James Naremore
Chancellors’ Professor Emeritus
Media School, English, and Comparative Literature, Indiana University
     Home address: 2304 E. Rechter Rd., Bloomington, IN 47401
Tel.: 812-333-5757 (home)

University of Wisconsin, 1970: Ph.D. (English, with minor in Comparative Literature)
University of London Intramural Studies, 1963: (English)
Louisiana State University, 1963 1965: B.A. (English and French), M.A. (English)

Teaching Positions:
Indiana University: Chancellors’ Professor (Communication and Culture and English)
1998-2007; Chancellors’ Professor (English and Comparative Literature)

1994- 2007; Professor (English and Comparative Literature)

1977-94; Director of Film Studies 1976 77, 1979 80, 1982 83, 1986-94; Associate Professor (English)
1973 77; Assistant Professor (English) 1970 73.
University of Hamburg, Germany: Guest Professor (English) 1980 81.
University of Chicago: Guest Professor (Cinema and Media Studies), winter 2001, spring 2007, spring 2012.
School of the Art Institute, Chicago: Guest Professor (Cinema), fall 2010.
UCLA: Guest Professor (Cinema and Media Studies), spring 2013

Awards and Distinctions:
Jim Welsh Award for Excellence in Adaptation Studies. Film/Literature Association, 2017.
President’s Award for Service, Achievement, and Leadership, Indiana University.
Motion Picture Academy of Arts and Sciences Scholar’s Award, 2014.
On Kubrick short-listed for the Kraszna-Krausz Moving-Image Book Award, 2008.
Humanities Initiative Fellowship, Indiana University, Fall 2003.
More Than Night: Film Noir in Its Contexts awarded the International Kraszna-Krausz Moving-Image Book Award, 2000.
More Than Night: Film Noir in Its Contexts awarded a commendation from the Kovacs book prize committee, Society for Cinema Studies, 2000.
Department of Communication and Culture Teaching Excellence Recognition Award, 1999-2000.
English Department Teaching Excellence Recognition Award, 1996-97.
Guggenheim Fellowship, 1995-96.
Alisa Mellon Bruce Senior Research Fellowship, Center for Advanced Study in the Visual Arts, National Gallery of Art, 1994-95.
Tracy M. Sonneborn Prize for Distinguished Teaching and Research, Indiana University, 1994-95.
Faculty Seminar on Cultural Studies, Indiana University Multi Disciplinary Ventures Fund, 1990 91.
Indiana Committee for the Humanities Grant, 1988.
Contemporary Authors, 1985, Who’s Who, 1994.

A Nickel for the Movies winner of a “Cindy” award from the Society of Visual Communication, Los Angeles, 1985; exhibited at the American Film Festival, New York, N.Y., 1984.
Lilly Open Fellowship, Lilly Endowment, 1983 84.
National Endowment for the Humanities Summer Fellowship, 1977.
Indiana University Summer Faculty Fellowships, 1976, 1982, 1986, 1994.
The Magic World of Orson Welles a main selection of the Cinema Book Club, 1978.
Albert Markham Fellowship, University of Wisconsin 1972-73.


Charles Burnett: A Cinema of Symbolic Knowledge (Berkeley: University of California Press, 2017)
An Invention without a Future: Essays on Cinema (Berkeley: University of California Press, 2014).
Sweet Smell of Success (London: British Film Institute, 2010).
On Kubrick (London: British Film Institute, 2007). Italian translation by Carla Capetta (Edizioni Kaplan, Turin, 2010). Russian translation (Rosebud Publishing, Moscow, 2011). Chinese translation by Xu Zhanxiong (Peking University Press, forthcoming). Korean translation (CultureLook Publishing, Seoul, 2016).
More than Night: Film Noir in Its Contexts (Berkeley: University of California Press, 1998, revised edition, 2008). Chinese translation by Xu Zhanxiong (Guanxi Normal University Press, 2009).
The Films of Vincente Minnelli (New York: Cambridge University Press, 1993).
Acting in the Cinema (Berkeley: University of California Press, 1988). French translation by Christian Viviani (University Press of Rennes, 2014). Chinese translation by Xu Zhanxiong (Peking University Press, 2018).
The Magic World of Orson Welles (New York: Oxford University Press, 1978). Revised edition (Dallas: Southern Methodist University Press, 1989). Centennial edition (Champaign: University of Illinois Press, 2015). Finnish translation by Antti Alanen (Helsinki: Valtion, 1987); Italian translation by Daniela Fink (Venice: Marsillo Editori, 1993).
Filmguide to Psycho (Bloomington: Indiana University Press, 1973).
The World without a Self: Virginia Woolf and the Novel (New Haven: Yale University Press, 1973).

Edited Books:
Orson Welles’s Citizen Kane: A Casebook (New York: Oxford University Press, 2004).
Series Editor, Contemporary Film Directors, thirty-three volumes (Champaign: University of Illinois Press, 2003-13).
Film Adaptation (New Brunswick: Rutgers University Press, 2000).
North by Northwest (New Brunswick: Rutgers University Press, 1993).
Co-editor, with Patrick Brantlinger, Modernity and Mass Culture, (Bloomington: Indiana University Press, 1991).
The Treasure of the Sierra Madre, screenplay by John Huston (Madison: University of Wisconsin Press, 1979).

DVD Commentaries and essays:
Chimes at Midnight, Criterion, 2016 (audio commentary).
Foreign Correspondent, Criterion, 2014 (essay).
Fear and Desire. Masters of Cinema, UK, 2012 (essay).
Sweet Smell of Success, Criterion, 2011 (audio commentary).
Paths of Glory. Criterion, 2011 (essay).
Touch of Evil, Universal Pictures 50th Anniversary Edition, 2008 (audio commentary with Jonathan Rosenbaum).
The Complete Mr. Arkadin, Criterion Edition, 2006 (audio commentary, with Jonathan Rosenbaum).

Articles, book chapters:
“Foreword,” Orson Welles in Focus, ed. James N. Gilmore and Sidney Gottlieb
(Bloomington: Indiana University Press, 2018).
“Minnelli, the Aesthete in the Factory,” Dutch trans. by Elias Grootars and Sis Matthe, Sabzian,
“Charles Burnett: A Cinema of Symbolic Knowledge,” Cineaste (Vol XLII, no. 3): 20-23.
“Two Screenplays by Charles Burnett: Bless Their Little Hearts (1984) and Man in a Basket (2003),” Black Camera (Vol 8, no. 2, Spring 2017): 7-24.
“Notes on Comedy and Humor in Charles Burnett,” Charles Burnett, A Troublesome Filmmaker, ed. Maria Migues and Victor Paz (Galicia, Spain: Play-doc Books): 108-116.
“Preface” to Le Magique et le vrai, by Christian Viviani (Paris : Rouge Profond, 2015), 9-11.
“Orson Welles: Director, Magician, Pedagogue,” New England Review (Vol. 36, No. 2, 2015).
“Orson Welles at 100,” Revista de Occidente (Madrid), trans. Hilario J. Rodriguez (April 2015).
“The Cinema According to James Agee,” New England Review (Vol. 35, No. 2, 2014), pp. 100-115 (reprinted from An Invention without a Future).
“Clara Bow in Mantrap,” Cine-Files (Vol. 6, Spring 2014). www.
“Foreword,” A Companion to Film Noir, ed. Andrew Spicer and Helen Hanson (Oxford, UK: Blackwell, 2013), xix-xx.
Writer at Large, Contributing Editor, Film Quarterly, 2007-2013.
“Film Acting and the Arts of Imitation,” Film Quarterly (Summer 2012), 34-42. Spanish translation by Paula Saiz Hontangas, L’Atalante, Revista de Estudios
Cinematograficos (Vol.19, January-June 2015). (Madrid, 2014).
“The Magician: Orson Welles and Film Style,” Wiley-Blackwell History of      American Film, Vol. II, 1929 to 1945, ed. Cynthia Lucia, Roy Grundmann, and Art Simon (Chichester, UK: Wiley-Blackwell, 2012), 339-57. (Reprinted from The Magic World of Orson Welles.)
“Films of the Year, 2010,” Film Quarterly (Summer 2011), pp. 34-47.
“Hearts of Darkness: Orson Welles and Joseph Conrad, True to the Spirit: Film
Adaptation and the Question of Fidelity, ed. Colin MacCabe, Kathleen Murray,
and Rick Warner (New York: Oxford University Press, 2011), 59-73.
“Charles Chaplin in The Gold Rush,” (Slovenian translation, from Acting in the Cinema), Kinoteka (2011), pp. 6-7).
“Films of the Year, 2009,” Film Quarterly (Summer 2010), pp. 18-32.
“Films of the Year, 2008,” Film Quarterly (Summer 2009), pp. 20-33.
“Jerry Lewis in The Ladies’ Man” (translated as “Jerry Lewis nell’ Idolo delle donne”), Enciclopedia delle arti contemporanee, ed. Achille Bonito Oliva (Turin, Italy: Mondadori Electa, 2010), 248-50.
“Katherine Hepburn in Holiday,” Film Theory and Criticism, Seventh Edition, ed. Leo Braudy and Marshall Cohen (New York: Oxford University Press, 2009), pp. 486-500. (Reprinted from Acting in the Cinema.)
“Films of the Year: 2007,” Film Quarterly (Summer 2008), pp. 48-61.
“Orson Welles and the Direction of Actors,” in Action!, ed. Paolo Bertetto (Fondazione Cinema per Roma, 2007), pp. 164-77. Reprinted in Caiman Cuadernos de Cine, no. 38 (May 2015), trans. Juanma Ruiz, pp. 12-20.
“Stanley Kubrick and the Aesthetics of the Grotesque,” Film Quarterly (Fall 2006),
pp. 4-14.
“Acting in the Cinema,” The Cinema Book, ed. Pam Cook (London: BFI), pp. 114-19.
“Love and Death in A.I. Artificial Intelligence,” Michigan Quarterly Review (Spring 2005), pp. 256-84.
“Citizen Kane: The Magician and the Mass Media,” in Film Analysis: A Norton Reader, ed. Jeffrey Geiger and R. L. Rutsky (New York: W. W. Norton, 2005), pp. 340-60.
“Marlon Brando in On the Waterfront,” Reprinted from Acting in the Cinema, in Hollywood: Critical Concepts in Media and Cultural Studies, ed. Thomas Schatz
(New York: Taylor and Francis, 2004), pp. 196-213.
“The Future of Academic Film Study” (with Adrian Martin), Movie Mutations: The Changing Face of World Cinephilia, ed. Jonathan Rosenbaum and Adrian Martin (London: British Film Institute, 2003), pp. 119-32.
“The Man Who Caused the Mars Panic,” Humanities: The Magazine of the National Endowment for the Humanities, Vol. 24, no. 1 (July/August 2003), pp. 38-40. (Adapted from The Magic World of Orson Welles.)
“Hitchcock and Humor,” Strategies, Vol. 14, no. 1 (May 2001), pp. 13-26. Reprinted in Hitchcock: Past and Future, ed. Richard Allen (New York: Routledge, 2003). Also in Critical Concepts in Media and Cultural Studies, ed. Thomas Schatz (New York: Taylor & Francis, 2004) and Hitchcock, ed. Neil Badmington (London:
Routledge, 2014.
“An ABC of Reading Andrew Sarris,” Citizen Sarris, ed. Emmanuel Levy (Lanham, Md.: Scarecrow Press, 2001), pp. 175-84.
“Introduction,” How a Film Theory Got Lost, by Robert B. Ray (Bloomington: Indiana University Press, 2001), pp. ix-xii.
“The Death and Rebirth of Rhetoric,” Senses of Cinema (Australia), (April 2000), 8 pages.
“Il Noir” (Film noir), in Storia del cinema mondiale, Vol. II, ed. Gian Piero Brunetta (Turin, Italy: Einaudi), pp. 1213-37.
“Lo Star System dopo la seconda guerra mondiale” (The star system after the Second World War), in Stoira del cinema mondiale, Vol. II, ed. Gian Piero Brunetta (Turin, Italy: Einaudi), pp. 1157-83.
“Film and the Reign of Adaptation,” Distinguished Lecturer Series, no. 10 (Bloomington: Indiana University Institute for Advanced Study, 1999), 13 pages.

“Authorship,” in A Companion to Film Theory, ed. Toby Miller and Robert Stam (Oxford: Blackwell Publishers, 1999), pp. 9-24.
“Hitchcock at the Margins of Noir,” in Alfred Hitchcock Centenary Essays, ed. Richard Allen and S. Ishii Gonzales (London: British Film Institute Publishing, 1999), pp. 263-77.
“Remaking Psycho,” Hitchcock Annual (1999-2000), pp. 3-12.
“La Chambre de mort,” trans. Cecile Wajsbrot, Trafic (Paris), no, 27 (Fall 1998).
“American Film Noir: The History of an Idea,” Film Quarterly, 49, no.2 (Winter 1995-96), pp. 12-28. Partly reprinted in Joanne Hollows, Mark Jancovich and Peter Hutchings, eds., Film Studies: A Reader (London: Arnold, 1999).
“Straight Down the Line: Making and Remaking Double Indemnity,” Film Comment (January-February 1996), pp. 22-31.
“High Modernism and Blood Melodrama: The Case of Graham Greene,” Iris, no. 21 (Winter 1996), pp. 99-116. Hungarian translation in Apertura Magazin (Fall 2013),
“Vincente Minnelli,” The Oxford History of World Cinema, ed. Geoffrey Nowell-Smith (Oxford: Oxford Univ. Press, 1996). Also in The Film Encyclopedia, ed. James Monaco (New York: Perigrine Books, 1991), p. 379.
“The Actor as Director,” in Perspectives on Orson Welles, ed. Morris Beja (Boston: G.K. Hall, 1995), 273-80.
“Return of the Dead,” in Perspectives on John Huston, ed. Stephen Cooper (Boston: G. K. Hall, 1994), pp. 197-206.
“Spies and Lovers,” introduction to North by Northwest, (New Brunswick: Rutgers University Press, 1993), pp. 3-19.
Liner notes: “Orson Welles’ Othello,” composed by Francesco Lavagnino and Alberto Bargeris. Chicago Symphony Orchestra and Chicago Lyric Opera (Varese Sarabande CD, 1993).
“Uptown Folk: Blackness and Entertainment in Cabin in the Sky,” Arizona Quarterly (Winter 1992), pp. 99-124. Reprinted in Representing Jazz, ed. Krin Gabbard (Durham: Duke Univ. Press, 1995.) Also in Vincente Minnelli: The Art of Entertainment, ed. Joe McElhaney (Detroit: Wayne State University Press, 2009).
“The Trial: Orson Welles vs. the FBI,” Film Comment (Jan. Feb. 1991), pp. 22-27.
“Six Artistic Cultures,” introduction to Modernity and Mass Culture, co authored with Patrick Brantlinger (Bloomington: Indiana Univ. Press, 1991), pp. 1-23.
“Authorship and the Cultural Politics of Film Criticism,” Film Quarterly, 44, 1 (Fall 1990), pp. 14 23.
“Between Works and Texts: Notes from the Welles Archive,” Persistence of Vision, 7 (1989), pp. 12 23.
“Expressive Coherence and the `Acted Image,'” Studies in the Literary Imagination XIX/1 (Spring 1986), pp. 39 54. Reprinted in The Cinematic Text, ed. R. Barton Palmer (Atlanta: Georgia State University Press, 1989.)
“The Orts and Fragments in Between the Acts” (chapter 9 of The World without a Self), reprinted in Critical Essays on Virginia Woolf, ed. Morris Beja (Boston: G. K. Hall, 1985); also reprinted in Chelsea House Library of Literary Criticism: 20th Century British Literature, vol. 5 (Boston: Chelsea House, 1989).
“Film and the Performance Frame,” Film Quarterly (Winter 1984 85), pp. 8 15.
Reprinted in Star Texts, ed. Jeremy Butler (Detroit: Wayne State Univ. Press, 1991).
“Dashiell Hammett and the Poetics of Hard Boiled Fiction,” in Essays on Detective Fiction, ed. Bernard Benstock (London: Macmillan and Co., 1983; New York: St. Martin’s Press, 1984), pp. 49 72.
“Actor, Role, Star: James Cagney in Angels with Dirty Faces,” Mosaic XVI/1 2 (Winter 1983), pp. 1 17.
“True Heart Susie and the Art of Lillian Gish,” The Quarterly Review of Film Studies, vol 6, no. 1 (Winter 1981), pp. 891 104. Partly reprinted in The Stars Emerge, ed. Richard Dyer MacCann (Metuchen, N.J.: Scarecrow Press, 1992).
“Seeing and Believing,” Semiotica, 37, 3/4 (1981), pp. 361 67.
“Nature and History in The Years,” in Virginia Woolf: Revaluation and Continuity, ed. Ralph Freedman (Berkeley: University of California Press, 1979), pp. 11 28. Reprinted in Modern Critical Views: Virginia Woolf, ed. Harold Bloom (Boston: Chelsea House, 1987).
“Introduction,” Orlando, by Virginia Woolf, trans. Gerry Franken (Copenhagen, Denmark: Betziege Bij Press, 1976).
“Consciousness and Society in A Portrait of the Artist,” Approaches to A Portrait of the Artist, ed. Thomas Staley and Bernard Benstock (Pittsburgh: University of Pittsburgh Press, 1976), pp. 172 84.
“Style and Theme in The Lady from Shanghai,” in Focus on Orson Welles, ed. Ronald Gottesman (Englewood Cliffs: Prentice Hall, 1976), pp. 140 45.
“Dracula in Chinatown,” The Boston Arts Review, vol. 1, no. 1 (Nov. Dec. 1974), pp. 19 20.
“Phillip Larkin’s Lost World,” Contemporary Literature, vol. 5, no. 3 (1974), pp. 331 44.
“The Walking Shadow: Welles’s Expressionist Macbeth,” Literature/Film Quarterly (Summer 1974), pp. 360 67.
“John Huston and The Maltese Falcon,” Literature/Film Quarterly (Summer 1973), pp. 239 49. Reprinted in Reflections in a Male Eye: John Huston and the American Experience, ed. Gaylyn Studlar and David Desser (Washington, D. C.: Smithsonian Institution Press, 1993). Also reprinted in The Maltese Falcon, ed. William Luhr (New Brunswick: Rutgers University Press, 1996).
”     A World Without a Self: The Novels of Virginia Woolf,” Novel: A Forum on Fiction, vol. 5, no. 2 (1972), pp. 122 34. Reprinted in the Croom-Helm Anthologies of Modern Criticism, 1994.
“The Imagists and the French `Generation of 1900,'” Contemporary Literature, vol. 11, no. 15 (1970), pp. 354 74.
“Style as Meaning in A Portrait of the Artist,” James Joyce Quarterly, vol. 4, no. 4 (1967), pp. 331 42. Partly reprinted in Twentieth Century Interpretations of “A Portrait of the Artist as a Young Man” (Englewood Cliffs: Prentice Hall, 1968).

Screenplay, co director, co-editor, A Nickel for the Movies (1984). 21 mins. Distributed in 16mm. Available digitally from Indiana University film preservation.

Book and Film Reviews:
Review of Matthew Solomon, The Gold Rush. Cineaste, Vol. XLI, No. 1 (Winter 2015), pp. 68-69.
Review of Casting By, directed by Tom Donohue. Cineaste, Vol. XXXVIII, No. 4 (Fall 2013), pp. 49-51.
“Hitchcock Now,” essay-review of Thomas Leitch and Leland Poague, eds., A Companion to Alfred Hitchcock (Malden, MA: Wiley-Blackwell 2011); and David Boyd and R. Barton Palmer, eds. Hitchcock at the Source: The Auteur as Adapter (Albany: State University of New York Press, 2011); in The Hitchcock Annual, no. 17 (2011), pp. 195-206.
Review of Robert Stam, Literature through Film; Robert Stam and Alessandra Raegno, eds., Literature and Film; and Robert Stam and Alessandra Raegno, A Companion to Literature and Film, in Cineaste, Vol. XXXI, No. 1 (Winter 2005), pp. 75-6.
Review of Paul Buhle and David Wagner, A Very Dangerous Citizen: Abraham Lincoln Polonsky and the Hollywood Left, in Cineaste, Vol. XXVI, no. 4 (Fall 2001), pp. 84-5.
Review of Victor Perkins, The Magnificent Ambersons, in Scope (www. January 2000.
Review of Lesley Stern and George Kouvaros (eds.), Falling for You: Essays on Cinema and Performance, in Screening the Past (, June 2000.
Review of Gilberto Perez, The Material Ghost: Movies and Their Medium, in Cineaste, Vol. XXIV, No. 4 (1999), pp. 56-7.
Review of Marlon Brando, Songs My Mother Taught Me; and Peter Manso, Brando: The Biography, in Cineaste XXI, nos. 1-2 (1995), 92-4.
Review of Peter Bogdanovich and Jonathan Rosenbaum, This is Orson Welles, in Cineaste, XIX, no. 4 (1993), pp. 93-94.
Review of Seymour Chatman, Coming to Terms: The Rhetoric of Narrative in Fiction and Film, in Modern Fiction Studies 39, 2 (Summer 1993) pp. 429-30.
“Return of the Living Dead,” review of Clive Hart, Joyce, Huston, and the Making of The Dead, in James Joyce Literary Supplement (May 1991), p. 16.
“Joyce in the Age of Mechanical Reproduction,” review of Hugh Kenner, The Mechanic Muse, in The James Joyce Literary Supplement, April 1988, p. 14.
Reviews of Sanford Meisner on Acting and The Way of the Actor, in Film Quarterly (Fall 1988).
“Orson Welles: Two Views of a Life and a Career,” review of Barbara Leaming, Orson Welles and Charles Higham, Orson Welles: The Rise and Fall of an American Genius, in The Philadelphia Inquirer, “Books and Leisure” section (Oct. 27 1985), p. 3.

Review of Foster Hirsch, A Method to Their Madness: A History of the Actor’s Studio, Film Quarterly (Summer 1985), pp. 43 45.
Review of Jay Leyda, Kino: A History of Russian and Soviet Film, revised edition, in Western Humanities Review, XXXVIII, no. 3 (Autumn 1984), pp. 279 83.
“Cambridge’s 3 Ring Circus,” review of Colin McCabe, ed., Joyce: New Perspectives, Irish Literary Supplement, vol. 2, no. 1 (1983), p. 14.
Review of Mark Spilka, Virginia Woolf’s Quarrel with Grieving, in Criticism, vol. 24, no. 1 (Winter 1982), pp. 83 87.
“Hollywood Now,” review of James Monaco, American Film Now, in Jump Cut, no. 23 (1981), pp. 33 34.
Review of Fredric Jameson, Fables of Aggression: Wyndham Lewis, the Modernist as Fascist, in Criticism (Winter 1981), pp. 390 94.
“Recent British Poetry,” review of Calvin Bedient, Eight Contemporary Poets,
Contemporary Literature, vol. 16, no. 3 (1975), pp. 381 85.
Review of Kellog and Hayman, eds., James Joyce’s Ulysses, Journal of English and Germanic Philology, vol. 4, no. 2 (April 1975), pp. 263 66.
Review of Erwin Steinberg, The Stream of Consciousness and Beyond, in James Joyce Quarterly, vol. 11, no. 1 (Fall 1973), pp. 175 77.
Review of four critical books on James Joyce, Modern Fiction Studies, 16 (1970), pp. 235 40.

Invited Lectures:
“Charles Burnett,” Scholar’s Lecture, Academy of Motion Picture Arts and Sciences, Linwood Dunn Theater, Los Angeles, CA., 2017.
“Orson Welles at 100,” keynote address, Indiana University centennial celebration of Orson Welles, 2015. Also at Rio de Janierio Film Festival, Montclair State University, and Northern Illinois University, 2015.
“The Stranger,” Woodstock celebration of Orson Welles centennial, Woodstock, IL, 2015.
“The Cinema of James Agee,” UCLA Graduate Symposium, 2013.
“Citizen Kane” (with Peter Bogdanovich), SUNY-Purchase, 2012.
“Film Acting and the Arts of Imitation,” Keynote Address, International Colloquium on “Genealogies of Acting in the Cinema,” Nice, France, 2011. (A French translation of this lecture appears in the proceedings of the conference.) Also at University of Chicago, 2012, and Savannah College of Art and Design, 2014.
“Chandler, Hawks, and The Big Sleep,” King’s College London and the British Film Institute (Key figures in Film Studies) 2011. Also as Keynote Address,
New School Arts festival, New School, New York, 2011; Middlebury College,
2011; and University of Iowa Annual Film Studies Lecture, 2011.
“Sweet Smell of Success,” University of Florida English Department, 2010.
“Manny Farber: a Response to Robert Polito,” Chicago Film Seminar, 2009.
“Stanley Kubrick and Cold Modernism,” Reed College, Portland, OR and Alfred
University, Alfred, NY, 2009.
“Hammett, Cain, Chandler and Film,” Chicago Public Library, 2008.
Introduction to a screening of The Blue Dahlia, Music Box Theater, Chicago, 2008.
Three-day graduate seminars on film theory and US film history, University of Zaragosa, Spain; also at University of Rome Three, Italy, 2007.
“Hearts of Darkness: Conrad and Welles.” Symposium on film adaptation, University of Pittsburgh, 2007.
“Welles and Kubrick: Forms of Exile.” Symposium on Orson Welles and International Cinema, Yale University, 2007.
“Authorship and Adaptation in Kubrick’s Paths of Glory and Lolita.” Keynote address, Literature/Film Association Conference, Dickinson College, 2005.
“Kubrick and the Aesthetics of the Grotesque,” Symposium on Film Style in Honor of David Bordwell, University of Wisconsin, Madison, 2005
“Modernism and Film Noir,” Filmmuseum, Vienna, Austria, 2005.
“Text and Context,” Seminar on Film Study, Kristensand, Norway, 2003.
“Digital Actors,” Plenary Session, Society for Cinema and Media Studies conference, Minneapolis, 2003.
Various radio talks on film for “Odyssey,” Chicago Public Radio, WBEZ.
“Miramax and Adaptation,” response to a talk by Jim Collins, Chicago Film Seminar, School of the Art Institute, October 2003.
“A.I. and CGI,” University of Florida Film Studies, 2002.
Auster Lectures on film genre and film authorship, Oxford University, UK. 2001.
“New York Noir,” Terra Museum of American Art, Chicago, 2001.
“A Note on Type Casting in Film,” Chicago Film Seminar, School of the Art Institute, 2001.
“The Vanishing Masses,” Plenary session address, conference on Mass Culture, Carnegie-Mellon University, Pittsburgh, 2000.

“Hitchcock and Humor,” Plenary session address, Alfred Hitchcock Centenary Conference, New York University, New York, 1999. Also at University of Pittsburgh English Department, 2000, and Vanderbilt University, 2001.
“Dead Man: A Response to Jonathan Rosenbaum,” Chicago Film Seminar, 2000.
“Film and the Reign of Adaptation,” Distinguished Faculty Lecture, Institute for Advanced Study, Indiana University, Bloomington, 1999. Also at University of Pennsylvania College of Arts and Sciences Lecture Series, Philadelphia, 1999; UCLA Department of Film and TV, Los Angeles, 2000; and keynote address, International Conference on Relations between Literature and Film, University of the Azores, Portugal, 2011 .
“Modernism and Blood Melodrama: The American Film Noir,” National Gallery of Art (Sunday lecture series), Washington, D.C., 1999.
“Film Noir and the Modernist City,” keynote address, Western Humanities Conference, Tempe, Arizona, 1998.
“Genre: A Response to Rick Altman,” Chicago Film Seminar, School of the Chicago Art Institute, 1996.
“Double Indemnity,” Weisman Art Museum, University of Minnesota, 1996.
“American Film Noir: The History of an Idea,” Center for Advanced Study in the Visual Arts, National Gallery of Art, Washington, D.C., 1995. Also at the Chicago Film Seminar, School of the Art Institute, 1995.
“Film Noir: Notes on the Origins of an Idea,” Tracy M. Sonneborn Lecture, Indiana University, 1994.
“Theatricality, Patriarchy, Consumerism: MGM’s Father of the Bride,” University of Michigan, English and Film-Video Studies, Ann Arbor, 1992.
“Citizen Kane at 50,” DePauw University freshman English program, 1991.
“Orson Welles: The Actor as Director,” Biennale, Venice, Italy, 1991.
“Cabin in the Sky,” Dennis Turner Memorial Lecture, Wayne State University, Detroit, Michigan, 1991.
“Six Artistic Cultures,” English Department, George Mason University, Fairfax, VA, 1990. Also in department of English lecture series, Indiana University, 1990.

“The Culture of Celebrity,” Massachusetts Institute of Technology Communications Forum, Cambridge, Mass., 1989. (Published in the proceedings of the forum.)
“The Inventory of Xanadu: Notes from the Welles Archive,” Keynote address for international conference on Orson Welles, Tisch School of the Arts, NYU, New York, 1988. Also at the Department of Film and TV, Critical Studies Division, UCLA, Los Angeles, 1988.
“Film Studies in the United States,” WorldNet television interview, broadcast to Hamburg, Germany by the USIA, Washington, D.C., 1988.
“The Impact of Citizen Kane,” School of the Chicago Art Institute, Chicago, 1986.
“The Rhetoric of Filmed Performance,” School of the Chicago Art Institute, Chicago, 1986.
“Film Acting” University of Florida English Department seminar, Gainesville, 1985.
“Film Art,” a three week seminar on film at the Lilly Conference on the Liberal Arts, Colorado Springs, 1984. (Repeated in 1985.)
“Film and American Literature,” University of Wisconsin 100th Anniversary of Teaching American Literature, Madison, 1983.
“The Theatrical and the Aleatory,” University of Tulsa Symposium on Literature and Film, Tulsa, Oklahoma, 1983. Also at Wayne State University, Detroit, Michigan, 1983.
“Film and Theater,” Amerika Haus, Stuttgart, Germany, 1981.
“Style in Citizen Kane,” University of Kiel, Germany, 1981. Also at University of Heidelberg, 1981.
“The Lady from Shanghai,” Frankfurt Kommunales Kino, Frankfurt, Germany 1981.
“A Dream Factory: Warner Brothers in the 1930s,” Amerika Haus, Hamburg, Germany, 1980. Also at Frankfurt University and Kiel University, 1981.
Panelist, television interview with Edward Dmytryk, WTIU TV, Bloomington, Indiana, 1979.
“The Cinema and James Joyce,” Gotham Book Mart celebration of Joyce’s 95th birthday, New York, N.Y., 1978.
“Ulysses and `The Film Age,'” Ohio State University English Dept., 1978.
Radio interviews on The Magic World of Orson Welles (WGN, WBBM FM, WBBM AM) Chicago, Ill., 1978.
“Orson Welles,” radio talk syndicated by Chicago Public Library Broadcasting Division, 1978.
“Orson Welles,” lecture sponsored by the Toledo Blade, Toledo, Ohio, 1978.
Television talks on Nosferatu and Beauty and the Beast, WTIU TV, Bloomington, Indiana, 1976.
“Consciousness and Society in A Portrait of the Artist,” University of Texas English Department. Lecture, Austin, Texas, 1975.

Conference Papers:

Respondent, “Hollywood Directors,” Society for Cinema and Media Studies, Chicago, 2017.
“The Uncanny, the Fantastic, and Stanley Kubrick,” Society for Cinema and Media Studies, Chicago, 2007.
“Kubrick, Douglas, and Paths of Glory,” Society for Cinema and Media Studies Conference, London, England, 2005.
“The Death and Rebirth of Rhetoric,” Society for Cinema Studies Conference, Chicago, 2000.
“Telling it Again: Cinema and ‘the reign of adaptation,'” Society for Cinema Studies Conference, San Diego, CA, 1998.
“Why the French Invented Film Noir,” Society for Cinema Studies Conference, New York, N.Y. 1995.
“Vincente Meets Vincent: Aestheticism and Commodification in Lust for Life” Ohio University Film Conference, Athens, Ohio, 1992. (Read by a colleague in my absence.)
“Uptown Folk: Africanism and Cabin in the Sky,” Society for Cinema Studies Conference, Los Angeles, 1991.
“Orson Welles and the FBI,” Society for Cinema Studies Conference, Iowa City, Iowa, 1989.
“Mapping Auteurism,” MLA Film Division, MLA conference, Washington, D. C., 1989.
“Citizen Shields,” MLA conference, Washington, D. C., 1989.
“The Myth of the Definitive Text: Orson Welles in Hollywood, 1942 1947,” Society for Cinema Studies Conference, Bozeman, Montana, 1988.
Participant, Panel on Film Acting, Society for Cinema Studies Conference, Montreal, Canada, 1987.
Chair, “Acting and Performance in the Cinema,” Special Session of the MLA Division on Film, MLA Conference, San Francisco, California, 1987.
“Pedagogy in the Age of Mechanical Reproduction,” MMLA, Bloomington, Indiana, 1985.
Chairperson, panel on film, American Society of Semiotics Convention, Bloomington, Indiana, 1984.
Discussant, panel on “Collaboration in Film and Television,” MLA, Washington, D.C., 1984.
Chairperson, panel on “Joyce and the Performing Arts,” International Joyce Symposium, Dublin, Ireland, 1977.
Panelist, “Virginia Woolf: Language and Politics,” MLA Convention, New York, N.Y., 1977.
“Polanski and the Actor: Chinatown,” MLA Convention, San Francisco, California, 1979.
“Film and English,” Indiana Conference on the Teaching of English, Indiana University, 1976.
“Film Style and Literary Style,” Indiana Film Council, Purdue University, Lafayette, Indiana, 1975.
“Joyce and Eisenstein” and “Narrative in Ulysses,” International James Joyce Symposium, Paris, France, 1975. (Published in the proceedings of the meeting, 1976.)

James Naremore interviewed by David Walsh and Joanne Laurier, World Socialist Website, 2015
James Naremore and Jonathan Rosenbaum interviewed by Douglas Storm, WFHB radio, Bloomington, IN, 2015
James Naremore interviewed by Jacob Smith, aca-media podcast, linked to SCMS and Cinema Journal, 2014.
James Naremore interviewed by Jonathan Rosenbaum, Cine-Files (Spring 2014)
James Naremore interviewed by Peter Noble-Kuchera, Profiles, WFIU radio,
Bloomington, IN, 2008.
“An Interview with James Naremore,” by Noel King.
“A margem de Hollywood: Intravista com James Naremore,” by Luisa Pecora, Cult, no. 119 (Rio de Janerio): 60-63.
Various sound and video interviews for Indiana University Cinema Podcast
(, Flixwise by Pauline Lampert (, and
Chicago Public Radio.

I’ve taught film, literature, and writing courses at every level of the Indiana University curriculum in the departments of English, Comparative Literature, and Communication and Culture; I’ve also taught film courses as a visitor at the University of Hamburg, the University of Chicago, The School of the Art Institute in Chicago, and UCLA. The following is a partial list of the titles or topics of courses offered:

Introduction to Film
American Culture in the 1930s
Authorship in the Cinema (Welles and Hitchcock)
Authorship in the Cinema (Minnelli and Scorsese)
Survey of Film Theory
The Classic Studio System (Warner Bros. in the 1930s)
Survey of American Film History
The Film Noir
Alfred Hitchcock
Stanley Kubrick
Europe in Hollywood: Lang, Ophuls, and Wilder
Performance in the Cinema
The Politics of Film Form
Postmodern Hollywood
American Cinema in the 1950s
Hollywood Gothic
Women and Melodrama
Introduction to Literature
James Joyce
Survey of Contemporary British Poetry and Drama
Modern British Literature

Acting in Cinema
Vincente Minnelli
Survey of Classical Film Theory
Introduction to Cultural Studies
Pulp Fiction: American Literature and the Culture Industry, 1925-55
Adaptations and Remakes in Film
Modernism and the Historical Avant-Garde
Theories of Mass Culture
Performance, Stars, and the Culture of Celebrity
Film Theory for English
Film and Narrative Theory
Realism in the Cinema
The Film Noir
Contemporary Film Theory
Orson Welles
Stanley Kubrick
Survey of Modern British Literature
The Modern British Novel
James Joyce
Virginia Woolf

I have directed or co-directed over thirty dissertations on film or literary topics. Published dissertations by my students include Robert Ray, A Certain Tendency of the Hollywood Cinema (Princeton); Rebecca Bell-Metereau, Hollywood Androgyny (Columbia); Manthia Diawara, African Cinema (Indiana); Juan Suarez, Bike Boys, Drag Queens, and Superstars (Indiana), Aaron Baker, Contesting Identities: Sports in American Film (Illinois), Kathleen McHugh, American Domesticity, from How-To Manuals to Hollywood Melodrama (Oxford), Justus Nieland, Feeling Modern: The Eccentricities of Public Life (Illinois), Jacob Smith, Vocal Tracks: Performance in the Sound Media (California), Neepa Majumdar, Wanted Cultured Ladies Only! Female Stardom in India, 1930s-1950s (Illinois), Guerric DeBona, Film Adaptation in the Hollywood Studio System (Illinois), and Jon Cavalerro, Italian-American Film Directors (Illinois.). One of these students, Jacob Smith, was the winner of the Society of Cinema and Media Studies Dissertation Award in 2006. Another, Neepa Majumdar, was the co-winner of the Society for Cinema and Media Studies Dissertation Award in 2002 and the winner of a first-book prize from the Society of Cinema and Media Studies in 2011. I have also supervised eight Independent Major Projects, a dozen M.A. theses, and nine undergraduate honors theses.
My other activities in this area include short seminars in Spain, Italy, and Norway (listed above); two conference presentations concerning pedagogy (listed above); classroom visits to an Indiana high school and a women’s prison in Indianapolis; the writing and co-directing of a 16mm educational film for use in film courses (listed above); assistance in the design and development of Indiana University’s film curriculum in Comparative Literature, English, and Communication and Culture; assistance in the development of Indiana University’s program in Cultural Studies; participation in the IU faculty seminar on Cultural Studies; a WorldNet television interview with German educators on the topic of film teaching in the United States; an Indiana Humanities Foundation grant for a community-centered museum exhibit and public lecture on the films of John Ford; and the teaching of two three-week seminars on film pedagogy for university faculty at the Lilly Conference on University Pedagogy at Colorado Springs.

Administration and Service:

Director of Undergraduate Studies, Communication and Culture, 1999-
Chair, Search Committee in Media, Communication and Culture, 2001-02.
Chair, Mentoring Committee, Communication and Culture, 2001-02.
Chair, Tenure Review Committee, Communication and Culture, 1999.

Communication and Culture Advisory Committee, 1997-98.
Chair, Communication and Culture Salary Committee, 1998, 2003.
Ad-Hoc Media Studies Committee, Communication and Culture, 1997-98
English Dept. Advisory Committee, 1974 75; 75 76; 81 82; 90 91; 91 92; 95-96; 96-7; 97-98.
Chair, Recruitment Committee, English, 1990 93.
Chair, Comparative Literature Division on Film, 1987 89. (During this period film became a semi autonomous unit of Comparative Literature, governing its own curricular and examination policies.)
Departmental committees in English: Recruitment, Ph.D. exams, Readings and

Lectures, Graduate Studies, Library.
Cultural Studies Program
American Studies Program
Semiotic Studies Program.

College Incentive Program Committee, 1997-98.

Director of Film Studies, 1976 77, 1979 80; 1982 83; 1987 94. (Film Studies in this period was an interdepartmental office with a secretary, equipment, a film and video collection, and a reference library. Its mission was to provide information and counsel for students, plus support and oversight for about six departments that teach film courses. It also offered an undergraduate certificate and a graduate minor.)
Advisory Committee, Performance Studies Institute, 1992-95.
Advisor, CIEE Paris Film Program, 1981 82, 1985 86, 1990 93.
Study Committee on the Institute of German Studies, 1992-93.
Search Committee for chair of Semiotic Studies, 1990 92.
Organizing Committee, Cultural Studies Program, 1990 91.
Search Committee for chair of Comparative Literature, 1989 90.
Advisory Board, Black Film Study Center Archive, 1988-95.

Planning Committee, Orson Welles Centennial, Indiana University Cinema, 2015.
Chair, Planning Committee, Indiana University Cinema, 2010.
Indiana University Cinema Recruitment Committee, 2010-11.
Lilly Library Advisory Board, 1998–2000
Dean of Faculties Tenure Advisory Committee, 1997-99.
Review Panel, Strategic Directions Initiative, 1997.
Review Committee on the Center for Learning and Teaching Resources, 1992-93.
Faculty Council, 1978 79.
University Halls of Residence Committee, 1975 76.
Organizer and member of Executive Council, American Federation of Teachers, Indiana University, 1973 75.
Advisor, Individualized Major Program, 1974 1999.

Advisory Board, Adaptation and Visual Culture, 2014–
Advisory editorial board, Imago (Italy), 2012–
Advisory editorial board, Film Quarterly, 2005–2013
Advisory editorial board, Hitchcock Annual, 2004–
Selection Committee, American Council of Learned Societies Fellowships, 2002-04.
Advisory editorial board, Scope (University of Nottingham), 1998-2004.
Advisor, Touch of Evil (the re-edit), October Films, 1998
Nominating Committee, Society for Cinema Studies, 1998.
Chair, external review committee for the New York University Cinema Studies Department, 1997.
Historical advisor, Lennon Documentary Group, “The Battle over Citizen Kane,” 1995 (nominated for an Academy Award, 1996).
Advisory editor, Microsoft Encarta Encyclopedia of Film, 1994-5.
Advisory Editorial Board, Works and Days, 1991 93.
Editorial Board, Cinema Journal, 1983-93.
Chair, Committee on Publications Planning, Society for Cinema Studies, 1987 91.
Chair, Division on Film, Modern Language Association, 1987.
Advisory Editorial Board, Publications of the Modern Language Association, 1982 86.
Advisory Editorial Board, The Structuralist Review, 1978.
Acting Chair, Committee on Institutional Cooperation Film Panel, 1978 79.
Organizing Committee, International Virginia Woolf Society, 1975.
Consultant for: Guggenheim Foundation, American Council of Learned Societies, Indiana University Press, Cambridge University Press, Columbia University Press, Cornell University Press, Princeton University Press, University of California Press, Harvard University Press, Yale University Press, University of Chicago Press, Johns Hopkins University Press, University of Illinois Press, New York University Press, Rutgers University Press, University of Minnesota Press, Oxford University Press, Wayne State University Press, Routledge, Blackwell, British Film Institute.