I am a theoretician and historian of art, film and media.

I received my joint degree in the History of Art and Film Studies from Yale University in 2010.

My dissertation was entitled, “With and Against Cinema: The Situationist International and the Cinematic Image.” I’m currently at work on a manuscript.

I am an assistant professor in the Art History Department of the School of Art and Design at Texas State University in San Marcos, Texas.

I co-program the microcinema, Experimental Response Cinema in Austin, Texas.

In my scholarship, I focus on three intersecting areas of inquiry:

• the history and theory of transnational cinema
• avant-garde aesthetic theory
• experimental media

I am particularly interested in narrative intermediality and the depiction of social space (or the failure thereof).

Ich spreche fließend und gerne Deustch.

Je parle français couramment et avec grand plaisir.

My article, “Cut and Spark: Chris Marker, André Bazin and the Metaphors of Horizontal Montage” was published in 2012 in Studies in French Cinema (Vol 12, Issue 1, p. 35-46).

An analysis of Goran Rebić’s The Danube – born of my film programming for The Black and Blue Danube Symposium at Colgate – appears as Chapter 9 in European Cinema After the Wall: Screening East-West Mobility (Leen Engelen and Kris Van Heuckelom, eds., Rowman and Littlefield, 2013): “Riverboat Europe: Interim Occupancy and Dediasporization in Goran Rebić’s Donau, Duna, Dunaj, Dunav, Dunarea (2003).”

I’ve contributed a number of essays on Chantal Ackerman and an overview of Belgian Surrealist cinema to the Directory of World Cinema: Belgium (Marcelline Block and Jeremi  Szaniawski, eds., University of Chicago Press, 2014).

You can read my critique of curator Nicolas Bourriaud’s contemporary art paradigms in Volume 2, Number 4 (2014), pages 23-54 of the scholarly journal, Evental Aesthetics. That article is entitled, “The Paradigms of Nicolas Bourriaud: Situationists as Vanishing Point.”

My review for MIRAJ Motion Image Review & Art Journal of “History is What’s Happening,” the 59th Annual Flaherty Film Seminar programmed by Pablo de Ocampo, testifies to my passion for contemporary artist’s film and video.

I juxtapose the appropriational strategy of détournement with the representational mode of aerial views in my article, “Détournement as optic: Debord, derisory documents and the aerial view,” Philosophy of Photography (Vol 5, Issue 1, p. 19-34).

I am a member of the College Art Association (CAA), the European Network for Cinema and Media Studies (NECS), and the Society for Cinema and Media Studies (SCMS).

You are welcome to contact me at jennifer (dot) stob (at) gmail (dot) com.