Education

Ph.D.:    University of California, Los Angeles, 1986.  Film and Television Studies, Theatre Arts Department. Dissertation: The Rhetoric of Ambiguity: Michelangelo Antonioni and the Modernist Discourse. Advisor: Nick Browne. Available at: https://pace.academia.edu/FrankPTomasulo.

M.A.:     New York University, 1973.  Cinema Studies.

B.A.:      Brooklyn College, City University of New York, 1967.  Philosophy.  Minor in Art History.

Work Shared in CORE

Articles
Book chapters
Reviews

Other Publications

Book Review/Essay, Todd Berliner’s Hollywood Aesthetic: Pleasure in American Cinema. Projections (2019). Accepted for publication.
“Alfred Hitchcock’s Shadow of a Doubt and Rear Window: Comparisons, Contrasts, Genre, Gender, Cinema,” International Journal of Education and Social Science. Accepted for publication.
“‘Comedy Is Tragedy + Time’: Humor and the Holocaust in Roberto Benigni’s La Vita è bella (Life Is Beautiful, 1997),” Journal of Film and Video 69.1 (Spring 2020). Accepted for publication.
“‘Everything’s Got a Moral’: The Ambiguous Ethics of Vertigo,” Hitchcock as Moralist, edited by R. Barton Palmer and Steven M. Sanders (Albany: State University of New York Press, 2020). Accepted for publication.
“Independent Cinema: El Topo and the Midnight Movie Phenomenon,” The Projector. (Winter 2019). Available at https://www.theprojectorjournal.com/el-topo
“Teaching Creativity: A Practical Guide for Training Filmmakers, Screenwriters, and Cinema Studies Students,” Journal of Film and Video 71.1 (Spring 2019): 51-62.
The Sopranos and Long-Form Television Narrative,” Quarterly Review of Film and Video 35.3 (2018): 3-22.
Letter to the Editor,”Motel Thoughts” (on Touch of Evil). Sight and Sound 27.5 (2017): 111.
Film Review/Essay, “Ironwood (Shahin Izadi, 2016),” Journal of Film and Video 69.3 (Fall 2017): 55-58.
Letter to the Editor, “MOS Definitely.” Sight and Sound 26.11 (2016): 111.
“Teaching Film Studies within a Production Context,” Teaching Film: Essays on Cinematic Pedagogy, edited by Lucy Fischer and Patrice Petro (New York: Modern Language Association, 2012), 618-646.
Book Review/Essay, Jacques Rancière’s The Emancipated Spectator, The Projector: A Journal on Film, Media and Culture (Fall 2012): 94-98. Reprinted as “The Emancipated Spectator,” Studies in the Humanities 39.1-2 (June-December 2012): 303-305.
Book Review/Essay, Murray Pomerance’s Michelangelo Red Antonioni Blue: Eight Reflections on Cinema, Quarterly Review of Film and Video 29.5 (Winter 2012): 464-471.
“Michelangelo Antonioni’s Identification of a Woman (1982),” Cineaste 37.2 (Spring 2012): 56-58.
“Television History and Criticism,” “Television Criticism and Analysis,” course syllabi juried and posted to Society for Cinema and Media Studies Web site, 2012. Available at http://www.cmstudies.org/members/group.asp?id=59755.
Film Review/Essay, “Totó (Peter Schreiner, 2009),” Italian American Review 2.1 (Winter 2012): 62-65.
“The Intentionality of Consciousness: Subjectivity in Last Year at Marienbad,” Hyperborean Wind: Reflections on Design and the City, edited by Matti Itkonen, Iris Aravot, and Paul Majkut (Finland: University of Jyväskylä Press, 2012), 307-321.
Book Review/Essay, Lester D. Friedman’s Citizen Spielberg and Warren Buckland’s Directed by Spielberg: Poetics of the Contemporary Hollywood Blockbuster, Journal of Film and Video 63.4 (Winter 2011): 53-59.
Book Review/Essay, Dennis Bingham’s Whose Lives Are They Anyway?: The Biopic as Contemporary Film Genre, Senses of Cinema (Australia). (October 2011).
“The Guinea as Gangster Hero: The Complex Representation of Italian Americans in The Sopranos,” The Essential SopranosReader, edited by David Lavery, Doug Howard, and Paul Levinson (Lexington: University of Kentucky Press, 2011), 196-207.
“Researching Your Teaching: A Mini-Manifesto,” Cinema Journal 50.3 (Spring 2011): 84-86.
“The First Time: Breathless (Jean-Luc Godard, 1960),” Film Comment 46.4 (July-August 2010): 11.
“Silahın Imparatorluğu: Er Ryan’ı Kurtarmak ve Amerikan Şovenizm” (“Empire of the Gun: Saving Private Ryan and American Chauvinism”), Türk Film Araştırmalarında Yeni Yönelimler 8: Sinema ve Politika, (New Directions in Turkish Film Studies: Cinema and Politics), vol. 8, edited by Deniz Bayrakdar (Istanbul, Turkey: Bağlam Publica-tions, 2010), 205-216.
Film Review, Jack Goes Boating (Philip Seymour Hoffman, 2010), http://www.yam.com.
Book Review/Essay, Howard Suber’s The Power of Film, Journal of Film and Video 61.3 (Fall 2009): 65-68.
“‘Sick Eros’: The Sexual Politics of Antonioni’s Trilogy,” Projections: The Journal for Movies and Mind 3.1 (Summer 2009): 1-23.
The Cabinet of Dr. Caligari: Politics, Psychoanalysis, Cinema,” Cinema and Politics: Turkish Cinema and the New Europe, edited by Deniz Bayrakdar (Newcastle upon Tyne, U.K.: Cambridge Scholars Publishing, 2009), 40-50.
Eros and Civilization: Sexuality and the Contemporary International Art Cinema,” Film International 6.6 (November 2008): 28-39.
“Introduction to Film,” “History of Motion Pictures,” “Contemporary Hollywood Cinema,” “Modern Communication Theory,” and “Screenwriting II,” course syllabi juried and posted to University Film and Video Association Web site, 2008. Available at http://www.ufva.org.
Adaptation as Adaptation: From Susan Orlean’s The Orchid Thief to Charlie Kaufman’s Screenplay to Spike Jonze’s Film,” Authorship in Film Adaptation, edited by Jack Boozer (Austin: University of Texas Press, 2008), 173-190.
“‘You CAN Play Mathematical Equations on the Violin!’: Quantifying Artistic Learning Outcomes for Assessment Purposes,” Journal of Film and Video 60.3-4 (Fall/Winter 2008): 115-122. Reprinted on the Society for Cinema and Media Studies Web site: http://www.cmstudies.org, 2010.
“Life Is Inconclusive: A Conversation with Michelangelo Antonioni,” reprinted in Michelangelo Antonioni: Interviews, edited by Bert Cardullo (Jackson: University Press of Mississippi, 2008), 162-168.
“Japan through Others’ Lenses: Hiroshima Mon Amour (1959) and Lost in Translation (2003),” Japan Studies Review 11 (2007): 143-155. Also available on the Internet at http://asianstudies.fiu.edu.
“The Top Ten Films of All Time,” Senses of Cinema (Australia). (September 2007).
“The Medium is Not the Message; It’s the Massage,” The Tallahassee Democrat, July 30, 2007, B1.
“Politicizing Steven Spielberg,” Cineaste 32.3 (Summer 2007): 100.
“Encomium: Dr. Ray Fielding,” Film & History: An Interdisciplinary Journal of Film and Television Studies 37.1 (2007): 12-16.
“The Bourgeoisie Is Also a Class: Class as Character in Michelangelo Antonioni’s L’Avventura,” Jump Cut: A Review of Contemporary Media 49 (Spring 2007). Available on the Internet at http://www.ejumpcut.org/trialsite/Tomasulo/index.html.
“1976: Movies and Cultural Contradictions,” American Cinema in the 1970s: Themes and Variations, edited by Lester Friedman (New Brunswick, N.J.: Rutgers University Press, 2007), 157-204.
“Propaganda Films,” Schirmer Encyclopedia of Film, edited by Barry Keith Grant (New York: Schirmer, 2007), 339-348.
“‘You’re Telling Me You Didn’t See’: Hitchcock’s Rear Window and Antonioni’s Blow-Up,” After Hitchcock: Imitation, Influence, and Intertextuality, edited by David Boyd and R. Barton Palmer (Austin: University of Texas Press, 2006): 145-172.
“Teaching the Introductory Cinema Studies Course: Some Strategies and Resources,” Cinema Journal 34.4 (Summer 1995): 72-78. Reprinted on the Society for Cinema and Media Studies Web site: http://www.cmstudies.org, 2006.
“Resources for Teaching Film and Video Courses,” Cinema Journal 34.4 (Summer 1995): 71-72. Reprinted on the Society for Cinema and Media Studies Web site: http://www.cmstudies.org, 2005.
Four separate postings to MediaCommons.com. on Mad Men and other film/TV subjects (2006).
“Introduction: What Is Cinema? What Is Cinema Journal?” Cinema Journal 43.3 (Spring 2004): 119-121.
“Introduction: More than the Method; More than One Method,” More Than a Method: Trends and Traditions in Contemporary Screen Performance, edited by Cynthia Baron, Diane Carson, and Frank P. Tomasulo (Detroit: Wayne State University Press, 2004), 1-19.
“‘The Sounds of Silence’: Modernist Screen Acting in Michelangelo Antonioni’s Blow-Up (1966),” More Than a Method: Trends and Traditions in Contemporary Screen Performance, edited by Cynthia Baron, Diane Carson, and Frank P. Tomasulo (Detroit: Wayne State University Press, 2004), 94-125. Also reprinted in Contemporary Literary Criticism (Farmington Hills, Mich.: Gale/Cengage Learning, 2008).
Book Review/Essay, Steve Neale’s Genre and Hollywood, Quarterly Review of Film and Video 20.4 (Fall 2003): 265-271.
“The Assassination of Lincoln: A Shot-by-Shot Analysis of a Scene from D. W. Griffith’s The Birth of a Nation (1915),” Griffith in Context, an educational CD-ROM (Atlanta: Georgia Institute of Technology, 2002).
“Injustice for All: The Politics of Creativity in the Commercial Hollywood Cinema,” 2002. (Published electronically on the Creative Screenwriting Web site: http://www.creativescreenwriting.com.)
“The Gospel According to Spielberg in E.T.: The Extra-Terrestrial,” Quarterly Review of Film and Video 18.3 (Spring 2001): 273-282.
“Empire of the Gun: Steven Spielberg’s Saving Private Ryan and American Chauvinism,” The End of Cinema as We Know It: American Film in the 1990s, edited by Jon Lewis (New York: New York University Press, 2001), 115-130.
“What Kind of Film History Do We Teach?: The Introductory Survey Course as a Pedagogical Opportunity,” Cinema Journal 41.1 (Fall 2001): 110-114.
“If You’re Really a Critic, Show Us Your Credentials,” Cineaste 26.3 (Summer 2001): 66-68.
“Sigmund Freud,” “Base and Superstructure,” “Phenomenology,” “Viewer,” “Epistemology,” “Ontology,” “Fort-Da Game,” Critical Dictionary of Film and Television Theory (London: Routledge, 2001), 456-463.
Bicycle Thieves: A Re-reading,” Vittorio De Sica: An Anthology of Criticism, edited by Stephen Snyder and Howard Curle (Toronto: University of Toronto Press, 2000), 160-171.
Co-author (with Peter J. Bukalski et al.), “University Film and Video Association Guidelines for M.F.A. Programs,” Journal of Film and Video 52.1 (Spring 2000): 33-51.
Book Review/Essay, Peter Brunette’s Michelangelo Antonioni, Journal of Film and Video 51.3-4 (Fall-Winter 1999-2000): 102-105.
“Raging Bully: Postmodern Violence and Masculinity in Raging Bull,” Mythologies of Violence in Postmodern Media, edited by Christopher Sharrett (Detroit: Wayne State University Press, 1999), 175-197.
“The Mass Psychology of Fascist Cinema: Triumph of the Will,” Documenting the Documentary, edited by Barry Grant and Jeannette Sloniowski (Detroit: Wayne State University Press, 1998), 99-118.
Book Review/Essay, Michael Coyne’s The Crowded Prairie: American National Identity in the Hollywood Western, Men and Masculinities 6.1 (October 1998): 229-233.
“From the Editor,” Journal of Film and Video 49.1-2 (Spring-Summer 1997): 3-4.
“Theory to Practice: Integrating Cinema Theory and Film Production,” Cinema Journal 36.3 (Spring 1997): 113-117.
“Teaching Film Production and Cinema Studies,” Cinema Journal 36.3 (Spring 1997): 106-107.
“Film Pedagogy: Classroom Strategies for Film/Media,” Cinema Journal 36.2 (Winter 1997): 100-101.
“Narrate and Describe? Point of View and Narrative Voice in Citizen Kane‘s Thatcher Sequence,” Perspectives on “Citizen Kane”, edited by Ronald Gottesman (New York: G. K. Hall, 1996), 504-517.
“Masculine/Feminine: The ‘New Masculinity’ in Tootsie (1982),” The Velvet Light Trap 38 (Fall 1996): 4-13.
Book Review/Essay, Michelangelo Antonioni’s The Architecture of Vision: Writings and Interviews on Cinema, Journal of Film and Video 48.4 (Winter 1996-97): 54-56.
“‘I’ll See It When I Believe It’: Rodney King and the Prison-House of Video,” The Persistence of History: Cinema, Television, and the Modern Event, edited by Vivian Sobchack (New York and London: Routledge, 1996), 69-88.
Film Review, “Odile and Yvette at the Edge of the World,” Journal of Film and Video 48.1-2 (Spring-Summer 1996): 102-104.
“Italian Americans in the Hollywood Cinema: Filmmakers, Characters, Audiences,” Voices in Italian Americana 7.1 (Spring 1996): 65-77. Selected for reprinting in Voices in Italian Americana 26.1 (Spring 2015) as one of the most significant essays published in VIA.
The Maltese Phallcon: The Oedipal Trajectory of Classical Hollywood Cinema,” Authority and Transgression in Literature and Film, edited by Bonnie and Hans Braendlin (Gainesville: University Press of Florida, 1996), 78-88.
“Resources for Teaching Film and Video Courses,” Cinema Journal 34.4 (Summer 1995): 71-72. Reprinted on the Society for Cinema and Media Studies Web site: http://www.cmstudies.org, 2005.
“Teaching the Introductory Cinema Studies Course: Some Strategies and Resources,” Cinema Journal 34.4 (Summer 1995): 72-78. Reprinted on the Society for Cinema and Media Studies Web site: http://www.cmstudies.org, 2006.
Book Review/Essay, Susan Jeffords’s Hard Bodies: Hollywood Masculinity in the Reagan Era, Film Quarterly 49.1 (Fall 1995): 47-49.
“Injustice for All: The Politics of Creativity in the Commercial Hollywood Cinema,” Creative Screenwriting 2 (Spring 1995): 53-68. Reprinted at http://www.creativescreenwriting.com/archive.html.
“In Memoriam: Nina C. Leibman,” Journal of Film and Video 47.1-3 (Spring-Fall 1995): 143.
Book Review/Essay, William J. Palmer’s The Films of the Eighties: A Social History, The Hitchcock Annual (Fall 1994): 183-194.
“The Architectonics of Alienation: Antonioni’s Edifice Complex,” Wide Angle 15 (Summer 1993): 3-21.
Twenty Bucks: The First Antecedent,” The New York Times, 7 November 1997: H22.
Annie Hall and Feminism: A Study in Ambivalence,” Women and Society, edited by Sue Lawrence (Poughkeepsie, N.Y.: Marist College Press, 1992), 34-48.
“The Politics of Ambivalence: Apocalypse Now as Pro-War and Anti-War Film,” From Hanoi to Hollywood: The Vietnam War in American Film, edited by Linda Dittmar and Gene Michaud (New Brunswick, N.J.: Rutgers University Press, 1991), 145-158.
“Phenomenology: Philosophy and Media Theory–An Introduction,” Quarterly Review of Film and Video 13 (Summer 1990): 163-170.
“Selected Bibliography: Phenomenology and Film,” Quarterly Review of Film and Video 13 (Summer 1990): 261-263.
“Colonel North Goes to Washington: Observations on the Intertextual Re-Presentation of History,” Journal of Popular Film and Television 17 (Summer 1989): 82-88.
Review/article on the “1986 Society for Cinema Studies Conference,” Quarterly Review of Film Studies 11 (Spring 1989): 347-380.
“The Intentionality of Consciousness: Subjectivity in Last Year at Marienbad,” Post Script 7 (Winter 1988): 58-71.
“The Text-in-the-Spectator: The Role of Phenomenology in an Eclectic Theoretical Methodology,” Journal of Film and Video 40 (Summer 1988): 20-32.
“Georges Méliès: Proto-Surrealist,” The Michigan Academician 20 (Spring 1988): 234-250.
Book Review/Essay, Edward Branigan’s Point of View in the Cinema, The Journal of Aesthetics and Art Criticism 45 (Spring 1987): 309-312.
“Narrate and Describe?: Point of View and Narrative Voice in Citizen Kane‘s Thatcher Sequence,” Wide Angle 8 (1986): 45-52.
Review/article on the “1985 Society for Cinema Studies Conference,” Quarterly Review of Film Studies 10 (Summer 1985): 276-287.
“Television and the Spectator-in-the-Tube,” Media Today, edited by Donald F. Ungurait, Thomas W. Bohn, and Ray Eldon Hiebert (New York: Longman, 1985), 142-147.
Review/article on the “Semiotics and Cinema” conference at the University of Toronto, Summer 1984, Quarterly Review of Film Studies 10 (Winter 1985): 77-86.
“Life Is Inconclusive: A Conversation with Michelangelo Antonioni,” On Film 13 (Fall 1984): 61-64.
“The Spectator-in-the-Tube: The Rhetoric of Donahue,” Journal of Film and Video 36.1 (Spring 1984): 5-12.
“The Rhetoric of Anti-Closure: Michelangelo Antonioni and the Open Ending,” Purdue Film Studies Annual (1983): 133-139.
The Cabinet of Dr. Caligari: History/Psychoanalysis/Cinema,” On Film 11 (Summer 1983): 2-7.
“Inner View: A Conversation with Frank P. Tomasulo,” Ithaca College News, April 27, 1983, 4.
Bicycle Thieves: A Re-reading,” Cinema Journal 21 (Spring 1982): 2-13. (Posted as a Jstor Recommended Classroom Reading.)
“Mr. Jones Goes to Washington: Myth and Religion in Raiders of the Lost Ark,” Quarterly Review of Film Studies 7 (Fall 1982): 331-340.
Bicycle Thieves: Style and Ideology,” Purdue Film Studies Annual (1982): 139-144.
Book Review/Essay, Seymour Chatman’s Story and Discourse: Narrative Structure in Fiction and Film, Journal of the University Film Association 22 (Fall 1980): 71-74.
 
“Psychoanalysis and Cinema?” On Film 10 (1980): 11-14. Translation of a Pascal Bonitzer article in Ca Cinéma.

Memberships

Society for Cinema and Media Studies, 1977-present

University Film and Video Association, 1978-present.

Frank P. Tomasulo, Ph.D.

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@ftomasulo

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