Daniel Morgan
Curriculum Vitae Department of English University of Pittsburgh 526 Cathedral of Learning Pittsburgh, PA 15260 [email protected] ACADEMIC POSITIONSAssistant Professor, Department of English, University of Pittsburgh. 2007-present. Secondary Appointment, Department of Philosophy.
Graduate Coordinator, Interdisciplinary Ph.D. in Film Studies Acting Director, Film Studies Program, Fall 2012
Visiting Lecturer, Committee on Cinema and Media Studies, University of Chicago. 2007. Visiting Lecturer, Department of Film and Visual Arts, University of East London. 2000-2001.
EDUCATION
University of Chicago. Ph.D. in Cinema and Media Studies, 2007.
Birkbeck College, University of London. MA (with Distinction) in Cinema and Television Studies, 2000.
Harvard College. A.B. with High Honors in Social Studies (Phi Beta Kappa), 1999.
PUBLICATIONS
Book
Late Godard and the Possibilities of Cinema (University of California Press, November 2012). Journal Articles
“Bazin’s Modernism.” Paragraph (forthcoming 2013).
“Max Ophuls and the Limits of Virtuosity: On the Aesthetics and Ethics of Camera Movement.” Critical Inquiry 38 (Autumn 2011): 127-63.
“Rethinking Bazin: Ontology and Realist Aesthetics.” Critical Inquiry 32 (Spring 2006): 443-81. - Reprinted in The Film Theory Reader, ed. Marc Furstenau (Routledge, 2010): 104-30. “’No Trickery with Montage’: On Reading a Sequence in Jean-Luc Godard’s Pierrot le fou.”
Film Studies 5 (Winter 2004): 8-29. Book Chapters
“Debates, 1950-1980” in The French Cinema Book, 2nd
Edition, eds. Michael Temple and Michael Witt (Palgrave Macmillan, forthcoming).
“Beyond Destiny and Design: Camera Movement in Fritz Lang’s German Films” in A Companion to Fritz Lang, ed. Joe McElhaney (Blackwell, forthcoming 2013).
“On Historical Knowledge and Aesthetic Form: Jean-Luc Godard’s Allemagne 90 neuf zéro” in The Image in Violence, eds. Joram ten Brink and Joshua Oppenheimer (Wallflower Press, forthcoming 2012).
“The Afterlife of Superimposition” in Opening Bazin, eds. Dudley Andrew and Hervé Joubert-Laurencin (Oxford University Press, 2011): 127-41.
“The Pause of the World” in Three Documentary Filmmakers: Errol Morris, Ross McElwee, Jean Rouch, ed. William Rothman (State University of New York Press, 2009): 139-56. Other
“Robert Bresson: A Symposium” in Robert Bresson, ed. James Quandt, revised edition (Toronto International Film Festival and Indiana University Press, 2012): 595-628.
Invited response to Robert Pippin, “Participants and Spectators.” On the Human, The National Humanities Center, April 2010.
http://onthehuman.org/2010/04/participants_and_spectators/
“Possessing Vision: The Cinema of Jean Rouch.” The Institute of Contemporary Arts (London, June 2000). Program notes for 23 screenings of non-fiction films.
TALKS AND PRESENTATIONS
Invited Talks
“Film, Philosophy, Fantasy: Camera Movements and the Problem of Point of View.” Department of Philosophy, Columbia University, November 2012.
Triangle Film Salon (University of North Carolina at Chapel Hill, Duke University, and North Carolina State University), November 2012.
“’Play with Danger’: Vernacular Modernism and the Problem of Criticism.” Cinema and the Legacies of Critical Theory: International Conference in Memory of Miriam Hansen. Columbia University, September 2012.
“Cinema, Painting, and the Status of History in Godard’s Histoire(s) du cinéma.” Stanford University, May 2012.
“Tradition and the Modernist Filmmaker: Godard and Frampton, Histoire(s) and Metahistory.” Colgate University, March 2012.
“French Moralism Revisited: Cinephilia and Criticism, Imagination and Ethics.” boundary 2 Symposium. University of Pittsburgh, November 2011.
“Max Ophuls and the Limits of Virtuosity: On the Aesthetics and Ethics of Camera Movement.” Moral Literacy and Moral Imagination: A Conference Celebrating the Work and
Influence of Barbara Herman. University of California Los Angeles, April 2010. The Johns Hopkins University, October 2010.
“Film Studies, Philosophy, and New Media.” Futures Seminar. Humanities Center, The Johns Hopkins University, October 2010.
“Endings and Beginnings, Histoire(s) and Metahistory.” Critical Mass: The Legacy of Hollis Frampton. University of Chicago, February 2010.
“The Afterlife of Superimposition: Remarks on Ontology, Style, and Montage in Bazin and Godard.” Philadelphia Cinema and Media Seminar, October 2009.
“Problems of New Media: Technology and Artworks.” University of Western Ontario, Canada, March 2009.
“The Afterlife of Superimposition.” Opening Bazin. Yale University, December 2008. “Nature and History in Late Godard.” Pittsburgh Film Colloquium, February 2008. “How to Do Things with Cinema: On Projection and History in Godard’s Late Work.”
University of Western Ontario, Canada, February 2007 University of Pittsburgh, February 2007
York University, Canada, February 2007 The Johns Hopkins University, February 2007 University of Wisconsin-Madison, November 2007
“Cinema after the End of Cinema (Again): Godard’s Idea of Projection.” Chicago Film Seminar, January 2006.
“Realist Aesthetics and the Ontology of Film in Bazin's 'Theater and Cinema' Essays.” The Usher’s Flashlight and the Crystal Chandelier: Theorizing Cinema through Theater in France. Yale University, December 2005.
Conference Presentations
Introduction to Abram Room, A Severe Young Man (1936). Russian Film Symposium, University of Pittsburgh, May 2012.
“Where Are We?: Camera Movements and the Problem of Point of View.” Humanities Center, University of Pittsburgh, April 2012.
“Virtual Camera Movements, Rear Projection, and the Turn to Phenomenology.” Society for Cinema and Media studies, Boston, March 2012.
Respondent to panel on “What’s New in Classical Film Theory?” Society for Cinema and Media Studies, Boston, March 2012.
Invited Panelist, “Art and Objecthood and Beyond.” Stanley Cavell’s Aesthetics. University of Chicago, March 2012.
Invited Panelist, Phenomenologies of Projection, Aesthetics of Transition: Anthony McCall 1970-79, 2001-. University of Chicago, February 2012.
“’It Was Difficult to Generalize’: The Western, Three Westerns, and the Myth of America.” Author Meets Critics: Robert Pippin, “Hollywood Westerns and American Myth.” American Philosophical Association, Pacific Division, April 2011.
“Why André Bazin Was Wrong, or, The Consistency of Orson Welles’s Style.” Society for Cinema and Media Studies, New Orleans, March 2011.
Co-chair and respondent to panel on “Godard and Screen Pedagogy.” Society for Cinema and Media Studies, New Orleans, March 2011.
Introduction to Kira Muratova, Melody for a Street Organ (2009). Russian Film Symposium, University of Pittsburgh, May 2010.
Respondent to panel on “The New Bazin.” Society for Cinema and Media Studies, Los Angeles, March 2010.
“Thinking France through Italy: Godard on Bazin on Neo-realism.” Society for Cinema and Media Studies, Los Angeles, March 2010.
Moderator and Respondent to panel on “Infrastructures, Transmedia Work, ‘Other Cinemas’.” The Material and the Code: Disciplinary Crossings of Cinema and New Media.
“Introduction to the French New Wave: Godard and Resnais.” Yinka Shonibare MBE. National Museum of African Art, Smithsonian Institute, Washington, DC. January 2010.
Response to Ian Christie on Alexsandr Sokurov’s Alexandra (2007). Russian Film Symposium, University of Pittsburgh, May 2008.
“Bazin in the Digital World.” Society for Cinema and Media Studies, Philadelphia, March 2008. “Bazin: Ontology, Realism, Modernism.” Real Things: Matter, Materiality, Representation,
1880 to the Present. York University, England, July 2007.
“Nature, History, and Cinema in Godard’s Late Work.” Society for Cinema and Media Studies, Chicago, March 2007.
“The Work of Aesthetics: Godard on Solitude, Philosophy, and the End of Art.” The Mass Culture Workshop, University of Chicago, March 2005.
“Bazin’s Modernism: An Essay on Ontology and Realist Aesthetics.” The Contemporary Philosophy Workshop, University of Chicago, April 2004.
“’No Trickery with Montage’: On Reading a Sequence in Jean-Luc Godard’s Pierrot le fou.” The Mass Culture Workshop, University of Chicago, October 2003.
Guest Lectures
“Vertigo and the Paradoxes of Desire.” Guest Lecture for “Lectures in Literature” (Hannah Johnson). University of Pittsburgh, November 2011; March 2012.
“Orson Welles’ Macbeth.” Guest Lecture for “Shakespeare and Adaptation” (Jennifer Waldron). University of Pittsburgh, October 2010
“The History and Ontology of Cinema in Godard’s Histoire(s) du cinéma.” Guest Lecture for “Ontologies of Cinema: Movement, Projection and Photography” (Tom Gunning). University of Chicago, June 2009.
“Godard’s Éloge de l’amour.” Guest lecture for “Thinking Through Ten Films” (Richard Neer and Joel Snyder). University of Chicago, May 2009.
“Apocalypse Now and the War Film.” Guest Lecture for “Lectures in Literature” (James Seitz). University of Pittsburgh, November 2008; March 2009.
Chester Dale Fellowship, Center for Advanced Study in the Visual Arts, National Gallery of Art, Washington, D.C. 2006-2007
Andrew W. Mellon Dissertation Fellowship. 2005-2006
Andrew W. Mellon Fellowship for Humanistic Studies. 2001-2002
TEACHING EXPERIENCE
Graduate Courses, University of Pittsburgh
Theory/Technology/Media from Plato to Video Games (Spring 2013; co-taught with Jennifer Waldron)
Film and Aesthetics (Fall 2011) Film History/Theory (Spring 2010)
The Late Works of Jean-Luc Godard (Fall 2008)
Directed Reading: Historical Research and Formal Analysis (Fall 2012)
Undergraduate Courses, University of Pittsburgh
Advanced Seminar in Film Studies: New Waves (Spring 2013) Animation (Fall 2012)
Film Analysis (Fall 2009; Fall 2008)
Introduction to New Media (Spring 2011, Fall 2011)
Advancer Seminar in Film Studies: Theory and Practice (Spring 2011) World Film History (Spring 2010; Spring 2009)
Orson Welles (Fall 2009)
Topics in Contemporary Cinema: An Introduction to New Media (Spring 2009) Advanced Seminar in Film Studies: Realism and Film (Spring 2008)
Contemporary Film (Spring 2008) Film and Politics (Fall 2007)
Independent Study: The Narrative Structure of MMORPG’s (Fall 2009) Independent Study: Non-Western Human Rights Cinema (Fall 2008)
Undergraduate Courses, Other Institutions
The Frankfurt School, Cinema, Modernity (University of Chicago, Spring 2007) American Cinema (University of East London, Spring 2001)
Intro to Film (University of East London, Spring 2001)
Semiotics, Critical and Cultural Theory (University of East London, Fall 2000)
