Title: Associate Professor
Office: Bate 2128
Amanda Klein teaches courses in film history, theory and aesthetics. Her primary research and teaching interests include film history and historiography, film genres and genre theory, African American cinema, exploitation films, television studies, and subcultural studies.
B.A. Cornell University
M.A. University of Pittsburgh
Ph.D. University of Pittsburgh
Film History and TheoryReality TelevisionCult CinemaGenre Theory and HistoryCultural Studies
FILM 5350: Special Topics in Film: History of African American CinemaFILM 4985/6940: Capstone: The American Film MusicalFILM 4985: Capstone: Film Genres, Then and NowFILM 4980: Topics in Film Aesthetics: Trash Cinema and TasteFILM 4920: Cinematic Identities: Women, Identity and Difference in American CinemaFILM 4910: Survey of Film Styles and Movements: Introduction to Reality TelevisionFILM 4910: Survey of Film Styles and Movements: Teenpics & American Youth CultureFILM 3920: Film Theory and CriticismFILM 3901: American and International Film History, Part II: History of Film from World War II to the PresentFILM 3900: American and International Film History, Part I: History of Film from 1895 to World War IIFILM 2900: Introduction to Film Studies
Cycles, Sequels, Spin-offs, Remakes and Reboots: Multiplicities in Film & Television. Co-edited with R. Barton Palmer. Austin: University of Texas Press, 2016. American Film Cycles: Reframing Genres, Screening Social Problems, and Defining Subcultures. Austin: University of Texas Press, 2011.
“The Academic Film Blog: A Eulogy (2000-2015).” Film Criticism 40.1 (2016) < http://quod.lib.umich.edu/f/fc?page=home>.
“Josef von Sternberg.” 50 Hollywood Directors. Ed. Suzanne Leonard and Yvonne Tasker. Abingdon: Routledge, 2014. 227-233. “Abject Femininity and Compulsory Masculinity on the Jersey Shore.” Reality Gendervision: Decoding Sexuality And Gender On Transatlantic Reality TV. Ed. Brenda Weber. Durham: Duke University Press, 2014. 213-243. “Realism, Censorship, and the Social Promise of Dead End.” Modern Drama on Screen. Eds. R. Barton Palmer and Robert Bray. Cambridge: Cambridge University Press, 2013. 9-28. “‘The Dickensian Aspect’: Melodrama, Viewer Engagement and the Socially Conscious Text.” All in the Game: Critical Studies of HBO’s The Wire. Eds. Tiffany Potter and C.W. Marshall. New York: Continuum Press, 2009. 195-209.“Postmodern Marketing, Generation Y and the Multi-Platform Viewing Experience of MTV’s The Hills.” Jump Cut 51 .“Work/Love/Film: Exploring the Ambiguities of Definition in Godard’s Passion.” Quarterly Review of Film and Video 24.1 (2007): 41-51.
“Spinoff City: Why Hollywood Is Built on Unoriginal Ideas.” The Atlantic 20 March 2016.
“Thirty Seasons of The Real World.” The New Yorker. 28 Nov 2015.
“Consider the Catfish.” The New Yorker. 3 Sept 2015. “‘Clueless’ and the end of Gen X: How Cher Horowitz taught us to stop worrying and embrace millennial optimism, post-racial fantasy and the 1 percent.” Salon. 15 July 2015.
“‘The Breakfast Club’, 30 Years Later: A Conversation Across Generations.” Roger Ebert.com. 26 March 2015. With Christian Exoo, “Plagiarism, Patchwriting and the Race and Gender Hierarchy of Online Idea Theft.” Truth Out 13 March 2015.
Film Studies Website