Louis-Georges Schwartz  Associate Professor of Film Studies

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Head of the MA Program in Film Studies, Louis-Georges Schwartz teaches contemporary cinema, film analysis, and film theory. His book, Mechanical Witness, A History of Motion Picture Evidence in U.S. Courts, published by the Oxford University press is the first cultural and legal history charting the changing role and theoretical implications of film and video use as courtroom evidence.

He is working on a second manuscript on film and biopolitics entitled Cinema and the Meaning of Life.

 

 

 

Educational Background:

  • M.A./Ph.D., University Of Iowa, Department of Communication Studies, Film Studies Division
  • B.A., University of California at Berkeley

 

Academic Positions:

  • Associate Professor, Director of M.A. Program in Film Studies, Fall 2009 - Present, Ohio University
  • Visiting Assistant Professor, Fall 2008 - Spring 2009, Ohio University
  • Assistant Professor, Fall 2000-Spring 2008 University Of Iowa
  • Visiting Assistant Professor, Fall 1999-Spring 2000, University Of Iowa
  • Lecturer, Fall 1996 - Spring 1999, San Francisco State University
  • Lecturer, Fall 1998, U.C.  Santa Cruz
  • Lecturer, Fall 1996 - Spring 1997, Sonoma State University

 

Other Publications: 

  • “Deconstruction Avant La Lettre: Jacques Derrida Before André Bazin” In Opening Bazin. Dudley Andrew, Ed.  Oxford University Press. 2011
  • “De la politque Voyages en utopie, Jean-Luc Godard 1946-2006.  Centre Pompidou.. 2006. 
  • “Defacement” in La Vie Nouvelle. Ed Nicole Brenez. Paris 2004.  
  • Special Issue of Discourse on “Life in the Humanities.” 2011: Editor, Introduction.
  • “Cinema Hostis” Under Review Historical Materialism
  • “Ma che siamo a Buchenwald qua? Notes on Metropolis and Concentration Camp in Some European Films” Under Review Radical Philosophy. 
  • “Cinema Is A Mummy, or Andre Bazin’s Cinematographic Ontology .” Furia Humana V 3. Summer 2012 
  • “On Christian McPhee’s Shed Cubed.” La Furia Humana. V 2. Spring 2013. 
  • “Introduction To The Meaning Of Life.” Discourse. (33.2)  Spring, 2012  
  • “Cinema is a Mummy, Or André Bazin’s Photographic Ontology” in Indian Auteur February 2012. 
  • “A Further Explanation of My Last Error By Pier Paolo Pasolini” World Picture 11, Spring Autumn 2011  
  • Introduction to Henri Bergson Talks to Us About Cinema," by Michel Georges-Michel from Le Journal, February 20, 1914 (With Introduction) Cinema Journal, Volume (50.3) Spring 2011

  • Cinema and The Meaning Of “Life.” Discourse 28.2=3 Spring and Fall  2006. 
  • “Typewriter: Free Indirect Discourse in Gilles Deleuze’s Cinema” Substance 108. (34.3). 2005. 

 

Conference Presentations: 

  • World Picture. 
  • Society for Cinema and Media Studies.
  • Graduate Film Colloquium UCLA. 
  • California Institute of Arts. 
  • Workshop on Cinema and Social Reproduction: New Media Program USC 
  • Society For Cinema Studies. 
  • American Comparative Literature Association. 
  • UC Davis Film Studies Major Inaugural Event.  
  • Empathy Conference University of Iowa. 
  • University Of Iowa Sound Research Seminar. 
  • Society for the Study of Narrative Literature, University of California Berkeley. 
  • Society For Psychoanalysis and Social Change. 
  • Chicago Film Seminar, School of the Art Institute of Chicago.  

 

Teaches:

  • Film Theory I, II 
  • Film Studies I 
  • Film and Urbanism
  • Militant Cinema 
  • Film Aesthetics 
  • Documentary Cinema
  • Chick Strand 
  • Gilles Deleuze
  • International New Waves