Publications

BOOKS:

• East Asian Film Remakes [coedited with Kenneth Chan] (Edinburgh University Press, 2023).
• Comic Drunks, Crazy Cults, and Lovable Monsters: Bad Behavior on American Television (Syracuse University Press, 2022).
• Movie Minorities: Transnational Rights Advocacy and South Korean Cinema, coauthored with Hye Seung Chung (Rutgers University Press. 2021).
• Movie Migrations: Transnational Genre Flows and South Korean Cinema, coauthored with Hye Seung Chung (Rutgers University Press, 2015).
• Omnibus Films: Theorizing Transauthorial Cinema (Edinburgh University Press and Columbia University Press, 2014).
• Screwball Television: Critical Perspectives on Gilmore Girls [with David Lavery] (Syracuse University Press, 2010).
• M*A*S*H [“TV Milestones Series”] (Wayne State University Press, 2008).

JOURNAL ARTICLES (peer-reviewed):

• “A Critical History of Chinese Film Remakes: From Shanghai to Hong Kong to Beijing and Beyond,” Quarterly Review of Film and Video (December 2022): 1-31.
• “Some ‘R’ Points: Repression, Repulsion, Revelation, and Redemption in South Korean Horror Films,” Horror Studies, Vol. 11, no. 2 (August 2020): 221-242.
• “‘Half the World Away’: Cultural Distance and Intertextual Incompetence in the American Reception of British TV Comedy,” Journal of Popular Television, Vol. 8, no. 1 (February 2020): 45-69.
• “(Arm) Wrestling with Masculinity: Television, Toughness, and the Touch of Another Man’s Hand,” Men and Masculinities, Vol. 22, no. 5 (2019): 821-849.
• “Animals in Korean Cinema: From Absent Referent to Present-Day Predicament,” Cine-Files, Issue 14 (Spring 2019): http://www.thecine-files.com/
• “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 (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.
• “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.
• “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. [to be republished in Hyon Joo You, ed. South Korean Film: Critical and Primary Sources (Bloomsbury Academic, 2021)].
• “‘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.
• “‘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.
• “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.
• “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.
• “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.
• “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.
• “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.
• “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.
• “History as Mystery and Beauty as Duty in The 1940s House,” Film & History, Vol. 37, no. 1 (June 2007): 43-53.
• “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.
• “‘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.
• “An Olympic Omnibus: International Competition, Cooperation, and Politics in Visions of Eight,” Film & History, Vol. 35, no. 2 (Summer 2005): 19-28.
• “Narrative Mortality: The ‘Fragmegrated’ Corpse of the Horror Anthology Film,” Paradoxa: Studies in World Literary Genres 17 (Spring 2002): 271-301.

BOOK CHAPTERS (peer-reviewed):

• “‘Homicidal Hams’ and ‘Psycho Clowns’: Serial Killer Humor in American Television Comedies,” in Claire O’Callaghan and Sarah Fanning, eds., Serial Killing on Screen: Adaptation, True Crime and Popular Culture (London: Palgrave Macmillan, 2022), 215-243.
• “‘Crazy for Crazy Ex-Girlfriend’: TV Fandom and the Critical Reception of a ‘Nutty’ Network Series,” in Amanda Konkle and Charles Burnetts, eds., Perspectives on Crazy Ex-Girlfriend: Quality Post-Network Television (Syracuse University Press, 2021), 29-48.
• “‘Very Spooky Episodes’: Roseanne, Working-Class Monsters, and the Playful Perversions of Halloween TV,” in Jonathan Cohn and Jennifer Porst, eds., Very Special Episodes: Event Television and Social Change (Rutgers University Press, 2021), 87-104.
• “Human Rights Documentary or Plot-Driven Prison Drama? Animation and Nonfiction ‘Storytelling’ in Camp 14: Total Control Zone,” in Marcus Harmes, Meredith Harmes, and Barbara Harmes eds., Palgrave Handbook of Incarceration in Popular Media (London: Palgrave Macmillan, 2020), 89-100.
• “Secret Sunshine: The Canon, the Criterion Collection, and the Question of Cinematic Religion,” in Sangjoon Lee, ed., Rediscovering Korean Cinema (University of Michigan Press, 2019), 446-460.
• “Barney Miller: ‘Landmark’,” in Douglas Howard and David Bianculli, eds., Television Finales: From Howdy Doody to Girls (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 University Press, 2018), 234-241.
• “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.
• “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.
• “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.
• “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.
• “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.
• “Bong Joon-ho,” in Colette Balmain, ed., Directory of World Cinema: South Korea (Intellect, 2013), 23-27.
• “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.
• “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.
• “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.
• “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.
• “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.
• “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.
• “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.
• “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.
• “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.
• “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.
• “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.
• “Deadwood Dick: The Western (Phallus) Reinvented,” in David Lavery, ed., Reading Deadwood: A Western to Swear By (I.B. Taurus, 2006), 185-199.
• “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.
• “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.
• “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.
• “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.

OTHER PUBLICATIONS (online articles, film festival programming, book reviews, etc.):

• Film Summaries (Belly of the Beast, Duty Free, Hakamada, Landfall, Missing in Brooks County, No Ordinary Man, Songs of Repression, Talking About Trees, The 8th, There Will Be No More Night, This Rain Will Never Stop, Vivos), ACT Human Rights Film Festival program notes, Spring 2021
• Film Summaries (Again, Aswang, Balolé: The Golden Wolf, Changing the Game, Euphoria of Being, Gay Chorus Deep South, Havana, From on High, Hungry to Learn, Influence, Khartoum Offside, Once Upon a Time in Venezuela, Prison for Profit, The Prison Within, Shadow Flowers), ACT Human Rights Film Festival program notes, Spring 2020
• Film Summaries (The Accountant of Auschwitz, Angels are Made of Light, Edgecombe, Eldorado, Gaza, Ian, ¡Las Sandinistas!, Letter from Masanjia, Los Comandos, Midnight Family, Moonlight Sonata: Deafness in Three Movements, New Homeland, Our Song to War, Scenes from a Dry City, Three Boys Manzanar, Trapped in the City of a Thousand Mountains, Waldheim Waltz, Western Collection, A Woman Captured, Words from a Bear), ACT Human Rights Film Festival program notes, Spring 2019
• Film Summaries (69 Minutes of 86 Days, Anote’s Ark, Chega De Fiu Fiu, Complicit, Crime + Punishment, Dead Donkeys Fear No Hyenas, Freedom for the Wolf, Mama Colonel, Memory in Khaki, Minding the Gap, Nowhere to Hide, The Other Side of Everything, RUMBLE: The Indians Who Rocked the World), ACT Human Rights Film Festival program notes, Spring 2018
• Film Summaries (The Apology, Driving with Selvi, The Fog of Srebrenica, Frame by Frame, I am Not Your Negro, Jackson, The Queen of Ireland, Raving Iran, Sing Your Song, Solitary, Starless Dreams, They Will Have to Kill Us First, This is Exile: Diaries of Child Refugees, Transit Havana, Walls), ACT Human Rights Film Festival program notes, Spring 2017
• Film Summaries (American Arab, Born This Way, Burden of Peace, Chau Beyond the Lines, Dangerous Acts Starring the Unstable Elements of Belarus, I Am Nojoom Age 10 and Divorced, Kings of Nowhere, No Land’s Song, Not My Life, Pine Ridge, Planet of Snail, Something Better to Come, Stories of Our Lives, Sunrise, The Shelter, Tomorrow We Disappear, Wind on the Moon), ACT Human Rights Film Festival program notes, Spring 2016
• “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>
• Contributor to Field Survey (10 Most Important Contributions to the Field in the Past Decade), Screening the Past (December 2007). <http://www.latrobe.edu.au/>
• “Stories that Objects Might Live to Tell: The ‘Hand-Me-Down’ Narrative in Film,” Other Voices: The (e)Journal of Cultural Criticism (May 2007).
• “Alternate Futures, Contradictory Pasts: Forking Paths and Cubist Narratives in Contemporary Film,” Screening the Past (December 2006).
• “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.
• "J.P. Telotte’s A Distant Technology," Film Quarterly (Fall 2000): 42-44.
• “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.
• “The Adolescents,” “Claude Lelouch,” “Visions of Eight,” and “Mai Zetterling,” in Ian Aitken, ed., The Encyclopedia of Documentary Film (Routledge, 2005).
• “Alan Alda,” in Michael Kimmel and Amy Aronson, eds., The Encyclopedia of Men and Masculinities (ABC-Clio Press, 2003).
• Shiri, Film Quarterly (Spring 2001): 40-46.
• Nowhere to Hide, Cineaste (Spring 2001): 64.

Courses

• Capstone: Playful Communication and the Games of Life

  This course takes a hands-on approach to the subject of tabletop gaming, giving students the opportunity to learn about the cultural and historical significance of structured play by actually playing games from the past twenty-five years. Emphasis will be placed on mechanisms unique to modern board games, including area control, auctioning/bidding, card drafting, deck building, resource management, set collecting, trick taking, and worker placement. Class time will be devoted to cooperative and competitive play sessions in which active listening, conflict resolution, deductive reasoning, diplomatic negotiation, role-playing, storytelling, and other communicative skills are honed for the sake of making students more keenly aware of their roles as social beings. Besides promoting the therapeutic benefits of simply “having fun” and imagining new “ways of being” that are removed from one’s everyday experiences, this course taps into games’ educational value and aims to highlight the socializing and professionalizing functions of this ostensibly low-stakes, but life-enriching, pastime. By the end of the semester, students will have seen how the seemingly insignificant act of sitting across from other people, collectively interpreting a set of rules, and entering the “magic circle” of tabletop gameplay can spark creativity, foster emotional wellness, strengthen interpersonal relations, and prepare them for the challenges that lay ahead, post-graduation.