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She brings to her research and teaching in both film/visual culture and women’s studies a commitment to comparative analysis and cross-cultural dialogue. Her first book, Petrarch’s Poetics and Literary History, located Petrarch’s vernacular poetry in relation to the poetics of allegory and mimesis that it challenges. Her recent publications include Frontline Feminisms: Women, War, and Resistance, co-edited with Jennifer Rycenga (Routledge, l991), which details the work and thought of new feminisms evolving in militarized situations around the world. Authors include women activists and academics from “First,” “Second,” and “Third” world contexts. Her book Contemporary Perspectives on Federico Fellini, co-edited with Frank Burke (University of Toronto Press, 2002), examines the life work of the Italian director in relation to the contemporary critical discourses on subjectivity, gender, sexuality, representation, globalization, and mass media that his films so evocatively anticipate. She has also published articles on virtual reality, border feminism, activist video, Chicana performance art, Hungarian film, and the intertextuality of Dante and Italian film. Recent Articles:"Decolonizing the Screen: From Ladri di biciclette to Ladri di saponette" in Revisioning Italy: National Identity and Global Culture .ed. Beverly Allen and Mary Russo, U of Minnesota P, 1997. (253-74) “If
‘Reality is the Best Metaphor,’ It Must be Virtual,” diacritics,
Fall l997. (90-104) Reprinted in Addiction
and Culture. ed. Janet
Brody and Marc Redfield. U of California P (forthcoming). “Lina
Wertmüller” entry in the Feminist
Encyclopedia of Italian Literature, ed. Rinaldina
Russell, Greenwood Press, l997. (354-55) “New Media in Old
Film Cans: Maurizio Nichetti’s Multi-media Cinema,”RLA,1998.
(pp. 378-82) "Making Art,
Making Citizens: Las Comadres and Post-National Aesthetics,”co-authored
with Aida Mancillas and Ruth Wallen in With
Other Eyes: Looking at Race
and Gender in Visual Culture.ed. Lisa Bloom, U of Minnesota P, 1999.
(107-32) Trans. into Japanese,
2001. “Pocha or Porkchop?”: Introduction to and Interview with Laura Esparza”
in Latinas
on Stage: Practice and Theory. Ed
Alicia Arrizon and Lisa Bloom, University of Minnesota Press, 1999. (248-59) “Striptease: Nichetti’s
Flight from the Phallus in Volere
Volare” in La Lotta con
Proteo,
ed. Massimo Ciavolella, Florence, Italy , Cadmo,
2001 (pp. 499-512). “Back to the Future:
Dante and the Languages of
Post-war Italian Film,” in Dante,
Cinema, and Television, ed.
Amilcare Iannucci. U of Toronto P. (forthcoming, 2002, 35 pp in manuscript). “Global Feminism
and the Aesthetics of the Academy,” in Estetica
e differenze, ed. Paola Zaccaria
with a Preface by Emory Elliott.
Palomar Editrice (forthcoming, 25 pp
in manuscript) “A
Sudden Flash: Ibolya Fekete’s Bolse
vita,” in Screening the Balkans:
From East to
West and West to East,, ed.
Àine O’Healy (submitted). Grants
and Fellowships:
Dr. Waller received a Fulbright Professorship in Budapest, Hungary in 1993, and convened a resident research group, “Crossing Feminisms: Using Difference” at the University of California Humanities Research Institute in l999. In the spring quarter of 2002 she is a scholar in residence at the Center for Ideas and Society at U.C.R. Conference Organizing
Dr. Waller has served as co-organizer of two major international conferences held at U.C. Riverside. The first, Frontline Feminisms:Women, War, and Resistance,” co-organized with Dr. Piya Chatterjee in January, 1997 , brought together activists and academics from 27 countries to discuss new feminisms evolving in militarized situations around the world. The second, Sexualities and Knowledges, co-organized with Dr. Alicia Arrizon in February, 2002, brought activists and academics together to develop an understanding of how knowledge and sexuality are imbricated in the West and how sexualities and knowledges change aspect as we engage in cross-cultural dialogue. Teaching:
Dr. Waller teaches courses in the Departments of English and Women’s Studies and in the Film and Visual Culture Program. Her teaching areas include postcolonial film, gender and science fiction, gender and science, Renaissance “revolutions”, and comparative contemporary feminist discourses. |
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