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Stephen R. Prince Professor Department of Communication Studies Virginia Polytechnic Institute and State University Blacksburg, VA 24061-0311 sprince@vt.edu (540) 231-5044
Past President, Society for Cinema and Media Studies 2007-2008 University of Oklahoma (405) 325-8075
Books: Prince, Stephen, ed. Screen Decades: the 1980s (Rutgers University Press, 2007).
Prince, Stephen, Movies and Meaning: An Introduction to Film, Fourth Edition (Needham, MA: Allyn & Bacon, 2007, published April 2006) Third Edition, 2004 Second Edition, 2001 First Edition, 1997
Prince, Stephen, ed., The Horror Film (Rutgers University Press, 2004).
Prince, Stephen, Classical Film Violence: Designing and Regulating Brutality in Hollywood Cinema, 1930-1968 (Rutgers University Press, July 2003).
Prince, Stephen, ed., Screening Violence. New Jersey: Rutgers University Press, 2000.
Prince, Stephen. A New Pot of Gold: Hollywood Under the Electronic Rainbow, 1980-1989. New York: Scribner’s, 2000. Paperback edition, University of California Press, 2002
Prince, Stephen. The Warrior’s Camera: The Cinema of Akira Kurosawa, revised and expanded edition. Princeton, NJ: Princeton University Press, 1999. Chinese language edition. Variety Publishing/Bardon Chinese Media Agency, 1995. Original edition, Princeton University Press, 1991.
Prince, Stephen, ed. Sam Peckinpah’s The Wild Bunch. New York: Cambridge University Press, 1999.
Prince, Stephen, Savage Cinema: Sam Peckinpah and the Rise of Ultraviolent Movies Austin: University of Texas Press, 1998.
Prince, Stephen, Visions of Empire: Political Imagery in Contemporary Hollywood Film. New York: Praeger, 1992.
Articles:
Prince, Stephen, “Beholding Blood Sacrifice in The Passion of the Christ: How Real is Movie Violence?”, Film Quarterly (summer 2007)
Prince, Stephen, “The Emergence of Filmic Artifacts: Cinema and Cinematography in the 21st Century,” Film Quarterly 57, no. 3 (Spring 2004), pp. 24-33.
Prince, Stephen, “Why Do Film Scholars Ignore Movie Violence?”, Chronicle of Higher Education August 10, 2001, p. B18-B19.
Prince, Stephen, "True Lies: Perceptual Realism, Digital Images and Film Theory," Film Quarterly 49:3 (Spring, 1996), pp. 27-37.
Prince, Stephen, "Historical Perspective and the Realist Aesthetic in High Noon," Film Criticism (Spring-Fall, 1994): 59-71.
Prince, Stephen, "Contemporary Directions in Film Theory: An Introduction," Post Script 13:1 (Fall, 1993): 3-9. Published Spring 1994.
Prince, Stephen, "The Discourse of Pictures: Iconicity and Film Studies," Film Quarterly 47, no. 1 (Fall 1993), pp. 16-28.
Prince, Stephen and Wayne E. Hensley, "The Kuleshov Effect: Recreating the Classic Experiment" Cinema Journal 31, no. 2, Winter 1992, pp. 59-75.
Prince, Stephen, "Memory & Nostalgia in Kurosawa's Dream World," Post Script: Essays on Film and the Humanities special issue on contemporary Japanese cinema, 11, no. 1, Fall 1991 (published Spring 1992), pp. 28-39.
Prince, Stephen, "Power and Pain: Content Analysis and the Ideology of Pornography," Journal of Film and Video 42, No. 2, Summer 1990, pp. 31-41.
Prince, Stephen, "Politics and the Linguistic Sign: V.N. Volosinov's Philosophy of Language," Critical Review 3, No. 3/4, Summer/Fall 1989, pp. 568-578.
Prince, Stephen, "Toward a Social Theory of the Horror Film," Wide Angle, 10, No. 3, July 1988, pp. 19-29.
Prince, Stephen, "TOM HORN: Dialectics of Power and Violence in the Old West," The Journal of Popular Culture, Winter 1988, pp. 119-129.
Prince, Stephen, "The Pornographic Image and the Practice of Film Theory," Cinema Journal, 27, No. 2, Winter 1988, pp. 27-39.
Prince, Stephen, "Patterns of Eastern Thought in Kurosawa's Films," Post-Script, 7, No. 2, Winter 1988, pp. 4-17.
Prince, Stephen, "Dialogue: Linda Williams & Stephen Prince on Film Pornography," Cinema Journal, 27, No. 3, Spring 1988, pp. 50-54.
Book Chapters:
Prince, Stephen, “Hollywood in the Age of Reagan” in Contemporary American Cinema, eds. Linda Ruth Williams and Michael Hammond (Berskshire, England: McGraw-Hill, 2006), pp. 229-245.
Prince, Stephen, “The End of Digital Special Effects,” Digital Media: Transformations in Human Communication, ed. Paul Messaris and Lee Humphreys (New York: Peter Lang, 2006), pp. 29-37.
Prince, Stephen, “Violence and Psychophysiology in Horror Cinema,” in Freud’s Worst Nightmares: Psychoanalysis and the Horror Film, ed. Steven J. Schneider (Cambridge University Press, 2004), pp. 241-256.
Prince, Stephen, “The Horror Film: An Introduction,” in The Horror Film, ed. Stephen Prince (New Brunswick, NJ: Rutgers University Press, 2004).
Prince, Stephen, “Graphic Violence in the Cinema: Origins, Aesthetic Design and Social Effects,” in Screening Violence, ed. Stephen Prince (New Brunswick, NJ: Rutgers University Press, 2000), pp. 1-44.
Prince, Stephen, “Political Film in the Nineties,” in Film Genre 2000, ed. Wheeler Winston Dixon (New York: SUNY Press, 2000), pp. 63-75.
Prince, Stephen, “Bonnie and Clyde’s Legacy of Cinematic Violence,” in Arthur Penn's Bonnie and Clyde, ed. Lester Friedman (New York: Cambridge University Press, 2000).
Prince, Stephen, “Sam Peckinpah: Savage Poet of American Cinema,” in Sam Peckinpah’s ‘The Wild Bunch’ (New York: Cambridge University Press, 1999), pp. 1-36.
Prince, Stephen, “’Do You Understand?’: History and Memory in Julia,” in The Films of Fred Zinnemann, ed. Arthur Nolletti (Syracuse, NY: SUNY University Press, 1999), pp. 187-198.
Prince, Stephen, "Psychoanalytic Film Theory and the Problem of the Missing Spectator" in Post-Theory: Reconstructing Film Studies, eds. David Bordwell and Noel Carroll (Madison: University of Wisconsin Press, 1996), pp. 71-86.
Prince, Stephen, "Smart Bombs and Celluloid Heroes: Hollywood at War in the Middle East" in The Media and the Persian Gulf War, ed. Robert E. Denton, Jr. New York: Praeger, 1993, pp. 235-256.
Book Reviews:
Review of Contemporary Independent Film, ed., Chris Holmlund and Justin Wyatt, Routledge, 2004), forthcoming in Quarterly Review of Film and Video
Review of Live Fast, Die Young: The Wild Ride of Making ‘Rebel Without a Cause’, Lawrence Frascella and Al Weisel (New York: Touchstone, 2005), forthcoming in Quarterly Review of Film and Video
Review of Special Effects: An Oral History by Pascal Pinteau (NY: Abrams, 2004) in Film Quarterly 59, no. 1 (Fall 2005), pp. 75-76
Review of Sam Peckinpah’s West: New Perspectives in Film Quarterly (forthcoming)
Review of Ambient Television in Quarterly Review of Film and Video 20 (2003), pp. 68-72.
Review of The Big Tomorrow in Business History Review 75, no. 1 (Spring 2001),pp. 217-220.
Review of Steadicam: Techniques and Aesthetics in Film Quarterly 55, no. 1 (Fall 2001), pp. 69-70.
Review of Overhearing Film Dialogue in Film Quarterly 54, no. 4 (Summer 2001), pp. 59-61.
Review of Men Viewing Violence by Stirling Media Research Institute (London: Broadcasting Standards Commission, 1998) in Men and Masculinities 2, no. 4 (April 2000), pp. 474-476
Review of Robert Burgoyne, Film Nation: Hollywood Looks at U.S. History in Film Quarterly 53, no. 2 (Winter 1999-2000), pp. 58.
Review of James M. Reilly, Storage Guide for Color Photographic Materials in Film Quarterly 52, no. 3 (Spring, 1999), pp. 62-63.
Review of Charles Tashiro, Pretty Pictures: Production Design and the History Film in Film Quarterly 52, no. 2 (Winter1998-99), pp. 54-55.
Review of Noel Carroll, Theorizing the Moving Image in Film Quarterly 52, no. 2 (Winter1998-99), pp 60-61.
Review of Tony Williams, Larry Cohen: The Radical Allegories of an Independent Filmmaker in Film Quarterly 52, no. 2 (Winter1998-99), p 61.
Review of Jon Lewis, Whom God Wishes to Destroy...Francis Coppola and the New Hollywood in Film Quarterly 50, no. 2 (Winter 1997), p. 61.
Review of Ronald Davis, John Ford: Hollywood’s Old Master in Film Quarterly 50, no. 2 (Winter 1997), p. 62.
Review of Sidney Lumet, Making Movies in Film Quarterly 50, no. 2 (Winter 1997), p. 63.
Review of Ed S. Tan, Emotion and the Structure of Narrative Film in Film Quarterly 51, no. 1 (Fall 1997), p. 45.
Review of Gregory Currie, Image and Mind: Film, Philosophy and Cognitive Science in Film Quarterly 51, no. 1 (Fall 1997), p. 50.
Review of Carole Zucker, Figures of Light: Actors and Directors Illuminate the Art of Film Acting in Film Quarterly 50, no. 1 (Fall 1996), p. 49.
Review of Justin Wyatt, High Concept: Movies and Marketing in the New Hollywood in Film Quarterly 49, no. 3 (Spring 1996), p. 53.
Review of Ian Cameron, The Book of Film Noir in Film Quarterly 49, no. 1 (Fall 1995), p. 63.
Re-Prints:
Prince, Stephen, “The Emergence of Filmic Artifacts: Cinema and Cinematography in the Digital Era” in Annual Editions: Film 07/08 (Dubuque, IA: McGraw-Hill, 2006), pp. 7-13.
Prince, Stephen, “Dread, Taboo and The Thing: Toward a Social Theory of the Horror Film,” in The Horror Film, ed. Stephen Prince (New Jersey: Rutgers University Press, 2004), pp. 118-130.
Prince, Stephen, “True Lies: Perceptual Realism, Digital Images and Film Theory” in Film Theory and Criticism, Leo Braudy and Marshall Cohen, eds., Sixth Edition (New York: Oxford University Press, 2004).
Stephen Prince, “True Lies: Perceptual Realism, Digital Images and Film Theory” in The Film Cultures Reader ed. Graeme Turner (Routledge, 2002), pp. 115-128.
Prince, Stephen, “Peckinpah and the 1960s” (Dutch translation) in AS/Andere Sinema Mediatuschrift no. 155 (July-September, 2000), pp. 54-82.
Prince, Stephen, “Historical Perspective and the Realist Aesthetic in High Noon,” in The Films of Fred Zinnemann, ed. Arthur Nolletti (Syracuse, NY: SUNY University Press, 1999), pp. 79-92.
Prince, Stephen, “The Discourse of Pictures: Iconicity and Film Studies,” in Film Theory and Criticism, ed. Gerald Mast, Marshall Cohen, Leo Braudy (New York: Oxford University Press, 1999), pp. 99-117.
Prince, Stephen, “True Lies: Perceptual Realism and Unreal Images” in Film Quarterly 40 Years Later -- A Celebration (Berkeley: University of California Press, 1999), pp 392-411.
Prince, Stephen. “Zen and Selfhood: Patterns of Eastern Thought in Kurosawa's Films” in James Goodwin, ed., Perspectives on Akira Kurosawa (New York: G.K. Hall, 1994), pp. 225-235.
Prince, Stephen. “The Heroic Mode of Kurosawa's Cinema” in James Goodwin, ed., Perspectives on Akira Kurosawa (New York: G.K. Hall, 1994), pp. 251-261.
Encyclopedia Entries:
Prince, Stephen, “Editing” in THE SCHIRMER ENCYCLOPEDIA OF FILM, ed. Barry Keith Grant (New York: Schirmer Books, 2006), pp. 117-125
Prince, Stephen, “Ride the High Country” in Understanding Film Genres, ed. Tom Pendergast and Steven Schneider (New York: McGraw-Hill, forthcoming).
Prince, Stephen, “Film and Ideology” in The Encyclopedia of Aesthetics, Vol. 2 (New York: Oxford University Press, 1998), Michael Kelly ed., pp. 204- 206.
Proceedings:
Prince, Stephen, "Are There Bolsheviks in Your Breakfast Cereal?", Communication & Culture: Language, Performance, Technology & Media, ed. Sari Thomas & William A. Evans, Norwood, NJ: Ablex, 1990, pp. 180-184.
Prince, Stephen, "The Question of a Sexuality of Abuse in Pornographic Films," Communication & Culture: Language, Performance, Technology & Media, ed. Sari Thomas & William A. Evans, Norwood, NJ: Ablex, 1990, pp. 281-284.
INVITED LECTURES:
“Goodness of Fit: Navigating 2D and 3D Perspectives in Cinema,” University of Copenhagen, November 2006.
“Cinema and Cinematography in the 21st Century,” University of Copenhagen, November 2006.
“Cinema and Cinematography in the 21st Century,” Aarhus University, November 2006.
“Guns and Cameras: From the PCA to ‘The Passion of the Christ’,” University of Copenhagen, November 2006.
“A Half Century of Filmmaking: Kurosawa and World Cinema,” University of Copenhagen, November 2006.
“Guns and Cameras: Film Violence from the PCA to ‘The Passion of the Christ’”, University of Oklahoma, January 2006.
“Guns and Cameras: Film Violence from the PCA to ‘The Passion of the Christ’”, Vanderbilt University, October 2005.
“Guns and Cameras: Film Violence from the PCA to ‘The Passion of the Christ’”, University of Arizona, April 2005.
“Guns and Cameras: Film Violence from the PCA to ‘The Passion of the Christ’”, Arizona State University, April 2005.
“Cinema and Cinematography in the 21st Century,” University of Oklahoma, October 2003.
“American Film at the Turn of the New Century,” Middlebury College, September 2002.
“The Golden Age of Film: Akira Kurosawa,” Collegiate Women’s Association of Japan, Tokyo American Club, Tokyo, Japan, Feb. 27, 2002.
“Aesthetics of Violence in Hollywood Film,” George Gerbner Lecture, Annenberg School for Communication, University of Pennsylvania, March 21, 2002.
“The Film Legacy of Akira Kurosawa,” Cleveland Museum of Art, Cleveland, Ohio, Sept. 21, 2001.
“The Legacy of Akira Kurosawa Outside Japan,” Simon Fraser University, Vancouver, British Columbia, Oct. 14, 2000.
“Favorite Films: The Umbrellas of Cherbourg”, Hollins University, July 2000.
CONFERENCE PRESENTATIONS:
“Realism, Truth and Style in the Work of Sidney Lumet,” Society for Cinema and Media Studies Conference, Chicago, 2007.
“Film Violence as Style and Index,” Society for Cinema and Media Studies Conference, London, 2005.
“How Real is Movie Violence? Viewer Responses from the Production Code Administration to The Passion of the Christ,” Narration, Imagination and Emotion in the Moving Image (Conference of the Center for Cognitive Studies of the Moving Image), Calvin College, July 22-24, 2004.
“Do Film Scholars Ignore Movie Violence” Workshop, participant, Society for Cinema Studies Conference, Denver, 2002.
“Film and Censorship: Regulating Screen Violence in the Age of Terrorism” Workshop, participant, Society for Cinema Studies Conference, Denver, 2002.
“Peckinpah and After: Modern and Postmodern Approaches to Cinema Violence,” Society For Cinema Studies Conference, Washington D.C., 2001.
“Graphic Screen Violence: Problems of Visual Rhetoric, Aesthetic Pleasure, and Viewer Response,” International Communication Association Conference, Acapulco, Mexico, June 2000.
Workshop, “Teaching Film Studies in the Neoconservative University,” Society for Cinema Studies Conference, Chicago, 2000.
Workshop, “New Directors, New Directions,” Society for Cinema Studies Conference, Chicago, 2000.
“Film Structure and Viewer Assessments of Screen Violence,” Film, Mind, and Viewer Symposium, University of Copenhagen, Denmark, May, 1999.
Workshop: “Pluralism and Method in Film Studies,” Society for Cinema Studies Conference, West Palm Beach, 1999.
“From Cinema to Software: Hollywood in the 1980s,” Society for Cinema Studies Conference, West Palm Beach, 1999.
“American Film in the 1980s: A Decade of Transformation”, invited lecture, Hollins University, November 1997
“Bonnie and Clyde’s Legacy of Cinematic Violence,” Society for Cinema Studies Conference, Montreal, 1997.
“Cinematic Transformations of Basic Perceptual Experience,” Institute for Cognitive Studies in Film and Video Annual Conference, University of Kansas, Lawrence KS, March 1997
“No, Not Yet! Cinema and Personal Survival in Kurosawa’s Recent Films,” Conference on Japanese Literature and Cinema, Dartmouth College, November 1997
"Ultraviolence, Natural Born Killers and Sam Peckinpah," Society for Cinema Studies Conference, Dallas, 1996.
"Perceptual Realism and Unreal Images," Society for Cinema Studies Conference, New York City, 1995.
"Violence and Melancholy in Peckinpah's Films," Society for Cinema Studies Conference, Syracuse, 1994.
“Film vs. Video: What Happens When Motion Pictures are Transferred to Videotape,” Virginia Tech International Club, January 1993
“Akira Kurosawa’s Films,” Virginia Tech International Club, October 1993
"Smart Bombs and Celluloid Heroes: Hollywood at War in the Middle East," presented at the Society for Cinema Studies Conference, Pittsburgh, 1992.
"Visual and Cultural Constructions of the Persian Gulf War," Chair of panel, Society for Cinema Studies Conference, Pittsburgh, 1992.
"Reassessing the Kuleshov Effect: Mythological Uses of Empiricism," presented at the Speech Communication Association Convention, Atlanta, 1991.
"The Kuleshov Effect: Recreating the Classic Experiment," presented at the Fourth Annual Visual Communication Conference, Lake Tahoe, Nevada, 1990.
"Cross-Cultural Pictorial Communication: Lessons from the Japanese Cinema," presented at the Seventh International Conference on Culture and Communication, Philadelphia, PA, 1989.
"Kurosawa's Seven Samurai: Class, History and the Organic Community," presented at the National Gallery of Art, Washington, D.C., 1988.
"Japanese Filmmakers' Responses to Hollywood," presented at the Speech Communication Association conference, New Orleans, LA, 1988.
"Visual Codes: A Cross-Cultural Perspective," presented at the Eastern Communication Association conference, Baltimore, MD, 1988.
"Power, Pleasure and Pain in Pornographic Feature Films," presented at the International Communication Association conference, Montreal, Canada, 1987.
"The Pornographic Image and the Practice of Film Theory," presented at the Society for Cinema Studies conference, Montreal, Canada, 1987.
"The Question of a Sexuality of Abuse in Pornographic Films," presented at the Sixth International Conference on Culture and Communication, Philadelphia, PA, 1986.
"Are There Bolsheviks in Your Breakfast Cereal?," presented at the Sixth International Conference on Culture and Communication, Philadelphia, PA, 1986.
"Framing the Moment of Satori: Zen and the Image in Kurosawa's Films," presented at the Twelfth Annual Conference of the Mid-Hudson Modern Language Association, Poughkeepsie, NY, 1986.
"Soviet Editing Codes and American Advertising," presented at the Tenth Annual Conference of the Mid-Hudson Modern Language Association, Poughkeepsie, NY, 1984.
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