Tim Palmer, professor
King Hall 102 B | 910.962.7475 | email@example.com
Ph.D. in Communication Arts (Film Program), 2003
University of Wisconsin-Madison, USA
Dissertation: Tales of the Underworld: Jean-Pierre Melville and 1950s French Cinema
M.A. For Research in Film and Television Studies, 1997
Warwick University, England
Graduated with Distinction
B.A. (Hons.) in Film and Literature, 1996
Warwick University, England
Dr. Tim Palmer teaches and researches in world cinema history, specializing in French, Japanese, and classical Hollywood cinemas. His research focuses on the history of film style, representations of gender and women’s cinema, intersections between art and popular cinema, acting and the star phenomenon, the impact of film pedagogy on film practice, and notions of film culture. He is based in North America, England and France.
Dr. Palmer is co-founder and co-Editor-in-Chief of Film Matters, the first North American peer-reviewed film journal for undergraduates, published quarterly by Intellect Press. He has an interest in translation, regularly subtitling French films into English. He also programs series of films for the campus and community.
His teaching includes such classes as: Introduction to French Cinema, Japanese Cinema, American Cinema 1927-60, Producing the Undergraduate Film Magazine, Introduction to World Cinema, Contemporary French Cinema; as well as future modules on film minimalism, the auteur triumvirate of Bresson, Tati and Melville, and a survey of the impact of film festivals on film history.
Irreversible. Palgrave Macmillan, forthcoming 2014
Directory of World Cinema: France. Co-editor with Charlie Michael. Intellect/University of Chicago Press, April 2013. AVAILABLE HERE
Brutal Intimacy: Analyzing Contemporary French Cinema. Wesleyan University Press,
March 2011. AVAILABLE HERE
“Modes of Masculinity in Contemporary French Cinema,” in Hilary Radner, Raphaëlle Moine and Alistair Fox (eds.), A Companion to Contemporary French Film (Blackwell, forthcoming 2014).
“Rites of Passing: Conceptual Nihilism in Jean Paul Civeyrac’s Des filles en noir,” Cinephile 8.2, Spring 2013: 8-15.
“Melodramas of the Everyday: An Interview with Julie Lopes-Curval,” The French Review 86:3, February 2013: 94-104.
“Crashing the Millionaires’ Club: Popular Women’s Cinema in Twenty-First Century France,” Studies in French Cinema 12:3, Autumn 2012: 201-214.
“Le Cercle rouge: Jean-Pierre Melville entre cinéma d’auteur et cinéma populaire,” in Marguerite Chabrol and Alain Kleinberger (eds.), Le Cercle rouge: Lectures croisées (L’Harmattan, 2011).
“The Rules of the World: Japanese Eco-Cinema and Kiyoshi Kurosawa,” in Paula Willoquet-Maricondi (ed.), Framing the World: Explorations in Ecocriticism and Film (University of Virginia Press, 2010).
"Don't Look Back: An Interview with Marina de Van." The French Review, 83:5, April 2010: 96-103. Article here
“Contemporary French Feminine Cinema and Lucile Hadzihalilovic’s Innocence,” The French Review 83:2, December 2009: 38-49. Article here
“Paris, City of Shadows: French Crime Cinema Before the New Wave.” New Review of Film and Television Studies, 6:2, August 2008:213-231. Article here
“An Amateur of Quality: Postwar French Cinema and Jean-Pierre Melville’s Le silence de la mer.” Journal of Film and Video 59:4, pp. 3-19. Article here
“Under Your Skin: Marina de Van and the Contemporary French cinéma du corps.” Studies in French Cinema 6:3, Fall 2006, pp. 171-181. Article here
“Style and Sensation in the Contemporary French Cinema of the Body.” Journal of Film and Video 58:3, Fall 2006, pp. 22-32. Article here
“Side of the Angels: Dalton Trumbo, the Hollywood Trade Press, and the Blacklist.” Cinema Journal 44:4, Summer 2005, pp. 57-74. Article here
“Jean-Pierre Melville and 1970s French Film Style.” Studies in French Cinema 2:3, Spring 2003. Article here
Other Publications: Book Chapters, Critical Essays, Reviews
“Exotic Aesthetics: Long Take Style and Staging in the Films of Mizoguchi and von Sternberg.” Filmhäftet 122: 4, July 2002, pp. 1-6. Article here
(for a complete listing of all publications and work, please see Curriculum Vitae)