Catherine L. Benamou

Associate Professor, Film & Media Studies
School of Humanities

Affiliated Faculty, Gender and Sexuality Studies
School of Humanities

Affiliated Faculty, Chicano/Latino Studies
School of Social Sciences

Graduate Emphasis Faculty, Latin American Studies
School of Humanities

PI, Latin American Studies in Motion, University of California Humanities Research Institute

Honors section, Humanities Core Program
School of Humanities

Ph.D., New York University, 1997, Cinema Studies

Fax: (949) 824-2464
Email: cbenamou@uci.edu

University of California, Irvine
2000 Humanities Gateway
Film and Media Studies Department
UC-Irvine
Mail Code: 2435
Irvine, CA 92697

picture of Catherine L. Benamou

Research
Interests
Latin American and Latin@ Cinema and Media, Transnational Flows & Diasporic Audiences, Orson Welles & authorial itineraries, Media Ethnography and Historiography, Urban Mediascapes
   
URLs IT'S ALL TRUE: Orson Welles's Pan-American Odyssey
   
It's All True: Based on an Unfinished Film by Orson Welles (1993)
   
Review of Andrea Geyer's "Criminal Case 40/61"
   
REBECA - Revista Brasileira de Estudos de Cinema e Audiovisual
   
Oxford Bibliographies Online,
   
DOC ON-LINE - Digital Journal on Documentary Cinema
   
FRAMEWORK: Journal of Cinema and Media
   
National Association of Latino Independent Producers
   
University of Michigan Special Collections Library
   
Catalán Journal of Communication and Cultural Studies
   
LASA Film Studies Section
   
Latina/o Caucus, Society of Cinema and Media Studies
   
MEDIÁTICO (online media journal)
   
Robert Flaherty Seminar 60th anniversary Wide-Angle excerpts
   
"Orson Welles at 100," blog post to Oxford University Press Blog, 6 May 2015
   
UCI Campuswide Honors Program
   
Academic
Distinctions
Closing Keynote Address, Brazilian Society of Cinema and Audiovisual Studies (SOCINE), Campinas, Brazil, October, 2015

National Endowment of the Humanities Fellowship, "We the People Initiative," 2010-11

Honorable Mention, Dissertation Award, Society for Cinema Studies (1998)

Smithsonian Institution Award in Recognition of Special Achievement Reflecting a High Standard of Accomplishment (1996)
   
Research
Abstract
My research and teaching have been primarily hemispheric and transatlantic in scope, and generally framed around the politics and aesthetics of inter-American representation, transnational authorship, and the formation of gendered and migrant subjectivity in dynamic relation to national and globalizing media industries, circuits, and practices. In terms of national cinemas, I have taught and written about Brazilian, Chilean, Cuban and Mexican cinema. Most recently, I have been particularly interested in how links to the public sphere are being created for marginalized groups and communities in cities, which is the subject of a multi-method, longitudinal study on the reciprocal impact of the transnational transmission of television on diasporic Latin@ communities in four cities entitled "The Electronic Embrace/El Abrazo Electrónico." In this study, I explore and compare urban mediascapes, the emergence of barrio tv, together with processes of viewer enfranchisement and transculturation in public spaces. Parallel to this project, I have continued work on the preservation and cultural legacy of IT'S ALL TRUE, a film project undertaken by Orson Welles during the "Good Neighbor" policy, as well as articles on documentary cinema, competing claims placed on latinidad in the U.S. media, and melodrama in post-neoliberal Latin America. My objects of inquiry range from photographs to 35mm films to television, independent video, and media installations.
   
Publications Book Review, La Tristeza de los Tigres y los Misterios de Raúl Ruiz, by Verónica Cortínez and Manfred Engelbert (Santiago: Cuarto Propio, 2011), Bulletin of Latin American Research (forthcoming)
   
  IT'S ALL TRUE: ORSON WELLES'S PAN-AMERICAN ODYSSEY (University of California Press, 2007)
   
  "(Dis)Affection and Recognition in Millennial Urban Melodrama: Transnational Perspectives by Women Filmmakers," REBECA 4/7 (January-June, 2015): 51-71.
   
  Book Review of SCREENING NEOLIBERALISM: TRANSFORMING MEXICAN CINEMA, 1988-2012, by Ignácio Sánchez Prado, HISPANIC AMERICAN HISTORICAL REVIEW 95 (2): 379-381.
   
  "Citizen Kane," OXFORD BIBLIOGRAPHIES online, in "Cinema and Media Studies," ed. Krin Gabbard, updated 26 October 2015
   
  Book review, CINEMA AND INTER-AMERICAN RELATIONS, TRACKING TRANSNATIONAL AFFECT, by Adrian Perez Melgosa (Routledge, 2012), in CINEMA JOURNAL 54/1 (2014): 156-161.
   
  "Cloud of Indeterminacy," WIDE ANGLE 17 (Spring, 1996): 327-30, republished online, October 9, 2014
   
  with Bienvenida Matias, "Remembering 'Punto de Vista: Latina' in Two Voices,"CAMERA OBSCURA 82 (Spring, 2013): 134-45
   
  with Leslie Louise Marsh, "Women Filmmakers and Citizenship in Brazil, from Bossa Nova to the retomada," pp. 54-71 in Julián Albilla and Parvati Nair, eds., Hispanophone and Lusophone Women Filmmakers: Theory, practice and difference. Manchester, England: Manchester University Press (forthcoming, May 2013)
   
  "Dual-Engined Diplomacy: Walt Disney, Orson Welles, and Pan-American Film Policy During World War II." In Gisela Cramer/Ursula Prutsch, eds. ¡Américas Unidas! Nelson A. Rockefeller's Office of Inter-American Affairs (1940-46) (Frankfurt: Iberoamericana-Vervuert, 2012), 107-141.
   
  Review, "Andrea Geyer: Criminal Case 40/61: Reverb," X-TRA 13/4 (Summer 2011): 34-41.
   
  "Televisual Melodrama in an Era of Transnational Migration: Exporting the Folkloric Nation, Harvesting the Melancholic-Sublime," 129-171 in Darlene J. Sadlier, ed., LATIN AMERICAN MELODRAMA: PASSION, PATHOS, AND ENTERTAINMENT (University of Illinois Press, 2009)
   
  "Mediating the Public Sphere in Latina/o Detroit: Heart and Margin of an Embattled Metropolis," 88-104 in Richard Young and Amanda Holmes, eds., CULTURES OF THE CITY: MEDIATING IDENTITIES URBAN LATIN/O AMERICA (University of Pittsburgh Press, 2010)
   
  "'Everybody's Orson Welles:' Treasures from the Special Collections Library at the University of Michigan," in MICHIGAN QUARTERLY REVIEW 48/2 (Spring 2009): 187-97, 201-27.
   
  "A Portfolio of Graphics," MICHIGAN QUARTERLY REVIEW XLVIII/2 (Spring 2009): 230-34 [in accompaniment to Everybody's Orson Welles]
   
  "Con amor, tequila, y gasolina: Lola the Truckdriver and Screen Resistance in Border Cinema (Cine Fronterizo)," 171-84 in Victoria Ruétalo and Dolores Tierney, eds., LATSPLOITATION: LATIN AMERICAN EXPLOITATION CINEMAS (Routledge, 2009)
   
  "Cuban Cinema: On the Threshold of Gender," 68-97 in Diana Robin and Ira Jaffe, eds., REDIRECTING THE GAZE: THIRD WORLD WOMEN FILMMAKERS (SUNY Press, 1999)
   
  "'Those Earrings, That Accent, That Hair': A Dialogue with Maria Hinojosa on Latino/as and the Media," 325-356 in Ella Shohat, ed., TALKING VISIONS: MULTICULTURAL FEMINISM IN A TRANSNATIONAL AGE (New Museum of Contemporary Art; MIT Press, 1998)
   
  "Realism as Artifice and the Lure of the Real in Orson Welles's F FOR FAKE (1973) and Other T(r)eas(u)ers," 143-70 in Alexandra Juhasz and Jesse Lerner, eds., F IS FOR PHONY: FAKE DOCUMENTARIES AND TRUTH'S UNDOING (University of Minnesota Press, 2006)
   
  with Lucia Saks, "Circumatlantic Media Migrations," 150-65 in Jonathan Rosenbaum and Adrian Martin, eds., MOVIE MUTATIONS: THE CHANGING FACE OF WORLD CINEPHILIA (British Film Institute, 2003)
   
Grants Sisters Grant, Institute for Research on Women and Gender, University of Michigan, 2007-2008
   
Cultural Diversity Studies Grant, Academic Senate Council on Research, Computing and Libraries (CORCL) 2009-2010
   
National Endowment for the Humanities Fellowship, 2010-11
   
Special Research Grant, Academic Senate Council on Research, Computing and Libraries (CORCl), UC-Irvine, 2010-11
   
Engaging Humanities, UCHRI, 2016-17
   
Professional
Societies
Society for Cinema and Media Studies
Latin American Studies Association
SOCINE (Brazil)
AMERICAN STUDIES ASSOCIATION
National Association of Latino Producers
International Communication Association
Phi Beta Kappa
Urban Affairs Association
   
Other Experience Guest Curator & Consultant (pro-bono)
Orson Welles Archive, Special Collections Library, University of Michigan-Ann Arbor 2004—pres

Consultant (pro-bono), Archival Preservation of Orson Welles's IT'S ALL TRUE
UCLA Film and Television Archive 2000—pres

Associate Producer & Senior Research Executive
IT'S ALL TRUE, BASED ON AN UNFINISHED FILM BY ORSON WELLES —1993

Editorial Board Member
FRAMEWORK film and media journal 2005—pres

Editorial Board Member
DOC online (Brazilian/Portuguese e-journal of documentary criticism) 2004—pres

Editorial Board Member
Revista Brasileira de Estudos de Cinema e Audiovisual (REBECA) 2010—pres

Editorial Board
Catalán Journal of Communication & Cultural Studies 2012

Co-Chair
Film Studies Section, Latin American Studies Association 2012—2013

Member, Editorial Board
Mediático (online media journal) 2014

Consultant
Film and Video Center, National Museum of the American Indian, Smithsonian Institution 1993—1997

Advisory Committee, Pacific Standard Time: LA/LA, From Latin America to Hollywood: Latino Film Culture in Los Angeles, 1967-2017
Academy of Motion Picture Arts and Sciences, Getty Foundation 2014—2017

Graduate Programs Visual Studies

Culture and Theory

   
Research Center UCI Shakespeare Center
   
   
Link to this profile http://www.faculty.uci.edu/profile.cfm?faculty_id=5510
   
Last updated 09/18/2016