UMass Boston

PhD, Cinema and Media Studies and English Language and Literature, University of Chicago, Chicago, IL
BA (English), St. Olaf College, Northfield, MN

• “Poetry and Film Poetics.” In A Companion to Experimental Film, edited by Federico Windhausen. (Wiley Blackwell, 2022).
• “Continuous Weave: Feminist Experimental Filmmaking Genealogies,” Camera Obscura 108 (December 2021).
• Barbara Hammer: Pushing Out of the Frame (Detroit: Wayne State University Press, 2021).
• “Barbara Hammer: Lesbian Feminist Iconography and Queer Aesthetics,” Oxford Handbook of Queer Cinema, Ron Gregg and Amy Villarejo, eds. (Oxford University Press, 2021).
• Anxious Cinephilia: Pleasure and Peril at the Movies. New York: Columbia University Press, 2020.
• “Introduction: Experimental Woman: Mapping Cinema and Video Practices from the Post-War to the Present,” Cinéma&Cie 34 (Fall 2020). With Giulia Simi and Elena Marcheschi
• “Women’s Answer: Agnès Varda and Barbara Hammer,” philoSOPHIA 10, No. 1 (2020).
• “Anxious Afterthoughts on Anxious Cinephilia,” Columbia University Press Blog, Apr 5, 2020:
• “Jean Epstein: Aussitôt j’imagine, surimpression,” Introduction to Vol 1 Jean Epstein: Écrits complèts. Nicole Brenez, Joël Daire, Cyril Nyrat eds. Paris: La Plaine. 2018.
• “Jean Epstein: Cinema’s Encounter with Modern Life.” Thinking in the Dark: Cinema, Theory, Practice (New Brunswick, NJ: Rutgers University Press, 2015): 66-76.
• “Teaching Meshes of the Afternoon.” The Cine-Files Issue 9: Teaching Film (Fall 2015)
• 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 Press, 2008).

Sarah Keller is professor of art and cinema studies. She co-edited Jean Epstein: Critical Essays and New Translations (Amsterdam University Press, 2012), and her books include Maya Deren: Incomplete Control (Columbia University Press, 2014), Anxious Cinephilia: Pleasure and Peril at the Movies (Columbia University Press, 2020), and Barbara Hammer: Pushing Out of the Frame (Wayne State University Press, 2021). She is founder and organizer of the Boston Cinema/Media Seminar.