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
Primary Areas of Research/Teaching
Film, Television and Media Studies
Genre Theory and History
Race and Working Class Studies
5350: Special Topics in Film: History of African American Cinema
4985/6940: Cinema & Culture: The American Film Musical
4980: Topics in Film Aesthetics: Trash Cinema and Taste
4920: Contemporary American and International Film
4910: Survey of Film Styles and Movements: Teenpics & American Youth Culture
3920: Film Theory and Criticism
3901: American and International Film History, Part II: History of Film from World War II to the Present
3900: American and International Film History, Part I: History of Film from 1895 to World War II
2900: Introduction to Film Studies
Selected Publications and Presentations
American Film Cycles: Reframing Genres, Screening Social Problems, and Defining Subcultures. Austin: University of Texas Press, 2011.
“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 (forthcoming).
“Realism, Censorship, and the Social Promise of Dead End.” Modern Drama on Screen. Eds. Barton Palmer and Robert Bray. Cambridge: Cambridge University Press (forthcoming).
“‘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 <http://www.ejumpcut.org>.
“Work/Love/Film: Exploring the Ambiguities of Definition in Godard’s Passion.” Quarterly Review of Film and Video 24.1 (2007): 41-51.
“‘The Horse Doesn’t Get a Credit’: Analyzing the Western Syntax of Deadwood’s Opening Credits.” Reading Deadwood: A Western to Swear By. Ed. David Lavery. London: I.B. Tauris & Co., Ltd., 2006. 93-100.
Film Studies Website