Vlad Dima

Ph.D., University of Minnesota, 2010

Associate Professor

dima@wisc.edu

262-4074

636 Van Hise Hall

Primary language

French

Specialties

French New Wave cinema, Francophone cinemas, film theory, Hitchcock, Tarantino/American auteur cinema, television studies, Quebec novel, theater of the absurd, zombies.

SELECTED PUBLICATIONS

      Book: Sonic Space in Djibril-Diop Mambety’s Films, forthcoming, Indiana University Press, 2017.

      Book in progress: The Beautiful Skin: Clothes, Football and Fantasy in West African Cinemas, 1964-2014.

      Essays:

  • “Cinepoetic Violence: the Dismemberment of Language in Leila Sebbar’sUne femme à la fenêtre,” forthcoming, PR, CELAAN: Revue du Centre d’Etudes des Littératures et des Arts d’Afrique du Nord, Numéro special: Leila Sebbar.
  • “The Beautiful Fantasy: Imaginary Representations of Football in West-African Cinema,” forthcoming, Book Chapter,Cinéma-Monde.
  • “The Sonorous Void: Acoustic Stages and Sound Play in Eugene Ionesco’sRhinoceros,” Scene, PR, June 2016, Volume 4, Issue 1, 77-89.
  • “The Judas Effect: Betrayal in Jean-Luc Godard’sBreathless,” Studies in Twentieth and Twenty-First Century Literature, PR, Volume 40, No. 1, Spring 2016.

            http://newprairiepress.org/sttcl/vol40/iss1/6/

  • “Man within Machines: Being, Politics, and Apparatus inSnowpiercer,” PR, Journal  of Graphic Novels and Comics, PR, January 2016, Volume 7, No. 2, 156-166.
  • “Méta-cinéma global: la surimpression des oeuvres canoniques de François Truffaut et Ousmane Sembène,” Book Chapter,Communautés de lecture : pour une approche dialogique des œuvres classiques et contemporaines, Cambridge  Scholars, January 2016, 181-195.
  • “Sound DeathAmour,” Studies in French Cinema, PR, Volume 15, No. 2, Summer 2015, 168-179.
  • “Violence sonore dans le cinéma de l’Afrique occidentale,” Nouvelles Etudes Francophones, PR, Volume 29, No. 2, Fall 2014 (actual acceptance/publicationdates: Winter 2015/Spring 2015), 78-91.
  • “You Only Die Thrice: Zombies Revisted inThe Walking Dead,” International Journal of Zizek Studies, Vol. 8, No. 2, 2014.
  • “Bateaux et subjectivités en dérive: La Pirogue dans le contexte postcolonial,” Nouvelles Etudes Francophones, PR, 28.2, 148-161.
  • “Literary Cinema? 2 or 3 Things I Know About Anne Hébert’s Le premier jardin,” Contemporary French and Francophone Studies, PR, 18.2, Spring 2014, 125-133.  
  • “The Return of the Animated Dead in Body Memory,” Short Film Studies Journal, Volume 4, No. 2, Fall 2014, 162-167.
  • Ousmane Sembene’s La Noire de…: Melancholia in Text, Photo and Film,”Journal of African Cultural Studies, PR, 26.1, March 2014, 56-68.
  • Women and Posters as Heterotopias in Ousmane Sembene’s Xala,” Journal of African Cinema, PR, Volume 5, No. 2, December 2013, 137-148.
  • Hellooo! Voices, Reversals and Subjectivities in Seinfeld,” Journal of PopularTelevision, PR, Volume 1, No. 2, September 2013, 191-205.
  • Blanc/Noir Chess in The Bloody Olive,” Short Film Studies Journal, PR, Volume 4, No.1, Fall 2013, 99-102.
  • “Rompendo il muro del sono” (The Barrier-Breaking Sound of Amir Naderi, trans. Gemma Lanzo), Moviement, 9, May 2013, 30-38.
  • “Suture: (Nearly) Impossible,” Short Film Studies Journal, PR, Volume 3, No. 2, Spring 2013, 193-196.
  • “Voices and Songs in Safi Faye’s Mossane,” M/MLA Journal, PR, Spring 2011, Volume 44, No. 1, Spring 2013, 29-43.
  • “A Fantasy of One’s Own: Rooms in Hitchcock’s Vertigo and Baudelaire’s Prose Texts,” Mosaic 45.4, PR, December 2012, 69-84. 
  • “Aural Narrative Planes in Djibril Diop Mambety’s Films,” Journal for Film and Video, PR, Volume 64, No. 3, Fall 2012, 38-52.
  • “The Aural Fold and the Sonic Jump-cut: Godard’s Baroque Sound,” Quarterly Review of Film and Video, PR, 29.3, Spring 2012, 237-251.
  • “Strangers no more: the initial Hitchcock murder,” CINEJ CinemaJournal, Special Issue 1 (2011), 170-178.
  •  “Indicatori sonori in Kill Bill” (Sonic Markers in Kill Bill, trans. Gemma Lanzo) Moviement, 5, May 2010, 46-54.
  • “Les Personnages dans Les Fous de Bassan: la nature de leurs identités,” Dalhousie French Studies, PR, 84, Fall 2008, 75-87.    
  • “The Paratextual Life of Terminator: Genisys,” Bright Lights, July 2015.
  • “Sound, Music, and the Verbal MacGuffin inAmerican Hustle (2013),” Bright Lights, November 2014.
  • “Buried Alive in Space: the non-story ofGravity,” Bright Lights, 82, November 2013.
  • “The Lore of the Running Undead (How World War Z was Lost and Won),” Bright Lights, 81, August 2013.
  • “Perpetual Motion: The Dardenne Brothers’ The Kid with a Bike,” Bright Lights, 80, May 2013.
  • “(Not) Love and Death. On Michael Haneke’s Amour,” Bright Lights, 80, May 2013.
  • “Cinema is Magic (also, Clocks and Trains): on Martin Scorsese’s Hugo,” Bright Lights, 75, February 2012.  
  •  I am not insane. My mother had me tested: the Mothers of the Big Bang,” Bright Lights, 75, February 2012.  
  • “Multiple Senses: Tom Ford’s A Single Man,” Bright Lights, 69, August 2010.
  • “Tarantino’s Inglourious Basterds: Film Kills,” Bright Lights, 66, November 2009.

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