CV Complete

BILL NICHOLS

 

EDUCATION:

UCLA, Ph.D., Theater Arts (Film), 1978.

UCLA, M.A., Theater Arts (Film), 1972.

Stanford Medical School, 1965.  Com­pleted one year before changing career plans.

Duke University, B.A., Chemistry, 1964.

 

ACADEMIC POSITIONS:

Professor, Department of Cinema, San Francisco State University, 1987‑ present.

Visiting Professor, Dept of Rhetoric and Film, University of California Berkeley, Spring 2005; conducted a graduate seminar on documentary film theory.

Fanny Knapp Allen Chair of Art History and Professor, Dept of Art and Art History, Visual and Cultural Studies Graduate Program, University of Rochester, 2001-2002.

Research Associate, Dept. of Anthropology, U.C. Santa Cruz, Fall 2000.

Scholar Associate, Getty Research Institute, 1999-2000.

Visiting Professor, School of Film, Television and Theater, Graduate Program in Critical Studies, UCLA, Spring 1998.

Research Associate, Program in Art History and Visual Culture, U.C. Santa Cruz, 1996-1997.

Visiting Professor, Theater Arts Board, UC Santa Cruz, 1990‑1993; taught various courses in film and a course in cross-cultural representation for the Theater Arts and Anthropology Boards.

Professor, Department of Film Studies, Queen’s University, 1982‑87; Associate Professor, 1978‑82; Assistant Professor, 1975‑­1978; Lectur­er, 1974‑1975.

Visiting Fellow, Humanities Research Centre, Australian National Univers­ity, Canber­ra.  Curated a seven-part series, “Docu­menta­ry: A Fic­tion (Un)like­ Any Other,” June 30‑July 2, 1989 and presented a set of Introduc­tory Lec­tures.

Research Associate, History of Consciousness Program, UC Santa Cruz, 1984.

Visiting Professor, Film Department, San Francisco State Universi­ty, ­1981; Group Film Major, UC Berkeley, 1980; School of Hu­manities, Griffith­ Universi­ty, Austral­ia, 1978.

Adjunct Faculty Member, Graduate Program in Film Studies, York Univer­sity, 1983‑1987.

Part‑time Lecturer, Department of Drama, San Bernadino State Uni­versity, 1973, 1974.

 

ADMINISTRATIVE POSITIONS:

Chair, Department of Cinema and Professor, San Francisco State Uni­ver­sity, 1987‑­1990.

Head of Department, Film Studies, Queen’s Universi­ty, Ontario, 1978-1985.

Acting Head, Film Studies, Queen’s University, 1976‑1978.

Coordinator, Graduate Program in Film Studies, San Francisco State University, 1993-present; Chair, Hiring, Promotion and Tenure Commit­tee, Cinema Dept, 1993-1996, 1998-1999, 2001-2003, 2005-2007.

Conference Coordinator and Host, “Visible Evidence VI,” San Francisco State University, August 13-16, 1998.  (A conference of approximately 150 individ­uals highlighting issues of social representation in non-fiction forms.)

President, Society for Cinema Studies, 1983‑19­85.  SCS is the national organi­zation for film scholars in the United States and currently has well over 2000 members.  Past President, 1985-1987.

Coordinator, First Soviet‑American Conference of Film Schol­ars, “Art and Popular En­ter­tain­ment: Soviet and Ameri­can Cinema in the 1980s,” Mos­cow, Oct.­ 29­‑Nov. 8, 1989.  Responsible for structuring the conference and coordinating com­munication among the American participants and our Soviet coun­terparts.

Co‑Founder, National Film Theatre at Kingston, 1976.  (A community-based reper­toire film the­ater to show­case international and alternative cinema.)

President, Board of Directors, National Film Theater at King­ston, 1976­‑77, 1981­‑82.  –Vice‑President, 1977­‑80.

Co-Founder, Eastern Ontario Filmmaker’s Coopera­tive, King­ston, On­tar­io, 1980­.

 

CONSULTING:

Chair, Board of Advisors, Documentary Film Institute, San Francisco State University, 2011- present.

Juror, EIDF International Film Festival, Seoul, Korea, August 19-25, 2011. 

Juror, International Documentary Film Festival (IDFA), Amsterdam, Nov. 20-26, 2010.

Juror, It’s All True Film Festival, Rio de Janeiro and Sao Paolo, Brazil, April 8-18, 2010.

Senior Advisor, “Best Practices in Documentary Ethics,” with Pat Aufderheide, American University, forthcoming, 2007-2009.  This Ford Foundation supported project describes what practicing filmmakers see as the best ethical practices in the field and make them available for institutions and individuals engaged in documentary filmmaking in a spirit akin to “Best Practices in Fair Use,” Center for Social Media, American University, 2005. Result: “Honest Truths: Documentary Filmmakers on Ethical Challenges in Their Work,” 2009.

Juror, Eastern European Film category, Jihlava Film Festival, Jihlava, The Czech Republic, Oct. 27-31, 2009.

Advisory Board and Career Achievement Award host, Mendocino Film Festival, 2009-present.

Advisory Board of Editors, Encyclopedia of the Documentary Film, Ian Aitken, General Editor, Fitzroy Dearborn Publishers, 2001-2005.

Advisory Board, Artists Rights Foundation and The Film Foundation, 2000-2001.  To develop a secondary school curriculum, “The Story of Movies.”

Consultant, Lumiere Productions, To Tell the Truth, a multi-part documentary series, 2001-2003, 2010-2011.

Advisor and Panelist, Historyand Filmsession, Sundance Film Festival, 1995.

Consultant, San Francisco Museum of Modern Art, 1995-1998.   Guest Curator and Adjunct Curator for film and video programs.

Consultant, National Foundation for Jewish Culture, 1999-.  Advise on films and readings for a national lecture series related to the representation of Jewish culture and to the holocaust.

Consultant: Asian Art Museum, 1989-present.  On film and discussion series pertain­ing to Asian film (China, Vietnam, Tibet, Mongolia).

Board of Advisors, Hot Springs Documentary Film Festival, 1994-1999.

Consultant: Signal to Noise Productions, New York, N.Y..  For a three-part televi­sion series on live television shows, news and reality TV programming.  Cara Mertes and Pat Aufderheide, Producers.  1994-95.

Expert Witness: Arnold v. Fox Television, et.al.  Prepared analyses of Mr. Arnold’s pilot program, Wanted By the F.B.I., and Fox’s America’s Most Wanted, to show that Mr. Arnold’s pilot was the primary source for America’s Most Wanted.  Successfully settled out of court (1992).

Consultant: New York Center for Visual History, 1987‑­1992.  Con­sul­tant for a thirteen part televi­sion series, American Cinema.  Co-produced with the BBC and funded by Annen­berg, CPB, NEH and NEA; aired by PBS, 1995.

Consultant: KTCA/KTCI, Minneapolis, 1989-1990.  Program­ming advisor for the Independents series,­ en­titled “Dis­tant­­­ Lives,” on The Learning Channel in 1990.

Consultant: Santa Cruz Downtown Redevelopment Commission, 1990.  On public support for new movie theater construction following the Loma Prieta earth­quake.

Consultant: Griffith University, Brisbane, Austra­lia: served as external advisor for an interna­tional search for Chair, Film and Media Studies in the School of Humani­ties, 1989.  English and Semiotics, Brown University: advised on the devel­opment of a program in commu­ni­cations, 1984.  UC Santa Cruz Ad Hoc Committee on Communi­ca­tions: reviewed proposals and ad­vised on the feasi­bility of a pro­gram in commun­ica­tions, 1985.

Consultant: American Film Institute, 1984-1987.  Develop a Na­tional Pro­gram in film educa­tion.  Activities in­cluded drafting a White Paper describing an overall education plan from K-12 to the general public, initiating a Translation Project (later sub­sumed by the Society for Cinema Studies) and serving as General Edi­tor, AFI Film Readers (Methuen Press), 1986‑­1987.  Developed manu­scripts on Psycho­analysis and Cinema (1990), Fabrications: Costume and the Female Body (19­90), Comedy and Cinema, Ethnici­ty, Repre­senta­tions of Vio­lence, and Gay and Lesbian Repre­senta­tion.

External Evaluator, Tenure and Promotion Reviews at: Brown Uni­versity (Dept. of Semio­tics), Concordia Univer­sity (Cinema Dept.), Duke Uni­versity (English Dept.), Emory University (Eng­lish Dept.), Hollins College (Theater Arts), Loyola-Marymount University (School of Film and Television), Miami Univer­sity (Oxford, Ohio: French and Italian Dept.), New York University (Cinema Dept.), Pitzer College, Uni­versity of South­ern Califor­nia (School of Cinema), State University of New York at Buffalo (Media Studies Dept.), University of California Berkeley (Rhetoric and Film Dept.), Uni­versity of Cali­forn­ia at Los Angeles (Film and Television, Theater Arts Dept.), University of California San Diego (Department of Communication), University of Califor­nia at Santa Cruz (The­ater Arts Board), Univer­sity of Illinois at Chicago (Eng­lish Dept.), University of Michigan (African-American Studies, Film Studies), University of Iowa (Department of Communication Studies), University of Minnesota (Minneapolis, English and Women’s Studies Depts.), University of Notre Dame (Dept. of Communication and Theater), University of Texas at Austin (American Studies), University of Toronto (Women’s Studies and Cinema Programs), York University (Fine Arts).

 

BOOK PUBLICATIONS:

Cinema’s Alchemist: The Films of Péter Forgács. Editor, with co-editor Michael Renov.  (University of Minnesota, Visible Evidence series, 2011).

Introduction to Documentary, 2nd Edition.  Indiana University Press, 2010.  Translated into Czech, Úvod do Dokumentárního  Filmu (Prague, Czech Republic, 2010).

Engaging Cinema.  An introductory text devoted to an analysis of film as a socially significant medium rather than as a distinct artistic medium. W.W. Norton: 2010.

Maya Deren and the American Avant-Garde, ed. A collection of essays reexamining the work of Maya Deren from a contemporary perspective (University of California Press, 2001).

Introduction to Documentary.[1]  An introductory text written on all aspects of documentary film study (Indiana University Press, 2001).  Translated into Korean, (Seoul, Korea: Hanul Books, 2005).  Translated into Portuguese,  trans. Mônica Saddy Martins (São Paulo, Brasil: Papirus Editora, 2005).

Blurred Boundaries (Indiana Uni­versity Press, 1994).  Named Outstanding Academic Book by Choice.  A study of the indeterminacies between historical and fic­tional repre­sentation.  Chapter Five, “Performative Docu­mentary,” translated and reprinted in Diskurs Film: Münchner Beiträge zur Filmphilo­logie, vol. 7, 1995: 149-166 and in T. Corrigan, P. White, and M. Mazaj, eds.,  Critical Visions in Film Theory (Bedford/St. Martin’s, New York, 2011): 672-688.  Chapter Three, “At the Limits of Reality (TV),” translated and reprinted in Kwartalnik Filmowy (Fall 1998), Ekran 23, no. 35 (1998) and in Media Studies: A Reader (1999).

Representing Reality: Issues and Concepts in Documenta­ry (In­diana Uni­ver­sity Press, 1991).  First rigorous theoriza­tion of non-fiction film and video.  Ch. 2, “Documentary Modes,” translated and reprinted in Slovenia as “Dokumen­tarani Racini Reprezentacje,” Ekran, 23, no. 35 (1998).  Ch. 6 . “The Fact of Realism and the Fiction of Objectivity,” reprinted in John Orr and Olga Taxidou, eds., Post-War Cinema and Modernity (Edinburgh: Edinburgh University Press, 2000).

La Representacion de la Realidad, Spanish translation by Josetxo Cerdan and Eduardo Iriarte.  (Barcelona, Spain: Edi­ciones Paidos Iberica, 1997; 2nd edition, 2007)

Movies and Methods, Volume II, ed., (Berkeley:­ Uni­ver­sity of Cali­for­nia Press, 1985).

Ideology and the Image. Social representation as a semiotic process (Bloomington: In­diana University Press, 1981). Portions of Chapter One, “Art and the Perceptual Process,” reprinted in Semiotics: The Basics (London: Routledge, 2001).  Chapter Five, “For The Birds,” Translat­ed into Chinese and reprinted in Contemporary Cinema, 5 (Sept. 1987), Beijing, China. Chapter Seven on Frederick Wiseman’s films translated into German and published: Eva Hohenberger, trans. and ed., “Die Dokumnetarfilme von Frederick Wiseman und in US-amerikanishen Fernsehserien,” in Frederick Wiseman: Kino des Sozialen (Nordhein-Westfalen:Dokumentarfilminitiative, 2009): 107-137.

Newsreel: Documentary Filmmaking on the American Left. A social history of the filmmaking group and a close analysis of their film work (New York: Arno Press, 19­80).

Movies and Methods, ed.  First anthology of scholarly film theory and criticism (Berk­eley: University of Cali­for­nia Press, 1976).  This volume helped establish film studies as an academic discipline.  Portions of the introductory material on Structur­alism and Semiology translated into Chinese and reprinted in Translated Articles in Aesthetics (Bei­jing: Institute of Philosophy, Chinese Academy of Social Sciences, 1981), reprinted again in Structuralism and Semiotics: Papers in Film Theory (Beijing: Institute of Philosophy, 1987, 2001). Both volumes translated and published in Arabic, National Center for Translation, Cairo, Egypt (2008).

40.  “Foreword,” Clive Meyer, ed., Critical Cinema: Beyond the Theory of Practice (Wallflower Press and Columbia University Press, 2012).

39. “The Terrorist Event,”  Representing Humanity in an Age of Terror, Sophia A. McClennen and Henry James Morello, eds. Purdue University Press, 2010: 127-142.

38.  “Letter to Lynn,” States of Unbelonging: A Lynn Sachs Retrospective, Steve Polta, ed., San Francisco Cinematheque and Pacific Film Archive, 2010.

37. “Foreword,” Critical Cinema: Beyond the Theory of Practice, Clive Myer, editor, forthcoming, 2010.

36. “Documentary Reenactments: A Paradoxical Temporality That Is Not One,” Beyond the Visual: Sound and image in Ethnographic and Documentary Film, Gunnar Iversen and Jan Ketil Simonson, eds., Intervention Press, Denmark, 2010: 190-211; Tyrus Miller, ed., Given Time and World: Temporalities in Context  (Budapest: Central European University Press, 2008): 171-192. Also printed in modified form as “Documentary Reenactment and the Fantasmatic Subject,” Boaz Hagi, Sandra Meiri, Raz Yosef and Anat Zanger, eds., Just Images: Ethics and the Cinematic (Newcastle upon Tyne: Cambridge Scholars Publishing, 2011): 212-230.

35.  “The Question of Evidence, The Power of Rhetoric and Documentary Film,” Thomas Austin and Wilma de Jong, eds., Rethinking Documentary (London: Open University Press, 2008; New York: McGraw-Hill Education, 2008): pp. 29-38.

34. “Documentary Film,” Michael Griffin, ed., International Encyclopedia of Communications (Boston: Blackwell Publishers, forthcoming)

33.  “Documentary,” in Pam Cook, ed., Third Edition, The Cinema Book (London: British Film Institute, 2007): 81-83.

32.  “Foreword,” Jill Nelmes, ed., Fourth Edition, Introduction to Film Studies, (New York: Routledge, 2007).

31.  “Film Studies,” in Barry Grant, ed., Schirmer Encylopedia of Film (New York: Thomson Gale, forthcoming).

30.  “The Terrorist Event,” in Mark Franko, ed., Ritual Transformations (New York: Routledge, 2006): 94-108; in Sophia A. McClennen and Henry James Morello, eds., special issue of Comparative Cultural Studies (CLCWeb: Comparative Literature and Culture 9.1 (2007): http://clcwebjournal.lib.purdue.edu/vol9/iss1/14>

Thematic Issue, Representing Humanity in an Age of Terror); also in Maria Dora Maurão and Amir Labaki, eds., O Cinema do Real (Ediciones Colihue, Buenes Aires, Argentina, 2005): 174-195; also in Henry Morello and Sophia McClennen, eds., Representing Humanity in an Age of Terror (Purdue University Press, forthcoming).

29.  “The Question of Evidence,” in Michael Cuntz, ed., Die Listen der Evidenz (The Cunning of Evidence) (Cologne: DuMont Press, Mediologie series, 2006): 86-106.

28.  “Documentary,” Overview essay in Steven Schneider, Tom and Sara Pendergast, eds., Understanding Film Genres: Film through Genres, Genre through Films (New York: McGraw-Hill, forthcoming).

27. “The Battleship Potemkin: A New Form for a New Society,” in Jeffery Geiger and R. L. Rutsky, eds., Film Analysis: A Norton Reader (New York: W.W. Norton, 2005): 158-177.

26“What Really Happened: Tim Asch, The Ax Fight and Leo­pold von Ranke,” in Doug Lewis, ed., Timothy Asch and Ethnographic Film (New York and London: Routledge, 2004: 229-237; Also in Media International Australia, no. 82, Special Documenta­ry Edition, Sydney, 1996: 6-11.

25.  “Historical Consciousness and the Viewer: Who Killed Vincent Chin?,” in Peter X. Feng, ed., Screening Asian Americans (New Brunswick: Rutgers University Press, 2002): 159-172.

24.  “The Fact of Realism and the Fiction of Objectivity,” in John Orr and Olga Taxidou, eds., Post-War Cinema and Modernity (Edinburgh: Edinburgh University Press, 2000): 188-207.

23.  “The Work of Culture in the Age of Cybernetic Systems,” in a) John Thornton Caldwell, ed., Electronic Media and Technoculture (New Brunswick: Rutgers University Press, 2000): 90-114; b) Timothy Druckery and Michael Sand, eds., Electronic Culture: Technol­ogy and Visual Repre­sen­tation (New York: Aperture Foundation, 1996): 121-143; c)  Andrezej Gwózdz, ed., Technolgie Mediów (Krakow, Poland: Universitas, 2001): 79-112l;  d) Noah Wardrip-Fruin and Nick Montfort, eds., The New Media Reader (Cambridge: MIT Press, 2003): 625-641.

22.  “The Voice of Documentary,” in a) “A Vos do documentáio,” in Fernão Pessoa Ramos, ed., Teoria Contemporanea do Cinema (Sao Paolo, Brazil: Editoria Senac, 2005): 47-68; b) “Rödd heimildarmynda,” in Guðni Elísson, ed., Afangard I Kvikmyndaraedum (Reykjavik: Forlagid, 2003): 191-206; c) Brian Henderson and Ann Martin, eds., Film Quarterly: Forty Years, A Selection (Berkeley: University of California Press, 1999): 246-267; d) Alan Rosenthal, ed., New Challenges for Documentary (Berkeley: University of California Press, 1988): 48-63; e) Alan Rosenthal and John Corner, eds., New Challenges for Documentary (Manchester University Press and Palgrave, 2005): 17-33.

21. “Lang, Godard, and A Question of Contempt,” Catalogue for the Fritz Lang Retrospective, Lincoln Center and Anthology Film Archives (New York: Anthology Film Archives, 2000): 54-56.

20. “Film and Reality,” entry for Encyclopedia of American Studies, Mark Cum­mings, ed.  Bethel, Connecticut: Grolier Publish­ing (2002)

19. “Film Theory and the Revolt Against the Master Narratives,” Christine Gledhill and Linda Williams, eds., Reinventing Film Studies (London: Edward Arnold, 2000): 34-52.

18. “The Documentary and the Turn from Modernism,” Kees Bakker, ed., Joris Ivens and the Documentary Context (Amsterdam: Amsterdam University Press, 1999): 142-159; also as “El Documental y el giro de la vanguardia,” Archivos 56, 2007: 17-45 (Valencia, Spain).

17. “Reality TV and Social Perversion,” Paul Marris and Sue Thornham, eds., Media Studies: A Reader, 2nd edition (Edinburgh: Edinburgh University Press, 1999): 393-403.

16. “Documentary: Theory and Practice,” Eva Hohenberger, ed., Bilder des Wirk­lichen: Texte zur Theories des Dokumentarfilms, “Dokumentarfilm–Theorie under Praxis,” Berlin: Verlag Vorwerk 8, 1998: 164-181.

15. “Rean­imat­ing the Past: Film and Histo­ry,” in Gaston Roberge, ed., Essays on Commu­nication: The Chitrabani Jubilee Book, Calcutta, 1996: 75-81.

14. “Strike and the Question of Class,” in David James and Rick Berg, eds., Film and the Question of Class (Minneapolis: University of Wisconsin Press, 1996): 72-89.

13. “Documentary and the Coming of Sound,” Javier Maqua and Manuel Palacio, eds., Historia General del cine, Vol. VI, La Transicion del Mudo al Sonoro (Madrid: Ediciones Catedra, 1996): 273-295.  Also in Documentary Box, no. 6 (1995): 1-8.

12. “Historical Consciousness and the Viewer: Who Killed Vincent Chin? in Vivian Sobchack, ed., The Persistence of History: Cinema, Television, and the Modern Event (New York: Routledge, 1996): 55-68.

11. “Getting to Know You: Knowledge, Power and the Body,” in Mi­chael Ren­ov, ed., Theorizing Documentary (New York: Rout­ledge, 1994): 174-191.

10. “The Ethnographer’s Tale,” in Peter I. Crawford and Jan K. Simonsen, eds., Ethno­graphic Film Aesthetics and Narra­tive Traditions (Aarhus, Denmark: Interven­tion Press, 1992): 43-74; Lucien Taylor, ed., Visualizing Theory (New York: Routledge, 1993): 60-83 and Bella Dicks, ed., Digital Qualitative Research Methods (London, New Dehli: Sage Publications, 2012).

9.  “Form Wars: The Political Unconscious of Formalist Theory,” in Jane Gaines, ed., Classical Hollywood Narrative: The Paradigm Wars (Durham: Duke University Press, 1992): 49-77.

8.  “Ideological and Marxist Criticism: Toward a Metaherme­neut­ics,” in R. B­arton Palm­er, ed., The Cinematic Text: Methods and Ap­proaches, Georgia State Liter­ary Studies 3 (New York: AMS Press, 19­89): ­247-275.

7.  “The Voice of Documentary,” in Alan Rosenthal, ed., New Challenges for Documen­tary (Berkeley: University of Califor­nia Press, 1988): 48-63.

6.  “History, Myth and Narrative in Documentary,” in Wille­m De Greef and Willem Hesling, eds., Image–Reali­ty­–Spec­tator: Essays on Documentary Film and Televi­sion (Leuv­en, Belgium: Acco, 1988)­: 167-186.  Translated into German as “Geschichte, Mythos und Erzählung im Dokumentarfilm,” in Montage/av: Zeitschrift für Theorie und Geschichte audiovisueller Kommun­ikation, 3/1/19­94: 39-60.

5.  “Questions of Magnitude,” in John Corner, ed., The Docu­men­tary and Mass Media (Lon­don:­­ Ed­ward­ Ar­nold­ Publishers, 1986): 1­07‑122.

4.  “Newsreel, 1967‑1972: Film and Revolution,” in Tom Waugh, ed., Show Us Life: Toward a His­tory­ and Aesthet­ics of the Com­mitted Documentary (Metu­chen, N.J. and Lon­don: Scarecrow Press, 1984): 135-153.

3.  “Introducing Film Study in an Undergraduate Context,” in Barry Grant, ed., Film Study in the Un­der­graduate Curriculum, (New York: Modern Lan­guage Associ­ation Press, Option series, 1983).  Trans­lated into Spanish and reprinted as “La teo­ria en el au­la: u­na pro­puesta,” Mirada de tres mundos, 1 (1990): 133-157.

2.  “Flicker and Motion in Film,” with Susan J. Led­erman, in Stephen Heath and Teresa de Lauretis, eds., The Cine­mat­ic Ap­pa­ra­tus (Lon­don: Mac­Millan, 1980).

1.  “Style, Grammar and the Movies,” Translated into Chi­nese and reprinted in Reading Material in For­eign Film Theo­­ries (Bei­­jin­g: Peking Film Academy, 1979.

64.  “Feelings of Revulsion and the Limits of Academic Discourse,” Jump Cut, No. 52 (Summer 2010), accessible at http://www.ejumpcut.org/archive/jc52.2010/index.html.

63.  “Seven Reasons Why I Love Submarine Movies,” The Velvet Light Trap, No. 64 (Fall 2009): 102-103.

62.  Commentary for Two Laws.  A feature length commentary with Jill Godmilow on the DVD release of Two Laws (Facets Video, 2008).

61. “Documentary Reenactment and the Fantasmatic Subject,” Critical Inquiry, Vo. 35, No. 1, Fall 2008): 72-89.  Published in a modified form in Given Time and World: Temporalities in Context  (Budapest: Central European University Press, 2008): 171-192.

60.   “What Current Documentaries Do and Can’t Do,” The Velvet Light Trap, 60 (Fall 2007): 85-86.

59.  “Questions of Ethics and Documentary Film,” Archivos (Valencia: Spain), , 2006.

58.  “The Time of the Orator,” Film Quarterly, Vol. 59, No. 2 (Winter 2005-06): 3.

57.  “What to Do About Documentary Distortion,” Documentary, 25, no. 2 (March-April, 2006): 28-33.

56.  “Falling for Flaherty,” Cinema and History, International Film Seminars Annual, (2005) 10-14.

  1.  “The Memory of Loss: A Dialogue between Petér Forgács and Bill Nichols, Film Quarterly, 56, 4 (Summer 2003): 2-12.
  1.  “Los documentales y el modernismo: 1919-1939, Comunicación y Sociedad, XIV, no. 2 (2002): 71-91.

53.  “Todellisuuden ja television rajamailla,” Lähikuva (Finland), no. 1, 2001: 6-24.  Translation and reprint of ch. 3, “At the Limits of Reality (TV),” Blurred Boundaries.

52.  “Documentary Film and the Modernist Avant-Garde,” Critical Inquiry, 27, 4 (2001): 580-610.

51.  “The Ten Stations of Spielberg’s Passion,” Jump Cut, 43 (2000): 9-11.

50.  “Children, Art, Sex, Pornography: Jennifer Montgomery’s Art for Teach­ers of Chil­dren,” co-authored with Gerald Peary, Camera Obscura, no. 39 (1999): 35-51.

49.  “Foreword,” Barry Grant and Jeannette Sloniowski, eds., Docu­menting the Documentary (Detroit: Wayne State University Press, 1998.)

48.  “Dislocating Ethnographic Film: In and Out of Africa and Issues of Cultural Repre­sentation,” American Anthropologist, 99, no. 4 (1997): 810-824.

47.  “The Unseen Jury,” University of San Francisco Law Review, 30, no. 4 (1996): 1055-64.  Reprinted in Law and Popular Culture: Text, Notes and Questions (LexisNexis: 2007).

46.  “Maya Deren: Her Radical Aspirations and Influences on the Film Avant-Garde,” Essay and Program Notes for a Film Series, San Francisco Muse­um of Modern Art, April – May, 1996.

45.  “Image and Reality: The Real Story,” Historical Journal of Film, Radio and Televi­sion, 16, no. 2 (1996): 267-68.

44.  “Leni Riefenstahl: The Power of the Image,” Catherine Soussloff, co-author, Dis­course, 18, no. 3 (1996): 20-43.

43.  “Rean­imat­ing the Past: Film and Histo­ry,” Sun­dance Film Festi­val Cata­log, 1995.

42. “Discovering Form, Inferring Meaning: New Cinemas and the Film Festival Circuit,” Film Quarterly 47, no. 3 (Spring, 1994): 16-30.

41. “Global Image Consumption in the Age of Late Capitalism,” East-West Journal, 8, no. 1 (January, 1994): 68-85.

40. “Dear Vietnam: Shadows of Forgotten Warriors,” Cinemaya, no. 17-18 (Autumn-Winter, 1992-93): 10-14.

39. “Sexual Politics and National Liberation: Six Films From Viet­nam,” UCLA Film and Tele­vision Archives Mono­graph, 1992.

38. “The Ethnographer’s Tale,” Visual Anthropology Review 7, no. 2, (1991): 31-47.

37. “Embodied Knowledge and the Politics of Loca­t­i­o­n,” C­i­n­e­A­c­t­i­on, 23 (Win­ter 1990-19­91): 14-21.

36. “Sons at the Brink of Manhood: Utopian Moments in Male Sub­jec­tivi­ty,” East-West Jour­nal 4, no. 1 (19­89): 27­‑43.

35. “Skinflicks: Ethnography/Pornography and the Dis­co­urs­es of Pow­er,” with Cath­erine Need­ham and Ch­ris­tian Han­sen, Dis­cou­rse 11, no. 2 (Spring 19­89)­: 65­‑79.

34. “Form Wars: The Political Unconscious of For­malist Th­eor­y,” South A­t­l­a­n­tic Quar­terly 88, no.2 (Spring 198­9):­ 487‑515.

Reprinted in Classical Hollywood Narrative, above.

33. “The Work of Culture in the Age of Cybernetic Sys­tem­s,” Screen 29, no. 2 (Win­ter 19­88):­ 22­‑46.

Reprinted in a) John Thornton Caldwell, ed., Electronic Media and Technoculture, b) Timothy Druckery and Michael Sand, eds., Electronic Culture: Technol­ogy and Visual Repre­sen­tation, c)  Andrezej Gwózdz, ed., Technolgie Mediów ,d) Noah Wardrip-Fruin and Nick Montfort, eds., The New Media Reader (details cited in Articles in Anthologies above).

Translated into Finnish and reprinted in Lahi­kuva: Journal for Nordic Cinema Stud­ies, nos.­ ­1‑2 (1988): 4‑16.

Also published as an occasional paper by Stud­ies in Communication Informa­tion Technolo­gy Group, Queen’s University, 1985.

32. “History, Myth, and Narrative in Documentary,” Film Quar­terly 41, no. 1 (Fall 1987):­ 9‑­20.  Repr­int­ed in Im­age–Real­ity–Spec­ta­tor and translated into German in Mon­tage/av, above.

31. “Ideological and Marxist Criticism: Toward a Meta-her­me­neu­tic­s,” Stud­ies in the Lit­er­ary Imagi­nation 29, no. 1 (Spring 19­86): 83‑­107.

Reprinted in The Cinematic Text, above.

30. “The Telefilm We Need,” with Joanne Marion, F­ran­c­ois L­a­c­h­a­n­ce, Cinema Canada, no. 127 (Febru­ary 1986­):­ 7‑9.

29. “Believing What We Read, Saying What We Be­lieve,” Quar­terly Review of Film Stud­ies 10, no. 2 (Spring 1985): ­153‑­160.

28. “Introduction,” for The Documentary Today, a col­lect­ion of sym­po­sium papers (St. Pa­ul, Minn.: Film in the Cities, 1984).

27. “Advertising: Persuasive Notions of Desire,” Im­pulse 11, no. 2 (Fall 1984): 49­‑52.

26. “Stanley Kramer” and “Edward Dmytryk,” in D­i­rec­tors/­Film­makers, Vol. II of Films and Film­makers series (Chica­go: St. James Press, 19­84).

25. “New Information Technologies and the Univer­si­ty,” Film and the Fu­ture, special supple­ment­ to Cin­ema Can­a­da, no. 97 (June 1983­): 20­‑24.

24. “The Voice of Documentary,” Film Quarterly 36, no. 3 (Spring 1983­):­ 17-30.

Reprinted in Teoria Contemporanea do Cinema (Sao Paolo, Brazil, 2005); Afangard I Kvikmyndaraedum (Reykjavik: Forlagid, 2003); Film Quarterly: Forty Years, A Selection (Berkeley: University of California Press, 1999;  New Chal­lenges for Documentary, (1988), and Movies and Methods, vol. II (1986). Translated into Chinese at Chinese Culture University, Taiwan.

23. “New Theory in the Classroom,” Jump Cut, no.24­/25 (­1­9­81­)­:­ ­53­‑­56.

22. “American Gigolo: Transcendental Style and Nar­ra­t­ive Form,” Film Quart­erly 34, no. 3 (Summer 1981)­: 8­‑13.

21. “A Visual Analysis of The Birds,” Film Reader, no. 4 (19­80):­ 120­‑144.

20. “Whatever Hap­pened to Saturday Night: The R­e­c­ent Cine­ma,” Queen’s Quarterly 86 no. 3 (Fall 19­79): 383­‑408.

19. “Politics and Aesthetics, Reply to Bruce El­der,” Cine-Tracts 1, no. 4 (­1­9­7­8­)­:­ ­1­0­5­‑­108.

18. “Fred Wiseman’s Documenta­ries:­ Theory and Struc­t­u­r­e,” Film Quarterly 31, no. 3 (spring 19­78): ­15‑28.

17. “Documentary: Theory and Practice,” Screen, 17, no.4 (­1977)­: ­34‑48.

16. Program Notes for Revolutionary Films/Chicago ’76, July 9‑25, 1976, Art Institute of Chi­cago.

15. “Style, Grammar and the Movies,” Film Quar­ter­ly 28, no. 3 (1975)­: 33‑49.

14. “Film Teaching,” St. Andrew’s Review 3, no. 3 (19­75): 97‑­101.

13. “Programming the American Cinema,” Film Li­brary Quar­terly 7, nos. 3/4 (1974): 41­‑45.

12. “Redemption and Performance: An Extended Analysis,” Take One 4, no.­ 1 (197­4):­ 12-18.

Translated into German and reprinted in Kel­lerkino (1975), “Erlösung und Erfüllung über Perfor­mance.”

11. “Newsreel: Film and Revolution,” Cineaste 5, no. 4 (1973)­: 7­‑13.

10. “Horatio Alger and the American Movie,” Take One, 3, no. 11 (1973): 11-14.

9. “American Documentary Film History,” Screen 13, no. 4 (Win­ter 1972-1973): ­108‑­115.

8. “Critical Approaches to Film: Then and Now,” Cinea­ste 5, no. 2 (1971):­19­‑23.

7. “Confronting the Consciousness Industry,” Women & Film, no. 1 (1972): 38-42.

6. “The Conformist,” Cineaste 4, no. 4 (1971):­ 19­‑23.

Abridged and reprinted in Contemporary Liter­ary Criti­cism 16 (1981).

5. “Walkabout,” Cinema 7, no. 1 (1971): 8‑13.

4. “The Screen: Ancienne Vague,” Commonweal 94, no. 3 (197­1)­: 6­4‑65.

3. “Techniques of Trickery,” Commonweal 93, no.­ 15 (197­1)­:­ 375‑­376.

2. “Revolution and Melodrama,” Cinema 6, no. 1 (1970): 42-­47.

1. “A Report on Kenya,” Transition 7, no. 36 (1968):­ 22­‑25.

            50.  “Dialogues with Peter Forgács,” Two hour dialogues held in conjunction with a major retrospective of Peter Forgács films, February 10-16, 2012, Rio de Janeiro, Sao Paolo and Brasilia, Brazil.

49.  “Encounters with Ethnography,” Imagens e Narrativas (Narrative and Images) International Conference, State University of Rio de Janeiro, Brazil, November 24, 2011.

48.  “The Question of Ethics,” Master Class, Bordocs Film Festival, Tijuana, Mexico, September 3, 2011.

47. “New Voices and Old Forms: Documentary and New Technology,” EIDF International Documentary Conference, Seoul, Korea, August 22, 2011.

46.  “1960: The Year the Voice of Documentary Changed,” Media and Culture Dept., University of Amsterdam, Amsterdam, Nov. 26, 2010.

45.  “Compliation, Collage and Mash-Ups: Jay Leyda’s Films Beget Films, It’s All True Film Conference, Sao Paolo, Brazil, April 16, 2010.

44.  “Writing Theoretically About Film,” Professional Writing Workshop, Jihlava Film Festival, Oct. 29, 2009.

43.  “When Documentaries Learned to Listen,” Brno University, Brno, The Czech Republic, Oct 26, 2009.

42.  “Documentaries Learn to Speak,” and “Documentary Reenactment,” a Lecture Series, Cultura Inglesa, Sao Paolo, Brazil, May 12-13, 2009.

41. “This Time We’ll Get It Right: Reenacting in Documentary,” Joris Ivens Conference, Beijing Normal University, Beijing, China, Nov 18-20, 2008.

40.  “The Question of Ethics,” Keynote Address, Just Images Conference, Tel Aviv University, Israel, June 3-5, 2008.

39. “Reenactment and Documentary Fiction,” Keynote Address, Nordic Anthropological Film Association, Norwegian University of Science and Technology, Trondheim, Norway, June 14-16, 2007.

38. “Documentary and Beyond,” a Seminar for Doctoral candidates in Finland, Tampere University, Finland, March 2-3, 2004.

37. “The Question of Evidence,” Dept of Journalism and Mass Communication, Tampere University, Finland, March 1, 2004.

36.  “Temporality, Trauma and the Image,” 2nd Annual Documentary Film Conference, Sao Paolo, Brazil, April 21, 2002.

35. “Peter Forgacs’ Saga of Family Life and Social Hell,” Suchbilder: Steps toward a Visual Archive of Cinematographic Topoi” Conference, Berlin, Germany, February 6-8, 2001.

34. “Representation and Rhetoric,” Graduate Humanities Colloquium, Utrecht University, The Netherlands, December 4, 1998.

33. “Documentary and the Turn from Modernism,” Keynote Address, The Documen­tary Context, Europese Stichting Joris Ivens, Nijmegen, The Netherlands, December 1, 1998.

32. “Power and the Documentary Image,” Graduate seminar, University of Tampere, Finland; Institute of Social Sciences Summer School, August, 1997.

31. “Dislocating Ethnography: The Traffic in African Art and the Principles of Ethnographic Film,” University of Oslo, Dept. of Anthropology, Dec. 4, 1996.

30. “Ethics and Camera Style,” Institute for Drama, Film and Theater, Trondheim University and Department of Film, University of Oslo, Dec. 2 and 4, 1996.

29. “Style and Film,” Faculty of Humanities, University of Copenhagen, Denmark, Oct. 14, 1994.

28. “Revising the Past: Documentary, Narrative and Eisenstein,” Institute for Film, University of Copenhagen, Denmark, Oct. 13, 1994.

27. “Constructing Historical Consciousness: Collage and Meaning,” Odense and Rodilske Universities, Denmark, Oct. 11, 12, 1994.

26. “Managing Complexity,” Faculty of Arts, Monash University, Mel­bourne, Australia, February 16, 1994.

25. “Documentary Ethics,” Tage des Unabhängigen Films Film Festival, Augsburg, Germany, March 25, 1993.

24. “About Face: Self-Representation and Performative Documentary,” Ingigenous Media: Images/Identities/Politics, Conference, McGill University, Montreal, Oct. 23-24, 1992.

23. “E.T.: The Ethnographer’s Tale,” Nordic Anthro­pological Film Con­fer­ence, Oslo, Nor­way, May 21‑24, 1991.

22. “Why We (men) Fight: TV’s Gulf War,” Video screening and panel partici­pant, Yama­gata Interna­tional Documentary Film Festival, Yamagata, Japan, Oct. 10, 1991.

21. “Subjectivity, Reflexivity and Documentary Film,” 13th Nor­we­gian Short Film Fes­ti­val, Grim­stad, Nor­way, June 14, 1990.

20. “Documentary: A Fiction (Un)Like Any Other,” Curated a series of film pro­grams and delivered Introductory Lectures for the Humanities Research Cen­tre, Canberra, Austra­lia, June 30-July 2, 1989.

19. “The Most Important Art (of Documentary),” Conference of Soviet-Ameri­can Film Scholars, Mos­cow, Nov. 5, 1989.

18. “Art, Politics and the New Documentary,” DEC and A Space, To­ron­to, May 31, 1987.

17. Keynote Address, “Cybernetic Culture,” Pan-Nor­dic Film Confer­ence, Turku, Finland, August 13, 1987.  (The first conference to bring to­gether media schol­ars from Fin­land, Norway, Sweden, Denmark and Iceland.)

16. “Pleasure, Power and the Cybernetic Machine,” Canadian Com­muni­ca­tion Associa­tion, Montreal, May 20, 1987.

15. “The Personal and the Political in Recent Chi­nese Cine­ma,”

–Study Group in Nation­al and In­ternational Develop­ment, Queen’s University, Febru­ary 26, 1987.

–Society for Cinema Studies, Montreal, May 22, 1987.

14. “Pornography, Ethnography and the Body,” Concor­dia Univer­sity, Loyola Campus, Montreal, Feb­ruary 4, 1987.

13. “Hitchcock: Problems of Interpretation,” China Film Association, Beijing, China.  A series of lectures over a two week period (June 23‑J­uly 6, 1986) on con­tem­po­rary criti­cal method­ology and film theory for Chinese film mak­ers, critics, and re­sear­chers.  Sponsored by the China Film Associ­ation and the China Im­port/Export Corpo­ra­tion.

–Portions of the Lectures translated and printed in World Cinema (December 1986), Beijing, China.

12. “Documentary Strategies: Forms to Formulate the Real,” Cine­ma Stud­ies, Carleton University, Ottawa, Novem­ber 1, 1985.

11. “New Information Technologies and Higher Educa­tion,” Associ­ation of Universi­ties and Col­leges of Canada, Mon­tre­al, March 7, 1984 (Presenta­tion at the annu­al meeting of col­lege and universi­ty Presi­dents in Canada).

10. “The Search for Tomorrow and the Future of the University,” Last Lec­ture Series, spon­sored by the Queen’s University Under­gradu­ate Society, March 14, 1984.

9.  Keynote Presentation, “Vicarious Experience and Electronic Communica­tion,” Conference on “Sem­iotics of the Cine­ma: ­State of the Art,” at Fifth Interna­tional Summer Institute for Semiotic and Structural Studies, Victoria Col­lege, University of Toronto, June 20, 1984.

8.  “Realism and the Representation of Reality: The Documentary Im­age,” Phi­losophy De­partment Colloqui­um, Queen’s Univer­sity, January 20, 1983.

7.  “Contending with the Media,” Conference on Human Rights and Social Re­sponsi­bility, Kingston, January 30, 1983.

6.  “The Image as Evidence: Ethnography and Film,” Toronto Semi­otics Circle, Uni­versity Col­lege, Toronto, April 28, 1983.

5.  “Leisure, Cultural Forms, and the Representation of Women,” as Re­spon­dent at Conference on Gender, Leisure and Cultural Pro­duction, Queen’s University, Octo­ber 1, 1983.

4.  “New Information Technologies and the Universi­ty,” Micro­electron­ics, Informa­tion Technol­ogy and Canadian Soci­ety Con­fer­ence, Kingston, May 7, 1982.

3.  “The Nature of Art and the Limits of Logic,” University of Stock­holm and the Swed­ish Film Insti­tute, Stock­holm, June 3, 1981.

2.  “Cinematic Reflexivity,” Ethnographic Film Con­ference, Canberra, Aus­tralia, May 12‑19, 1978.

1.  “Perception, Ideology and Art,” School of Humanities, Grif­fith Uni­ver­sity, Australia, April 20, 1978.

76. “The Humanities and the Filmmaker,” California Humanities Documentary Film Project conference, San Francisco, June 13, 2012.

75. Host and Interviewer, Albert Maysles Live Achievement Award for Les Blank, Mendocino Film Festival, June 4, 2011.

74. “Categories and Creativity,” presentation for ITVS (Independent Television Service), San Francisco, May 13, 2011.

73.  Host, Salon, “Social Justice Documentaries,” San Francisco International Film Festival, April 25, 2011.

72.  Host and Interviewer, Albert Maysles Life Achievement Award for Haskell Wexler, Mendocino Film Festival, June 5, 2010.

71.  Keynote Address, “Breaking Disciplinary Barriers,” SFSU Graduate Film Conference, Oct. 15, 2009.

70. “Reenactments: The Typical, the Historical and the Not So Typical”  The Kodak Lecture, Ryerson University, Oct. 3, 2008.

69.  “Freud, Marx, and the American Cinema,” Lecture to Visiting Professors from Germany on a Fullbright sponsored trip to the United States, September 24, 2008.

68.  “Doing the Right Thing: Ethics and Documentary,” Archival Storytelling Conference, School of Journalism, UC Berkeley, October 25, 2007.

67. “Orators, Fantasy and the Ecstatic Documentary,” The New Documentary Impulse Conference, Humanities Institute, Scripps College, November 17-18, 2005.

66.  “Standing Before the Subject: Documentary as Embodied Speech,” Truth in Motion Conference, Human Rights Program, University of Chicago, November 11-12, 2005.

65.  “Mining Memory,” a colloquium on the work of Peter Forgács with Bill Nichols and Michael Roth.  Judah L. Magnes Museum, October 30, 2005.

64. “Evidence, Fantasy and the Aftermath: Rethinking 9/11,” Berkeley Film Seminar, University of California Berkeley, March 18, 2005.

63. ”Italian Cinema,” Introductions to I Soliti Ignoti and Il Bell’ Antonio, Dante Alighieri Society of Santa Cruz, April 20, May 18, 2003.

62. “Framing 9/11 as Narrative and Fantasy,” Post-Ritual: Event, Performance, Art Conference, University of California Santa Cruz, January 4-5, 2003.

61. “Persuasion and Film,” Yaffe Center for Persuasive  Communications, University of Michigan School of Business, November 15, 2002.

60. “The Terrorist Event,” The “Human Communication Lecture,” Indiana University, Dept of Communication and Culture, November 14, 2002.

59. “Malevich, Rodchenko, Eisenstein and Vertov: In Dialogue,” Pacific Film Archive, November 3, 2002.  As part of “Garbage and Kissing: Kazimir Malevich and the Cinema,” a film and lecture series.

58. “The Memory of Loss,” Constructing Cultures Lecture Series, Visual and Cultural Studies Program, University of Rochester, February 27, 2002.

57. “The Films of Péter Forgács,” Skirball Cultural Center, April 21, 2001, Los Angeles.

56. “Documentary and Modernism,” San Francisco Cinematheque, March 15, 2001.  Presented and curated a program of ten films.

55. “The Modernist Avant-Garde and the Turn to Documentary,” in conjunction with the exhibition, “The Geography of Modern Life: Documentary and Avant-Garde Films between the World Wars,” San Francisco Museum of Modern Art, May 12, 2000.

54. “Discipline, Medium, Art,” Art History and Film Workshop, Getty Research Institute, Los Angeles, April 24, 2000.

53. “Documentary Film and Modernism,” The Construction of Historical Meaning Lecture Series, Getty Research Institute, Nov. 30, 1999.

52. “Film Practice and Film Theory: An Integrated Approach,” Film Studies Dept., Queen’s University, Oct. 23, 1999.

51. “Visual Anthropology v an Anthropology of the Visual,”  Whither Visual Culture? Conference, UC Santa Cruz, February 26, 1999.

50. “The Context for Contempt,” Panel Respondent for “Godard’s Contempt: Before and After,” David Cast, Chair, College Art Association, Feb. 12, 1999, Los Angeles, Ca.

49. “Filming Memories/Making History: A Colloquim with UCLA Faculty Film­makers on Historical Representation,” UCLA, May 15, 1998.

48. “Visual Culture, Representation, Rhetoric,” Dept. of Film and Television, UCLA, Nov. 14, 1997.

47. Film Theory and the Revolt Against Master Narratives,” Division of Critical Studies, School of Cinema and Television, U.S.C., Los Angeles, Oct. 17, 1997.

46. “Closing Remarks,” Foreign Bodies Symposium, San Francisco State University, San Francisco, April 19, 1997.

45. “Trafficking African Art as Commodity and Fetish,” Department of Communica­tion and Theater, University of Notre Dame, February 27, 1977.

44. “Just Deliberations,” Picturing Justice: Images of Law and Lawyers in the Visual Media Conference, New York University Law School and University of San Francisco Law School, San Francisco, March 23, 1996.

43. “The Pursuit of Knowledge and the (Ab)Uses of Power,” College of Letters, Arts and Social Sciences, Cal State Polytechnic, Pomona, Ca., February 15, 1996.

42. “Style and the Ethnographer,” School of American Research, Seminar on “Visual Anthropology at the Crossroads,” Sante Fe, NM, May 7-12, 1995.  Part of the Advanced Seminar Series which brings ten scholars together for the purpose of generating a book based on previously circulated articles.

41. “An Evening with Stan Douglas and Bill Nichols,” San Francisco Museum of Modern Art, part of the Museum’s inaugural exhibition, “Public Information: Desire, Disaster, Document,” March 16, 1995.

40. “Revitalizing the Past: Recent Fiction and Historical Awareness,” as Panelist, Sun­dance Film Festival, Park City, Utah, Jan. 23, 1995.

39. “Documentary in the 1960s,” 40th Anniversary Retrospective Program, Flaherty Seminars, Wells College, NY, Aug. 10, 1994.

38. “Style and Ethnography,” Visual Anthropology Program, Dept. of Anthropology, University of Southern California, April 15, 1994.

37. “Administrative Style and the Legalization of University Relations,” College of Humanities and Social Sciences, Uni­versity of California Riverside, March 24, 1994.

36. “Strike: Dialectics Refigured,” Fourth Berkeley Film Confer­ence, University of California Berkeley, Nov. 6, 1993.

35. “The Remains of the Referent,” Visible Evidence Conference, Duke University, Durham, Sept. 9-12, 1993.

34. “Rodney King and the End of Reality (TV),” Center for Cultural Studies, UC Santa Cruz, March 10, 1993.

33. “Films of Austerity: New Iranian Cinema,” East-West Center Conference on Global­ism and Hawaii International Film Festival, Honolulu, Dec 3, 1992.

32. “Sexual Politics and National Liberation: Films from Viet­nam,” Asian Cinema Conference, NYU, New York, June 11-14, 1992.

–Also given as a lecture for Comparative Area Studies and the Program in Film and Video, Duke Univer­sity, Nov. 14, 1992.

31. 1992 Earl Wynn Memorial Lecture: “Representation: Sus­pended (Beyond Ethno­graphy),”  Depart­ment of Radio, Television and Motion Pictues, UNC, Chapel Hill, NC, April 23, 1992.

30. “Strike: Performative Dialectics,” History as Fiction, Film as Truth, a Scholars Work­shop at UCLA Film and Television Archive, Los Angeles, April 4, 1992.

29. “Do We Say What We Mean: Pedagogy and the Arts,” School of Theater, Television and Film, UCLA, January 9, 1992.

28. “Maps to an Imaginary Place: Films on Tibet,” Panelist at Asian Art Muse­um, in conjunction with the exhi­bi­tion, “The Wisdom and Compas­sion of Tibet,” San Francisco, August 3, 1991.

27. “Assumed Authority: Point of View in Documenta­ry,” Panelist at National Education Film and Video Festi­val, May 19, 1991.

26. “TV’s Gulf War,” special public presentation as a Juror at the Hum­bolt Film Festival, Minor The­ater, Arcata, Ca.  April 7, 1991.

25. “Locating the Body in Documentary,” for a gradu­ate seminar co-sponsored by the School of Cinema and the Visual An­thropolo­gy Program at University of Southern Califor­nia, Nov. 16, 1990.

24. “Documentary Desire,” public lecture, Miami University, Ox­ford, Ohio, Feb­ruary 8, 1990.

23. “Documentary Dilemmas: Theorizing the Untheoriz­ed,” for an interdisci­plin­ary graduate semi­nar on “Current Issues in Film Theory,” Modern Thought and Litera­ture, Stan­ford Univer­sity, April 19, 1989.

22. “Male Subjectivity: The Late Adolescent Son as a U­top­ian Fig­ure,” Ha­waii Interna­tion­­al Film Festival and Con­fer­ence,” No­vember 28, 1988.

21. “Learning from the Past,” UCLA Film Archives, “In Cele­bra­tion of News­r­eel,” a con­fer­ence on the occasion of the twentieth anni­ver­sary of News­re­el’s found­ing, February 6, 1988.

20. “Film, Media, and Communication Studies,” Soci­ety for Cinema Studies Con­fer­ence, New York University, October 19, 1985.

19. “Cinema, Ideology and the Blacklist,” The second annual, all day semi­nar present­ed to University of Southern Cali­for­nia faculty and graduate students in the School of Cinema, March 8, 1985.

18. “Culture and Computers,” Public Lecture, Univer­sity of Southern Cali­fornia, March 7, 1985.

17. Keynote Presentation, “Ferment in the Field,” at the Confer­ence on the Future of Film Studies, U.N.­C., Chapel Hill, North Carolina, October 12, 1984.

16. “The Work of Culture in the Age of Electronic Communica­tion,”

Spring Quarter Lecture, Histo­ry of Con­scious­ness Program, U.C. Santa Cruz, May 9, 1984.

-‑Study group on New Information Technolo­gies, Queen’s Uni­versi­ty, Nov.­ 15, 1984.

-‑Annenberg Conference on Visual Communica­tion, June 1985.

–As Keynote Address for the annual conference of L’Associ­ation Que­becoise des Etudes Cinem­atograph­iques, Montre­al, Nov. 3, 1985

15. “A Re‑examination of Film Study in the Light of Cultur­al Study,” Depart­ment of Communications, U.C. San Die­go, Feb­ru­ary 12, 1984.

14. “Aesthetic Experience, Vicarious Experience and a Fine Arts Education,” Porter College Fellows, U.C. Santa­­ Cruz, June 1, 1983.

13. “Contextualizing Pixote: Marginality and Melo­drama,” with Julia­nne Bur­ton, Gays and Lesbi­ans in the Cinema Con­fer­ence, UCLA, January 28, 1983.

12. “The Documentary Form and Political Praxis,” UC Berkeley, Febru­ary 1981.

11. “The General and the Specific: Recent Film Theo­ry,” San Fran­cisco State Uni­ver­sity, Octo­ber, 1980.

10. “Towards a Post‑War American Film History,” Invitational Confer­ence on Film History, University of Southern Illi­nois, Carbondale, Novem­ber 16, 1980.

9.  “Myth, Paradox and Culture,” National Defense College of Cana­da, K­ings­ton, April 8, 1980.

8.  “Ethnography, Documentary and Film Criticism,” Media Study Center, SUNY at Buffalo, March 27‑29, 1980.

7.  “Approaches to Ethnographic Film,” Media Study Center, SUNY at Buffa­lo, April 24, 1979 as part of a Lecture Series on Film Theory and Prac­tice.

6.  “Crises in Modern Film Theory,” University of New South Wales, June 1978.

5.  “American film noir as a Political Movement,” Film Studies, U.C. ­Santa Cruz, August, 1978.

4.  “Film Pedagogy,” University of Toronto, April 1977.

3.  “Newsreel and the Political Documentary,” Con­cordia Univer­sity, October, 1977.

2.  “Fred Wiseman’s Documentaries: Realism, Narra­tive and Non‑­Fic­tio­n,” McGill Uni­versity, March 1976.

1.  “Newsreel Retrospective,” Film Forum, Toronto, January 12, 1976.

26.  “Reenacting the Impossible,” on the work of Dennis Tupicoff as Respondent to panel presentations at Society for Cinema and Media Study, Boston, March 22, 2012.

25.  “Feelings of Revulsion and the Limits of Academic Discourse: on Standard Operating Procedure,” Society for Cinema and Media Studies, Los Angeles, March 20, 2010.

24. “Performing the Past/Reforming the Present,” Society for Cinema and Media Studies, Chicago, March 10. 2007.

23. “Documentary Abjection,” Respondent, “Documentary and the Abject” Panel, Society for Cinema and Media Studies, March 8, 2007.

22. “Documentary Film History As Myth,” Visible Evidence Conference, Utrecht, the Netherlands, August 17, 2000.

21. “Film and the Uses of Rhetoric,” Society for Cinema Studies, San Diego, CA, April 4, 1998.

20. “Dislocating Culture: In and Out of Africa and the Traffic in Art,” Society for Cinema Studies, Dallas, Texas, March 7, 1996.

19. “Please, All You Good and Honest People,” History and Film Panel, Society for Cinema Studies Conference, New Orleans, Feb. 12, 1993.

18. “Rodney King and the LAPD: Guilt and Innocence,” Workshop on the Rodney King videotape, Society for Cinema Studies Conference, New Orleans, Feb. 12, 1993.

17. “How the West Sees the East,” Public Forum at the Hawaii International Film Festival, Honolulu, Dec. 4, 1992.

16. “Dennis O’Rourke’s The Good Woman of Bangkok, discussion of this new documen­tary on The Morning Edition, National Public Radio, Spring, 1992.

15. “Jiri Menzel,” Profile of Jiri Menzel on The Morning Edi­tion, National Public Radio, May 18, 1990.

14. “Ethnographic Issues in Cross‑cultural Media Making,” Soci­ety for Cine­ma Study workshop, Montreal, May 23, 1987.

13. “The Work of Culture in the Age of the Simula­crum,” Society for Cinema Studies, New York Univer­sity, June 15, 1985.

12. “Let a Hundred Voices Blossom: Complex Form in Documentary,” Society for Cine­ma Stud­ies, Pitts­burgh, Pa., May 3, 1983.

11. “New Information Technology and Its Impact on Film Educa­tion,” Film Studies Association of Canada, Vancou­ver, June 4, 1982.

10. “Film Studies in the Liberal Arts Curriculum,” Modern Language Asso­cia­tion, New York, Decem­ber 29, 1981.

9.  “Film Production, Film Criticism and Canadian Film Culture,” Film Studies Associ­ation of Canada, Oak­ville, Ontario, June 1‑4, 1980.

8.  “Film and the Liberal Arts: Problems of Pedago­gy,” Film Studies Asso­cia­tion of Canada, King­ston, Ontario, May 17, 1979.

7.  “Integrating Film Theory and Practice in an Undergraduate Cu­rric­u­lum,” Society for Cinema Studies, San Fran­scico, March 22, 1979.

6.  “The Perception of Apparent Movement in Film,” Conference on Tech­nology and Ideology in the Cinema, Center for 20th Centu­ry Studies, Universi­ty of Wisconsin at Milwaukee, Febru­ary 24‑27, 1978.

5.  “Frederick Wiseman and Documentary Film Theory,” Film Stud­ies Asso­cia­tion of Canada,­­ McGill University, May 17‑20, 1970.

4.  “Visual Style in Blonde Venus,” Society for Cinema Studies, Northwestern Univer­sity, March 24‑27, 1977.

3.  “Toward a Theory of Documentary Film,” Film Studies Associa­tion of Cana­da, Laval Universi­ty, Quebec, May 25, 1976.

2.  “Narrative Film Theory,” Society for Cinema Studies, New York Univer­sity, April 2‑4, 1975.

1.  “The Political Documentary,” Conference on Film Study, Ober­lin Col­lege, April 20, 1972.

 

EDITORIAL ACTIVITY:

 Contributing Editor, Film Quarterly, 2010-

Editorial Consultant, Art Journal, 2003-05.

Editorial Advisory Board, Canadian Journal of Film Studies, 1999-present.

Editorial Board, Explorations in Visual Anthropology book series, Gordon and Breach Scientific Publishers, Paul Stoller, Series Editor, 1993-96.

Editorial Advisor, Literature and Medicine, 1996-99.

Editorial Consultant, Visual Anthropology Review, 1992-98.

Editorial Board, Critical Studies in Mass Commu­nication, 1988‑1992.

Editorial Board, Cinema Journal, 1983‑1993.

Advisory Editor, Quarterly Review of Film and Video Stud­ies, 1987‑96 (ceased publication).

Advisory Editor, Cine‑Tracts, 1976‑1982 (ceased publica­tion).

Associate Editor, Women & Film, 1972‑1975 (ceased publica­tion).

Editorial Advi­sor: Blackwell, Indiana University Press, Methuen Publishers, Routledge (N.Y.), MacMillan Press (U.­K.), Penn State Press, Temple University Press, University of California Press, Duke University Press, Palgrave Press, University of Iowa Press, University of Kansas, University of Michigan Press, University of Minnesota Press, Princeton University Press, Univer­sity of Wisconsin Press, University of Illinois Press.

 

REPORTS:

“Foreword: Film Studies,” The AFI Guide to College Courses in Film and Television (New York: Simon and Schuster, 1990).  A brief sketch of the academic tradi­tions and career opportunities in film for prospective students.

American Film Institute White Paper on Educa­tion,” June 1984­.  A long-term strategy for a nation­al educa­tion program at the AFI.  Subse­quently pub­lished in Cinema Jour­nal 24, no. 4 (1985):­ 59­‑71.

“Report from the President,” Cinema Journal 23, nos.­ 1, 2 and 3 (1984).  Reports to members of the Soci­ety for Cinema Stud­ies on activi­ties and is­sues of general concern during my term as Pres­i­dent.

Report of the Dean’s Committee on New Informa­tion Tech­nology (Queen’s Universi­ty, 1982)­.  Com­mittee Cha­irper­son and Prin­cipal Author.  A sur­vey of the applica­tions and implications of new infor­mation technolo­gies for the Univer­s­ity’s Facul­ty of Arts and Sci­ence with recom­me­nda­tions for poli­cy deci­sions.

“Background Report on New Information Technolo­gies and the Uni­ver­sity” (As­soci­ation of Univer­sities and Col­leg­es of Cana­da, 1984).  Pre­pared for the Gen­eral Meeting of Univer­sity Presi­d­ents, Montreal, March 7‑8, 1984.  Print­ed simul­ta­neously in French, “Texte d’appo­int sur l’uni­versite et nou­velles tech­nologies de l’in­forma­tion.”

 

REVIEWS:

“Kabul Transit,” American Anthropologist, 112, no. 1 (March 2010):

Projecting Canada: Government Policy and Documentary Film at the National Film Board, The Public Historian, 31, no. 1 (February 2009): 137-139.

Realer Than Reel, The Public Historian (2007):

Documenting Ourselves, Film Quarterly (1999).

Appropriating Images: the Semiotics of Visual Representation, Semiotica, 123, no. 3-4, (1998): 377-79.

Unthinking Eurocentrism, Film Quarterly, 49, no. 3, (Spring 1996): 59-61.

Anthropological Filmmaking, Film Quarterly, 45, no. 3 (Spring 19­92): 62-63.

A Cinema of Nonfiction, Film Quarterly, 45, no. 2 (1991-92): 60-61.

Cinema and History and Screening the Holocaust, in San Fran­cisco Review of Books XIII, no. 3 (Win­ter 1988‑­­89): 41­‑43.

Writing Culture and Myth, Race and Power, Film Q­uar­t­e­rly 41, no. 3 (Spring 1988): 56‑57.

Concepts in Film Theory and Film in the Aura of Art, Film Quarterly 39, no. 2 (Winter 1985: ­­56‑61.­

Film on the Left, Canadian Review of American S­t­u­d­ies 16, no. 2 (Sum­mer 1985): 231‑235.

Studying Visual Communication, Film Quarterly 37, no. 1 (Fall 19­83).

“Henderson on Film Theory: Another Look,” Quar­terly Re­view of Film Studies 8, no. 1 (Win­ter 1983): 75­‑76.

Toward a Structural Psychology of Cinema and Pictorial Signs and the Language of Film, Film Quarterly 35, no. 4 (1982): 43‑44.

The Social Problem Film, Quarterly Review of Film Study 7, no. 2 (Spring 1982): ­181‑183.

Four Families, American Anthropologist 83, no. 3 (Septem­ber 1981): 733-34.

The Hunters, American Anthropologist 82, no. 1 (March 1980)­: 2­28­‑29.

Creative Differences and Movies as Social Criti­cism, Film Quar­terly 33, no. 4 (1980): 27­‑29.

André Bazin, Cinetracts, no. 7‑8 (1980).

The Spoken Seen, Queen’s Quarterly 84, no. 3 (19­77): 50­1‑02.

Rage, Film Quarterly 26, no. 4 (1973): 41‑43.

Sam Fuller, Film Quarterly 25, no. 4 (1972): 34­‑35.

Godard’s Struggle in Italy, Film Quarterly 25, no. 1 (19­72)­: 56‑57.

Michael Verhoeven’s O.K., Cineaste 4, no. 2 (1970): 33-35.

Miscellaneous Film Reviews: The Staff, a Los Angeles news­pa­per, 1969-1972.

Miscellaneous Film Reviews: KMET-FM radio, Los Angeles, 1971­‑1­972.

Miscellaneous Film Reviews: L.A., a Los Angeles newspa­per, 1970­‑1­973.

 

PANEL CHAIR OR MODERATOR:

Chair, “The Documentary Interview,” Visible Evidence XVI, USC, August 13, 2009.

Moderator, International Flaherty Seminar, Discussion with filmmakers Leandro Katz, Angela Ricci Lucchi and Yvervant Gianikian, Claremont Colleges, Claremont, CA, June 12, 2005.

Commentator and panelist, 34th International Short Film Festival, Tampere, Finland, March 5-7, 2004.

Faculty Coordinator and Panel Chair, “Global Conflicts/Local Responsibilities,” Conference organized by the Visual and Cultural Studies Graduate Program on the events of September 11, Rochester, NY, March 1-2, 2002.

Chair, “Revising the Record” panel, Visible Evidence VIII, Utrecht, the Netherlands, August 17, 2000.

Moderator and Panel Organizer, “Historical Representation and Documentary Film­making,” Visible Evidence VI, San Francisco, August 14, 1998.  A dialogue with Jon Else, Connie Fields, Pat Ferrero, and Emiko Omori.

Chair, “Rhetoric, Representation, Power” panel, Society for Cinema Studies, San Diego, CA, April 4, 1998.

Moderator and Conference Co-Organizer, (Trans)figuring the Works of Maya Deren: Ideological Meshes and the Avant-Garde Subject, San Francisco State Universi­ty, April 17, 1996.

Chair, “Nonfiction, Experience and Knowledge,” panel, 2nd Annual Visible Evidence Conference, University of Southern California, August 18-22, 1994.

Chair, “Nonfiction Film Theory” panel, Visible Evidence: Strate­gies and Practices in Documentary Film and Video Conference, Duke University, Sept. 9-12, 1993.

Chair, “Popular and High Culture,” Postcommunism: Rethinking the Second World conference, Center for Cultural Stud­ies, UCSC, March 7, 1993.

Chair, Society for Cinema Studies, “Issues in Cross-Cultural Representa­tion,” U.S.­C., May 25, 1991.

Chair, Society for Cinema Studies, “Technology and Specta­torship,” Washing­ton, D.C., May 26, 1990.

Chair and Commentator, Joint Plenary Session, Society for Cinema Stud­ies, Film Studies Asso­ciation of Canada, and L’Asso­ciation Quebecoise des Etudes Cinemata­graphi­ques: “The Future of the Image: Pre­serva­tion, Copy­right, Access,” Montreal, May 23, 1987.

Moderator, A Discussion with Donald Brittain and Frederick Wise­man, Art Gal­lery of Ontario, Toronto, May 7, 1987.

Chair, Panel on Cybernetics and Postmodernism, Society for Cinema Stud­ies An­nual Conference, New York University, June 13, 1985.

Panel Chair, “Introduction to Studies in Postwar Ameri­can Cul­tur­e,” at Ohio Univer­sity Film Conference,­ Athens,­ Ohio, Oct. 26, 1984.

Moderator and Chair, Closing Plenary Session of the Society for Cine­ma Studies Annu­al Confer­ence, “The Place of Televi­sion in the Film Studies Curriculum,” Madison, Wisconsin, March 31, 1984.

Moderator, Workshop Session on “Job Opportuni­ties and Em­ploy­ment Strategies in Film Stud­ies,” Soci­ety for Cine­ma Stud­ies, Madison, Wisconsin, March 30, 1984.

Panel Chairman, “Recent International Cinema,” Society for Cine­ma Stud­ies, Los An­geles, July 2, 1982.

 

FILMMAKING ACTIVITY:

Producer/Director: Why We (men) Fight: TV’s Gulf War (3/4″ video, 28 min. color and b/w, documentary, 1991).  Distributed by Paper Tiger TV.

Producer/Director: Ideology and the Image: The Movie (16mm, 15 min. ­col., didac­tic fic­tion, 1987).

Co‑Producer and co‑writer: The AFI Goes to the Movies

(KT­TV‑­TV, 30 min. A “behind the scenes” discussion following the screening of Bob and Carol and Ted and Alice, September 9, 1985, Los Angel­es.)  This was a pilot pro­gram for a projected PBS series, “The Art of the Cine­ma” undertak­en as part of my activity as Con­sul­tant for a national education pro­gram.

Producer/Director: The Cinematic Peephole (16mm, 12 min., b/w, didac­tic fiction, 1981).

Producer/Director: My Profession (16mm, 10 min., col., di­dac­tic fic­tion, 1980).

Executive Producer:

The Box and I (for Reha­bil­itation Ther­apy, King­ston General Hospi­tal, 16mm, 25 min., col., 19­78).

Queen’s Colours (Faculty of Arts and Science,                                                           Queen’s Univer­sity, 16mm, 20 min., col., 1976).

Limestone (Queen’s Alumni, 16mm, 5 min., col., 1976).

 

PROFESSIONAL MEMBERSHIPS:

American Anthropological Association, 1993-1999

Association of Independent Video and Filmmakers, 1982‑present

Canadian Studies Association, 1980‑1990

College Art Association, 1997-2002

Film Arts Foundation, 1987‑ present

Film Study Associa­tion of Canada, 197­6‑1987

International Documentary Association, 1997- present

Modern Language Association, 1978‑1991

Society for Cinema and Media Studies, 1974‑ present

Society for the Anthropology of Visual Communi­cation, 1977‑1999

Society for Visual Sociology, 1986-1998

Speech Communications Association, 1983‑91

University Film and Video Associa­tion, 1974‑­1982, 1987-90

 

FELLOWSHIPS, GRANTS and AWARDS:

Student Award for Excellence in Advising, San Francisco State University, 2004.

 Honorable Mention, Society for Cinema Studies Katherine L. Kovacs Essay Award for “Documentary Film and the Modernist Avant-Garde,” Critical Inquiry, 27, 4 (2001), Spring 2002.

Excellent Teaching Award, General Education Program, San Francisco State Universi­ty, 1999.

Favorite Professor Award, Student Alumni Council, UC Santa Cruz, 1991-92 and 1992-93.

Nominated for The Alumni Teaching Award, Queen’s University, 1985.

NEH Fellowship, 1990‑1991.  To complete Repre­senting Reali­ty:­ Is­sues and Concepts in Social Documentary, subse­quently published by Indiana University Press.

San Francisco State University Summer Stipend, 1989.  For work on Rep­re­sent­ing Real­ity.

NEH Summer Stipend, 1988.  For work on documen­tary film theo­ry.

Principal’s Development Fund, Queen’s Universi­ty, 1983, 1987.  To develop video resources to support a series of re­search pro­jects in col­labor­ation with col­leagues in Sociol­ogy and the Centre for Sport and Lei­sure Studies and to pur­chase laser video disc equipment and software in sup­port of the intro­ducto­ry film course).

Social Science and Humanities Research Council of Canada (SSHRC): Re­search Grants (1982‑1985) for study on postwar Ameri­can film and culture, 1945-1963. ­SSHRC provided three years of support for release time, travel, a research associate and part­‑time assis­tants ($130,000).

Principal’s Development Fund, Queen’s Universi­ty, 1982.  Funding to develop a course in ethnogra­phic film in collabo­ration with Profes­sor David N­eice, De­partment of Sociolo­gy.  Included funds to begin a film library and to invite filmmaker David MacDou­gall from Australia for a four week period.

SSHRC, Resources Development Grant, 1982.  To develop a com­puter­ized index to our Department Archive of Nation­al Film Board films.  The Archive numbered over 1500 prints by 1987 when I left Queen’s.  Co­app­licant with Peter Morris, Film Stud­ies.

Chancellor Richardson Memorial Fund, Queen’s University, 1976‑19­83. F­unds to purchase ap­proximately 4‑6 films by Cana­dian filmmakers per year.  Co‑appli­cant with Peter Morris, Film Studies.

SSHRC, Leave Fellowship and Research Grant (19­80‑1981).  For sabbat­ical leave support and research on para­dox in narrative and documentary.

SSHRC, Research Grant, 1979‑80.  For research assistance in the prepara­tion of Ideology and the Image.

Queen’s University Advisory Research Council, 1975‑1976.  Funds for the pro­duction of several thousand frame enlarge­ments from feature films for teaching and re­search purposes.

 

SERVICE:

Distinguished Career Achievement Award Committee, Society for Cinema and Media Studies, July 2009-June 2012.

Instructor, San Francisco Film Society, Proposing and Pitching a Documentary, July 15-17, 2011; “Story, Rhetoric, Poetics,” Foundation Course in Documentary.  October 1-3, 2010; various other courses on Ethics, American Independent Cinema, Werner Herzog, and Errol Morris, 2009-2011.

Faculty Associate, Frederick Douglass Institute, University of Rochester, 2001-2002.

Faculty Associate, Susan B. Anthony Institute, University of Rochester, 2001-2002.

Dean’s Alumni Council, UCLA School of Theater, Film and Television, 2000-.

Film Reviewer, KUSP-FM, a Na­tional Pub­lic Radio affili­ate in Santa Cruz, Cali­­for­nia,­ 1990 ‑ ­­2001.  Occa­sional commenta­tor on Na­tional Public Radio, Morning Edition and on Australian Broadcasting, radio.

Panelist, Film Fund Review, National Foundation for Jewish Culture, 1998.

Peer Review panel member, National Services and Media Arts Centers Fund, National Endowment for the Arts, 1994.

Peer Review panel member, National Humanities Center, 1993-95.

Peer Review panel member, National Endow­ment for the Arts, National Media Servic­es, 1988.

Peer Review panel member, Social Sciences and Humanities Research Coucil of Canada Award Committees for film and literature fellowships, 1979, 1982, 1985; Award Panel for dissertation research, 1981-83.

Juror, Humbolt Film Festival, Arcata, Ca., April 5‑8, 1991.

Jury Chair, Golden Gate Awards Panel for Historical Documentary, San Fran­cisco Inter­national Film Festi­val, 1990, 1991.

Juror, San Francisco International Film Festi­val, “New Visions” category for the Golden Gate Awards.

Executive Committee, Film Study Association of Canada, 1978­‑1­980.

Program Chairman, Film Study Association of Canada, Annual Con­fer­ence, 1979.

Nominating Committee member, Society for Cinema Stud­ies, 1978‑1­979, 1991-92.


[1].  The Encyclopedia of International Film entry that discusses my work in the field of documentary film states, “To return to the opening judgment, Nichols is arguably the most significant documentary scholar in the world.  Given his pioneering role in international academic inquiry, it is unlikely that this judgment will ever need revision” (vol. 2, p. 997).

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