Name:Tania Modleski, Florence R. Scott Professor of English

CURRICULUM VITAE

Updated November 2016

Personal

Name:Tania Modleski, Florence R. Scott Professor of English

Address:8273 Romaine St., Los Angeles, CA90046

Telephone:Home:(323) 654-1312; Office:(213) 740-2820

Education

1975-79:Ph.D., Modern Thought and Literature, Stanford University

1970-71:M.A., State University of New York at Albany

1966-70:B.A., magna cum laude, State University of New York at Albany

Experience

1987-present:University of Southern California, English Department (as Professor, then as Scott Professor)

October 2005:MacLean Distinguished Visiting Professor, English Department, Colorado College

1980-1987:University of Wisconsin-Milwaukee, English Department (as Assistant Professor, then Associate Professor)

1979-1980:University of Wyoming, English Department, Instructor

1972-1975:Old Dominion University, English Department, Instructor

Fellowships, Honors, and Awards

“Writing with a Vengeance: Celebrating the Legacies of Tania Modleski’sLoving with a Vengeance and the Women Who Knew Too Much. University of Southern California. Panelists: Lynn Spigel, Northwestern University; Victoria Johnson, UC-Irvine; Kara Keeling, USC. February 2013.

Invitation to submit papers to Pembroke Center at Brown University for inclusion in archive housing papers of pioneering feminist theorists.

SUNY Albany Alumni Award for Excellence in Arts and Humanities, May 2010

Grant from Advancing Scholarship in the Humanities and Social Sciences Initiative, Office of the Provost at the University of Southern California, 2008-2009

NEH Fellowship, 1994-95

Florence R. Scott Endowed Professorship, University of Southern California, 1991.

Fellowship at the Humanities Research Institute, UC Irvine, Fall 1989

Travel Grant from the American Council of Learned Societies for travel to conference on television and popular film, University of Strathclyde, Glasgow, Scotland, March 1984

Selected Publications

Books

Third edition of The Women Who Knew Too Much in press. Includes an interview with me by Hitchcock scholar David Greven, as well as a study guide by Ned Schantz, 2015..

Old Wives Tales, and Other Women’s Stories.New York University Press, 1998.British edition, I.B. Taurus, 1999.

Feminism without Women:Culture and Criticism in a “Postfeminist” Age.Routledge, 1991.Korean edition forthcoming.

The Women Who Knew Too Much:Hitchcock and Feminist Theory.Methuen, 1988.Japanese edition, 1993.French edition, L’Harmattan, trans. Noel Burch, 2002.Korean edition, 2008.Second edition,Routledge, 2005.

Loving With A Vengeance:Mass-Produced Fantasies for Women.Archon Books, 1982.Paperback edition, Methuen, 1984.Second edition, Routledge, 2008.

In Progress

The Spoils of Feminism: Cinema, Male Mastery, Appropriation, proposal under consideration at Duke University Press

Collaborative Book Project

Show and Tell. Jeanne Dunning, Tania Modleski, Leslie Dick, and Hollis Clayson.Northwestern University, 2003.

Edited Book

Studies in Entertainment: Critical Approaches to Mass Culture. Indiana University Press, 1986.Turkish edition, 1998.

Articles and book chapters

In progress: “Hitchcock’s Queer Daughter.”

“Re-mastering the Master: Hitchcock after Feminism,” New Literary History 47:1 (2016), pp.

“An Affair to Forget: Male Melancholia in Bromantic Comedy,” Camera Obscura29:2 (2014), pp. 119-147.

“Historic Omission and Psychic Repression in Paul Thomas Anderson’s Boogie Nights, World Picture 8 (Spring 2013). URL

“On the Death of Shared Governance at USC.” Op-ed, The Chronicle of Higher Education (11 January 2013).

“Suspicion:Collusion and Resistance in the Work of Hitchcock’s Female

Collaborators. In ACompanion to Alfred Hitchcock. Ed. Thomas Leitch and Leland Poague. Oxford: Wiley-Blackwell, 2011, pp. 162-180.

“Answering for the Consequences.” In True Confessions: Female Professors Tell Tales Out of School, ed. Susan Gubar. New York: W.W. Norton, 2011, pp.24-35.

“Clint Eastwood’s Male Weepies.”American Literary History 22:1 (Winter 2010), pp. 136-158.

“Introduction” to the second edition of Loving with AVengeance: Mass-

Produced Fantasies for Women.Routledge, 2008, pp. xi-xxxi.

“Women’s Cinema as Counterphobic Cinema:Doris Wishman as the Last Auteur.” In Sleaze Artists:Cinema at the Margins of Taste, Style, and Politics, ed. Jeffrey Sconce.Duke University Press, 2007, pp. 47-70.

“Misogynist Films:Teaching Top Gun.” Cinema Journal47:1 (Fall 2007), pp. 101-105.

“Resurrection of a Hitchcock Daughter.”New afterword to second edition of The Women Who Knew Too Much:Hitchcock and Feminist Theory.Routledge, 2005, pp. 123-52.

“Million Dollar Baby:A Split Decision.” (Cover story) (With Robert Sklar) Cineaste 30:3 (2005), pp. 6-11.

“On the Existence of Women.” Introduction to Special Issue on the history of the relations between women’s studies and film studies, Women’s Studies Quarterly 30:1/2(Spring/Summer 2002), pp. 15-24.

Contributor to “Roundtable:Restoring Feminist Politics to Poststructuralist Critique.” With Susan Lurie, Ann Cvetkovich, Jane Gallop, and Hortense Spillers, Feminist Studies27:3 (Fall 2001), pp. 679-707.

“The Context of Violence in Popular Culture.”Chronicle of Higher Education 47:33 (April 27, 2001), p. B15.

“Fight the Power:A Reply to Jane Gallop, James Kincaid, and Ann Pellegrini.”Critical Inquiry 26(Spring 2000), pp. 591-600.

“In Hollywood, Racist Stereotypes Can Still Earn Oscar Nominations.” Chronicle of Higher Education46:28 (March 17, 2000), pp. B9-B10.

“Questioning Scholars’ Torrid Romance with Popular Culture.” Chronicle of Higher Education 45:12(November 13, 1998), pp. B8-B9.

“My Life as a Romance Writer.” Paradoxa 4:9 (1998), pp. 134-44.

“A Rose Is a Rose?Real Women and a Lost War.” In The New American Cinema, ed. Jon Lewis, Duke University Press, 1998, pp. 125-45.

“Axe the Piano Player.” The Psychoanalytic Review 84:5 (October 1997), pp. 727-42.

“A Woman’s Gotta Do . . . What a Man’s Gotta Do?Cross-Dressing in the Western.”Signs 22:3 (Spring 1997), pp. 519-44.

“The White Negress and the Heavy Duty Dyke.” In Cross-Purposes: Lesbians, Feminists, and the Limits of Alliance, ed. Dana Heller, Indiana University Press, 1997, pp. 64-82.

“Doing Justice to the Subjects:Mimetic Art in a Multicultural Society: The Work of Anna Deavere Smith.” In Female Subjects in Black and White: Race, Psychoanalysis, Feminism, ed. Elizabeth Abel, Barbara Christian, and Helene Moglen, University of California Press, 1997, pp. 57-76.

“My Life as a Romance Reader.”Paradoxa 3:1-2 (1997), pp. 15-28.

“Some Babe.” In Mass Culture and Everyday Life, ed. Peter Gibian, Routledge, 1997, pp. 199-204.

“Our Heroes Have Sometimes Been Cowgirls:Interview with Maggie

Greenwald.”Film Quarterly 49 (Winter 1995-96), pp. 2-11.

“Breaking Silence, Or, an Old Wives’ Tale: Sexual Harassment and the

Legitimation Crisis.” Discourse 16:1 (Fall 1993), pp. 109-125.

“Editorial Notes: A Reply to Stanley Cavell.”Critical Inquiry 17 (Autumn 1990), pp. 237-244.

“The Incredible Shrinking He(r)man:Male Regression, the Male Body and

Film.” differences 2:2 (Summer 1990), pp. 55-75.

“Some Functions of Feminist Criticism, Or the Scandal of the Mute Body.” October 49 (Summer 1989), pp. 3-24.

“Three Men and Baby M.” Camera Obscura 17 (May 1988), pp. 69-82.

“A Father is Being Beaten:Male Feminism and the War Film,” Discourse10:2 (Spring/Summer 1988), pp. 62-77.

“Rape vs. Mans/laughter:Hitchcock’s Blackmail and Feminist Interpretation.” PMLA102:3 (May 1987), pp. 304-315.

“The Terror of Pleasure:The Contemporary Horror Film and Postmodern Theory.” In my Studies in Entertainment:Critical Approaches to Mass Culture, Indiana University Press, 1986, pp. 155-166.

“Feminism and the Power of Interpretation.” In Feminist Studies/Critical Studies, ed. Teresa de Lauretis, Indiana University Press, 1986, pp. 121-38.

“Femininity as Mas(s)querade:A Feminist Approach to Mass Culture.” In High Theory/Low Culture, ed. Colin MacCabe, Manchester University Press, 1986, pp. 27-52.

“The Films of Diana Barrie.” Wide Angle7:1-2 (1985), pp. 26-67.

“Time and Desire in the Woman’s Film.” Cinema Journal 23 (Spring 1984), pp. 19-30.

“Film Theory’s Detour.” Screen 23:5 (November-December, 1982), pp. 72-79.

“Ou en est la theoriefeministe?” CinemAction 20 (1982), pp. 95-99.

“Never to Be Thirty-Six Years Old:Rebecca as Female Oedipal Drama.” Wide Angle5:1 (1982), pp. 34-41.

“The Art of Being Off-Center:Daytime Television and Women’s Work.” Tabloid:A Review of Mass Culture and Everyday Life 4 (Summer 1981), pp. 18-24.

“The Disappearing Act:A Study of Harlequin Romances.Signs5:3 (Spring 1980), pp. 435-448.

“The Search for Tomorrow in Today’s Soap Operas:Notes on a Feminine Narrative Form.” Film Quarterly33:1 (Fall 1979), pp. 12-21.

“Wertmuller’s Women:Swept Away by the Usual Destiny.” Jump Cut10/11 (Spring/Summer 1976).

“Why Do We Still Fear Flying?” University of Michigan Papers in Women’s Studies 1 (June 1975), pp. 107-112.

Edited Journal Issues

Co-editor, “Insubordinate Bodies:Feminism, Spectacle, History.” Discourse 17:2 (Winter 1994-95). Includes brief introduction.

Editor, “Improbable Dialogues:Encounters in Cultural Studies.” Discourse 16:1(Fall 1993).Includes introduction.

Partial List of Reprints

Portuguese translation of my article, “Historical Omission and Psychic Repression in Paul Thomas Anderson’s Boogie Nights, MATRIZes, journal of the Graduate Program in Communication Sciences of the University of São Paulo, Brazil, forthcoming.

“Rape vs. Mans/laughter: Hitchcock’s Blackmail.” Alfred Hitchcock. Ed. Neil Badmington. Routledge, 2014.

“Hitchcock, Film and the Patriarchal Unconscious.”Critical Visions in Film Theory. Ed. Timothy Corrigan, Patricia White, and Meta Mezaj. New York: Bedford-St. Martin’s, 2012.

“Rape vs. Mans/laughter: Hitchcock’s Blackmail.” Hungarian translation. SzerkesztetteFüziIzabella. The Pompei Foundation, 2010.

“A Rose Is A Rose? Real Women and a Lost War.” Reprinted in The Contemporary Hollywood Reader, ed. Toby Miller, Routledge, 2009.

“Rituals of Defilement: Frenzy.” Reprinted in A Hitchcock Reader, second edition, eds. Marshall Deutelbaum and Leland Poague,Wiley-Blackwell, 2009.

“The Search for Tomorrow in Today’s Soap Operas:Notes on a Feminine Narrative Form.” Reprinted in Feminist Television Criticism,second edition, eds. Charlotte Brunsdon and Lynn Spigel, McGraw Hill, 2007, pp. 29-40 (lead article). Reprinted in American Media and Mass Culture:Left Perspectives, ed. Donald Lazere, University of California Press, 1987. Reprinted inKanalarbeit:MedienstrategienimKulturwandel, ed. Hans Ulrich Reck, Stroemfeld/Roter Stern, 1987.

Excerpts from Loving with a Vengeance.Fresh Theorie (first French cultural studies reader),ed. Mark Alizart, Editions Leo Scheer, October 2006.

Pages 11-34 of Loving with a Vengeance.Contemporary Literary Criticism 206, ed. Jeff Hunter, September 2005.

“A Woman’s Gotta Do . . . What a Man’s Gotta Do?Cross-Dressing in the Western.” Reprinted in Italian, Federica Giovannelli, BulzoniEditore, 2005.

“Do We Get to Lose This Time?”Retitled reprint of “A Rose is a Rose? Real Women and a Lost War” in The War Film, ed. Robert Eberwein, Rutgers University Press, 2004.

“The Master’s Dollhouse:Rear Window.” Reprinted from The Women Who Knew Too Much in Film Theory and Criticism:Introductory Readings, ed. Leo Braudy and Marshall Cohen, Oxford University Press, 6th edition, 2004, pp. 849-861.

“The Terror of Pleasure:The Contemporary Horror Film and Postmodern Theory.” Reprinted from Studies in Entertainment in Film Theory and Criticism:Introductory Readings, ed. Leo Braudy and Marshall Cohen, Oxford University Press, 6th edition, 2004, 764-773.

“Three Men and Baby M.” Reprintedin Feminism and Film, ed. E. Ann Kaplan, Oxford U.P, 2000, pp. 521-34.

Extract from Loving with a Vengeance (chapter on romances), in The Bedford Introduction to Literature, 2000, p. 28.

“Cinema and the Dark Continent.” Reprinted from Feminism Without Women in Feminist Film Theory:A Reader, ed. Sue Thornham, New York University Press, 1999, pp. 321-335.Reprinted in Writing on the Body:Female Embodiment and Feminist Theory, eds. Katie Conroy, Nadia Medina and Sarah Stanbury, Columbia UP, 1997, pp. 208-230. Reprinted in American Feminist Thought, ed. Linda Kauffman, Basil Blackwell, 1993, 73-92.

“Our Heroes Have Sometimes Been Cowgirls”:Interview with Maggie

Greenwald.”Reprinted in The Western Reader, ed. Jim Kitses and GreggRickman, Limelight Editions, 1998, pp. 355-66.

“Breaking Silence, Or, an Old Wives’ Tale: Sexual Harassment and the Legitimation Crisis.”Reprinted in Mass Culture and Everyday Life, ed. Peter Gibian, Routledge, 1997, pp. 219-232.

“The Art of Being Off-Center:Daytime Television and Women’s Work.” Reprintedas “Another World?Daytime Television and Women’s Work,” Mass Culture and Everyday Life, ed., Peter Gibian, Routledge, 1997, pp. 111-18.Reprinted in Regarding Television:Critical Approaches, An Anthology, ed. E. Ann Kaplan, The American Film Institute Monograph Series, Vol. 2, University Publications of America, 1983, pp. 67-75.Reprinted in Frauen und Film 42 (August 1987).

Extract from Loving with a Vengeance (chapter on Gothic novels). In Critical Response to Ann Radcliffe, ed. Deborah Rogers, Greenwood Press, 1993.

“The Disappearing Act:A Study of Harlequin Romances.” Reprinted in Gender, Language, and Myth:Essays on Popular Narrative, University of Toronto Press, 1992.

“Never to Be Thirty-Six Years Old:Rebecca as Female Oedipal Drama.” Reprinted in ImmaginialloSchermo:La Spettatrice e il cinema,Giuliana Bruno and Maria Nadotti, ed., Rosenberg & Sellier, 1991.

“Hitchcock, Feminism, and the Patriarchal Unconscious.” Reprinted from The Women Who Knew Too Much in Issues in Feminist Criticism, ed. Patricia Erens, Indiana University Press, 1990, pp. 58-74.

“HitchcocksToechter.” Reprinted from The Women Who Knew Too Much inFrauen und Film 48 (March 1990), special issue on “Fathers and Daughters,” ed . Gertrud Koch, pp. 56-63.

“Time and Desire in the Woman’s Film.”Reprinted in Home Is Where the Heart Is, ed., Christine Gledhill.London:British Film Institute, 1987.Reprinted as a supplement to the screenplay of Letter from an Unknown Woman, ed. Virginia Wright Wexman, Rutgers University Press, 1986, pp. 249-62.Reprinted in Film Theory and Criticism:Introductory Readings, fourth edition, ed. Leo Braudy and Marshall Cohen, Oxford University Press.

“The Search for Tomorrow in Today’s Soap Operas:Notes on a Feminine Narrative Form.” Reprinted in American Media and Mass Culture:Left Perspectives, ed. Donald Lazere, University of California Press, 1987. Reprinted inKanalarbeit:MedienstrategienimKulturwandel, ed. Hans Ulrich Reck, Stroemfeld/Roter Stern, 1987.

Reviews and Reports

Review of Janice Radway, Reading the Romance:Women, Patriarchy, and Popular Literature,The Philadelphia Inquirer, January 6, 1985, pp. 1, 8.

Reviews of Cherrie Moraga and Gloria Anzaldua, eds.,This Bridge Called My Back:Writings by Radical Women of Color, and Alice Walker, The Color Purple, Minnesota Review (Fall 1984), pp. 194-95; 199-200.

Report on the MLG Panel on American Culture in Late Capitalism” at the 1982 MLA Convention, Mediations, 1, no. 2 (February 1983), pp. 8-10.

Selected Professional Activities

Presentation on Contemporary Romance, USC Sidney Harman Academy for Polymathic Study, September 2014.

“Hitchcock’s (Queer) Daughter.” Paper at the annual SCMS conference, Seattle,

March 2014.

“Mimetic Desire in I Love You, Man.” Paper at the annual SCMS conference, Chicago, March 2013.

Moderator, panel. “Disability Studies in the Italian Context.” Annual MLA conference, Boston, January 2013.

“An Affair to Forget: Melancholia in Bromantic Comedy.” Invited lecture. Colorado College, November 2012.

Interview. The Projection Booth. Podcast, October 2012.

“Clint Eastwood’s Gran Torino.” Invited Lecture. Occidental College, April 2012.

“An Affair to Forget: Melancholia in Bromantic Comedy.” The Film Lecture, Wexner Center, Ohio State University, April 2012.

“An Affair to Forget: Melancholia in Bromantic Comedy.” Invited lecture. The 40th anniversary of the Modern Thought and Literature Program, Stanford University, Stanford, April 2012

Keynote panelist at conference “Romance Fiction and American Culture.” Princeton University, April 2009

“Male Weepies.” Lecture at Northwestern University, April 2009.

“No More Tears: On the Persistence of Melodrama in Representing Women’s Lives.” Keynote address at conference “The Art of Gender in Every Day Life,” Idaho State University, March 2008.

“Clint Eastwood and Male Weepies.” NEH Lecture series, Colorado College, Colorado Springs, CO, April 2008.

“The Director’s Wife’s Cut:Hitchcock and his female collaborators.” Lecture for symposium on Hitchcock’s collaborative work, given in conjunction with exhibit, “Casting a Shadow,” Block Museum, Northwestern University, November 2007.

“Still Loving with a Vengeance?” Spector Lecture, McGill University, March 2006.

“Women’s Cinema as Counterphobic Cinema:The Case of Doris Wishman.” McClean Lecture, Colorado College, October 2005.

“Hitchcock and Matricide:Take Two.” Lecture as visiting scholar for Women’s History Month, Virginia Tech, March 2005.

“From Stella Dallas to The Bride of Chucky.”Lecture at Lemoyne College, November 2003.

“From Stella Dallas to The Bride of Chucky.”Lecture at Allegheny College, March 2003.

“From Stella Dallas to The Bride of Chucky.”Lecture at the University of Utah, October 2002.

“From Stella Dallas to The Bride of Chucky.”Lecture at the Alice Kaplan Berliner Center for the Humanities, Northwestern University, March 2001.

Lecture on Oscar-nominated films. Bryn Mawr College, February 2000.

“Restoring Politics to Feminist Poststructuralist Theory.” Panel at the MLA Convention, 1998.

“My Life as a Romance Reader.” Lecture at Pomona College, April 1998.

“Women and Popular Culture.” Keynote address, University of Austria on the occasion of the centenary celebration of women’s entry into the university system in Austria, Vienna, June 1997.

“Axe the Piano Player.” Lecture at the University of Florida, February 1996, UC-Santa Barbara, Art History, March 1996, New Mexico State University, April 1996; Oregon State University, May 1996.

“Axe the Piano Player,” keynote address, University of Wyoming Conference on English Studies, June 1995.

“Axe the Piano Player,” lecture at Rice University, April 1995.

“Doing Justice to the Subjects:The Work of Anna Deavere Smith,” Paper at annual convention of the Modern Language Association, San Diego, December 1994.

“Doing Justice to the Subjects:The Work of Anna Deavere Smith.” Keynote address at the University of Wyoming Conference on English Studies, June 1994.

“Doing Justice to the Subjects:The Work of Anna Deavere Smith.” Lecture at Carleton University, Ottowa, Canada, March 1994.

“Doing Justice to the Subjects:The Work of Anna Deavere Smith.” Lectures at Dartmouth University and Smith College, November 1993.

Lecture and series of seminars conducted on my books. University of Utrecht, The Netherlands, May 1993.

“Breaking Silence, Or an Old Wives’ Tale.” Keynote address, Narrative Conference, Albany, March 1993.

“Imitations of Life:Crossing Boundaries of Race, Gender, and Sexuality.” Lecture in series on Feminist Film Theory, Claremont Graduate School, October 1992.

“Breaking Silence, Or, an Old Wives’ Tale.” Lectures at University of Richmond, University of Virginia, and North Central College, April 1992.

“Breaking Silence, Or, an Old Wives’ Tale.” Panel on Essentialism, Philology and Popular Culture at the annual MLA Convention, San Francisco, 1991.

“Postmortem on Postfeminism.” Lecture at the University of Pennsylvania, February 1991.

Seminar on two chapters of Feminism without Women. Northwestern University, May 1991.

“The Incredible Shrinking He(r)man.” Lecture at Literary Theory Conference, Georgetown University, Washington D.C., June 1990.

Lectures at Cal State-Fullerton and LACE Gallery, Los Angeles, Spring 1990.

“The Incredible Shrinking He(r)man:Male Regression, the Male Body, and Film.” Lecture at Oregon State University, May 1990.

“Cinema and the Dark Continent:Race and Gender in Contemporary Film.” Panel on Women and Film, University of California at San Diego, May 1990.

“Feminist Cultural Critique in the Era of ‘Postfeminism.’” Paper at MLA Convention, Washington D.C., December 1989.

“Cinema and the Dark Continent:Race and Gender in Contemporary Film,” lecture at the University of Washington, Seattle, November 1989.

“Hitchcock’s Frenzy.” Lecture at symposium on the horror film, Detroit Art Institute, April 1989.

“Cinema and the Dark Continent:Race and Gender in Contemporary Film.” Lecture at symposium, “The Representation of the Other in Film and Popular Culture,” sponsored by the Rockefeller Foundation and the Whitney Museum, Bellagio Center, Lake Como, Italy, February 1989.