Elena GorfinkelElena Gorfinkel

Assistant Professor of Art History and Film Studies

Phone: 414-229-2723
e-mail: gorfinke@uwm.edu
Curriculum Vitae: pdf (171kb)

Education/Degree:

Ph.D., New York University, Cinema Studies

Courses Taught:

ArtHist 205 - History of Film 1: Development of an Art, 1895-1945
ArtHist 206 - History of Film 2: Development of an Art, 1945-Present
ArtHist 307 - Women Directors
ArtHist 308 - Cult Film
ArtHist 761 - Contemporary Art Cinema: Sensing Time
ArtHist 761 - The Carnal Screen: Sexuality, Gender & Embodiment in Cinema
FilmStd 590 - Contemporary Film Theory

Research and Teaching Interests:

Film History & Historiography
Marginal, cult and experimental cinemas
Global art cinema
Gender & sexuality studies
Women's filmmaking practice
Cinephilia & film criticism
Film aesthetics
Temporality, corporeality, & the senses

Representative/Recent Publications:

Books

Sensational Bodies: American Sexploitation Cinema’s Scenes of Looking, 1959-1972. Minneapolis: University of Minnesota Press, forthcoming 2016.

Editor, with John David Rhodes, Taking Place: Location and the Moving Image. Minneapolis: University of Minnesota Press, 2011. 392pp.

Journal Articles

“Corpse Corpus Contingency: On Peggy Ahwesh’s Deadman Trilogy.” Screen 55.4 (2014): 514-521.

“Weariness, Waiting: Enduration and Art Cinema’s Tired Bodies.” Discourse: Journal of Theoretical Studies in Media and Culture 34.2-3 (Spring/Fall 2012) (2013): 311-347.

“Film After Cinema: Sandra Gibson & Luis Recoder’s Light Spill & Museal Materialism,” INCITE: Journal of Experimental Media, Issue 4 (Fall 2013). 226-234.

"Carax’s Oneiric Drive.In Media Res, December 11 2013.

“The Body’s Failed Labor: Performance Work in Sexploitation Cinema”, Framework: The Journal of Cinema and Media, Vol. 53, No. 1, Spring 2012. 79-98.

"Dated Sexuality: Anna Biller's Viva and the Retrospective Life of Sexploitation Cinema." Camera Obscura: Feminism, Culture & Media Studies 78, Vol. 26, No. 3, December 2011. 94-135.

"Arousal in Ruins: The Color of Love and the Haptic Object of Film History," World Picture 4, (April 2010). 20pp.

"Cult Film, or Cinephilia by Any Other Name," Cineaste. Vol. 34, No. 1, (Winter 2008). 33-38.

"Wet Dreams: Erotic Film Festivals of the Early 1970s and the Utopian Sexual Public Sphere." Framework: The Journal of Cinema & Media, Vol. 47, No. 2, (Fall 2006), 59-86.

Book Chapters

“Exhausted Drift: Austerity, Labor and the Politics of Slow in Kelly Reichardt’s Meek’s Cutoff,” in Tiago de Luca and Nuno Jorge Barrado, eds. Slow Cinema. Edinburgh: Edinburgh University Press, forthcoming 2015.

Secretary (2002): Purple Pose, Indie Masochism, Bruised Romance,” in Constantin Verevis and Claire Perkins, ed. U.S. Independent Film after 1989: Possible Films, Edinburgh: Edinburgh University Press, 2015.

“’Wet Dreams: Erotic Film Festivals of the Early 1970s & the Utopian Sexual Public Sphere’ (reprint),” in Eric Schaefer, ed. Sex Scene: Media and the Sexual Revolution. Durham NC: Duke University Press, 2014. 126-150.

"Impossible, Impolitic: Ali: Fear Eats the Soul and Fassbinder's Asynchronous Bodies," A Companion to Rainer Werner Fassbinder, ed. Brigitte Peucker. Hoboken: Wiley Blackwell, 2012. 502-515.

“Introduction: The Matter of Places,” with John David Rhodes, Taking Place: Location & the Moving Image, University of Minnesota Press, 2011.

“Tales of Times Square: Sexploitation’s Secret History of Place,” in Taking Place: Location & the Moving Image, University of Minnesota Press, 2011. 55-76.

"The Future of Anachronism: Todd Haynes and the Magnificent Andersons." In Cinephilia: Movies Love & Memory. Marijke de Valck and Malte Hagener, Eds. Amsterdam: University of Amsterdam Press, 2005. 153-168.

Edited Dossiers

Dossier co-editor, with John David Rhodes. “Peggy Ahwesh Dossier,” Screen, Vol. 55, No. 4 (Winter 2014). 490-521.

Dossier editor, “The Work of the Image: Cinema, Labor, Aesthetics” in Framework: The Journal of Cinema & Media, Vol. 53, No.1. (Spring 2012.) 43-116.

Dossier co-editor, with Jonathan Buchsbaum. “Cinephilia: Dossier,” Framework: A Journal of Cinema & Media, Vol. 50, No. 1-2. (Fall 2009.) 176-228.