CV

I. EARNED DEGREES

1985 Ph.D. in Film Studies, University of Iowa, Iowa City
1980 M.A. in American Studies, Mount Holyoke College, South Hadley, MA

II. EMPLOYMENT

2001-present Georgia Institute of Technology, Full Professor with Tenure
1997-2001 Emory University, Assistant Professor
1987-1997 Yale University, Associate Professor without Tenure
1985-1987 Vassar College, Assistant Professor

III. TEACHING

Graduate/Undergraduate Courses:
Film and Avant-garde Movements
Color and Storytelling in Film
Surrealism in Film
Futurism and the Cinema
Deleuze and the Cinema
Spectatorship and Cinema
Classical Film Theory
Contemporary Film Theory
Femmes Fatales in Film
Film Noir
Melodrama in Film
The Past on the Screen
European Film History
Film and the Arts
Italian Cinema
Neo-realism and Beyond
Cinema and Architecture (team-taught)
Italian Cinema and Painting 1945-1995
Four French Filmmakers: Carné, Renoir, Bresson, Godard
Recent European Filmmakers: Denis, Ozon, Von Trier, Almodovar, Amelio, Karismaki, Akin
Early Italian Cinema in an International Context
Literature and Early Cinema: Adaptations
African Film, African Art, New Media (team-taught)
The History of Camera Movement in Film
The History of Editing in Film
Close Analysis of Film and Criticism
Five French Filmmakers: Renoir, Bresson, Tati, Truffaut, Rohmer
Art, Cinema, Science

Thesis Guidance: M.A./Ph.D./Post-Doc Candidates
2013 Referee for Dr. Paulette Richards’ successful award of Fulbright grant in Senegal
2012 Jill Murphy, University College Cork, Ireland, “What is the Sacred: Pier Paolo Pasolini and Jean-Luc Godard”
2011 Chris Weedmann, Post-Doctoral Fellow at GaTech
2010 Roger Whitson, Post-Doctoral Fellow at GaTech
2007 Katerina Loukopoulou, Birkbeck College, “Cinema and the Museum”
2007 Melissa Buron, Birkbeck College, University of London, M.A., “Loïe Fuller”
2007 Stephanie Cotela, Birkbeck College, University of London, M.A., “Art and Film in Post-WWII Italy”
2007 Camilla Kuc, Birkbeck College, University of London, Ph.D., “Slavic Divas in Early Cinema”
2005 Adrian Duran, University of Delaware, Department of Art History, “Il Fronte Nuovo delle Arti: Realism and Abstraction in Italian Painting at the Dawn of the Cold War, 1944-50”
2003 Anne Marie Tamis-Nasello, New York University, Department of Italian Studies, “Nationalism, Internationalism, and the Other in Italian Film”
2002 Brian Price, New York University, Department of Cinema Studies, “The Cinema of Robert Bresson: Color, Historical Context, Politics”
2001 Gerard Dapena, CUNY Graduate Center, History of Art/ Film Studies, “Spanish Cinema Under Franco”
1999 Julie Sexeny, Institute of Liberal Arts, “Trauma Theory, National Identity, Spectatorship”
1999 Darlene Pursley, French Studies, “Deleuze: Urban Space, Gender”
1999 Jason Breyan, Institute of Liberal Arts, “The Spatial Aesthetics of Trauma and of Healing: Film, Therapy, New Media”
1999 Vicki Sturtevant, Women’s Studies, “Feminism and Film: Theories, Histories, Spectators”
1998 Jurgen Heinrichs, “Jazz Music and Dance in the Visual Culture of Weimar Germany”
1996 William Valerio, “Boccioni’s Fist: Italian Futurism and the Construction of Fascist Modernism”
1995 Erin Valentino, “Delivering their Grandmothers: Contemporary Native American Women’s Art”
1995 Jodi Hauptman, “Vision and Spectatorship in the Work of Joseph Cornell: Star-Gazing in the Cinema”
1995 Karen Fiss, “Deutschland in Paris: The 1937 German Pavillon and Franco-German Cultural Relations”
1994 Barbara Bloemink, “Florine Stettheimer: Alternative Modernist”
1993 Fatimah Rony, “On Ethnographic Cinema: Race, Science, and Spectacle, 1895-1935”
1991 Joseph Inguante, “Postmodern Photography in America: Advertisement and Politics”
1991 Linda Landis, “Critiquing Absolutism: Marcel Duchamp’s Étant Donnés and the Psychology of Perception”

IV. SCHOLARLY ACCOMPLISHMENTS

A. PUBLISHED BOOKS AND ANTHOLOGIES
Angela Dalle Vacche, ed. Film, Art, New Media: Museum without Walls? London: Palgrave Macmillan, 2012. An anthology with fifteen original essays, based on the 2009 Clark Institute Symposium “Image and Movement” which I convened.
Angela Dalle Vacche. Diva: Defiance and Passion in Early Cinema. Austin: University of Texas Press, 2008. Award from the American Association of University Libraries.
Angela Dalle Vacche, ed. with Brian Price. Color, A Film Reader (In Focus Series). New York and London: Routledge, 2006.
Angela Dalle Vacche. The Visual Turn: Classical Film Theory and Art History. New Brunswick, N.J.: Rutgers University Press, 2002.
Angela Dalle Vacche. Cinema and Painting: How Art is Used in Film. Austin: University of Texas Press, 1996.
Angela Dalle Vacche. The Body in the Mirror: Shapes of History in Italian Cinema.Princeton, N.J.: Princeton University Press, 1992.
André Bazin’s Cinema: Art, Religion, Science. (Book-in-progress)

B. CHAPTERS IN BOOKS
“Le cinéma et sa différence dans le système des arts.” In Ouvrir Bazin, edited by Dudley Andrew with Hervé Joubert-Laurencin. Montreuil: Editions de L’Oeil, 2014. Forthcoming February 2014
“Diva: Context, Issues, Actresses.” In The BFI Reader in Italian Cinema, edited by Peter Bondanella. London: BFI, 2014. Forthcoming December 2013
“Home Stories from Early Italian Cinema.” In A Reader in Italian Cinema, edited by Giorgio Bertellini, 185-193. London: John Libbey, 2014.
“Olivier Assayas’ Summer Hours (2008) and André Bazin’s Film Theory.” In Storia dell’Arte/Film Studies, edited by Riccardo Venturi, 213-232.Pisa: University of Pisa/Felici Editori, 2013.
“Introduction to Film, Art, New Media : Museum without Walls,” edited by Angela Dalle Vacche, 1-22. London: Palgrave Macmillan, 2012.
“Cézanne and the Lumière Brothers.” In Film, Art, New Media: Museum without Walls, edited by Angela Dalle Vacche, 39-56. London: Palgrave Macmillan, 2012.
“Directing Children on Screen: The Problem of Self-Consciousness.” In François Truffaut, edited by Dudley Andrew and Anne Gillain, 403-419. Oxford: Blackwell, 2012.
“André Bazin and the System of the Arts.” In Opening Bazin, edited by Dudley Andrew, 142-152. New York: Oxford University Press, 2010.
“Surrealism in Film and Art: Time and Face.” In Global Art Cinema, edited by Rosalynd Galt and Karl Schoonover, 181-197. New York: Oxford University Press, 2010.
“Hollywood 1928: The Man Who Laughs.” In The Twenties in Hollywood Cinema, edited by Lucy Fisher, 211-233. New Brunswick: Rutgers University Press, 2009.
“Cinema and Art History: Film Has Two Eyes.” In The SAGE Handbook in Film Studies, edited by James Donald, Patrick Fuery, and Michael Renov, 180-198. London: SAGE, June 2008.
“The Modern Woman in Early Italian Film.” In Wings of Desire. New York: Anthology Film Archives, 2002.
“Femininity in Flight: Androgyny and Gynandry in Early Silent Cinema.” In A Feminist Reader in Early Cinema, edited by Jennifer Bean and Diane Negra, 444-475. Durham, N.C.: Duke University Press, Fall 2002.
“Love Everlasting: The Legacy of the Italian Diva.” In Stars au Féminin, edited by Jean-Loup Passek and Gian Luca Farinelli, 89-106. Paris: Centre Georges Pompidou and Bologna: Cineteca del Comune di Bologna, 2000.
“Representation, Spectacle, and Performance in Bernardo Bertolucci’s The Conformist.” In Making Visible the Invisible: An Anthology of Original Essays on Film Acting, edited by Carole Zucker, 391-413. Metuchen, N.J.: Scarecrow Press, 1990.

C. ESSAYS IN REFEREED PUBLICATIONS
“Interstices and Impurities in the Cinema: Art and Science.” Alphaville 5 (Summer 2013): 5-17.
“Cinema and Museum.” Perspectives, La Revue de l’Institut National d’Histoire de l’Art, Paris (2011): 530-533.
“Le Paysage du cinéma italien.” CinemAction 122 (Jan. 2008): 22-31.
“Film and Fine Art.” Schirmer Encyclopedia of Film. Detroit: Schirmer Reference, 2007.
“Lyda Borelli’s Satanic Rhapsody: The Cinema and the Occult.” CINemaS: Revue d’Études Cinématographiques 16:1 (Spring 2006): 91-115.
“Scrolls, Boxes, and Trees: Manuela Filiaci’s Work.” Art Journal (Winter 2005): 71-81.
“Leggendo Donatello D’Orazio sulla Recitazione del Cinema Muto Italiano.” Bianco e Nero 4:3 (2005): 143-153.
“Asta Nielsen: Motion, Emotion, and the Close-Up.” Framework 43:1 (Spring 2002): 76-94.
“Diva: Star of Muteness and Goddess of Pain.” Silent Divas, New York Film Festival, The Film Society of Lincoln Center, Sept. 22-Oct. 9, 2000, 12-26. Milan: Edizioni Olivares, 2000.
“Goddesses of Modernity.” Film Comment (Fall 2000): 45-48.
“Francesca Bertini: La Donna è mobile.” Cinegrafie (Summer 1999): 52-65. Special issue on European Divas, Cineteca del Comune di Bologna, Cinema Ritrovato.
“Hans Richter’s Rhythm 21: Celluloid as Plastic Conduit towards the Unknown.” Ut Pictura Cinema, First Light, edited by Robert Haller, 58-62. New York: Anthology Film Archives, 1998.
“Romantic Painting as Horror and Desire in Expressionist Cinema.” Post-Script 14:3 (Summer 1995): 25-36.
“Jean-Luc Godard’s Pierrot le Fou: Cinema as Collage against Painting.” Film/Literature Quarterly 23:1 (January 1995): 39-54.
“Mizoguchi’s Five Women around Utamaro: Film between Woodblock Painting and Tattooing.” East/West Film Journal (January 1994): 24-51.
“Eric Rohmer’s The Marquise of O: Painting Thoughts, Listening to Images.” Film Quarterly 46:4 (Summer 1993): 2-15.
“Alain Cavalier’s Thérèse: Still Life and the Close-Up as Feminine Space.” Film Criticism 17:1 (Spring 1993): 3-25.
“A Painter in Hollywood: Vincente Minnelli’s An American in Paris.” Cinema Journal 32:1 (Fall 1992): 63-83.
“Nouvelle Histoire, Italian Style.” Annali d’Italianistica 6 (Fall 1988): 98-122.
“National Tradition in Alessandro Blasetti’s 1860.” Film Criticism 9:1 (1984): 74-81.

D. OTHER PUBLICATIONS
“Picasso’s Mystery: Art and Cinema.” Brooklyn Rail (November 2013): 43.
“Chiaroscuro: Caravaggio, Storaro, Bazin.” Senses of Cinema 53 (December 2009). Online journal.
“A Film is Trying to Build a Sort of Eternity: An Interview with Mahamet-Saleh Haroun.” Senses of Cinema 47 (May 21, 2008). Online journal.
“Toulouse-Lautrec e il Cinema: tra Surrealismo ed Astrazione.” In Toulouse-Lautrec: uno sguardo dentro la vita, edited by Julia Frey, 69-85. Milan: Skira, 2003.
“Review of Luigi Ontani’s P.S. 1 Retrospective.” Art in America (April 2001).
“Review of Manuela Filiaci’s Recent Paintings.” Kouros Art Gallery, Sept. 7-Sept. 30. Art in America (February 2001): 144.
“Moving Shadows and Objects with Humour.” Hombres, Casa Zerilli-Merimó, New York University, February 22-March 10, 1999.
“Diva, Nation, Social Change.” La Fusta 11 (Fall 1997-Spring 1998): 135-145.
“Caino.” Skrien journal 211 (Fall 1996): 65. National Film Museum, Amsterdam.
“Book Review of Kyoko Hirano’s Mr. Smith Goes to Tokyo (Smithsonian Institute, 1992).” Iris: 184-186. Iowa City: The University of Iowa, 1995.
“Book Review of Barbara Spackman’s Decadent Genealogies.” Sub-Stance 67 (1992): 156-161.
“Book Review of French Cinema: Texts and Contexts.” Film Criticism 15:3 (Spring 1991): 3-7.
“Book Review of Postmodernism and its Discontents, Theories and Practices, ed. by E. Ann Kaplan (Verso Press, 1990).” Sub-Stance 65 (1991): 104-106.
“Book Review of Pierre Sorlin’s European Cinemas, European Societies.” Quarterly Review of Film and Video 14:3 (1990): 115-119.
“Book Review of Anne Hollander’s Moving Pictures.” Film Criticism (1990): 66-71.
“Book Review of L’Avventura: Michelangelo Antonioni, Director.” Annali d’Italianistica (1990): 426-428.
“Response to Robert Burgoyne on 1900 by Bertolucci.” Cinema Journal 29:3 (Spring 1990): 69-72.
“Book Review of Off-Screen: Women and Film in Italy, eds. Giuliana Bruno and Maria Nadotti.” Cineaste (1989): 54-69.
“Response to Survey on Feminist Film Theory: National Cinema and Sexual Difference.” Camera Obscura 20-21 (1989): 137-141.
“Book Review of James Hay’s Popular Film Culture in Fascist Italy (Indiana U.P., 1987).” Annali d’Italianistica 7 (1989): 498-500.
“Book Review of Millicent Marcus’s Italian Film in the Light of Neorealism.” Sub-Stance 61: 120-122.
“Book Review of Mira Liehm’s Passion and Defiance, Italian Cinema from 1942 to the Present.” Wide-Angle 6:4 (1985): 76-77.

EDUCATIONAL MATERIALS
The Home Stories of Peter Delpeut. Zeitgeist booklet, 2008 Essay in booklet inside DVD.
Diva Dolorosa (75 min./film/Peter Delpeut, director), The Nederlands Filmmuseum, 2000. Consultant on the production.

E. INVITED PRESENTATIONS
“Special, Yes! Specificity, No!” Paper presented at Symposium on Film Studies and Medium Specificity, Yale University Whitney Humanities Center, February 7, 2014.
“The Art Documentary and André Bazin’s Science.” Paper presented at a symposium on The Art Documentary, University of Ghent, Belgium, December 6–8, 2013
“Home Stories from Early Italian Cinema.” Paper presented at Columbia University Italian Academy, October 22, 2013.
“Art, Religion, Science in André Bazin’s Cinema.” Keynote presentation at the University of Northwestern Sydney, Sydney, Australia, July 2013.
“The Museum-Film: Olivier Assayas’ Summer Hours.” Paper presented at the University of Northwestern Sydney, Sydney, July 2013.
“André Bazin, Alain Resmais’ Mon Oncle d’Amérique, and Medium Specificity.” Paper presented at the Institut National de l’Histoire de l’Art (INHA), Paris, July 10, 2013.
“André Bazin’s Flm Theory and Olivier Assayas’ Summer Hours (2008).” Paper presented at University of Iowa, Lecture Series on Film and the Arts, October 4, 2012.
“Film Theory and Children.” Keynote address, Alphaville Conference, University College Cork, Ireland, September 7, 2012.
“Olivier Assayas’ Summer Hours.” A Workshop on Film and Art, Getty Research Institute, Los Angeles, June 2012.
“Film Theory and Digital Media.” Paper presented at Alvar Aalto University, Helsinki, Finland, May 2012.
“The Future of African Cinema: Gaston Kaboré.” France-Atlanta at the Bronzelens Film Festival, November 12, 2011.
“Cinema and Museum: Ontology and New Media.” Concordia University, Montreal, September 25, 2011.
“Cinema and Museum.” Keynote address at International Symposium, Cambridge University, U.K., July 6-8, 2011.
“Cézanne and the Lumière Brothers.” The Metropolitan Museum of Art, New York, April 3, 2011.
“Children and Bazin’s Film Theory.” Columbia University, Interdisciplinary Faculty Seminar, February 2011.
“Cinema and Museum.” Institut National d’Histoire de l’Art (INHA), Paris, January 12, 2011.
“Film and Italian Futurism.” Festival International du Film sur l’Art (FIFA) and Concordia University, Montreal, Canada, March 20, 2010.
“The Difference of Cinema in the System of the Arts.” New York University, Cinema Studies, January 25, 2010.
“Diva, Vamp, Femme Fatale.” Queens College/Istituto Calandra, New York, February 25, 2010.
Introduction to André Deed’s L’Uomo Meccanico (1921). Futurist International Film Conference, Yale University, November 13-14, 2009.
“Sangue Blue and Rapsodia Satanica.” Athens International Film Festival, Ohio, October 2009.
“Bazin and the System of the Arts.” Clark Institute, Williamstown, MA, March 2009.
Panel Discussion about Diva: Angela Dalle Vacche and Jackie Reich. Le Giornate del Cinema Muto, Pordenone, Italy, October 2008.
Panel Discussion about Diva: Angela Dalle Vacche, Paolo Valesio, and Emily Braun; moderator: Ruth Ben-Ghiat. Casa Italiana, New York University, October 14, 2008.
“Borelli in Everlasting Love (1913).” Brooklyn Academy of Music Cinematheque, May 13, 2008.
“Boccioni and the Actress: Futurism and Early Italian Cinema.” Colgate University, April 2, 2008.
“Bazin and the Visual Arts.” University of Udine, Italy, March 3, 2008.
“Cézanne and the Lumières.” Yale University, Whitney Humanities Center, December, 2007.
“What is a Diva, and What is a Diva-Film?” Vienna Film Museum, Austria, June 9, 2007.
“Ballets Russes, Bergson, Futurism.” Institute of Art and Design, Dublin, Ireland, May 15, 2007.
“Ballets Russes, Bergson, Futurism.” Birkbeck College, London, May 11, 2007.
“Cézanne and the Lumières.” Birkbeck College, London, April 27, 2007.
“The Mysteries of the Vertical Line in Film.” University College, London, April 12, 2007.
“Bazin and Chardin: The Ontology of Photography.” Birkbeck College, London, March 23, 2007.
“The Museum of the Future and New Media.” Cambridge University, U.K., March 19, 2007.
“Early Italian Film Theory.” The University of Leeds, U.K., March 14, 2007.
“Arabesque and Grotesque: Women in Flight.” Birkbeck College, London, March 9, 2007.
“Film and Art History: Alberti and Kepler.” Birkbeck College, London, January 26, 2007.
“Film Theory: Hieroglyph, Ornament, Textile.” Birkbeck College, London, January 22, 2007.
“Italian Film and the Use of Objects.” Tufts University, History of Art Department, Boston, October 2006.
“The Legacy of Italian Neorealism.” New York University, April 25, 2006.
“Cocteau, Visconti, and Pirandello.” Yale University, Whitney Humanities Center, November 2005.
“Between Palazzo Barbaro and Palazzo Venier: Patrons, Artists, and Divas.” Save Venice, New York, October 18, 2005.
“The Filmic Image and the Diva-Film.” Dutch Institute of Rome, October 20-21, 2004.
“Between Palazzo Barbaro and Palazzo Venier: Patrons, Artists, and Divas.” Isabella Stewart Gardner Museum, Boston, May 13, 2004.
“Surrealism: Art, Photography, Film.” University of Georgia, Athens, November 14, 2003.
“Feminism and Film Historiography.” University of Iowa, Iowa City, November 5, 2003.
“Cocteau and De Chirico.” An International Symposium on Jean Cocteau, Hofstra University, October 1-3, 2003.
“Riegl, Cézanne, and Bazin.” The University of Algarve, Portugal, December 9, 2002.
“The Image of the Artist in Vincente Minnelli’s An American in Paris.” New York Academy of the Arts, October 25, 2002.
“Film Programming and the Art Museum.” Seton Hall University, New Jersey, April 25, 2001.
“Looking at Jean-Léon Gérôme’s Details: Opticality in Painting and Silent Film.” Dahesh Museum, New York City, March 31, 2001.
“American Women, Film, and Aviation.” University of South Carolina, Columbia, March 30, 2001.
“Introduction to Carmine Gallone’s Malombra.” National Gallery of Art, Washington D.C., February 3, 2001.
“Silent Divas.” Pacific Film Archive, Berkeley, CA, October 27, 2000.
“History is Painful, But Life is Beautiful.” The Wolfsonian Museum, Miami, April 2, 2000.
“The Imaginary, the Surreal, the Metaphysical, and the Trompe l’Oeil.” University of Pennsylvania, March 3, 2000.
“The Surrealist Sensibility: International Contrasts and Comparisons.” The Guggenheim Museum, New York City, September 7, 1999.
“Liliana Cavani on Women during the Resistance.” New York University, May 4, 1999.
“Sexy and Silent: Italian Divas, Hollywood Stars.” Queens College/Calandra Institute, April 28, 1999.
“Painting in Antonioni’s Red Desert.” Anthology Film Archives, New York, August 9, 1998.
“Italy 1945: Cinema and Painting.” Swarthmore College, April 1, 1998.
“Divas, Stars, and Gender Roles in Silent Italian Cinema.” University of California at San Diego, February 20, 1998.
“Androgyny, Cross-Dressing, and Aeriality.” CUNY Graduate Center, New York, December 9, 1997.
“A Failed Revolution? Imaginative Gains in the Arts.” University of California at Berkeley, November 14-16, 1997.
Distinguished Participant in Senior Critic Lecture Series, Yale University School of Art, Spring 1997.
“The Vichian Matrix of Italian Culture.” Columbia University, New York City, February 20, 1997.
“Italy 1945: Cinema and Painting.” The University of Iowa, Iowa City, January 30, 1997.
“Neorealism and the Arts.” Boston College, October 3, 1996.
“De Chirico and Bertolucci.” Hunter College, October 25, 1996.
“Ways of Looking in Venice.” New York University, May 1, 1996.
“F.W. Murnau’s Nosferatu: Romantic Painting as Horror and Desire in Expressionist Cinema.” SUNY Stony Brook, November 9, 1995.
“F.W. Murnau’s Nosferatu: Romantic Painting as Horror and Desire in Expressionist Cinema.” Columbia University, Faculty Seminar, January 19, 1995.
“The Italian Diva: Between Memory and Imagination.” Institute of Italian Culture, New York, March 25, 1992.
“Visconti’s Senso.” The Brooklyn Museum of New York, January 14, 1992.
“The Vichian Matrix of Italian Cinema.” University of Siena, Italy, November, 1991.
“Painting, Philosophy, Color in Antonioni.” The University of Iowa, Iowa City, March 1991.
“Theorizing History.” The University of Iowa, Iowa City, October 1988.
“Italian Cinema and Theories of History.” Vassar College, April 8, 1988.
“Bertolucci’s Spider’s Stratagem.” CUNY-TV Channel 14, Cinema/Then/Cinema Now, New York, November 1987.

V. SERVICE

A. PROFESSIONAL CONTRIBUTIONS
2012– Cinergie, Il Cinema e Le Arti, Editorial Board, University of Udine
2012 Sarah Carey, Envisioning Italy and The Birth of a Nation: Photography in Italian Literature and Cinema, University of Toronto Press
2011 Carolyn Kane, Chromatic Algorythms, Manuscript Evaluation, Duke University Press
2011 Michael Syrimis, Tulane University, Tenure Review
2011 Melissa Ragona, Carnegie Mellon, Tenure Review
2011 Editorial Board of Alphaville, Online Journal in Film Studies, Cork University, Ireland
2010 June, Interview on African Cinema with Patricia Chang, United Nations Television
2010 March, Member of the Jury, International Festival of Films on Art (FIFA), Montreal, Canada
2009 Summer, Evaluator of Film Studies Fellowships for the Netherlands Organization of Scientific Research
2007 May, Editorial Board. World Picture, Oklahoma State University
2007 May, Film Programming Consultant for Fitzwilliam Museum and Polar Research Institute, Cambridge University, Cambridge, England
2005 Director of GaTech-Italian Film Studies, Gorizia-Dams, The University of Udine, Italy
2002-2003 Visiting Curator for Anthology Film Archives, New York
2002- 2007 Member of Executive Committee, Domitor: The Society for the Study of Early Cinema
2001-2003 Consultant on Early Italian Cinema, Olivares Publishing, Milan
2001-2003 Consultant on Luchino Visconti, The National Gallery of Art, Washington, D.C.
2000-2007 Member of Women Pioneers Filmmakers, Duke University
2000-2003 Editorial Board, Framework, A Journal of Film and Media
2000-2001 Consultant for Early Cinema at the Dahesh Museum
2000-2001 Consultant for Guggenheim Museum, Color in Film (Project Not Funded)
2000 Consultant for Italian Program, Massachusetts Institute of Technology, Dean Philip Khoury’s Office, School of Arts and Humanities
2000 Society of Cinema Studies Dissertation Award Committee
1996-2000 Consultant for The Film Society of Lincoln Center, New York; The Cineteca di Bologna, Bologna, Italy; The Nederlands Film Museum, Amsterdam; Olivares Publishing, Milan
1989– Permanent Member as former Mellon Fellow, Whitney Humanities Center, Yale University
1984 Consultant and Curator of Giamatti Festival of Italian Film and Culture, Mount Holyoke College. Guests: Italo Calvino, Susan Sontag, Susanna Agnelli

B. CAMPUS CONTRIBUTIONS
GEORGIA INSTITUTE OF TECHNOLOGY
2013 CETL Certificate of Appreciation
2013 November - Q&A with Mahamet Haroun, GaTech/Bronze Lens/Atlanta/Africa
2013 April - Organize Guest Lecture of Prof. Aboubakar Sanogo from Carleton, Ottawa
2013 Spring - Program African Film Series for Dean Jackie Royster’s Africa-Atlanta Project
2012-13 Recatalogue the Film Studies Collection in the General Library of GaTech
2013 Spring - African Film Series
2012 CETL Certificate of Appreciation
2012 Will Folson, Angela Dalle Vacche, Film: Past, Present and Future,” Ga Tech Yearbook
2012 “Of Course: Movie Tech” in GT Alumni Magazine, vol. 88, n. 2, 2012.
2012 Local/Global Film Series
2011 Fall - “What Nollywood is about,” GVU Nollywood Workshop, GaTech, Atlanta
2009 African Film Series
2009 French Film Series
2009 Spring - Lecture on Sissako’s Bamako (2007) in Prof. Mike Best’s Class
2008 January 20 - Lecture on Sissako’s Life on Earth (2000) in Prof. Fox Harrell’s class
2008 Participated in (Glossari) University of Georgia Study on Impact of Study Abroad.
2008 Spring - Japanese Film Series, Grant of $2,500
2007 Fall - PH.D Colloquium in Digital Media: Cezanne and the Lumière Brothers
2007 Fall -Spring 2008 Film Studies Job Search Committee
2007 Fall -Spring 2008 Review of Chair Knoespel Committee
2007 Fall - French Film Series
2007 Fall - African Film Series
2007 Fall - 2008 Film Studies Library Committee
2007 Summer - PURA Award, with Jenifer Vandagrif
2007 Spring - Made possible contact between GaTech and the Free University of Amsterdam, via Prof. Ivo Blom
2007 $2,000 grant from FACSEA French Cultural Services Tournées Film Series
2006 Fall - African Film Series
2006 Fall - French Film Series
2005 Fall - International Film Series, GLLC, October 24-November 9
2005 Spring - French Film Series, GLLC, March 10-20,2004
2004 Spring - Women in Science Film Series, GLLC, March 8-11,2004
2004 Fall - African Film Series, GLLC, October 4-8
2003 Spring - French Film Series, GLLC, April 5-April 9, Atlanta, Georgia
2004 Spring - Guest Speaker, Eyedrum Art Gallery, Atlanta, Introduction to Thomas Edison’s Frankenstein (1910), March 27
2004 Guest Speaker in Diana Gromala’s Graduate Class: “Hitchcock’s Psycho: The Basics of the Close Analysis of Film,” February 10-12.
2004 “The Filmic and The Digital,” Women, Science and Technology Research Focused Panel, Georgia Institute of Technology, March 3
2003 Guest Speaker in Kenneth Knoespel’s Undergraduate Class, “How Does Deleuze Read a Filmic Image,” October
2003 Guest-Speaker in Eugene Thacker’s class: “Durational Cinema,” April 16
2003 Roundtable on European Film, ”Reinventing Geography through Film,” Ivan Allen College Forum, April 17
2003 Georgia Institute of Technology, Women Awareness Month: Screening
2002 Georgia Institute of Technology, Halloween Film, October
2002 Fall - Guest Speaker in Diane Gromala’s class: “Surrealism in Film and in the Visual Arts”
2002 Fall -Spring 2003 Research in digital art history resources for LCC

EMORY UNIVERSITY
2000 “The Cruel Father in New Italian Cinema,” Panel Discussion, Emory University, April 14
1999-2002 Emory University Film Studies, Director of Undergraduate Studies
Spring 2000 Contact Person: Italian Government-Sponsored Festival of New Italian Cinema
Summer 1999 Grant Development for two Emory Graduate Students, Pordenone Silent Film Festival
1999 Psychoanalytic Studies Colloquium, “Clues, Detectives, and Gender,” February 17
Fall 1998 Film Studies Proposal for Honorary Degree Committee; Host for visitors from the Sacharov Foundation, c/o Mr. Edward Kline, New York Cit; Screening of documentary about Chechnya, former Soviet Republic; International Week Panel, “Atom Egoyan’s Calendar: Loss, Exile, and Mourning”
1998 Emory University, Emory Friends of Film, “Painting in Antonioni’s Red Desert,” March 18
Fall 1997 Film Studies proposal for Exchange Program with Film and Media Studies at the University of Amsterdam
Spring 1998 French and Italian Department, Search Committee for Tenure-Track Italian Position in Medieval Studies

YALE UNIVERSITY
Fall 1996 Organizer of Lecture, Yale University, School of Architecture, Film Studies and Department of the History of Art, Guest: Prof. Giovanna Borradori, Vassar College, Department of Philosophy, Lecture on “Derrida and Architecture”
Spring 1995 Organizer of Lecture, Yale University, History of Art, Street Hall Lecture Series, Guest: Prof. Paolo Cherchi-Usai, George Eastman House, Rochester, New York, Title: “The Unattainable Text in Film Preservation”
1995-1997 Film Study Center, Acquisition of African Film Collection
1994-1995 Film Studies, Director of Undergraduate Studies
1990-1994 History of Art, Director of Undergraduate Studies
Fall 1990 History of Art, Chair of Undergraduate Curriculum Committee
Spring 1994 and 1995 History of Art, Graduate Admission Committee
September 1993 Lecturer, Department of the History of Art, Graduate Method Seminar, “Wölfflin, Worringer, Kracuaer and the Making of Nosferatu”
Fall 1990 Lecturer, Department of the History of Art, Graduate Method Course, “Vico and Antonioni”
1990 Lecturer, Pierson College, Yale University, Master’s Lecture Series, “A Philological Approach to Italian Cinema,” March 28
1989 Lecturer, Whitney Humanities Center, Fellows’ Lecture Series, “History and Painting in Bertolucci’s Spider’s Stratagem,” November 10
Lecturer, Whitney Humanities Center, “ Philosophies of History and the French Revolution,” October 4, 1989
1989 Lecturer, Whitney Humanities Center, “History as Discontinuity,” September 27
1998 Lecturer, Art History Street Hall Lecture, “The Historiography of the Resistance in Film,” December 1

VASSAR COLLEGE
1987 Lecturer, Vassar College, Mellon Faculty Seminar, “Bertolucci’s The Conformist,” November
1985 Curator, Vassar College, International Film Festival, Guest: Susan Sontag; Lecture: “From Real to Reel”

C. OTHER CONTRIBUTIONS: CONSULTANCIES
Novecento, Museum of Modern Art/MOMA-Milan
MART, Museo d’Arte Moderna e Contemporanea, Rovereto, Italy
Oxford University Press
Duke University Press
Routledge
Columbia University Press
University of California Press
University of Toronto Press
University of Texas Press
Indiana University Press
Temple University
Princeton University Press
Italian Cultural Foundation of America, Cultural Events

VI. GRANTS

Summer 2013 College of Ivan Allen, Georgia Institute of Technology, Research Grant
Fall 2011 GVU, Georgia Institute of Technology Grant, Co-Investigator: Prof. Mike Best, International Relations, Nollywood and New Media.
Summer 2011 College of Ivan Allen, Georgia Institute of Technology, International Research Grant
The Lerverhulme Trust Distinguished Senior Visiting Professorship, Birkbeck College, The University of London, January-May 2007 ($63,000)
FACSEA French Government Film Grant for LCC, Georgia Institute of Technology, Spring 2005 ($1,800)
FACSEA French Government Film Grant for LCC, Georgia Institute of Technology, Spring 2004 ($1,800)
The Rockefeller Foundation/Bellagio Program, Summer 2002 ($5,000)
Emory University, Institute for International and Comparative Studies Grant, 2001
Emory University, University Research Committee Grant, 2000 ($14,000)
Emory University, Faculty Development Award, Office of the Dean, Summer 1999
Emory University, International Travel Award, Institute for International and Comparative Studies, Summer 1999 ($2,000)
Emory University, Faculty Development Award, Office of the Dean, Summer 1998
Emory University, University Research Committee, Spring 1998
Whitney Griswold Faculty Grant, Whitney Humanities Center, Yale University, April 1996 ($1,000)
Whitney Griswold Faculty Grant, Whitney Humanities Center, Yale University, April 1995 ($1,000)
Whitney Griswold Faculty Grant, Whitney Humanities Center, Yale University, December 1994 ($1,000)
Hilles Publication Fund, Whitney Humanities Center, Yale University, December 1994
Morse Fellowship, Yale University, 1992-93 ($50,000)
Center for International Studies, Research Grant, Yale University, Summer 1990
Whitney Griswold Faculty Grant, Whitney Center for the Humanities, Yale University, Summer 1990
Mellon Fellowship, Whitney Center for the Humanities, Yale University, Fall 1989 ($25,000)
Enders Faculty Grant, Yale University, Spring 1990 ($500)
Whitney Griswold Faculty Grant, Whitney Center for the Humanities, Yale University, Fall 1988 ($2,000)
Isabel Demple Travel Award, The University of Iowa, Spring 1984 ($500)
Film Studies Fellowship, The University of Iowa, Spring 1982 ($500)
Mount Holyoke College International Fellowship, 1978-80 ($60,000)
Fulbright Travel Grant, 1978-79 ($2,000)
Scottish Universities’ Summer School Grant, University of Edinburgh, Summer 1978
American Field Service Fellowship, 1972-73

VII. HONORS AND AWARDS

American Association of University Libraries Book Award for Diva…, 2008
Phi Beta Kappa Nomination for Excellence in Teaching, Emory University, Spring 2000
Society of Cinema Studies Dissertation Contest, Honorable Mention, 1985
Student Leadership Award, Mount Holyoke College, 1980