Jane Gaines

Jane Gaines
Professor
510 Dodge Hall
(212) 854-2815
Jane Gaines is the award-winning author of two books: Contested Culture: The Image, the Voice and the Law and Fire and Desire: Mixed Race Movies in the Silent Era, both of which received the Katherine Singer Kovacs prize from the Society for Cinema and Media Studies. She received an Academy of Motion Picture Arts and Sciences Scholarly Award for her forthcoming book on early cinema, Historical Fictioning: Women Film Pioneers and for work on the Women Film Pioneers digital archive published by Columbia University Libraries in 2013. This research was supported as well by a Radcliffe Institute for Advanced Study Fellowship. She has written articles on intellectual property and piracies, documentary theory and radicalism, feminism and film, early cinema, fashion and film, and critical race theory that have appeared in Cinema Journal, Screen, Cultural Studies, Framework, Camera Obscura, and Women and Performance. Most recently, she has been engaged in a critique of the “historical turn” in film and media studies.

Prof. Gaines taught at Duke University where she founded the film program and was Luce Distinguished Professor at Vassar College as well as Kersten Hesselgren Honorary Chair at the University of Stockholm. As a founder of the Visible Evidence: Strategies and Practices in Documentary Conference which celebrated its 20th anniversary this year, she delivered a keynote address at the 2013 Stockholm event: “The Archives of the Future: Collecting Cloud Evidence.”
 
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Selected Publications

Books
Fire and Desire: Mixed Race Movies in the Silent Era. University of  Chicago Press, 2001.
Eds. Monica Dall’ Asta and Victoria Duckett. University of Bologna, Italy, 2013, 288 – 302.
Jump Cut no. 29 (Spring 1984) / Reprinted in American Media and Mass Culture: Left Perspectives. Ed. Don Lazere..
University of California Press, 1987; Sexual Stratagems: Issues in Feminist Film Criticism
Ed. Patricia Erens (Indiana University Press, 1990).
Recherches sémiotiques/Semiotic Inquiry 31 nos.1-2-3 (2011): 101 – 114.
Film History  25, nos. 1 - 2 (2013): 70 - 80.
Framework 51 – 2 (Fall 2010): 283- 303.

"Sad Songs of Nitrate" Camera Obscura  22, no. 3-66 ( Fall 2007): 171 –  178. 

"Early Cinema’s Heyday of Copying: The Too Many Copies of L’Arroseur arrosé" Cultural Studies
Vol. 20, nos. 2 - 3 (May  2006): 227 - 244. Reprinted in Ed. Tilman Baumgaertel, The Pirate Book: Global Media Piracy and Other Inadmissible Approaches Toward Intellectual Property Rights. Amsterdam: Amsterdam University Press, forthcoming.

"Film History and the Two Presents of Feminist Film Theory" Cinema Journal 44. No. 1 (2004).

"First Fictions." Signs 30,  no. 1 (Winter 2005), 1293 - 1317.

"Queering Feminist Film Theory." Jump Cut no. 41 (Spring 1997).  Essay review of Chris Straayer, Deviant Eyes, Deviant Bodies.
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Columbia University School of the Arts offers MFA degrees in Film, Theatre, Visual Arts, and Writing, an MA degree in Film Studies, a joint JD/MFA degree in Theatre Management & Producing, a PhD degree in Theatre History, Literature, and Theory, and an interdisciplinary program in Sound Arts.