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MemberJoseph Fruscione

I’ve been teaching for 13 years and counting, currently in GW’s University Writing Program (http://www.gwu.edu/~uwp/index.html) and UMBC’s English Department (http://www.umbc.edu/english/). I did my undergraduate work at the University of Delaware (English-Women’s Studies double major) and graduate work at GW. My interests include:*19th and 20th century American literature and culture
*Film, adaptation, and intertextuality
*First-Year Writing pedagogyLast year, I published my first book, ‘Faulkner and Hemingway: Biography of a Literary Rivalry’ (Ohio State UP), as well as an essay on Ralph Ellison in the collection ‘Hemingway and the Black Renaissance’ (Eds. Gary Holcomb & Charles Scruggs; Ohio State UP). Currently, I’m in the very early stages of a second book project—tentatively titled ‘Adapting Modernism’—that will explore how transmedia treatments of such works as ‘Mrs. Dalloway’ (Michael Cunningham novel), ‘The Waste Land’ (iPad app), and ‘As I Lay Dying’ (forthcoming film) employ collage, intertextuality, fluid gender constructions, and other modernist tendencies.Speaking at the Library of Congress: http://www.youtube.com/watch?v=uMMbj1JdXhITalking contingency and ‘road scholars’ on PBS NewsHour: http://www.pbs.org/newshour/bb/business/jan-june13/makingsense_03-18.html

MemberJustin Wigard

Justin Wigard (“Why-Guard”) is a PhD candidate in the Department of English, where he works with and teaches popular culture, game studies, comic studies, children’s literature, and digital humanities in the literature classroom.   His work covers a wide range of subjects, including the Hallmark Channel’s Garage Sale Mystery film series; professional wrestling and Street Fighter; chronotopal representations of feminism in Marvel’s Jessica Jones; the visual rhetoric of dinosaurs in Calvin and Hobbes; monstrous motherhood in Neil Gaiman’s Coraline; and digital visualizations of early-Modern Mughal biographies.   Justin’s dissertation, Level 101: A Video Game About Video Games, focuses on utilizing, and developing, video games as learning tools within the classroom.

MemberPeter Snowdon

Peter Snowdon is a filmmaker, researcher and writer. He has taught filmmaking at the University of the West of Scotland (2014-16) and in the visual ethnography programme at Leiden University (2016-18). His found-footage film The Uprising, made out of YouTube videos from the Arab revolutions, won the Opus Bonum Award for Best World Documentary on its début at the 2013 Jihlava International Documentary Film Festival, and has since been screened widely around the world at festivals (Edinburgh, Turin, Bratislava) and in museums (MoMA NYC, Palazzo Grassi). The film is now available free to view at theuprising.be. His book, The People Are Not an Image: Vernacular Video after the Arab Revolutions, will be published by Verso in 2020. His current research focuses on filmmaking as a somatic practice. His approach to teaching is inspired by a number of movement practices, and in particular by Mary Overlie’s Six Viewpoints.

MemberLinnea Zeiner

Linnea Zeiner is a counter-culture feminist historian and digital humanist conducting multi-disciplinary research in transmedia platforms of scholarship, presentation, and pedagogy. She earned her M.A. in History from San Diego State University, where as a graduate student she initiated the use of digital platforms and Digital Humanities best-practices in the jumbo lower-division U.S. history classes. Linnea’s thesis, grunge feminism: performing gender paradox in queered plays of hypertexuality, published in 2015, is the first born-digital, interactive thesis at San Diego State. It is a multi-modal work presenting a non-linear and completely interactive reader experience that is designed to open up new interpretative opportunities in the digital classroom. Currently, Ms. Zeiner continues her work with the SDSU Digital Humanities Initiative, innovating digital pedagogy for humanities classes and working with the San Diego Digital Humanities Consortium to help the region’s diverse learning institutions innovate DH pedagogy to enhance the learning experiences of underrepresented student communities. She joined The Department of Classics and Humanities as a Lecturer in 2016, teaching HUM409 (The Future). Working out of the experimental and collaborative environment of the ITS Learning Research Studios, this class engages with speculative, pop-ontological, and techno-anxiety inducing sci-fi to explore the broad spectrum of realities presented in visual as well as written narratives, and to critique the social constructions of bodies and spaces in “The Future”.  

MemberAlexandra Edwards

Alexandra is a Marion L. Brittain Postdoctoral Fellow in the School of Literature, Media, and Communication at the Georgia Institute of Technology. Her research focuses on the intersections of literature, film, and other media in the early 20th century. She has won two Primetime Emmys for her work as a transmedia producer creating interactive storytelling experiences.

MemberCaleb Andrew Milligan

I am a Doctoral Candidate and Graduate Teacher of Record in the Department of English at the University of Florida, specializing in comparative media studies, digital humanities, and embodied rhetorics. I teach, research, and publish broadly across intersections between literature, film, and digital media. My current research project, Post-Digital Touch: Writing Embodiments, Affective Interfaces, and Haptic Media, builds from my published and forthcoming work to account for the importance of touch to textual encounters in an age of ubiquitous computing devices which change the ways we compose our media and our bodily selves. In addition to my research agenda and teaching record, I am a 2016-2018 HASTAC scholar, founding member of the TRACE Innovation Initiative, and coordinator of interdisciplinary digital humanities conferences and workshops at UF.

MemberPeter Waites

My research is located at the intersection of contemporary American genre fiction, literary theory, and new media studies. I investigate the nature and functions of the textual, material and narrative structures of serial, transmedial, multi-authored and participatory fiction in contemporary literature, film, television and graphic narratives.