Faculty & Staff
Sarah Keller, PhD
Assistant Professor of Art and Cinema Studies, Director of Cinema Studies, College of Liberal Arts
PhD, Cinema and Media Studies and English Language and Literature, University of Chicago, Chicago, IL
BA (English), St. Olaf College, Northfield, MN
Professional Publications & Contributions
- Maya Deren: Incomplete Control. Columbia University Press, 2014.
- “The Alluring Detail: Review of Christophe Wall-Romana’s Jean Epstein: Corporeal
Cinema and Film Philosophy.” Modern & Contemporary France, 22.4 (Summer 2014).
- “Pas de deux for Dancer and Camera in Maya Deren’s Films” The International Journal of
Screendance 3 (May 2013).
- “Gambling on Photogénie: Epstein Now,” Photogénie Vol. 0. October, 2012:
- “Frustrated Climaxes: On Maya Deren’s Meshes of the Afternoon and Witch’s Cradle.”
Cinema Journal 52.3 (Spring 2013): 75-98.
- “A (Last ?) Word on Incompletion.” Uploaded May 21, 2013:
- Jean Epstein: Critical Essays and New Translations. Editor, with Jason Paul. (Amsterdam
University Press, 2012).
- “Jean Epstein’s Documentary Cinephilia.” Studies in French Cinema 12.2 (July 2012): 91-105.
- “As Regarding Rhythm: Rhythm in Modern Poetry and Cinema.” Intérmédialités. Feb. 2011.
- “‘Once wasn’t enough for you’: Beckett, Technology, and Preservation.” Literature/Film
Quarterly. July, 2010
- “Optical Harmonies”: Sight and Sound in Germaine Dulac’s Integral Cinema.” Not so Silent:
Women in Cinema Before Sound. Sofia Bull and Astrid Söderbergh Widding, eds.
(Stockholm: Stockholm University Press, 2010).
- “Outside the Source: Credit Sequences in Spike Lee’s Malcolm X and 25th Hour.” In/Fidelity.
David Kranz and Nancy Mellerski, eds. (New York: Columbia University Scholars
Sarah Keller is assistant professor of art and cinema studies. She co-edited Jean Epstein: Critical Essays and New Translations (Amsterdam University Press, 2012), and her most recent book, Maya Deren: Incomplete Control, examines the role of unfinished work through Maya Deren oeuvre (Columbia University Press, 2014). Her next project addresses discourses related to cinephilia and cinephobia across film history.