Hi everyone. For the past ten years I have worked as Professor of Film and Media Studies in the Department of Communication Studies at Colorado State University (having earlier taught in the Screen Arts and Cultures Department at the University of Michigan and in the Film and Media Studies Program at Washington University in St. Louis). I received a Ph.D. in Film, Television, and Digital Media from UCLA. While I was finishing up my doctoral work I had the good fortune of participating in a year-long Education Abroad study program in Paris, France, where I was enrolled in the Centre Parisien d’Etudes Critiques, and where I carried out French-language research relating to my dissertation (a version of which was published as a book a few years ago: Omnibus Films: Theorizing Transauthorial Cinema).

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Since graduating from UCLA over a decade ago, I have actively carried out research related to a diverse array of interests, including European and East Asian cinemas, transnational adaptations, cross-cultural remakes, children’s fiction, comic books/graphic novels, and American and British television. As my publication and teaching record attests, I identify myself as a transnational/global media scholar with expertise in different national/regional film and TV industries of the Americas, Europe, Africa, and Asia.

My Books.GIF

 

My publications (articles, book chapters, online essays):

Barney Miller: ‘Landmark’,” in Douglas Howard and David Bianculli, eds., Television Finales: From Howdy Doody to Girls (Syracuse, NY: Syracuse University Press, 2018), 25-33.

M*A*S*H: ‘Goodbye, Farewell, and Amen’,” in Douglas Howard and David Bianculli, eds., Television Finales: From Howdy Doody to Girls (Syracuse, NY: Syracuse University Press, 2018), 234-241.

“Contemporary Comic Books and Hollywood Noir: Remediating Cinematic Style and Cultural Memory in The Fade Out,” Journal of Graphic Novels and Comics, Vol. 9, no. 4 (fall 2018).

“Elevator to the Shallows: Spatial Verticality and the Questionable Depth of Social Relations in Mad Men,” New Review of Film and Television Studies, Vol. 16, no. 3 (June 2018): 324-352.

“Dead, But Still Breathing: The Problem of Postmortem Movement in Horror Films,” New Review of Film and Television Studies, Vol. 16, no. 2 (March 2018): 98-122.

“The Cinematic Half-Twist: Art, Exploitation, and the Subversion of Sexual Norms in Kim Ki-duk’s Moebius,” (with Hye Seung Chung), in Mike Dillon and Ken Provencher, eds., Exploiting East Asia Cinemas (New York: Bloomsbury, 2018), 155-171.

“Hands, Fingers, and Fists: ‘Grasping’ Hong Kong Horror Films,” in Daniel Martin and Gary Bettinson, eds., Hong Kong Horror Cinema (Edinburgh University Press, 2018), 110-131.

“Choi Min-sik in Oldboy” (coauthored with Hye Seung Chung), in Murray Pomerance and Kyle Stevens, eds., Close-Up: Great Cinematic Performances Vol. II (Edinburgh University Press, 2018), 261-271.

“(Arm) Wrestling with Masculinity: Television, Toughness, and the Touch of Another Man’s Hand,” Men and Masculinities (2017), 1-29.

“Postnetwork Television and Netflix’s Gilmore Girls: A Year in the Life” (coauthored with Hye Seung Chung), in David Scott Diffrient, ed., Screwball Television: Critical Perspectives on Gilmore Girls [2nd edition] (Syracuse University Press, 2017), 345-354.

“From Nazis to Netflix, the controversies and contradictions of Cannes,” The Conversation (May 18, 2017). <https://theconversation.com/from-nazis-to-netflix-the-controversies-and-contradictions-of-cannes-77655&gt;

The Joy Luck Club” and “Amy Tan,” in Barry Keith Grant, ed., Books to Film: Cinematic Adaptations of Literary Works (Florence, KY: Cengage Learning, 2017), 191-196.

“A Tale of Two Balloons: Intercultural Cinema and Transnational Nostalgia in Hou Hsiao-hsien’s Le voyage du ballon rouge” (coauthored with Carl Burgchardt), in Iain Smith and Con Verevis, eds., Transnational Film Remakes (Edinburgh University Press, 2017), 147-163.

Always, Blind, and Silenced: Disability Discourses in Contemporary South Korean Cinema,” Journal of Literary and Cultural Disability Studies, Vol. 11, no. 3 (August 2017): 251-271.

“Backup Singers, Celebrity Culture, and Civil Rights: Racializing Space and Spatializing Race in 20 Feet from Stardom,” Black Camera, Vol. 8, no. 2 (Spring 2017): 25-49.

“The Omnibus Film as Message Picture: Cold War Politics and the Myth of National Unity in It’s a Big Country,” (co-authored with Hye Seung Chung), Historical Journal of Film, Radio, and Television, Vol. 37, no. 3 (Spring 2017): 499-516.

“The Sight of Unseen Things: Cinephilic Privileging and the Movement of Wind in The Eclipse,” Mise-en-scène: The Journal of Film & Visual Narration, Vol. 1, no. 1 (fall 2016): 1-7.

“Drinking the War Away: Televisual Insobriety and the Meanings of Alcohol in M*A*S*H,” in Stacy Takacs and Anna Froula, eds., Living Room Wars: American Militarism on the Small Screen (Routledge, 2016), 144-161.

“The Good Earth and the Still Waters: New Deal Rhetoric in F.D.R.’s Political Speeches and M.G.M.’s Captains Courageous,” (co-authored with Carl Burgchardt), Historical Journal of Film, Radio, and Television, Vol. 36, no. 3 (August 2016; published online December 2015): 305-330.

“Collecting Views and Visions of the City: Episode Films, Paris vu par…, and ‘Postcard Cinema’,” Quarterly Review of Film and Video, Vol. 32, no. 7 (October 2015): 589-610.

“Between Window and Frame’: Distant Intimacy and Emotional Dialectics in Elia Kazan’s A Tree Grows in Brooklyn,” Adaptation, Vol. 7, no. 3 (December 2014): 307-326.

The Sandwich Man: History, Episodicity, and Serial Conditioning in a Taiwanese Omnibus Film,” Asian Cinema, Vol. 25, no. 1 (Spring 2014): 69-89.

“The Unbearable Lightness of Hong Sang-soo’s HaHaHa: Awkward Humor, Nervous Laughter, and Self-Critique in Contemporary Korean Comedy,” New Review of Film and Television Studies, Vol. 12, no. 1 (January 2014): 1-23.

“The Face(s) of Korean Horror Film: Toward a Cinematic Physiognomy of Affective Extremes,” in Alison Peirse and Daniel Martin, eds., Korean Horror Cinema (Edinburgh University Press, 2013), 114-130.

“‘Drinking the Kool-Aid’ of Cult TV: Fans, Followers, and Fringe Religions in Strangers with Candy and Veronica Mars,” Journal of Fandom Studies Vol. 1, no. 2 (Fall 2013): 159-183.

“Bong Joon-ho,” in Colette Balmain, ed., Directory of World Cinema: South Korea (Intellect, 2013), 23-27.

“‘Hard to Handle’: Camp Criticism, Trash Film Reception, and the Transgressive Pleasures of Myra Breckinridge,” Cinema Journal, Vol. 52, no. 2 (Winter 2013): 46-70.

“TV Hybridity: Genre Mixing and Narrative Complexity in M*A*S*H,” (co-authored with Hye Seung Chung), Quarterly Review of Film and Video, Vol. 29, no. 4 (July 2012): 285-302.

“Beyond Tokenism and Tricksterism: Bobby Lee, MADtv, and the De(con)structive Impulse of Korean American Comedy,” in Ebony A. Utley ed., Power and Pleasure in Popular Culture (Cognella, 2012), 171-188.

If You Were Me: Human Rights Discourses and Transnational Crossings in South Korean Omnibus Films,” Transnational Cinemas, Vol. 3, no. 1 (May 2012): 93-114.

“TV Similes: Language, Community, and Comparative Poetics in Northern Exposure,” Scope: Online Journal of Film & TV Studies (fall 2011).

“Triangulating Terabithia: Building a Better Bridge between Film, Literature, and Television,” Journal of Children and Media, Vol. 5, no. 4 (fall 2011): 442-456.

“A Fetish for Fugitive Aesthetics: Cinematic Kitsch and Visual Pleasure in The Tales of Hoffmann,” Modern Horizons 1 (summer 2011): 1-21.

“Tweaking Art, the Art of Tweek: Aesthetic Desecration and the Politics of Possession in South Park,” in Brian Cogan, ed., Deconstructing South Park: Critical Examinations of Animated Transgression (Lexington Books, 2011), 197-220.

“Beyond Tokenism and Tricksterism: Bobby Lee, MADtv, and the De(con)structive Impulse of Korean American Comedy,” Velvet Light Trap 67 (spring 2011): 41-56.

“The Cult Imaginary: Fringe Religions and Fan Cultures on American Television,” Historical Journal of Film, Radio, and Television, Vol. 30, no. 4 (November 2010): 463-485.

“You’re About to Be Gilmored,” in Screwball Television: Critical Perspectives on Gilmore Girls (Syracuse University Press, 2010), xv-xxxvi.

“The Gift of Gilmore Girls’ Gab: Fan Podcasts and the Task of ‘Talking Back’ to TV,” in Screwball Television: Critical Perspectives on Gilmore Girls (Syracuse University Press, 2010), 79-107.

Over that Hill: Cinematic Adaptations and Cross-Cultural Remakes, from Depression-Era America to Post-war Korea,” Journal of Japanese and Korean Cinema, Vol. 1, no. 2 (Spring 2010): 105-127.

“No Quarter(s), No Camel(s), No Exit(s): Motel Cactus and the Low Heterotopias of Seoul,” in David B. Clarke and Valerie Crawford Pfannhauser, eds., Moving Pictures/Stopping Places: Hotels and Motels on Film (Rowman & Littlefield, 2009), 272-323.

“Autobiography, Corporeality, Seriality: Nanni Moretti’s Dear Diary as a Narrative Archipelago,” Journal of Film and Video, Vol. 61, no. 4 (Winter 2009): 17-30.

“Filming a Life in Fragments: Thirty-Two Short Films about Glenn Gould as ‘Biorhythmic-Pic’,” Journal of Popular Film and Television, Vol. 36, no. 2 (Summer 2008): 91-101.

“Caressing the Text: Episodic Erotics and Generic Structures in Ventura Pons’s ‘Minimalist Trilogy’,” in Vicente Rodríguez Ortega and Jay Beck, eds., Contemporary Spanish Cinema and Genre (Manchester University Press, 2008), 179-201.

“Drift and Duration in Hong Sang-soo’s The Day a Pig Fell into the Well,” Post Script, Vol. 28, no. 2 (Summer 2008): 82-99.

“An Olympic Omnibus: International Competition, Cooperation, and Politics in Visions of Eight,” in Deborah Carmichael and Ron Briley, eds., All-Stars and Movie Stars: Sports in Film (University of Kentucky Press, 2008), 237-260.

“From Three Godfathers to Tokyo Godfathers: Signifying Social Change in a Transnational Context,” in Leon Hunt and Wing-Fai Leung, eds., East Asian Cinemas: Exploring Transnational Connections on Film (I.B. Tauris, 2008), 153-171.

“Spectator Sports and Terrorist Reports: Filming the Munich Olympics, (Re)Imagining the Munich Massacre,” in Emma Poulton and Martin Roderick, eds., Sport in Films (Routledge, 2008), 195-213.

“Spectator Sports and Terrorist Reports: Filming the Munich Olympics, (Re)Imagining the Munich Massacre,” Sport in Society, Vol. 11, nos. 2-3 (March 2008): 311-329.

Good Girls & Wicked Witches: Women in Disney’s Feature Animation,” Historical Journal of Film, Radio, and Television, Vol. 28, no. 2 (June 2008): 249-252.

“Forgetting to Remember, Remembering to Forget: The Politics of Memory and Modernity in the Fractured Films of Lee Chang-dong and Hong Sang-soo” (co-authored with Hye Seung Chung), in Frances Gateward, ed., Seoul Searching: Contemporary Korean Cinema and Society (SUNY Press, 2007), 115-139.

“History as Mystery and Beauty as Duty in The 1940s House,” Film & History, Vol. 37, no. 1 (June 2007): 43-53.

Contributor to Field Survey (10 Most Important Contributions to the Field in the Past Decade), Screening the Past (December 2007).

My So-Called Life in the Balance: Metaphors of Mortality and Uncertainty in a Short-Lived Television Series,” in Michele Byers and David Lavery, eds., Dear Angela: Remembering My So-Called Life (Lexington Books, 2007), 181-207.

“Stories that Objects Might Live to Tell: The ‘Hand-Me-Down’ Narrative in Film,” Other Voices: The (e)Journal of Cultural Criticism (May 2007).

“For the Love of Film: Cinephilia in Cicely and the Cross-Media Intertextuality of Northern Exposure,” Critical Studies in Television, Vol. 1, no. 2 (Fall 2006): 81-95.

“Cabinets of Cinematic Curiosities: The Animated ‘Package Feature’, from Fantasia (1940) to Memories (1995),” Historical Journal of Film, Radio, and Television, Vol. 26, no. 4 (October 2006): 505-535.

Deadwood Dick: The Western (Phallus) Reinvented,” in David Lavery, ed., Reading Deadwood: A Western to Swear By (I.B. Taurus, 2006), 185-199.

“Alternate Futures, Contradictory Pasts: Forking Paths and Cubist Narratives in Contemporary Film,” Screening the Past (December 2006).

“‘Military Enlightenment’ for the Masses: Genre and Cultural Intermixing in South Korea’s Golden Age War Films,” Cinema Journal, Vol. 45, no. 1 (Fall 2005): 22-49.

“The Adolescents,” “Claude Lelouch,” “Visions of Eight,” and “Mai Zetterling,” in Ian Aitken, ed., The Encyclopedia of Documentary Film (Routledge, 2005).

Han’guk Heroism: Cinematic Spectacle and the Postwar Cultural Politics of Red Muffler,” in Kathleen McHugh and Nancy Abelmann, eds., Gender, Genre and National Cinema: South Korean Golden Age Melodrama (Wayne State University Press, 2005), 151-183.

“Interethnic Romance and Political Reconciliation in Asako in Ruby Shoes” (co-authored with Hye Seung Chung), in Julian Stringer and Chi-Yun Shin, eds., New Korean Cinema (University of Edinburgh Press, 2005), 193-209.

“An Olympic Omnibus: International Competition, Cooperation, and Politics in Visions of Eight,” Film & History, Vol. 35, no. 2 (Summer 2005): 19-28.

“A Film is Being Beaten: Notes on the Shock Cut and the Material Violence of Horror,” in Steffen Hantke, ed., Horror Film: Creating and Marketing Fear (University of Mississippi Press, 2004), 52-81.

“Italian Sketch Films and the Narrative Genealogy of Roberto Benigni’s You Upset Me,” in Grace Russo Bullaro, ed., Beyond Life is Beautiful: Comedy and Tragedy in the Cinema of Roberto Benigni (Troubador Pub., 2004), 41-65.

“Alan Alda,” in Michael Kimmel and Amy Aronson, eds., The Encyclopedia of Men and Masculinities (ABC-Clio Press, 2003).

“Narrative Mortality: The ‘Fragmegrated’ Corpse of the Horror Anthology Film,” Paradoxa: Studies in World Literary Genres 17 (Spring 2002): 271-301.