I began seriously thinking and writing about the cinema in graduate school at the University of Wisconsin-Madison. Indeed, the second article I published was a piece I worked on with a fellow student, Maureen Turim (now at the University of Florida). It was a study of Oshima Nagisa's The Story of the Young Man Who Left His Will on Film that we presented in David Bordwell's seminar on contemporary film theory. He didn't much like it, although the spirit of that early study was more fully elaborated in Turim's recent The Films of Oshima Nagisa. What marks my approach to cinema studies was already present in this early essay, namely, my interest in world cinema, the cinematic avant-garde, and the interplay between form (specifically the interaction between sight and sound) and politics.
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Last modified on August 12, 2009