51成人福利网

James Leo Cahill鈥檚 research focuses on French cinema and cultural history, nonfiction and experimental media, critical theory, and historiography. He has a special interest in scientific cinema and animals and moving image media. His first book,聽Zoological Surrealism: The Nonhuman Cinema of Jean Painlev茅, is forthcoming from the University of Minnesota Press. He is working on projects on the postwar French cinema and literature of exploration and its conceptualizations of the world, the globe, and globalization in the contexts of collaboration, colonialism, and coca-colonisation as well as a set of essays on classical film theory and experiments in historical perception. He is general editor of聽. He has been residential fellow at the Camargo Foundation in Cassis, France and a visiting professor with the Franke Institute for the Humanities/Center for Disciplinary Innovation at the University of Chicago. Professor Cahill teaches courses on French cinema, international cinema history and theory, animals and cinema, and exploration and cinema. At the graduate level he teaches seminars on Surrealism and cinema, theories and practices of cinematic media, montage and/as historical method, film and media historiography, and the guillotine and barricade as cultural forms and figures of history.

Articles

James Leo Cahill, 鈥淔orgetting Lesson: Jean Painlev茅鈥檚 Gay Science,鈥� Journal of Visual Studies 12.2, special issue on Science and Documentary, eds. Oliver Gaycken and Joshua Matlinski (forthcoming, August 2012): pp tbd; and Ecce 3 (forthcoming in Japanese translation): pp tbd.

James Leo Cahill, 鈥淗ors d鈥櫯搖vre / Science, the short-film, and the Perception of Life,鈥� Framework 52.1-2, special issue Things Fall Apart: Peter Whitehead, eds. Paul Cronin and Drake Stutesman (Summer 2011): 66-82.

James Leo Cahill, 鈥淗ow It Feels To Be Run Over: Early Film Accidents,鈥� Discourse, 30.3, special issue on 鈥淐inema and Accident鈥� (Fall 2008): 289-316. (Appeared in 2009)

Ren茅 Bruckner, James Leo Cahill, and Greg Siegel, 鈥淚ntroduction: Cinema and Accident,鈥� Discourse, 30.3, special issue on 鈥淐inema and Accident鈥� (Fall 2008): 279-88. (Appeared in 2009)

James Leo Cahill, 鈥淎nacinema: Peter Tscherkassky鈥檚 Cinematic Breakdowns (Towards the Unspeakable Film),鈥� Spectator, 28.2 (Fall 2008): 90-101.

James Leo Cahill, 鈥溾�� and afterwards? Martin Arnold鈥檚 Phantom Cinema,鈥� Spectator 27, special issue on 鈥淒eaths of Cinema鈥� (Supplement: Summer 2007): 19-25.

Books and/or Chapters

James Leo Cahill, 鈥淪ubstance Abuse, or, on the essence of cinema,鈥� in The Prisoner鈥檚 Cinema, ed. Melvin Moti (Rotterdam: Artist鈥檚 Book, 2008), 4-35.

James Leo Cahill, 鈥淭he Cineseizure,鈥� in Martin Arnold: The Cineseizure (Vienna: Index; Paris: Re/Voir, 2006), 2-10. Distributed with the DVD Martin Arnold: The Cineseizure.

James Leo Cahill, 鈥淏etween the Archive and Image-Repertoire: Amateur Commercial Still Life Photography on eBay鈥� in Reading eBay: Culture, Consumption and Collecting Online, ed. Ken Hillis and Michael Petit with Nathan Epley (New York: Routledge, 2006), 185-200.

Non-refereed publications

James Leo Cahill, 鈥淒VD Reviews: Science is Fiction: The Films of Jean Painlev茅 and Michael Pilz: Facts for Fiction,鈥� Film International, vol. 8, no. 1 (2010): 67-69.

James Leo Cahill, 鈥�Shadows, Specters, Shards: Making History in Avant-Garde Film by Jeffrey Skoller,鈥� Octopus, 2 (2006): 71-74.

James Leo Cahill and Rachel Leah Thompson, 鈥淭he Insurgency of Objects: A Conversation with Fred Moten鈥� Octopus, vol. 1 (2005): 45-66.