The Maltese Falcon Documentation for Attribution 9-23-13 by Guernsey's

DOCUMENTATION FOR ATTRIBUTION

The Maltese Falcon

Photo: Paul Schraub

From the 1941 Warner Bros. Production, The Maltese Falcon, based on the novel by Dashiell Hammett

September 2013

DOCUMENTATION FOR ATTRIBUTION

The Maltese Falcon September 2013

Table of Contents Executive Summary ............................................................................................................................................ p. Dr. Vivian Sobchack Letter of Authentication .................................................................................................. p. Michele Fortier Letter of Authentication ........................................................................................................... p. Michele Fortier Interview .................................................................................................................................. p. Nancy Cole Signature Authentication Report .................................................................................................... p. Fred Sexton .......................................................................................................................................................... p. Meta Wilde Interview .......................................................................................................................................... p. Meta Wilde Letter of Authentication .................................................................................................................. p. Meta Wilde Interview with Dr. Janina Darling ................................................................................................. p. Ben Goldmond Interview ................................................................................................................................... p. Edward Baer Interviews ..................................................................................................................................... p. Joshua Arfer Letter from Dr. Janina Darling .................................................................................................... p. David Valdes Interview with Dr. Janina Darling ............................................................................................... p. Maltese Falcon No. 6 – Front ............................................................................................................................ p. Maltese Falcon No. 6 – Profile ........................................................................................................................... p. Maltese Falcon No. 6 – Back .............................................................................................................................. p. Creation of the Maltese Falcon .......................................................................................................................... p. Plaster Analysis of 1941 Falcon Castings ........................................................................................................... p. 2nd-Generation Maltese Falcon Casting by Edward Baer ................................................................................. p. The Maltese Falcon and The Black Bird Prop Comparisons ........................................................................... p. The Black Bird Falcon Prop “Lips” Detail ......................................................................................................... p. Lead Falcon Prop with Gold Paint ...................................................................................................................... p. Lead Falcon and 2nd-Generation Falcon Casting Defect Similarities .............................................................. p. 1st- and 2nd-Generation Falcon Prop Casting Seams ......................................................................................... p. Visual Considerations when Viewing Publicity Stills and Film ........................................................................ p. Similarities and Differences between Falcons Nos. 6 and 7 and Publicity Still No. 1 ..................................... p. Warner Bros. Publicity Still No. 1 ...................................................................................................................... p. Warner Bros. Publicity Stills No. 2 - No. 5 ........................................................................................................ p. Warner Bros. Publicity Still No. 2 ...................................................................................................................... p. Warner Bros. Publicity Still No. 2 (Detail) ........................................................................................................ p. Warner Bros. Publicity Still No. 3 ...................................................................................................................... p. Warner Bros. Publicity Still No. 4 ..................................................................................................................... p. Warner Bros. Publicity Still No. 5 ...................................................................................................................... p. Warner Bros. Publicity Still No. 5 (Detail) ........................................................................................................ p. Bird Watching: Observing and Identifying the Rara Avis ................................................................................ p. Researching the Falcon at the Warner Bros. Archives ..................................................................................... p. Warner Bros. Press Release – Humphrey Bogart Injury .................................................................................. p. Warner Bros. Press Release – “Moulting” Falcon ............................................................................................. p. Expert Resumes .................................................................................................................................................. p.

1 2 5 6 8 15 17 18 19 22 23 25 30 31 32 33 34 36 37 38 39 40 42 43 45 47 48 49 50 51 52 53 54 55 56 68 69 70 71

The Maltese Falcon  Documentation for Attribution  September 2013

Executive Summary This compendium of Documentation for Attribution for Maltese Falcon props #6 and #7 updates and replaces the Documentation for Attribution of the Maltese Falcon created in July 1991. It contains letters of authentication; testimonials and recollections of individuals who worked on Warner Bros.’ 1941 production of The Maltese Falcon, were employed in the Warner Bros. Property Department, or were otherwise associated with the film; forensic research; and images and publicity stills from the movie. New evidence recently emerged from the shadows of the film noir masterpiece, directed by John Huston and based on Dashiell Hammett’s classic novel, that Falcons props #6 and #7 are more than historically important movie props; they are also original works of art by Fred Sexton, whose paintings once hung among Cezannes, Van Goghs and Renoirs at the Los Angeles Museum. In August 2013, the daughter of Fred Sexton, Michele Fortier, confirmed in an oncamera interview with UCLA Professor Vivian Sobchack, Ph.D., that her father was hired by The Maltese Falcon director John Huston to sculpt the “black bird” for the movie. According to Fortier, Huston was an avid collector Sexton’s paintings, and her father and Huston were lifelong friends. The right rear tail feather of Falcon prop #6 bears the carved inscription “F.S.” Fortier verified that the markings were done by her father’s hand. (A similar inscription can be found on Falcon prop #7.) Forensic document examiner Nancy Cole further determined that the initials were inscribed Fred Sexton. Michele Fortier’s declaration and Nancy Cole’s signature authentication report are included in this compendium. In 1991, Dr. Sobchack provided a detailed authentication of the Maltese Falcon props #6 and #7 after conducting extensive research. Dr. Sobchack is an Associate Dean of the UCLA School of Theater, Film and Television, 20-year member of the American Film Institute Board of Trustees, film theorist, and author. Dr. Sobchack’s updated authentication of Falcon props #6 and #7, also included in this compendium, incorporates the newly discovered evidence. Reader’s Note When initial authentication research for Falcon props #6 and #7 was conducted in the late 1980s and early 1990s, a faint marking on Falcon prop #6 was believed to be a “9.” Nancy Cole determined that the marking is instead a “6,” and the prop has been so identified in new attribution materials. However, some older attribution materials refer to Falcon prop #6 by its previous numerical reference – “9” – and readers should be mindful of the updated reference. 1

Michele Fortier Interview In August 2013, UCLA Professor Vivian Sobchack, Ph.D., conducted the first on-camera interview with Michele Fortier, daughter of artist Fred Sexton, who sculpted the Maltese Falcon prop for the 1941 Warner Bros. production of The Maltese Falcon. The full oncamera interview is posted on YouTube.com under the title, “Interview with Michele Fortier, Daughter of Maltese Falcon Prop Artist Fred Sexton.” Following is a summary of Dr. Sobchack’s interview with Ms. Fortier.

Michele Fortier (left) and UCLA Professor Vivian Sobchack, Ph.D. (right)

In 1941, Michele Fortier was 9-years-old when her father, Fred Sexton, sculpted the Maltese Falcon prop for The Maltese Falcon. According to Fortier, director John Huston and Fred Sexton met in high school and were lifelong friends. Fortier said that Huston hired Sexton to craft the Falcon prop for the movie. She said her father sketched drawings for the Falcon model on a manila envelope and then created a clay model for the prop. Fortier said the sketches her father drew for the Falcon prop have been lost. She does not know of the whereabouts of Sexton’s original clay Falcon prop model.

The Maltese Falcon  Documentation for Attribution  September 2013

Michele Fortier Interview Continued Fortier said she was present on the set of The Maltese Falcon shoot with her father when Humphrey Bogart (Sam Spade) delivered the Maltese Falcon to Sydney Greenstreet (Kasper Gutman), whose character scraped the statuette with a pen knife in search of hidden treasure. She said Peter Lorre (Joel Cairo) was also present. During filming, Fortier recalled “sitting on Sydney Greenstreet’s knee,” and Bogart having a little fun with the young girl. Bogart instructed Fortier to be very quiet, then shouted “boo” to frighten her. Fortier identified an inscription on prop #6, which she previously viewed in a highresolution photo, as her father’s idiosyncratic initials: “He would make an ‘F’ that would look like a ‘7’ to start with and put a line across it…never the capital F’s that we’re taught…I have some paintings of his where you can see it very clearly.” Fortier noted that her father’s paintings were exhibited in numerous one-person shows, and that Huston collected her father’s paintings. Huston also introduced Sexton to actor Edward G. Robinson, a leading art collector who owned Impressionist works by Renoir, Van Gogh, Cezanne and Degas, and Robinson acquired a number of Sexton’s paintings. Fortier recounted visits to a private art gallery in Robinson’s home.

Vivian Sobchack is Professor Emerita of Critical Media Studies in the Department of Film, Television and Digital Media in the School of Theater, Film and Television at the University of California, Los Angeles, where she also served as Associate Dean. She was the first woman elected president of the Society for Cinema and Media Studies and served on the Board of Directors of the American Film Institute for nearly twenty years. Dr. Sobchack is the author and editor of numerous books and articles on film and media and, in 2012, was presented with the prestigious Distinguished Career Achievement Award by the Society for Cinema and Media Studies.

Maltese Falcon Prop from the 1941 Warner Bros. Film Production, “The Maltese Falcon,” Directed by John Huston Fred Sexton Signature Identification A film prop owned by Hank Risan was used in the 1941 Warner Bros. film production of “The Maltese Falcon,” directed by John Huston. The prop has been authenticated by film historians and forensic experts. Mr. Risan recently learned that John Huston may have commissioned artist and set designer Fred Sexton to sculpt the model for The Maltese Falcon film prop. In Sexton’s contemporaneous paintings, the initials in his signatures appear to be similar to the “F.S.” initials inscribed at the bottom right tail of the Falcon statuette. In addition, the marking of what appears to be either a “6” or a “9” is evident in the center section of the tail. “F.S.” Inscription and Numerical Marking The below photos show a “F.S.” inscription and a “6” or “9” marking on the rear tail feathers of Mr. Risan’s Maltese Falcon prop (see insets).

NEW KNOWN FRED SEXTON SIGNATURE EXEMPLARS

NEW FRED SEXTON PREVIOUS FRED SEXTON SIGNATURE EXAMPLARS SIGNATURE EXAMPLARS The following known Fred Sexton signature exemplars were derived from original oil paintings by Fred Sexton that are owned by the family of Michele Fortier, Fred Sexton’s daughter.

The following known Fred Sexton signature exemplars were derived from original oil paintings by Fred Sexton that are owned by Hank Risan and the family of Michele Fortier, Fred Sexton’s daughter.

1. 5.

7. 4.

KNOWN

QUESTIONED Maltese Falcon prop #6

Maltese Falcon prop #7

The Maltese Falcon  Documentation for Attribution  September 2013

Fred Sexton The below photo of The Maltese Falcon movie director John Huston (left) and Maltese Falcon prop artist Fred Sexton (right) was taken in the 1950s in Mexico, where Fred Sexton lived after leaving California in 1950. Sexton and Huston were lifelong friends.

Photo courtesy of Michele Fortier

Fred Sexton Biography (Source:

)

Fred Sexton (June 3, 1907 – September 11, 1995) was an American artist and creator of the Maltese Falcon statuette prop for the 1941 Warner Bros. film production, The Maltese Falcon. During the 1930s and 1940s, Sexton was championed by Los Angeles Times Art Critic Arthur Millier, and his work was collected by Los Angeles-area art collectors including actor Edward G. Robinson and movie director John Huston. Sexton also taught art and headed the Art Students League in Los Angeles between 1949 and 1953. Fred Sexton completed his first painting while still an adolescent. In 1929, Los Angeles Times Art Critic Arthur Millier viewed a small self-portrait by Sexton at a Los Angeles County Museum of Art show called “The Younger Painters.” Millier wrote that the “special hero of the moment seems to us to be one James (sic) Sexton…He transcends the ordinary sounding subject matter, making of this tiny panel a painting at once decoratively beautiful and highly expressive.” 15

The Maltese Falcon  Documentation for Attribution  September 2013

Fred Sexton Biography Continued Sexton commenced studies under Stanton MacDonald-Wright at the Art Students League of Los Angeles, where he met Gwain Harriet Noot. The couple married in 1932 and relocated to France, where Sexton studied briefly with Morgan Russell. The Sextons had a child and Gwain and the baby returned to the U.S. in 1934. In 1935, Fred returned to the U.S. after a trip to Italy. In 1935, Sexton’s paintings were exhibited at the Stendahl Galleries in Los Angeles. A Los Angeles Times review described Sexton’s work as “first-rank museum quality done by an almost unknown Los Angeles painter…masterpieces of the highest order.” Following "whistle stops" with the Treasury Relief Art Project (TRAP) program during 1936 and 1937, Sexton had a show at the Jacob Zeitlin Bookshop in Los Angeles in 1938. During World War II, Sexton taught art, worked for several film studios, and drove a taxi to support his family. In 1939, Sexton taught evening art classes with Archie Gamer, and during the 1940s, he taught at Jepson Art Institute, California School of Design (Los Angeles), and Chouinard School of Art. Sexton gained recognition for his floral delineations, still life, portrait, and architectural compositions. Many prominent Los Angelinos collected his works, including Edward G. Robinson, John Huston, Paulette Goddard, and the Hollywood patron Ruth Maitland. According to the Los Angeles Times, Edward G. Robinson had "bought and hung among his famous Cezannes, Van Goghs and Renoirs three new paintings...from the brush of Los Angeles artist Fred Sexton." In May and June of 1941, three of Sexton’s paintings were included in a Los Angeles Museum exhibition of 56 paintings including important French Impressionists and Post-Impressionists from the collection of Mr. and Mrs. Edward G. Robinson. In 1947, Sexton’s paintings were featured in an exhibition at the John Decker Gallery in Los Angeles. In 1949, Sexton was invited to exhibit at the 21st Biennial Exhibition at the Corcoran Gallery of Art, Washington, D.C. Also in 1949, Sexton decided to revive the dormant Art Students League in Los Angeles, which reopened on September 20. Classes were held until 1953. Afterwards, Sexton operated an import business, traveling frequently to Mexico. The Sextons divorced, and Fred later remarried and lived briefly in Palos Verdes. In 1950, he moved with his wife to Mexico. There, he divorced and remarried once more, and had another daughter.

The Maltese Falcon  Documentation for Attribution  September 2013

Meta Wilde Interview In 1991, Hank Risan, Bianca Soros, and Dr. Janina Darling interviewed Meta Wilde, who served as John Huston’s continuity person and script supervisor during production of The Maltese Falcon. Wilde handled the Falcon props throughout the production and was responsible for placement and positioning the props for each scene. Dr. Janina Darling recorded the interview and Wilde subsequently provided a signed authentication letter.

Meta Wilde (November 25, 1907 – October 18, 1994) served as script supervisor on more than 200 Hollywood films including The Maltese Falcon, Prizzi's Honor, Who's Afraid of Virginia Woolf?, and The Graduate. She began her career as a secretary to the director Howard Hawks. While working as a script supervisor on the 1936 film "The Road to Glory," for which William Faulkner was a co-writer, Wilde and the author began an 18-year affair that she chronicled in her 1976 bestseller, "A Loving Gentleman: The Love Story of William Faulkner and Meta Carpenter Wilde." During her interview with Hank Risan, Bianca Soros, and Dr. Janina Darling, Wilde noted the following: 1. She recalled four black Falcon props on The Maltese Falcon set, one prop made of metal, and three props composed of plaster. 2. Wilde commented that the plaster Falcon props were tinted gray with India ink to simulate the color of lead. 3. Wilde speculated that the metal Falcon prop was very heavy and would only have appeared in shots where it was “placed on a table or on another property.” 4. She stated that the maker of the Falcon props placed identification numbers in an inconspicuous location so that they would not be noticeable. 5. Wilde concurred that the lack of plasticity of the breast feathers shown in certain scenes in the movie resulted from distortion from the lighting and focusing of the camera. 6. She closely examined Falcon prop #6 and commented, “This is exactly like the ones I was involved with when making the picture. It seems to me that this is actually the bird used. This is one of the plaster birds.” Dr. Darling’s record of the Meta Wilde interview and Wilde’s signed authentication letter are presented on the following pages.

The Maltese Falcon  Documentation for Attribution  September 2013

Ben Goldmond Interview In 1991, Hank Risan interviewed long-time Warner Bros. Property Dept. employee Ben Goldmond regarding his recollections of the Falcon props that he observed in the Dept. in 1941.

On September 4, 1991, Hank Risan interviewed Ben Goldmond, who worked in the Property Department at Warner Brothers in 1941 as an assistant. His career at Warner’s spanned the period of 1929 to 1974. Goldman did not work on The Maltese Falcon, but remembers the following about Falcon props used for the 1941 film: 1. There were three plaster Falcon props in the prop room. They were a semi-gloss jet black. They weighed about six lbs. and were gray under the paint, and made out of “casting plaster.” They were cast from a rubber glue mold and, to the best of Goldmond’s knowledge, did not have a Warner Bros. property designation — a “WB” followed by a 4digit number, e.g., “WB 3165”. 2. Goldmond remembers two metal Falcon props, painted jet semi-gloss black, weighing 15-18 lbs. each, and identical to the plaster birds. He did not know what type of material was used for the metal birds.

Photo: Hank Risan

The Maltese Falcon  Documentation for Attribution  September 2013

Edward Baer Interviews In 1991, Hank Risan, Joshua Arfer and Dr. Janina Darling spoke with Edward Baer, a longtime Warner Bros. employee who worked in the Property Department, about production of Falcon props for Warner Bros. productions of The Maltese Falcon (1941) and The Black Bird nd (1975). Baer personally cast 2 -generation Falcons from a deteriorated copy of the Maltese Falcon prop that he cast from the original 1941 plaster mold in 1975. Baer did not work on the 1941 production.

In his effort to authenticate Falcon #7 Hank Risan first contacted Joshua Arfer in Christie’s Collectible Department in New York. Arfer did some cursory research and responded that in his opinion Falcon #7 was probably made for the film, The Black Bird, starring George Segal in 1975. He also felt that the Falcon’s patina was too glossy to be authentic. It was decided that Risan would attempt to contact Warner Bros. and to remove the layer of shiny black spray paint that Falcon #7 had acquired while in possession of Dugald Stermer Sr. (Risan is an expert in finish restoration and identification of 20th Century musical instruments). During the course of Risan’s investigation, he, Arfer, and Dr. Janina Darling spoke with Edward Baer, assistant manager of the Property Department at Warner Bros. Studios. Baer had been in continuous employment with Warner Bros. since 1954 and retired shortly after the interviews. From conversations and meetings with Baer, the following facts were discovered. In 1975, Baer was asked to manufacture a small number of Falcon props for the film, The Black Bird. He went to the Property Department and requisitioned the original plaster mold used for the birds in The Maltese Falcon in 1941. Baer then produced a Falcon from the original mold but it was lacking in details since the mold had deteriorated and was in a state of disrepair. Baer kept the Falcon he had made but destroyed the original 1941 mold. Using the newly made Falcon as a model, Baer made a new mold out of epoxy resin, which he then used to make the Falcons for The Black Bird. Baer informed Arfer and Risan in a meeting at the Warner Bros. Studio that the Falcons for The Black Bird were all made of white plaster and spray-painted black. In addition, Baer showed Arfer and Risan one painted and one unpainted Falcon made from his 2nd-generation mold. Baer pointed out to Arfer and Risan that the 2nd-generation Falcons had lost considerable detail compared to the original 1941 Falcons. He stated that the old plaster mold was good for only 12 or 14 castings before it lost significant detailing but that since the 2nd-generation mold was made of an epoxy-resin substance it could be used over and over with minimal loss of detail from repeated castings. The major differences between the 2nd-generation Falcon and Falcons #6 and #7 are as follows: 23

The Maltese Falcon  Documentation for Attribution  September 2013

Edward Baer Interviews Continued 1. Bird #7 is impervious to acetone, denatured alcohol and ammonia, whereas the 2ndgeneration Falcons are soluble in acetone and denatured alcohol. 2. Falcons #6 and #7 were fabricated out of plaster, dyed grey to resemble the color of lead as opposed to the white plaster Falcons made by Baer. 3. Falcons #6 and #7 were painted with what Baer termed “sketching ink,” also known as India ink, and not sprayed with enamel or lacquer from a spray can. 4. The 2nd-generation Falcons shown to Risan and Arfer were virtually identical to one another as would be expected since they were fabricated from an epoxy resin mold. In comparison to this uniformity, comparison of Falcons #6 and #7 reveals a slight degradation in detailing and resolution. 5. Falcons #6 and #7 have highly articulated feathers, claws and base shape, while the 2nd-generation Falcons at Warner Bros. had a rectangular base devoid of modeling, rounded inarticulated claws and feathers, and loss of sharpness to the beak and eye regions. 6. The eye regions of the 2nd-generation Falcons were recarved, causing the eyebrow line to intersect with the bridge line of the beak. The beaks were recarved, destroying the naturalistic overhang of the tip of the upper bill. 7. The “carving error” on the left rear feather of Falcons #6 and #7 was recarved and regularized so that it is no longer visible on the 2nd-generation Falcons. 8. Falcons #6 and #7 were made from medium density “casting plaster” and weigh approximately 6 lbs. each, while the 2nd-generation Falcons were made out of a lighter-grade plaster with vermiculite added. This reduced the weight of the 2ndgeneration Falcons to about 4 lbs. The lighter plaster also has less shear strength than the “casting plaster” used for the 1st-generation Falcons, which allowed for the facile breaking-off of the head of the Falcon in The Black Bird. 9. At Warner Bros., Arfer and Risan observed that the 2nd-generation falcons possessed multiple seam lines along the inside recesses from the based up to the bottom of the wing on each side. This would be expected from a 2nd-generation casting. Falcons #6 and #7 possess a single articulate seam line running from the base through the inner recesses of the thighs and up into the wings. This is characteristic of the 1stgeneration mold. Baer confirmed that the original mold he destroyed in 1975 was of the piece-mold type with halves of the Falcon joining at the sides. Hank Risan subsequently contacted Edward Baer at his home and learned the following: 10. Back in the 1940’s, the plaster was poured hot into the mold in order to reduce the amount of air bubbles in the casting and to accelerate the drying time of the finished piece. 11. Aerosol spray paint was not used at Warner Bros. in 1941. 12. Baer asserted that only 10 to 14 Falcons could be produced for The Maltese Falcon since molds made in the early 1940’s would degenerate after this number of castings.

The Maltese Falcon  Documentation for Attribution  September 2013

Maltese Falcon Prop #6 – Front

Photo: Paul Schraub

The Maltese Falcon  Documentation for Attribution  September 2013

Maltese Falcon Prop #6 – Profile

Photo: Paul Schraub

The Maltese Falcon  Documentation for Attribution  September 2013

Maltese Falcon Prop #6 – Back

Photo: Paul Schraub

The Maltese Falcon  Documentation for Attribution  September 2013

Creation of the Maltese Falcon During an August 2013 on-camera interview, Michele Fortier, daughter of Maltese Falcon prop sculptor Fred Sexton, described her father’s creative process in crafting a Falcon prop model for the 1941 Warner Bros. production of The Maltese Falcon. Her recollections are corroborated by others who worked on the movie or in the Warner Bros. Property Department, including Meta Wilde, Edward Baer, and Ben Goldmond, as well as forensic analysis.

In 1941, artist Fred Sexton sculpted the Maltese Falcon statuette prop for The Maltese Falcon Director John Huston. Michele Fortier, Sexton’s daughter, was 9-years-old when her father crafted the Falcon prop. According to Fortier, director Huston and Sexton were lifelong friends and Huston collected paintings by Sexton. An internal Warner Bros. memo from Unit Manager Al Aleborn to First Assistant Jack Sullivan (June 18, 1941 report; eighth shooting), confirms the hiring of an unnamed “outside modeler” to craft the Falcon prop: “As you know, on this story we have a prop that works [for] the Maltese Falcon which is a plastic [sic] model. Blanke and Huston have an outside modeler who is working on this and the cost of it will be about $75.00 covering everything. A requisition for this is coming to you for an O.K. this morning.” Fortier recalled watching her father sketch drawings for the Falcon on a “manila envelope” and create a clay model for the Falcon, possibly with gray clay. A 1941 internal Warner Bros. memo suggests that Sexton’s design may have derived from “26 clips of eagles and 7 clips of hawks” provided to Sexton. Sexton fired a terra cotta model from his clay sculpture. The model was used by an outside casting company, likely Warner Bros.’ Property Department, to create a plaster mold. Fortier recalled that the finished Falcon props that she observed on the film set were “gleaming,” but “not like patent leather shoes.” Multiple Falcon props were observed by several individuals who worked directly on the film production or were employed in the Warner Bros. Property Department. 

Meta Wilde served as continuity person and script supervisor for The Maltese Falcon, and was responsible for placement and positioning of the Falcon props throughout the production. Wilde recalled seeing four Falcon props on The Maltese Falcon set, three composed of plaster and one made of metal. She commented that the plaster Falcon props were likely tinted with India ink to simulate the color of lead.

The Maltese Falcon  Documentation for Attribution  September 2013

Creation of the Maltese Falcon Continued 

Ben Goldmond worked in the Warner Bros. Property Department from 1929 to 1974. He remembered seeing three Falcon props made out of “casting plaster” in the prop room during the 1941 production (Goldman did not work on The Maltese Falcon). He said that the plaster Falcon props were gray under a semi-gloss jet black finish and weighed about six lbs. He also observed two metal Falcon props that were identical to the plaster birds but much heavier.



Edward Baer was an assistant manager in the Warner Bros. Property Department from 1954 to 1991. In 1975, Baer was asked to manufacture a small number of Falcon props for the film, The Black Bird, a spoof of The Maltese Falcon. Baer requisitioned the original plaster mold used for the Falcon props in The Maltese Falcon in 1941. He produced a Falcon prop from the original mold but the prop lacked important details because the mold had deteriorated. Baer then destroyed the original 1941 mold.



Phillip Welty, general superintendent of Welty Plastering (est. 1943) in Santa Cruz, California, examined Falcon #6 and concluded that it was made out of mediumdensity “casting plaster” exact in composition to the “casting plaster” that was commonly used in the early 1940’s.

Fortier vaguely recalled seeing a Falcon prop break during production. Fortier commented that she kept a plaster Falcon casting mold that her father created, but it was broken and discarded years ago.

On August 21, 2013, Michele Fortier appeared in an on-camera interview with UCLA Professor Vivian Sobchack, Ph.D. During the interview, Ms. Fortier described her father, Fred Sexton’s, creative process in sculpting the model for the Maltese Falcon prop for Warner Bros.’ 1941 production of “The Maltese Falcon.” The full interview is posted on YouTube.com.

The Maltese Falcon  Documentation for Attribution  September 2013

Plaster Analysis of 1941 Falcon Castings Plaster expert Phillip Welty was interviewed in 1991 regarding plaster types used in the early 1940’s, challenges associated with plaster casting during that period, and long-term deterioration.

Phillip Welty, general superintendent of Welty Plastering (est. 1943) in Santa Cruz, California specializes in restoration of historical monuments including the Integrand Design Building (Santa Cruz, CA) and the Santa Cruz Beach Boardwalk. He examined Falcon #6 at length and concluded that it was made out of medium-density “casting plaster” exact in composition to the “casting plaster” used in the early 1940’s. Welty also confirmed that 10 to 14 castings would be the limit of the mold because tremendous heat is generated as part of an internally catalyzed reaction between plaster and water, causing an alkalization process to the gum of latex “bullet” portion of the mold, and as subsequent casts are made, loss of detail occurs. According to Welty, the ozone in the air will also cause deterioration of the mold over time. The 25 years of storage in smoggy Burbank, California must have contributed to Baer’s inability to get a decent casting in 1975. In addition, straw was not necessary as a binding and drying agent in 1941; the plasters were of sufficient quality to do away with this process and a smooth casting in the eye and beak region would be impossible if straw were used.

The Maltese Falcon ď&#x201A;&#x; Documentation for Attribution ď&#x201A;&#x; September 2013

2nd-Generation Maltese Falcon Casting by Edward Baer for The Black Bird (1975) In 1975, Warner Bros. released The Black Bird, a send-up of The Maltese Falcon, starring George Segal (below). To create Maltese Falcon statuettes for the production, Edward Baer, a longtime assistant manager in the Warner Bros. Property Department, requisitioned the original mold used to cast Falcon props for The Maltese Falcon in 1941. Baer reported that he cast one Falcon prop from the original mold. However, the mold was badly deteriorated and, as a result, a number of casting defects were visible on the new casting. Baer then destroyed the original mold. Using the single and final Falcon prop cast from the original mold, he created a new mold and made new Falcon props for The Black Bird, albeit with visible casting defects. However, much the original definition of the breast feathers remained intact in the 2nd-generation Falcon prop castings.

Note tail feather casting defect.

Photo: Warner Bros.

The Maltese Falcon  Documentation for Attribution  September 2013

The Maltese Falcon and The Black Bird Falcon Prop Comparisons The following chart compares physical characteristics of Falcons produced for The Maltese Falcon in 1941 and Falcons created for The Black Bird in 1975.

Falcons #6 and #7 The Maltese Falcon 1.

The bottom-right tail feather is intact.

2nd-Generation Falcons The Black Bird 1.

The bottom-right tail feather is deficient and irregular because of the deteriorated condition of the original mold.

2. “F.S.” initials are visible on lower right rear feathers by artist Fred Sexton. (Note: Note to be compared with Warner Bros.’ serial or batch numbering system)

2. No “F.S.” initials are visible on lower right rear feather.

3. Faint hand-inscribed serial numbers on rear of base below tail feathers.

3. No serial numbers.

4. Single clear side-seam on either side.

4. Multiple seams on either side.

5. Sharp articulation of feathers, claws, beak, eyes, base and ledge on base.

5. Feathers rounded, detail missing, overall inarticulate modeling.

6. Three hatch marks on left knuckle (inside front claw).

6. No hatch marks in knuckle of claw.

7. India ink hand-painted on dyed gray plaster. a. In case of Falcon #7 the India ink on the surface does not smear or rub off as easily as Falcon #6. Impervious to acetone.

7. Black gloss lacquer sprayed on primed white plaster and lacquer putty. No brush marks visible. Lacquer soluble in acetone.

8. Irregular rectangular base with vertical ridges and horizontal amorphous modeling.

8. More regular rectangular base with reduced modeling.

9. Weight: approx. 6 lbs. each.

9. Weight: approx. 4 lbs. each.

10. Distinct eyebrow line and beak bridge line.

10. Eyebrow line and beak bridge line recarved as a single curvilinear line.

11. “Carving error” on left rear feather.

11. No “carving error” on left rear feather.

12. Medium-density “casting plaster.”

12. Low-density “30-minute plaster” with vermiculite.

The Maltese Falcon  Documentation for Attribution  September 2013

The Black Bird Falcon Prop “Lips” Detail 2nd-Generation Falcon Has “Lips”

Photo: Hank Risan (taken in the Warner Bros. Property Dept.)

Falcon Prop #6

Photo: Christie’s

The Maltese Falcon  Documentation for Attribution  September 2013

Lead Falcon Prop with Gold Paint A lead Falcon prop owned by Los Angeles dentist Gary Milan displays a significant number of variations from Falcon prop #6, produced for The Maltese Falcon in 1941. Some of those variations are shown in photos provided my Dr. Milan below.

Flattened head.

Loss of definition and plasticity.

Gold finish is inconsistent with first-hand accounts of “gleaming” black prop.

Three feathers have been rifled down.

Area between legs absent of original definition. Worn down or missing talon knuckles.

Base is smooth.

Photo: Gary Milan

The Maltese Falcon  Documentation for Attribution  September 2013

Lead Falcon Prop with Gold Paint Continued

Feather lines do not match original.

Feather line continues into upper feather in Falcon prop #6.

Missing feather detail (see “Tail Feather Comparison”) similar to 2nd-generation Falcon prop in The Black

Bird. Photo: Gary Milan

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Lead Falcon and 2nd-Generation Falcon Casting Defect Similarities Two casting defects in the lead Falcon prop are substantially similar to defects in 2ndgeneration props produced by Edward Baer in 1975 for The Black Bird. A large portion of the bottom-right tail feather of both the lead prop and the 2nd-generation casting is missing. In addition, a void in the middle-left feather is visible on both props. These shared characteristics suggest that each 2nd-generation prop originated from the same mold. The Black Bird Falcon Prop (1975)

2 -Generation Mold

The Maltese Falcon Prop (1941)

1 -Generation Mold

Lead Falcon Prop (casting date unknown)

2 -Generation Mold

Maltese Falcon Prop #6 (1941)

1 -Generation Mold

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1st- and 2nd-Generation Falcon Prop Casting Seams Plaster mold seam lines in Falcon #6, cast for The Maltese Falcon in 1941, and the 2ndgeneration Falcon prop seam lines diverge. The variance confirms statements by Edward Baer, former assistant manager in the Warner Bros. Property Department, who manufactured a small number of Falcon props from a new mold for the 1975 Warner Bros. film, The Black Bird. In a 1991 interview, Baer stated that he requisitioned the original plaster mold used for used to produce Falcon props for The Maltese Falcon in 1941 and made a Falcon prop from the mold. However, the prop lacked definition and key details because the mold had deteriorated and was in a state of disrepair. Baer kept the Falcon prop but destroyed the original 1941 mold. Using the newly-made Falcon as a model, Baer made a new mold out of epoxy resin, which he then used to produce Falcons props for The Black Bird. After plaster castings are made, seam lines and other casting imperfections are usually removed by scraping or sanding visible seam areas. However, faint but visible seam lines may remain, and it is often possible to determine the structure and identity of the original mold by tracing the lines around a finished casting. Of 1st- and 2nd-generation Falcon prop castings, vestige seam lines are most evident on the bases of the props. The base seam line in Falcon prop #6 appears approximately two-thirds from the front of the base on both the right and left sides of the prop. The base of the lead Falcon prop, however, reveals a seam line that is approximately onethird from the front of the base on the right-hand side. The dislocation of the seam line on the lead prop suggests that it was cast from a mold that was made at a later date, and not the original 1941 plaster mold. The following page compares seam lines in Falcon prop #6, produced in 1941 for The Maltese Falcon, and the lead Falcon prop.

The Maltese Falcon  Documentation for Attribution  September 2013

1st- and 2nd-Generation Falcon Prop Casting Seams Continued

Falcon prop #6

Photo: Paul Schraub

Vertical seam visible two-thirds from the front of the base on right and left sides

Photo: Christie’s

Original Casting Seam

Lead Falcon prop nd

2 -generation seam visible onethird from the front of the base

Photo: Bonhams

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Visual Considerations when Viewing Publicity Stills and Film Following is a 1990 technical analysis of factors that contributed to the loss of visual plasticity in the Falcon prop in The Maltese Falcon film and associated publicity stills.

When comparing Falcons #6 and #7 to publicity stills taken for the film with the actual film, the following considerations must be taken into account so as to ensure a better understanding of the relationship between the three-dimensional sculpture and the twodimensional photographic medium. 1. Depth of field. As the camera pans the subject in question from a wide angle to a closeup view, compression of the visual image will increase dramatically as the camera gets closer to the subject. What we see is a flattening of the object, loss of pictorial detail in all planes parallel to the camera lens, and distortion of normal perspective. It should be noted that in the publicity stills and film images, in which the Falcon is part of a larger scene, detail and plasticity of modeling are clearly visible (see below), while in close-up scenes flatness of the feathers and loss of detail convince us that the Falcon lacks threedimensional plasticity. Meta Wilde, script supervisor for The Maltese Falcon, confirmed that Falcons #6 and #7 possess the correct three-dimensional breast feather plasticity despite a flatness of detail in other images and scenes, and that the plaster birds were used for all major scenes in the film.

Photos: The Maltese Falcon (1941), Warner Bros.

The Maltese Falcon  Documentation for Attribution  September 2013

Visual Considerations Continued 2. Lighting. The Falcon was photographed under standard studio lighting of the 1940s, which was “hot” by modern standards. As a result, the areas where the light is reflected tend to show up as flat burned-out light regions, devoid of detail. This is further emphasized by the film reciprocity failure. 3. Film reciprocity failure. The type of film used in 1941 was black and white nitrocellulose with a high reciprocity failure index. This means that value gradations between blackest black and whitest white do not correspond with the actual light values emanating from an object. Graduations of black and white tend to show up as either black or white; thus the range of variation between black and white is severely limited. 4. Age of Negative. Nitrocellulose film tends to fade with age and loss of detail becomes more noticeable over time. Falcons #6 and #7 also appear to have greater three-dimensional plasticity than the frontal views of the Falcon in publicity still #1 and the film. However, in scenes where the wide angle of the camera is used and the bird is not the main focus of the camera or in the opening and closing credit scenes where the Falcon is lit from below, the three-dimensional plasticity of the breast feathers is revealed.

Photos: The Maltese Falcon (1941), Warner Bros.

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Similarities and Differences between Falcons #6 and #7 and Publicity Still #1 The following chart elucidates similarities and differences between Falcons #6 and #7 and Publicity Still #1 from the 1941 production of The Maltese Falcon.

Falcons #6 and #7

Studio Still #1

1. The relief and surface configuration of the base is most convincing visually in comparing Falcons #6 and #7 with the Studio Still #1. Vertical ridges emanate from the frontal claws and descend to the base. Horizontal amorphous concave shapes (just above bottom of base) are more recessed on right front side. The claws partition the horizontal ridges on the upper edge of the base into three sections. The center section shows low relief while the two outer sections show higher relief. Claws overhang front and side of base identically. Position and angle match Studio Still #1. 2. Legging feathers are layered, sharp and well defined.

2. Corresponding tight knit row of legging feathers, with the same number of feathers across as #6 and #7.

3. Vertical column or support between legs is sharp and well defined.

3. Identical vertical column.

4. Breast feathers show threedimensional plasticity; number of feathers spanning the chest correspond to Studio Still #1.

4. Breast feathers more two-dimensional (due to lighting, camera angle, depth of field, film reciprocity failure, and age of negative).

5. Upper two rows of breast feathers below the neck are individually unique in shape and have well-defined threedimensional plasticity.

5. Upper two rows of breast feathers match in shape. Note well-defined three-dimensional plasticity.

6. Weight: approximately 6 lbs.

6. Bogart holds Falcon effortlessly. A lead Falcon would weigh 50 lbs. and be very difficult to hold.

7. Brooding countenance; especially eye, eyebrow and beak contour lines match Studio Still #1.

7. Facial features correspond similarly.

8. Semi-gloss black finish.

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The Maltese Falcon Publicity Still #1

Photos: Warner Bros.

Detail

The Maltese Falcon  Documentation for Attribution  September 2013

Warner Bros. Publicity Stills #2 - #5 Following are 1989 findings and analysis of Falcon props shown in Warner Bros. Publicity Stills #2 - #5.

Still #2 is an extremely rare 1941 publicity photo of Humphrey Bogart standing while holding the falcon prop in profile (generously provided by John Konsdin of the Dashiell Hammett Society, San Francisco, California). Bogart holds the Falcon in his hand effortlessly showing no sign of physical stress or awkwardness of balance. Dr. Vivian C. Sobchack, Professor of Theater Arts (Film), Dean of the Division of Arts at the University of California, Santa Cruz, and member of the Board of Trustees of the American Film Institute, has suggested that the statement from the publicity release #4221, “The title character is a statue cast in lead weighing 47 lbs.,” refers to the fictional character of the Falcon and not the actual studio prop. Meta Wilde confirmed that there were four statuettes on the set of The Maltese Falcon: three black plaster Falcons that were used in the shooting and one black metal Falcon that was not used. The metal Falcon weighed approximately 15 lbs. There was not a 47 lb. lead statuette on the set of the film. According to Sobchack, the most obvious and “utterly convincing” feature of the visual comparison between the publicity photos and Falcons #6 and #7 is the “idiosyncratic quality of the Falcon’s base.” Stills #3, #4 and #5 were generously provided by Ms. Kerry Geesken, special collections archivist at the Museum of Modern Art in New York.

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The Maltese Falcon Publicity Still #2

Photo: Warner Bros.

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The Maltese Falcon Publicity Still #2 (Detail)

Photo: Warner Bros.

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The Maltese Falcon Publicity Still #3

Photo: Warner Bros.

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The Maltese Falcon Publicity Still #4

Photos: Warner Bros.

Detail

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The Maltese Falcon Publicity Still #5

Photo: Warner Bros.

The Maltese Falcon ď&#x201A;&#x; Documentation for Attribution ď&#x201A;&#x; September 2013

The Maltese Falcon Publicity Still #5 (Detail)

Photo: Warner Bros.

BIRD

WATCHING Observing and Identifying the Rara Avis

Mark Marinovich

Bird Watching Examining the advantages, limitations, and consequences of film noir production practices, influence of creative choices by director John Huston, and use of multiple Maltese Falcon props in the 1941 Warner Bros. movie production, The Maltese Falcon

The Maltese Falcon, the 1941 Warner Bros. film noir masterpiece directed by John Huston based on the novel by Dashiell Hammett, stars such cinematic icons as Humphrey Bogart, Sydney Greenstreet, and Peter Lorre. However, the character around which the story pivots is an 11½” tall icon – the Maltese Falcon statuette prop. While the inanimate “black bird” appears on camera for less than five minutes of the 100-minute film, it propels the story about a criminal gang, led by mastermind Kasper Gutman, and hardboiled detective Sam Spade, who pursue the “priceless” statuette with deadly purpose. Film noir is a cinematic term used primarily to describe stylish crime dramas that are characterized by cynicism, disillusionment, sexual motivations, moral confusion, deception, duplicity, guilt, angst, and unhappy endings. The term also references stark, restricted lighting techniques that dramatically intensify the genre’s typically somber tone. Literally translated, film noir means “black film.” Hollywood's classical film noir period generally extended from the early 1940s to the late 1950s. A range of methods, including high-contrast lighting, black-and-white film, fragile film stock, and cost-cutting production choices, were employed in the making of The Maltese Falcon. Those methods, considered below, combined to create a movie that has become the recognized standard in film noir cinema. They also contributed to an ongoing debate—and occasional controversy—regarding positive identification of falcon props that may or may not have been used in the film. Recent research revealed that the Maltese Falcon statuette is not an average movie prop as it was not created in a movie studio property department. Instead, the falcon statuette is an original work of fine art that was commissioned by John Huston and sculpted by Fred Sexton, a noted mid-20th Century artist and longtime friend of the director. Film Noir Lighting Techniques

The most marked visual characteristic of film noir is a high-contrast black-and-white visual style (also known as chiaroscuro) that has roots in German Expressionist cinematography, American tabloid crime photography, and Italian Renaissance art. Film noir lighting techniques can create an atmosphere of dread and foreboding. They can also alter the appearance of objects by distorting features and obscuring details. In The Maltese Falcon, the statuette oscillates between high and low relief, sometimes within the same shot, as a consequence of film noir lighting and reciprocity failure, which eliminates subtle gray tones between the tonal extremes of black and white.

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July 2013 | 2

Breast feathers may appear soft and smooth in some instances (see scenes #118 and #119), and deeply textured and pronounced in others (see scene #123; also note that pinstripes in Bogart’s suit disappear and reappear). Definition in the wing feathers also fluctuates (see scene #118) as the prop is tilted and rotated, changing camera and lighting angles. In 1986, Turner Entertainment Company produced a colorized version of the 1941 production of The Maltese Falcon. Pale gray cuts made by Sydney Greenstreet on the Falcon prop yielded important clues regarding the correct color of the material under the black surface paint (see scene #119). In addition, the unfinished bottom of the base of the prop is revealed when Greenstreet lays the bird on its back (see scene #120). The bottom of the base is the same tone as the nicks on the breast – gray plaster. Low Budgets

Another reason that filmmakers of the era utilized the striking film noir visual style was small budgets. The Maltese Falcon cost only $327,000 to make and was filmed in just six weeks. Directors and cinematographers discovered that when draped in darkness and shadow, even the cheapest sets looked edgy and dramatic—and more expensive—on black-and-white film, leading to broad use of film noir lighting techniques. Special Light and Shadow Effects

Window blinds and gobos (physical templates, also called “go-betweens,” that were slotted inside or placed in front of a lighting source to control the shape of emitted light) were often used to cast ominous shadows. For The Maltese Falcon, Director of Photography Arthur Edeson used low-key lighting, window blinds and gobos, and unusual camera angles to evoke an atmosphere of tension and danger. Cellulose Nitrate Film

Movies produced during the first half of the 20th Century were filmed on an unstable, highly flammable cellulose nitrate film base. The film required careful storage of the original negatives and prints in climate-controlled facilities to slow its inevitable decomposition process. Unfortunately, most films made on nitrate stock were not properly preserved and their negatives and prints have crumbled into powder or dust. Such deterioration invariably damaged all films produced during that period to some degree, which inevitably affected the quality and clarity of on-screen images. Because the cellulose nitrate film used to shoot The Maltese Falcon could only detect highercontrast black-and-white variations, shots that were filmed straight-on, in which little light is available, offered little variation between black and white tones. Multiple Versions of The Maltese Falcon Statuette Prop

It is common practice in the movie industry to create multiple copies of key props for a movie production, including hand props, hero props, stunt props, and mechanical props, so that if one is lost, stolen or damaged it can be immediately replaced. In addition, special props may be issued for publicity and commemorative purposes.

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Multiple versions of props may also be produced with different materials and finishes to satisfy varying scene requirements. Versions of props may be heavy or light, hard or soft, and have matte or glossy finishes. A MGM wardrobe person who worked on the 1939 production of The Wizard of Oz recalled that seven pairs of ruby slippers were produced for the film. For The Maltese Falcon multiple Maltese Falcon statuette props were also produced. Ben Goldmond, an assistant in the Property Department at Warner Bros. in 1941, recalled seeing three gray plaster falcons and two metal falcons, all painted jet black, in the prop room during production of The Maltese Falcon. According to Goldmond, none of the Falcon props bore Warner Bros. serial numbers. The presence of multiple Falcon props during the film production was confirmed by others associated with the production, including Meta Wilde, who was the continuity person and script supervisor for Huston, and Edward Baer, a longtime assistant manager in the Warner Bros. Property Dept. While The Maltese Falcon statuette prop (or props) appeared on camera only briefly, it is possible if not likely that scenes featuring the prop (or props) were shot and re-shot over a period of days. This may account in part for variations in its on-screen appearance, as multiple versions of Maltese Falcon statuette may have been used—even during the same scene. The true identity of the rara avis may forever be obscured by harsh lighting, deep shadows, corroded film, black paint, and false leads. More likely, the Maltese Falcon is hiding in plain sight, right in front of our eyes in its natural habitat – film noir.

The following pages present final scenes from Warner Bros.’ 1941 The Maltese Falcon shooting script and selected images from the scenes.

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118. INT. LIVING ROOM Gutman's face is dark, his cheeks quivery. Cairo and Brigid come to the table as Spade puts the parcel there. The boy rises, pale and tense, but he remains by the sofa staring under the curling lashes. Gutman's fat fingers make short work of the cord and paper and excelsior. He takes the black bird, holds it in both hands, looks at it with eyes that are moist.

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118. INT. LIVING ROOM - CONT. Cairo licks his lips, works his hands together. The girl's lower lip is between her teeth. Everyone, including Spade, is breathing heavily. Gutman puts the bird down on the table, fumbles in a pocket. Sweat glistens on his round cheeks. His fingers twitch as he takes out a gold pocket-knife, opens it. Cairo and the girl stand close to him, one on either side. Spade stands back a little where he can watch the boy as well as the group at the table. Gutman turns the bird upside-down, scratches an edge of its base with the knife. Black enamel comes off in tiny curls exposing gray metal beneath.

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119. CLOSEUP - THE BIRD as Gutman's blade bites into the metal, turning back a thin curving shaving. Gutman's hands twist the bird around and the knife hacks at its head.

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120. CLOSE SHOT - GROUP Gutman's breath hisses between his teeth. His face becomes turgid with hot blood. He hacks wildly at the bird... its head, throat, breast. Then suddenly he lets knife and bird bang down on the table, wheels to confront Spade.

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123. MED. SHOT - ROOM - ANGLE ON DOOR Lieutenant Dundy, Tom Polhaus and two other detectives enter. They look back and forth from Spade to the girl...[Polhaus] picks up the Falcon. Spade leads the way out of the apartment.

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123. MED. SHOT - ROOM - ANGLE ON DOOR - CONT.

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The Maltese Falcon  Documentation for Attribution  September 2013

Researching the Falcon at the Warner Bros. Archives The following research was conducted in 1991 by Dr. Janina Darling, Bianca Soros, and Hank Risan at the University of Southern California (USC).

On Tuesday, September 10, 1991, Dr. Janina Darling, Bianca Soros, and Hank Risan visited USC and carefully reviewed the entire file on The Maltese Falcon from Warner Bros.’ Film and Television Archives. Following are summaries of documents pertaining to the actual Falcon prop used for the 1941 film. 1. Memo from Unit Manager Al Aleborn to First Assistant Jack Sullivan; June 18, 1941 report (eighth shooting): “As you know, on this story we have a prop that works [for] the Maltese Falcon which is a plastic [sic] model. Blanke and Huston have an outside modeler who is working on this and the cost of it will be about $75.00 covering everything. A requisition for this is coming to you for an O.K. this morning. “AA/WS” 2. Memo from the Research Department stating that final design of the Falcon was based on 26 clips of eagles and 7 clips of hawks. Note: In July 2013, Michele Fortier recalled that her father, artist Fred Sexton, crafted the Maltese Falcon prop during a two-week period, sketching the rough design on an envelope, then sculpting the terra cotta model for the prop.

3. Memo from Robert Taplinger, director of publicity at Warner Bros., regarding John Huston Sr. changing the weight of the bundle that he delivers to Humphrey Bogart. Huston Sr. joked about increasing the weight of the bundle. 4. Memo from Taplinger regarding injury to Bogart’s toenails when Patrick hands Bogart the prop. Memo refers to “the title character is a statue cast in lead weighing 47 pounds.” 5. Memo from Taplinger regarding paint coming off the bird, permitting Bogart to crack: “Time out while we get another falcon. This one’s moulting.” 6. Script scene calling for Greenstreet to turn the bird upside-down and scraped an edge of its base with his gold pocket knife, turning back a thin curved grey shaving (this scene was cut from the film). Document #3 confirms that the injury to Humphrey Bogart’s toenails was caused by a bundle filled with weights and not by a Falcon. Document #6 confirms Meta Wilde’s opinion and Edward Goldmond’s recollection that the Falcons were made out of grey plaster.

The Maltese Falcon  Documentation for Attribution  September 2013

Warner Bros. Press Release: Humphrey Bogart Injury The following press release was issued in 1941 by Warner Bros. Director of Publicity Robert Taplinger during production of The Maltese Falcon.

From:

Robert S. Taplinger Director of Publicity Warner bros. Studios Burbank, Calif. No. 4221

By:

Jan Chapman

In a freak accident which injured Humphrey Bogart yesterday, the actor saved Lee Patrick’s toes at the expense of his own. Action of a scene of Warner Bros.’ “The Maltese Falcon” called for the actress to hand the “falcon” to Bogart. The title character is a statue cast in lead, weighing 47 pounds. The relatively small but disproportionately heavy prop slipped from the actress’s hands just as Bogart reached for it. He thrust Miss Patrick back and tried to jump back himself, but was not quick enough to save the tips of the toes on his left foot. Witnesses said his prompt action probably saved Miss Patrick from severe foot injury, as the falcon crashed down exactly on the chalk mark in which she was supposed to place her left food for the scene. Studio first aid pronounced the injury slight, but said he may lose two toe nails. He was able to continue work without a perceptible limp, and to kid Miss Patrick with the crack: “This is what I get for saving you when you tried to give me the bird!” # # # #

Photos: The Maltese Falcon (1941), Warner Bros.

The Maltese Falcon  Documentation for Attribution  September 2013

Warner Bros. Press Release: “Moulting” Falcon The following press release was issued in 1941 by Warner Bros. Director of Publicity Robert Taplinger during production of The Maltese Falcon.

From:

Robert S. Taplinger Director of Publicity Warner Bros. Studios Burbank, Calif. No. 4221

By:

Jan Chapman

Rough treatment caused considerable damage yesterday to the title character in Dashiell Hammett’s mystery picture, “The Maltese Falcon,” at Warner Bros. The falcon is a metal statue, heavily enamelled (sic). Enamel representing feathers came off, permitting Humphrey Bogart to crack: “Time out while we get another falcon. This one’s moulting.” # # # #

Curriculum Vitae VIVIAN SOBCHACK, Professor Emerita Department of Film, Television & Digital Media Phone: (310) 474-0974 School of Theater, Film & Television EMAIL: sobchack@tft.ucla.edu University of California, Los Angeles 405 Hilgard Avenue, Los Angeles, California 90094 EDUCATION: Ph.D., Southern Illinois University-Carbondale, 1984. Dept. of Speech Communication (Emphasis: Philosophy of Language) M.A., University of California at Los Angeles, 1976. Dept. of Theater Arts/Division of Motion Pictures & Television (Emphasis: Critical Studies in Cinema) B.A., Barnard College, New York City, 1961. Major: English Post-graduate courses at the University of Utah: Television Production (Summer 1972) Film Production (Spring 1973) ACADEMIC POSITIONS: Administration School of Theater, Film & Television, University of California, Los Angeles Acting Dean: January 2005 – March 2005. Associate Dean: July 1992 – June 2005. Professor, Dept. of Film & Television: July 1992—Present (Emerita, as of July 2005, on Recall). Division of the Arts, University of California, Santa Cruz Dean of the Arts: September, 1990—June 1992. Director of the Arts (Dean, de facto ): July,1988— eptember,1990 Theater Arts Board, University of California, Santa Cruz Chair: Spring 1986—Spring 1988 Lecturer/Asst./Assoc./Full Professor: Fall 1981—June 1992 Instruction Department of Film, Television, and Digital Media, University of California, Los Angeles Professor Emerita (on recall): 2005—Present Department of Film and Television, University of California, Los Angeles Professor: 1992—2005 Theater Arts Board, University of California, Santa Cruz Professor: 1988—1992 Associate Professor: 1985—1988 Assistant Professor: 1984—1985 Acting Assistant Professor: 1982—1984 Visiting Lecturer: 1981-1982 History of Consciousness Board, University of California, Santa Cruz Associate Faculty, 1988—1992

Department of English, University of Utah (Salt Lake City) Part-time Lecturer: 1978-1979 Department of Communication, University of Vermont (Burlington) Visiting Lecturer: 1977-1978 Department of English, University of Utah (Salt Lake City) Part-time Lecturer: 1976-1977 Department of Theater Arts/Division of Motion Pictures & Television, University of California, Los Angeles, Graduate Division Lecturer for the Graduate Division: Spring 1976 Department of English, University of Utah (Salt Lake City) Part-time Lecturer: 1967-1976 PUBLICATIONS: Books Carnal Thoughts: Embodiment and Moving Image Culture (Berkeley: University of California Press, 2004). Beyond the Gaze: Recent Approaches to Film Feminisms [special issue of Signs: Journal of Women in Culture and Society] Vol. 30: no.1 (Autumn 2004), Co-editor with Kathleen McHugh. Meta-Morphing: Visual Transformation and the Culture of Quick Change, Editor (Minneapolis: University of Minnesota Press, 2000). Screening Space: The American Science Fiction Film [reprint] (New Brunswick, NJ: Rutgers University Press, 1997). The Persistence of History: Cinema, Television and the Modern Event, Editor (New York: AFI Film Reader Series, Routledge, 1996). New Chinese Cinemas: Forms, Identities, Politics, Co-editor with Nick Browne, Paul Pickowicz, and Esther Yau (London: Cambridge University Press, 1994). The Address of the Eye: A Phenomenology of Film Experience (Princeton, NJ: Princeton University Press,1992). Screening Space: The American Science Fiction Film (New York: Ungar Press,1987). An Introduction to Film, 2nd Edition, Co-author with Thomas Sobchack, (Boston, MA: Little, Brown, 1986). The Limits of Infinity: The American Science Fiction Film 1950-1975 (South Brunswick, NJ & New York: A.S. Barnes/London: Thomas Yoselloff, Ltd., 1980). An Introduction to Film, Co-author with Thomas Sobchack, (Boston, MA: Little, Brown, 1980). Essays in Books and Journals "Why I ď &#x2122; IMDb," Film Comment (March/April 2013): 38-40. "The Dream (Ol)Factory: On Making Scents of Cinema," in Carnal Aesthetics: Transgressive Imagery and Feminist Politics, ed. Marta Zarzycka and Bettina Papenburg (London: IB Taurus, 2013), 121-143. "Assimilating Streisand: When Too Much is Not Enough," in Hollywood's Chosen People: The 2

Jewish Experience in American Cinema, ed. Daniel Bernardi, Murray Pomerance, and Hava Tirosh-Samuelson (Detroit: Wayne State University Press, 2012): 211-228. "Being on the Screen: A Phenomenology of Cinematic Flesh, or the Actor's Four Bodies," in Acting and Performance in Moving Image Culture: Bodies, Screens, Renderings, ed. Jรถrg Sternagl, Deborah Levitt and Dieter Mersch (Bielefeld: Transcript Press, 2012), 429-445. "Between a Rock and a Hard Place: Prometheus," Film Comment (July-August 2012): 30-34. "Digital Images and Diagrams: On Dissembling Iconicity," in What is an Image?, ed. James Elkins and Maja Naef (University Park: Pennsylvania State University Press, 2011), 136-139. "The Man Who Wasn't There: The Production of Subjectivity in Delmer Daves' Dark Passage," in Subjectivity: Filmic Representation and the Spectator's Experience, ed. Dominique Chateau (Amsterdam: Amsterdam: University Press, 2011), 69-83. "Afterword: Media Archaeology and the Re-Presencing of the Past," in Media Archaeology: Approaches, Applications, and Implications, ed. Erkki Huhtamo and Jussi Parikka (Berkeley: University of California Press, 2011), 323-333. "Fleshing Out the Image: Phenomenology, Pedagogy, and Derek Jarman's Blue," in New Takes in Film-Philosophy, ed. Havi Carel and Greg Tuck (Hampshire: Palgrave Macmillan, 2011), 191-206. "On Becoming," Afterword to Yishay Garbaz, Becoming (New York: Mark Batty, 2010), n.p. "Living a Phantom Limb: On the Phenomenology of Bodily Integrity," Body & Society 16:3 (September 2010): 51-67. "Vivian Sobchack in Conversation with Scott Bukatman," Journal of e-Media Studies, 2:1 (2009), accessed at http://journals.dartmouth.edu/joems/. "Real Phantoms and the Phantom of Reality: A Phenomenology of Corporeal Imagination," in The Dynamics and Performance of Imagination: The Image between the Visible and the Invisible (Routledge Research in Cultural and Media Studies), ed. Bernd Huppauf and Christoph Wulf (London: Routledge, 2009). "Final Fantasy, or the (Dis)]Illusion of Computer Graphic Life," in Rethinking Theories and Practices of Imaging, ed. Timothy Engstrรถm and Evan Selinger (Hampshire: Palgrave Macmillan, 2009), 211-226. "Animation and Automation, or the Incredible Effortfulness of Being," Screen 50:4 (Winter 2009): 375-391. "Phenomenology," in The Routledge Companion to Philosophy and Film, ed. Paisley Livingston and Carl Plantinga (London: Routledge, 2009): 435-445. "The Line and the Animorph, or 'Travel is More than Just A to B,'" Animation: An Interdisciplinary Journal, 3:3 (Fall 2008): 251-265. "Phenomenology, Mass Media, and Being-in-the-World," Interview by Marquard Smith, in Visual Culture Studies: Interviews with Key Thinkers (London: Sage, 2008), 115-130. "Embodying Transcendence: On the Literal, the Material, and the Cinematic Sublime," Material Religion 4:2 (Special Issue: Media and the Senses: 2008): 195-203 "Love Machines: Boy Toys, Toy Boys and the Oxymorons of A.I.: Artificial Intelligence," Science Fiction Film and Television 1: 1 (Spring 2008): 1-13. "Chasing the Maltese Falcon: On the Fabrications of a Film Prop," Journal of Visual Culture 6, no. 4 (August 2007): 219-246. "Burnt by the Sun," Film Comment (July-August 2007): 30-35.

"Wirkliche Phanatome/Phantomirklichkeiten: Zur Phänomenologie der körperlichen Imaginatioon [Real Phantoms/Phantom Realities: On the Phenomenology of Bodily Imagination]," in Bild und Einbildungskraft [Image and Imagination], ed. Bernd Hüppauf & Christoph Wulf (Munchen: Wilhelm Fink Verglag, 2006), 191-202. "Cutting to the Quick: Techne, Physis, and Poeisis and the Attractions of Slow Motion," in The Cinema of Attractions Reloaded, ed. Wanda Strauven (Amsterdam: University of Amsterdam Press, 2006), 337-351. "Final Fantasies: Computer Graphic Animation and the [Dis]Illusion of Life," in Animated Worlds, ed. Suzanne Buchan (Eastleigh, UK: John Libbey Publishing, 2006), 171-182. "The Films of Tod Browning: An Overview Long Past," in Tod Browning, ed Bernd Herzogenrath (London: Black Dog Publishing, 2006), 21-39. "Simple Grounds: At Home in Experience," Postphenomenology: A Critical Companion to Ihde, ed. Evan Selinger (Albany: State University of New York Press, 2006): 13-19. "Peek-a-BOO! Thoughts on seeing (most of) The Descent and Isolation," Film Comment 42, no. 4 (July-August 2006): 38-41. "A Leg to Stand On: On Prosthetics, Metaphor, and Materiality," in The Prosethetic Impulse: From a Posthuman Present to a Biocultural Future, ed. Marquard Smith & Joanne Morra (Boston: MIT Press, 2006), 17-41. "Present-ifying Film and Media Feminism," Camera Obscura 61 (2006): 65-68. "Waking Life: Vivian Sobchack on the experience of Innocence," Film Comment 41, no. 6 (November/December 2005): 46-49. "American Science Fiction Film: An Overview," in A Companion to Science Fiction, ed. David Seed (London: Blackwell, f2005), 261-274.. "When the Ear Dreams: Dolby Digital and the Imagination of Sound," Film Quarterly 58, no. 4 (Summer 2005): 2-15. "'Choreography for One, Two, and Three Legs' (A Phenomenological Meditation in Movements)," (Special Issue on Dance) Topoi : A Journal of Philosophy 24, no. 1 (Spring 2005): 55-66. "Science Fiction Film and the Technological Imagination," in Technological Visions: The Hopes and Fears that Shape New Technologies, ed. Marita Sturken, Douglas Thomas, And Sandra Ball-Rokeach (Philadelphia, PA: Temple University Press, 2004), 145-158. "'Happy New Year/Auld Lang Syne': On Televisual Montage and Historical Consciousness," in Reality Squared: Televisual Discourse on the Real, ed. James Friedman (New Brunswick, NJ: Rutgers University Press, 2002), 92-116. "Thinking through Jim Carrey," in Closely Watched Brains, ed. Murray Pomerance and John Sakeris (Toronto: Pearson Educational Press, 2001), 199-213. "The Violent Dance: A Personal Memoir of Death in the Movies" (revised and expanded), in Screening Violence, ed. Stephen Prince (New Brunswick, NJ: Rutgers University Press, 2000), 110-124. "What is film history?, or the Riddle of the sphinxes," in Reinventing Film Studies, ed. Christine Gledhill and Linda Williams (London: Arnold Press, 2000), 300-315. "Introduction," in Meta-Morphing: Visual Transformation and the Culture of Quick Change, ed. Vivian Sobchack (Minneapolis: University of Minnesota Press, 2000), xi-xxiii.

"'At the Still Point of the Turning World': Meta-Morphing and Meta-Stasis," in MetaMorphing: Visual Transformation and the Culture of Quick Change, ed. Vivian Sobchack (Minneapolis: University of Minnesota Press, 2000), 131-158. "Nostalgia for a Digital Object: Regrets on the Quickening of QuickTime," Millennium Film Journal 34 (Fall 1999): 4-23. "Cities on the Edge of Time: The Urban Science Fiction Film" (revised and expanded), in Alien Zone II: The Spaces of Science Fiction Cinema, ed. Annette Kuhn (London: Verso, 1999), 123-143. "Bathos and the Bathysphere: On Submersion, Longing and History in Titanic," in Titanic: Anatomy of a Blockbuster, ed. Kevin Sandler and Gaylyn Studlar (New Brunswick, NJ: Rutgers University Press, 1999), 189-204. "Toward a Phenomenology of Non-Fictional Experience," in Collecting Visible Evidence, ed. Michael Renov and Jane Gaines (Minneapolis: University of Minnesota Press, 1999), 241-254. "Scary Women: Cinema, Surgery and Special Effects," in Figuring Age: Women, Bodies, Generations, ed. Kathleen Woodward (Bloomington: Indiana University Press,1999), 200-211. "Is Any Body Home?: Embodied Imagination and Visible Evictions," in Home, Exile, Homeland: Film, Media, and the Politics of Place, ed. Hamid Naficy (New York: Routledge, 1999), 45-61. "Seeing With Your Eyes: An Email Discussion between Vivian Sobchack and John Beckmann," in The Virtual Dimension: Architecture, Representation, and Crash Culture, ed. John Beckmann (New York: Princeton Architectural Press, 1998), 342-356. "'Lounge Time': Post-War Crises and the Chronotope of Film Noir," in Refiguring American Film Genres: History and Theory, ed. Nick Browne (Berkeley: University of California Press, 1998), 129-170. "The Insistent Fringe: Moving Images and Historical Consciousness," History and Theory: Studies in the Philosophy of History 36:4 (December 1997): 4-20. "Cinema, Chirurgie en Speciale Effecten," Andere Sinema 142 (November-December 1997): 6-12. "Over Star Wars en de cultus van science fiction: doon Vivian Sobchack en Tom Paulus," Andere Sinema 139 (May-June 1997): 49-53. "Meta-Morphing," Art+Text 58 (August-October 1997): 43-45. "'Shit Happens': Forrest Gump and Historical Consciousness," Ilha Do Desterro 32 (Jan./Jun. 1997): 15-26. "The Lived Body and the emergence of language," in Semiotics around the World: Synthesis in Diversity [Proceedings of the Fifth Congress of the International Association for Semiotic Studies, Berkeley, 1994] ( Berlin: Mouton de Gruyter, 1997), 1051-1054. "Phenomenology in Film," in The Encyclopaedia of Phenomenology, ed. Lester Embree, et. al. (Dordrecht, Netherlands: Kluwer Academic Publishers, 1997), 226-232. "The Fantastic," in The Oxford History of World Cinema, ed. Geoffrey Nowell-Smith (London: Oxford University Press, 1996), 312-321.

"Demokratisches ‘Franchise' und die elektronische Grenze," in Medien und Öffentlichkeit: Positionierungen Symptome Simulationsbrüche/Media and the Public Sphere: Postions, Symptoms, Simulations, ed. Rudolf Maresch (Munich: Klaus Boer Verlag, 1996), 324-336. "Beating the Meat/Surviving the Text, or How to Get Out of this Century Alive," Body & Society 1, 3/4 (November 1995): 205-214; and in Cyberspace/Cyberbodies/Cyberpunk: Cultures of Technological Embodiment, eds. Mike Featherstone & Roger Burrows (London: Sage Press, 1995), 205-214. "Democratic Franchise and the Electronic Frontier," Futures 27, no. 7 (1995): 725-734. "Modern N.Y. to Postmodern L.A.: Science Fiction Film and the American Cityscape," in Die neue Metropole: Los Angeles-London [Gulliver 35: Deutsch-Englische Jahrbücher.], eds. Bernd-Peter Lange and Hans-Peter Rodenberg (Hamburg: Argument Verlag, 1994), 124-135. "Revenge of The Leech Woman: On the Dread of Aging in a Low-Budget Horror Film," in Uncontrollable Bodies: Testimonies of Identity and Culture, ed. Rodney Sappington and Tyler Stallings (Seattle: Bay Press, 1994), 79-91. "The Scene of the Screen: Envisioning Cinematic and Electronic ‘Presence," in Materialities of Communication, ed. Hans Ulrich Gumbrecht and K. Ludwig Pfeiffer (Stanford: Stanford University Press, 1994), 83-106. "Die Materie und ihre Passion: Prolegomena zu einer Phänomenologie der Interobjektivität" (The Passion of the Material: Prolegomena to a Phenomenology of Interobjectivity), in Ethik der Ästhetik (The Ethics of Aesthetics), ed. Christoph Wulf, Dietmar Kamper and Hans Ulrich Gumbrecht (Berlin: Akademie Verlag, 1994), 195-205. "New Age Mutant Ninja Hackers": Reading Mondo 2000," in Flame Wars: The Discourse of Cyberculture, Special Issue of South Atlantic Quarterly 92, no. 4 (Fall 1993): 569-584. "From Space to Place: Vivian Sobchack Talks to Robert Irwin," Artforum International (November 1993): 70-74ff. "Baseball in the Post-American Cinema, or Life in the Minor Leagues," East-West Film Journal 7, no. 1 (January 1993): 1-23. "The Visual and the Visible: Towards a Phenomenology of Film Experience," Stanford Humanities Review 2, nos. 2-3 (Spring 1992):109-128. "Baudrillard's Obscenity: In Response to Baudrillard," Science-Fiction Studies 55, no. 18 (November 1991): 327-329. "Postmodern Modes of Ethnicity," in Unspeakable Images: Ethnicity and the American Cinema, ed. Lester Friedman (Champaign-Urbana: University of Illinois Press, 1991), 329-352. "New Age Mutant Ninja Hackers," Artforum International (April 1991): 24-26. "All-Theorien, Eine Reflexion über Chaos, Fraktale und die Differenz, die zu indifferenz führt"/"Theories of Everything: A Meditation on Fractals, Chaos, and the Difference that Leads to Indifference," in Paradoxien, Dissonanzen, Zusammenbrüche: Situtationen offener Epistemologie/Paradoxes, Dissonances, Breakdowns: Situations in an Epistemologically Open Field , ed. Hans-Ulrich Gumbrecht & Ludwig K. Pfeiffer (Frankfurt: Germany: Suhrkamp Taschenbuch Wissenschaft Series. Suhrkamp Verlag, 1991), 809-822. "'The Occidental Tourist': Steve Fagin's Virtual Voyage for Armchair Travelers," camera 6

obscura [Special issue: "Unspeakable Images"] 24 (September 1990): 47-63. "The Scene of the Screen: Towards a Phenomenology of Cinematic and Electronic Presence," Post-Script 10 (Fall 1990): 50-59. "The Active Eye: A Phenomenology of Cinematic Vision," Quarterly Review of Film and Video, 12, no. 3 (1990): 21-36. "A Theory of Everything: Meditations on Total Chaos," Artforum International (October 1990): 148-155. "Terminal Culture: SF Cinema in the Age of the Microchip," in Contours of the Fantastic.: Selected Essays from the Eighth International Conference on the Fantastic in the Arts. ed. Michele K. Langford (New York: Greenwood Press, 1990), 101-112. "'Surge and Splendor': A Phenomenology of the Cinematic Historical Epic," Representations 29 (Winter 1990): 24-49. "Cities on the Edge of Time: The Urban Science Fiction Film," East-West Film Journal, 3, no. 1 (December 1988): 4-19. "Science Fiction," Chapter for Handbook of American Film Genres, ed. Wes.D. Gehring (Westport, CT: Greenwood Press, 1988), 229-247. "Bringing It All Back Home: Family Economy and Generic Exchange, " in American Horrors: Essays on the Modern American Horror Film, ed. Gregory A. Waller (UrbanaChampaign: University of Illinois Press, 1987), 175-194. "Introduction to Special Issue on Silent Cinema," Journal of Popular Film and Television 15, no. 3 (Fall 1987): 101. "Child/Alien/Father: Patriarchal Crisis and Generic Exchange," camera obscura 15 (1987): 7-34. "The Virginity of Astronauts: Sex and the Science Fiction Film," in Shadows of the Magic Lamp:Fantasy and Science Fiction in Film, ed. George E. Slusser & Eric S. Rabkin (Carbondale, IL: Southern Illinois University Press, 1985), 41-57. "16 Ways to Pronounce Potato: Authorship and Authority in Poto and Cabengo," Journal of Film and Video 36, no. 4 (Fall 1984): 21-29. "Inscribing Ethical Space: 10 Propositions on Death, Representation and Documentary," Quarterly Review of Film Studies 9, no. 4 (Fall 1984): 283-300. "Genre Film: Myth, Ritual and Socio-drama," in Film/Culture: Explorations of Cinema in its Social Context, ed. Sari Thomas (Metuchen, NJ: Scarecrow Press, 1982), 147-165. "Towards Inhabited Space: The Semiotic Structure of Camera Movement in the Cinema," Semiotica [Special Issue: Semiotics and Phenomenology] 41, nos. 1/4 (1982): 317-335. "Beyond Visual Aids: American Film as American Culture," American Quarterly 32 (Bibliography Issue, 1980): 280-300. "Synthetic Vision: The Dialectical Imperative of Bu単uel's Las Hurdes," Millennium Film Journal nos. 7/8/9 (Fall/Winter 1980-81): 140-150. "The Grapes of Wrath : Thematic Emphasis through Visual Style," American Quarterly 31 (Winter 1979): 596-615. "No Lies : Direct Cinema as Rape," Journal of the University Film Association 29 (Fall 1977): 13-18.

"Motion Pictures," in English for Today, Book Five: Our Changing Culture, ed. William Slager (New York: McGraw Hill, 1976), pp. 38-40. "The Leech Woman's Revenge, or A Case for Equal Misrepresentation," Journal of Popular Film 4 (Summer 1975): 236-257. "The Violent Dance: A Personal Memoir of Death in the Movies," Journal of Popular Film 3 (Winter 1974): 2-14. "The Alien Landscapes of the Planet Earth," The Film Journal 2, no. 3 (1974): 16-21. "Tradition and Cinematic Allusion," Literature/Film Quarterly 2 (Winter 1974): 59-65. "The Creature Walks Among Us," Journal of Popular Film 2 (Spring1973): 198-200. Reprints, Translations, and Electronic Publications Books Spazio e tempo nel cinema di fantascienza: Filosofia di un genere hollywoodiano/Screening Space: The American Science Fiction Film (Bologna, Italy: Bononia University Press, 2002). Carnal Thoughts: Embodiment and Moving Image Culture (Chinese Edition, 2009). Essays "Le Visuel et le Visible: Une phénomenologie de experiénce filmique," trans. Stefan Kristensen, in L"Empreinte du Visuel: Merleau-Ponty et les images aujourdi'hui, ed. Mauro Carbone (Geneva: Metis Presses, 2013), 83-106. "Fleshing Out the Image: Phenomenology, Pedagogy, and Derek Jarman's Blue," Cinema: Journal of Philosophy and the Moving Image (an international journal based in Lisbon, Portugal: http://cjpmi.ifl.pt/), forthcoming 2013. "The Leaden Echo and the Golden Echo: Dialogue in Science Fiction Films," in Film Dialogue, ed. Jeff Jaeckle (London: Wallflower, forthcoming, 2013). "L'uomo che non c'era: la produzione di soggettività in La fuga di Delmer Daves,"/"The Man Who Wasn't There: The Production of Subjectivity in Delmer Daves' Dark Passage," Imago: studi di cinema e media, 3:5, 15-32. "Hacia una fenomenologica de la experiencia no-ficcional," trans. Soledad Pardo, Cine Documental (Argentina), No. 4 (2011), www.revista.cinedocumental.com "When the Ear Dreams: Dolby Digital and the Imagination of Sound," in Releasing the Image: From Literature to New Media, ed. Jacques Khalip, Robert Mitchell, Giorgio Agamben, Cesare Casarino (Stanford University Press, 2011): 112-136. "Hacia una fenomenologia de la experiencia no-ficcional"/"Toward a Phenomenology of Non-Fictional Experience," in Revista – Cine Documental (Argentina, on-line journal: http://www.revista.cinedocumental.com.ar), June 2011. "The Dream (Ol)Factory: Sinn und Geruchssinn im Kino," in Synästhesie-Effekte: Zur Intermodalität der ästhetischen Wahrnehmung, ed. Gertrud Koch, Marc Glöde, and Robin Curtis (Munich: Wilhelm Fink Verlag, 2011), 51-67. "Breadcrumbs in the Forest: Three Meditations on Being Lost in Space," excerpt in The Feminism and Visual Culture Reader, Second Edition, ed. Amelia Jones (London & New York: Routledge, 2010), 546-559.

"A Leg to Stand On: Prosthetics, Metaphor, and Materiality," in The Object Reader, ed. Fiona Candlin and Raiford Guins (London: Routledge, 2009), 279-296. "Scary Women: Cinema, Surgery and Special Effects," in Cosmetic Surgery: A Feminist Primer, ed. Cressida Hayes and Meredith Jones (Farnham, UK: Ashgate Press, 2009), 79-95. "Plodovi gnjeva: "Tematski naglasak kroz vizualni stil"/"The Grapes of Wrath : Thematic Emphasis through Visual Style," (Hungarian) Knjizevna Revija: Filmske adaptacije engleske Injemacke kniizevnosti 1 (2008)180-198. "Lounge Time: Postwar Crises and the Chronotope of Film Noir," trans. Petra Dominikova, Kino/Ikon: Essais pre vedu o filme a pohybivom obraze, (Slovenia) vol. 11 (2007): 73-109. "Cities on the Edge of Time: The Urban Science Fiction Film," in Theory of Science-Fiction Film, ed. Natalia Samutina, trans. in Russian Natalia Samutina (Moscow: New Literary Observer Publishers, 2007): 104-123. "The Virginity of Astronauts: Sex and the Science Fiction Film," in Theory of Science-Fiction Film, ed. Natalia Samutina, trans. in Russian Natalia Samutina (Moscow: New Literary Observer Publishers, 2007): 167-182. "On Morphological Imagination," in Re: Skin, ed. Mary Flanagan and Austin Booth (Cambridge, MA: MIT Press, 2006): 103-113. "Inscrevendo o espaço ético dez proposições sobre morte, representação e documentário"/"Inscribing Ethical Space: 10 Propositions on Death and Documentary," in Teoria Contemporánea do Cinema, vol. II: Documentário e narratividade ficcional, ed. Fernão Pessoa Ramos (São Paulo: Editora Senac, 2006): 127-157. "The Scene of the Screen: Envisioning Ciinematic and Electronic 'Presence,'" in Technology and Culture: The Film Reader, ed. Andrew Utterson (London: Routledge, 2005): 127-142. "Beating the Meat/Surviving the Text, or How to Get Out of This Century Alive," in Political Concepts: A Reader and Guide, ed. Iain MacKenzie (Edinburgh: Edinburgh University Press, 2005). "The Grapes of Wrath : Thematic Emphasis through Visual Style,"in Literature and Film: A Guide to the Theory and Practice of Film Adaptation, ed. Robert Stam & Alessandra Raengo (London: Blackwell, 2005): 111-125. "The Expanded Gaze in Contracted Space: Kieslowski and the Matter of Transcendence," (trans. Polish), Kwartalnik Filmowy/Film Quarterly Warsaw, 45 (Winter 2004). "Thinking Through Jim Carrey," in More than a Method: Trends and Traditions in Contemporary Film Performance, ed. Cindy Baron, Diane Carson, and Frank Tomasulo (Detroit, MI: Wayne State University Press, 2004): 275-296. Excerpts from Screening Space: The American Science Fiction Film ("Images of Wonder" and "Postfuturism"), in Liquid Metal: The Science Fiction Reader, ed. Sean Redmond (London: Wallflower Press, 2004), 4-10; 220-27. "Cities on the Edge of Time: The Urban Science Fiction Film," in Liquid Metal: The Science Fiction Reader, ed. Sean Redmond (London: Wallflower Press, 2004), 78-87. "Nostalgia for a Digital Object: Regrets on the Quickening of Quick Time," Nordicom Information 26: 2 (2004): (Proceedings 16: e nordiska konferensen för mediech kommunikationsforskning): 29-38.

"What is Film History?, or The Riddle of the Sphinxes" (excerpt), in The Film Experience, ed. Timothy Corrigan & Patricia White (New York: Bedford/St. Martin's Press, 2004): 41415. "Wat Mijn Vingers Wisten: Het cinesthetische subject/Vision in the Flesh"["What My Fingers Knew: The Cinesthetic Subject and Vision in the Flesh"] AS/Andere Sinema [Belgium], special issue: "FEEL: A Manual" in conjunction with Exhibition in Hasselt, Belguim "FEEL/tactile," no. 169 (Jan., Feb., March 2004): 92-122. "The Insistent Fringe: Moving Images and Historical Consciousness," in Roland Barthes, vol. 3, ed. Mike Gane and Nicholas Gane (London: Sage, 2004), 147-166. "Nostalgia for a Digital Object: Regrets on the Quickening of QuickTime," in Memory Bytes: History, Technology, and Digital Culture, ed. Lauren Rabinovitz and Abraham Geil (Durham, NC: Duke University Press, 2004), 305-329. "'Happy New Year/Auld Lang Syne': On Televisual Montage and Historical Consciousness," in Die Gegenwart der Vergangenheit: Dokumentarfilm und Geschichte" (The Present of the Past: Documentary Film and History), ed. Eva Hohenberger & Judith Keilbach (Berlin: Borwerk 8, 2003), 129-154. "Nostalgia for a Digital Object: Regrets on the Quickening of QuickTime," abridged in Future Cinema: The Cinematic Imaginary After Film, ed., Jeffrey Shaw & Peter Weibel (Cambridge: MIT Press, 2003), 66-73. "The Postmortem Condition" (Excerpt from "The Violent Dance: A Personal Memoir of Death in the Movies"), in Signs of Life in the USA: Readings on Popular Culture for Writers, eds. Sonia Maasik and Jack Solomon(Boston: Bedford/St. Martin's Press, 2003): 377-381. "New Age Mutant Ninja Hackers: Reading Mondo 2000," in Reading Digial Culture, ed. David Trend (London: Blackwell, 2001), 322-333. "Scena Ekranu-Postrzeganie Filmowej I Elecktronicznej 'Obecnosci'"/The Scene of the Screen: Envisioning Cinematic and Electronic ‘Presence,'" Kwartalnik Filmowy (Film Quarterly )[Poland], nos. 35-36 (Jesien-Zima 2001): 75-92. "La scena dello schermo" prevedere una 'presenza' cinematografica ed elettronica"/"The Scene of the Screen: Envisioning Cinematic and Electronic ‘Presence' in Forse Sognare http://intercom.publinet.it/2001/schermo.htm "Postfuturism" [excerpt from my Screening Space: The American Science Fiction Film], in The Gendered Cyborg: A Reader, eds. Gill Kirkup, Linda Janes, Kath Woodward, and Fiona Hovenden (London/NY: Routledge & The Open University, 2000), 136-147. "What is Film History?, or the Riddle of the Sphinxes," Melbourne Art Journal, no. 4 (2000): 25-36. "What is Film History?, or the Riddle of the Sphinxes," Spectator 20, no. 1(Fall 1999/Winter 2000), 7-22. "Lihan Voittaminen/Tekstistä selvitämin: eli miten päästä tältä vuosisadalta elossa"/"Beating the Meat/Surviving the Text, or How to Get Out of this Century Alive," in Lähikuva (Journal of the Finnish Society for Cinema Studies), special issue:" Cinema and New Media" 2 (2000), 7-15. "Revenge of The Leech Woman: On the Dread of Aging in a Low-Budget Horror Film," in The Horror Reader, ed. Ken Gelder (London & NY: Routledge, 2000), 336-345.

"What My Fingers Knew: The Cinesthetic Subject and Vision in the Flesh," Senses of Cinema 5 (April 2000) [On-line journal]: http://www.sensesof cinema.com.au "The Scene of the Screen: Envisioning Cinematic and Electronic ‘Presence,'" in Electronic Media and Technoculture, ed. John Caldwell (New Brunswick, NJ: Rutgers University Press, 2000), 137-155. "New Age Mutant Ninja Hackers: Reading Mondo 2000," in The Cybercultures Reader, ed. David Bell and Barbara M. Kennedy (London: Routledge,2000), 138-148. "The Scene of the Screen: Envisioning Cinematic and Electronic ‘Presence,'" in Film and Theory: An Anthology, ed. Robert Stam and Toby Miller (London: Blackwell, 2000), 67-84. "Beating the Meat/Surviving the Text, or How to Get Out of this Century Alive," in Pretext: Electra (Lite) 2.1 (1999) [On-line journal]: http://www.utdallas.edu/pretext/PT2.1/ "'At the Still Point of the Turning World': Meta-Morphing and Meta-Stasis," in BildMedium-Kunst, ed. Yvonne Spielmann and Gundolf Winter (Munich: Wilhelm Fink Verlag, 1999), 85-106. "On Morphological Imagination," in Playing Dolly: Technocultural Formations, Fantasies, & Fictions of Assisted Reproduction, ed. E. Ann Kaplan and Susan Squier (New Brunswick, NJ: Rutgers University Press, 1999), 146-156. "The Insistent Fringe: Moving Images and the Palimpsest of Historical Consciousness," Screening the Past (Issue 6, Spring 1998): http://www.latrobe.edu.au/www/screening the past/ "Synthetic Vision: The Dialectical Imperative of Buñuel's Las Hurdes," in Documenting the Documentary: Close Readings of Documentary Texts, ed. Barry Grant and Jeannette Sloniowski (Detroit: Wayne State University Press, 1998), 70-82. "Beating the Meat/Surviving the Text, or How to Get Out of this Century Alive," in The Visible Woman: Imaging Technologies, Gender, and Science, ed. Paula Treschler, Lisa Cartwright & Constance Penley (New York: New York University Press, 1998), 310-320. "The Occidental Tourist: Steve Fagin's Virtual Voyage for Armchair Travelers," in Talking with Your Mouth Full: Conversations with the Videos of Steve Fagin, ed. Steve Fagin (Durham, NC: Duke University Press, 1998), 63-77. "La Verginità degli Astronauti: Sesso e Cinema di Fantascienza," Close Up: Storie della visione, no. 2 (1997): 92-102. "Postmodern Modes of Ethnicity," in Postmodern After-Images: A Reader in Film, TV, and Video, ed. Peter Brooker & William Brooker (London: Arnold Press, 1997), 113-128. "Meta-Morphing," in Telepolis [On-Line Journal]: (http://www.heise.de/tp/ffilm.htm), Munich, Germany, March 1997. "Baseball in Post-American Cinema, or Life in the Minor Leagues," in Out of Bounds: Sports, Media and the Politics of Identity, ed. Aaron Baker and Todd Boyd (Bloomington: Indiana University Press, 1997), 175-197. "Bringing It All Back Home: Family Economy and Generic Exchange," in The Dread of Difference: Gender and the Horror Film, ed. Barry K. Grant (Austin: University of Texas Press, 1996), 143-163. "Het Lichaam Verslaan, de Tekst Overleven, of Hoe Levend uit deze Eeuw te Geraken" ("Beating the Meat/Surviving the Text, or How to Get Out of this Century Alive"), in AS/Andere Sinema [Belgium], (September-October 1996): 52-59.

"Democratic Franchise and the Electronic Frontier," in Cyberfutures: Culture and Politics on the Information Superhighway, ed. Zlauddin Sardar and Jerome R. Ravetz (London: Pluto Press, 1996), 77-89. "'Surge and Splendour': A Phenomenology of the Hollywood Historical Epic," in Film Genre Reader II, ed. Barry Grant (Austin: University of Texas Press, 1995), 280-307. "Phenomenology and the Film Experience," in Viewing Positions: Ways of Seeing in an Era of Mass Produced Spectacle, ed. Linda Williams (New Brunwick, NJ: Rutgers University Press, 1995), 36-58. "New Age Mutant Ninja Hackers: Reading Mondo 2000," in Flame Wars: The Discourse of Cyberculture, ed. Mark Dery (Durham, NC: Duke University Press, 1995), 11-28. "â&#x20AC;&#x2DC;Surge and Splendor': A Phenomenology of the Hollywood Historical Epic," in Chinese in The Journal of the Beijing Film Academy 2 (1991): 168-195. "Child/Alien/Father: Patriarchal Crisis and Generic Exchange," in Close Encounters: Film, Feminism, and Science Fiction., ed. Constance Penley, Elisabeth Lyon, et. al. (Minneapolis: University of Minnesota Press, 1991), 3-30. "The Virginity of Astronauts: Sex and the Science Fiction Film," in Alien Zone: Cultural Theory and Contemporay Science Fiction Cinema, ed. Annette Kuhn (London: Verso, 1990), 103-115. "Child/Alien/Father: Patriarchal Crisis and Generic Exchange," in Chinese in several installments of Dian Ying Zin Zup, Shanghai, PRC, 1989. "Genre Film," in Chinese as on-going column derived from a chapter of same title in my An Introduction to Film, 2nd Edition for Screen International, Shanghai, PRC. 3 (1987); 5 (1988); 6, (1988); 1 (1989). "The Scene of the Screen: Beitrag zu einer Phanomenologie der'Gegenwartigkeit' im Film und in den elektronischen Medien," in MaterialitĂ¤t der Kommunikation, ed. Hans-Ulrich Gumbrecht & Ludwig K. Pfeiffer (West Germany: Suhrkamp-Verlag, 1988), 416-428. "No Lies : Direct Cinema as Rape," in New Challenges for Documentary, ed. Alan Rosenthal (Berkeley: University of California Press, 1988), 332-341. "Genre Film: Myth, Ritual and Socio-drama," in Chinese as 3-installment article in Dian Ying Zin Zup, Shanghai, PRC. (March, 1987, May, 1987, July 1987). "Genre Film: Myth, Ritual and Socio-drama," Reader for University of East Anglia (Norwich, England: November 1986). "Beyond Visual Aids: American Film as American Culture," in American Studies: Past, Present, and Future, ICA Thematic Portfolio (Washington, D.C.: USIA), 1984. "The Grapes of Wrath : Thematic Emphasis through Visual Style.," in Hollywood as Historian: Film in a Cultural Context, ed. Peter C. Rollins (Lexington, KY: The University Press of Kentucky, 1983), 68-87. "The Violent Dance: A Personal Memoir of Death in the Movies," in Movies as Artifacts: Cultural Criticism of Popular Film, ed. Michael T. Marsden, John G. Nachbar & Sam L. Grogg, Jr. (Chicago, IL: Nelson-Hall, 1982), 189-198. "The Alien Landscapes of the Planet Earth," in Science Fiction Films, ed. Thomas Atkins (New York: Monarch Film Studies/Simon & Schuster, 1976), 49-61. "The Violent Dance: A Personal Memoir of Death in the Movies," in Graphic Violence on the Screen, ed. Thomas Atkins (New York: Monarch Film Studies/Simon & Schuster, 1976), 79-94.

Film, Book, Conference and Arts Reviews Review Essay of The Ilusion of Life II: More Essays in Animation (ed. Alan Cholodenko), Animation: An Interdisciplinary Journal 4:1 (2009): 99-104. Review Essay of Death 24X A Second: Stillness and the Moving Image (Laura Mulvey), Projections: A Journal of Movies and Mind 2 (Summer 2008): 96-114. Review of More Than Night: Film Noir In Its Contexts," (James Naremore), Paradoxa 16 (2002): 270-276. "Remembering Paige Baty, III," memorial essay, Theory & Event 1, no. 4 (1997), n.p. [online journal, published by Johns Hopkins University Press: http://www.press.jhu.edu/journals/theory_&_event/v001/1.4sobchack.html] "The Ghost in the Machine," review of Replications: A Robotic History of the Science Fiction Film by J.P. Telotte Science-Fiction Studies 23 (1996): 299-302. "Benetton: Breaking through Complacency," Europa, 1, no. 4 (1993): 20-21. Strange Weather: Culture, Science and Technology in the Age of Limits by Andrew Ross, Review essay for Artforum International (May, 1992): 23-24. James Turrell: "Between that Seen " (light/space installation for Williams College Museum of Art), review for Artforum International (October, 1991): 132. In the Realm of Pleasure: Von Sternberg, Dietrich, and the Masochistic Aesthetic by Gaylyn Studlar, review essay for Film Quarterly, 43, no. 3 (Spring 1990): 43-46. The Films of Werner Herzog: between mirage and history, ed. Timothy Corrigan, review for Film Quarterly, 47, no. 1 (Fall 1988): 58-60. "Pornos & Eros in the Cinema," Santa Cruz Express, 10 October 1985, 24. Movies Plus One: Seven Years of Film Reviewing by William S. Pechter, review for Film Quarterly 36, no. 4 (Summer 1983): 34-35. "Ingrid Bergman," review essay for Santa Cruz Cinema Times 4, no. 1 (January-April 1983). "Katherine Hepburn," review essay for Santa Cruz Cinema Times 4, no. 2 (April-July 1983). Blood Wedding, film review for Santa Cruz Express, May 27, 1982, 18. Friday's Footprint: Structuralism and the Articulated Text by Wesley Morris and Is There a Text in This Class? The Authority of Interpretive Communities by Stanley A. Fish, review essay for Literature in Performance 1, no. 4 (Spring 1982): 72-75. "The Films of Buster Keaton," review essay forSanta Cruz Express, February 4, 1982, 16. Guts and Glory: Great American War Movies by Lawrence Suid, review essay for Journal of Popular Film and Television 9 (Spring 1981): 56-58. "The True Confessions of Lois Lane's Alter Ego," Network, June 1981, 9 ff. 1979 Society for Cinema Studies Conference, review essay for Quarterly Review of Film Studies 5 (Summer 1980): 419-425. 9-5 , film review for Network, February 1980, 10 ff. Kramer vs. Kramer, film review for Network, November 1979, 16. Apocalypse Now, film review for Network, November 1979, 12. Alien, Goldengirl, and Sidney Sheldon's Bloodline, film review for Network, August, 1979, 7. The Slipper and the Rose, review essay and Interview in Showtime 1 (June 1977), 32 ff. "Roundup in Sun Valley," conference and festival review for Journal of Popular Film 5, no. 2 (1976): 157-165. Authors on Film, ed. Harry Geduld, review for Denver Quarterly 7 (Winter 1973): 129-130.

SELECTED MEDIA APPEARANCES: On-Camera Participant, Feature-length documentary, The Mechanical Bride, premiered at "Hot Docs" International Film Festival (Toronto) and "SCI FI LONDON": International Festival of Science Fiction and Fantasy Film (London), April-May 2012. On-Camera Participant, Television Documentary, Hollywood Between Paranoia & Sci-Fi: The Power of Myth, for (French) TCM and Wichita Films (recorded August 16, 2010, French airdate May 2011). On-Camera Participant, DVD documentary, "'Decoding 'Klaatu Barada Nicto': Science Fiction as Metaphor," forThe Day the Earth Stood Still, Cloverland Productions for Fox Home Entertainment (Released December 2008). On-Camera Participant, DVD documentary, Invasion, Project Lab/E.M.P. Inc for Warner Bros. (Recorded June 22, 2007.) Sole Voice-Over Commentary for DVD, Witness for the Prosecution, New Wave Entertainment for Fox Home Entertainment (recorded May 23, 2007). On-Camera Participant for documentary on The Graduate (New Wave Entertainment for Fox Home Entertainment 40th Anniversary DVD. (Recorded January 2007, Released September 2007). On-Camera Participant, Star Trek Tech, Blind Vision for The History Channel (Aired February 2007). Participant, Lycan Theorized, Film installation as part of Christian Jankowski's The Frankenstein Set, Lisson Gallery, London (Sept 2006). On-Camera Participant, DVD documentary, Double Indemnity, New Wave Entertainment. (Universal. Released August 22, 2006). On-Camera Participant for DVD documentary, Gangsters: The Immigrant's Hero, Featurette on Bullets or Ballots DVD (Warner Bros. Released July 2006). On-Camera Participant for DVD documentary, Morality and the Code: A How-To Manual for Hollywood, Featurette on G-Men DVD (Warner Bros. Released July 2006). On-Camera Participant for DVD documentary, Molls and Dolls: The Women of Gangster Films, Featurette on City for Conquest DVD (Warner Bros. Released July 2006). On-Camera Participant for DVD documentary, Stool Pigeons and Pine Overcoats: The Language of Gangster Films. Featurette on Each Dawn I Die DVD (Warner Bros. Released July 2006). On-Camera Participant for DVD documentary, Prohibition Opens the Flood Gates, Featurette on A Slight Case of Murder DVD (Warner Bros. Released July 2006). On-Camera Participant for DVD documentary, Welcome to the Big House, Featurette on A Slight Case of Murder DVD (Warner Bros. Released July 2006). Sole Voice â&#x20AC;&#x201C;Over Commentary for DVD, His Kind of Woman, Leva Film Works for Warner Bros. Film Noir Classic Collection, Vol. 3 (Released July 2006). On-Camera Commentator, DVD, Dark City, New Line Entertainment (taped 11/7/05). On-Camera Commentator, "Caught on Tape," 20/20, ABC News, February 4, 2005. On-Camera Participant DVD, Buffy the Vampire Slayer (Season 7, Fox), Phase One Productions (taped 9/22, 2003). On-Camera Commentator, AFI Awards 2001, CBS, January 5, 2002. On-Camera Participant for Cinema Secrets, American Movie Channel (taped 9/15/99). 14

On-Camera Participant for Backstory Special Edition: The Fly Papers (a one-hour special on versions of The Fly, American Movie Classics (Van Ness Productions, taped 9/24/99); aired AMC, December, 2000. On-Camera Participant for series History of Media for Jones ME/U cable television, Jones Digital Century; aired 1998. Guest Author discussing my book Screening Space: The American Science Fiction Film, for "The Derek McGinty Show," National Public Radio, December 12, 1997 On-Air Radio Guest (with Robert Lifton), "Late Night Live: â&#x20AC;&#x2DC;Catastrophe,'" ABC Radio, Sydney, Australia, August 13, 1997. On-Camera Guest for SF Vortex, Science Fiction Channel, 1996. On-Camera Participant for Film and TV segments of History of Communication series for Library of Congress, 1996. Interview and discussion re Oscar nominations and women's roles, TalkNews Television, Independent Cable Channel (New York), March 22, 1996. Interview re Oscar nominations and women's roles, Good Morning America: Sunday Edition, ABC, March 17, 1996. Guest, "Life and Times" program on Casablanca, KCET, Los Angeles, December 1992 On-Air Individual radio Interview, "Portrayal of Aliens in the Media," for Prime Time, Canadian Broadcasting Corporation, Toronto, Canada, October 1992. On-Camera Participant Expert on Science Fiction film and American Popular Culture for film The Sleep of Reason, Mathews Jordan Film and Television Pty., Ltd., Melbourne, Australia in conjunction with Austrialian Public Television , June 1991 (Premiere screening September 1992). ADDRESSES, PAPER PRESENTATIONS, PANEL PARTICIPATION, WORKSHOPS: Invited Speaker: "Stop + Motion: On Animation, Inertia, and Innervation," Department of Cinema, San Francisco State University, San Francisco, CA, April 18, 2013. Keynote Speaker: "Sci-Why? On the Decline of a Film Genre in the Age of Technological Wizardry," Science-Fiction Studies Symposium: SF Media(tions), Eaton Science Fiction Conference, Riverside, CA, April 11, 2013. Keynote Speaker: "Stop + Motion: On Animation, Inertia, and Innervation," for conference Enchanted Drawing II: Animation Across the Disciplines, Institute of Contemporary Art, University of Pennsylvania, Philadelpia, September 21, 2012. Invited Speaker: "The Dream (Ol)Factory: On Making Scents of Cinema," Turner Memorial Lecture in Film Studies, Wayne State University, Detroit, September 15, 2011. Keynote Speaker: "Rendering Time, or The Digital Transformation of (Meta)Physical Reality," for conference "Rendering the Visible," Moving Image Studies Program, Georgia State University, Atlanta, February12, 2011. Keynote Speaker: "Fleshing Out the Image: Phenomenology, Pedagogy, and Derek Jarman's Blue," for symposium "Film and Philosophy II," Stanford Humanities Center, Stanford University, Palo Alto, January 15, 2011. Keynote Speaker: "Driving in a Back Projection, or Forestalled by Film Noir," for symposium "The Noir Sensorium," Centre for the Study of Theory, Culture and Politics, Trent University, Peterborough, Canada, October 7, 2010. Keynote Speaker: "Being on the Screen: A Phenomenology of Cinematic Flesh, or the Actor's Four Bodies," for the conference "Acting in Film," Institute for Art and Media, 15

University of Potsdam, September 4, 2010. Collegium Annual Lecturer: "Fleshing Out the Image: Phenomenology, Pedagogy, and Derek Jarman's Blue," Helsinki Collegium for Advanced Studies, University of Helsinki, Finland, June 16, 2010. Invited Speaker: "Assimilating Streisand: When Too Much is Not Enough," Senior Faculty Feminist Seminar, The Center for the Study of Women, UCLA, May 4, 2010. Invited Speaker: "Animation and Automation, or WALL-E and the Incredible Effortfulness of Being," Film and Media Studies, University of California, Santa Barbara, April 25, 2010. Invited Panelist: "Conversations on Experimental Film in a Museum Context: Duration," Los Angeles County Museum of Art, March 9, 2010. Invited Speaker, "Animation and Automation, or WALL-E and the Incredible Effortfulness of Being," School of Literature, Communication and Culture, Georgia Institute of Technology, Atlanta, November 20, 2009. Keynote Speaker in celebration of the 50th anniversary of the film and television journal Screen, "Animation and Automation: On the Incredible Effortfulness of Being," for the conference, "Animation and Automation," Universities of Manchester and Lancaster cohosts, Manchester, UK, March 27, 2009. Invited Speaker, "Assimilating Streisand: Too Much and Not Enough," for "Stars of David: The Jewish Experience in American Cinema," conference co-sponsored by Film & Media Studies and Jewish Studies, Arizona State University, Tempe, November 17, 2008. Keynote Speaker, "The Dream (Ol)Factory: On Making Scents of Cinema," for "The Bodily Turn in Aesthetics," 3rd Nordic Network Meeting, University of Jyvaskyla, Jyvaskyla, Finland, September 5, 2008. Plenary Speaker, "Fleshing Out the Image: Phenomenology, Pedagogy, and Derek Jarman's Blue," for "Philosophy and Film/Film and Philosophy," University of North West England, Bristol, UK, July 4, 2008. Invited Speaker, "A Phenomenology of the Phantom Limb," for "Minima Materialia: What Remains of the Body," University of Zurich, Switzerland, May 23, 2008. Invited Speaker, "The Dream (Ol)Factory: On Making Scents of Cinema," for "Sensational! Sensing Media Arts Theory and Practice," Colloquia in Coonceptual Studies, Department of Film, University of Wisconsin-Milwaukee, September 28, 2007. Invited Participant, "Contesting Theory," Exploratory Seminar, Radcliffe Institute for Advanced Study, Harvard University, May 4-5, 2007. Invited Speaker, "Chasing the Maltese Falcon: On the Frabrication of a Movie Prop," The Ernst Fraenkel Lecture, John F. Kennedy Institute for North American Studies, Berlin, April 17, 2007. Invited Speaker, "The Dream (Ol)Factory: On Making Scents of Cinema," Conference: "The Realm of the Senses: Synaesthetic Aspects of Perception," Akademie der K端nst, Berlin, April 13, 2007. Invited Expert, "Transformations in perception and participation: Digital Games," Joint Project of Maasticht University and the University of Amsterdam, Amsterdam, March 30-31, 2007. Invited Speaker, "Chasing the Maltese Falcon: On the Fabrications of a Movie Prop," Panel:

"The Cinematic Object," Society for Cinema and Media Studies Annual Conference, Chicago, March 9, 2007. Invited Speaker, "The Line and the Ani-Morph," Pervasive Animation conference, The TateModern Museum, London, March 2-4, 2007. Invited Speaker, "Cutting to the Quick: Techne, Physics, Poesis, and the Attractions of Slow Motion," The Annual Rei Celeste Memorial Film Studies Lecture, Yale University, New Haven, CT, September 18, 2006. Invited Speaker: "Embodying Transcendence: On the Literal, the Material, and the Cinematic Sublime," Media Technologies, Sensory Experiences and the Making of Religious Subjects, University of Amsterdam, Netherlands, March 31, 2006. Respondent, Panel: "Avant-Garde Media Art & The Aesthetics of Post-Production," Society for Cinema and Media Studies Annual Conference, Vancouver, B.C., March 4, 2006. Invited Visiting Scholar: "Learning in the Majors Initiative" Workshop, Cinema Studies Program, University of Washington, Seattle, November 5, 2005. Invited Speaker, "Final Fantasies, or the (Dis)Illusion of Animated Life," Department of Culture & Communication and Department of Cinema Studies, New York University, New York City, October, 2005. Guest Speaker: "Responsible Visions: A Conversation with Vivian Sobchack," Center for Cultural Studies, University of California, Santa Cruz, April 11, 2005. Guest Speaker: "Soylent Green," Capra Film Festival, California Institute of Technology, Pasadena, February 15, 2005. Guest Speaker: "Final Fantasies, or the (Dis)Illusion of Animated Life," The Film and Media Studies Program (Department of Art and Art History), Stanford University, February 3, 2005. Invited Speaker: "Real Phantoms/Phantom Realities: On the Phenomenology of Bodily Imagination," for "Phantom Limb Phenomena: A Neurobiological Diagnosis with Aesthetic, Cultural and Philosophic Implications," Goldsmiths College, London, January 16, 2005. Invited Speaker: "What is Film History? Or the Riddle of the Sphinxes," Film Program, Freie Universität Berlin, April 28, 2004. Invited Speaker: "Cities on the Edge of Time: The Urban Science Fiction Film," for "The City in American Literature & Culture," John F. Kennedy-Institut, FreieUniversität Berlin, April 27, 2004. Invited Speaker: "What My Fingers Knew: The Cinesthetic Subject, or Vision in the Flesh," Research Group on Film & Perception (Gertrud Koch, dir.), Freie Universität Berlin, April 26, 2004. Invited Speaker: "The Charge of the Real: Toward a Phenomenology of Non-Fictional Film Experience," for Phänomenologie des Films, Friedrich-Schiller Universität Jena, Germany, April 23, 2004. Invited Speaker: "Final Fantasy: Computer Graphic Animations of Humanity," for Rethinking Theories & Practices of Imaging: Technology, Representation, and the Disciplines, Rochester Institute of Technology, Rochester, NY, April 16, 2004. Invited Speaker: "A Leg to Stand On: Prosthetics, Metaphor, and Materiality," Arts, Technology and Culture Lecture Series, University of California, Berkeley, March 15, 2004. Invited Speaker: "Happy New Year/Auld Lang Syne: On Televisual Montage and Historical Consciousness," Institute for Historical Consciousness, University of British Columbia, Vancouver, BC, March 11, 2004. 17

Paper Presentation: "Love Machines: Spielberg/Kubrick, Artificial Intelligence and Other Oxymorons of SF Cinema," Panel: "21st Century Spielberg," The Society for Cinema and Media Studies Annual Conference, Atlanta, GA, March 5, 2004. Keynote Speaker: "When the Ear Dreams: Imagining and Imaging Sound," for conference: "Sound and Image: Film Theory and Practice Across Disciplines," Laterna Film Academy, PĂŠcs, Hungary, September 16, 2003. Visiting Scholar, "Text/Context in Aesthetic Analysis of Media," NorFa Seminar, Resort Lyngorporten, Gjeving, Norway, August 18-22, 2003. Keynote Speaker: "Nostalgia for a Digital Object: Regrets on the Quickening of Quick Time," Plenary Session "Digital Aesthetics," 16th Nordic Confeence for Media and Communication Research, Kristiansand, Norway, August 16, 2003. Keynote Speaker: "Final Fantasies, or the (Dis)Illusion of Life," for conference: "Animated 'Worlds,'" Animation Research Centre (Surrey Institute of Art & Design), Farnham Castle International Conference Centre, England, July 10, 2003. Invited Speaker: "Dance and Disability," Symposium, UCLA World Arts and Cultures, November 26, 2002. Keynote Speaker: "Multimedia and the Interactive Spectator: An International Workshop," University of Maastricht (Faculty of Arts and Culture), Netherlands, May 17, 2002. Invited Speaker: "Love Machines: Spielberg/Kubrick, Artificial Intelligence and other Oxymorons of SF Cinema," Conference on Science Fiction Film, Associazione Sigismondo Malatesta, Porto d'Ischia, Italy, March 16, 2002. Invited Lecturer: "Thinking Through Jim Carrey," Film Program, University of Bologna, Bologna, Italy, March 13, 2001. Invited Speaker: "A Leg to Stand On," for conference: "Feminism Confronts Disability," Center for the Study of Women, UCLA, February 15, 2002. Participant, Panel: "New Literacies," Conference: "9/11-N2N Networks to Nanosystems: Art Science and Technology in Times of Crisis," UC Digital Arts Research Network, EDA/Dickson Art Center, UCLA, November 14, 2001. Keynote Speaker: "What My Fingers Knew: The Cinesthetic Subject, or Vision in the Flesh," Conference: "Emerging Forms: Media, Narrative and Technique in the 21st Century" (Cinema Studies Colloquium), University of Washington, Seattle, WA, November 9, 2001. Invited Speaker: "The Expanded Gaze in a Contracted Field: Kieslowski and the Matter of Transcendence," for "The Laws, Loves, and Luck of Krzysztof Kieslowski, UCLA Center For Modern & Contemporary Studies, April 22, 2001. Invited Speaker: "Nostalgia for a Digital Object: Regrets on the Quickening of QuickTime," ("Streaming Culture" Lecture Series), Dickson Art Center, UCLA Department of Design and Media Arts, January 30, 2001. Invited Panelist: "The Future of the Universe: Contact," California Institute of Technology, Pasadena, CA, January 14, 2001. Invited Speaker: "Nostalgia for a Digital Object: Regrets on the Quickening of QuickTime," (Panel: "Digital Constructions of Space"), The Digital Cultures Project Fall Conference, University of California, Santa Barbara, November 3, 2000.

Invited Speaker: "What My Fingers Knew: The Cinesthetic Subject, or Vision in the Flesh," Film and Video Program (Department of Literature), Duke University, Durham, NC, September 4, 2000. Keynote Speaker: "What My Fingers Knew, or Vision in the Flesh," 3rd Tel-Aviv International Colloquium on Cinema Studies: "Not-to-be-Looked-At," Tel Aviv University Dept. of Film & Televison and the Tel Aviv Cinematheque, Tel Aviv, Israel, May 28, 2000. Keynote Speaker: "Thinking Through Jim Carrey," for conference: "Brainwatching: Intellect and Ideology in Media Culture," Ryerson Polytechnic University, Toronto, Canada, May 6, 2000. Invited Speaker, "What's Hot, What's Not: Institutional Make-overs and Take-overs in the Academy," Getty Research Institute, Getty Center, Los Angeles, April 24, 2000. Keynote Speaker, "What My Fingers Knew: The Cinesthetic Subject, or Vision in the Flesh," Symposium, "Special Effects/Special Affects: Technologies of the Screen," Cinema Studies Program, University of Melbourne, Melbourne, Australia, March 25, 2000. Invited Speaker, "What is Film History?, or the Riddle of the Sphinxes," The Sir Joseph Burke Lecture, The Fine Arts Society and the School of Fine Arts & Archaeology, Melbourne, Australia, March 24, 2000. Invited Speaker, "Scary Women: Cinema, Surgery and Special Effects," Australian Film, Television, and Radio School (Melbourne), Melbourne, Australia, March 23, 2000. Invited Speaker, "What is Film History?, or the Riddle of the Sphinxes," Dept. of Theater, Film, and Dance, University of New South Wales and the Power Institute, University of Sydney, Sydney, Australia, March 22, 2000. Special Guest Speaker, Screen Studies Short Course: "Between Frames: Morphing and Digital Effects in Film," Australian Film, Television and Radio School, Sydney, Australia, March 18, 2000. Keynote Speaker, "On QuickTime Movies," Phenomenology and the Web, Society for Phenomenology and Media, San Diego, CA, February 25, 2000. Invited Speaker, "Meta-Morphing: On a Special Effect and its Special Affects," Special Effects: Stanford Presidential Symposium on Engineering and the Humanities, Stanford University, Palo Alto, CA, February 12, 2000. Panelist, "Getting Personal: Feminist Uses of Personal Narratives," Center for the Study of Women "Controversies" series, UCLA, February 7, 2000. Invited Co-Participant/Performer, "Duet: ‘The Body' with Édouard Lock and Vivian Sobchack," Artist Alphabets, School of the Arts & Architecture, UCLA, February 3, 2000. Invited Speaker, "The End(s) of Cinema at the Turn(s) of the Century," San Diego Museum of Art, San Diego, CA, December 10, 1999. Keynote Speaker, "The Charge of the Real: Extra-Textual Knowledges and Documentary Consciousness," Visible Evidence, UCLA, Los Angeles, August 20, 1999. Invited Speaker, "'Bring ‘Em Back Alive": Dinosaur Movies and the Fantasy of Extinction," The University of Wyoming Art Museum, Laramie, Wyoming, August 5, 1999. Invited Roundtable Panelist, "Interactive Frictions," University of Southern California, Los Angeles, CA, June 6, 1999. Invited Speaker, "Bathos and the Bathysphere: Submersion, Longing and History in Titanic," Humanities Program, Arizona State University, Tempe, AZ, February 5, 1999. Guest Speaker, Panel: "Eyes on the Enterprise: Science, Society, and Star Trek," for 20th 19

Annual J. Lloyd Eaton Conference on Science Fiction and Fantasy Literature, University of California, Riverside, January 16, 1999. Invited Speaker, "Science Fiction Film and the Technological Imagination," for"Technological Visions: Utopian and Dystopian Perspectives" Conference, Annenberg Center for Communication, University of Southern California and University of Pennsylvania, USC, Los Angeles, CA, November 7, 1998. Invited Panelist, "Feeling History: Sense, Sensibility and Historical Consciousness," for Panel "Aesthetics and History," Aesthetics & Difference: Cultural Diversity, Literature and the Arts, UCR Center for Ideas and Society, Riverside, CA, October 25, 1998. Invited Speaker, "Special Effect/Affect: Art and Technology," for FAR (Foundation for Art Resources, "On the Verge": Art Talk Lecture Series, Los Angeles Center for Photographic Studies, September 13, 1998. Invited Speaker: "Wind-Up Toys: Roboticizing Gender and Race in Cinema and the Toy Store," For Symposium: "Mythos Roboter, Facts & Fictions," Robotronika (Public Netbase Media-Space), Vienna, Austria, June 20, 1998. Invited Panelist, "Words-Pictures-Pictograms: The development of cultural technology in the media society," for Medienforum NRW 1998: "Competence, Capital, Competition. Investments in the Information Society," Cologne, Germany, June 17, 1998. Keynote Speaker: "Scary Women: Cinema, Surgery, and Special Effects, for"FrauenikonenFilmkonen: Zweite österreichisch-amerikanische Filmgespräche," Filmstadt WienRosenhügel Studios, Vienna, Austria, June 15, 1998. Invited Speaker: "Database/Interface," for "Computing Culture: Defining New Media Genres Symposium," Center for Research in Computing and the Arts, University of California, San Diego, May 2, 1998. Distinguished Visiting Speaker: "Scary Women: Cinema, Surgery, and Special Effects," Humanities Institute, University of California, Davis, March 5, 1998. Invited Speaker: "What My Fingers Knew: The Cinesthetic Subject, or Vision in the Flesh," Art at Stanford Lectures, Stanford University, Palo Alto, February 26, 1998. Invited Speaker: "Morphological Imagination: Cinema, Surgery, and Special Effects," Bureau Amsterdam, Stedlijk Museum, Amsterdam, November 20, 1997. Invited Speaker: "Morphological Imagination: Cinema, Surgery, and Special Effects," for "TechnoLust: Desire and Technology," Museum of Photography, Antwerp, Belgium, November 21, 1997. Keynote Speaker, "What My Fingers Knew: The Cinesthetic Subject, or Vision in the Flesh," for "Visualizing Culture," Annual Conference of the Consortium of Humanities Centers and Institutes, University of California, Santa Barbara, November 8, 1997. Invited Speaker, "The Prosthetic Imagination," Roundtable: "New Technologies,Bodies, and Subjectivities," Western Humanities Conference: Information Technology and the Humanities, University of California, Riverside, October 18, 1997. Invited Speaker, "Women and Smoking in Film," for KCET Teach-In, Los Angeles, September 11, 1997. Invited Speaker: "Meta-Morphing," Chips and Bits: A Digital Symposium, UCLA, May 10, 1997. Visiting Scholar: "Scary Women: Cinema, Surgery and Special Effects," Film Program, University of Colorado, Boulder, April 28, 1997. Invited Speaker: "Susie Scribbles: Thoughts on Writing Incarnate," Cluster for Prosthetic

Research, The Center for Cultural Studies, University of California, Santa Cruz, February 13, 1997. Invited Speaker: "What My Fingers Knew: The Cinesthetic Subject, or Vision in the Flesh," for "Film [Subject] Theory: Filmtheorie und Film der 90er-Jahre," Projektor, Institut Franรงais de Vienne, Vienna, Austria, October 12, 1996. Keynote Speaker: "On Morphological Imagination: Cinema, Surgery and Special Effects," for "Gender/Technology," The Humanities Institute at State University of New York-Stony Brook, April 27, 1996. Invited Speaker: "On Morphological Imagination: Cinema, Surgery and Special Effects," for "Women & Aging: Bodies, Cultures, Generations," Center for Twentieth Century Studies, University of Wisconsin-Milwaukee, April 19, 1996. Invited Speaker: "The Prosthetic Imagination: An Embodied Response," Colloquium: Popular Cultures of Science, Technology and Medicine. University of California Humanities Research Institute, Irvine, CA, February 22, 1996. Panelist & Presenter: "Beating the Meat: Baudrillard's Body," for Society for Literature and Science, Los Angeles, CA, November 3, 1995. Invited Speaker: "Is Any Body Home? A Phenomenological Meditation on Objectivity and Eviction," for "House, Home, Homeland: A Media Studies Symposium on Exile, Rice University, Houston, Texas, October 27, 1995. Invited Speaker, "Mighty Morphin' Media Studies," for panel on New Technologies,"The Future of Media Studies" conference, Massachussets Institute of Technology, Cambridge, MA, October 14, 1995. Invited Speaker, "The Alien Landscapes of the Planet Earth," for Salon: "Horror in the Landscape," Santa Monica Museum of Art, Santa Monica, CA, March 10, 1995. Invited Speaker, "Beating the Meat/Surviving the Text, or How to Get Out of this Century Alive, for panel "Que(e)rying the Millennium I: Performing the Technobody," Modern Language Association Annual Meeting, San Diego, CA, December 28,1994. Keynote Speaker, "The Future of the Cinema," Flanders International Film Festival/Wave Magazine "Cyberlecture Happening," Ghent, Belgium, October 11, 1994. "The Structure of Nonfictional Experience: Toward a Phenomenology of Identification with the Documentary Image," Visible Evidence II, University of Southern California, August 21,1994. Invited Speaker, "The Lived Body and the Emergence of Language," for panel, "Communicology: The Conjunction of Semiotics and Phenomenology," Fifth Congress of the International Association for Semiotic Studies, UC Berkeley, June 17, 1994. Invited Presenter and Participant, "Mediawork 2," Southern California New Media Working Group, The Art Center College of Design, Pasadena, CA, March 12,1994. Invited Speaker, "Techno-logics: A Phenomenology of Cinematic and Electronic Presence," for "The Question of Art and Communication," a symposium organized by the Center for the Study of Modernism, Dept. of Art and the College of Fine Arts at the University of Texas, Austin, and the Texas Fine Arts Assoc., Austin, Texas, March 4-5, 1994. Invited Speaker, "The Scene of the Screen: A Phenomenology of Cinematic and Electronic Presence," in conjunction with an exhibition, "Color in the Shadow: Bay Area Cyberart," California College of Arts and Crafts, Oakland, CA, February 23, 1994.

Invited Speaker, "Excess(ive) Women: On the Terrors of Aging in a Low Budget Horror Film," for "Scary Women," a symposium sponsored by the UCLA Film and Television Archive, Los Angeles, January 29, 1994. Invited Participant, "On the Death of a Rabbit in Fictional Space: Extra-textual Knowledge and Documentary Consciousness," for "Documenting Fictions: Documentary Dimensions of the Fiction Film," sponsored by Clark European Center in Luxembourg, Centre Universitaire de Luxembourg, et. al., Luxembourg, June 17-19, 1993. Invited Participant, "Materiality and Techno-logic: A Phenomenological Meditation on the Photographic, Cinematic, and Electronic," for"What Does Hermes Know? At the Crossroads of Science and the Humanities," University of California, Santa Barbara, May 14, 1993. Keynote Speaker, "Materiality and Techno-logic: A Phenomenological Meditation on Electronic Representation," Texas Association of Schools of Art 1993 Annual Conference, San Antonio, TX, April 2, 1993. Featured Speaker, "Child/Alien/Father: Patriarchal Crisis and Generic Exchange," forThe Myth Seriesâ&#x20AC;&#x201D;Part Two, UCLA Center for the Study of Comparative Folklore and Mythology, Los Angeles, CA, January 30, 1993. Invited Lecturer, "Baudrillard's Body," Department of Comparative Literature Lecture Series, Stanford University, Palo Alto, CA, January 15, 1993. Featured Speaker, "Baseball in the Post-American Cinema, or Life in the Minor Leagues," UC Humanities Research Institute and the School of Humanities with co-sponsorship by the Film Studies Program, University of California, Irvine, November 20, 1992. Invited Respondent, Panel: "Film as (Postmodern) History: The Case of Walker," American Studies Association, Costa Mesa, CA, November 7, 1992. Participant, "A Symposium on Horror: It's Alive!" UC Humanities Research Institute, Irvine, CA, October 28, 1992. Invited Panelist: "The Ethics of Aesthetics: Benneton, Advertising, and Aesthetics," Alliance FranĂ§aise, San Francisco, CA. October 10, 1992. Invited Speaker: "The Passion of the Material: A Prolegomenon to a Theory of Interobjectivity," International Colloquium on "The Ethics of Aesthetics," Free University of Berlin and Stanford University, Stanford University, Palo Alto, October 7, 1992. Invited Participant, Scholar's Workshop "History as Fiction, Film as Truth: A CrossDisciplinary Examination," The UCLA Film & Television Archives & Department of Film & Television, University of California, Los Angeles, April 4, 1992 Featured Speaker,"Baseball in Post-American Cinema, or Life in the Minor Leagues," Conference on "The Politics of Spectacle," University of California, Berkeley, Berkeley, February 22, 1992. Invited Participant & Expert on Visual Media, International Workshop on Cultural Aspects of SETI (Search for Extraterrestrial Intelligence), NASA and the SETI Institute, Santa Cruz and Palo Alto, May, September 1992. Invited Speaker: "Baseball and the Post-American Cinema, or Life in the Minor Leagues," International Film Symposium: "Cinema and Nationhood,"Institute for Culture and Communication, The East-West Center in conjunction with the Hawaii International Film Festival, Honolulu, Hawaii, December 2-6, 1991.

Invited Speaker: "Whose Body? A Brief Meditation on Sexual Difference and Other Bodily Discriminations," Columbia University Seminar on Film and Interdisciplinary Interpretation, Museum of Modern Art, New York City, October 24, 1991. Invited Speaker: "A Theory of Everything: Mediations on Total Chaos" and "New Age Mutant NInja Hackers," Colloquium on Politics and Technology, Williams College, Williamstown, MA, April l991. Invited Speaker: "Susie Scribbles: Phenomenological Reflections on Writing Incarnate," International Colloquium: "Writing/Ecriture/Schrift," Department of Comparative LIterature, Stanford University. Palo Alto, CA, February 27-March 2, 1991. Panel Participant: "The End of the Book Age," Stanford Libraries, Palo Alto, February 26, 1991. Symposium Chair & Participant, "Reality and Realism: Soviet and American Cinema of the 1930s," Sponsored by theInternational Research & Exchanges Board and the US-USSR Commission on Film and Video Studies of the American Council of Learned Societies & the All-Union Scientific Research Institute of Film Art of the USSR State Committee for Cinematography, Washington, D.C., December 6-8, 1990. Lecturer: "Dream Houses and Road Houses: The Fragmentation of Domestic Space in Hollywood Films of the 1940s," The College of Santa Fe (sponsored with The American Film Institute ), Santa Fe, N.M., October 26, 1990. Guest Faculty: The Beijing Film Academy. (Seminar: "Genre Film Theory and New Hollywood Cinema"), Beijing, PRC, June-July 1990. Guest Lecturer: "Postmodernism and Contemporary Hollywood Cinema," English Department, Beijing University, Beijing, PRC, June 1990. Participant (Chair & Commentator): Conference on Memory and Catastrophe, The Comparative Histories of Ethnicity and Nationalism Research Group, UC, Santa Cruz, May 19-20, 1990. Symposium Commentator: "Strangers in a Strange Land: Documenting Asian American History," California Council for the Humanities and the Pacific Rim Film Festival, Santa Cruz, CA., May 10, 1990. Commentator: Panel on Taiwanese Cinema, Pacific Rim International Conference: "Film and Social Change in Taiwan, Hong Kong, and the People's Republic of China," University of California, Los Angeles, January, 1990. Guest Faculty: The Center for Advanced Film & Television Study. American Film Institute, (Film Theory Seminar), Los Angeles, September 1989. Guest Faculty: The American Film Institute Summer Workshops (Topic: Classic and Contemporary Film Theory), Los Angeles, August, 1989. Guest Faculty: Seminar: "Current Issues in Film," Department of Modern Thought and Literature, Stanford University, Palo Alto, CA, May, 1989. Invited Participant (representing UCSC): "Innovative Colleges Conference," Kalamazoo College, Kalamazoo, Michigan, May, 1989. Invited Lecturer, The Humanities Institute-State University of New York at Stony Brook (Project: "Recent Chinese Cinema: Aesthetic, Political and Historical Perspectives"), Stony Brook, NY, April, 1989. Presenter: "'Surge and Splendor': A Phenomenology of the Historical Epic," Session: Phenomenology and Film,Society for Cinema Studies Annual Meeting, University of Iowa, Iowa City, April 1989. Invited Presenter: "Theories of Everything: A Meditation on Fractals, Chaos, and the Difference that Leads to Indifference," Paradoxes/Breakdowns/Cognitive Dissonance, 23

Inter-University Center, Dubrovnik, Yugoslavia, April 1989. Invited Speaker: "'Surge and Splendor': A Phenomenology of the Cinematic Historical Epic," Session: History on Film, The Western Humanities Conference, UCLA, October 1988. Guest Faculty: The American Film Institute Summer Workshops (Topic: American Science Fiction Film), Los Angeles, July 1988. Presenter: "The Scene of the Screen: Toward a Phenomenology of Cinematic and Electronic Presence," Session: Phenomenology, Society for Cinema Studies & University Film & Video Association Joint Meeting, Bozeman, Montana, June-July 1988. Invited Faculty Address: Benjamin F. Porter College Commencement Exercises, University of California, Santa Cruz, June, 1988. "Cities on the Edge of Time: The Urban Science Fiction Film," Porter College Faculty Symposium, Porter College, University of California, Santa Cruz, May 1988. Invited Speaker: UCLA, Los Angeles (Course on Science Fiction Film), February 1988. Invited Speaker: "Cities on the Edge of Time: The Urban Science Fiction Film,"7th Hawaii International Film Festival Film Symposium, Honolulu, Hawaii, November 1987. Panelist: "On the Shoah" for conference,"Holocaust: The Destruction of European Jewry," Adlai E. Stevenson College, University of California, Santa Cruz, May 1987. Invited Speaker: "The Electronic Punctuation of Cinematic Space," for "The â&#x20AC;&#x2DC;Materialities' of Communication," International and interdisciplinary conference hosted by the University of Siegen, West Germany, Inter-University Centre, Dubrovnik, Yugoslavia, April 1987. Keynote Luncheon Address: "Terminal Culture: SF Cinema in the Age of the Microchip," 8th Annual Conference on the Fantastic in the Arts, Houston, TX, March 1987. "The Hollywood Musical: Myth, Ritual, and Ideology in an American Film Genre" (A series of 4 lectures and a symposium for Chinese film professionals and scholars), hosted by the China Film Association, Beijing, PRC, June-July 1986. Respondent, Panel: " Phenomenology I," Society for Cinema Studies Annual Meeting, New Orleans, LA, May 1986. Invited Speaker: "Contemporary Science Fiction Film," Public Discussion with director Ridley Scott for a seminar: "Hollywood Genres in the 80's,"American Film Institute, Los Angeles, CA, November 1985. Presenter: "The Undergraduate Curriculum," for conference:"The Fundamentals of the Cinema Studies Curriculum," New York University, NYC, October 1985. Chair & Respondent: Panel: "Dickens, Film and Popular Culture," for "Cinematic Affinities: Dickens, Fiction and Film," Dickens Project, University of California, Santa Cruz, August 1985. Invited Speaker: "Inhabiting the Seen: Narrativity and Cinematic Space," for History and Theory invitational conference: "Narrative: The Medium of History," WernerReimars-Stiftung, Bad Hamburg, West Germany, August 1985. Invited Chair & Respondent. Speaker: Hugh Silverman on "Phenomenology and Aesthetics," American Society for Aesthetics, University of Southern California, Los Angeles, CA, November 1984. Speaker: "Lounge Time: Post-War Crises and the Chronotopes of Film Noir," Panel on Film Noir,Society for Cinema Studies Annual Meeting, University of Wisconsin- Madison, March 1984. Invited participant, "Science Fiction and Fantasy Inter-campus Research Symposium," University of California, Riverside, February 1984. Speaker: "Lounge Time: Post-War Crises and the Chronotopes of Film Noir," Session: Film and 24

American Culture in the 1940s, American Studies Association Biennial Convention, Philadelphia, PA, November 1983. Speaker: "Inscribing Ethical Space: 10 Propositions on Death and Documentary," Session: "Semiotic Phenomenology: Qualitative Models of Current Empirical Research," Semiotic Society of America, Snowbird, UT, October 1983. Speaker: "The Virginity of Astronauts: Sex and the Science Fiction Film," Society for Cinema Studies Annual Meeting, The University of Pittsburgh, Pittsburgh, PA, May 1983. Scholar/Consultant on Curriculum: Symposium: "Shakespeare on the Screen," Sponsors: The American Film Institute, the Folger Institute of Renaissance & 18th Century Studies, University of California-Santa Barbara, & University of Southern California, Los Angeles, CA, October 1981. Speaker: "Towards Inhabited Space: The Intentional Structure of Camera Movement in the Cinema" (Session: "Philosophy of Communication"), International Communication Association, Minneapolis, MN, May 1981. Speaker: "Playing with Play: The Film Experience," Rocky Mountain Modern Language Association, Denver, CO, October 1980. Speaker: "Synthetic Vision: The Dialectical Imperative of Bu単uel's Las Hurdes," Society for Cinema Studies Annual Meeting, Syracuse, NY, March 1980. Speaker: "Surfaces in Depth: Modernist Film Style and the Rejection of Interiority," Rocky Mountain Modern Language Association, Phoenix, AZ, October 1978. Respondent. Session: "The Anti-Establishment Impulse in Hollywood Film," Popular Culture Association, Cincinnati, OH, April 1978. Speaker: "Decor as Theme: A Clockwork Orange," (Panel: "Visual Design in Film"), Society for Cinema Studies Annual Meeting, Temple University, Philadelphia, PA, March 1978. Invited Speaker:"No Lies : Direct Cinema as Rape," Film Symposium of the Second International Festival of Women's Film, New York City, September 1976. Invited Participant: Session: "Women in Westerns," NEH & Levi-Strauss Special Conference: "Western Movies: Myths & Images," Sun Valley Center for the Arts and Humanities, Sun Valley, ID, June 1976. Speaker: "The Leech Woman's Revenge, or A Case for Equal Misrepresentation," Session: "Cultural Images in Popular Film," American Studies Biennial Meeting, San Antonio, TX, November 1975. Invited Speaker: "Jumping the Gun: The Study of Violence on the Screen," Session: "Violence And the Arts," Modern Language Association, New York City, December 1974. Speaker: "Tradition and Cinematic Allusion," Rocky Mountain Modern Language Association, Tucson, AZ, October 1972. HONORS & AWARDS: Member: International Honorary Committee, "The Magic of Special Effects: Cinema-Technology-Reception," Universities of Montreal, Quebec, and Concordia, 201213. Recipient: Distinguished Career Achievement Award, Society for Cinema and Media Studies, Boston annual meeting, March 2012. Juror, AFI Awards 2008 Motion Picture Jury Juror, AFI Awards 2006 Television Jury Juror, AFI Awards 2005 Motion Picture Jury 25

Recipient of the SCMS Distinguished Service Award, Society for Cinema & Media Studies (London: March 2005). Juror, AFI Awards 2003 Motion Picture Committee. (A 13 person committee Including Leonard Maltin, Richard Schickel, John Badham, and Tom Pollack gathered to select the year's 10 best films.) Juror, AFI Awards 2001 Motion Picture Committee. (A 13 person committee Including Roger Ebert, Andrew Sarris, Molly Haskell, Richard Schickel, Mimi Leder, Marsha Mason, Tom Pollack gathered to select the year's 10 best films and nominees in other categories.) Juror, AFI 2000: Honoring a Year of Excellence. (On a 12 person jury consisting of filmmakers, scholars, critics, and AFI trustees to select the 10 best films and 5 moments of significance to the moving image for the year 2000.) Nominated by History and Theory: Studies in the Philosophy of History for the Berkshire Conference of Women Historians 1997 Prize for my article, "The Insistent Fringe: Moving Images and Historical Consciousness." Recipient: The 1995 Pilgrim Career Award from the Science Fiction Research Association. Bernhard Visiting Professorship, Williams College, Williamstown, MA, April 1994. Finalist: 1993 Katherine Singer Kovacs Prize for Best Annual Film Book for The Address of the Eye. University of California Humanities Institute (UC-Irvine) Residential Fellowship. (Awarded for Fall 1992 for residential research group: "American Film Genres: A Cultural Interpretation.") PROFESSIONAL ACTIVITIES: Editorial: Editorial Board, Book Series: "Thinking Cinema" (Continuum Press) 2011 - Present Academic Advisory Board, Book Series: "The Key Debates: Mutations and Appropriations in European Film Studies" (University of Chicago Press, forthcoming) 2010. Editorial Board, Cinema Journal 2008 - Present Editorial Board, Science Fiction Film and Television 2006 - Present Editorial Board, Projections: Movies and Mind 2006 – Present Editorial Advisory Board, Film and Film Culture: The Irish Journal of International Film Studies, 2006 - Present Film Studies Advisory Board, University of Callifornia Press. 2005 - Present Advisory Board, Film Quarterly. 2005 – Present Advisory Board, Cultural Theory and Technology. 2005 - Present Editorial Board, Animation: An Interdisciplinary Journal. 2005 - Present Editorial Board, Version (electronc journal). 2005 - Present International Editorial Board, Journal of Visual Culture. 2001 – Present Series Co-Editor: Constructs. University of Texas Press. 1995 – Present Advisory Board. Science-Fiction Studies . 1990 - Present. Associate Editor. Journal of Film and Video. 1983 - Present. Associate Editor. Journal of Popular Film and Television. 1976 - Present. Editorial Board, Sage Film Studies Handbook 2006 (Published 2008) Advisory Board, Encyclopedia of the Documentary Film (London: Fitzroy Dearborn, 2005.) Associate Editor, Signs. 2000-2005 26

Editorial Board. Para•doxa. 1994 - 2005 Editorial Board. H-Film (electronic forum sponsored by the H-Net Project of the University of Illinois, Chicago, History Department) 1993 Member. Editorial Advisory Board for the American Film Institute Readers series for Routledge. January 1987 - 1998. Editorial Boad. Cinema Journal. 1992 - 1998. Editorial Board. Quarterly Review of Film and Video. 1993 -1997. Advisory Board for Highlights of Great Academic Books (4 volumes in Chinese). Shanghai: People's Publishing House; Taiwan: Crown Publishing Co. Appointed by Fudan University Press. 1989 - 1991. Associate Editor, Critical Studies in Mass Communication. 1988 - 1989. Guest Editor. Special Issue on Silent Cinema. Journal of Popular Film and Television, Volume 15, No. 3 (Fall 1987.) Referee for University of Minnesota Press, MIT Press, Princeton University Press, University of California Press, Wesleyan University Press, Duke University Press, Sage Press, UMI Press, Blackwell, Bowling Green State University Popular Press, Southern Illinois University Press, Critical Studies in Mass Communication, Journal of Film and Video, Cinema Journal, Communication Yearbook, Public Culture, Body & Society, ScienceFiction Studies, Temple University Press, Projections. Administrative & Advisory Member, Distinguished Career Achievement Award Committee, Society for Cinema and Media Studies, 2012-15. Member, External Program Review Team for the School of Literature, Communication and Culture, Georgia Institute of Technology, November 2009. Member, External Program Review Team for the Department of Visual and Environmental Studies, Harvard University, October 2005. Chair, External Program Review Team for the Department of Film, University of California, Santa Barbara, April 2002. Associate, Center for Advanced Research in Phenomenology 1999 – Present Board of Directors, The American Film Institute, Elected June 1999-2009. Trustee, The American Film Institute. Elected June 1989 - 2009. Advisory Committee, The CineMedia Project (a research archive of Latin American and Latino/a Film and Video), UC Santa Cruz. 1995 – 1992. Member, International Board of Advisors, Center for Advanced Research in Phenomenology 1996 - 1998 Member, Honorary Membership Selection Committee, Society for Cinema Studies,1998. Chair, Education Committee. The American Film Institute. July 1989-1993. Member. Advisory Board, New York Center for Visual History for PBS television series titled American Cinema. July 1987 - 1995 (Series began broadcast 1/25/95). Advisor: "Silent Voices of the Silver Screen." Naked Eye Productions, San Francisco, for development of a documentary on an American woman filmmaker/adventurer, Nell Shipman. April 1990-1993. Member, External Program Review Team for Department of Media Arts, University of Arizona, Tucson, April 1993. Steering Committee Member, Center for Cultural Studies, University of California, Santa Cruz, 1988-1992. 27

Panel Evaluator, "Tibet: Dreams and Documents," Film Symposium for "The Sacred Art of Tibet," Asian Art Museum, San Francisco, CA, August 1991. Panelist, National Endowment for the Humanities (Media Panel), Washington, D.C., May 1991. Co-Chair. US-USSR Commission on Cinema Studies (American side). American Council of Learned Societies/IREX. 1987 - 1991.(Familiarization/negotiation visit to Moscow to Institute of Film Art, Gosfilmofund, the Union of Cinematography, and the State Film School occurred January 6-16, 1988.) Panelist, National Endowment for the Humanities. (Summer Seminars on Art, Drama, Film & Music). Washington, D.C., April 1990. Advisor: "America's Stories." Manifold Productions, Los Angeles, development of a 6-part television PBS series on film and American history. October 1990. Advisory Board: "The Science Fiction Project." KCET, Los Angeles , for proposed 4-part PBS television series. August 1990. Member. Planning Committee & Principal Investigator. Coordinating Council for the Study of Chinese Film and Television. (UC Pacific Rim Grant (Based at UCLA.) January 1988 1990. Past President. Society for Cinema Studies. (Seat on Executive Council.) July 1987 â&#x20AC;&#x201C; June 1989. President. Society for Cinema Studies. (Elected Office.) July 1985-June 1987. Member. Advisory Board. National Center for Film and Video Preservation. April 1986- June 1987. Member. Advisory Committee. American Film Institute Education Services. April 1986- June 1987. Research Chair. University Film Association. August 1978-July 1980. Member. University Film Association Nomiating Committee. 1981. Treasurer. Society for Cinema Studies. (Elected Office.) 1978-1980. Chairperson. Society for Cinema Studies Nominating Committee. 1978 Election. CURRENT PROFESSIONAL MEMBERSHIPS: Society for Cinema Studies American Film Institute UCLA Emeriti Association

CURRICULUM VITAE Nancy H. Cole is a Forensic Document Examiner, Board Certified by The Association of Forensic Document Examiners (AFDE). She has been in private practice and recognized as a qualified document examiner since 1983. She is employed by attorneys, corporate security and law enforcement and has rendered opinions in both civil and criminal matters, for defendant or for plaintiff. She has testified before Municipal, Superior and Federal Courts; she has participated in arbitration proceedings and has been called upon to serve as court’s expert. Ms. Cole is knowledgeable in the authentication of handwriting and typewriting, including, but not limited to, questions involving indented writing, alteration of documents/records, Obliterated material, computer printouts, anonymous writings, line sequence and non-destructive ink testing. She maintains photographic and digital facilities for the preparation of Court Exhibits as boards or transparencies

EDUCATION CARNEGIE-MELLON UNIVERSITY, B.F.A, First ranking graduate of seven colleges comprising CMU. Elected to Phi Kappa Phi, equivalent of Phi Beta Kappa STANFORD UNIVERSITY, M.A. Honors’ Fellow.  SAN JOSE STATE UNIVERSITY. Studied Questioned Document with Richard Chang, Dept. of Administration of Justice. Served as teaching assistant and subsequently as substitute. MENTOR. Studied in the private sector two years with Document Examiner Stephen A. Slyter, Louisville, Kentucky. Training included technical instruction in handwriting and typewriting recognition, infrared and ultra violet photography techniques, use of VSC and ESDA, court procedures and written case review. FOOTHILL COLLEGE. Trained to professional level in photography under Marion Patterson and Michael Ivanitsky. CONTINUING EDUCATION. In excess of 2000 hours of seminar and workshop participation through the Association of Forensic Document Examiners, The American Academy of Forensic Sciences, The International Congress of Forensics Sciences (ICFS), The International Association of Credit Card Investigators (IAFCI), and the California Financial Crimes Investigators Association.

CERTIFICATION BOARD CERTIFIED by the Association of Forensic Document Examiners (AFDE) through oral and written tests and mock trial.

12/10/11

HONORS  Served as C0-CHAIR with an attorney from The Peoples’ University of Beijing of the CRIMINALISTICS SECTION, 1988 International Congress of Forensic Sciences (ICFS), Beijing, China.  Presented keynote paper for Experts’ Section of Kriminal Expo ‘92 International Conference and Exhibition on Criminal Investigation and Justice, Budapest, 1992.   Served as CO-CHAIR of QUESTIONED DOCUMENTS SECTION, 1996 International Association of Forensic Sciences, Tokyo.  Invited to lecture before the Federal Criminal Institute and at the Police Academy in Prague, the Czech Republic, 1993.  TEACHING and LECTURES Featured guest on “What’s New in Business” with Gary Shara, Esq., host. Cable TV, July ’04.  Guest lecturer on Legal InCite Talk Show with Peter Keene (Business Radio 1220 AM KBZS) on the topic, “Questioned Document Examination: More than signature verification.”  Guest speaker at Nade confernece, Anaheim, CA, 2004.  Guest Speaker a IAQDE conference, Chicago, IL, 2005  Questioned Document: teaching assistant, then substitute, Administration of Justice, San Jose State University.   Management training seminars in simulated signature recognition for “The Benham Group,” Benham International Investment Corporation. Guest lecturer, Psychology of Evidence course, College of Notre Dame, Belmont. Guest lecturer, Lincoln Law School, San Jose.

 Guest lecturer, Questioned Document, San Jose State University, Dept. of Justice. Guest speaker for California Association of Licensed Investigators, Inc., San Rafael, CA, 2001.

PROFESSIONAL AFFILIATIONS

Association of Forensic Document Examiners (AFDE).. Board certified by AFDE. International Association of Financial Crimes Investigators (IAFCI). California Financial Crimes Investigators Association (CFCIA).

PROFESSIONAL ACTIVITIES   Attends meetings of above organizations whenever practicable. Has attended the American Academy of Forensic Sciences annual meetings; and presented papers in 1989 and 1990.  Served on BOARD OF DIRECTORS of Association of Forensic Document Examiners (AFDE), 1989-91. Presented papers at AFDE Symposiums in 1986,1988, 1989, 1995, 1999, 2001.   Founding EDITOR, of AFDE’s JOURNAL OF FORENSIC DOCUMENT EXAMINATION, the first such publication devoted to document examination. This journal has received international recognition and can be found in university law libraries and on Westlaw. Served as Editor three years, 1985 through 1988, establishing format, mission, style and guidelines.  Served as Law Enforcement Liaison and International Exchange for ASIS, 1995.  Participated in informal exchange of technology and methodology with State and Federal Crime Labs in Vienna and the Federal Criminal Institute in Prague, Czechoslovakia, 1992. Attended the September, 2002 meeting of the International Association of Forensic Sciences at Montpellier, France.  Attended Association of Forensic Document Examiners’ 2002 symposium in Las Vegas. Co-presenter with Joseph Barabe, Director of Scientific Imaging, McCrone Associates on “A Study of Signatures on Questioned Works of Art; General Principles and Case Studies.”  Presented “Artists’ Signatures on Questioned Paintings and Drawings.” before the Internationaler Kongress der Gesellschaft fur Forensische Schriftuntersuchung (GFS), Heidelberg, Germany, June, 2004. Published on disk with proceedings.  PUBLICATIONS   “J’Accuse: A Study of the Handwriting Concerned in the Dreyfus Case,” Journal of Forensic Document Examination, Vol.1, 1987. “Medico-Legal Problems of Last Will and Testament,” presented before the International Congress of Forensic Sciences (ICFS) under the aegis of the Forensic Medical Association of China, Beijing, September, 1988. Published in the Journal of Forensic Document Examination, Vol. II, 1988.  “A Study in Guided Hand Writings,” presented before the American Academy of Forensic Sciences, 1989; published, Journal of Forensic Document Examination, Vol. IV, 1991.             “Signature Identification,” Butterworth-Heinemann Security Encyclopedia, Reed International Books, Stoneham MA, 1992. “Document Examination: IACCI Member and Czech Professional Compare Methods,” IACCI News, First Quarter 1394, Vol. 130.



"Get It in Writing; Simple Methods to Avoid Workplace Fraud," Business News Network, Palo Alto Chamber of Commerce, Volt 4, May, 1997, pp.1, 4&6.

 “Toward the Twenty-first Century: the Changing Face of Evidence Presentation in a Court of Law,” presented before the 1996 International Association of Forensic Sciences Meeting, Tokyo. Current Topics in Forensic Science; Proceedings of the 14th Meeting of the International Association of Forensic Sciences. Shunderson, Canada, 1997.

UNPUBLISHED PAPERS  “Toward an Understanding of Disguise,” presented before Independent Association of Document Examiners, 1986.          “Effects of Writing Instrument Grip Adjuncts,” co-author, presented before the American Academy of Forensic Sciences, 1989. “Minding One’s P’s & Q’s; a Study of the Use of Formal Logic in the Preparation and Presentation of Document Evidence,” presented before the American Academy of Forensic Sciences, 1990. “From the Attic to the Computer Showroom; a Survey of the Methods and Tools of Document Examination and the Challenges of Document Crime Detection in the ‘90s,” presented as keynote paper of Experts’ Section of Kriminal Expo ‘92, Budapest, Hungary. “An Investigation into the Authorship of The Dark Tower, Published Posthumously and Attributed to C.S. Lewis,” presented before the International Graphonometrics Association/AFDE Symposium, London, Ontario, Canada, August, 1995. 

“Computer Mischief: Manipulation of Handwriting to Create False Exemplars,” presented before AFDE symposium, Phoenix, Arizona, November, 1999.

“A Study of Signatures on Questioned Works of Art: General Principles and Case Studies,” with Joseph Barabe, Director of Scientific Imaging, McCrone Associates, Chicago. 2002 Symposium, Las Vegas.  Symposium, Scottsdale, Arizona.

for Simulators,” 2003 AFDE

Presented “Problems with Probability in Testimony,” 2006 Symposium of AFDE in co-

operation with McCrone Associates, Westmont, Il.