Faculty Projects


Critical discussion of cult cinema has often noted its tendency to straddle or ignore boundaries, to pull together different sets of conventions, narrative formulas, or character types for the almost surreal pleasure to be found in their sudden juxtapositions or narrative combination. With its own boundary-blurring nature – as both science and fiction, reality and fantasy – science fiction has played a key role in such cinematic cult formation. This volume edited by J.P. Telotte and Gerald Duchovnay examines that largely unexplored relationship, looking at how the sf film’s own double nature neatly matches up with a persistent double vision common to the cult film. It does so by bringing together an international array of scholars to address key questions about the Jay_Bookintersections of sf and cult cinema: how different genre elements, directors, and stars contribute to cult formation; what role fan activities, including “con” participation, play in cult development; and how the occulted or “bad” sf cult film works. The volume pursues these questions by addressing a variety of such sf cult works, including Robot Monster (1953), Zardoz (1974), A Boy and His Dog (1975), Tetsuo: The Iron Man (1989), Space Truckers (1996), Ghost in the Shell 2 (2004), and Iron Sky (2012). What these essays afford is a revealing vision of both the sf aspects of much cult film activity and the cultish aspects of the whole sf genre.


You can order a copy of Science Fiction Double Feature: The Science Fiction Film as Cult Text here.

Memory, Subjectivity and Independent Chinese Cinema cover


Qi Wang‘s radical intervention revaluates Chinese independent cinema’s challenge to the official and commercial media. Instead of emphasizing the realist determination to document everyday life in contemporary China since the 1990s, she shows us how these films also invoke history through personal memory in their attempt to come to terms with the earthquakes in Chinese social, cultural, and political values of the last half century. ‘Memory, Subjectivity and Independent Chinese Cinema’ is a dense, detailed, and riveting account of the postsocialist generation’s subjectivity. Richly illustrated and informed by new research and numerous interviews, its shining audacity takes my breath away.”

– Chris Berry, Film Studies, King’s College London


You can order a copy of Memory, Subjectivity and Independent Chinese Cinema here.

Co-curated by Professor Qi Wang for the High Museum of Art
High Museum China Film Flyer_Page_1
High Museum China Film Flyer_Page_2

Gregory Zinman, PhD Projects

Curated and performed in Atlanta:
Curated a program of video artist Nam June Paik’s work at the Asia Society NY:
A few class projects: