{"id":29,"date":"2024-01-30T13:49:20","date_gmt":"2024-01-30T18:49:20","guid":{"rendered":"https:\/\/sites.bu.edu\/roygr\/?page_id=29"},"modified":"2026-03-01T18:59:49","modified_gmt":"2026-03-01T23:59:49","slug":"29-2","status":"publish","type":"page","link":"https:\/\/sites.bu.edu\/roygr\/29-2\/","title":{"rendered":"Publications"},"content":{"rendered":"<h6>Books<\/h6>\n<ul>\n<li><cite><b>Floating Signifiers: Ocean Liners in Literature, Film, and Popular Culture.<\/b><\/cite><br \/>\nAlbany: SUNY University Press. Anticipated Publication date: 2028.<br \/>\nInterdisciplinary Study of Ocean Liners as Emblems of Modernity (Migration&#8211;Encampment&#8211;Tourism)<\/li>\n<li><cite><b>On Shoreless Sea: The MS St. Louis Refugee Ship in History, Film, and Popular Memory.<\/b><\/cite><br \/>\nAlbany: SUNY University Press. October 1, 2025.<br \/>\nInterdisciplinary Study of the Historic Odyssey of the MS <em>St. Louis<\/em> and of <em>St. Louis<\/em> Memory Culture<\/li>\n<li><cite><b>Andy Warhol&#8217;s Blow Job<\/b><\/cite><br \/>\nPhiladelphia: Temple University Press, 2003 (Series Editor: Robert Sklar).<br \/>\nInterdisciplinary Study of Warhol\u2019s Art and Films Read through Gay History, Queer Theory, Film Theory, Art Theory, and Cultural Studies<\/li>\n<\/ul>\n<h6>Edited Collections<\/h6>\n<ul>\n<li><b style=\"font-size: 16px;\">Labour in a Single Shot: Critical Perspectives on Antje Ehmann and Harun Farocki\u2019s Global Video Project <\/b>Amsterdam: Amsterdam University Press, 2021 (Series Editor: Thomas Elsaesser)<br \/>\nCo-edited with Gregory H. Williams and Peter J. Schwartz <a href=\"https:\/\/library.oapen.org\/handle\/20.500.12657\/51634\">www.library.oapen.org\/handle\/20.500.12657\/51634<\/a><\/li>\n<li><cite><b>Michael Haneke: Interviews<\/b><\/cite><br \/>\nJackson: University Press of Mississippi, 2020<br \/>\nCollection of American and International Interviews with Michael Haneke<br \/>\nCo-edited with Fatima Naqvi and Colin Root<\/li>\n<li><cite><b>Werner Schroeter<\/b><\/cite>. Vienna: Synema, 2018. (Series Editor: Alexander Horwath)<\/li>\n<li><em><b>The Wiley-Blackwell History of American Film<\/b><\/em>, 4 Volumes Malden, Mass.: Wiley-Blackwell Publishers, 2012<br \/>\nCo-edited with Cynthia Lucia and Art Simon<br \/>\nVolume I: Origins to 1928. 532 pp.<br \/>\nVolume II: 1929-1945. 566 pp.<br \/>\nVolume III: 1946-1975. 652 pp.<br \/>\nVolume IV: 1976-present. 612 pp.<\/li>\n<li><strong>Extensively Revised Two-Volume Paperback:<\/strong>\n<ul>\n<li><em><b>American Film History: Selected Readings, Origins to 1960<\/b><\/em><span>\u00a0<\/span>(568pp.)<br \/>\nMalden, Mass.: Wiley-Blackwell Publishers, 2015<br \/>\nCo-edited with Cynthia Lucia and Art Simon<\/li>\n<li><em><b>American Film History: Selected Readings, 1960 to the Present<\/b><\/em><span>\u00a0<\/span>(520pp.)<br \/>\nMalden, Mass.: Wiley-Blackwell Publishers, 2015<br \/>\nCo-edited with Cynthia Lucia and Art Simon<\/li>\n<\/ul>\n<\/li>\n<li><em><b>A Companion to Michael Haneke<\/b><\/em>.<br style=\"clear: both;\" \/>Malden, Mass.: Wiley-Blackwell Publishers, 2010.<br \/>\n625pp.<\/li>\n<\/ul>\n<h6><br style=\"clear: both;\" \/>Articles and Reviews (Selection)<\/h6>\n<ul>\n<li>\u201cPoetic Referentiality: The Ocean Liner as Film Star,\u201d in <em>Cinematic Starchitecture: The Celebrity Status of Urban Architectural Structures in Film.\u00a0<\/em>Merrill Schleier and Paul Newland eds.<em> (London and New York: Routledge, 2026), 250-266.\u00a0<\/em><\/li>\n<li>\u201cThe Quintessential Seventies Picture Show: <em>Voyage of the Damned<\/em> (1976) as Heritage Cinema between Art Cinema and Disaster Flick,\u201d in <em>The Routledge Companion to American Film History.<\/em> Pamela Robertson Wojcik and Paula J. Massood eds. (London and New York: Routledge, 2025), 269-282.<\/li>\n<li>\u201cGermany Revisits the <em>St. Louis <\/em>Voyage: <em>Die Ungewollten\/The Unwanted<\/em>\u2014<em>Die Irrfahrt der St. Louis<\/em>,\u201d <em>The Germanic Review: Literature, Culture, Theory<\/em>, 99:4 (2024): 614-633 <a href=\"https:\/\/doi.org\/10.1080\/00168890.2024.2402316\">https:\/\/doi.org\/10.1080\/00168890.2024.2402316<\/a><\/li>\n<li>\u201cWith Whose Blood Were My Eyes Crafted?\u201d Critical Concepts of Seeing, Knowing, and Remembering in Philip Scheffner\u2019s and Merle Kr\u00f6ger\u2019s <em>Havarie<\/em> (2016),\u201d in Transit, 14:2 (2024) <a href=\"https:\/\/escholarship.org\/uc\/item\/3f08h6rr\">https:\/\/escholarship.org\/uc\/item\/3f08h6rr<\/a><\/li>\n<li>\u201cDie Fahrt ins Uferlose: Das Fl\u00fcchtlingsschiff <em>St. Louis<\/em> am Vorabend des Zweiten Weltkriegs,\u201d in <em>Archiv f\u00fcr Mediengeschichte: Das Schiff<\/em>. Friedrich Balke, Berhard Siegert, Joseph Vogl eds. (Berlin: Vorwerk 8, 2024)<\/li>\n<li>\u201cOne Shot, Two Mediums, Three Centuries,\u201d in Grundmann, Williams, Schwartz eds.,<span>\u00a0<\/span><cite>Labour in a Single Shot: Critical Perspectives on Antje Ehmann and Harun Farocki\u2019s Global Video Project.<\/cite><span> )(<\/span>Amsterdam: Amsterdam University Press, 2021) pp. 137-182.<\/li>\n<li>\u201cA Cinema that Breathes,\u201d in Scott MacDonald and Patricia Zimmerman eds.,<span>\u00a0<\/span><cite>Flaherty Stories: Voices from the Robert Flaherty Seminar<\/cite>. Bloomington, Indiana University Press, 2021.<\/li>\n<li>With Fatima Naqvi and Colin Root, &#8220;Introduction,&#8221; in<span>\u00a0<\/span><cite>Michael Haneke Interviews<\/cite>. Jackson: University Press of Mississippi, 2020.<\/li>\n<li>\u201cThe Passions of Werner Schroeter. An Introduction.\u201d in<span>\u00a0<\/span><cite>Werner Schroeter<\/cite>. Vienna: Synema, 2018, pp. 7-57.<\/li>\n<li>\u201c\u2018A Quivering Tremor, A Vibration in Space\u2019: Voicing Utopia in<span>\u00a0<\/span><cite>Poussieres d\u2019amour\u2014Abfallprodukte der Liebe<\/cite><span>\u00a0<\/span>(1996).\u201d in Werner Schroeter. Vienna: Synema, 2018, pp. 159-177.<\/li>\n<li>\u201cThe Discreet Harm of the Bourgeoisie,\u201d<span>\u00a0<\/span><cite>Los Angeles Review of Books<\/cite>, February 2, 2018. Review essay of Michael Haneke\u2019s Happy End (2017).<span>\u00a0<\/span><a href=\"https:\/\/lareviewofbooks.org\/article\/the-discreet-harm-of-the-bourgeoisie\/\">https:\/\/lareviewofbooks.org\/article\/the-discreet-harm-of-the-bourgeoisie\/<\/a><\/li>\n<li>\u201cMehr als nur eine Geschmacksfrage. \u00dcber die widerspr\u00fcchliche Valenz der Valente.\u201d In<span>\u00a0<\/span><cite>Montage AV\u2014Zeitschrift f\u00fcr Theorie und Geschichte audiovisueller Kommunikation<\/cite>. Vol. 26, No. 2 (2018), pp. 206-227.<\/li>\n<li>&#8220;Cinema and Experience: Siegfried Kracauer, Walter Benjamin, and Theodor W. Adorno.&#8221;<span>\u00a0<\/span><em>Cineaste<\/em><span>\u00a0<\/span>Vol. XXXIX, No. 3 Summer 2014. pp. 74-76.<\/li>\n<li>&#8220;Experimental Cinema and the Crystals of Time: Matthias M\u00fcller&#8217;s Visual Poems,&#8221;<span>\u00a0<\/span><em>Millenium Film Journal<\/em>, No. 58, Summer 2013, pp. 118-123.<\/li>\n<li>&#8220;<em>The Tenderness of Scissors in Haircut<br \/>\n(No. 1).<\/em>&#8220;<span>\u00a0<\/span><em>Warhol in Ten Takes<\/em>. Gary Needham and Glyn Davis eds. London: Palgrave MacMillan\/BFI Publishing, 2013, pp. 67-83.<\/li>\n<li>&#8220;Esth\u00e9tiser l&#8217;injustice, dramatiser l&#8217;irr\u00e9conciliable: les \u00e9l\u00e9ments lyotardiens chez Haneke.<span>\u00a0<\/span><em>Fragments Du Monde: retour sur l&#8217;oeuvre de Michael Haneke<\/em>. Val\u00e9rie Carr\u00e9 ed. Paris: Le Bord De L&#8217;Eau, 2012, pp. 141-162.<\/li>\n<li>&#8220;Gender, Genre, and Hollywood Labor in<span>\u00a0<\/span><em>The Strange Love of Martha Ivers.&#8221; The Wiley-Blackwell History of American Film<\/em>. Cynthia Lucia, Roy Grundmann, Art Simon Co-editors. Malden, Mass., and Oxford: Wiley-Blackwell, 2012. Pp. 595-629.<\/li>\n<li>&#8220;<em>Querelle&#8217;s<\/em><span>\u00a0<\/span>Finality.&#8221;<span>\u00a0<\/span><em>The Wiley-Blackwell Companion to Rainer Werner Fassbinder<\/em>. Brigitte Peucker ed. Malden, Mass., and Oxford: Wiley-Blackwell, 2011.<\/li>\n<li>&#8220;Painting Pointing Past Itself: Heterogeneity and Contingency in The Fulbright Triptych.&#8221;<span>\u00a0<\/span><em>The Suspension of Time: Reflections on Simon Dinnerstein and the Fulbright Triptych<\/em>. Daniel Slager ed. Minneapolis: Milkweed Editions, 2011. Pp. 156-173.<\/li>\n<li>&#8220;Kunst und Schmuddel: Andy Warhols Porno Pop.<span>\u00a0<\/span><em>Porno Pop II: Im Erregungs-dispositiv<\/em>. Joerg Metelmann ed. Wuerzburg: Verlag Koenigshausen und Neumann, 2010. Pp. 273-290.<\/li>\n<li>&#8220;Introduction: Haneke&#8217;s Anachronism,&#8221;<span>\u00a0<\/span><em>A Companion to Michael Haneke<\/em>. Roy Grundmann ed. Malden, Mass. and Oxford: Wiley-Blackwell Publishers, 2010, pp. 1-50.<\/li>\n<li>&#8220;Between Adorno and Lyotard: Michael Haneke&#8217;s Aesthetic of Fragmentation,&#8221;<span>\u00a0<\/span><em>A Companion to Michael Haneke<\/em>. Roy Grundmann ed. Malden, Mass., and Oxford: Wiley-Blackwell Publishers, 2010, pp. 374-419.<\/li>\n<li>&#8220;Michael Haneke&#8217;s Subversive Games,&#8221;<span>\u00a0<\/span><em>The Chronicle of Higher Education<\/em>, Vol. 54, No. 25, February 29, 2008, pp.B14-15<\/li>\n<li>&#8220;Populist Motifs in John Ford&#8217;s Films.&#8221;<em>John Ford in Focus: Essays on the Filmmaker&#8217;s Life and Work<\/em>. Kevin Stoehr and Michael C. Connolly eds. Jefferson, NC, and London: McFarland &amp; Company, Inc., Publishers, 2008. pp. 187\u00e2\u20ac\u201d204.<\/li>\n<li>&#8220;Auteur de Force: &#8220;Michael Haneke&#8217;s Cinema of Glaciation.&#8221;<span>\u00a0<\/span><em>Cineaste<\/em><span>\u00a0<\/span>Vol. 33, no. 2 (Spring 2007), pp. 3-9.<\/li>\n<li>&#8220;Old Europe Shows New Media Art&#8221;<span>\u00a0<\/span><em>Afterimage<\/em>, Vol. 34, nos. 1-2 Special Issue on Media Arts Activism (Fall 2006), pp. 3-4.<\/li>\n<li>&#8220;<em>Brokeback Mountain<\/em>&#8220;<span>\u00a0<\/span><em>Cineaste<\/em><span>\u00a0<\/span>Vol. 31, no. 1 (Spring 2006), pp. 65-67.<\/li>\n<li>&#8220;Queer Media Pedagogy: A Roundtable Discussion,&#8221; Terri Ginsberg ed.<span>\u00a0<\/span><em>GLQ<\/em>: A Journal of Lesbian and Gay Studies Vol. 12, no. 1 (Winter 2006), pp. 117-134. Written Contrib. To Roundtable Discussion.<\/li>\n<li>&#8220;Gay-Themed Films of the German Silent Era.&#8221;<span>\u00a0<\/span><em>Cineaste<\/em><span>\u00a0<\/span>Vol. 30, no. 4 (Winter 2005), pp. 72-75.<\/li>\n<li>&#8220;Too Darn Hot:<span>\u00a0<\/span><em>Kinsey<\/em><span>\u00a0<\/span>and the Culture Wars.&#8221;<span>\u00a0<\/span><em>Cineaste<\/em><span>\u00a0<\/span>Vol. 30, no. 2 (Spring 2005), pp. 4-10.<\/li>\n<li>&#8220;Masters of Ceremony: Media Demonstration as Performance in Three Instances of Expanded Cinema.&#8221;<span>\u00a0<\/span><em>The Velvet Light Trap<\/em><span>\u00a0<\/span>no. 54 (Fall 2004), pp. 48-64.<\/li>\n<li>&#8220;White Man&#8217;s Burden: Eminem&#8217;s Movie Debut in<span>\u00a0<\/span><em>8 Mile<\/em>,&#8221;in<span>\u00a0<\/span><em>White Noise: The Eminem Collection<\/em>. Hilton Als and Darryl F. Turner eds. New York: Thunder&#8217;s Mouth Press, 2003. PP. 111-128. Reprinted from Cineaste 28:1 (Spring 2003).<\/li>\n<\/ul>\n","protected":false},"excerpt":{"rendered":"<p>Books Floating Signifiers: Ocean Liners in Literature, Film, and Popular Culture. Albany: SUNY University Press. Anticipated Publication date: 2028. Interdisciplinary Study of Ocean Liners as Emblems of Modernity (Migration&#8211;Encampment&#8211;Tourism) On Shoreless Sea: The MS St. Louis Refugee Ship in History, Film, and Popular Memory. Albany: SUNY University Press. October 1, 2025. Interdisciplinary Study of the [&hellip;]<\/p>\n","protected":false},"author":23287,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":[],"_links":{"self":[{"href":"https:\/\/sites.bu.edu\/roygr\/wp-json\/wp\/v2\/pages\/29"}],"collection":[{"href":"https:\/\/sites.bu.edu\/roygr\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/sites.bu.edu\/roygr\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/sites.bu.edu\/roygr\/wp-json\/wp\/v2\/users\/23287"}],"replies":[{"embeddable":true,"href":"https:\/\/sites.bu.edu\/roygr\/wp-json\/wp\/v2\/comments?post=29"}],"version-history":[{"count":13,"href":"https:\/\/sites.bu.edu\/roygr\/wp-json\/wp\/v2\/pages\/29\/revisions"}],"predecessor-version":[{"id":95,"href":"https:\/\/sites.bu.edu\/roygr\/wp-json\/wp\/v2\/pages\/29\/revisions\/95"}],"wp:attachment":[{"href":"https:\/\/sites.bu.edu\/roygr\/wp-json\/wp\/v2\/media?parent=29"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}