Frank P Tomasulo, Ph.D.
Frank P. Tomasulo currently teaches on-line graduate seminars in cinema history and genre for National University and UCLA Extension. In recent years, he has taught in-person film and television studies courses at Hofstra University, Pace University, Sarah Lawrence College, and City College of New York.
Supervisors: Current Supervisor: Rami Tateishi, Ph.D. (National University) and Former Supervisor: Paul Majkut, Ph.D. (National University)
Supervisors: Current Supervisor: Rami Tateishi, Ph.D. (National University) and Former Supervisor: Paul Majkut, Ph.D. (National University)
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This essay describes and analyzes the mechanism by which contemporary film theories can be recruited to understand sociocultural products such as television talk shows.
Alternatively, one could read the link, which is arranged from first page to last but is not an exact reproduction of the formatting. (All the words and images are there, though.)
This essay describes and analyzes the mechanism by which contemporary film theories can be recruited to understand sociocultural products such as television talk shows.
Alternatively, one could read the link, which is arranged from first page to last but is not an exact reproduction of the formatting. (All the words and images are there, though.)
Also, under Cinematography in my Profile there is a book chapter on L.A.X.
This study examines these questions in connection with Roberto Benigni's Academy Award-winning LIFE IS BEAUTIFUL (1998)
This essay explores a number of his movie roles as his persona changed over a 40-year career in a variety of genres on the big screen.
This essay situates EL TOPO within its historical place in the Midnight Movie "genre" and provides an interpretation of it many symbolic and ambiguous features.
The presentation received the First Prize for Best Juried Conference Paper from the University Film and Video Association, 2014.
This conference paper received the Best Paper Prize from the University Film and Video Association, 2017.
Instead, using his masterpiece VERTIGO as the exemplar, this piece argues that the ethical agency in Hitchcock is to be found in the hearts, minds, and consciences of his speactators.
-History of Film: 1895-the present
-History of Film I: 1895-1945
-History of Film II: Postwar International Cinema
-Major Film Movements: Postwar European Cinema
-Major Auteurs: Alfred Hitchcock
-Genre: American Film Comedy
-The Art of Film
-Major Auteurs: Martin Scorsese
-Sex and Cinema: Eros and Gender in International Film
CITY COLLEGE OF NEW YORK, CUNY
-Introduction to Film Studies
-Independent Film
-Independent Film (Honors College)
-Film History and Aesthetics (senior seminar)
-Film History and Theory I: From the Beginning to Citizen Kane
-Film History and Theory II: From World War II to the Present
HUNTER COLLEGE, CUNY
-Film Genres: Horror
-Cult Television and Its Audience
NATIONAL UNIVERSITY, la Jolla, CA. (On-line M.A. seminars)
-Film History: The Silents
-American Film History
-Film Genres: Fear
-Italian Cinema
SARAH LAWRENCE COLLEGE
-Television History and Criticism
-Television Criticism and Analysis
WESTCHESTER COMMUNITY COLLEGE, SUNY
-Fiction into Film (Blackboard seminar)
-Film History I: 1895-1945
-Film History II: 1945-today
FLORIDA STATE UNIVERSITY
-Introduction to Film
-History of Motion Pictures
-Film Genres/Filmmakers
-Screenwriting II
-Film Aesthetics for Screenwriters (Grad seminar)
SOUTHERN METHODIST UNIVERSITY
-Television Criticism
-Mass Communication Theory (Graduate seminar)
-Critical Issues in Arts Criticism
GEORGIA STATE UNIVERSITY
-Film Theory and Criticism (graduate and undergraduate)
-Advanced Film Theory (Graduate seminar)
-Film and Literature (graduate and undergraduate)
-History of Motion Pictures (Honors program)
-Film Aesthetics and Analysis
-Major American Film Directors (graduate and undergraduate)
-Major American Film Directors (Honors program)
-Major European Directors (graduate and undergraduate)
-The Consequences of Literacy (Honors colloquium)
-Legal Reelism: The Law in Film (Honors symposium)
-Violence: The Individual to the State (Honors colloquium)
-Contemporary Hollywood Cinema (graduate and undergraduate)
-Contemporary Hollywood Cinema (Graduate seminar)
-Issues and Perspectives in Communication (Graduate seminar)
-Modern Communication Theory (Graduate seminar)
ITHACA COLLEGE
-Introduction to Film Aesthetics and Analysis
-Film and Literature
-American Film
-Advanced Film Analysis
-Fiction Film Theory
-Film as Art
-Television Criticism
-Film and Television Comedy
-The Art of Alfred Hitchcock
-Fiction Film Production (16 mm.)
-Film Production Workshop (16 mm.)
-Screenwriting
-Advanced Screenwriting
CORNELL UNIVERSITY
-Writing About Film
UNIVERSITY OF CALIFORNIA, SANTA CRUZ
-The Film Experience
-Film Theory and Criticism
-Film History I: Silent German and Soviet Cinemas
-Film History II: International Sound Cinemas
-Film Authors: Alfred Hitchcock
UNIVERSITY OF CALIFORNIA, LOS ANGELES (graduate and undergraduate)
-American Film History
-European Film History
-Documentary Film History
-American Film Comedy
-Genres: Film and TV Comedy
-Film and Social Change
-Problems in Teaching Film and Television
MOORPARK COLLEGE
-History of World Cinema
-Masterpieces of International Cinema
-Film Production
-Advanced Film Production (16 mm.)
ST. JOHN'S UNIVERSITY
-Film Production (16mm.)
-Screenwriting
The original statement by Howard Rodman appeared in the previous issue of THE ATLANTIC: https://www.theatlantic.com/magazine/archive/2017/03/what-was-the-most-influential-film-in-history/513863/
Please alert your library to purchase a copy to add to the extant literature on this important and influential Italian film director.
This study attempts to situate Antonioni within the larger, contextualizing discourse of modernism and its ''problematics of language." The contemporary epistēme changes and is changed by the cultural predicament of modern times. For one, narrative forms change in all the arts, becoming more "open." An analysis of "the narrative contract"—the complex relationships between the artistic text and its author, characters, and spectators—is a precondition for understanding the antiteleological structure of modern art and cinema.
For another, each of the "subjectivities" of the narrative contract—authors, characters, reader/spectators—has taken on distinctive and ambiguous forms in contemporary art, literature, and cinema. Modern texts alternate between highly intrusive and self-effacing authors, sometimes within the same work. Characters are often explored in depth yet remain psychological ciphers who can only be understood through "subjective correlatives. " Under these conditions, modern recipients of artistic communication become more active readers, more alive to the play of contradictions in the open text.
These modernist paradigms of textual structuration are explored in interdisciplinary fashion to better understand Antonioni's specific relationship to realism and modernism, the dominant rhetorical rubrics of the modern epoch. These same paradigms are used to define the textual nature of the director's ambiguity.
Finally, the ideological implications of modernism, ambiguity, and the later films of Antonioni are discussed from a Marxist perspective. These conclusions should have important ramifications not only for how Antonioni's films are viewed and understood, but how cinema research, criticism, and theory are conducted. The self-reflexive tendencies of modern art and cinema necessitate a more self-conscious criticism that challenges the assumptions of prior methodologies.