Curriculum Vitae

EDUCATION

2020:              University of Southern California, Department of Cinema and Media Studies, Ph.D.
Dissertation: “When A Handshake Meant Something: Lawyers, Deal Making,
and the Emergence of New Hollywood”
Committee: Laura Isabel Serna (Chair), J.D. Connor, Catherine Fisk (Berkeley Law),
Steven J. Ross (History)

2017:              University of Southern California, Graduate Certificate in Visual Studies

2014:              Columbia University, Masters of Arts in Film Studies
Thesis: “Apocalypse Noir: Apocalyptic Narratives and Temporal Dislocation Within
the Modality of Film Noir”

Advisors: Jane Gaines, Rob King, Nico Baumbach

2011:              Columbia University, Bachelor of Arts in Film Studies

EMPLOYMENT

2021:              Lecturer, Department of Film and Theatre, San José State University

2020-2021:      Postdoctoral Teaching Fellow, Department of Cinema and Media Studies, University of Southern California

Peer Reviewed Publications

2021:              “When A Handshake Meant Something: The Rise of Entertainment Law in Post-Paramount Hollywood,” Journal of Cinema and Media Studies 60, No. 4. (2021), 61–84.

2021:              “Hard, Fast, and Brokerage: Irving H. Levin, The Filmakers, and the Birth of Conglomerate Hollywood,” Film History 33, No. 1 (2021), 46–75.

2017:              “Putting Penn to Paper: Warner Bros.’s Contract Governance and the Transition to New Hollywood” The Velvet Light Trap 80 (2017), 4–17.

2015:              “Networking Agency: Classicism and Post-Classicism in Multiverse Time Travel Films,” Mediascape: UCLA’s Journal of Cinema and Media Studies (2015) http://bit.ly/Labuza_NetworkingAgency

2012:              “Billion Dollar Noir: Christopher Nolan and Film Noir as a Blockbuster Genre” Journal of American Studies of Turkey 32 (2012), 65–74.

Edited Volumes

2021:                “Under the Electric Cloud: Cinema at Paramount’s Twilight,” Framework: The Journal of Cinema and Media, “The Future of Film,” Forthcoming 2021.

2021:                “Opening the Vault: Media Industry Studies and its Archives,” Editor, Spectator: The University of Southern California Journal of Film and Television Criticism 41.2 (2021).

Other Publications

2021:                “Lawyers, Deal Making, and the Emergence of New Hollywood” Enterprise & Society, Forthcoming Late 2021.

2021:                “Masculine Tempos: How Sound Technology Silenced The Women of The Dawn Patrol,” Hard to Get: The Women and Films of Howard Hawks, ed. Sara Freeman, McFarland, Forthcoming 2021.

2014:                Approaching The End: Imagining Apocalypse in American Film, Chapel Hill, NC: The Critical Press, October 2014.

Book Reviews

2018:                Hokum! The Early Sound Slapstick Short and Depression-Era Mass Culture by Rob King (University of California Press, 2017), Film Quarterly 71, No. 3 (2018), 110–112.

2016:                Film Rhythm After Sound: Technology, Music, and Performance by Lea Jacobs (University of California Press, 2015), Spectator 36 No. 2 (2016), 49–50.

2013:                They Live by Jonathan Lethem (Soft Skull Press, 2010), Film Matters 3, No 2. (2013), 71.

2012:                Steven Soderbergh by Aaron Baker (University of Illinois Press, 2011), Film Matters 3, No. 1 (2012), 45–46.

Works in Progress

“Millionaires Against Billionaires: The Rise and Fall of the Private Plaintiff Antitrust Lawyer, 1946-1976,” American Journal of Legal History, Invited Revisions.

“Dance, Camera, Dance: Directorial Choreography in the Live Anthology Drama,” Video Essay Accepted with Revisions for Movie: A Journal of Film Criticism.

I Want to Live! (1958),” In Progress for Screening American Independent Film, eds. Wyatt Phillips and Justin Wyatt, Routledge (2022).

Awards, Grants, and Distinguished Honors

2021:                Best Dissertation Award, Society for Cinema and Media Studies.

2021:                Finalist, Herman E. Krooss Prize for Best Dissertation in Business History, Business History Conference.

2021:                Small Grant for Legal History Research, American Society of Legal Historians.

2021:                Travel Grant, The University of Wyoming’s American Heritage Center.

2020:                Congressional Research Grant, The Dirksen Congressional Center.

2020:                Eisenhower Foundation Research Travel Grant, Eisenhower Presidential Library.

2020:                Alfred D. Chandler Travel Grant, Business History Conference.

2019:                Endowed Dissertation Completion Fellowship, University of Southern California Graduate School.

2019:                Graduate Student Writing Award, “United Arithmetic: Contracts and the Financialization of Executive Labor in the Motion Picture Industry,” Society for Cinema and Media Studies — Media Industries Scholarly Interest Group.

2018:                John E. Rovensky Fellow in Business and Economic History, The Business History Conference and the University of Illinois Foundation.

2018:                Summer Fellowship, Feinstein Center for American Jewish History, Temple University.

2018:                Friends of the UW-Madison Libraries Grant to Scholars, University of Wisconsin, Madison.

2017:                Everett Helm Visiting Fellowship, The Lilly Library at the University of Indiana, Bloomington.

2017:                Fellow, German Historical Institute’s Archival Summer School for Junior Historians.

2017:                Visual Studies Graduate Certificate Summer Research Grant, University of Southern California.

2015:                Travel Award, University of Southern California Graduate School.

2015:                Visual Studies Graduate Certificate Summer Research Grant, University of Southern California.

Conference Presentations

2021:                “Ida Lupino, The Exhibitor Guarantee Plan, and How Exploitation Movies Trumped Her Art,” History of Moviegoing, Exhibition and Reception (HoMER) Annual Conference, Virtual, May 2021.

2021:                “The Art of the Deal Maker: David Susskind and Contracting Postwar Artist Culture,” Working with Intellectual Property: Legal Histories of Innovation, Labor, and Creativity, Stanford Center for Law and History, Virtual, April 2021.

2021:                “Hard, Fast, and Capital: Ida Lupino and The Art-Business Divide of 1950s Hollywood,” (Panel Chair for “We’re in the Money! Case Studies from American Film History”), The Business History Conference, Virtual, March 2021. [Paper accepted for cancelled 2020 conference]

2021:                “The ‘Swoose’ Debate: Television Kinescopes and Disrupting Corporate Authorship,” (Panel Chair for “IP Reconfigured: Copyright Disruptions Across Media History”), Society for Cinema and Media Studies Annual Meeting, Virtual, March 2021. [Paper accepted for cancelled 2020 conference]

2020:                “‘A Specific Request for Compliance’: Kirk Douglas, United Artists, and The Auditing Revolution in Hollywood,” Spartacus @ 60: A Virtual Conference, December 2020.

2019:                “‘A Device for Cracking a Concerted Industry-Wide Boycott:’ The Sherman Anti-Trust Act and the End of the Hollywood Blacklist” American Society for Legal Historians (ASLH) Annual Conference, Boston, MA, November 2019.

2019:                “Martin Gang V. Hollywood: Litigating The Studio System in the 1940s,” Society for Cinema and Media Studies Annual Meeting, Seattle, WA, March 2019.

2019:                “Movies & Memos,” Seminar Co-Leader with Tanya Goldman, Society for Cinema and Media Studies Annual Meeting, Seattle, WA, March 2019.

2018:                “Tinseltown Torts: Martin Gang and the New Deal in Entertainment Law” American Society for Legal Historians (ASLH) Annual Conference, Houston, TX, November 2018.

2018:                “The Singing Cowboy’s Crimson Defense: Samuel Williston and Autry v. Republic Productions, Inc. (1947),” Annual Meeting of Society For Cinema and Media Studies (SCMS), Toronto, CA, March 2018.

2017:                “Outside Struggle, Inside Negotiations: The Beverly Hills Bar Association’s Entertainment Law Institute and the Shaping of Legal Discourse in New Hollywood,” Law & Society, 2017 Annual Conference, Mexico City, MX, June 2017.

2017:                “‘When a Handshake Meant Something’: How Entertainment Law Contracted the Shape of New Hollywood,” Association for the Study of Law, Culture and the Humanities, Stanford Law School, Palo Alto, CA, March 2017.

2017:                “The Veil of Independence: The Short Form Joint Venture Contract’s Role In New Hollywood Production,” Annual Meeting of Society For Cinema and Media Studies (SCMS), Chicago, IL, March 2017.

2016:                “Out of Step: Narrative Structure, Agency, and the Hollywood Black Dance Sequence,” First Forum, USC Graduate Student Cinema and Media Studies Conference, Los Angeles, CA, October 2016.

2015:                “From Misguided Teens to Real Women: Hollywood Confronts Abortion, 1959-1963,” Film and History Conference, Madison, WI, November 2015.

2015:                Respondent for Panel on “Visual/Material Evidence,” Material Evidence: Visual Knowledge Conference, University of Southern California, April 2015.

2015:                “In Search of Lost Time, Or: Why Is There No Slow Cinema in America?” Play/Time — University of Toronto Graduate Student Cinema Studies Conference, Toronto, CA, February 2015.

2014:                “Kings and Pawns: Andrew Bujalski’s Computer Chess and ‘Digital Psychology,’” Annual Meeting of Society For Cinema and Media Studies (SCMS), Seattle, WA, April 2014.

2012:                “Billion Dollar Noir: Christopher Nolan and Film Noir as a Blockbuster Genre,” 33rd SW/TX Pop Culture Association Conference, Albuquerque, NM, February 2012.

2011:                “The Evil That Spread Through Yokohama: Hitchcockian Perceptions of Amorality in Akira Kurosawa’s High and Low.” 5th Annual Notre Dame Undergraduate Film and Television Conference, South Bend, IN, April 2011.

Invited Workshops

2018:                “From Authors to Artists: Negotiating Intellectual Property Rights and the Migration of Live Television Writers to Hollywood” American Society for Legal Historians (ASLH) Student Research Colloquia, Houston, TX, November 2018.

2018:                “United Arithmetic: Legal Contracts and the Financialization of Corporate Governance and Executive Labor in the Motion Picture Industry,” Business and the Law – Historical Perspectives on Legal Change, Workshop at the University of Bayreuth, Germany, June 2018.

2018:                “When A Handshake Meant Something: The Emergence of Entertainment Law and The Constitution of Hollywood Art, 1944-1967,” Business History Doctoral Colloquium, Baltimore, MD, April 2018.

Teaching Experience

2021:                Entertainment Law, University of California, Berkeley (online).

2021:                The Art of Film, San José State University (online).

2021:                Law and Society in the Entertainment Industry, University of Southern California (online).

2020:                Movies and Money: Production, Prestige, Power, University of Southern California (online).

2019:                Introduction to Cinema (Teaching Assistant), University of Southern California.

2018:                History of International Cinema I (Lead Teaching Assistant), University of Southern California. Mentored the following publications:
Sarah Chow, “Anna May Wong: Navigating Asian American Racial Identity in Early Hollywood” Film Matters, 11, no. 1 (2020): 50-61.
Lauren Mattice, “Actualizing ‘It’: Clara Bow and the Scrutinized Star Persona,” Film Matters, 11, no. 1 (2020): 87-94.

2017:                History of International Cinema II (Lead Teaching Assistant), University of Southern California.

2016:                History of International Cinema I (Lead Teaching Assistant), University of Southern California.

2016:                Introduction to Cinema (Teaching Assistant), University of Southern California.

2013:                Topics in World Cinema: Arab and African Cinema (Teaching Assistant), Columbia University.

Invited Teaching

2021:                “From Studio System to New Hollywood: Radicals, Finance, and Art,” Guest Lecture at the University of Pennsylvania, Global Film History II (Course Instructor: Julia Alekseyeva), Philadelphia , PA, March 2021.

2021:                “Podcasting as Film Criticism,” Chapman University, The Practices of Writing About Film (Course Instructor: Emily Carman), Orange County, CA, March 2021.

2021:                “Podcasting as Film Criticism,” Guest Lecture at University of Pittsburgh, Seminar in Composition: Film (Course Instructor: Genevieve Newman), Pittsburgh, PA, March 2021.

2020:                “The Prospectus: How To Do It and Get to Your Dissertation,” Online Workshop, Cinema and Media Studies Dept., University of Southern California, September 2020.

2018:                “Podcasting as Film Criticism,” Guest Lecture at University of Pittsburgh, Contemporary Film (Course Instructor: Katie Bird), Pittsburgh, PA, October 2018.

2018:                “Podcasting as Film Criticism,” Guest Lecture at Chapman University, The Practices of Writing About Film (Course Instructor: Luci Marzola), Orange County, CA, April 2018.

2015:                “Art House Cinema As A Formal System,” Guest Workshop for the University of California Los Angeles Video Production Crew, March 2015.

2013:                 “The New Cinephilia and The Color Wheel,” Guest Lecture at The King’s College, Introduction to Film (Course Instructor: Bearden Coleman), New York, NY, November 2013.

Professional and Research Experience

2020-Present:   Framing Media Podcast, Host and Editor

2018-2020:       Assistant Book Review Editor, Journal of Cinema and Media Studies

2012-2020:       The Cinephiliacs Podcast, Host and Editor

2016-2018:       Writing Fellow, University of Southern California Writing Center

2015-2016:       Research Assistant to David Bordwell, Reinventing Hollywood: How 1940s Filmmakers Changed Movie Storytelling (University of Chicago Press, 2017)

2014-2016:       Masters of Cinema, Booklet Editor and Researcher for Releases of Red River, Wings, Serpico, Boomerang!, Too Late Blues, The Quiet Man, Shane, That Cold Day In The Park

2013-2014:       Rapporteur, Columbia University Seminars: Cinema and Interdisciplinary Interpretation (Bill Luhr and David Sterritt)

Academic Service

Peer Reviewer, Business History Review, 2021.

Co-Chair, SCMS Classical Hollywood Scholarly Interest Group, 2018-2020.

Treasurer, School of Cinematic Arts Graduate Student Council, 2014-2016.

Training Committee, Cinema and Media Studies TA Training, 2016, 2018.

Professional Affiliations and Memberships

Society for Cinema and Media Studies (SCMS), 2013-Present

American Society for Legal History (ASLH), 2018-Present

The Business History Conference (BHC), 2018-Present

Selected Journalism and PUBLIC Criticism

“HBO Max isn’t the future of movies — but it is a panicked plan.” Polygon, December 2020. https://www.polygon.com/2020/12/4/22151268/hbo-max-2021-warner-bros-releases-movie-theaters-vs-streaming

“4 ways a new Justice Department decision may radically reshape moviegoing,” Polygon, November 2019. https://www.polygon.com/2019/11/20/20974364/justice-department-paramount-decree-disney-netflix-monopoly

“An Uncredited Master Earns Her Sea Legs: Dorothy Arzner and Old Ironsides” Kino Lorber Blu-Ray Supplemental Essay, November 2018.

“Glamour Girl Goes Goofy: Alan Dwan’s Manhandled,” Kino Lorber Blu-Ray Supplemental Essay, April 2018.

“The Museum of Modern Art’s ‘To Save and Project’ Rescues Treasures,” The Village Voice, January 2018. https://www.villagevoice.com/2018/01/23/the-museum-of-modern-arts-to-save-and-project-rescues-treasures/

“Shallow Depth: ‘Son of Saul’ Shows Nothing and Says Nothing,” Los Angeles Review of Books, February 2016. https://lareviewofbooks.org/article/shallow-depth-son-of-saul-shows-nothing-and-says-nothing

“‘We Just Did Long Takes Every Time’: Hou Hsiao-Hsien on The Assassin,” Filmmaker Magazine, October 2015. http://filmmakermagazine.com/96104-we-just-did-long-takes-every-time-hou-hsiao-hsien-on-the-assassin/

The Littlest Outlaw and Chicano Audiences,” Little White Lies, May 2015, pg. 33-34.

“Shock Treatment: The Knick,” Sight & Sound, November 2014, pg 6-7. http://www.bfi.org.uk/news-opinion/sight-sound-magazine/features/shock-treatment-knick

“The Two Versions,” Companion Booklet for Red River (Masters of Cinema Blu-Ray Release), October 2013, 52-53.

Reviews, Interviews, and Other Features Appearing In Variety, The Village Voice, The AV Club, LAist,AKLASU Magazine, The Film Stage, and more. For a full list of all articles, please visit www.labuzamovies.com.

Selected Media Appearances

Sonny Bunch, “Peter Labuza on Antitrust, Hollywood, and Big Tech,” The Bulwark Goes Hollywood, Jan. 2021: https://bulwarkhollywood.thebulwark.com/p/peter-labuza-on-antitrust-hollywood

Sad Hill Media, “Pre-Code Montage feat. Peter Labuza,” Film Formally, June 2020: http://sadhillmedia.com/filmformally/2020/5/3/episode-10-labuza

Brian L. Frye, “Peter Labuza on the Legal History of Motion Picture Contracts,” Ipse Dixit, November 2019: https://shows.acast.com/ipse-dixit/episodes/peter-labuza-on-the-legal-history-of-motion-picture-contract

Jake Pitre, “How Disney has Turned the Film Industry Into a Small World, After All,” Public Seminar, August 2019: https://publicseminar.org/essays/how-disney-has-turned-the-film-industry-into-a-small-world-after-all/

Rob Bailey-Millado, “Did ‘Murder Mystery’ really just break a Netflix ratings record?” New York Post, June 2019: https://nypost.com/2019/06/19/did-murder-mystery-really-just-break-a-netflix-ratings-record/

Patrick Hoo, “How Entertainment Lawyers Changed the Hollywood Studio System – Featuring Peter Labuza,” The Fordham Intellectual Property, Media, & Entertainment Law Journal Podcast, February 2019: http://www.fordhamiplj.org/2019/02/12/episode-58-how-entertainment-lawyers-changed-the-hollywood-studio-system-featuring-peter-labuza/

Jake Coyle, “As Disney swallows Fox, a new era dawns for Hollywood,” AP News, December 2017: https://apnews.com/article/78507cc7a2f64c4eb6b46ee4a29bcdc8