Women's Studies Department Faculty

JONATHAN BELLER

Visiting Associate Professor
(Associate Professor in English and Humanities and
Critical and Visual Studies, Pratt Institute)

Research and Teaching Interests:

Publications:

Books and Edited Volumes

The Tortured Signifier: Signs of the State of Exception (in progress)

The Cinematic Mode of Production: Towards A Political Economy of the Society of the Spectacle, (Dartmouth College/University Press of New England, 2006).

Acquiring Eyes: Philippine Visuality, Nationalist Struggle and The World Media-System, (Manila: Ateneo de Manila University Press, forthcoming 2006).

Kristology and Radical Communion: Works of Emmanuel Garibay, (Manila: Sipat Publications, 1999).

Polygraph 8/9 Special Issue: New Metropolitan Forms (Durham:1996), Issue editor (with Neferti Xina M. Tadiar and Mark Simpson).
 

Academic Essays

“Paying Attention,” Cabinet 24 (New York: Distributed Art Publishers,
forthcoming, 2007). Essay selected for Documenta XII

“21st Century Fascism, “Political” Killing, and the Crisis of Representation,” Kontra-Gahum: Academics Against Political Killings, ed., Sarah Raymundo, Manila: Ibon Publications (forthcoming 2006)

“Our Poverty Will Be Our Greatest Export,” Philippine Realism in a Time of Farce,” forthcoming in Vaginal Economies, ed. Rolando Tolentino (under consideration).

“Third Cinema,” entry in the New Dictionary of the History of Ideas, New York: Scribner's Sons, 2005 (3000 words).

"Visual Culture," entry in the New Dictionary of the History of Ideas, New York: Scribner's Sons, 2005 (5,000 words).

“From Social Realism to the Specter of Abstraction: Conceptualizing the Visual Practices of H. R. Ocampo,” Kritika Kultura, Issue 5, Fall 2004 (www.ateneo.edu/kritikakultura)

“The Cinematic Mode of Production: Towards a Political Economy of the
Postmodern,” in Culture, Theory and Critique, 44(1)(2003), p. 91-106.

"Numismatics of the Sensual, Calculus of the Image: The Pyrotechnics of Control," Image [&]Narrative 6: Medium Theory (2003).

"Kino-I, Kino World: Notes on the Cinematic Mode of Production,” in The Visual Culture Reader, Second Edition, ed. Nicholas Mirzoeff, Routledge, 2002.

“Third Cinema in a Global Frame: Curacha, Yahoo!, and Ishmael Bernal's Manila By Night," Positions 9:2 Fall 2001, 331-368.

"Nationalism's Molten Prayers: The Early Writings of Filipino National Artist H. R. Ocampo," Philippine Studies, vol.47, Fourth Quarter 1999; 468-491.

"Directing the Real: Orapronobis Against Philippine Totalitarianism (2000)," Third Text no.45, Winter 1998-99 . Republished in: Geopolitics of the Visible: Essays on Philippine Film Cultures, ed. , Roland Tolentino (Manila: Ateneo de Manila University Press,2000). Also Reprinted in The Third Text Reader, eds., Sean Cubitt, Rashid Araeen and Ziauddin Sardar (New York and London: Continuum, 2002).

"Dziga Vertov & The Film of Money," boundary 2 , vol. 26, no. 3, 1999; 151-199 [http://muse.jhu.edu/demo/boundary/v026/26.3beller.html].

"Towards a Theory of Visuality in Philippine Modernity," Fineprint, Volume V,1998.

"Identity Through Death / The Nature of Capital: The Media-Environment for Natural Born Killers," Post-Identity, vol. 1, no. 2, Summer 1998; 55-67.

"Painting Bytes," Public Culture, vol. 10, no. 2, Winter 1998; 454-456 [review].

"PMLA in the Philippines?", "PMLA Forum," PMLA, vol. 113, no. 5, October 1998 [letter].

"Capital/Cinema," in Deleuze and Guattari: New Mappings in
Politics/Philosophy/Culture, eds., Eleanor Kaufman and Kevin Heller (Minneapolis: University of Minnesota Press, 1998). Turkish translation
published in Gilles Deleuze’de Toplum ve Denetim, ed. Ali Akay (Istanbul, Kasim: Baglam yay, 2005) ISBN: 9758803468.

"Writing Video Art," Afterimage, vol. 26, no. 1, July/August 1998.

"City of Television: Metropolitan Affects and the New Americanism," Polygraph 8/9: New Metropolitan Forms (Durham: 1996): 133-151.

"Introduction: Making 'New Metropolitan Forms,'” with Mark Simpson and Neferti Tadiar, Polygraph 8/9: New Metropolitan Forms (Durham: 1996): 3-7.

"Desiring the Involuntary: Late Capitalist Circulation and the Machinic
Assemblage in Deleuze and Robocop 2," in Global/Local: Cultural
Production and the Transnational Imaginary, eds. Rob Wilson
and Wimal Dissanayake (Durham: Duke University Press, 1996).

"The Spectatorship of the Proletariat," boundary 2 , Vol. 22, No. 3 (Fall 1995): 171-228.

"The Radical Imagination in American Film," Creative Screenwriting,
vol. 1, no. 4 (Winter 1994): 41-50.

"Cinema, Capital of the Twentieth Century," Postmodern Culture, v.4 n.3 Oxford University Press (May 1994). An earlier version appears in
The Image of Technology Conference Proceedings, eds.,
Will Wright and Steven Kaplan, Univ. of Southern Colorado (1994).

“Print Edition of ‘Intervention in the Field of Dreams with Ariel Dorfman,’” in Learning History in America: Schools, Cultures and Politics, eds. Lloyd Kramer, Donald Reid and William L. Barnery ( Minneapolis: University of Minnesota Press,1994).

“The Circulating Eye,” Communication Research, vol. 20, no. 2 (April 1993): 298-313.

Women's Studies Teaching:

WMST BC3117 Women and Film (Spring 2008)

Activist Interests