75.88.75.108 (talk) update |
Update publications |
||
Line 1: | Line 1: | ||
'''Gwendolyn Audrey Foster''' is a [[professor]] in the Department of [[English language|English]], [[University of Nebraska]], [[Lincoln, Nebraska|Lincoln]], specializing in [[film studies]], [[cultural studies]], and [[Postfeminist]] Critical Theory. |
'''Gwendolyn Audrey Foster''' is a [[professor]] in the Department of [[English language|English]], [[University of Nebraska]], [[Lincoln, Nebraska|Lincoln]], specializing in [[film studies]], [[cultural studies]], and [[Postfeminist]] Critical Theory. Foster's interests extend far beyond the limits of conventional film studies; in her most recent writings she explores the intersections between popular culture, the culture of celebrity, television and gender lifestyles, video games and installations, and moving image work on the web. |
||
Her book ''A Short History of Film'', co-authored with Wheeler Winston Dixon, has gone through six printings since its initial 2008 publication, the latest in December 2011. A revised second edition of ''A Short History of Film'' was published in March 2013. An audio book of ''A Short History of Film'' was published in 2011 by University Press Audiobooks, and a Spanish language translation, ''Breve historia del cine'', was published in November 2009 by Ediciones Robinbook, Barcelona, Spain. |
Her book ''A Short History of Film'', co-authored with [[Wheeler Winston Dixon]], has gone through six printings since its initial 2008 publication, the latest in December 2011. A revised second edition of ''A Short History of Film'' was published in March 2013. An audio book of ''A Short History of Film'' was published in 2011 by University Press Audiobooks, and a Spanish language translation, ''Breve historia del cine'', was published in November 2009 by Ediciones Robinbook, Barcelona, Spain. |
||
[[Image:Short History Second Edition Cover.jpg|right|thumbnail|Cover of ''A Short History of Film, Second Edition'']] |
[[Image:Short History Second Edition Cover.jpg|right|thumbnail|Cover of ''A Short History of Film, Second Edition'']] |
||
Her other recent books include: |
Her other recent books include: |
||
* |
*''21st Century Hollywood: Movies in the Era of Transformation'' (with Wheeler Winston Dixon; [[Rutgers University Press]], 2011); |
||
* |
*''Class-Passing: Social Mobility in Film and Popular Culture'', ([[Southern Illinois University]] Press, 2005); |
||
*''Performing Whiteness: Postmodern Re/Constructions'' ([[State University of New York]] Press, 2003); |
|||
*''Identity and Memory: The Films of [[Chantal Akerman]]'' (Southern Illinois University Press, 2003); |
*''Identity and Memory: The Films of [[Chantal Akerman]]'' (Southern Illinois University Press, 2003); |
||
*''Experimental Cinema: The Film Reader'' ([[Routledge]], 2002); |
*''Experimental Cinema: The Film Reader'' ([[Routledge]], 2002); |
||
Line 15: | Line 16: | ||
Foster's book, ''Performing Whiteness: Postmodern Re/Constructions'', was cited by the journal ''Choice'' as “Essential . . . one of the Outstanding Academic Books of the Year” for 2004. |
Foster's book, ''Performing Whiteness: Postmodern Re/Constructions'', was cited by the journal ''Choice'' as “Essential . . . one of the Outstanding Academic Books of the Year” for 2004. |
||
Since 1999 |
Since 1999, Foster has been the Editor-in-Chief of [[Quarterly Review of Film and Video]] with Wheeler Winston Dixon. QRFV is an interdisciplinary and internationally recognized academic journal of visual studies, film studies and cultural studies. Published by Routledge, QRFV publishes essays and reviews of considerable significance to the fields of Film Studies, Postcolonial Studies, Cultural Studies and Gender Studies. QRFV indexed in the [[MLA International Bibliography]], International Index to Film Periodicals, Film and Literature Index, Post Script, Media Review Digest and Film and Literature Review. |
||
In December 2010, she was appointed Series Editor with |
In December 2010, she was appointed Series Editor with Wheeler Winston Dixon of the new book series [http://www.anthempress.com/index.php/new-perspectives-on-world-cinema.html New Perspectives on World Cinema], for the Anthem Press, London. Books in the series thus far include: |
||
*''The Slumdog Phenomenon: A Critical Anthology'' by Ajay Gehlawat (2013); |
|||
*''Selected Film Essays and Interviews'' by Bruce Kawin (2013); |
|||
*''From Happy Homemaker to Desperate Housewives: Motherhood and Popular Television'' by Rebecca Feasey (2012); |
|||
*''World Cinema and the Visual Arts,'' ed. by David Gallagher (2012); |
|||
*''Horror and the Horror Film'' by Bruce F. Kawin (2012); |
|||
*''Screen Writings: Genres, Classics, and Aesthetics'' by Bert Cardullo (2010); and |
|||
*''Screen Writings: Partial Views of a Total Art, Classic to Contemporary'' by Bert Cardullo (2010). |
|||
Additional volumes are forthcoming. |
|||
[[Image: whiteness.jpg|left|thumbnail|Cover of Foster's book ''Performing Whiteness''.]] |
[[Image: whiteness.jpg|left|thumbnail|Cover of Foster's book ''Performing Whiteness''.]] |
||
Foster’s most recent articles and essays include “Life with [[Betty White]]: Performing the Authentic Proto-Feminist in Pioneering Early Television,” Film International August 6, 2013; “The Politics of Critical Reception and the Marxist Feminist Sublime in Carlos Reygadas’ [[Post Tenebras Lux]],” Film International July 8, 2013; “Family Friendly Torture Porn,” Film International April 14, 2013; “New Narratives for the 21st Century,” Film International April 6, 2013; “The Dialogics of Sisterly Advice in The Boarding School,” rpt. in The Norton Critical Edition of [[The Coquette]] and [[The Boarding School]] by [[Hannah Webster Foster]]; Jennifer Harris and Bryan Waterman, eds. New York: Norton, 2013: 402-408; “Fifties Hysteria Returns: Doomsday Prepping in a Culture of Fear, Death, and Automatic Weapons,” Film International January 2, 2013;“Embracing The [[Apocalypse]]: A World Without People,” Film International August 21, 2012; “Subverting Capitalism and Blind Faith: [[Pascal Laugier]]’s [[Martyrs]],” Film International July 29, 2012; “[[No Fear, No Die]] by [[Claire Denis]],” [[Senses of Cinema]] 63 (July, 2012); “Teaching Film in the Age of Transformation,” (co-written with Wheeler Winston Dixon), in Teaching Film, MLA “Options for Teaching Series,” Patrice Petro and Lucy Fischer, Eds. New York: Modern Language Association: 357 – 363, 2012; “[[La Ciénaga]] by [[Lucrecia]] Martel” [[Senses of Cinema]] 60 (2011); and “Queer Aesthetics of [[Film Noir]]: [[Born to Kill]],” [[Quarterly Review of Film and Video]] 28.1 (2011): 80-85. |
|||
Gwendolyn Audrey Foster's other credits include articles published in ''Text and Performance Quarterly,'' ''The Friend: Comment on Romanticism,'' ''Film Criticism'' and ''Prairie Schooner,'' as well as the production, direction and screenplay for "Women Who Made the Movies" (1992), a documentary on the history of women filmmakers from 1896-1960. |
|||
⚫ | "Women Who Made The Movies" is in the permanent collections of [[Dartmouth College]], The Australian Film /TV/Radio School, [[Vanderbilt University]], [[Atlanta University]], [[Mount Holyoke College]], Central Michigan University [[Barnard College]], George Mason University, University of Washington, [[New York University]], [[Harvard University]], [[San Diego State University]], [[Rice University]], California Institute of the Arts, Indiana University, University of Oklahoma, The African-American Institute, Forum Yokohama (Japan), [[Duke University]], University of Texas at Austin, California State University at Bakersfield, University of Delaware Avila College, [[Goucher College]], Boston Public Library, Speed Art Museum, University of Evansville, University of Wisconsin–Madison, The University of Washington, The Nederlands Filmmuseum, The University of British Columbia |
||
She has also published “[[The Colbert Report]]: Performing the News as Parody for the Postmodern Viewer,” Genre and Performance: Film and Television. Christine Cornea, ed. Manchester University Press, 2010: 113 – 129; “Self-Stylization and Performativity in the Work of [[Yoko Ono]], [[Yayoi Kusama]] and [[Mariko Mori]],” [[Quarterly Review of Film and Video]] 27.4 (2010): 267-275; “[[My Son John]] and The [[Red Scare]] in [[Hollywood]],” [[Senses of Cinema]] 51 (2009); “The Corruption of the Family and the Disease of Whiteness in [[I Walked With a Zombie]],” in A Family Affair: Cinema Calls Home. Murray Pomerance, ed. Wallflower Press, 2008: 149–159; “Producers,” Oxford Encyclopedia of Women in World History. [[Oxford University Press]], 2008: 384-386; “Performing and Othering Class: Visions of Class-Passing in [[New York City]],” in City That Never Sleeps. Murray Pomerance, Ed., [[Rutgers University Press]], 2007: 151 – 165; “Performing Modernity and Gender in the 1930s,” in Cinema and Modernity. Murray Pomerance, ed. [[Rutgers University Press]], 2006: 93–109; and “Experiments in Ethnography,” Jean Petrolle and Virginia Wright Wexman, Eds., Women and Experimental Filmmaking [[University of Illinois Press]], 2005: 177–191. |
|||
"Women Who Made The Movies" is used in many film classes, both at the K-12 level and at many universities. It has been screened at numerous international film festivals, and extensively reviewed. |
|||
⚫ | Foster's other credits include the production, direction and screenplay for "Women Who Made the Movies" (1992), a documentary on the history of women filmmakers from 1896-1960."Women Who Made The Movies" is in the permanent collections of more than 100 universities and libraries, including [[Dartmouth College]], The Australian Film /TV/Radio School, [[Vanderbilt University]], [[Atlanta University]], [[Mount Holyoke College]], Central Michigan University [[Barnard College]], George Mason University, University of Washington, [[New York University]], [[Harvard University]], [[San Diego State University]], [[Rice University]], California Institute of the Arts, Indiana University, University of Oklahoma, The African-American Institute, Forum Yokohama (Japan), [[Duke University]], University of Texas at Austin, California State University at Bakersfield, University of Delaware Avila College, [[Goucher College]], Boston Public Library, Speed Art Museum, University of Evansville, University of Wisconsin–Madison, The University of Washington, The Nederlands Filmmuseum, and The University of British Columbia. |
||
Recipient of a [[Rockefeller Foundation]] Grant for Performance Art, Gwendolyn Foster also served as a judge for final selections of [[The Southwest Alternate Media Project]] Independent Production Fellowship Funds of the National Endowment for the Arts, July 29-31, 1993, in Houston, TX, and was a Juror for 16th Annual Academy of Motion Picture Arts and Sciences Student Film Awards. |
|||
In the summer of 1994, Foster wrote the screenplay for the French-language feature film "Squatters" which was produced outside of Paris in June, 1994, for French television. In the Winter of 1997, Dr. Foster delivered a lecture at The [[Museum of Modern Art]] in New York on the films of Barbara Hammer, in conjunction with a screening of Hammer’s work, and presented a paper on the work of filmmaker [[Safi Faye]] at the 1997 MLA National Convention in Washington, DC. |
Recipient of a [[Rockefeller Foundation]] Grant for Performance Art, Gwendolyn Foster also served as a judge for final selections of The Southwest Alternate Media Project, Independent Production Fellowship Funds of the [[National Endowment for the Arts]], July 29-31, 1993, in Houston, TX, and was a Juror for 16th Annual Academy of Motion Picture Arts and Sciences Student Film Awards. In the summer of 1994, Foster wrote the screenplay for the French-language feature film "Squatters" which was produced outside of Paris in June, 1994, for French television. In the Winter of 1997, Dr. Foster delivered a lecture at The [[Museum of Modern Art]] in New York on the films of Barbara Hammer, in conjunction with a screening of Hammer’s work, and presented a paper on the work of filmmaker [[Safi Faye]] at the 1997 MLA National Convention in Washington, DC. |
||
[[Image: Identity and Memory Cover.jpg|right|thumbnail|Cover of Foster's book ''Identity and Memory''.]] |
[[Image: Identity and Memory Cover.jpg|right|thumbnail|Cover of Foster's book ''Identity and Memory''.]] |
||
Her earlier publications include “[[Barbara Hammer]],” in Film Voices: Interviews from Post Script, Gerald Duchovnay, ed., State University of New York Press, 2004; “Monstrosity and the Bad-White Body Film,” in Bad: Infamy, Darkness, Evil and Slime on Screen, Murray Pomerance, ed. State University of New York Press, 2004; “Every Frame Was Precious,” Film Criticism 18.1 (Fall, 2003); “Women Filmmakers in British Sound Cinema,” in The Encyclopedia of British Film, Brian McFarlane, ed., London: Methuen Press /British Film Institute, 2003; “The Post-Colonial Vision of The “Great White” of Lambaréné,” Popular Culture Review, 11. 2 (Summer 2000); ‘“Character Zone: An Interview with [[Trinh T. Minh-ha]],” Countervisions: Asian American Film Criticism, Sandra Liu and Darrell Y. Hamamoto, eds., Philadelphia: Temple University Press, 2000; “Feminist Theory and the Performance of Lesbian Desire in Persona,” in [[Ingmar Bergman]]’s [[Persona]], Lloyd Michaels, ed., Cambridge: Cambridge University Press, 2000. |
|||
Additional articles include “Diasporic Representations of Identity and Space in the films of [[Mira Nair]],” Deep Focus: A Film Quarterly 7. 3/4 (1999): ‘“Character Zone,” Cinema-Intervals, [[Trinh T. Minh-ha]], ed., New York: Routledge Press (1999); 227 – 245; “The Women in High Noon: The Metanarrative of Difference,” in The Films of [[Fred Zinnemann]], Arthur Nolletti, ed., State University of New York Press, 1999; “Foreword: Women Filmmakers.” Women on the Other Side of the Camera: The St. James Women Filmmakers Encyclopedia. Farmington Hills, MI: Visible Ink Press, 1999: “Performativity and Gender in [[Alice Guy]]’s La Vie du Christ,” Film Criticism 23.1 (Fall, 1998), and “[[Safi Faye]]: Ethnographic Films and Questions of Subjectivity,” Popular Culture Review 9. 2 (August 1998). |
Additional articles include “Diasporic Representations of Identity and Space in the films of [[Mira Nair]],” Deep Focus: A Film Quarterly 7. 3/4 (1999): ‘“Character Zone,” Cinema-Intervals, [[Trinh T. Minh-ha]], ed., New York: Routledge Press (1999); 227 – 245; “The Women in High Noon: The Metanarrative of Difference,” in The Films of [[Fred Zinnemann]], Arthur Nolletti, ed., State University of New York Press, 1999; “Foreword: Women Filmmakers.” Women on the Other Side of the Camera: The St. James Women Filmmakers Encyclopedia. Farmington Hills, MI: Visible Ink Press, 1999: “Performativity and Gender in [[Alice Guy]]’s La Vie du Christ,” Film Criticism 23.1 (Fall, 1998), and “[[Safi Faye]]: Ethnographic Films and Questions of Subjectivity,” Popular Culture Review 9. 2 (August 1998). |
||
Dr. Foster’s awards and fellowships include a Maude Hammond Fling Faculty Research Fellowship for ''A Short History of Film'', 2006 -2007; a College of Arts & Sciences Distinguished Teaching Award, January, 2004; a Grant-In-Aid Fellowship from the John C. and Nettie V. David Memorial Trust, Fall 2003; $6,500; a Research Fellowship from the University of Nebraska Research Council, for the project “The Films of [[Alice Guy Blaché]],” involving travel to film archives in New Zealand and Amsterdam to view rare film prints of the films of [[Alice Guy Blaché]], 1999; and the prestigious National Emerging Scholar Award, [[American Association of University Women]], 1998, for teaching, research, and the mentoring of women students. |
Dr. Foster’s awards and fellowships include a Maude Hammond Fling Faculty Research Fellowship for ''A Short History of Film'', 2006 - 2007; a College of Arts & Sciences Distinguished Teaching Award, January, 2004; a Grant-In-Aid Fellowship from the John C. and Nettie V. David Memorial Trust, Fall 2003; $6,500; a Research Fellowship from the University of Nebraska Research Council, for the project “The Films of [[Alice Guy Blaché]],” involving travel to film archives in New Zealand and Amsterdam to view rare film prints of the films of [[Alice Guy Blaché]], 1999; and the prestigious National Emerging Scholar Award, [[American Association of University Women]], 1998, for teaching, research, and the mentoring of women students. |
||
Foster's interests extend far beyond the limits of conventional film studies; in her most recent writings she explores the intersections between popular culture, the culture of celebrity, television and gender lifestyles, video games and installations, and moving image work on the web. |
|||
==External links== |
==External links== |
||
*[http://filmint.nu/?p=5417 Article, Subverting Capitalism and Blind Faith: Pascal Laugier’s Martyrs] |
|||
*[http://filmint.nu/?p=5581 Article, Embracing The Apocalypse: A World Without People] |
|||
*[http://filmint.nu/?p=6638 Article, Fifties Hysteria Returns: Doomsday Prepping in a Culture of Fear, Death, and Automatic Weapons] |
|||
*[http://filmint.nu/?p=7458 Article, Family Friendly Torture Porn] |
|||
*[http://filmint.nu/?p=8494 Article, The Politics of Critical Reception and the Marxist Feminist Sublime in Carlos Reygadas [[Post Tenebras Lux]]] |
|||
*[http://filmint.nu/?p=8819 Article, Life with Betty White: Performing the Authentic Proto-Feminist in Pioneering Early Television] |
|||
*[http://eng-wdixon.unl.edu/foster.html Gwendolyn Audrey Foster’s Homepage] |
*[http://eng-wdixon.unl.edu/foster.html Gwendolyn Audrey Foster’s Homepage] |
||
*[http://www.tandf.co.uk/journals/titles/10509208.html Official Quarterly Review of Film and Video Homepage] |
*[http://www.tandf.co.uk/journals/titles/10509208.html Official Quarterly Review of Film and Video Homepage] |
||
{{Persondata <!-- Metadata: see [[Wikipedia:Persondata]]. --> |
{{Persondata <!-- Metadata: see [[Wikipedia:Persondata]]. --> |
Revision as of 17:14, 24 August 2013
Gwendolyn Audrey Foster is a professor in the Department of English, University of Nebraska, Lincoln, specializing in film studies, cultural studies, and Postfeminist Critical Theory. Foster's interests extend far beyond the limits of conventional film studies; in her most recent writings she explores the intersections between popular culture, the culture of celebrity, television and gender lifestyles, video games and installations, and moving image work on the web.
Her book A Short History of Film, co-authored with Wheeler Winston Dixon, has gone through six printings since its initial 2008 publication, the latest in December 2011. A revised second edition of A Short History of Film was published in March 2013. An audio book of A Short History of Film was published in 2011 by University Press Audiobooks, and a Spanish language translation, Breve historia del cine, was published in November 2009 by Ediciones Robinbook, Barcelona, Spain.
Her other recent books include:
- 21st Century Hollywood: Movies in the Era of Transformation (with Wheeler Winston Dixon; Rutgers University Press, 2011);
- Class-Passing: Social Mobility in Film and Popular Culture, (Southern Illinois University Press, 2005);
- Performing Whiteness: Postmodern Re/Constructions (State University of New York Press, 2003);
- Identity and Memory: The Films of Chantal Akerman (Southern Illinois University Press, 2003);
- Experimental Cinema: The Film Reader (Routledge, 2002);
- Troping the Body: Etiquette, Conduct and Dialogic Performance (Southern Illinois University Press, 2000) and
- Captive Bodies: Postcolonialism in the Cinema (State University of New York Press, 1999).
Foster's book, Performing Whiteness: Postmodern Re/Constructions, was cited by the journal Choice as “Essential . . . one of the Outstanding Academic Books of the Year” for 2004.
Since 1999, Foster has been the Editor-in-Chief of Quarterly Review of Film and Video with Wheeler Winston Dixon. QRFV is an interdisciplinary and internationally recognized academic journal of visual studies, film studies and cultural studies. Published by Routledge, QRFV publishes essays and reviews of considerable significance to the fields of Film Studies, Postcolonial Studies, Cultural Studies and Gender Studies. QRFV indexed in the MLA International Bibliography, International Index to Film Periodicals, Film and Literature Index, Post Script, Media Review Digest and Film and Literature Review.
In December 2010, she was appointed Series Editor with Wheeler Winston Dixon of the new book series New Perspectives on World Cinema, for the Anthem Press, London. Books in the series thus far include:
- The Slumdog Phenomenon: A Critical Anthology by Ajay Gehlawat (2013);
- Selected Film Essays and Interviews by Bruce Kawin (2013);
- From Happy Homemaker to Desperate Housewives: Motherhood and Popular Television by Rebecca Feasey (2012);
- World Cinema and the Visual Arts, ed. by David Gallagher (2012);
- Horror and the Horror Film by Bruce F. Kawin (2012);
- Screen Writings: Genres, Classics, and Aesthetics by Bert Cardullo (2010); and
- Screen Writings: Partial Views of a Total Art, Classic to Contemporary by Bert Cardullo (2010).
Additional volumes are forthcoming.
Foster’s most recent articles and essays include “Life with Betty White: Performing the Authentic Proto-Feminist in Pioneering Early Television,” Film International August 6, 2013; “The Politics of Critical Reception and the Marxist Feminist Sublime in Carlos Reygadas’ Post Tenebras Lux,” Film International July 8, 2013; “Family Friendly Torture Porn,” Film International April 14, 2013; “New Narratives for the 21st Century,” Film International April 6, 2013; “The Dialogics of Sisterly Advice in The Boarding School,” rpt. in The Norton Critical Edition of The Coquette and The Boarding School by Hannah Webster Foster; Jennifer Harris and Bryan Waterman, eds. New York: Norton, 2013: 402-408; “Fifties Hysteria Returns: Doomsday Prepping in a Culture of Fear, Death, and Automatic Weapons,” Film International January 2, 2013;“Embracing The Apocalypse: A World Without People,” Film International August 21, 2012; “Subverting Capitalism and Blind Faith: Pascal Laugier’s Martyrs,” Film International July 29, 2012; “No Fear, No Die by Claire Denis,” Senses of Cinema 63 (July, 2012); “Teaching Film in the Age of Transformation,” (co-written with Wheeler Winston Dixon), in Teaching Film, MLA “Options for Teaching Series,” Patrice Petro and Lucy Fischer, Eds. New York: Modern Language Association: 357 – 363, 2012; “La Ciénaga by Lucrecia Martel” Senses of Cinema 60 (2011); and “Queer Aesthetics of Film Noir: Born to Kill,” Quarterly Review of Film and Video 28.1 (2011): 80-85.
She has also published “The Colbert Report: Performing the News as Parody for the Postmodern Viewer,” Genre and Performance: Film and Television. Christine Cornea, ed. Manchester University Press, 2010: 113 – 129; “Self-Stylization and Performativity in the Work of Yoko Ono, Yayoi Kusama and Mariko Mori,” Quarterly Review of Film and Video 27.4 (2010): 267-275; “My Son John and The Red Scare in Hollywood,” Senses of Cinema 51 (2009); “The Corruption of the Family and the Disease of Whiteness in I Walked With a Zombie,” in A Family Affair: Cinema Calls Home. Murray Pomerance, ed. Wallflower Press, 2008: 149–159; “Producers,” Oxford Encyclopedia of Women in World History. Oxford University Press, 2008: 384-386; “Performing and Othering Class: Visions of Class-Passing in New York City,” in City That Never Sleeps. Murray Pomerance, Ed., Rutgers University Press, 2007: 151 – 165; “Performing Modernity and Gender in the 1930s,” in Cinema and Modernity. Murray Pomerance, ed. Rutgers University Press, 2006: 93–109; and “Experiments in Ethnography,” Jean Petrolle and Virginia Wright Wexman, Eds., Women and Experimental Filmmaking University of Illinois Press, 2005: 177–191.
Foster's other credits include the production, direction and screenplay for "Women Who Made the Movies" (1992), a documentary on the history of women filmmakers from 1896-1960."Women Who Made The Movies" is in the permanent collections of more than 100 universities and libraries, including Dartmouth College, The Australian Film /TV/Radio School, Vanderbilt University, Atlanta University, Mount Holyoke College, Central Michigan University Barnard College, George Mason University, University of Washington, New York University, Harvard University, San Diego State University, Rice University, California Institute of the Arts, Indiana University, University of Oklahoma, The African-American Institute, Forum Yokohama (Japan), Duke University, University of Texas at Austin, California State University at Bakersfield, University of Delaware Avila College, Goucher College, Boston Public Library, Speed Art Museum, University of Evansville, University of Wisconsin–Madison, The University of Washington, The Nederlands Filmmuseum, and The University of British Columbia.
Recipient of a Rockefeller Foundation Grant for Performance Art, Gwendolyn Foster also served as a judge for final selections of The Southwest Alternate Media Project, Independent Production Fellowship Funds of the National Endowment for the Arts, July 29-31, 1993, in Houston, TX, and was a Juror for 16th Annual Academy of Motion Picture Arts and Sciences Student Film Awards. In the summer of 1994, Foster wrote the screenplay for the French-language feature film "Squatters" which was produced outside of Paris in June, 1994, for French television. In the Winter of 1997, Dr. Foster delivered a lecture at The Museum of Modern Art in New York on the films of Barbara Hammer, in conjunction with a screening of Hammer’s work, and presented a paper on the work of filmmaker Safi Faye at the 1997 MLA National Convention in Washington, DC.
Her earlier publications include “Barbara Hammer,” in Film Voices: Interviews from Post Script, Gerald Duchovnay, ed., State University of New York Press, 2004; “Monstrosity and the Bad-White Body Film,” in Bad: Infamy, Darkness, Evil and Slime on Screen, Murray Pomerance, ed. State University of New York Press, 2004; “Every Frame Was Precious,” Film Criticism 18.1 (Fall, 2003); “Women Filmmakers in British Sound Cinema,” in The Encyclopedia of British Film, Brian McFarlane, ed., London: Methuen Press /British Film Institute, 2003; “The Post-Colonial Vision of The “Great White” of Lambaréné,” Popular Culture Review, 11. 2 (Summer 2000); ‘“Character Zone: An Interview with Trinh T. Minh-ha,” Countervisions: Asian American Film Criticism, Sandra Liu and Darrell Y. Hamamoto, eds., Philadelphia: Temple University Press, 2000; “Feminist Theory and the Performance of Lesbian Desire in Persona,” in Ingmar Bergman’s Persona, Lloyd Michaels, ed., Cambridge: Cambridge University Press, 2000.
Additional articles include “Diasporic Representations of Identity and Space in the films of Mira Nair,” Deep Focus: A Film Quarterly 7. 3/4 (1999): ‘“Character Zone,” Cinema-Intervals, Trinh T. Minh-ha, ed., New York: Routledge Press (1999); 227 – 245; “The Women in High Noon: The Metanarrative of Difference,” in The Films of Fred Zinnemann, Arthur Nolletti, ed., State University of New York Press, 1999; “Foreword: Women Filmmakers.” Women on the Other Side of the Camera: The St. James Women Filmmakers Encyclopedia. Farmington Hills, MI: Visible Ink Press, 1999: “Performativity and Gender in Alice Guy’s La Vie du Christ,” Film Criticism 23.1 (Fall, 1998), and “Safi Faye: Ethnographic Films and Questions of Subjectivity,” Popular Culture Review 9. 2 (August 1998).
Dr. Foster’s awards and fellowships include a Maude Hammond Fling Faculty Research Fellowship for A Short History of Film, 2006 - 2007; a College of Arts & Sciences Distinguished Teaching Award, January, 2004; a Grant-In-Aid Fellowship from the John C. and Nettie V. David Memorial Trust, Fall 2003; $6,500; a Research Fellowship from the University of Nebraska Research Council, for the project “The Films of Alice Guy Blaché,” involving travel to film archives in New Zealand and Amsterdam to view rare film prints of the films of Alice Guy Blaché, 1999; and the prestigious National Emerging Scholar Award, American Association of University Women, 1998, for teaching, research, and the mentoring of women students.
External links
- Article, Subverting Capitalism and Blind Faith: Pascal Laugier’s Martyrs
- Article, Embracing The Apocalypse: A World Without People
- Article, Fifties Hysteria Returns: Doomsday Prepping in a Culture of Fear, Death, and Automatic Weapons
- Article, Family Friendly Torture Porn
- Article, The Politics of Critical Reception and the Marxist Feminist Sublime in Carlos Reygadas Post Tenebras Lux
- Article, Life with Betty White: Performing the Authentic Proto-Feminist in Pioneering Early Television
- Gwendolyn Audrey Foster’s Homepage
- Official Quarterly Review of Film and Video Homepage