Annotated list of principal
CV revised 12 May 2009
B.A. (English) State University of New York at Albany, 1969
M.A. (Speech and Dramatic Arts, concentration in Film) University
of Iowa, 1972
Ph.D. (Speech and Dramatic Arts, concentration in Film)
University of Iowa, 1974.
Honorary degree: Doctora philosophiæ honoris causa, University
of Copenhagen. Awarded 13 November 1997.
COLLEGE TEACHING EXPERIENCE
Jacques Ledoux Professor of Film Studies,
Department of Communication Arts, University of
Introduction to Film
Critical Film Analysis
Classical Film Theory
Contemporary Film Theory
Camera Movement and Film Narrative
Nature of Criticism
Postwar European Cinema
American Film Since 1970
Hong Kong Cinema
Introduction to Graduate Study in Film
Seminar in Film Analysis
Seminar in Contemporary Film Theory
Seminar in Contemporary Film Criticism
Narrative Theory and
Japanese Cinema of the 1930s
and Technique in American Cinema
Space and Narration in the
The Films of Jean-Luc Godard
Cognitive Poetics of
Stylistic Analysis of Film
The Film Spectator
Contemporary Asian Cinema
Comparative Film Analysis
Visiting Associate Professor in Cinema Studies, New York
University (Fall term, 1979): Aesthetic Principles of Film; The
Films of Carl Theodor Dreyer; Classical Film Theory.
Visiting Associate Professor in Broadcasting and Film, University
of Iowa (Fall term, 1980): Introduction to Film Analysis; Film
Criticism; Seminar: American Film.
Director, Wisconsin Center for Film and Theater Research,
University of Wisconsin–Madison, June 1985–June 1987; July
Associate Chair, Department of Communication Arts (August
GRANTS AND AWARDS
American Film Institute Graduate Scholarship for dissertation
University of Wisconsin–Madison Graduate School grants for
research on the films of Carl Dreyer (1976), on Yasujiro Ozu and
Kenji Mizoguchi (1977), on the classical Hollywood cinema (1979),
on the Soviet cinema of the 1920s (1981), on post-1968 political
cinema (1982), on Yasujiro Ozu (1983), on interpretation in film
criticism (1986), on Japanese cinema of the 1930s (1987), on
issues in contemporary film theory (1989), on the stylistics of
the cinema (1990), on historiographic models of film style
(1995), on Hong Kong cinema (1997), and on theories of film
National Endowment for the Humanities Grant for 1978 Summer
Seminar for College Teachers, “The Classical Narrative
Cinema and Modernist Alternatives.”
American Council of Learned Societies fellowship for summer and
fall of 1982.
Chancellor’s Teaching Award, University of Wisconsin–Madison,
Fulbright Research Scholar for September 1984–January 1985, in
Vilas Humanist Award, University of Wisconsin–Madison,
Fellowship, University of Wisconsin–Madison Institute for
Research in the Humanities, fall 1987–spring 1988.
Wisconsin Alumni Research Foundation named professorship: Jacques
Ledoux Professor of Film Studies, April 1990.
Guggenheim Fellowship, January–December 1991.
Five-year fellowship, University of Wisconsin–Madison Institute
for Research in the Humanities, fall 1993–spring 1998.
Hilldale Award in the Humanities, March 2001.
Hilldale Distinguished Professorship, University of
Wisconsin–Madison, March 2001.
Sir Edwin Youde Memorial Fund Visiting Professor, attached to
Hong Kong Academy of the Performing Arts (19 November–29 November
2004 Teaching Award, Alpha Chapter, Phi Beta Kappa, University of WisconsinMadison,
Anthology Film Archive Award for Film Preservation, March 2006.
Award for Excellence in Asian Film Scholarship, Hong Kong
Film Festival/Asian Film Forum, 20 March 2007.
Hood Fellowship, University of
Auckland, New Zealand, 3 May–31 May 2007.
Filmguide to La Passion de Jeanne d’Arc.
Bloomington: Indiana University Press, 1973.
Film Art: An Introduction. Textbook written in
collaboration with Kristin Thompson. Reading, MA: Addison-Wesley,
1979. 2nd edition, New York: Knopf, 1985. 3rd edition, New
York: McGraw-Hill, 1990. 4th edition, New York: McGraw-Hill,
1992. 5th edition, New York: McGraw-Hill, 1996. 6th edition,
New York: McGraw-Hill, 2000. 7th edition, New York:
McGraw-Hill, 2003. 8th edition, New York: McGraw-Hill, 2008. 9th edition,
New York: McGraw-Hill, 2009. Voted one of top five books on cinema published
since 1980, British Film Institute poll, 2001.
Translations: Chinese (unauthorized: Taipei: Yuan Liou, 1992;
Shanghai: Wen Yi Chubanshe, 1992; authorized: Taiwan: McGraw-Hill
International Ltd., 1996; new ed. 2002; 3rd ed. 2008); Korean (Seoul: Irongua
Shilchon, 1994); Spanish (Barcelona: Ediciones Paidós Ibérica,
1995; 2nd ed. 2007; Mexico City: McGraw-Hill, 2002): Hungarian (Budapest:
Hungarian Film Institute, 1997); French (Brussels: De Boeck,
1999); Persian (unauthorized: Tehran: Markaz,
2000). Translations in progress: Italian (Rome: McGraw-Hill,
Italy); Korean, new ed. (Singapore: McGraw-Hill International
Ltd.); Slovenian (Ljubljana: Slovenska Kinoteka); Greek (Athens:
National Bank Cultural Foundation); Turkish (Istanbul: Çitlembik
French Impressionist Cinema: Film Culture, Film Theory, Film
Style. New York: Arno Press, 1980. Reprinting of Ph.D.
The Films of Carl-Theodor Dreyer. Berkeley: University
of California Press, 1981.
The Classical Hollywood Cinema: Film Style and Mode of
Production to 1960. Written in collaboration with Janet
Staiger and Kristin Thompson. London: Routledge and Kegan Paul;
New York: Columbia University Press, 1985. Selected as a Choice
Outstanding Academic Book of 1985. Translations: Spanish
(Barcelona: Ediciones Paidós Ibérica, 1997); Korean in progress
Narration in the Fiction Film. Madison: University of
Wisconsin Press; London: Methuen, 1985. Translations: Spanish
(Barcelona: Ediciones Paidós Ibérica, 1996); Hungarian (Budapest:
Hungarian Film Institute, 1996); Chinese (Taipei: Yuan Liou,
1999); Persian (unauthorized; Tehran: Farabi Cinema Institute,
1998); Korean in progress (Seoul: Vision and Language).
Ozu and the Poetics of Cinema. London: British Film
Institute; Princeton: Princeton University Press, 1988. Reprint
edition, with minor emendations: Princeton University Press,
1994. Named as one of four finalists in the 1989 Jay Leyda Prize
competition conducted by Anthology Film Archives. Translation:
Japanese (Tokyo: Seido, 1992).
Making Meaning: Inference and Rhetoric in the Interpretation
of Cinema. Cambridge: Harvard University Press, 1989.
Translations: Chinese (Taipei: Yuan-Liou, 1995); Spanish
(Barcelona: Paidós Ibérica, 1995).
The Cinema of Eisenstein. Cambridge: Harvard University
Press, 1993. Winner of 1993 Theatre Library Association Award for
the outstanding book in film, broadcasting, or recorded
performance. Translations: Chinese (Taipei: Yuan-Liou, 1995);
Spanish (Barcelona: Ediciones Paidós Ibérica, 1999).
Film History: An Introduction. Textbook written
with Kristin Thompson (first-named author). New York: McGraw-Hill,
1994. 2nd edition, New York: McGraw-Hill, 2002. 3rd edition, New York: McGraw-Hill,
2009. Translations: Italian (Milan: Castoro, 1998); Chinese (Taiwan: McGraw-Hill
International Ltd., 1999); Korean (Seoul: Vision and Language,
2000); Hungarian (2007); Czech (2008); Persian (unauthorized: Tehran: Markaz).
Post-Theory: Reconstructing Film Studies. Anthology,
co-edited with Noël Carroll. Madison: University of Wisconsin
Press, 1996. Translation: Chinese (Beijing: Social Sciences
On the History of Film Style. Cambridge: Harvard
University Press, 1997. Selected as a Choice Outstanding Academic
Book of 1998. Translations: Korean (Seoul: Hanul, 2002); Croatian [read the preface] (O
povijesti filmskoga stila. Zagreb:
Croatian Film Clubs Association, 2005). In
progress: Japanese (Kanae Shobo, 2004).
Planet Hong Kong: Popular Cinema and the Art of
Entertainment. Cambridge: Harvard University Press, 2000.
Translations: long-form Chinese (Hong Kong: Arts Council/ Film
Critics Society, 2001); simplified Chinese (Beijing: Hainan,
Visual Style in the Cinema: Vier Kapitel Filmgeschichte.
Munich: Verlag der Autoren, 2001.
Figures Traced in Light: On Cinematic Staging.
Berkeley: University of California Press, 2005. Translation: Portuguese (Sao
Paolo: Papirus, 2008).
The Way Hollywood Tells It: Story and Style in Modern
Movies. Berkeley: University of California Press,
Poetics of Cinema. New York: Routledge, 2007.
“Alfred Hitchcock’s Notorious.” Film
Heritage 4, 3 (Spring 1969): 6–10.
“The Circus.” Film Comment 6, 3 (Fall
“François Truffaut: A Man Can Serve Two Masters.” Film Comment 7, 1 (Spring 1971): 18–23.
“Citizen Kane.” Film Comment 7, 2
(Summer 1971): 38–47. Reprinted with 1975 addendum in Movies
and Methods, ed. Bill Nichols, (Berkeley: University of
California Press, 1976), pp. 273–290. Translated into Chinese in The Shooting
Script of “Citizen Kane” by Herman
Mankeiwicz and Orson Welles (Beijing, 1985), pp.
“The Man Who Shot Liberty Valance.” Film
Comment 7, 3 (Fall 1971): 18–20.
“Dziga Vertov: An Introduction.” Film Comment 8, 1 (Spring
“The Idea of Montage in Soviet Art and Film.” Cinema Journal 11, 2 (Spring 1972): 9–17.
“Passion, Death, and Testament: Dreyer’s Jesus of
Nazareth.” Film Comment 8, 2 (Summer 1972):
“Eisenstein’s Epistemological Shift.” Screen 15, 4 (Winter 1974–75): 29–46.
“Eisenstein’s Epistemology: A Response.” Screen 16, 1 (Spring 1975): 142–143.
“The Study of Film.” Allen, Willmington, and Sprague,
eds., Speech Education in the Secondary School (Boston:
Allyn and Bacon, 1976), pp. 111–130.
“Film Aesthetics and the College Textbook.” Quarterly Review of Film Studies 1, 1 (1976):
“Space and Narrative in the Films of Ozu.” Written in
collaboration with Kristin Thompson. Screen 17, 2
(Summer 1976): 41–73. Translated into Japanese in Eureka 13, 6
“Imploded Space: Film Style in The Passion of Jeanne
d’Arc.” Purdue Film Studies 1 (1976):
“Problems of Camera Movement.” Cine-Tracts no.
2 (1977): 19–26. Translated as “Kamera-Bewegung und
filmischer Raum,” in Der Schnitt no. 8 (1997):
“Camera Movement, the Coming of Sound, and the Classical
Hollywood Style.” Ben Lawton and Janet Staiger, eds., Film: Historical-Theoretical
NY: Redgrave, 1977), pp. 27–31. Reprinted in The Hollywood Film Industry,
ed. Paul Kerr (London: Routledge, 1984), pp. 148–153.
“Our Dream-Cinema: Western Historiography of the Japanese
Film.” Film Reader 4 (1979): 45–62. Translated with
a 1980 addendum in Mizoguchi Kenji (Venice: Biennale,
1980), pp. 11–26.
“Criticism, Theory, and the Particular.” Film
Criticism 4, 1 (Fall 1979): 1–8. Preface to special issue
which I edited.
“The Art Cinema as a Mode of Film Practice.” Film
Criticism 4, 1 (Fall 1979): 56–64. Reprinted in Catherine
Fowler, ed., The European Cinema Reader (New York:
Routledge, 2002), pp. 94–102.
“To the Distant Observer.” Review of Noel
Burch’s book. Wide Angle 3, 4 (1980): 70–73. Another
version of this review appears as “Een Spiegel” in the
Dutch journal Skrien no. 89 (September 1979):
“The Musical Metaphor.” Yale French Studies no. 60 (1980):
“Introduction to Film, Approach II.” American Film
Institute Newsletter 5, 4 (March–April 1982): 4–7, 9.
Reprinted in University Film and Video Association Monographs
no. 5: College Course Files, ed. Patricia Erens, (River
Forest, IL: University Film and Video Association, 1986), pp.
“Textual Analysis, Etc.” Enclitic 5, 2/6, 1
(Fall 1981/Spring 1982): 125–136.
“Neoformalist Criticism: A Reply.” Written in
collaboration with Kristin Thompson. Journal of the
University Film Association 34, 1 (Winter 1982):
“Happily Ever After, Part Two.” The Velvet Light
Trap no. 19 (1982): 2–7.
“Dreyer: Discoveries and Rediscoveries.” Scandinavian Review 70, 3 (June 1982): 60–70.
“Ozu Stories.” University Art Museum Calendar (Berkeley; March
1983): 1 –2.
“Lowering the Stakes: Prospects for a Historical Poetics of
Cinema.” Iris 1, 1 (1983): 5–18. Translated in World Cinema [Beijing]
2 (1988): 44–53.
“Linearity, Materialism, and the Study of the Early American
Cinema.” Written in collaboration with Kristin Thompson. Wide Angle 5,
3 (Spring 1983): 4–15. Translated into Italian in Segno Cinema 13 (May
“Textual Analysis Revisited.” Enclitic 7, 1
(Spring 1983): 92–95.
“From Sennett to Stevens: An Interview with William
Hornbeck.” Written in collaboration with Kristin Thompson. The Velvet
Light Trap no.
20 (Summer 1983): 34–40. Reprinted in American Cinemeditor vol. 33,
no. 4/ vol. 34, no. 1 (Winter 1983/ Spring 1984): 11–13, 20–23.
“Mizoguchi and the Evolution of Film Language.” In
Stephen Heath and Patricia Mellencamp, eds., Cinema and
Language (Los Angeles: American Film Institute, 1983), pp.
107–117. Reprinted in Mizoguchi the Master, ed. Gerald
O’Grady (Cinémathèque Ontario/ Japan Foundation, 1997),
“Narration and Scenography in the Later Eisenstein.” Millennium Film Journal no. 13 (Fall/Winter 1983–1984):
“Jump Cuts and Blind Spots.” Wide Angle 6, 1
(1984): 4–11. Translated into French in La Revue belge du
cinéma no. 16 (Summer 1986): 85–90. Reprinted in La
Revue belge du cinéma no. 22/23 (1988) (expanded edition of
“Mise-en-Scène Criticism and Widescreen Aesthetics.” The Velvet Light Trap no. 21 (Summer 1985):
Foreword to Edward Branigan, Point of View in the Cinema: A
Theory of Subjectivity in Classical Film (New York: Mouton,
“Fundamental Aesthetics of Sound in the Cinema.”
Written in collaboration with Kristin Thompson. In Elisabeth Weis
and John Belton, Film Sound: Theory and Practice (New
York: Columbia University Press, 1985), pp. 181–199. Reprinted
from Film Art: An Introduction (1979).
Encyclopedia entry on Yasujiro Ozu in The International
Dictionary of Films and Filmmakers, vol. II,
Directors/Filmmakers, ed. Christopher Lyon (Chicago: St. James
Press, 1984), pp. 397–398. Reprinted in Andrew Sarris, ed., The St. James
Film Directors Encyclopedia (Detroit:
Visible Ink, 1998), pp. 368–369.
“Toward a Scientific Film History?” Written with
Kristin Thompson. Quarterly Review of Film Studies 10, 3
(Summer 1985): 224–237. Review article.
“Classical Hollywood Narrative: Principles and
Procedures.” In Narrative, Apparatus, Ideology: A Film
Theory Reader, ed. Philip Rosen (New York: Columbia
University Press, 1986), pp. 17–34. Translated into Danish in Tryllelygten no.
2 (1995): 57–78; translation forthcoming in Portuguese in anthology Teoria
Contemporãnea do Cinema (Sao Paolo: Senac).
“The Avant-Garde.” The Wilson Quarterly 10, 3
(Summer 1986): 70–75. Reprinted in Philip S. Cook, Douglas
Gomery, and Lawrence W. Lichty, eds. American Media: The
Wilson Quarterly Reader. Washington, DC: The Woodrow Wilson
Center, 1989, pp. 125–131.
“A Salt and Battery.” Written with Kristin Thompson. Film Quarterly 40,
2 (Winter 1986–87): 59–62.
“Salt II.” Written with Kristin Thompson. Film
Quarterly 40, 4 (Summer 1987): 61–63.
“Autorità narrativa e spazio cinematografico nel film di
Dreyer.” In Il cinema di Dreyer, ed. Andrea Martini
(Venice: Marsilio, 1987), pp. 63–71.
“Historical Implications of the Classical Hollywood
Cinema.” World Cinema (Beijing) no. 3 (1987):
72–89. Translation into Chinese of a portion of a chapter from The Classical
“Glamor, Glimmer, and Uniqueness in Hollywood
Portraiture.” Hollywood Glamour 1924–1956: Selected
Portraits from the Wisconsin Center for Film and Theater
Research. Madison: Elvehjem Museum exhibit catalogue, 29 August–25 October 1987.
“Ozu Revisited.” Program notes for National Film
Theatre season on Yasujiro Ozu. NFT (May 1988): 26–28.
“ApProppriations and ImPropprieties: Problems in the
Morphology of Film Narrative.” Cinema Journal 27, 3
(Spring 1988): 5–20.
“Hommage aan Jacques Ledoux.” Andere Sinema (Brussels) no.
87 (September–October 1988): 29.
“Adventures in the Highlands of Theory.” Screen 29, 1 (Winter 1988): 72–97.
“To the Disengaged Observer: A Reply to Peter Lehman.”
Written with Kristin Thompson. Journal of Film and Video 40, 1 (Winter
“Cinematography.” The International Encyclopedia of
Communications, vol. 1 (New York: Oxford University Press,
1989), pp. 279–283.
“Historical Poetics of Cinema.” In The Cinematic
Text: Methods and Approaches, ed. R. Barton Palmer (New
York: AMS Press, 1989), pp. 369–398.
“Jacques Ledoux: 1921–88.” Written with Kristin
Thompson. Cinema Journal 28, 3 (Spring 1989): 4–7.
“A Case for Cognitivism.” Iris no. 9 (Spring
1989): 11–40. Translated into Hungarian in Metropolis 2,4–3,1 (1999):
4–33; into Polish in Kognitywna teoria
filmu, ed. Jacka Ostaszewskiego (Krakow, 1999), pp. 31–64;
into Serbo-Croatian in Ljetopis no. 19–20 (1999):
“A Case for Cognitivism: Further Reflections.” Iris no. 11 (Summer 1990): 107–112.
Book review of Donald Richie, Japanese Cinema (Oxford
University Press, 1990) in Asian Cinema 5, 2 (1990):
“Normas históricas y narraciòn hollywoodiense.” Archivos de la filmoteca 11, 10 (1991): 66–75.
“La stilistica della scenografia nel tardo Ejzenstejn.”
In Sergej Ejzenstejn: Oltre il cinema, ed. Pietro
Montani (Venice: La Biennale di Venezia/ Edizioni Biblioteca
dell’Immagine), 1991, pp. 138–145.
“A Cinema of Flourishes: Japanese Decorative Classicism of
the Prewar Era.” In Reframing Japanese Cinema, ed.
David Desser and Arthur Noletti (Bloomington: Indiana University
Press, 1992), pp. 327–345.
Foreword to Douglas Gomery, Shared Pleasures: A History of
Movie Presentation in the United States (Madison: University
of Wisconsin Press, 1992), pp. ix–xiv.
“Robert Altman: An American Maverick.” Brief notes for
brochure for Altman retrospective and MacArthur Filmmaker’s
Dialogue (Minneapolis: Walker Art Center, 1992), 2pp.
“Cognition and Comprehension: Viewing and Forgetting in Mildred Pierce.” Journal
of Dramatic Theory and Criticism VI, 2 (Spring 1992): 183–198. Translated
into German in Montage/ av: Zeitschrift für Theorie &
Geschichte audiovisueller Kommunikation 1, 1 (1992):
“Film Scholars and Film Archives.” Bulletin de la
Fédération Internationale des Archives du Film no. 45
(October 1992): 38–43. Invited essay coauthored with Kristin
Thompson (principal author).
“Technological Change and Classical Film Style in the
1930s.” Written with Kristin Thompson. In Tino Balio, Grand Design:
Hollywood as a Modern Business Enterprise, 1930–1939, vol. 5 in The
History of the American Cinema. New York: Scribners, 1993, pp. 109–141.
“Film Interpretation Revisited.” Film
Criticism 17, 2–3 (Winter/Spring 1993): 93–119.
Five film notes on Ai no machi, Umarete wa mita
keredo, Degigokoro, Ukigusa monogatari,
and Seishun no yume imaizuko. In Les Cahiers du
muet no. 1 (1993). Unpaginated portfolio published by the
Cinémathèque Royale de Belgique.
Excerpts from Making Meaning and “Textual Analysis,
Etc.” Translated in Interpretacja dziela filmowego,
ed. Wieslawa Godzica, ed. (Cracow: Jagiellonian University Press,
1993), pp. 13–32.
“Kino-Fist: The Cinema of Sergei Eisenstein.” Cinémathèque Ontario Winter Film Programme Guide (March
1994), p. 28. Brief introduction to film series.
“The Power of a Research Tradition: Prospects for Progress
in the Study of Film Style.” Film History 5, 4
“Toto le Moderne: Narration dans le cinéma européen
d’après 1970.” La Revue belge du cinéma no.
36–37 (April 1994): 33–39.
“Deep-Focus Cinematography.” In The Studio
System, ed. Janet Staiger (Rutgers University Press), pp.
93–124. Reprint of chapter from Bordwell, Staiger, and Thompson, The Classical
Hollywood Cinema (Columbia
University Press, 1985).
“Du Skal Aere Din Hustru,” Cahiers du Muet no.
16; “Michael,” Cahiers du Muet no. 22 (both
November 1994). Brief film notes for la Cinémathèque Royale of
“Visual Style in Japanese Cinema, 1925–1945.” Film
History 7, 1 (Spring 1995): 5–31.
“Citizen Kane und die Künstlichkeit des classischen
Studio-Systems.” In Der schöne Schein der
Künstlichkeit, ed. Andreas Rost. Frankfurt: Verlag der
Autoren, 1995, pp. 117–149.
“Die Hard und die Rückkehr des klassischen
Hollywood-Kinos.” In Der schöne Schein der Künstlichkeit,
ed. Andreas Rost. Frankfurt: Verlag der Autoren, 1995, pp.
“Neostruktrualistisk narratologi och filmiska
berättarfunktioner.” Aura: Filmvetenskaplig
tidskrift 1, 1 (1995): 47–57. In Swedish.
“Contemporary Film Studies and the Vicissitudes of Grand
Theory.” Introduction to Post-Theory, pp. 1–36.
Translated into Italian in Bianco e nero 58, 1–2 (1997):
20–67; into Portuguese in Teoria Contemporanea do Cinema,
vol. 1: Pos-estrutralismo e filosofia analitica, ed. Fernao
Pessoa Ramos (Sao Paolo: Senac, 2005), 25–70.; into Japanese for
the journal FB no. 14 (2000).
“Convention, Construction, and Cinematic Vision.” Essay
for Post-Theory, pp. 87–107. Translated into Polish in Kognitywana
ed. Jacka Ostaszewskiego (Kracow, 1999), pp. 65–88.
Foreword to Noël Carroll, Theorizing the Moving Image (Cambridge:
Cambridge University Press, 1996), pp. ix–xii.
“La Nouvelle Mission de Feuillade; or, What Was
Mise-en-Scène?” The Velvet Light Trap no. 37
(Spring 1996): 10–29.
“Senza Inibizioni: Introduzione al cinema di Hong
Kong.” Segno cinema no. 80 (July/ August 1996), pp.
12–14. Journalistic essay.
“Sergei Eisenstein,” “Jacques Tati,” and
“Yasujiro Ozu.” Entries for The Oxford History of
World Cinema, ed. Geoffrey Nowell-Smith (Oxford: Oxford
University Press, 1996), pp. 168–169, 351, and 420–421.
“Aesthetics in Action: Kung Fu, Gunplay, and Cinematic
Expressivity.” In Fifty Years of Electric Shadows,
ed. Law Kar (Hong Kong: Urban Council/ Hong Kong International
Film Festival, 1997), pp. 81–89. Reprinted in At Full Speed:
Hong Kong Cinema in a Borderless World, ed. Esther C. M. Yau
(Minneapolis: University of Minnesota Press, 2001), pp.
“Hong Kong Cinema.” Brief introduction to Hong
Kong brochure, Royal Film Archive of Belgium, on occasion of
“Made in Hong Kong” retrospective, 4–30 June 1997;
English, French, and Flemish versions, 4 pp. each.
Review of Robert Ray, The Avant-Garde Finds Andy Hardy,
Film Quarterly 50, 4 (Summer 1997): 42–44.
“Modernism, Minimalism, Melancholy: Angelopoulos and Visual
Style.” The Last Modernist: The Films of Theo
Angelopoulos, ed. Andrew Horton (New York: Praeger, 1997),
“From Flamboyance to Monumentality: Thoughts on the Jidai-geki.” What
Is Jidai-Geki?: A New Film Study, ed. Tsutsui Kyotada and Kato Mikiro (Tokyo:
Jimbun Shoin, 1997), pp. 141–161. In Japanese.
“Modelle der Rauminszenierung im zeitgenössishen
europäischen Kino.” Zeit, Schnitt, Raum, ed.
Andreas Rost (Munich: Verlag der Autoren, 1997), pp. 17–42.
“Richness through Imperfection: King Hu and the
Glimpse.” In Transcending the Times: King Hu and Eileen
Chan, ed. Law Kar (Hong Kong: Urban Council/ Hong Kong
International Film Festival, 1998), pp. 19–24. Reprinted with
revisions in The Cinema of Hong Kong: History, Arts,
Identity, ed. David Desser and Poshek Fu (Cambridge
University Press, 2000), pp. 113–136.
“Postmoderne und Filmkritik: Bemekungen zu einigen
endemischen Schiewigkeiten.” In Die Filmgespenster der
Postmoderne, eds. Andreas Rost and Mike Sandbothe, (Munich:
Verlag der Autoren, 1998), pp. 29–39.
“Film Theory.” Entry for The Encyclopedia of
Aesthetics ed. Michael Kelly (New York: Oxford University
Press), vol. 2, pp. 197–201.
Preface to Miles Wood, Cine East: Hong Kong Cinema through
the Looking Glass (Surrey: FAB Press, 1998), 3 ms. pp.
Preface to the Italian edition of Film History: An
Introduction (Milan: Castoro, 1998).
“Style in Cinema.” Style 32, 3 (Fall 1998):
381–384. Preface to special issue which I edited.
“Sound of Silents.” Artforum International (April 2000): 123.
Brief essay for an homage to Robert Bresson.
“Taking Things to Extremes: Hallucinations Courtesy of
Robert Reinert.” Aura (Stockholm) VI, 2 (2000):
“Hong Kong Martial Arts Cinema.” In Crouching
Tiger, Hidden Dragon: A Portrait of the Ang Lee Film. New
York: Newmarket Press, 2000, pp. 14–21.
“Sarris and the Search for Style.” In Citizen
Sarris, American Film Critic: Essays in Honor of Andrew
Sarris, ed. Emmanuel Levy. (Lanham, Maryland: Scarecrow
Press, 2001), pp. 165–173.
“Transcultural Spaces: Toward a Poetics of Chinese
Film.” Post Script 20, 2 (2001): 9–25; Chinese
translation in Film Appreciation Journal no.104 (Taipei,
2001): 15–25. Reprinted in Chinese-Language Film:
Historiography, Poetics, Politics, ed. Sheldon Lu, Emily
Yeh, and Gerald Duchovnay (Honolulu: University of Hawai’i
Foreword to The Danish Directors: Dialogues on a Contemporary
National Cinema, ed. Mette Hjort and Ib Bondebjerg. Bristol:
Intellect Press, 2001, pp. 6–7.
Introduction, Hong Kong Film Festival/ Brussels 2001,
program book (Brussels: Royal Film Archive of Belgium/ Hong Kong
Overseas Trade Office, May 2001), p. 6. “Ideal
Positionality: Shot/Reverse Shot.” Portion of chapter of Narration
in the Fiction Film (1985)
translated into Serbian in Ljet Opis (Zagreb) no. 25 (2001):
Encyclopedia entries on Walt Disney and D. W. Griffith. The
Oxford Companion to United States History, ed. Paul Boyer
(New York: Oxford University Press, 2001), pp. 189–190,
“The Silent Cinema.” Introduction and fifteen short
essays. In Film: The Critics’ Choice, ed. Geoff
Andrew. New York: Watson-Guptill, 2001, pp. 20–51.
“Eisenstein, Socialist Realism, and the Charms of
Misantsena.” In Eisenstein at 100: A
Reconsideration, ed. Al LaValley and Barry P. Scherr
(Rutgers:Rutgers University Press, 2001), pp. 13–37.
Audio commentary for Criterion DVD release of Eisenstein’s Alexander
“Film Futures.” Substance no. 97 (2002):
“Intensified Continuity: Visual Style in Contemporary
American Film.” Film Quarterly 55, 3 (Spring 2002):
“The Swordsman and His Jiang Hu: Thoughts on the
World of Tsui Hark.” Hong Kong Film Archive
Bulletin no. 20 (May 2002): 6–7. Book review.
“His Girl Friday.” In Moderne Film Theorie,
ed. Jurgen Felix (Mainz: Bender, 2002), pp. 217–221.
“Who Blinked First? How Film Style Streamlines Nonverbal
Interaction.” In Style and Story: Essays in Honor of
Torben Grodal, ed. Lennard Hojbjerg and Peter Schepelern
(Copenhagen: Museum Tusulanum Press, 2003), pp. 45–57.
“How to Watch a Martial Arts Movie.” Heroic Grace:
The Chinese Martial Arts Film, ed. David Chute (Los Angeles:
UCLA Film Archive, 2003), pp. 9–12.
“Louder than Words: The Films of Johnnie To.” Artforum International (May 2003): 154–157.
“A Modest Extravagance: Four Looks at Ozu.” In Ozu
Yasujiro: 100th Anniversary (Hong Kong: Hong Kong
International Film Festival, 2003): 16–17.
“True to Form: Ozu Late and Early.” Artforum
International (October 2003): 151–155.
“Authorship and Narration in Art Cinema.” Reprinted excerpt from
chapter of Narration in the Fiction Film (1985). In Film Authorship,
ed. Virginia Wright Wexman (Rutgers: Rutgers University Press, 2003), 42–49.
Liner essay for Yasujiro Ozu’s Tokyo Story, Criterion Collection DVD,
“Schema and Revison: Staging and Composition in Early
CinemaScope.” Le CinémaScope Entre art et industrie ed.
Jean-Jacques Meusy (Paris: AFRHC, 2004), pp. 217–232.
Strong Sense of Narrative Desire: A Decade of Danish Cinema.” Film (Copenhagen), no. 34 (Spring 2004):
“Nah dran und unpersönlich: Hal Hartley und
die Beharrlichkeit der Tradition.” In Die Spur durch den
Spiegel: Der Film in der Kultur der Moderne, ed. Malte
Hagener, Johann Schmidt, and Michael Wedel (Berlin: Bertz Verlag,
2004), pp. 410–421.
translation appears on the Danish film studies website 16:9.]
Liner essay for Yasujiro Ozu’s Early Summer,
Criterion Collection DVD, 2004.
“A Monumental Heroics: Form and Style in Eisenstein’s Silent Films.” Excerpts
from chapter of The Cinema of Eisenstein (1993). In The
Silent Cinema Reader, ed. Lee Grieveson and Peter Krämer (New York:
Routledge, 2004), pp. 368–388.
Foreword to Moving Image Theory: Ecological Considerations, ed. Joseph
D. Anderson and Barbara Fisher Anderson. Carbondale: University of Southern Illinois
“Film Theory as Empirical Inquiry” and “Interview with World
Cinema.” New Trends in Contemporary Film Theory (in Chinese),
ed. Chen Xihe (Beijing: Culture and Art Publishing House, 2005), 15–24; 351–358.
“Three Nights in 1995,” Filming HowWhy, special issue of City
Magazine (Hong Kong) (April 2006), 24–25.
“Movies from the Milkyway.” In Milkyway Image, Beyond Imagination:
Wai Ka-fai and Johnnie To Creative Team, 1996–2006 (Hong Kong: Joint Publishing
Co., 2006), ed. Lawrence Pun, 16–25.
“Against Insight,” Cinema Scope no. 26 (Spring 2006), 80.
“Response to Oksana Bulgakowa,” Monatschefte 98, 2 (Spring
“The Little Cinema that Could: Hong Kong Cinema on
World Screens.” Made
in Hong Kong (Washington: Freer Gallery of Art/Hong
Kong Economic and Trade Office, 2006), 11–15.
Foreword to Roger Ebert, Awake in the Dark:
Forty Years of Reviews, Essays, and Interviews (Chicago: University of Chicago
Press, 2006), xiii–xviii.
and Renewal in Danish Cinema.” Film (Copenhagen),
no. 55 (February 2007), 16–19.
the Camera.” Film (Copenhagen), no. 57 (May 2007), 22–26.
“The Mad Detective: Doubling Down.” Liner
note essay for Masters of Cinema DVD release of The Mad Detective (2008).
Audio commentary for Criterion DVD release of Ozu’s Autumn Afternoon,
“Cognitive Theory” and “Sergei Eisenstein” entries
in The Routledge Companion to Philosophy and Film, ed. Paisley Livingston
and Carl Plantinga (New York: Routledge, 2009), 356–367 and 378–386.
Karel Dibbets. “De Revisie van de filmgeschiedenis: Een
vraaggesprek met David Bordwell en Kristin Thompson.” Skrien no. 134 (February–March 1984): 41–43. Published
“Problems of Contemporary Film Theory.” Two one-hour
radio interviews with Dirk Lauwaert, broadcast over Brussels
Flemish station, 1985.
“Ozu Revisited.” Invited lecture and discussion with
John Gillett on occasion of National Film Theatre Ozu season, 9 May 1988.
“David Bordwell on Film Narrative.” 2-hour videotaped
interview with Philip Drummond at the University of London
Institute of Education, 11 May 1988.
“Chinese Movies Attract US Film Professors.” China
Daily (13 July 1988): 15.
Radio interviews in connection with MacArthur Filmmaker’s
Dialogue with Robert Altman: Minnesota Public Radio (7 April
1992); KUOM (15 April 1992); WCCO (25 April 1992).
Interview on contemporary non-Hollywood cinema, “To the Best
of Our Knowledge,” WERN/ CPB, broadcast 28 March 1993.
“Suuret teroriat, elokuvakulttuurija neoformalismin haaste:
Matti Lukkarila haastattelee David Bordwellia.” Lähikuva no.
1, (1993): 37–45. In Finnish.
“The Hollywood Style,” in an episode of “American
Cinema,” PBS series underwritten by NEH and Annenberg School
of Communications, telecast 23 January 1995.
Interview on the influence of Hong Kong cinema on Hollywood,
“To the Best of Our Knowledge,” WERN/ CPB, taped 14 March 1996.
Interview on Hong Kong cinema, “Hong Kong Today,”
Radio-Television Hong Kong radio program, broadcast live 2 April
Interviews on Hong Kong cinema associated with “Made in Hong
Kong” series at Royal Film Archive of Belgium, June 1997:
Canal Plus, 30 May 1997; Flemish Radio-TV, 4 April 1997; De
Morgen (pub. 6 June 1997) and Le People (pub. 30 June).
Interview on university film studies with Danmarks Radio,
Copenhagen, 14 November 1997.
“Hollywood ist eine Insel geworden: David Bordwell sprach
Andreas Furler.” Tages-Anzeiger (30 January 1998)
Andreas Furler. “Die Letzte grosse Zeit des amerikanischen
Kinos: Interview mit dem americakanischen Filmprofessor David
Bordwell.” Zoom: Zeitschrift für Film (February
1998): 12–19 (Zurich). Longer version of previous entry.
Interview about Madison film culture on WORT radio show
“Technê,” 16 December 1998.
“King Hongkong [!],” Südeutsche Zeitung (2/3 June 1999): 18; radio interviews for Bavarian Radio (1 June
1999), University of Munich student radio station (2 June 1999),
German Radio (5 June 1999) all in connection with Munich lecture
Interview on university film studies for China Times (pub. 25 November
1999). In Chinese.
Interviewed on Planet Hong Kong for broadcast on RAI
television (16 October 2000).
“David Bordwell: ‘La Sfida Viene
Dall’est.’ ” Il Gazettino (18 October
“Facets of Hong Kong Cinema: Tokyo Pop Gets a Few Auspicious
Minutes with Scholar David Bordwell.” Tokyo Pop 4,
3 (2000): 43–44.
Consultant and interviewee for “Wired,” Cinema
Secrets episode devoted to Crouching Tiger, Hidden
Dragon, American Movie Classics, aired summer 2001.
Interviewed on Hong Kong cinema for Canadian Broadcast Company
(26 November 2001); for Oriental Daily (27 November
Adriana Mora. “Entrevista con David Bordwell.” Kinetoscopio (Colombia) no. 58 (2001): 4–5.
“Das Kino als Synthese aller Kunste: Filmgeshichte und
Filmtheorie auf neuen Wegen: David Bordwell im Gesprach mit Marli
Feldvoss.” Film (March 2002): 26–31.
“Det Enkles Kunst.” Film (Denmark) no. 21
(March–April 2002): 10–11.
“An American Film Scholar Visits Korea: Good Morning, Korean
Cinema.” Film 2. 0 [Korean] no. 101 (19–26 November
“American Film Scholar David Bordwell: Korean Films Catch
both Audience and Festival Attention.” Cine 21
[Korean] no.378 (19–26 November 2002): 78–80.
“Curiosity is the Only Measure of Sincerity.” Cine 21 [Korean] no. 381 (10–17 December 2002): 82–86.
Conversation with Korean director Hong Sang-soo.
Interviewed on Yasujiro Ozu’s films for Canadian Broadcast
Company (29 January 29, 2004).
Nine interviews with local press, radio, and television at
Helsinki International Film Festival (15–20 September
“Forhekset av film: Et intervju med David Bordwell.” Z Filmtidsskrift [Finnish]
no. 90 (2005): 3–17.
Chuck Stephens. “School’s Out? Never! David Bordwell Keeps Working the Room.” Cinema
Scope no. 26 (Spring 2006), 26–31. Available at www.cinema‑scope.com.
“Film: Time in Motion.” Weekly public lecture series at
the Walker Art Center, Minneapolis, 5 January–2 March 1981, as
a part of the Center’s “Meanings of Modernism”
program. Funded by the National Endowment for the
“Film Interpretation: Theory and Practice.” Four
three-hour lectures for the China Film Association summer
seminar, Beijing, 22–30 June 1988.
“Style and Story Structure in Hollywood Cinema.” Three
three-hour lectures for the Université Libre de Bruxelles,
Faculté de Philosophie et Lettres, Brussels, 23–27 November 1992.
Funded by the MEDIA program of the European Community and
cosponsored with the Université de Liège and the Cinémathèque
Royale de Belgique.
“Stylistics of the Cinema.” Gauss Seminars in
Criticism, Princeton University; 1, 15, and 22 April 1993.
“Narrative Theory and Cinema.” Four 90-minute lectures
at the Hungarian Academy of Theatre and Film Arts, Budapest;
18–21 October 1993.
“Historical Poetics of Cinema.” Four two-hour lectures
sponsored by the Finnish Society for Cinema Studies and the
Finnish Radio and Television Institute, Helsinki; 2–3 October
“Visual Style in Cinema.” Four two-hour lectures
sponsored by the University of Munich Department of Art History,
with the support of the Munich Cultural Agency, Arri Film, and
Prokino Film; 1–2 June, 8–9 June 1999. “The Evolution of
Film Style.” Four 90-minute lectures sponsored by the
Universite Libre de Bruxelles, the Royal Cinémathèque, and the
Service de Culture Cinématographique, 12–13 May 2000.
“From Kurosawa to Kung Fu (and Beyond).” Seven
three-hour lectures. Summer Film College, sponsored by the Royal
Film Archive of Belgium. Bruges, Belgium, 23–29 July 2001.
“Lectures in Film.” Five two-hour lectures. Hong Kong
Academy of Performing Arts, 20 November–27 November 2001.
Sponsored by the Sir Edward Youde Memorial Fund.
“Visual Style in Taiwanese Cinema.” Five nightly
lectures at Kino Artemis, Forum der Technik, Munich, 23–28 June
“Hollywood Cinema of the 1970s.” Five three-hour
lectures. Summer Film College, sponsored by the Royal Film
Archive of Belgium. Bruges, Belgium, 21–27 July 2003.
“Hollywood Cinema from the Origins to the Present.”
Four six-hour lecture sessions. International Film School,
Cologne, 18–21 October 2004.
“Cinematic Staging.” Seven lectures. Summer Film College, sponsored
by the Royal Film Archive of Belgium. Bruges, Belgium, 25–31 July 2005.
“Eisenstein’s Cinema: A Symposium with David
Bordwell.” Panel discussion, Innis College, University of
Toronto, 11 March 1994.
“From Hollywood to Hong Kong: International Film Culture and
Historical Poetics: A One-Day Symposium on the Work of David
Bordwell and Kristin Thompson,” sponsored by the Film
Studies program and the Institute for Advanced Studies,
University of Kent at Canterbury, 28 June 1999. Here I read the
paper “Hong Kong Cinema and the Aesthetics of Action”
and participated in a roundtable discussion of our work.
PAPERS AND PRESENTATIONS
“Truffaut’s L’Enfant Sauvage.” Invited lecture,
Drake University, April 1974.
“The Classical Hollywood Cinema: An Analytical
Approach.” Paper for Milwaukee Conference on Film Theory and Criticism,
“Imploded Space: Film Style in La Passion de Jeanne
d’Arc.” Paper for Purdue Film Conference, Spring
“Problems of Camera Movement.” Paper for Milwaukee
Conference on Film and Performance, February 1977.
“Camera Movement and Early Ozu.” Invited lecture,
University of Iowa, Spring 1977.
“Camera Movement and the Position of the Subject.”
Paper for the American Seminar in Film, “The Place of the
Spectator.” Harvard University, Spring 1977.
“Film Form and Ideological Formations.” Panel designer
and chair, Indiana Film Conference, Spring 1977.
“Camera Movement, the Coming of Sound, and the Classical
Hollywood Style.” Paper, Purdue Film Conference, Spring
“Narrative and Style in the Hollywood Cinema.” Invited
lecture, University of Southern Illinois-Carbondale, Spring
“Film and the Baroque: Lola Montès.” Invited lecture,
University of Chicago Festival of the Baroque, November
“Mizoguchi and the Evolution of Film Language.” Paper
for Conference on Language and Cinema at the University of
Wisconsin–Milwaukee, March 1979; also presented at Columbia
University, October 1979.
“Early Ozu.” Invited lecture, Japan Society of New
York, December 1979.
“Contemporary Film Theory.” Invited lecture, New York
University Department of Cinema Studies, December 1979.
“Happily Ever After, Part Two.” Invited paper, Popular
Culture panel, Convention of American Society for Aesthetics,
Milwaukee, October 1980.
“From Boycott to Ban: America and the Japanese Film
Industry. ”Paper for Athens (Ohio) Film Conference, April
“Mode of Production and Textual Analysis.” Paper for
Enclitic Conference on Textual Analysis, Minneapolis, May 1981.
“The Art of Carl Dreyer.” Invited lecture, Chicago Art
Institute, October 1981.
“Jump Cuts and Blind Spots.” Paper for Athens
Conference on Film and Video, April 1982.
“Classical Hollywood Narrative: Principles and
Procedures.” Paper, British Film Institute Day Conference,
“The Hollywood Cinema,” October 1982.
“Eisenstein’s Scenography and Ivan the Terrible.”
Invited paper, University of Kent, Canterbury, England, November
1982; Columbia University, December 1982; University of Iowa,
“Early Ozu: Industry, Culture, Style.” Invited lecture,
Japan Society of New York, December 1982; Pacific Film Archive,
University of California at Berkeley, March 1983; University of
Southern California, March 1983; Chicago Art Institute, July
1983; Film in the Cities, Minneapolis-St. Paul, January
“Ozu’s 1930s Films and Kinema Jumpo.” Invited
lecture, Doc Films, University of Chicago, January 1983.
“Narration and the Invisible Observer.” Invited
lecture, San Francisco State University, March 1983.
“Norm and Deviation in the Art Cinema.” Invited
lecture, Columbia University, November 1983.
“Narration and Point of View in Film.” Invited lecture,
Yale University, November 1983.
“Lubitsch in Hollywood: A Ludic Narration.” Invited
paper, Conference on Silent Cinema 1916–1926, University of East
Anglia, Norwich, England, December 1983.
“Bertolucci and the Mechanics of Ambiguity.” Invited
lecture, Rhode Island College, March 1984.
“ApProppriations and ImPropprieties: On the Misuse of
Folkloristics.” Society for Cinema Studies Convention, March
“Art-Cinema Comprehension Strategies.” Athens
International Conference on Film and Video, Athens, Ohio, April
“Japanese Cinema of the 1930s: Culture, Industry,
Style.” Two-lecture series at the University of Iowa, July
“Word and Image in the Films of Dreyer.” Invited paper,
International Conference on Carl Theodor Dreyer, Verona, Italy,
“Seven Things Spectators Do.” Invited lecture,
University of Amsterdam Institute of Theatre Studies, November
“Realism and Form in the History of Film Style.”
Invited lecture, Catholic University of Nijmegen, Holland,
“Mizoguchi and Legibility.” Invited lecture, weekend
seminar on Kenji Mizoguchi sponsored by the Cinémathèque Royale
de Belgique, Brussels, December 1984.
“Contemporary Film Theory in the United States.”
Invited lecture, Brussels College of Fine Arts, December
“A Cinema of Flourishes: Japanese Film of the 1930s.”
Society for Cinema Studies Conference, New York, June 1985.
“Codes and Norms in the Study of Cinema.” Invited
lecture, Columbia Film Seminar held at the Museum of Modern Art,
New York, 17 October 1985.
“Rewriting the Classical Cinema.” Invited colloquium at
New York University, 18 October 1985.
“The Great Moment of Japanese Films.” Lecture in
“Milestones in Human History,” series sponsored by
Department of Liberal Studies, University of Wisconsin–Madison,
24 October 1985.
“Kinoshita’s Army.” Introduction to film screening
at the Mary Pickford Theatre, the Library of Congress,
Washington, DC, 22 November 1985.
“Conventions of Filmic Narration.” Invited lecture,
Film Studies program at Miami University of Ohio, 20 January
“Two Strategies of Critical Interpretation.” Society of
Cinema Studies convention, New Orleans, 5 April 1986.
“Cognitive Poetics of Cinema.” Two lectures at the
Department of Cinema Studies, University of Southern California,
18–19 April 1986.
“Transtextuality and History: Godard and the Norms of
Narration.” Invited paper, colloquium, “Jean-Luc
Godard, le Cinéma,” Université de Liège, Belgium, 24–27 April 1986.
“The Classical Hollywood Cinema Revisited.” Invited
presentation for Pordenone Silent Film Festival, October
“Cognitive Poetics, Pragmatics, and the Study of Classical
Cinema.” Invited lecture, Society for the Humanities,
Cornell University, November 1986.
“Constraints and Constitutiveness: An Institutional Approach
to Stylistic History.” Invited lecture, Wesleyan Humanities
Center, February 1987.
“Film Style in Prewar Japan: Ozu and Film Theory.”
Invited lecture, University of Iowa Communication Arts
Department, 7 March 1987.
“The Man Who Left His Will on Film.” Invited lecture,
School of the Art Institute of Chicago, 9 March 1987.
“Post World-War II Narrative Developments in Film: From
Classicism to Modernism.” Invited lecture, Department of
English at Western Illinois University, 10 April 1987.
“Japanese Cinema: The Works of Yasujiro Ozu.” Invited
lecture, College of Letters and Sciences Lecture Series,
University of Wisconsin–Whitewater, 22 April 1987.
“The Rhetoric of Film Interpretation.” Society for
Cinema Studies convention, Montreal, May 1987.
“Two Conceptions of Film Interpretation.” Invited
lecture, University of California, Santa Barbara, Film Program,
“Toward a Historical Poetics of Interpretation.”
Invited paper, Modern Language Association annual convention, 29 December 1987.
“Film Interpretation: Logic, Rhetoric, Institutional
Practice.” Invited lecture, Indiana University Film Studies
program, 27 January 1988.
“The Classic Style of the Hollywood Cinema.” Invited
lecture, Massachusetts Institute of Technology Communications
Forum, 17 March 1988.
“Film Studies in the University: Unfinished Versions of a
Success Story.” Keynote address for day conference,
“Film Studies, Art History, and Artistic Practice,”
held at National Gallery of Art, Washington DC, 21–22 April
“Film Interpretation as Critical Practice.” Invited
lecture, film studies departments of Strathclyde University and
Glasgow University, Glasgow, Scotland, 6 May 1988; invited
lecture for University of London Institute of Education, 11 May
“The Films of Yasujiro Ozu.” Invited lecture, Kent
University, Canterbury, Department of Film Studies, 10 May
“An Institutional Approach to the History of Hollywood Film
Style.” Invited lecture, University of Exeter film studies
department, 12 May 1988.
“Film, Narrative, and the Cognitive Turn.” Invited
paper, Conference on Cognitive Theory and the Humanities,
Northeastern University, 20 May 1988.
“Trends in Contemporary American Cinema.” Informal
lecture and discussion, Beijing Foreign Studies University, 29 June 1988.
“Schemes, Skills, and Strategies: Cognitive Models and
Critical Reasoning.” Invited paper at symposium,
“Cinema: Perception, Cognition, Narration,” University
of Iowa Institute for Cinema and Culture, 2 December 1988.
“Issues and Problems in the Study of the Japanese
Cinema.” Informal presentation at Japan Area Brown Bag,
University of Wisconsin–Madison, 13 February 1989.
“Analysis, Interpretation, and the Poetics of the Hollywood
Cinema.” Invited paper for symposium, “Film and
Philosophy/ Philosophy and Film,” Hollins College, 18 February 1989.
“Personifying Narrative Agency: Narrators, Cameras, and
Other Inferred Entities.” Conference on Narrative Theory and
Poetics, University of Wisconsin–Madision, 6 March 1989.
“A Case for Cognitivism.” Society for Cinema Studies
convention, University of Iowa, 15 March 1989.
“Ozu and Japanese Cinema.” Invited lecture, Summer Film
College sponsored by the National Assocation for Film Culture,
Neerpelt, Belgium, 18 August 1989.
“A Cinema of Flourishes: Japanese Decorative Classicism of
the 1930s.” Invited lecture, symposium on Japanese film and
television, New York University, 29 September 1989.
“Interpretation and Historical Analysis: The Case of Girl
Shy.” Lecture, University of Michigan Program in Film &
Video Studies, 18 January 1990.
“Understanding Film Narrative: A Cognitive
Perspective.” Invited lecture, University of North Carolina,
Chapel Hill, Department of Radio-Television-Film, 19 February
“Toward a Cognitive Poetics of Cinema.” Invited lecture
at Institute for Mass Communication, University of Bergen,
Norway, 2 April 1990; Institute for Film, Television, and Mass
Communication, University of Copenhagen, 3 April 1990; Department
of Comparative Literature, University of Lund, Sweden, 6 April
“Mildred Pierce and Cognitive Poetics.” Invited
lectures at Institute for Mass Communication, University of
Bergen, Norway, 2 April 1990; Institute for Film, Television, and
Mass Communication, University of Copenhagen, 4 April 1990.
“A Critique of Film Criticism.” Invited lecture at
Department of Drama, Film, and Theatre, University of Trondheim,
Norway, 5 April 1990.
“Film Masterworks: Play Time.” Introduction to and
discussion after screening at the Film Center of the School of
the Art Institute, Chicago, 5 May 1990.
“The Stylistics of Scenography in the Later
Eisenstein.” Invited paper for international conference on
Sergei Eisenstein, Venice Biennale, 25 October 1990.
“Eisenstein and Film Theory.” Invited lecture,
University of East Anglia, Norwich, 1 November 1990.
“The Limits of Realism in the 1930s Hollywood Cinema.”
Invited paper for US-Soviet conference on American and Russian
cinema of the 1930s sponsored by IREX, Washington, DC, 3–8 December 1990.
“A Cognitive Approach to Film Narrative.” Invited
lecture for Annenberg School of Communication, 19 March
“The Stylistics of Eisenstein’s Late Films.”
Invited lecture for Annenberg School of Communication, 21 March
“Perception, Comprehension, and Interpretation in
Cinema.” Invited lecture, University of Iowa, 28 March
“Historical Norms and Hollywood Narration.” Invited
paper and roundtable participation at international symposium,
“Historia y Arqueologia del Cine,” Universidad
Interacional Menendez Pelayo, Valencia, Spain, 19 June
“Early Ozu and His Context.” Invited lecture, Cleveland
Museum of Art, 2 October 1991; invited lecture, University of
Hong Kong Department of Comparative Literature, 22 November
“Understanding Filmic Understanding.” Invited lecture,
University of Amsterdam Department of Drama and Film, 10 October
“Sound as a Stylistic Factor in Cinematic Narration.”
Paper at Thirteenth Annual Ohio University Film Conference, 9 November 1991.
Interviewer, “Filmmaker’s Dialogue: Robert Altman,”
25 April 1992. Walker Art Center, Minneapolis; funded by
“Aesthetics, Contemporary Film Theory, and the Problem of
Style.” Invited paper for annual convention of American
Society for Aesthetics, Philadelphia, 30 October 1992.
“Limitations of Conventionalism in Film Style.” Invited
lecture, McGill University Department of English, 4 March
“Problems of Narrative and Cinematic Style.” Invited
lecture, Concordia University Department of Communications/
Université de Québec de Montréal Film Program, 5 March
“Models of the History of Film Style.” Invited lecture
for Institute for Research in the Humanities, University of
Wisconsin, 13 September 1993; Hungarian Film Institute, Budapest,
19 October 1993.
“The Cognitive Approach to Perception in the Study of Visual
Art.” Informal talk for members of the Department of Media
and Communication, ELTE University, Budapest, 22 October
Informal lecture on Eisenstein’s Alexander Nevsky before
screening, with live orchestral and choral accompaniment, at the
Madison, Wisconsin Civic Center; 12 February 1994.
Informal introduction to Eisenstein’s Strike and Battleship
Potemkin; Cinémathèque Ontario, Toronto, 11 March 1994.
“Studying the Stylistic History of Cinema.” Invited
lecture, MIT, 16 March 1994.
“Cinema/History/Criticism: New Paradigms in Film
Studies.” Brief talk followed by panel discussion, MIT
Center for Technology, Policy, and Industrial Development, 17 March 1994.
“Understanding Filmic Understanding.” Invited paper,
Colloquium on Film Studies, MIT, 18 March 1994.
“Die Hard and the Return of Hollywood Classicism.”
Invited lecture, Kammer-Filmtheater, Marburg Germany, 20 June
“Citizen Kane and the Artifice of the Classic Studio
Film.” Invited lecture, Munich Film Festival, 26 June 1994;
Verein Die ersten 100 Jahre Kino in Berlin, Tivoli Cinema,
Berlin, 27 June 1994.
“The Early Spring of Yasujiro Ozu.” Invited lecture,
Museum of Fine Arts, Boston, 15 September 1994.
Informal introductions to screenings of Ozu’s A Mother Should
Be Loved and Days of Youth, Harvard Film Archive, 16 and 17 September 1994.
Informal introductions to Ozu’s Floating Weeds and
Eisenstein’s Battleship Potemkin, Finnish Film Archive,
Helsinki, 1 and 2 October 1994.
“Convention, Construction, and Cinematic Vision.”
Invited lecture, University of Stockholm, 5 October 1994; invited
paper, Annenberg School of Communication, University of
Pennsylvania, 18 November 1994; invited paper, English
Department, Johns Hopkins University, 24 February 1995.
“Die Hard and the Return of Classicism.” Invited
lecture, University of Stockholm, 6 October 1994.
“Back to the Future: A Narrative World.” Invited
lecture, University of Stockholm, 6 October 1994.
“Neo-Structuralist Narratology and Film.” Invited paper
for Symposium on Semiotics and Narrative, University of
Stockholm, 1 October 1994.
“Complicating the History of Film Style.” Paper for
American Association for the Advancement of Slavic Studies annual
convention, Philadelphia, 18 November 1994.
“The Late Eisenstein and the Absorption of the
Spectator.” Invited lecture, Film Studies Department, Sarah
Lawrence College, 8 March 1995.
Closing commentary. “Nation, National Identity, and the
International Cinema.” Invited participant, conference
sponsored by the Borchard Foundation, Chateau de la Bretèche, 30 July–2 August 1995.
“Ensemble Acting and Staging in Depth in International
Cinema of the Teens.” Invited paper, Riga International
Summer School of Film History, Riga, Latvia, 35–30 August
“Models of Depth Staging in the European Cinema.”
Invited paper, “European Cinema, European Societies”
conference, Bloomington, Indiana, 29 September 1995; invited
paper, Amherst College, 22 February 1996.
“La Nouvelle Mission de Feuillade; or, What Was
Mise-en-Scène?” Invited paper, Chicago Film Seminar, Film
Center at the School of the Art Institute, 5 October 1995.
Closing commentary for round table, “Milestones of
Cinema” conference, University of Wisconsin–Madison, 5 November 1995.
“Three Versions of Film History.” Invited lecture,
University of Hong Kong Department of Comparative Literature, 21 November 1995.
“NeoStructuralist Narratology and Film.” Invited paper,
University of Hong Kong Department of Comparative Literature, 23 November 1995; invited lecture, Smith College, 23 February
“Influences of American Cinema on Japanese Filmmakers of the
1920s and 1930s.” Invited lecture, Japan Society of New
York, 12 January 1996.
Informal introductions to screenings of Ozu’s Days of Youth
and Dragnet Girl, Japan Society of New York, 12 and 13 January
“Conceptions of Space in Post-1970s European Cinema.”
Invited lecture, Ludwigsburg Film Academy, Germany, 21 June 1996;
Munich Film Archive, 23 June 1996; Bamberg Kino, 26 June 1996;
Hong Kong Arts Centre, 20 November 1996.
Brief introductions to screenings of The Searchers and The Man
Who Shot Liberty Valance, as part of John Ford Film Festival
sponsored by the Wisconsin State Historical Society, 20 and 23 October 1996.
Three lectures on the gangster film as genre, Department of
Comparative Literature, Hong Kong University, 18 November, 25 November, and 29 November 1996.
“Camera Movement and Sound in Cinematic Narration.”
Invited lecture, Hong Kong Academy of Performing Arts, 19 November 1996.
“Art Cinema as Experimental Cinema: Distant Voices, Still
Lives.” Invited lecture, University of Zurich, 13 January
“Art-Cinema Narration in Toto le héros.” Invited
lecture, Swiss Federal Institute of Technology, 15 January
“Some Virtues of Virtuality: Cinema and the Sensuous
Particular.” Keynote address, 22nd Annual Conference on Film
and Literature, Florida State University, Tallahassee, Florida,
31 January 1997.
“Problems and Solutions: New Approaches to Studying the
Stylistic History of Cinema.” Invited lecture for
Archimedia, European Training Network for the Promotion of the
Cinema Heritage, 5-day Master Class, Brussels, 18–22 February
1997; 19 February 1997. Also participation in roundtable panel,
“University Film Archives,” 21 February 1997.
“Eisenstein and Stalinist Cinema.” Invited lecture,
Department of Communications, University of Wisconsin–Stevens
Point, 7 May 1997.
“Hong Kong Movies.” Invited lecture for Royal Film
Archive of Belgium; sponsored by Hong Kong Economic and Trade
Office, Brussels, 4 June 1997.
“Hong Kong as a Popular Cinema.” Invited lecture for
Department of Information Studies and Media, University of
Aarhus, Denmark, 11 November 1997; Institute of Film and Media
Studies, University of Copenhagen, 11 November 1997.
“After Post-Theory.” Invited lecture for faculty
symposium, Institute of Film and Media Studies, University of
Copenhagen, 12 November 1997.
“An Approach to the History of Film Style.” Invited
lecture, Institute of Film and Media Studies, University of
Copenhagen, 14 November 1997.
“The Jidai-Geki: A View from America.” Invited
presentation, Kyoto Film Festival panel symposium, 13 December
“Homage to Sergei Eisenstein.” Invited lecture,
National Gallery of Art, Washington DC, on occasion of
Eisenstein’s centenary, 25 January 1998.
“Taking Hong Kong Seriously: Popular Cinema and the Art of
Entertainment.” Invited lecture, Center for Humanities and
Arts, University of Georgia, Athens, Georgia, 17 April
“Eisenstein, Socialist Realism, and the Charms of Mizanstsena.” Invited
paper, “Eisenstein at
100: A Reconsideration.” Conference held at Dartmouth
College, 14 November 1998.
“Hong Kong Cinema and the Aesthetics of Action.”
Invited lecture, Department of Film and Media Studies, University of Copenhagen, 25 May 1999; Department
of Film and Media, Sheffield Hallam University, Sheffield, 23 June 1999; Divison of Critical Studies, School of Film and
Television, University of Southern California, 1 October
“Visual Style in Cinema: The Last Fifty Years.” Invited
lecture, Department of Information and Media Science, University
of Aarhus, Denmark, 26 May 1999.
“Stylistic Convergence.” Biannual conference of the
Institute for Cognitive Studies of Film and Media, sponsored by
the Department of Film and Media Studies, University of
Copenhagen, 27 May 1999.
“Narrative Futures.” Invited lecture for seminar,
“Discourses of the Future,” Institute for Futures
Studies, Stockholm University, 20 July 1999; invited lecture for
symposium, “Narrative at the Limits,” Center for
Humanities, University of California–Santa Barbara, 3 May 2001;
invited lecture, Department of Media Studies, University of
Copenhagen, 9 January 2002.
“The Problem-Solution Approach to Film Studies.”
Invited lecture, Harvard Center for the Humanities, 21 October
“David Bordwell on Ozu.” Invited lecture, Harvard Film
Archive, 22 October 1999.
“Hou Hsiao-Hsien.” 90-minute panel discussion with the
director; Taipei Film Festival, 19 November 1999.
“Hou Hsiao-Hsien and Ang Lee.” Three-hour symposium
discussion of these two Taiwanese directors; Taipei Film
Festival, 21 November 1999.
“Filling Up Space: The Rise, Fall, and Rise of Cinematic
Staging.” Invited lecture, Taiwan College of Art, 26 November 1999; invited lecture, Illinois Program for Research in
the Humanities Distinguished Speakers Series, University of
Illinois, UrbanaBChampaign, 2 December 1999; invited lecture,
Department of Art History, University of Pennsylvania, 21 February 2000; invited lecture, Washington University at St.
Louis, Film Studies Program, 24 February 2000; invited lecture,
Georgia State University, Communication Department, 13 March
“Recent Developments in Asian Film.” Invited lecture,
Washington University at St. Louis, Film Studies Program, 23 February 2000; invited lecture, Mar del Plata Film Festival,
Argentina, 10 March 2001.
“Transcultural Spaces: Chinese Cinema as World Film.”
Keynote address, “2000 and Beyond: History, Technology and
Future of Transnational Chinese Film and TV.” Conference,
Hong Kong Baptist University, 20 April 2000.
“Style in the Classic Chambara Film.” Invited
lecture, Japan Society of New York, 2 June 2000.
“Intensified Continuity: Visual Style in Contemporary
Hollywood.” Invited lecture, Film Studies Program,
University of Oklahoma, 12 January 2001; keynote address,
Midwestern Conference on Film, Language, and Literature, Northern
Illinois University, 23 March 2001; invited lecture, Elte
University, Budapest, 16 May 2001.
“Film Studies.” Presentation for Letters and Sciences
Board of Visitors, University of Wisconsin–Madison Foundation, 10 May 2001.
“Who Blinked First? How Film Style Streamlines Nonverbal
Action.” Center for Cognitive Studies of the Moving Image,
3rd Biennial Symposium, Pecs, Hungary, 24 May 2001.
“Visual Style in Contemporary Hollywood: Jerry
Maguire.” Invited lecture, Forum of Film Technique,
Munich, 28 May 2001.
“Trends in Contemporary Asian Film.” Invited lecture,
Film Archive of Frankfurt am Main, 29 May 2001; Deutsche
Kinematek, Berlin, 30 May 2001.
“Contemporary Hong Kong Cinema”; “The Career and
Context of Tsui Hark.” Keynote address and lecture; Hong
Kong Film Festival, Southern Methodist University, 28–30 September 2001.
“Technology and Technique: Hollywood, Hong Kong, and the
Emergence of Contemporary Film Style.” Sir Edward Youde
Memorial Fund Lecture, Hong Kong Academy for the Performing Arts,
24 November 2001.
“John Woo, Chinese Chameleon.” Invited lecture to open
John Woo retrospective at the Danish Film Museum, 10 January
“Asian Film, Western Audiences.” Opening address for
symposium, “Hollywood, Asian Media and the Global
Market.” University of Notre Dame 28 February–2 March
“Ripples on Nearby Shores: Contemporary Taiwanese Cinema as
Regional Influence.” Invited paper for symposium,
“Island of Light: Taiwan Film and Popular Culture,”
University of Wisconsin–Madison, 7–9 March 2002; invited paper,
Center for Cultural Studies, Hong Kong University of Science and
Technology, 25 March 2002.
“Angelopoulos and the Cinema of Austere Spectacle.”
Paper for symposium, “Europes and Contrary Tides: Filmmaking
in the New Europe.” University of Wisconsin–Madison, 14–16 March 2002.
Introductory lecture and follow-up lecture and discussion of Chungking Express,
Green Bay Film Festival, 1 May 2002.
“Body Movement and Cinematic Technique.” Invited
presentation for Dance and the Camera Summer Seminar, UW–Madison
Department of Dance, 7 June 2002.
“Contemporary Film Studies: The Problems and Pleasures of
Problem-Solving.” Invited lecture, Department of Film,
Dongguk University, Seoul, Korea, 12 November 2002.
“Global Liftoff: South Korean Cinema and Recent Film
History.” Invited lecture, Pusan Film Festival/Pusan
Cinematheque, Korea, 16 November 2002.
“Hong Kong Cinema’s Golden Age: From the 80s to the
90s—and After?” Invited lecture, College of Fine Arts and
Communication, University of Central Arkansas, 17 March
“Stylistic Tendencies in Contemporary Cinema.” Invited
lecture, International Film School, Cologne, 13 June 2003; Bochum
University, 16 June 2003; Mainz University, 18 June 2003.
“Crouching Tiger, Hidden Dragon and the Wuxia film.”
Public lecture, Leopold Museum, Cologne, Germany, 14 June
“True to Form: Yasujiro Ozu from the 1930s to the
1950s.” Invited lecture, Kino Arsenal, Deutsche Kinematek,
Berlin, 20 June 2003.
“Edward Yang, the New Cinema, and A Brighter Summer
Day.” Public lecture, Synema, Vienna, 22 June 2003.
“Hou Hsiao-hsien and the Telephoto Aesthetic.” Keynote
address for Widescreen Cinema Conference, International Museum of
Photography and Cinema, Bradford, England, 13 July 2003.
“Trends and Traditions in Martial Arts Film Style.”
Keynote address for “Constructing Pan-Chinese Cultures:
Globalism and the Shaw Brothers Cinema,” University of
Illinois at Urbana-Champaign, 3 October 2003; invited lecture,
Finnish Film Archive, Helsinki, 18 September 2004.
Invited participant in panel on the work of film director Johnnie
To, Washington University, St. Louis, 14 November 2003.
“Film Theory as Empirical Inquiry.” Keynote address for
conference, “Whither Film Theory?” University of
Shanghai, 2 June 2004.
“Cinematic Staging: Problems and Solutions.” Invited
lecture, University of Helsinki, 17 September 2004.
“New Narrative in Hollywood? Storytelling Developments in
1990s American Cinema.” Invited lecture, University of
Turku, Finland, 20 September 2004; UW Center for the Humanities
Distinguished Lectures series, 2 February 2005; University of New
South Wales, Sydney, Australia, 9 March 2005; LaTrobe University,
Melbourne, Australia, 11 March 2005; Concordia University,
Montreal, 17 October 2005.
“Differences in Industry, Audiences, and Aesthetics: Taiwan/
Hong Kong Cinemas.” Keynote lecture at 2004 Pan-Chinese Film
Festival, Oberlin College, 30 September 2004.
“David Bordwell on Film Style.” Two lectures at
“Style in Film,” Film Studies Seminar, Norwegian
Association of Film Societies, 9–10 October 2004.
“Planet Hong Kong.” Invited lecture for Adelaide Film
Festival, 23 February 2005; Melbourne Cinematheque, 10 March
“Intensified Continuity: Contemporary Hollywood Film
Style.” Invited lecture for Adelaide Film Festival, 28 February 2005.
“The Tip of the Iceberg: Film Scholars and Film
Archives.” Invited lecture for Australian National Archive
of Film and Recorded Sound, Canberra, 3 March 2005.
“Angelopoulos, Hou, and the Long Take.” Invited lecture
for Brisbane Film Festival and Griffith University, Brisbane, 5 March 2005.
“Rational and Empirical Inquiry in Film Studies.”
Invited lecture for symposium, “New Directions in Film
Studies,” Flinders University, 15 March 2005.
“The Modern Miracle You See without Special Glasses!
The Aesthetics of CinemaScope.” Invited
lecture for Vancouver International Film Festival, 3 October 2005;
Inaugural Reni Celeste Memorial Lecture, Yale University, 2 February 2006;
Nordic Film Seminar, European Film Academy, 8 June 2006; invited lecture
for Birkbeck College, University of London, 19 June 2006; keynote lecture,
Society for the Cognitive Study of the Moving Image conference, Konrad Wolf Film
and Television Academy, 20 July 2006; invited lecture, Minneapolis College
of Art and Design, 6 March 2007; invited lecture, Lingnan University, 19 March 2007;
invited lecture, University of Auckland, 9 May 2007; invited lecture, University
of Otago, 25 May 2007.
“Problems of Cinematic Staging.” Invited lecture for Chicago Film Seminar,
Film Center of the Art Institute, 20 October 2005. Further discussion of presentation
at Mass Culture Studies Workshop, University of Chicago, 21 October 2005.
“Post-Classical Hollywood.” Nordic Film Seminar, European Film Academy,
7 June 2006.
“Network Narratives.” Nordic Film Seminar, European Film Academy, 9 June 2006.
“Nordisk and the 1910s Aesthetic.” Invited
lecture, “100 Years
of Nordisk Film,” Danish Film Archive, 15 June 2006.
“Cognitive Film Theory.” Invited lecture, day
school, Birkbeck College, University of London, 18 June 2006; invited lecture,
University of Auckland, 10 May 2007.
“Hooks and Gaps: Scene Transitions in Classical Film.” University
of Auckland, 8 May 2007.
“Another Shaw Production: Widescreen Comes to Hong Kong.” University
of Auckland, 11 May 2007.
“Two Trends in Silent Film Style.” University
of Auckland, 16 May 2007.
“A Muffled Explosion: Hollywood and the Digital Revolution.” Invited
paper, conference “Switchover 3 Una narrazione esplosa?” (Rome),
16-19 December 2007. Revised version given as “Is Hollywood’s Digital
Revolution a Revolution?” Invited lecture, University of Northern Illinois,
3 March 2009; Hong Kong Baptist University, 26 March 2009.
“Adjusting to Hollywood Style: International Trends in the 1910s and
1920s.” Invited lecture, Worldwide Universities Network, Leeds University,
28 January 2009.
Invited guest, panelist, lecturer, and judge, Hong Kong International
Film Festival, 1995–present.
Invited guest, panelist, and interviewer, Ebertfest, 2003–present.
Invited guest and lecturer, Vancouver International Film Festival,
DEPARTMENTAL AND UNIVERSITY SERVICE
Departmental committees: Lectures committee, Awards committee,
Colloquium committee, Undergraduate committee, Graduate
committee, Personnel and Tenure committee, Pay Equity Committee,
and ad hoc Search committees: various years since 1973.
Member, University Graduate Fellowships Committee,
Graduate Director, 1982–1984.
Undergraduate Director, 1991–1992.
Associate Chair, 1988–1989.
Member, Steering Committee for Wisconsin Center for Film and
Theater Research, 1988–1999.
Member, Memorial Library Committee, 1988–1990.
Member, Review Committee of Institute for Research in the
Humanities, 1988–1991, 1998–1999.
Undergraduate Advisor and Chair, Undergraduate Committee, spring
Member, Graduate School Research Committee, 1993–1996.
Member, Search Committee for Associate Dean for the Humanities,
Member, organizing committee for “Milestones of
Cinema,” conference held at the University of
Wisconsin–Madison, 3–5 November 1995.
Departmental representative, University Consortium on the Arts,
Member, University of Wisconsin screening committee for Rhodes
and Marshall Scholarship applicants, 1996.
Member, University of Wisconsin Press Committee, 1996–1999.
Member, Cognitive Science Cluster Hire Search Committee,
Member, Wisconsin Cinémathèque Committee, 1998–.
Consultant, Wisconsin Film Festival, 1998–.
Chair, Letters and Sciences ad hoc committee to review the
graduate program in the Department of Theatre and Drama, December
Initiator and coordinator of several series of Japanese films
brought to the University of Wisconsin–Madison campus with the
cooperation of the Japan Society of New York and the Japan Film
Initiator and coordinator of film programs brought to the
University of Wisconsin–Madison campus with the cooperation of
Asian Cinevision of New York: Hong Kong cinema, spring 1992; New
Korean cinema, spring 1994; East Asian cinema, fall 1996–spring
Coordinator, symposium, “Light in the East: New Trends in
Cinema from Hong Kong, Japan, Taiwan, and Mainland China,”
University of Wisconsin–Madison consisting of three guest
speakers and director Ann Hui; 14–15 February 1997. Supported by
the Arts Consortium, the International Institute, and the
Coordinator, Burdick-Vary Symposium for Institute for Research in
the Humanities, “Popular Cinema—The Very Idea:
Understanding Film as Entertainment,” 4–6 February 1999,
including visiting lecturers and filmmaker Peter Chan.
Coordinator, symposium,“On the Edge, Over the Edge: Hong
Kong Cinema and Popular Culture,” 1–3 March 2001, including
visiting lecturers and filmmaker Shu Kei. Supported by the
Anonymous Fund and the Humanistic Foundation.
Coordinated Film Studies colloquium, bringing guest lecturers and
filmmakers to campus, 1985–present, in rotation with
Member, Editorial Board, Cinema Journal, 1980–1992.
National Endowment for the Humanities Consultant for a project to
translate the collected writings of Sergei Eisenstein into
Representative, CIEE (Fulbright) film program committee
Member, Conference Organizing Committee, “The Cinematic
Apparatus,” conference held at the University of
Wisconsin–Milwaukee, February 1978.
National Endowment for the Arts Consultant for Media Arts,
Guest Editor, Film Criticism 4, 1 (Fall 1979).
Referee for proposals and manuscripts for Princeton University
Press, Indiana University Press, Harvard University Press, MIT
Press, University of Chicago Press, University of Wisconsin Press, Columbia
University Press, University of Illinois Press, Journal of Aesthetics and
Art Criticism, and Cinema Journal.
Member of external review committee for film programs at
University of Utah, University of California–Santa Barbara,
University of Michigan, and Wesleyan University.
Member, Executive Council of the Society for Cinema Studies,
Member, Conference Organization Committee, Society for Cinema
Chair, ad hoc committee of Society for Cinema Studies on
renegotiating contract between Cinema Journal and the University
of Illinois Press, 1987.
Reviewer, grant proposals for the National Endowment for the
Humanities, the National Archives, and the Social Sciences and
Humanities Research Council of Canada.
Member, Working Group for the Study of Soviet Cinema and
Consultant, Japanese Silent Films, film series conducted by the
Japan Film Center and the American Museum of the Moving Image, 2 June–23 June 1989.
Member, Area Committee for CIES Fulbright Fellowships in Media,
Reviewer, Getty Grant Program, Fellowships in Film and Media,
1989, 1991, 1992, 1994.
Reviewer, National Humanities Center fellowship applicants, 1990,
1991, 1993, 1994.
Referee, nominees for MacArthur Foundation fellowships.
Member, Editorial Board of Archivos, published by
Filmoteca Generalitat of Valencia, Spain.
Presenter of award for best director of 1994 to Wong Kar-wai,
Awards Ceremony, Hong Kong Society of Film Critics, 22 April
Consultant on Japanese war films for Hollywood
Commandos, 58-min. documentary by Gregory Orr Productions
for American Movie Classics; aired November 1996.
Consultant for Hong Kong film series at the Royal Film Archive of
Brussels, June 1997; June 2001.
Member, Editorial Board of Style, 1996–2002.
Interviewee for various newspapers, US and overseas, on film and
my research, 1984–present.
Interviewee for local and overseas radio and television
broadcasts on film and on my research, 1988–present.
Subject of profile, “The Insider: David Bordwell Blows the
Whistle on Film Studies,” Lingua Franca (March
Consultant for “The Art of Action,” a documentary on
Hong Kong cinema aired on Encore cable network, 31 January
Consultant for Chop Socky: Cinema Hong Kong, a
documentary on Hong Kong cinema aired on Independent Film
Channel, August 2004.
Invited guest for presentations and panel discussions, Roger
Ebert Festival of Overlooked Films, University of
Illinois–Champaign-Urbana, April 2003–present.
Judge of Asian New Talent Awards, Shanghai International Film
Festival, 6–14 June 2004.
Juror, Dragons and Tigers Award, Vancouver International
Film Festival, October 2005.
Director of 33 completed Ph. D. dissertations in film
history, theory, and criticism. Of these, 17 have been
published by the following presses: Cambridge University Press,
Columbia University Press, Hong Kong University Press, Mouton, Oxford University
Press, Princeton University Press, UMI Research Press, University of
North Carolina Press, University of Wisconsin Press, Wayne
State University Press, and Wesleyan University Press.