England, July 1992.
• “The Eternal Virgin and The Pathos of Historiography in Japanese Film Melodrama”, Asian Cinema Studies Conference, New York, June 1992.
• “Postmodern Ethnography and the Discourse of Tourism in Visual Anthropology,” Society for Cinema Studies, Los Angeles CA, May 1991.
• “Violence, Decadence and the Decay of History: Greenaway, Lynch and Godard,” Florida State University Annual Conference on Literature and Film, Tallahassee, Florida, January 1991.
• “Insides and Outsides: Cross-Cultural Criticism and Japanese Film Melodrama,” Film Studies Association of Canada Conference, Ottawa, May 1990; Asian Cinema Studies Society (Australia) Conference, Melbourne, July 1990.
• “Historiography as Mortification: Walter Benjamin and the Cinema,” Society for Cinema Studies Conference, Washington DC, May 1990.
• “Filmmaking, Tourism and Ethnography,” International Experimental Film Congress, Innis College, Toronto, June 1989; Queen’s Critical Theory Seminar Series, January 1990.
• “David Rimmer’s Found Footage: Reproduction and Repetition of History,” Learned Societies of Canada, June 5, 1988, Windsor, Ontario. Panel sponsored by the Canadian Journal of Political and Social Theory and the Canadian Sociology and Anthropology Association.
• “Accident and Allegory in Le Mépris: Benjamin and Godard,” Film Studies Association of Canada, Queen’s University, June 1988.
• “Testimonial and Tragedy: Wim Wenders’ Anxiety of Authorship,” Florida State University 13th Annual Conference on Literature and Film, Tallahassee, January 1988.
• “The Body and the Flag: Nagisa Oshima’s Narrative Project,” SCS/FSAC/AQEC conference, Concordia University, Montreal, May 1987.
• “You Ain’t Seen Nothin’ Yet: the Reception of the Jazz Singer,” Film Studies Association of Canada, Innis College, University of Toronto, June 1985.

Conference Organization and Panels

• Panel Discussion on Global Feminist Histories: 1950s Cinema and its Afterlife. “The Three Disappearances of Soad Hosni: Melodrama, Critical Cinephilia, and Egyptian Modernity” at SCMS Conference, Chicago, 2017. http://www.cmstudies.org/default.asp?page=conference
• Panel discussion on Documentary and archives at Rencontres Internationale du Documentaire de Montréal (RIDM).  Saturday Nov 16, 2013 @ 14h00 (J.A. DE SÈVE cinema 1400, boul. de Maissonneuve O.)
• HAUtaldea Symposium: CHARACTER AND DESTINY: REFLECTIONS ON CONTEMPORARY ETHNOGRAPHIC FILM AND THE DOCUMENTARY. AlhóndigaBilbao, Bilbao, 9-13 October 2013
• Panel Chair, “Perspectives on The Clock,” SCMS Conference, Chicago, 2013.
• Panel Chair, “Barbara Stanwyck,” SCMS Conference, Boston, 2012
• Panel Chair, “Classical Japanese Cinema,” SCMS Conference Los Angeles, 2010.
• Member of the organizing committee, Workshop on “Northeast Asian Cinema in the Era of Transnationalism and Globalization,” May 2007 SHHRC Workshop Funding: $19,000. Principle Investigator, Lu Tonglin, Université de Montréal.
• Panel Chair, “Prewar Japanese Cinema,” Film Studies Association of Canada, London Ontario, May 2005.
• Co-director, Women and the Silent Screen Congress, Montreal June 2-6, 2004.
• Panel Chair, “Teaching Film Theory,” Film Studies Association of Canada Conference, Ottawa, 1998.
• Panel Chair, “Documentary Before Documentary” Society for Cinema Studies Conference, 1996, Dallas Texas.
• Panel Chair, “Reworking Modernity and Tradition in Asian Cinemas,” Asian Cinema Studies Society Conference, New York, 1992.
• Panel Chair, “Ethnography and Avant-garde Film,” Society for Cinema Studies Conference, Los Angeles, CA 1991.

Public Lectures and Invited Talks

• “Archiveology: Walter Benjamin and Archival Film Practices,” Workshop on The Camera as Cultural Critique, Aarhus, Denmark, May 2016.
• “Tokyo Women: Naruse and the City.” International Symposium on Naruse Mikio: Films of Women and Misery, Leiden University and EYE Film Museum Amsterdam, Sept. 24-25, 2015.
• “Film Studies’ Gamble with Walter Benjamin: A Survey of Cinema Journal and Screen,” Chung-Ang University, Seoul, South Korea, September 2014.
• “Archiveology, Compilation, and Collecting: From Found Footage to Essay Film,” DMZ Documentary Film Festival, South Korea, September 2014.
• “Collecting, Compilation, Archiveology, and the Clock” at Max and Iris Stern International Symposium 8, Remontage/Remixing/Sharing: Technologies, Aesthetics, Politics. Friday, April 4, 2014 @ 14h00 in the Beverley Webster Rolph Hall of the Musée d’art contemporain de Montréal. [Symposium Flyer] [Symposium Program]
• HAUtaldea Symposium: CHARACTER AND DESTINY: REFLECTIONS ON CONTEMPORARY ETHNOGRAPHIC FILM AND THE DOCUMENTARY. AlhóndigaBilbao, Bilbao, 9-13 October 2013
• “Paris 1900 and the Archival Imaginary,” Visible Evidence, Stockholm Sweden, August 2013
• “Barbara Stanwyck in the Jungle,” Film Studies Association of Canada conference, Victoria, BC, June 2013.
• “The Barbara Stanwyck Show: Melodrama, Kitsch and the Media Archive,” University of Southern California, School of Critical Studies lecture series February 2013
• Seminar in Documentary and the Ethnographic avant-garde, Artist’s Moving Image Research Network, London England, January 2012.
• “Cinephilia as Cultural Anthropology,” Martin Walsh lecture, Keynote address, Film Studies Association of Canada conference, Vancouver, June 2008
• “Naruse Mikio,” National Film Theatre, London England, July 4, 2007.
• “Experimental Ethnography: Art Film,” The Ethnographic Film Festival of Montreal (FFEM) Jan 28, 2007, Concordia University.
• “Voyage to the Ends of Cinema,” Vues sur l’exotisme. Voyages aux premiers temps du cinéma, Projections et atelier, Cinémathèque québécoise, 24 novembre 2006.
• “On experimental film,” T.O.U.C.H.I.N.G P.O.L.I.T.I.C.S, Goethe Institute, October 2006.
• “Mikio Naruse and Strategies of Film Analysis,” 30 Years of Cinematic Excellence: Anniversary Conference,” Innis College, University of Toronto, March 25, 2006.
• “Naruse Mikio: The Auteur as Salaryman,” lecture at Cinematheque Ontario, Nov. 5, 2005.
• “Men with Swords and Men with Suits: The Cinema of Akira Kurosawa,” Japan Foundation Toronto, Sept. 19, 2003.
• “Lisa Steele and the Autobiographical Trace,” Depot, Vienna, Dec. 10, 2001
• Brown University, Providence Rhode Island, held a conference on March 15-16, 2000 on electronically mediated documentary. Conference: From Today. Check Conference website: http://www.stg.brown.edu/conferences/fromtoday/
• “Ecstatic Ethnography: Maya Deren and the Filming of Possession Rituals,” Concordia University PhD in Humanities Speakers Series, March 1998
• “Ecstatic Ethnography: Maya Deren and the Filming of Possession Rituals,” Queen’s University, November 1997
• Panellist at public symposium “Voice and Documentary: Who Speaks, and for Whom?” National Film Board Theatre, Montreal, March 26, 1995. Sponsored by the Canadian Independent Film caucus.
• “The Video/Film Dialogue: Theory and Practice,” Whitney Symposium on Contemporary Art, New York, April 28, 1986.

FELLOWSHIPS AND AWARDS

• 2012-2015 FQRSC Programme: Soutient aux équipes de recherché, P.I. Dr. Martin Lefebvre La pratique des études cinématographiques : sur l’institution et le développement d’un champ disciplinaire Total amount: $571,746.00
• 2012 SSHRC Travel Grant, Faculty of Fine Arts, for travel to Boston for SCMS conference, $875
• 2010 SSHRC Travel Grant, Faculty of Fine Arts, for travel to Los Angeles for SCMS conference $800
• 2009 SSHRC Travel Grant, Faculty of Fine Arts, for travel to Ottawa for FSAC conference, $1495
• 2009-2012 SSHRC Standard Research Grant for “Walter Benjamin and Film Studies: Phantasmagoria and Archive,” $35,621.00
• 2008 Japan Foundation Grant awarded to Duke University Press for publication of The Cinema of Naruse Mikio: Women and Japanese Modernity $5,100.
• 2007-2011 FQRSC Programme: Soutient aux équipes de recherché, P.I. Dr. Martin Lefebvre La pratique des études cinématographiques : sur l’institution et le développement d’un champ disciplinaire $331,997
• 2007-08 SSHRC Subventions pour ateliers d¹été, ateliers et conferences P.I. Dr. Martin Lefebvre Le discours des études cinématographiques. Analyse de la revue Cinema Journal assistée par ordinateuret développement d¹une base de connaissance. $50,000
• 2007-08 CASA (Concordia) completion grant for “The Cinema of Naruse Mikio” $3,000.
• 2006-07 Concordia Senior Research Fellow ($5,000)
• 2004-06. Fonds de recherche sur la société et la culture (FQRSC). Responsible de l’Équipe: Martin Lefebvre. “La pratique des études cinématographiques: sur l’institution et le développement d’un champ disciplinaire.” $59,000.
• 2004-07. Social Sciences and Humanities Research Council of Canada (SSHRC). “The Cinema of Naruse Mikio: Women and Japanese Modernity 1930-1967. $74,400
• 2003-05. Social Sciences and Humanities Research Council of Canada, Aid to Occasional Research Conferences, for Women and Silent Screen Conference, Montreal June 2004, $10,000
• 2003. Faculty of Fine Arts, Concordia University, Travel Grant for Kinema Club Conference, Hawaii, May 29- June 1, 2003, $835.00
• 2001. Department of Foreign Affairs and International Trace of Canada. Travel to Austria December 2001 for several lectures. $679.00.
• 2000-04. Fonds pour la Formation de Chercheurs et l’Aide à la Recherche (FCAR) Total amount: $278,000. Research team coordinated by André Gaudreault. Project title: “Émergence et développement de l’institution cinématographique au Québec (1895-1915)”
• 1999. Prix AQEC-Olivieri (Association Québécoise des Études Cinématographiques) pour le meilleur livre en études cinématographique: Experimental Ethnography: The Work of Film in the Age of Video.
• 1999-2002. Social Sciences and Humanities Research Council of Canada (SSHRC) $27,800. “Mikio Naruse and the Japanese Woman’s Film.”
• 1997-2000 Fonds pour la Formation de Chercheurs et l’Aide à la Recherche (FCAR) ($141,000). Research team coordinated by André Gaudreault. Project title: “Émergence et développement de l’institution cinématographique au Québec (1895-1915)”
• 1996-97. Concordia Aid to Scholarly Activities (CASA) $1614 for production of still images for book, “Experimental Ethnography”
• 1996-97. Japan Foundation Fellowship. Project title: Women in Japanese Film. Covers two-month research trip to Japan February/March 1997. (approx. $16,200)
• 1995. Prix AQEC-Olivieri $300 (Association Québécoise des Études Cinématographiques) pour le meilleur essai en études cinématographique, 1994, conferer à “Mourning the Woman’s Film: The Dislocated Spectator of The Company of Strangers”
• 1994-97. Fonds pour la Formation de Chercheurs et l’Aide à la Recherche (FCAR) ($137,000). Research team coordinated by André Gaudreault. Project title: “Émergence et développement de l’institution cinématographique au Québec (1895-1915)”
• 1993-96. Social Sciences and Humanities Research Council of Canada, Research Grant ($24,402): “Ethnographic Aesthetics in film and video”
• 1991-94. Faculty Development Research Grant, Concordia University ($15,000), for “Framing People: Ethnographic Aesthetics in Avant-garde Film and Video”
• 1990. Travel grant ($2500), Queen’s University Advisory Research Committee, June 1990 for travel to Australia for Asian Cinema Studies Society Conference
• 1989. Dissertation passed “with distinction” at NYU, December 1989.
• 1987-88. Doctoral Fellowship, Social Sciences and Humanities Research Council of Canada.
• 1983. University Tuition Scholarship, New York University, 1983-84, 1984-85.

EDITORIAL

Co-Editor (with Charles Acland), Canadian Journal of Film Studies, 2008-2014
Member, Editorial Board, Cinema Journal, 2002-2007
Book Review Editor, Canadian Journal of Film Studies, 1998 – present
Member, Editorial Board, Cinémas  2000-present
Member, Editorial Board, Canadian Journal of Film Studies, 1990-92.
Member, Editorial Board, Transformations, 2005-present
Member, Editorial Board, Short Film Studies
Manuscript Reviewer:
– Duke University Press
– University of Toronto Press
– University of California Press
– University of Minnesota Press
– University of Illinois Press
– McGill-Queen’s University Press
– Signs
– Canadian Journal of Film Studies
– Visual Anthropology
– Positions
– Japan Forum
– International Feminist Journal of Politics

MEMBERSHIP IN PROFESSIONAL ORGANIZATIONS

Women Film Pioneers
Film Studies Association of Canada
Society for Cinema and Media Studies
Asian Cinema Studies Society
Domitor
PEN Canada

COURSES TAUGHT

Undergraduate:

Melodrama in Film and Art
Film History
Film History to 1959
Japanese Cinema
Anti-Documentary
Experimental Documentary
Women and Film
Film Theory
Italian Cinema
Film Melodrama
Experimental Documentary
The Western

Graduate Courses:

Cities and Cinema
Archival Film Practices
Experimental Ethnography (Concordia MFA programme)
Methods in Film Studies (MA programme)
Walter Benjamin (PhD in Humanities)
Walter Benjamin (PhD in Film and Moving Image Studies)
Film Melodrama
Archiveology (PhD in Film and Moving Image Studies)
American Cinema of the 1950s
Barbara Stanwyck: Gender and Genre in Hollywood