- Ph.D., Media and Cinema Studies, University of Chicago, 2008
- M.A., Film and Television, University of Amsterdam, 2001
- M.A., Art History, Indiana University, 1998
- B.S., Modern Languages, Georgetown University, 1993
- Associate Professor of Media and Cinema Studies
- Director, Roger Ebert Center for Film Studies
- Coordinator for Film Studies
- 0% Appointment in Comparative Literature
- 0% Appointment in English
- 0% Appointment in the Unit for Criticism and Interpretive Theory
- Survey of World Cinema I and II
- Film Theory and Criticism (graduate and undergraduate)
- Special Effects: History and Aesthetics
- History of Film Criticism
- Historiography of Cinema (graduate level)
- Digital Cinema
- Cinema of the 1970s
- Women’s Cinema (graduate level)
- Topics in Contemporary Cinema
- American Cinema of the 1980s
The Empire of Effects: Industrial Light and Magic and the Rendering of Realism (University of Texas Press, 2022).
Plastic Reality: Special Effects, Technology, and the Emergence of 1970s Blockbuster Aesthetics (Columbia University Press, 2015).
2018 “The Auteurist Special Effects Film: Kubrick’s 2001: A Space Odyssey and the ‘Single-Generation Look.’” In The Hollywood Renaissance: Revisiting American Cinema's Most Celebrated Era, Peter Krämer and Yannis Tzioumakis eds. (Bloomsbury Academic Press, 2018): 71-90.
2016 “Special Effects: Auteur Renaissance, 1968-1980” and “Special Effects: Post-War Hollywood, 1947-1967” in Editing and Special Visual Effects: Behind the Silver Screen, volume eds. Charles Keil and Kristen Whissel, series ed. Jon Lewis (Rutgers University Press/Academy of Motion Picture Arts and Sciences, 2016): 116-128.
"Patient Research on the Slapstick Lots: From Trick Men to Special Effects Artists in Silent Hollywood,” Early Popular Visual Culture 13:2 (2015): 152-173.
"’The True Stars of Star Wars?’: Experimental Filmmakers the in 1970s and 1980s Special Effects Industry.” Film History 26.4 (2014): 120-145.
“Removing the Pane of Glass: The Hobbit, 3D High Frame Rate Filmmaking, and the Rhetoric of Cinematic Realism,” Film Criticism (Spring/Summer 2013): 30-59.
“The ILM Version: Recent Digital Effects and the Aesthetics of 1970s Cinematography” Film History 24:2 (2012): 158-168.
“The Screen on the Set: The Problem of Classical Studio Rear Projection,” Cinema Journal 51.2 (Winter, February 2012): 157-162.