Codruț莫拉里一个

Trained in film theory at the University of Sorbonne Nouvelle, I completed a 论文 that focused on the cognitive, affective, and ideological properties of film perception. 我继续写下去 The Bressonians: French 电影 and the Culture of Authorship (2017), a book that revisits the legacy of the so-called 《导演的政治 and incorporates previously underappreciated aesthetic, 认识论, 以及社会学的观点. 特别是, the study ponders the interplay between the singularity of individual filmmakers and the plurality of professional communities, talking about film authors not as solitary geniuses but as working artists. in addressing the key concepts in our understanding of authorship, the book relies on close analyses of exemplary films by Robert Bresson, 琼Eustache, 莫里斯Pialat, 埃里克·侯卖, 雅克·里维特. 我的学术工作, though to a great extent devoted to film and visual studies, takes its larger impetus from 20th- and 21st-century intellectual history. To date my articles include studies on such topics as art, 劳动, 还有市场, Roland Barthes's ambivalent relation to the film medium, Jacques Rancière on the democratic potential of cinephilia, and French film criticism of the early 1960s. I have also written essays on the films of Olivier Assayas, 阿兰, 克莱尔·丹尼斯, Thomas Bidegain and Valeska Grisebach. My current research focuses on the place of cinema in the public sphere, 媒体生态, and the status of film industries in the age of climate change.

In addition to chairing the 电影 and 媒体研究 Program, I offer classes on such subjects as film theory, 公共领域的大众传媒, 监测媒体, 电影节文化, 世界电影, and the history and theory of French cinema. In my classroom endeavors I train students to understand the historical and political implications of aesthetic forms, to fathom the shaping power of moments in time for artistic expression, and to appreciate both the historical determinations of theoretical discourses as well as the theoretical ramifications of historical constructions. I also teach cinema courses in French where I aim to enable students to expand their sense of the real and the possible as they partake of a foreign culture.

作为一名学者, 老师, 以及项目主管, I am committed to fostering an academic environment that stands in solidarity with Black Lives Matter and movements for racial and social justice.

最近的出版物:

The Bressonians: French 电影 and the Culture of Authorship (2017)

"琼Eustache, L'Autorisation de l'intime: Je(ux) d'Auteur dans 妈妈和孩子," in 妈妈和孩子 de 琼Eustache, ed. Arnaud Duprat de Montero, Paris: Éditions du Bord de l'eau, coll. Cine-focales 2020

"European Auteurs Revisit the 西方. 托马斯·Bidegain的 Les牛仔 (2015)和Valeska Grisebach的 西方 (2017)" in 新德国批判 138，秋季2019,11-34

“必须捍卫平等!“电影与民主”。 in Distributions of the Sensible: Rancière, Between Aesthetics and Politics, eds. Scott Durham and Dilip Gaonkar, Evanston: Northwestern University Press, 2019, 97-118

“电影著作权的属性”， in The Anthem Handbook of Screen Theory, eds. Hunter Vaughan and Tom Conley, London, New York: 2018, 157-172

"Le Cinéma comme festival d'affects: Roland Barthes et le septième art," in Roland Barthes: Création, émotion, jouissance, ed. Maja Zoric Vukusic, preface Eric Marty, Paris: Flammarion/Classiques Garnier, 2017, 147-158

"New 电影, New Critique: French 电影批评 at the Crossroads, 1960," 电影批评,卷. 第41期，2017年2月

"艺术, Labor and the Market: Jacques Rivette and 莫里斯Pialat at Cannes," 当代法国文明,卷. 41, no. 3-4, 2016, 477-488