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→References: A list of published essays by Frank P. Tomasulo, to comply with the notice about possible removal.
 
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'''Frank P. Tomasulo''' {{notability|date=November 2016}} is an [[United States|American]] film critic, theoretician, and historian. He received a B.A. in philosophy from [[Brooklyn College]], his M.A. in cinema studies at [[New York University]], and his Ph.D. in film and television from [[UCLA]]. He served as [[editing|editor]] of the ''[[Journal of Film and Video]]'' from 1991 to 1996 and ''[[Cinema Journal]]'' from 1997 to 2002.
{{notability|Bio|date=November 2016}}
{{COI|date=July 2017}}
}}


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'''Frank P. Tomasulo''' is an American film critic, theoretician, and historian. He received a B.A. in philosophy from [[Brooklyn College]], his M.A. in cinema studies at [[New York University]], and his Ph.D. in film and television from [[UCLA]]. He served as [[editing|editor]] of the ''[[Journal of Film and Video]]'' from 1991 to 1996 and ''[[Cinema Journal]]'' from 1997 to 2002.
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He has published widely on Hollywood and international cinema, American television, and screen acting. He has been a longtime advocate for the modernist cinema and an outspoken critic of the early movies of American [[Film director|director]] [[Steven Spielberg]]. His anthology on film performance, ''[[More than a Method]]'', was co-edited with [[Diane Carson]] and [[Cynthia Baron]].<ref>More Than a Method: Trends and Traditions in Contemporary Screen Performance, with Diane Carson and Cynthia Baron. Detroit: Wayne State University Press, 2004. Nominated for the 2005 Theatre Library Association Book Award.</ref>

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He has published widely on Hollywood and international cinema, American television, and screen acting. He has been a longtime advocate for the modernist cinema and an outspoken critic of the early movies of American [[Film director|director]] [[Steven Spielberg]]. His anthology on film performance, ''[[More than a Method]]'', was co-edited with [[Diane Carson]] and [[Cynthia Baron]].<ref>{{cite book|title=More Than a Method: Trends and Traditions in Contemporary Screen Performance |editor=Diane Carson |editor2=Cynthia Baron |location= Detroit|publisher= Wayne State University Press|date= 2004}}</ref> (Nominated for the 2005 Theatre Library Association Book Award){{citation needed|date=April 2019}} Tomasulo's book-length monograph, ''[[Michelangelo Antonioni: Ambiguity in the Modernist Cinema]]'', was published in 2019.<ref>{{cite book |title=Michelangelo Antonioni: Ambiguity in the Modernist Cinema|publisher=Lambert Academic Publishing |date=2019}}</ref>


Tomasulo has taught a wide variety of film history, theory, production, and screenwriting classes at UCLA, [[Ithaca College]], [[Cornell University]], the [[University of California–Santa Cruz]], [[Georgia State University]], [[Southern Methodist University]], and [[Florida State University]], as well as being an academic administrator. He currently teaches independent film and other cinema courses at [[The City College of New York]], [[City University of New York]] and [[Hunter College]]; television history and criticism at [[Sarah Lawrence College]]; and cinema history and genre film classes at [[Pace University]]. In addition, Tomasulo teaches on-line graduate seminars on Silent Cinema, American Film History, Italian Cinema, and other topics for [[National University (California)|National University]].
Tomasulo has taught a wide variety of film history, theory, production, and screenwriting classes at UCLA, [[Ithaca College]], [[Cornell University]], the [[University of California–Santa Cruz]], [[Georgia State University]], [[Southern Methodist University]], and [[Florida State University]], as well as being an academic administrator. He currently teaches independent film and other cinema courses at [[The City College of New York]], [[City University of New York]] and [[Hunter College]]; television history and criticism at [[Sarah Lawrence College]]; and cinema history and genre film classes at [[Pace University]]. In addition, Tomasulo teaches on-line graduate seminars on Silent Cinema, American Film History, Italian Cinema, and other topics for [[National University (California)|National University]].


In 2009, Tomasulo became the first recipient of the [[University Film and Video Association]] (UFVA) Teaching Award. He has also won a number of other pedagogical awards at Georgia State University, Ithaca College, and elsewhere. His scholarly writing has been recognized with awards from the [[Society for Cinema and Media Studies]] (SCMS), the University Film and Video Association, and Ithaca College, among other institutions and organizations. Many of his publications are available at this link: https://ccny-cuny.academia.edu/FrankPTomasulo
In 2009, Tomasulo became the first recipient of the [[University Film and Video Association]] (UFVA) Teaching Award. He has also won a number of other pedagogical awards at Georgia State University, Ithaca College, and elsewhere. His scholarly writing has been recognized with awards from the [[Society for Cinema and Media Studies]] (SCMS), the University Film and Video Association, and Ithaca College, among other institutions and organizations.


==References==
==References==
<references/>
<references/>
Film Review/Essay, "Ironwood (Shahin Izadi, 2016)," Journal of Film and Video 65.4 (Winter 2017). Accepted for publication.
Book Review/Essay, Jacques Rancière’s The Emancipated Spectator, The Projector: A Journal on Film, Media and Culture (Fall 2017): 94-98.
Book Review/Essay, Murray Pomerance’s Michelangelo Red Antonioni Blue: Eight Reflections on Cinema, Quarterly Review of Film and Video 29.5 (Winter 2012): 464-471.
DVD Review/Essay, "Identification of a Woman," Cineaste 37.2 (Spring 2012): 56-58.
"Television History and Criticism," Television Criticism and Analysis," course syllabi juried and posted to Society for Cinema and Media Studies Web site, 2012. Available at www.cmstudies.org/members/group.asp?id=59755.
Film Review/Essay, "Totó (Peter Schreiner, 2009)," Italian American Review 2.1 (Winter 2012): 62-65.
"The Intentionality of Consciousness: Subjectivity in Last Year at Marienbad," Hyperborean Wind: Reflections on Design and the City, edited by Matti Itkonen, Iris Aravot, and Paul Majkut (Finland: University of Jyväskylä Press, 2012), 307-321.
"The First Time: Breathless (1960)," Film Comment 46.4 (July-August 2010): 11.
Book Review/Essay, Howard Suber’s The Power of Film, Journal of Film and Video 61.3 (Fall 2009): 65-68.
"'Sick Eros': The Sexual Politics of Antonioni's Trilogy," Projections: The Journal for Movies and Mind 3.1 (Summer 2009): 1-23.
"Eros and Civilization: Sexuality and the Contemporary International Art Cinema," Film International 6.6 (November 2008): 28-39.
"Adaptation as Adaptation: From Susan Orlean's The Orchid Thief to Charlie Kaufman's Screenplay to Spike Jonze's Film," Authorship in Film Adaptation, edited by Jack Boozer (Austin: University of Texas Press, 2008), 173-190.
"'You CAN Play Mathematical Equations on the Violin!': Quantifying Artistic Learning Outcomes for Assessment Purposes," Journal of Film and Video 60.3-4 (Fall/Winter 2008): 115-122. Reprinted on the Society for Cinema and Media Studies Web site: http://www.cmstudies.org, 2010.
"Life Is Inconclusive: A Conversation with Michelangelo Antonioni," reprinted in Michelangelo Antonioni: Interviews, edited by Bert Cardullo (Jackson: University Press of Mississippi, 2008), 162-168.
"Japan through Others' Lenses: Hiroshima Mon Amour (1959) and Lost in Translation (2003)," Japan Studies Review 11 (2007): 143-155. Also available on the Internet at http://asianstudies.fiu.edu.
"Introduction: What Is Cinema? What Is Cinema Journal?" Cinema Journal 43.3 (Spring 2004): 119-121.
"Introduction: More than the Method; More than One Method," More Than a Method: Trends and Traditions in Contemporary Screen Performance, edited by Cynthia Baron, Diane Carson, and Frank P. Tomasulo (Detroit: Wayne State University Press, 2004), 1-19.
"'The Sounds of Silence': Modernist Screen Acting in Michelangelo Antonioni's Blow-Up (1966)," More Than a Method: Trends and Traditions in Contemporary Screen Performance, edited by Cynthia Baron, Diane Carson, and Frank P. Tomasulo (Detroit: Wayne State University Press, 2004), 94-125.
Book Review/Essay, Steve Neale's Genre and Hollywood, Quarterly Review of Film and Video 20.4 (Fall 2003): 265-271.
"Empire of the Gun: Steven Spielberg's Saving Private Ryan and American Chauvinism," The End of Cinema as We Know It: American Film in the 1990s, edited by Jon Lewis (New York: New York University Press, 2001), 115-130.
"The Gospel According to Spielberg in E.T.: The Extra-Terrestrial," Quarterly Review of Film and Video 18.3 (Spring 2001): 273-282.
"What Kind of Film History Do We Teach?: The Introductory Survey Course as a Pedagogical Opportunity," Cinema Journal 41.1 (Fall 2001): 110-114.
"Sigmund Freud," "Base and Superstructure," "Phenomenology," "Epistemology," "Ontology," "Viewer," "Fort-Da Game," Critical Dictionary of Film and Television Theory (London: Routledge, 2001), 456-463.
"Bicycle Thieves: A Re-reading," Vittorio De Sica: An Anthology of Criticism, edited by Stephen Snyder and Howard Curle (Toronto: University of Toronto Press, 2000), 160-171.
Co-author (with Peter J. Bukalski et al.), "University Film and Video Association Guidelines for M.F.A. Programs," Journal of Film and Video 52.1 (Spring 2000): 33-51.
Book Review/Essay, Peter Brunette's Michelangelo Antonioni, Journal of Film and Video 51.3-4 (Fall-Winter 1999-2000): 102-105.
"Raging Bully: Postmodern Violence and Masculinity in Raging Bull," Mythologies of Violence in Postmodern Media, edited by Christopher Sharrett (Detroit: Wayne State University Press, 1999), 175-197.
"The Mass Psychology of Fascist Cinema: Triumph of the Will," Documenting the Documentary, edited by Barry Grant and Jeannette Sloniowski (Detroit: Wayne State University Press, 1998), 99-118.
Book Review/Essay, Michael Coyne's The Crowded Prairie: American National Identity in the Hollywood Western, Men and Masculinities 6.1 (October 1998): 229-233.
"Theory to Practice: Integrating Cinema Theory and Film Production," Cinema Journal 36.3 (Spring 1997): 113-117.
"Teaching Film Production and Cinema Studies," Cinema Journal 36.3 (Spring 1997): 106-107.
"Film Pedagogy: Classroom Strategies for Film/Media," Cinema Journal 36.2 (Winter 1997): 100-101.
"Narrate and Describe? Point of View and Narrative Voice in Citizen Kane's Thatcher Sequence," Perspectives on "Citizen Kane", edited by Ronald Gottesman (New York: G. K. Hall, 1996), 504-517.
"Masculine/Feminine: The 'New Masculinity' in Tootsie (1982)," The Velvet Light Trap 38 (Fall 1996): 4-13.
Book Review/Essay, Michelangelo Antonioni's The Architecture of Vision: Writings and Interviews on Cinema, Journal of Film and Video 48.4 (Winter 1996-97): 54-56.
"'I'll See It When I Believe It': Rodney King and the Prison-House of Video," The Persistence of History: Cinema, Television, and the Modern Event, edited by Vivian Sobchack (New York and London: Routledge, 1996), 69-88.
"Italian Americans in the Hollywood Cinema: Filmmakers, Characters, Audiences," Voices in Italian Americana 7.1 (Spring 1996): 65-77.
"The Maltese Phallcon: The Oedipal Trajectory of Classical Hollywood Cinema," Authority and Transgression in Literature and Film, edited by Bonnie and Hans Braendlin (Gainsville: University Press of Florida, 1996), 78-88.
"Resources for Teaching Film and Video Courses," Cinema Journal 34.4 (Summer 1995): 71-72. Also reprinted electronically on the Society for Cinema and Media Studies Web site: www.cmstudies.org, 2005.
"Teaching the Introductory Cinema Studies Course: Some Strategies and Resources," Cinema Journal 34.4 (Summer 1995): 72-78. Also reprinted electronically on the Society for Cinema and Media Studies Web site: www.cmstudies.org, 2006.
Book Review/Essay, Susan Jeffords's Hard Bodies: Hollywood Masculinity in the Reagan Era, Film Quarterly 49.1 (Fall 1995): 47-49.
"Injustice For All: The Politics of Creativity in the Commercial Hollywood Cinema," Creative Screenwriting 2 (Spring 1995): 53-68. (Also reprinted electronically on the Internet.)
Book Review/Essay, William J. Palmer's The Films of the Eighties: A Social History, The Hitchcock Annual (Fall 1994): 183-194.
"The Architectonics of Alienation: Antonioni's Edifice Complex," Wide Angle 15 (Summer 1993): 3-21.
"Annie Hall and Feminism: A Study in Ambivalence," Women and Society, edited by Sue Lawrence (Poughkeepsie, N.Y.: Marist College Press, 1992), 34-48.
"The Politics of Ambivalence: Apocalypse Now as Prowar and Antiwar Film," From Hanoi to Hollywood: The Vietnam War in American Film, edited by Linda Dittmar and Gene Michaud (New Brunswick, N.J.: Rutgers University Press, 1991), 145-158.
"Phenomenology: Philosophy and Media Theory--An Introduction," Quarterly Review of Film and Video 13 (Summer 1990): 163-170.
"Selected Bibliography: Phenomenology and Film," Quarterly Review of Film and Video 13 (Summer 1990): 261-263.
"Colonel North Goes to Washington: Observations on the Intertextual Re-Presentation of History," Journal of Popular Film and Television 17 (Summer 1989): 82-88.
"The Intentionality of Consciousness: Subjectivity in Last Year at Marienbad," Post Script 7 (Winter 1988): 58-71.
"The Text-in-the-Spectator: The Role of Phenomenology in an Eclectic Theoretical Methodology," Journal of Film and Video 40 (Summer 1988): 20-32.
"Georges Méliès: Proto-Surrealist," The Michigan Academician 20 (Spring 1988): 234-250.
Book Review/Essay, Edward Branigan's Point of View in the Cinema, The Journal of Aesthetics and Art Criticism 45 (Spring 1987): 309-312.
"Narrate and Describe?: Point of View and Narrative Voice in Citizen Kane's Thatcher Sequence," Wide Angle 8 (1986): 45-52.
"Television and the Spectator-in-the-Tube," Media Today, edited by Donald F. Ungurait, Thomas W. Bohn, and Ray Eldon Hiebert (New York: Longman, 1985), 142-147.
"Life Is Inconclusive: A Conversation with Michelangelo Antonioni," On Film 13 (Fall 1984): 61-64.
"The Spectator-in-the-Tube: The Rhetoric of Donahue," Journal of Film and Video 36 (Spring 1984): 5-12.
"The Rhetoric of Anti-Closure: Michelangelo Antonioni and the Open Ending," 1983 Purdue Film Studies Annual, 133-139.
"The Cabinet of Dr. Caligari: History/Psychoanalysis/Cinema," On Film 11 (Summer 1983): 2-7.
"Bicycle Thieves: A Re-reading," Cinema Journal 21 (Spring 1982): 2-13.
"Mr. Jones Goes to Washington: Myth and Religion in Raiders of the Lost Ark," Quarterly Review of Film Studies 7 (Fall 1982): 331-340.
"Bicycle Thieves: Style and Ideology," 1982 Purdue Film Studies Annual, 139-144.
Book Review/Essay, Seymour Chatman's Story and Discourse: Narrative Structure in Fiction and Film, Journal of the University Film Association 22 (Fall 1980): 71-74.
"Psychoanalysis and Cinema?" On Film 10 (1980): 11-14. Translation of a Pascal Bonitzer article in Ca Cinéma.


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[[Category:American film critics]]
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[[Category:Lafayette High School (New York City) alumni]]
[[Category:Tisch School of the Arts alumni]]
[[Category:Tisch School of the Arts alumni]]
[[Category:UCLA Film School alumni]]
[[Category:UCLA Film School alumni]]
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Latest revision as of 20:36, 1 September 2021

Frank P. Tomasulo is an American film critic, theoretician, and historian. He received a B.A. in philosophy from Brooklyn College, his M.A. in cinema studies at New York University, and his Ph.D. in film and television from UCLA. He served as editor of the Journal of Film and Video from 1991 to 1996 and Cinema Journal from 1997 to 2002.

He has published widely on Hollywood and international cinema, American television, and screen acting. He has been a longtime advocate for the modernist cinema and an outspoken critic of the early movies of American director Steven Spielberg. His anthology on film performance, More than a Method, was co-edited with Diane Carson and Cynthia Baron.[1] (Nominated for the 2005 Theatre Library Association Book Award)[citation needed] Tomasulo's book-length monograph, Michelangelo Antonioni: Ambiguity in the Modernist Cinema, was published in 2019.[2]

Tomasulo has taught a wide variety of film history, theory, production, and screenwriting classes at UCLA, Ithaca College, Cornell University, the University of California–Santa Cruz, Georgia State University, Southern Methodist University, and Florida State University, as well as being an academic administrator. He currently teaches independent film and other cinema courses at The City College of New York, City University of New York and Hunter College; television history and criticism at Sarah Lawrence College; and cinema history and genre film classes at Pace University. In addition, Tomasulo teaches on-line graduate seminars on Silent Cinema, American Film History, Italian Cinema, and other topics for National University.

In 2009, Tomasulo became the first recipient of the University Film and Video Association (UFVA) Teaching Award. He has also won a number of other pedagogical awards at Georgia State University, Ithaca College, and elsewhere. His scholarly writing has been recognized with awards from the Society for Cinema and Media Studies (SCMS), the University Film and Video Association, and Ithaca College, among other institutions and organizations.

References

[edit]
  1. ^ Diane Carson; Cynthia Baron, eds. (2004). More Than a Method: Trends and Traditions in Contemporary Screen Performance. Detroit: Wayne State University Press.
  2. ^ Michelangelo Antonioni: Ambiguity in the Modernist Cinema. Lambert Academic Publishing. 2019.
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