Visual and Performing Arts
Our faculty are active practitioners in the arts — from composition and playwriting to screenwriting, film production, art criticism, and archaeological research — and have earned prestigious honors, including fellowships from the Guggenheim Foundation and Smithsonian Institution.
Faculty Works from 2023
“Bardo, or the Mexican digital diaspora”, Marvin D'Lugo
Pathaan’s touch: Cinematic contact, SRK and spectatorship, Gohar Siddiqui
Submissions from 2022
SURVIVING THE CREATIVE SPACE: Teamwork Techniques for Designers, Sherry Freyermuth
Close-up and Whispering: An Understanding of Multimodal and Parasocial Interactions in YouTube ASMR videos, Shuo Niu, Hugh S. Manon, Ava Bartolome, Nguyen Binh Ha, and Keegan Veazey
Submissions from 2021
Botanical Symbolism in Vicino Orsini’s Sacro Bosco, John Garton
James Maurelle: On-Site, James Maurelle, Odili Donald Odita, and Kinaya Hassane
Submissions from 2018
Language and Ideology in the German Reception of Bruckner's Symphonies in the 1930s, Benjamin Korstvedt
Submissions from 2017
'Harmonic daring' and symphonic design in the Sixth Symphony: An essay in historical musical analysis, Benjamin M. Korstvedt
Mahler's Bruckner, between devotion and misprision, Benjamin M. Korstvedt
Submissions from 2014
Beyond the beyond: CGI and the anxiety of overperfection, Hugh S. Manon
Submissions from 2013
Defining the “Problem”: The Development of Postwar Attitudes toward Bruckner Versions, Benjamin Korstvedt
Submissions from 2012
Partition and desire in the films of Joseph H. Lewis, Hugh S. Manon
Submissions from 2011
Reading music criticism beyond the Fin-de-siècle Vienna paradigm, Benjamin M. Korstvedt
Submissions from 2010
"Comment ça, rien?": Screening the Gaze in Caché, Hugh S. Manon
Submissions from 2009
“Portraiture,” “Gentleman of Fashion,” “Portraits of Warriors,” and “Portraits of Family and Children,”, John Garton
Submissions from 2007
X-ray visions: Radiography, chiaroscuro, and the fantasy of unsuspicion in film noir, Hugh S. Manon
Submissions from 2005
Some like it cold: Fetishism in Billy Wilder's double indemnity, Hugh S. Manon
Submissions from 2004
Between formlessness and formality: Aspects of Bruckner’s approach to symphonic form, Benjamin M. Korstvedt
Bruckner editions: The revolution revisited, Benjamin M. Korstvedt
Faculty Work from 2003
The Intimate Gallery and the Equivalents: Spirituality in the 1920s Work of Stieglitz, Kristina Wilson
Submissions from 1996
Anton Bruckner in the Third Reich and after: An essay on ideology and Bruckner reception, Benjamin Marcus Korstvedt
The first published edition of Anton Bruckner's fourth symphony: Collaboration and authenticity, Benjamin Marcus Korstvedt
