Professor and Chair, Department of Film Studies

CURRICULUM VITAE

Janet Walker

Professor and Chair, Department of Film Studies

University of California, Santa Barbara

Santa Barbara, California 93106

EDUCATION

Ph.D. University of California, Los Angeles, 1987, Film and Television Study

M.A. University of California, Los Angeles, 1980, Film and Television Study

B.A.University of California, Santa Cruz, 1977, Theater Arts

Study Abroad

Paris Film Program, 1981-82

Warwick University, England, 1975-76

ACADEMIC APPOINTMENTS

2001Professor, University of California, Santa Barbara

Chair, Department of Film Studies; and affiliated faculty member, Women’s Studies Program (since 1998)

1996-2001Associate/Assistant Professor, University of California, Santa Barbara

1994-95Assistant Professor, WayneStateUniversity; Detroit, Michigan

Department of Communication; Radio, Television, Film Area

Winter 1993Visiting Assistant Professor, University of California, Los Angeles

Spring 1991Department of Motion-Picture Television (now Department of Film,

Television, and Digital Media)

Fall 1990Adjunct Assistant Professor, University of Southern California

Fall 1991School of Cinema-Television, Critical Studies Division

Fall 1992

1985-86Lecturer, University of Denver

Department of Mass Communication

AWARDS, GRANTS, AND HONORS

Distinguished Teaching Award, Academic Senate, UCSB, 2001

Walking Through Life, a 25-minute auto(bio)graphical documentary film made in praise of my teaching by UCSB Film Studies undergraduates Cynthia McCreery, Lisa Brende, Stephan Mukai, Josh Weygandt, and Shannon Wertz, Winter 2000.

National Endowment for the Humanities, Summer Stipend, 1998

Faculty Career Development Award, University of California, Santa Barbara, May 1996

Research start-up funding, College of Fine, Performing and Communication Arts, Wayne

StateUniversity, academic year 1994-95

American Council for Learned Societies (ACLS), Fellowship for Recent Recipients of the Doctorate, 1989

Commendation for excellence in teaching, Mortar Board National Senior Honor Society,

Crown and Scepter Chapter, UCSB, 1989

Harold Leonard Research Grant, 1983-84

Charles Boyer Scholarship for Study Abroad, 1981-82

UCLA Graduate Fellowship, 1980-81

PUBLICATIONS

Books

Trauma Cinema: Disremembering Incest and the Holocaust, manuscript drafted August

2002

Westerns: Films through History, editor, Routledge/AFI Film Readers series,

2001

Feminism and Documentary, editor with Diane Waldman, University of Minnesota Press,

1999

Couching Resistance: Women, Film, and Psychoanalytic Psychiatry, University of Minnesota Press, 1993

Essays

“Zulay: Facing the 21st Century: Feminism, Film and New Ethnography,” in

Transnational Documentaries: Reimagining Radical Media for the 21st Century,

editors John Hess and Patricia R. Zimmermann, forthcoming

“The Vicissitudes of Traumatic Memory and the Postmodern History Film,” in Trauma,

Cinema, and Modernity: Histories in Trans-Cultural Media, editors E. Ann

Kaplan and Ban Wang, forthcoming from Hong Kong University Press

“Trauma Cinema: False Memories and True Experience,” Screen 42, no. 2 (Summer

2001)

“Introduction: Westerns through History,” in Westerns: Films through History, editor

Janet Walker (New York: Routledge/AFI Film Readers series, 2001)

“Captive Images: Traumatic Events and the Historiographic Function of the Film Western,” in Westerns: Films Through History

“Textual Trauma in Kings Row and Freud,” Endless Night: Cinema and Psychoanalysis,

Parallel Histories, editor, Janet Bergstrom (Berkeley: University of California

Press, 1999)

“The Traumatic Paradox: Documentary Films, Historical Fictions, and Cataclysmic Past

Events,” Signs: A Journal of Women in Culture and Society 22, no. 4, Summer 1997

“Documentary Film in the Age of Mechanical Reproduction: The Hermitage: A Russian

Odyssey,” Journal of Arts Management, Law and Society 26, no. 1, Spring 1996

“Contribution on female spectatorship to Camera Obscura special issue, “The

Spectatrix,” nos. 20-21, 1990

“John Huston’s Freud and Textual Repression: A Psychoanalytic Feminist Reading,”

with Diane Waldman, Close Viewings editor, Peter Lehman (Tallahassee: The

FloridaStateUniversity Press, 1990)

“Couching Resistance: The Representation of Women, Film, and Psychoanalytic

Psychiatry,” Psychoanalysis and Cinema, editor, E. Ann Kaplan (New York: Routledge, 1990)

“Regulation and Contradiction: Hollywood, Freud, and Women from 1945-1963,” Home

Is Where the Heart Is: Studies in Melodrama and the Woman’s Film, editor, Christine Gledhill (London: British Film Institute, 1987)

“Psychoanalysis and Feminist Film Theory: The Problem of Sexual Difference and

Identity,” Wide Angle 6, no. 2, Fall 1984

“Introduction to special dossier on television and video,” with Luli Barzman McCarroll,

On Film, no. 13, Summer 1984

Three Steps Forward: Maso et Miso vont en bateau,” On Film, no. 13, Summer 1984 [on

French television]

“Feminist Critical Practice: Female Discourse in Mildred Pierce,” Film Reader 5, 1982

“Renoir on the Bridge: A Reading of Boudu Saved from Drowning,” with Luli McCarroll, Wide Angle 4, no. 4, 1981

Translations and Reprintings

“The Institutional Edifice: The Snake Pit, The Cobweb, and One Flew Over the Cuckoo’s

Nest,” reprinted in revised form from Couching Resistance in The Celluloid Couch: Psychoanalysis and Psychotherapy in the Movies, editor, Jerrold R. Brandell, forthcoming from New York State University Press

“The Vicissitudes of Traumatic Memory and the Postmodern History Film,” reprinted from Signs (Summer 1997) in an updated version in Contested Pasts, editors Katharine Hodgkin and Susannah Radstone (London: Routledge, 2003)

“O Paradoxo Traumático: Documentários, Ficções Históricas e Eventos Passados Cataclísmicos,” translated into Portuguese by Fernando Simão Vugman. Special issue of Ilha do Desterro (literary journal of the Universidade Federal de Santa Catarina, Brazil, on Literature, Film and History, editor, Anelise Reich Corseuil, 32-1, 1 semestre 1997

“Hollywood, Freud et la répresentation des femmes: Régulation et contradiction (1945-débutdes annés 60) [Le Mystérieux Docteur Korvo],” reprinted from Home Is Where the Heart Is in Revoir Hollywood: La Nouvelle Critique Anglo-Américaine, editor and translator Noël Burch (Paris: Éditions Nathan, 1993)

Reviews

“Is the Gaze Maternal? E. Ann Kaplan’s Women and Film: Both Sides of the Camera,” with Diane Waldman, Camera Obscura, nos. 13-14, 1985

Review article on Women’s Pictures: Feminism and Cinema by Annette Kuhn; Camera Obscura, no. 12, Summer 1984

Review of Inside Prime Time by Todd Gitlin, with Ellen Evans, On Film, no. 13, Summer 1984

SELECTED CONFERENCE AND PLENARY PRESENTATIONS

“Disremembering Catastrophe,” Visible Evidence XI (documentary conference),

Bristol, England, December 16-19, 2003

Public lecture as examining professsor (“First Opponent”) in the disputation

(doctoral defense) of Arild Fetveit, Oslo, Norway, June 20, 2003.

Public presentation of The Women (Cukor, 1939) with Cynthia Felando at the Santa Barbara Museum of Art, July 28, 2002

“Psychoanalytic Feminist Film Theory and Why I Love TiVo,” workshop panelist, “Feminist Film Theory: History, Progress, and Process” at the Society for Cinema Studies conference, Denver, May 23-26, 2002

“Trauma Cinema: Disremembering Incest and the Holocaust,” workshop leader, Interdisciplinary Psychoanalytic Consortium, Lake Arrowhead, California, May 3-5, 2002

“Disremembering Catastrophe: Experimental Documentary Film and the Representation of Traumatic Past Events,” plenary talk presented at the Arizona Quarterly Symposium on American Literatures and Culture, University of Arizona, March 23, 2002

Panel Chair, “Historiographies,” Women and the Silent Screen Conference, University of California, Santa Cruz, November 2-4, 2001

“The Vicissitudes of Traumatic Memory and the Postmodern History Film,” Frontiers of Memory Conference, London, England, September 16-19, 1999

“On the Market: Skills, Strategies, and Job Search Survival in the Cinema Studies Marketplace,” workshop panelist, Society for Cinema Studies, West Palm Beach, Florida, April 15-18, 1999

“Captive Images: Thoughts on Traumatic Events and the Historiographic Function of the Film Western,” Society for Cinema Studies, San Diego, California, April 4-8, 1998

“Women Under Analysis: Hollywood and the Psychiatric Boom in Postwar America,” plenary talk presented at the Sixpack Film Symposium on Women and Madness, Vienna Austria, April 17-20, 1998

“Historical Amnesia: The Vicissitudes of History and Memory in Documentary Film and Video,” plenary talk presented at the Getty Research Institute, Getty Museum of Art, Los Angeles, California, April 3, 1997

“The Visual Reconstruction of Public Discourse and National Identity,” Visualizing Culture Conference, University of California, Santa Barbara, Santa Barbara, California, November 7, 1997

“’Time and the Other’: The Chronopolitics of the Longitudinal Documentary,” Society for Cinema Studies, Dallas, Texas, March 7-10, 1996

“Dissertation Writing Workshop,” workshop panelist, Society for Cinema Studies, Dallas, Texas, March 7-10, 1996

“The Traumatic Paradox,” Program in Film and Video, University of Michigan, Ann Arbor, November 13, 1995

“Trauma/History/Memory in Fiction and Non-fiction Film,” 1994-95 Women’s Studies lecture series, Wayne State University, April 5, 1995

“Trauma/History/Memory in Fiction and Non-fiction Film,” Society for Cinema Studies, New York, March 2-5, 1995

Workshop Chair, “Feminism Meets Queer Studies, Pt. II: In the Classroom,” Society for Cinema Studies, New York, March 2-5, 1995

Panel Chair, “Feminism and Documentary,” Visible Evidence II, Strategies and Practices in Documentary Film and Video, University of Southern California, August 18-21, 1994

“’I Don’t Remember Anything Like That’: trauma, transference and memory in psychological films,” plenary presentation, Psychoanalysis and Cinema: Parallel Histories, University of California, Los Angeles, November 11-13, 1993

“Feminism, Film, and New Ethnography: Zulay: Facing the 21st Century,” Visible Evidence: Strategies and Practices in Documentary Film and Video Conference, Duke University, September 9-12, 1993

Panel Chair, Activist Video panel, Console-ing Passions: Television, Video, and Feminism, 2nd Annual Conference, University of Southern California, Los Angeles, April 1-4, 1993

“’Sailing at once in several seas’ Zulay: Facing the 21st Century,” Society for Cinema Studies Conference, New Orleans, February 11-14, 1993

“Detail Work: On the Correspondence between Psychiatrists and Cinema,” Society for Cinema Studies Conference, University of Southern California, May 23-26, 1991

“Representation and Ideology,” luncheon speaker, Honors Division, University of California, Irvine, May 8, 1987

“Under Analysis: Women, Film and Postwar Psychoanalytic Psychiatry,” Modern Language Association Conference, New York, December 27-30, 1986

“Dr. Ruth Prescribes: The Advice Genre and Television Reception,” University Film and Video Association Conference, Loyola Marymount University, August 1-5, 1987

“The Three Faces of Eve: The Dissociation of a Text,” Society for Cinema Studies Conference, New York University, June 12-15, 1985

“Regulation and Contradiction: Hollywood, Freud and the Representation of Women, Society for Cinema Studies Conference, Madison, Wisconsin, Marsh 28-30, 1984

Plenary group member, Star Signs Conference, London, British Film Institute, January, 1982.

“Hiroshima, Mon Amour: Liminality and Psycho-analysis, Centre d’études américain du cinéma, Paris, May 1982

“Feminist Discourse in Mildred Pierce,” Lolita Raclin Rodgers Feminist Film Conference, Northwestern University, November 1980

UCSB PRESENTATIONS

Guest lecture on trauma cinema, Sociology 194, an Honors Program seminar on the theme of “Contemporary and Controversial Issues Across Disciplines, convened by Honors students Lauren Ralph, Elizabeth Sowers, and Josh Braun, April 30, 2003.

Guest lecture on film and ethnography, Music 105/225: Field and Laboratory Methods in Ethnomusicology, Professor Tim Cooley, May 19, 2003.

Lecture on Errol Morris’s Mr. Death in conjunction with the Critical Issues in America series, “Executing Justice: America and the Death Penalty,” Law and Society 2 and Art Studio 194/591, Professors Dick Hebdige and Juliet Williams, January 15, 2003.

SELECTED COURSES

Documentary Film (UCSB, USC, UCLA)

Seminar in (Auto)biographical Documentary (UCSB, undergraduate level)

Seminar in Documentary Film (UCLA, graduate level)

International Film History from the beginning of cinema to the present (UCSB; three-course sequence)

Seminar in Film Historiography (WayneStateUniversity, graduate level; UCSB, undergraduate level)

Women and Film: Feminist Perspectives (UCSB)

The Western: “Cowboys” and “Indians” (UCSB)

Seminar in Film and Ethnography (UCSB; undergraduate level)

Introduction to Film (UCSB, WayneStateUniversity)

Seminar in Psychoanalysis and Cinema (UCSB)

Television History (UCI, 1987)

Television Criticism (UCI, 1987)

PROFESSIONAL EXPERIENCE

Documentary Jury, Santa Barbara International Film Festival, March 2003

Advisory Board Member, Non-profit foundation for the production of documentary film and video; president, Laura Bialis, Los Angeles, California, 2003-present

Steering Committee Member, Interdisciplinary HumanitiesCenter, University of California, Santa Barbara, 1999-2002

Technical Consultant, Street Medicine, feature documentary, producer/director, Noemi Steiner, Ph.D., M.D.

Technical Consultant, Honor Thy Children, feature documentary, producer/director,

Francisco Léon

Steering Committee Member, Women Film Pioneers project, Duke University, 1998-present

Executive Council Member, Society for Cinema Studies, elected office, July 1997-June 2000

Women’s Caucus Co-Chair, Society for Cinema Studies, 1994-96

Editorial Board Member, Quarterly Review of Film and Video, 1993-96

Associate Editor, Camera Obscura, 1983-89

Co-Editor, On Film, 1981-85

SPECIAL EVENT PLANNING (SELECTED OCCASIONS)

“The West on Film,” Santa Barbara Museum of Art; sole planner of a film and speakers series in conjunction with “Dual Visions of the American West”; Photographs by MacDuff Everton and David Muench, February 2001

“Overstay,” introduction of filmmaker Ann Kaneko and her film about immigrant workers in Japan, Multicultural Center Theater, University of California, Santa Barbara, May 12, 1999

“Women of Vision,” introduction of filmmaker/scholar Alexandra Juhasz, Multicultural Center Theater, University of California, Santa Barbara, February 1999

“Visualizing Culture,” conference planning participant, InterdisciplinaryHumanitiesCenter sponsored Annual conference of the Consortium of Humanities Centers and Institutes, University of California, Santa Barbara, Santa Barbara, California, November 6-8, 1997

“Visualizing Absence,” presentation and screening of Intervals of Silence by filmmaker Deborah Lefkowitz, WayneStateUniversity, November, 17, 1995

“Lessons and Myths,” an evening of experimental video and simultaneous dance by Bettina Fabos, Terri Sarris, and Jimmie Reeves, Wayne State University, March 7, 1995

Careers in Radio-TV-Film, organized panel presentation with media professionals from the Detroit region, WayneStateUniversity, March 9, 1995

Chair of Film Sub-Committee, Conference Planning Committee for the conference “Revolution ’89 – Interdisciplinary Perspectives on the French Revolution: A Bicentenary Conference,” University of California, Santa Barbara, May 12-13, 1989

Avant-Garde Film Festival, sponsored by On Film, University of California, Los Angeles, May 1983

UCLA Women’s Film Festival, University of California, Los Angeles, May 1980 and May 1979

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