Kirsten Moana Thompson (born 1964) is an interdisciplinary scholar of American and New Zealand/Pacific cinema and visual culture. Thompson's work in American film has focused on classical American cel animation[1] and the introduction of three strip Technicolor, on contemporary crime films and blockbuster[2] and special effects cinema.[3][4] Her work on Pacific cinema situates film production by American and Pacific filmmakers in broader cultural and visual contexts.[5] She has also published on American horror film[6] and German cinema.[7]
Thompson's training in history, literature and media has shaped her interdisciplinary research and teaching. Thompson received her MA in English Literature with First Class Honors from Auckland University, New Zealand and her PhD from New York University's Tisch School of the Arts in 1998 in Cinema Studies. She worked as Film Director and Associate Professor of Film Studies at Wayne State University in Detroit for several years.[8] She then moved to New Zealand to take up the Directorship of the Film Program and was Professor of Film Studies at the School of English, Theatre, Film and Media Studies at University of Victoria in Wellington, New Zealand. She is currently Professor of Film Studies and Director of the Film Program at Seattle University.
Careeredit
Thompson's first sole authored book, Apocalyptic Dread: American Film at the Turn of the Millennium, examined a series of films made in the late nineties and first decade of the new century through Søren Kierkegaard's concept of dread, situating millennial cinema in philosophical, theological and cinematic traditions of anxieties about the future.[9][10] Through her readings of certain films like Cape Fear (Martin Scorsese, 1991) and Candyman (Bernard Rose, 1992), Thompson offered new philosophical explanations for the long-standing cultural popularity of horror and apocalyptic cinema. Thompson's next book, Crime Films: Investigating the Scene, examined case studies of the crime, criminal and crime solver situating the detective film[11][12] and crime stories[13] within historical developments in criminology, the police force and forensic investigation. Reflecting her increasing interest in wider social and historical aspects of visual culture, her work considers the emergence of visual technologies of identification and corporeal mapping, linking them to policing, social control, and the emergence of modern identity.
Thompson's scholarly research continues her work on American cinema and visual culture with a particular focus on classical and contemporary American animation[14] and Color studies.[15][16] She is currently working on a book Color, Classical American Animation and Visual Culture which explores the historical, philosophical, and technological dimensions of colour in the cel animation of Walt Disney, the Fleischer Bros., MGM and other leading American animation studios.[17][18][19]
Booksedit
Perspectives on German Cinema (Coeditor with Terri Ginsberg) NY: G.K.Hall, 1996.
Apocalyptic Dread: American Film at the Turn of the Millennium. Albany: SUNY Press, 2007.
Crime Films: Investigating the Scene: London: Wallflower,2007.
Referencesedit
^Wells, Paul (2002). Animation and America. Rutgers University Press. pp. 57–58.
^Thompson, Kirsten (2006). Scale, Spectacle and Movement: Massive Software and Digital Special Effects in The Lord of the Rings," in From Hobbits To Hollywood: Essays On Peter Jackson's Lord Of The Rings eds. Ernest Mathijs and Murray Pomerance. Amsterdam: Rodopi. pp. 283–299. ISBN978-9042020627.
^Prince, Stephen (2012). Digital Visual Effects: The Seduction of Reality. New Brunswick, NJ: Rutgers University Press. p. 88.
^Burgoyne, Robert (2010). Epic Film in World Culture. New York: Routledge. pp. 5. ISBN978-0415990189.
^Thompson, Kirsten Moana (2014). "The Construction of a Myth: Bloody Mary, Aggie Grey and the Optics of Tourism". Journal of NZ and Pacific Studies. 2 (1): 5–19.
^Thompson, Kirsten Moana (2007). Apocalyptic Dread: American Film at the Turn of the Millennium. Albany, NY: SUNY Press: Albany. ISBN978-0791470442.
^Ginsberg, Terri and Kirsten Thompson, eds. (1996). Perspectives on German Cinema (Coeditor with Terri Ginsberg). New York: GK Hall. ISBN0816116113. {{cite book}}: |last= has generic name (help)CS1 maint: multiple names: authors list (link)
^Wayne State (1 May 2008). "Board of Governors Recognize Outstanding Faculty Efforts". Retrieved 17 September 2015.
^Allen, Valerie (2010). "Se7en: Medieval Justice, Modern Justice". Journal of Popular Culture. 43 (6): 1150–1172. doi:10.1111/j.1540-5931.2010.00793.x. S2CID 161663690.
^Judd, J. Wesley (20 February 2015). "Can Jupiter Ascending Change the Way we Feel About the Matrix?". Pacific Standard. Retrieved 17 September 2015.
^Gates, Phillippa (1 May 2015). "Detective Films". Oxford Bibliographies. Oxford. doi:10.1093/OBO/9780199791286-0024. Retrieved 17 September 2015.
^Piper, Helen (2015). The TV Detective: Voices of Dissent in Contemporary Television. London and New York: Tauris, NY. p. 149. ISBN9781780762944.
^Eliot, Paul (2014). Studying the British Crime Film. Auteur, UK. pp. 2, 6, 8, 61.
^Thompson, Kirsten Moana (2015). Classical Cel Animation, World War Two and Bambi, 1939–1945. New York and London: in American Film History: Selected Reading: Origins to 1960, eds. Cynthia Lucia, Art Simon and Roy Grundmann. Blackwell. pp. 311–325. ISBN978-1118475133.
^Thompson, Kirsten Moana (February 2014). "Quick-- Like a Bunny !' The Ink and Paint Machine, Female Labor and Color Production". Animation Studies. 9. Retrieved 16 September 2015.
^Thompson, Kirsten Moana (June 2014). "Animating Ephemeral Surfaces: Transparency, Translucency and Disney's World of Color". Refractory: A Journal of Entertainment Media. 24. Retrieved 16 September 2015.
^. Inaugural Public Lecture: "The Ephemeral Immersive Screen: Disney’s World of Color". 12 June 2014. Archived from the original on 1 October 2015. Retrieved 17 September 2015.
^Ryan, Katherine (9 June 2014). "Color and Visual Culture: Interview with Kirsten Thompson". Retrieved 17 September 2015.
^Thompson, Kirsten Moana (Spring 2015). "Falling In (to) Color: Chromophilia and Tom Ford's A Single Man". The Moving Image. 15 (1): 62. doi:10.5749/movingimage.15.1.0062. JSTOR 10.5749/movingimage.15.1.0062. S2CID 190720748.
External linksedit
School of English, Film, Theatre and Media, University of Victoria in Wellington.
Kirsten Moana Thompson publications on Academia.edu
Publications by Kirsten Moana Thompson at ResearchGate
kirsten, moana, thompson, topic, this, article, meet, wikipedia, notability, guideline, academics, please, help, demonstrate, notability, topic, citing, reliable, secondary, sources, that, independent, topic, provide, significant, coverage, beyond, mere, trivi. The topic of this article may not meet Wikipedia s notability guideline for academics Please help to demonstrate the notability of the topic by citing reliable secondary sources that are independent of the topic and provide significant coverage of it beyond a mere trivial mention If notability cannot be shown the article is likely to be merged redirected or deleted Find sources Kirsten Moana Thompson news newspapers books scholar JSTOR September 2015 Learn how and when to remove this template message Kirsten Moana Thompson born 1964 is an interdisciplinary scholar of American and New Zealand Pacific cinema and visual culture Thompson s work in American film has focused on classical American cel animation 1 and the introduction of three strip Technicolor on contemporary crime films and blockbuster 2 and special effects cinema 3 4 Her work on Pacific cinema situates film production by American and Pacific filmmakers in broader cultural and visual contexts 5 She has also published on American horror film 6 and German cinema 7 Kirsten Moana ThompsonBornAuckland New ZealandNationalityNew ZealanderAlma materUniversity of Auckland BA MA NYU PhD Scientific careerFieldsFilm Studies and Visual CultureInstitutionsWayne State UniversityVictoria University of WellingtonSeattle University Current Websitewww seattleu edu Contents 1 Education and career 2 Career 3 Books 4 References 5 External linksEducation and career editThompson s training in history literature and media has shaped her interdisciplinary research and teaching Thompson received her MA in English Literature with First Class Honors from Auckland University New Zealand and her PhD from New York University s Tisch School of the Arts in 1998 in Cinema Studies She worked as Film Director and Associate Professor of Film Studies at Wayne State University in Detroit for several years 8 She then moved to New Zealand to take up the Directorship of the Film Program and was Professor of Film Studies at the School of English Theatre Film and Media Studies at University of Victoria in Wellington New Zealand She is currently Professor of Film Studies and Director of the Film Program at Seattle University Career editThompson s first sole authored book Apocalyptic Dread American Film at the Turn of the Millennium examined a series of films made in the late nineties and first decade of the new century through Soren Kierkegaard s concept of dread situating millennial cinema in philosophical theological and cinematic traditions of anxieties about the future 9 10 Through her readings of certain films like Cape Fear Martin Scorsese 1991 and Candyman Bernard Rose 1992 Thompson offered new philosophical explanations for the long standing cultural popularity of horror and apocalyptic cinema Thompson s next book Crime Films Investigating the Scene examined case studies of the crime criminal and crime solver situating the detective film 11 12 and crime stories 13 within historical developments in criminology the police force and forensic investigation Reflecting her increasing interest in wider social and historical aspects of visual culture her work considers the emergence of visual technologies of identification and corporeal mapping linking them to policing social control and the emergence of modern identity Thompson s scholarly research continues her work on American cinema and visual culture with a particular focus on classical and contemporary American animation 14 and Color studies 15 16 She is currently working on a book Color Classical American Animation and Visual Culture which explores the historical philosophical and technological dimensions of colour in the cel animation of Walt Disney the Fleischer Bros MGM and other leading American animation studios 17 18 19 Books editPerspectives on German Cinema Coeditor with Terri Ginsberg NY G K Hall 1996 Apocalyptic Dread American Film at the Turn of the Millennium Albany SUNY Press 2007 Crime Films Investigating the Scene London Wallflower 2007 References edit Wells Paul 2002 Animation and America Rutgers University Press pp 57 58 Thompson Kirsten 2006 Scale Spectacle and Movement Massive Software and Digital Special Effects in The Lord of the Rings in From Hobbits To Hollywood Essays On Peter Jackson s Lord Of The Rings eds Ernest Mathijs and Murray Pomerance Amsterdam Rodopi pp 283 299 ISBN 978 9042020627 Prince Stephen 2012 Digital Visual Effects The Seduction of Reality New Brunswick NJ Rutgers University Press p 88 Burgoyne Robert 2010 Epic Film in World Culture New York Routledge pp 5 ISBN 978 0415990189 Thompson Kirsten Moana 2014 The Construction of a Myth Bloody Mary Aggie Grey and the Optics of Tourism Journal of NZ and Pacific Studies 2 1 5 19 Thompson Kirsten Moana 2007 Apocalyptic Dread American Film at the Turn of the Millennium Albany NY SUNY Press Albany ISBN 978 0791470442 Ginsberg Terri and Kirsten Thompson eds 1996 Perspectives on German Cinema Coeditor with Terri Ginsberg New York GK Hall ISBN 0816116113 a href Template Cite book html title Template Cite book cite book a last has generic name help CS1 maint multiple names authors list link Wayne State 1 May 2008 Board of Governors Recognize Outstanding Faculty Efforts Retrieved 17 September 2015 Allen Valerie 2010 Se7en Medieval Justice Modern Justice Journal of Popular Culture 43 6 1150 1172 doi 10 1111 j 1540 5931 2010 00793 x S2CID 161663690 Judd J Wesley 20 February 2015 Can Jupiter Ascending Change the Way we Feel About the Matrix Pacific Standard Retrieved 17 September 2015 Gates Phillippa 1 May 2015 Detective Films Oxford Bibliographies Oxford doi 10 1093 OBO 9780199791286 0024 Retrieved 17 September 2015 Piper Helen 2015 The TV Detective Voices of Dissent in Contemporary Television London and New York Tauris NY p 149 ISBN 9781780762944 Eliot Paul 2014 Studying the British Crime Film Auteur UK pp 2 6 8 61 Thompson Kirsten Moana 2015 Classical Cel Animation World War Two and Bambi 1939 1945 New York and London in American Film History Selected Reading Origins to 1960 eds Cynthia Lucia Art Simon and Roy Grundmann Blackwell pp 311 325 ISBN 978 1118475133 Thompson Kirsten Moana February 2014 Quick Like a Bunny The Ink and Paint Machine Female Labor and Color Production Animation Studies 9 Retrieved 16 September 2015 Thompson Kirsten Moana June 2014 Animating Ephemeral Surfaces Transparency Translucency and Disney s World of Color Refractory A Journal of Entertainment Media 24 Retrieved 16 September 2015 Victoria University Inaugural Public Lecture The Ephemeral Immersive Screen Disney s World of Color 12 June 2014 Archived from the original on 1 October 2015 Retrieved 17 September 2015 Ryan Katherine 9 June 2014 Color and Visual Culture Interview with Kirsten Thompson Retrieved 17 September 2015 Thompson Kirsten Moana Spring 2015 Falling In to Color Chromophilia and Tom Ford s A Single Man The Moving Image 15 1 62 doi 10 5749 movingimage 15 1 0062 JSTOR 10 5749 movingimage 15 1 0062 S2CID 190720748 External links editSchool of English Film Theatre and Media University of Victoria in Wellington Kirsten Moana Thompson publications on Academia edu nbsp Publications by Kirsten Moana Thompson at ResearchGate nbsp Books by Kirsten Moana Thompson at Amazon com nbsp Retrieved from https en wikipedia org w index php title Kirsten Moana Thompson amp oldid 1165909975, wikipedia, wiki, book, books, library,
