Wheatley Professor of the Arts
Josiah Meigs Distinguished Teaching Professor, Film Studies
EDUCATION
Ph.D. Communication Arts; Radio, TV, Film, University of Wisconsin. 1986.
Dissertation: "The End: Notions of Closure in the Cinema."
Additional Courses: American Film Program, C.I.E.E., Paris, France, 1980-1981.
M.A. Communication Arts, University of Wisconsin, August 1980.
B.A. Journalism and Mass Communications, University of Wisconsin, May 1977.
TEACHING EXPERIENCE
University of Georgia, Professor, Fall 1994-Present:
Introduction to Cinema
Animation History
History of Cinema I (1895 - 1940)
French Film History
History of Cinema II (1940-present)
Film Style and Technology
American Ethnic Cinema
Film Theory
PUBLICATIONS:
BOOKS:
A History of the French New Wave. Madison: University of Wisconsin Press, 2003.
Expanded Second Edition, 2007.
The End: Narration and Closure in the Cinema. Detroit: Wayne State University Press, 1995.
A History of French Animation. (In progress; anticipated publication, 2010)
TRANSLATED BOOKS:
The French New Wave: An Artistic School. Michel Marie. Oxford, UK: Blackwell, 2003.
Aesthetics of Film. Jacques Aumont, Alain Bergala, Michel Marie, Marc Vernet. Translated and Revised by Richard Neupert, Austin: University of Texas Press, 1992, 1994, 1997.
CHAPTERS IN BOOKS and ENCYCLOPEDIAS:
“We’re Happy When We’re Sad: Comedy, Gags, and 1930s Cartoon Narration,” Funny Pictures:
Animation and Comedy in Studio-Era Hollywood, Ed. Charlie Keil and Daniel Goldmark
Berkeley: University of California Press (forthcoming).
“La couleur et le style visuel dans Le bonheur / Color and Visual Style in Le Bonheur.” Agnès
Varda: le cinéma au-delà. Ed. Antony Fiant, Roxane Hamery, Eric Thouvenel. Rennes:
France: Presses de l’Université de Rennes, 2009: 79-87.
“Red Blood on White Bread: Hitchcock, Chabrol, and French Cinema,” After Hitchcock,
Ed. R. Barton Palmer. Austin: University of Texas Press, 2007. pp. 127-143.
“French New Wave,” Encyclopedia of Europe 1914-2004. Ed. Jay Winter and John Merriman.
Detroit: Thomson Gale / Scribner, 2006: Vol. 2; 1145-1148.
“Narrative,” and “D.W. Griffith.” Schirmer Encyclopedia of Film. Ed. Barry Keith Grant.
Detroit: Thomson Gale / Scribner, 2006: Vol. 3, 195-203.
“French New Wave: New Stories, Styles, and Auteurs,” Traditions in World Cinema. Ed.
Linda Badley. Edinburgh: Edinburgh University Press, 2006: 41-51.
“Breathless: Godard Jumps Ahead.” Film Analysis. Ed. Jeffrey Geiger and R. L. Rutsky. New York: W. W. Norton, 2005. 566-581.
“Film Technology,” in Encyclopedia of American Studies. Bethel, CT: Grolier, 2001.
“Looking at Film,” in The Cinema Book. Ed. Pam Cook and Mieke Bernink. London: British Film Institute, 1999. 319-323.
“Painting a Plausible World: Disney's Color Prototypes," in Disney Discourse: Producing the Magic Kingdom. Ed. Eric Smoodin. New York: Routledge, AFI, 1994. 106-117.
ARTICLES:
“Adieu Philippine and Rozier’s Alternative Sound Practice,” Studies in French Cinema
(Forthcoming, 2010).
“Kirikou and the Animated Figure / Body,” Studies in French Cinema 8.1 (Spring, 2008): 41-56.
“L’Espace narratif et le dessin animé français,” [Narrative Space and French Animation], La
Fiction éclatée [Fragmented Fictions] Ed. Jean-Pierre Bertin-Maghit and Geneviève
Sellier (Paris: L’Harmattan, 2007): 179-188. AFECCAV Conference proceedings.
“Triplets of Belleville” [Review Article], Film Quarterly 58, 3 (Spring 2005): 38 - 42.
“Michel Ocelot’s Princes et princesses,” [Film Review] French Review 78, 5 (April 2005):1043-
1044 .
“Trouble in Watermelon Land: Pal’s Jasper Cartoons,” Film Quarterly 55,1 (Fall 2001): 14-26.
“Color, Lines, and Nudes: Teaching Disney’s Animators,” Film History 11,1 (1999): 77-84.
“Dead Champagne: Variety’s New Wave,” Film History 10, 2 (1998): 219-230.
“Painterly Pastiche in Un dimanche à la campagne," French Review 70,1 (October 1996): 56-64.
“Dessin, couleur, et nu: la formation selon Walt Disney,” Cinémathèque 4 (Fall 1993): 6-14.
“Exercising Color Restraint: Technicolor and Hollywood," Postscript 10,1 (Spring 1991): 21-29.
“L'Immortelle: The Ciné-Roman and Ciné-Lecteur," French Literature Series 12 (1990): 35-42.
“Musical Score as Closure Device in The 400 Blows," Film Criticism 14,1 (Fall 1989): 26-32.
“A Cannibal's Text: Alternation and Embedding in Pasolini's Pigsty," Film Criticism 12, 3
(Winter 1989): 46-57.
“Le Gai savoir: 444,000 Images Speak for Themselves," Wide Angle 9, 1 (January 1987): 50-58.
“Je vous salue Marie: Godard the Father," Film Criticism 10, 1 (Fall 1985): 52-56.
“A Studio Built of Bricks: Disney and Technicolor," Film Reader 6 (1985): 33-40.
TRANSLATED ARTICLES:
“Wings of the Desert," Marc Vernet, Trans. Richard Neupert, The Velvet Light Trap 28 (Fall 1991): 65-72.
“Three Essays on Widescreen Film by André Bazin," Translations of "Will Cinemascope Save
the Cinema?" "The End of Montage," and "A Little Late," The Velvet Light Trap 21
(Summer 1985): 8-16.
BOOK REVIEWS:
Russell Merritt and J.B. Kaufman, Walt Disney’s Silly Symphonies (Gemona, Italy: La Cineteca
del Friuli, 2006) for Film Quarterly 62, 3 (Spring, 2009): 82.
Robert Stam, François Truffaut and Friends: Modernism, Sexuality, and Film Adaptation, New
Brunswick, NJ: Rutgers University of Press, 2006 for Cinéaste, on-line edition.
Susan Hayward, Simone Signoret: The Star as Cultural Sign, New York: Continuum, 2004 for
French Review.
Ginette Vincendeau, Jean-Pierre Melville: An American in Paris, London: British Film Institute,
2003, for Film Quarterly 59, 1(Fall, 2005): 59-60.
Colin MacCabe, Godard: A Portrait of the Artist at Seventy, New York: Farrar, Strauss &
Giroux, 2003, for Film Quarterly 58, 4 (Summer 2005): 61-62.
Paul Wells, Understanding Animation, London: Routledge, 1998; and Kevin S. Sandler, Reading the Rabbit, New Brunswick, NJ: Rutgers UP, 1998, Screen 40, 4 (1999/2000): 467-471.
Michel Aubert and Jean-Claude Seguin, Ed., La Production cinématographique des Frères Lumière, Paris: BIFI, 1997, in French Review 73, 1 (October 1999) 146-147.
Phil Powrie, French Cinema in the 1980s: Nostalgia and the Crisis of Masculinity, Oxford UP, 1997, in Film Quarterly 52,4 (Summer 1999) 45-46.
Rebecca M. Pauly, The Transparent Illusion: Image and Ideology in French Film, in French Review 69,5 (April 1996) 868-869.
Richard Abel, The Ciné Goes to Town: French Cinema 1896-1914, U of California P, 1994, in Film Quarterly 48,4 (Summer 1995) 44-45.
Colin Crisp, The Classic French Cinema, 1930-1960, Indiana UP, 1993 in French Review 68,3 (February, 1995) 560-561.
Marc Vernet, Figures de l'absence, Cahiers du Cinéma, 1988, in French Review 68,5 (April,
1995): 898-899.
Alan Williams, Republic of Images, Harvard UP, 1992, in Film Quarterly 47,4 (Summer 1994): 53-54.
HONORS, AWARDS, and GRANTS
Office of Instructional Technology, “High Definition Classroom,” UGA, $32,000, 2007.
Charles H. Wheatley Professorship of the Arts, UGA, 2006 to present.
Josiah Meigs Distinguished Teaching Professorship, UGA, 2004 to present.
M. G. Michael Award for Creative Research, Franklin College, UGA, 2004.
Outstanding Academic Book Award, History of the French New Wave Cinema, Choice, 2004.
French American Cultural Services and Educational Aid (FACSEA) French Tournée Film Series Grant (Tate Center Film Series), $1,800 (2001, 2002, 2003, 2004, 2005).
Sandy Beaver Excellence in Teaching Award, UGA, 1999.
Office of Instructional Support and Development (OISD), Instructional Technology Grant, Digital Video Disc player, 1998, $1,600.
UGA Graduate Research Summer Grant, “The Aesthetics of Animation.” 1996, $4,400.
OISD, Instructional Technology Grant, “Video/CG Projector,” 1996, $8,500.
OISD, Instructional Improvement Project, "Teaching Film Aesthetics on 16mm Film Stock," 1995, $2,000.
Outstanding Academic Book Award, translation of Aesthetics of Film, Choice Magazine, 1993.
Center for Enhancement of Teaching and Learning, Georgia Tech, Instructional Grant, 1991.
National Endowment for the Humanities, Travel to Collections Grant to George Eastman House, Rochester, NY, 1990.
Center for Humanities and Arts Funding:
2007: Distinguished Lecture, David Bordwell, “Cinemascope.”
2004: Visiting Lecture, Kristin Thompson, “Lord of the Rings: A Global Film Event.
2001: Visiting International Artist (co-sponsored with Karim Traore, Comparative Literature): Idrissa Ouedraogo (African Film Producer / Director)
1999: Visiting Lecturers: Dana White and Matthew Bernstein (Emory University)
1998: Visiting Artist: Eddie Bracken (Actor)
1998: Visiting Scholar: David Bordwell
1998: Visiting Lecture: Alain Robbe-Grillet
CONFERENCE PAPERS AND INVITED LECTURES
2009 “Adieu Philippine and Rozier’s Alternative Sound Practice,” Studies in French Cinema Conference, London, England, April, 2009.
“From Renaissance to Azur: Visual Style and French Animation,” Animation Studies
Conference, Atlanta, GA, July, 2009.
2008 “Writing French History: The New Wave,” Society for Cinema and Media Studies Conference, Philadelphia, PA, March 2008.
2007 “Kirikou and the Animated Figure / Body,” Studies in French Cinema Conference, London, England, March, 2007.
“Cop au vin: Chabrol et le policier parodique / Cop au vin: Chabrol, Parody, and the
Thriller,” Popular European Cinema Conference, Paris, France, June, 2007.
“La couleur et le style visuel dans Le bonheur / Color and Visual Style in Le Bonheur,”
Le cinéma d’Agnès Varda Conference, Rennes, France, November, 2007.
2006 “Color and Individual Style: Varda vs. Demy,” SCMS, Vancouver, Canada, March, 2006.
“Entre les ciseaux et l’ordinateur: Michel Ocelot, [Between the Scissors and the
Computer: Michel Ocelot’s Animation,]” Colloque International AFECCAV, Aix-en-
provence, France, September, 2006.
2004 “L’Espace narratif et le dessin animé français / Narrative Space and French Animation,”
Colloque International AFECCAV, Lyon, France.
“Narration, Race, and Betty Boop,” Society for Cinema Studies, Atlanta, GA.
2003 “Tilai: Story, Style, and African Cinema,” Society for Cinema Studies, Minneapolis, MN.
“Jean-Luc Godard: 50 Years of Renewing the Cinema,” Atlanta Contemporary Art
Center, Atlanta, GA.
2002 “Narrative Boundaries in Agnes Varda’s Cinema,” Symposium on Agnes Varda, University of Wisconsin, Madison, October, 2002.
“Contemporary Auteurs: Agnès Varda as Test Case,” South Atlantic Modern Language Association, Baltimore, MD.
2000 “The French Old Wave: Did ‘Quality’ Directors Tell New Wave Stories?” Society for Cinema Studies (SCS) Conference, Chicago, IL.
“From Dot and Lines to Pixar: Narrative Space in Computer Animation,” South Atlantic Modern Language Association (SAMLA), Birmingham, AL.
1999 “Color and Ethnicity in George Pal’s Jasper and the Watermelons,” SCS Conference, West Palm Beach, FL.
1998 “Tout va bien? Cahiers du Cinéma vs. 1970s French Film Practice,” Modern Language Association, San Francisco, CA.
“Nouveau Roman / Nouveau Cinéma,” Round Table discussion with Alain Robbe-
Grillet, UGA Center for Humanities and Arts.
“Chabrol’s Unsettled Women: Melodrama, Narration, and Obsession,” SCS Conference, La Jolla, CA.
Workshop: “What is a Film Course? Problems with Interdisciplinary Studies,” SCS Conference, La Jolla, CA.
1997 “Jumping Off the Paper: Competing Spaces in Early Animation,” Florida State University Film and Literature Conference, Tallahassee, FL.
“Color Aesthetics and the French New Wave,” SCS Conference, Ottawa, Canada.
1996 “Making Movement: Len Lye’s Colour Flight,” SCS Conference, Dallas, TX.
1995 "Dead Champagne: Variety's New Wave," SCS Conference, New York, NY.
1994 "Painterly Pastiche: Color and Class in Tavernier's A Sunday in the Country," SCS Conference, Syracuse, NY.
1993 "Is He 'Nouvelle Vague'? Rozier vs. Bourguignon," SCS Conference, New Orleans, LA.
1992 "Color, Lines, and Nudes: Teaching Disney's Animators," SCS Conference, Pittsburgh, PA.
"You Changed the Blue: Color and Space in The American Friend," Florida State University Conference on Literature and Film, Tallahassee, FL.
1991 "Newton's Camera: Steadicam's Innovation and Film Style," SCS Conference, University of Southern California, Los Angeles, CA.
"Red Blood on White Bread: Chabrol's New Wave," Florida State University Conference on Literature and Film, Tallahassee, FL.
1990 "Fade to Blue: Color, Codes, and Narration," SCS Conference, Washington DC.
"Painting a Plausible World: Disney's Color Prototypes," Florida State Conference on Literature and Film,"Tallahassee, FL.
1989 "Exercising Color Restraint: Technicolor and Hollywood," SAMLA, Atlanta, GA.
"The Musical Score as Closure Device in The 400 Blows," SCS Conference, Iowa City, IA.
"L'Immortelle: The Ciné-Roman and the Ciné-Lecteur," Theories of Narrative Conference, University of South Carolina, Columbia, SC.
"Ingmar Bergman and the Modern European Cinema," Ingmar Bergman Lecture Series, English Department, Loyola College, Baltimore, MD.
1987 "Blind Spots: Bruce Baillie as Experimental Ethnographer," SCS Conference, Montreal, Canada.
1986 "Godard, Robbe-Grillet and the Open Text Film," SCSs Conference, New Orleans, LA.
1985 "Le Gai savoir: 444,000 Images Speak for Themselves," Ohio University Film Conference, Athens, OH.
"Live TV d'Art," Midwest Popular Culture Association Conference, Chicago, IL.
1984 "The End: Notions of Closure in the Cinema," Semiotics of the Cinema Conference, Toronto, Canada.
PROFESSIONAL SERVICE:
National:
Editorial Board, Cinema Journal, 2007-present
Panel Chair:
2006 Panel Chair: “Pixar and Beyond: International Animation Today,” SCMS,
Vancouver, Canada, March 2006.
2002 “Film: Contemporary European ‘Auteurs,’” SAMLA Conference, Baltimore, MD.
2001 “French Film History: The 1990s,” SCS Conference, Washington, DC.
1999 “Animation and Replication,” SCS Conference, West Palm Beach, FL.
1993 "The French New Wave: Revisited," SCS Conference, New Orleans, LA.
1991 "Contemporary Film History," SAMLA Conference, Atlanta, GA.
1990 "Color and Narration in the Cinema," SCS Conference, Washington, DC.
Referee:
Book manuscripts: Arizona State University Press, Blackwell Press, British Film Institute, University of California Press, Columbia University Press, Duke University Press, Ohio State University Press, University of Texas Press, Wayne State University Press.
Articles: Cinema Journal, French Review, Journal of Film & Video, Modern and Contemporary France, South Atlantic Review.
Other reviews: National Endowment for the Humanities Conference Proposal, National Endowment for the Humanities Collaborative Projects, National Endowment of the Arts Summer Stipend Program.
University of Georgia:
Editorial Board, University of Georgia Press, 2005-2008.
Advisory Board, Center for Humanities and the Arts, UGA, 2005-2008.
Coordinator, Film Studies B.A., Department of Drama, 2002-present.
Member, Promotion and Tenure Committee, Franklin College, 2003-present.
Member, Program Review, Department of English, UGA, 2005-2006.
Member, Teaching Award Committee, Franklin College, 2003-2005.
Steering Committee Chair, Film Studies Major, Interdisciplinary Studies Program. .
Graduate Coordinator, Department of Drama, 2000-2004.
Chair, Cinema Studies Roundtable, Center for Humanities and the Arts.
Chair, Honors and Awards Committee, Department of Drama, 1997 - 1999, 2004-2009.
Member, UGA Dean’s Forum, 1997-2000.
Member, UGARF Faculty Research Grant Committee--Fine Arts, 1998–2001, 2004.
Ph.D. Dissertations Directed:
Beth Johnson, The Symbolist Transformation: The Shift from Stage to Screen in France. (2000).
Jessica Maerz, Kenneth Branagh and Shakespearean (Re) Production (2002).
M.A., MFA, and Ph.D. Committees (Member): 18 Committees, including students in English, Journalism, Comparative Literature, French, Theatre and Film Studies.
Interdisciplinary Film Studies B.A. Theses Directed: Five (1998-2003)
Richard Neupert
Professor,
Film Studies Coordinator
262A Fine Arts
(706) 542-2084
©2009 University of Georgia Film Studies