Faculty Spotlight: Fulbright Scholar Roy Grundmann on Ocean Liners & His Upcoming Publication
By Yelena Rodolitz
Dr. Roy Grundmann is the most recent recipient of the Fulbright Scholar Award, a grant awarded to distinguished faculty members across the nation to further their scholarship through exposure to foreign academic and cultural environments. Grundmann is an esteemed faculty member of Boston University, and is the co-founder of the Film Studies program. Alongside his instruction in this discipline, Grundmann is the contributing editor of Cineaste Magazine, and a member of the Society for Cinema and Media Studies. Some of his most notable publications include Andy Warhol’s Blow Job, The Wiley-Blackwell History of American Film, and A Companion to Michael Haneke. Dr. Grundmann has been kind enough to answer a few of our questions about his post-award plans prior to leaving for his sabbatical overseas.
Yelena: What do you hope to accomplish during your Fulbright experience?
Dr. Grundmann: I want to use my fellowship to jumpstart my new research project. I just finished a book (due out with State University of New York Press this year) and am now seeking to develop my follow-up project.
Yelena: Can you tell us a bit about the nature of your previous research?
Dr. Grundmann: Over my 26 years as a full-time academic, I have researched and published on various aspects of American and global film history as well as on questions of film and media theory, cinema aesthetics, queer studies, and cultural studies. In 2019, I decided to make my research even more interdisciplinary by exploring how film and media intersect with certain subfields of history, such as maritime history and, related to that, the history of how and why people have moved around the globe from the nineteenth century into the present period. More concretely, I research the representation of ocean liners as emblems of modernity in literature, film, and visual culture.
Yelena: What about this particular area interests you?
Dr. Grundmann: What interests me is how ocean liners have shaped modernity and postmodernity’s cultural imaginaries about migration, encampment, de/colonization, and tourism. The book due out next year, On Shoreless Sea: The MS St. Louis Refugee Ship in History, Film, and Popular Memory, explores the history and cultural memory of what has often been called “the ship of Jews,” which left Nazi Germany for Cuba in 1939 with over 900 Jewish migrants and which, after Cuba and the U.S. refused to accept those refugees, was headed back for Germany before it received last-minute permission to dock in Belgium. I am now embarking on my next, more expansive research project, tentatively titled Floating Signifiers: Ocean Liners in Literature, Film and Popular Culture.
Yelena: Why have you chosen Austria to study ocean liners?
Dr. Grundmann: The answer is that Austria was not always landlocked. During the peak period of European migration between the 1880s and 1920, Austria was a maritime power that had access to the Mediterranean via the Adriatic. Part of the Austrian's migration to the U.S. proceeded through that route. Austrian culture is rich with literary, cinematic, and other visual documents about that phenomenon. My stay in Austria will also afford me the opportunity to visit several archives in other European countries to explore sea-borne migration as a phenomenon and to research cinematic documents (non-fiction and fiction) that cover it. I am also interested in hearing from BU colleagues, whose parents, grandparents, and great grandparents have come to the U.S. on an ocean liner.
Yelena: How would you like your research to impact the academic and broader communications communities?
Dr. Grundmann: I want my research to impact how the communications community and lay people perceive such phenomena as migration (both deliberate and forced) and tourism through media representations of ocean travel. In my completed book, I explore, among other things, how U.S. press coverage of the plight of the St. Louis passengers shaped how the American public viewed the Jewish refugee crisis before World War II and how subsequent films, plays, novels, and cartoons have shaped our cultural memory of the St. Louis incident. But the epilogue to my book on the St. Louis is about the present: I discuss an experimental film that uses a recent cell phone video that was shot by a Mediterranean cruise tourist and that shows a dinghy with African migrants floating on the open ocean. How does this film differ from mainstream media representations of the Mediterranean migrant crisis? And what role does the cruise ship play, from which the video featured in this film was shot? I try to give my research concrete cultural and political relevance by discussing how current representations of ocean travel shape the way we learn and think about some of the most challenging crises currently affecting our globe.
Grundmann’s upcoming research marks a departure from his previous work, in both a literal and figurative respect. As he embarks on his Fulbright journey overseas, his work invites us to consider the ways in which media representations shape our understanding of historical events. His newest publication, On Shoreless Sea: The MS St. Louis Refugee Ship in History, Film, and Popular Memory, is anticipated for release this year and will explore this theme in more detail. However, readers should also expect his publication based on his ongoing research to hit the market at some point in 2026. More information regarding Dr. Grundmann’s publication history and academic background can be found on his personal website, which is accessible through his faculty profile on the College of Communication website.