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Joel Neville Anderson

Publications and Presentations

  • “(Community) Video Art: DCTV’s Expanded Documentary Practice.” Millennium Film Journal 65 (Spring 2017).
  • “Unpaid R&D: Community Media and TV Documentary,” Visible Evidence XXIV, Alianza Francesa and Borges Cultural Center, Buenos Aires, August 2-6, 2017.
  • “Let’s Use the Art Strike to Hold Cultural Institutions Accountable.” Hyperallergic. January 19, 2017.
  • “Narcissism and Community Video,” 4th International Association for Visual Culture Biennial Conference, Boston University, September 29-October 1, 2016.
  • “Visual Practices of Exposure Post-3/11,” [image here] Film and Visual Studies Conference and Exhibition, Harvard University Carpenter Center for the Visual Arts, April 7-10, 2016.
  • “Circuits of Performance and Engagement: Public Access Video Art and Community Video,” Panel: “Identity and Experimentation in the Public Sphere: 1970s Transnational Asian/Middle Eastern Film/Video,” Co-chair (with Jun Okada), Society for Cinema and Media Studies (SCMS), March 30-April 3, 2016.
  • “Cinema in reconstruction: Japan's post-3.11 documentary.” In Film on the Faultline, edited by Alan Wright. Chicago: University of Chicago Press, 2015. 
  • “Mitsuo Yanagimachi: Currents of dissent and modes of social critique.” In Directory of World Cinema: Japan 3, edited by John Berra. Chicago: University of Chicago Press, 2015.
  • “The national body and cinema’s prosthesis: disability and affective production in Hara Kazuo’s documentary encounters,” University of Rochester Disability Studies Cluster Symposium Complicating Normalcy: Disability, Technology, and Society in the Twenty-First Century, November 14, 2014.
  • “Playing radical: revolutionary aspiration in the loose realisms of epic docudrama,” Society for Cinema and Media Studies (SCMS), March 19-23, 2014.
  • Essays in editorial blog. InVisible Culture: An Electronic Journal for Visual Culture (IVC), 2013-present.
  • Profile of Hal Hartley, reviews of The Indian Runner (1991), Laws of Gravity (1992), The Limits of Control (2009). In Directory of World Cinema: American Independent 2, edited by John Berra. Chicago: University of Chicago Press, 2013. 
  • Festival Focus: JAPAN CUTS, reviews of The Blood of Rebirth (2009), Blue Spring (2001), Merry Christmas, Mr. Lawrence (1983), The Munekata Sisters (1950). In Directory of World Cinema: Japan 2, edited by John Berra. Chicago: University of Chicago Press, 2012. 

Teaching/Curatorial Experience

  • “Women’s Personal Cinema,” University of Rochester, Fall 2015
  • Programmer, JAPAN CUTS: Festival of New Japanese Film, Japan Society, New York, NY, 2014-present
  • “On Film” Co-programmer, Rochester’s thematic avant-garde film series, 2012-present
  • Teaching Assistant, University of Rochester, 2012-2016
  • Educator, Museum of the Moving Image, 2010-2012
  • Teaching Assistant, Jacob Burns Film Center, 2009-2011
  • Instructor, Summer Media Intensive, DCTV Professional Youth Media Training, 2009
  • Writing and Film Studies Tutor, Purchase College Learning Center, 2007-2009
  • Teaching Assistant, Purchase College, 2006-2009

Fellowships, Grants and Awards

  • Dean’s Dissertation Fellowship, University of Rochester, 2017-2018
  • Alternative Careers/Archival Research Fellowship, University of Rochester, 2016-2017
  • Celeste Heughes Bishop Award for Distinction in Graduate Studies, University of Rochester, 2015
  • The Susan B. Anthony Institute for Gender and Women's Studies Teaching Fellowship, University of Rochester, Fall 2015
  • Robert Flaherty Film Seminar Fellow, 2013
  • Vice Provost and University Dean of Graduate Studies Travel Grant, University of Rochester, 2013
  • University of Rochester Graduate Research Showcase Award for “Cinema in reconstruction: Japan's post-3.11 documentary,” 2013
  • President’s Award for Achievement in Purchase College Conservatory of Theatre Arts & Film, 2009