Postdoctoral Teaching Fellow, Department of Cinema and Media Studies, University of Southern California
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)
University of Southern California, Graduate Certificate in Visual Studies
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
Columbia University, Bachelor of Arts in Film Studies
Peer Reviewed Publications
“Hard, Fast, and Brokerage: Irving H. Levin, The Filmakers, and the Birth of Conglomerate Hollywood,” Film History, Forthcoming 2021.
“When A Handshake Meant Something: The Rise of Entertainment Law in Post-Paramount Hollywood,” Journal of Cinema and Media Studies, Forthcoming 2021.
“Putting Penn to Paper: Warner Bros.’s Contract Governance and the Transition to New Hollywood” The Velvet Light Trap, Issue #80: Production Cultures, Fall 2017, pg. 4-17.
“Networking Agency: Classicism and Post-Classicism in Multiverse Time Travel Films,” Mediascape: UCLA’s Journal of Cinema and Media Studies, Fall 2015. http://www.tft.ucla.edu/mediascape/Fall2015_NetworkingAgency.html
“Billion Dollar Noir: Christopher Nolan and Film Noir as a Blockbuster Genre” Journal of American Studies of Turkey, Vol. 5 No. 13. Winter 2012, pg. 65-74.
“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 2020.
Approaching The End: Imagining Apocalypse in American Film, Chapel Hill, NC: The Critical Press, October 2014.
Hokum! The Early Sound Slapstick Short and Depression-Era Mass Culture by Rob King (University of California Press, 2017), Film Quarterly, Vol. 71, Issue 3, Spring 2018 110-112.
Film Rhythm After Sound: Technology, Music, and Performance by Lea Jacobs (University of California Press, 2015), Spectator Vol 36. No. 1, Spring 2016.
They Live by Jonathan Lethem (Soft Skull Press, 2010), Film Matters Vol 3. No. 2, February 2013.
Steven Soderbergh by Aaron Baker (University of Illinois Press, 2011), Film Matters Vol. 3 No. 1, October 2012.
Works In Progress
“Millionaires Against Billionaires: The Rise and Fall of the Private Plaintiff Antitrust Lawyer, 1946-1976,” Under Review with American Journal of Legal History
“Opening the Vault: Media Industry Studies and its Archives,” Editor for Issue of Spectator, Fall 2021
“Under the Electric Cloud: Cinema at Paramount’s Twilight,” In Progress for Special Issue of Framework: The Journal of Cinema and Media entitled “The Future of Film,” Fall 2021
“Specious Solidarity: Antitrust and Labor Lawyers in Red Scare Hollywood,” In Progress
Awards, Grants, and Distinguished Honors
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, 2020.
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, 2019.
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, 2018.
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, 2017.
Travel Award, University of Southern California Graduate School, 2015.
Visual Studies Graduate Certificate Summer Research Grant, University of Southern California, 2015.
“‘A Specific Request for Compliance’: Kirk Douglas, United Artists, and The Auditing Revolution in Hollywood,” Spartacus @ 60: A Virtual Conference, Forthcoming December 2020.
“The Duplication Debate: Kinescopes and in Reframing Early Television Rights,” Working with Intellectual Property: Legal Histories of Innovation, Labor, and Creativity, Stanford Center for Law and History Palo Alto, CA, [Conference Cancelled to COVID-19]
“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, Denver, CO, [Conference Cancelled to COVID-19]
“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, Charlotte, NC, [Panel Cancelled due to COVID-19]
“‘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.
“Martin Gang V. Hollywood: Litigating The Studio System in the 1940s,” Society for Cinema and Media Studies Annual Meeting, Seattle, WA, March 2019.
“Movies & Memos,” Seminar Co-Leader with Tanya Goldman, Society for Cinema and Media Studies Annual Meeting, Seattle, WA, March 2019.
“Tinseltown Torts: Martin Gang and the New Deal in Entertainment Law” American Society for Legal Historians (ASLH) Annual Conference, Houston, TX, November 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.
“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.
“‘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.
“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.
“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.
“From Misguided Teens to Real Women: Hollywood Confronts Abortion, 1959-1963,” Film and History Conference, Madison, WI, November 2015.
Respondent for Panel on “Visual/Material Evidence,” Material Evidence: Visual Knowledge Conference, University of Southern California, April 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.
“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.
“Billion Dollar Noir: Christopher Nolan and Film Noir as a Blockbuster Genre,” 33rd SW/TX PCA, Albuquerque, NM, February 2012.
“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.
“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.
“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.
“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.
Instructor of Record: Movies and Money: Production, Prestige, Power, University of Southern California, Fall 2020 (online).
Teaching Assistant, Introduction To Cinema (Robert Buerkle), University of Southern California, Spring 2019.
Lead Teaching Assistant, History of International Cinema I (Laura Isabel Serna), University of Southern California, Fall 2016; Fall 2018. Mentor for Publication of Lauren Mattice, “Actualizing ‘It: Clara Bow and the Scrutinized Star Persona,” Film Matters, 11, no. 1 (2020): 87-94.
Lead Teaching Assistant, History of International Cinema II (Tom Kemper), University of Southern California, Spring 2017.
Teaching Assistant, Introduction To Cinema (Drew Casper), University of Southern California, Fall 2015, Spring 2016.
Teaching Assistant, Topics in World Cinema: Arab and African Cinema (Richard Peña), Columbia University, Spring 2013.
“The Prospectus: How To Do It and Get to Your Dissertation,” Online Workshop, Cinema and Media Studies Dept., University of Southern California, September 2020.
“Podcasting as Film Criticism,” Guest Lecture at University of Pittsburgh, Contemporary Film (Course Instructor: Katie Bird), Pittsburgh, PA, October 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.
“Art House Cinema As A Formal System,” Guest Workshop for the University of California Los Angeles Video Production Crew, March 2015.
“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: 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).
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