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Michael Kackman Curriculum Vita 2009

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Michael Kackman Assistant Professor CMA 6.132, 1 University Station A0800 Department of Radio-TV-Film Austin, TX 78712-0108 University of Texas-Austin [email protected] Professional Experience University of Texas-Austin, Department of Radio-Television-Film. A-0800 One University Station, Austin, TX 78712. Fall, 2003 – present. Assistant Professor of Radio-Television-Film. Courses include History of Broadcasting; History of Radio and Television; Television Criticism; Television Theory and Analysis; Media, History, and Memory; Television Genres DePaul University, Department of Communication. 2320 N. Kenmore, Chicago, IL 60614. Fall, 1999 – Spring, 2003 — Assistant Professor of Communication. Courses include History of Broadcasting; Culture & Media; International Media; Introduction to Film; Television Genres; Documentary Film; Media, History, & Memory; New Technologies in Historical Context University of Wisconsin-Madison, Department of Communication Arts, 821 University Ave., Madison, WI 53706. (608) 262-2543. 1994 — 1999 Teaching Assistant/Lecturer. Courses included Introduction to Video Production; Advanced Video Production; Introduction to Television; History of Broadcasting; Public Speaking. University of Wisconsin-Baraboo, Department of Communication Arts, 1000 Connie Road, Baraboo, WI 53913. Fall 1997 - Spring 1998 — Lecturer, Introduction to Public Speaking. Education University of Wisconsin-Madison, Ph.D. in Media & Cultural Studies, 2000. Department of Communication Arts. Areas of specialization include cultural studies, television criticism and history, media historiography, gender studies, critical race studies, nationalism and globalism. University of Wisconsin-Madison, M.A. in Media & Cultural Studies, 1995. Department of Communication Arts. Emerson College, B.F.A. in Film Production, 1994. Department of Mass Communication. High Academic Honors, Honors Program. Grants University of Texas-Austin Summer Research Assignment, 2006 ($8000) University Special Research Travel Grant, Fall 2004 ($750) ―TEAM: Teaching Educators About Media Project,‖ University of Texas UTOPIA educational outreach grant ($2000) Grants for students under my supervision: Graduate Editorial Fellowship, 2008-2009 ($16,000 for graduate students under my editorial supervision working for flowtv.org) Undergraduate Mentor Program , Spring 2009 (three undergraduates @ $800 each, one graduate student @$8000) DePaul University Undergraduate Research Assistant Grant, 2002 Liberal Arts & Sciences Summer Research Grant, 2000 Research Council Grant, 2000 Honors & Awards University of Texas-Austin Jones Summer Research Fellowship, Summer 2004 ($5000) College of Communication Dean‘s Fellowship, Fall 2006 (semester leave) Reddick Research Fellowship, Summer 2009 ($5000) DePaul University DePaul University Dean‘s Fellowship, Fall 2002 (semester leave) NEH Critical Race Studies Fellow, DePaul University, 2002 University of Wisconsin-Madison University Fellow and Steenbock Research Fellow, UW-Madison, Graduate School, 1998. Wickhem Graduate Academic Award, UW-Madison, Dept. of Communication Arts, 1997. McCarty Graduate Award, UW-Madison, Dept. of Communication Arts, 1996 & 1997. Arnon Milchan Production Grant, Emerson College, 1993-4. Awarded to outstanding BFA candidate in film production. Presidential Scholar and Dean‘s Writing Prize, Emerson College, 1994. Lambda Pi Eta, Communications Honor Society, 1994. Publications Books in Print Citizen Spy: Television, Espionage, and Cold War Nationalism, University of Minnesota Press. 2005. Books in Preparation Michael Kackman, Marnie Binfield, Matthew Payne, Allison Perlman, and Bryan Sebok, editors. Flow TV: Television in the Age of Media Convergence, NY: Routledge, 2010 (August, 2010 publication date). Pan-Am Cowboys: Hoppy & Cisco from B Westerns to Global Television (forthcoming, University of Texas Press) Refereed Journal Articles ―‗Nothing On But Hoppy Badges‘: Hopalong Cassidy, William Boyd Enterprises, and Emergent Media Globalization.‖ Cinema Journal 47:4, Summer 2008. p. 76-101. ―Citizen, Communist, Counterspy: I Led 3 Lives and Television‘s Masculine Historical Subject.‖ Cinema Journal, Fall 1998. p. 98-114. Book Chapters ―American Cowboys in Paris: Childrens Westerns and Emergent Media Globalization,‖ Television: The Experimental Moment, Gilles Delavaux, editor. (forthcoming) (also to be published in translation as ―Cow-boys américains à Paris: les westerns pour enfants et les débuts de la globalisation des Médias‖) Encyclopedia Entries “Cooking Shows,” Encyclopedia of Television, 2nd edition. Horace Newcomb, ed. New York: Routledge, 2004. Book Reviews Book Review. Gary Edgerton, The Columbia History of American Television, NY: Columbia, 2007. Journal of American History, September, 2009. p. 126. Book Review. Lynne Joyrich, Re-Viewing Reception: Television, Gender, and Postmodern Culture, Bloomington: Indiana University Press, 1996. The Velvet Light Trap: Journal of Television and Film Studies, Fall 1998. Other Writing ―Quality Television, Melodrama, and Cultural Complexity‖, FlowTV.org, Vol 9, issue 2, October 2008. ―Collaboration, Community, and Interdisciplinarity‖ FlowTV.org, Vol 5, issue 13, November, 2006. ―Stars on the Tarmac: 1950s Air Travel & the Global Commodity Intertext,‖ In Media Res, November, 2007. Invited Lectures ―‗Nothing On But Hoppy Badges‘: Hopalong Cassidy and Early Television‘s Transnational Transmedia Texts.‖ University of Wisconsin-Madison, Department of Communication Arts, October 2006. ―Containment Redux: Alias, 24, and the New Cold War,‖ Northwestern University, Department of Screen Cultures colloquium, October, 2002. ―Citizenship, Television, and 9/11 Politics‖ Wayne State University, Department of Communication colloquium, April, 2002. Refereed Conference Presentations ―Don‘t They Know It‘s the End of the World? Mad Men, Quality TV, and a Complex Past,‖ Console-ing Passions Television and Media Studies Conference, Santa Barbara, April, 2010. ―Quality Television, Melodrama, and Cultural Complexity,‖ Society for Cinema and Media Studies, Los Angeles, March 2010. ―American Cowboys in Paris: Childrens Westerns and Emergent Media Globalization,‖ Television: The Experimental Moment Conference, Paris, France, May, 2009. Quality Television, Lost and Found: Gender and Cultural Value in Formalist Television Studies,‖ Console-ing Passions Television and Media Studies Conference, Santa Barbara, April, 2008. “6000 Letters From Ghana: The Global Reception of a B-Western Star,‖ Society for Cinema and Media Studies, Philadelphia, March 2008. ―Pan-Am Cowboys: Children‘s Westerns & Emergent Media Globalization,‖ American Studies Association, Philadelphia, October 2007. ―Selling Difference: The Cisco Kid, 1950s Television, and Media Globalization,‖ Society for Cinema and Media Studies, Chicago, March 2007. ―The Pan-American Cowboys: Internationally Syndicated Television Westerns in the 1950s,‖ Society for Cinema and Media Studies, Vancouver, March 2006. ―Making the White House a Home: Commander in Chief, Family Melodrama, and Television Authorship,‖ Console-ing Passions: The International Conference of Feminism and Television, Video, New Media, and Audio. Milwaukee, WI, May 2006. ―A Star Without a Country: Duncan Renaldo, Cisco Kid, and Televisual Citizenship,‖ Cultural Studies Association, Washington, DC, April, 2006. ―American Cowboys in Cuba: William Boyd Productions and Early Television‘s Transnational Transmedia Texts,‖ Cultural Studies Association, Tucson, May 2005. ―The Transnational Audiences of Iron Chef,‖ Console-ing Passions: The International Conference of Feminism and Television, Video, New Media, and Audio. New Orleans, May 2004. ―Fukui-San, A la Cuisine!, or, Why Backdraft Makes Me Think of Yellow Peppers,‖ Society for Cinema and Media Studies, Atlanta, March 2004. ―In Defense of Failure: Television Historiography and the Pitfalls of Popularity,‖ Society for Cinema Studies, Minneapolis, MN, March, 2003. ―Espionage TV and ―America‘s New War,‖ Society for Cinema Studies, Denver, CO, May, 2002. ―‗Documentary Melodrama‘: 1950s Spy Television and the Cultivation of Civic Nationalism,‖ Society for Cinema Studies, Washington, DC, May 24-27, 2001. ―Bureaucrats, Agents, or Fools: Spy Parodies & the Limits of Agency,‖ Society for Cinema Studies, Chicago IL, March 9-12, 2000. ―I Spy a Colorblind Nation: Racial Integration, the Cold War, and American Paternalism.‖ Paper presented at the American Studies Association 1998 Annual Meeting, Seattle, WA, November 19-22, 1998. ―Grains of Truth: Spy Photography, Home Movies, and the Realist Aesthetic of Film Grain.‖ Paper presented at the Five Rivers Film Studies Conference, Missoula, MT, September 17-20 1998. ―Postcolonial Border Guards: The United States Information Agency, Civil Rights, and Pan- Africanism.‖ Presented at the Society for Cinema Studies Conference, San Diego, CA, April 4-7, 1998. ―Cold War Gazes: Television Spies and Ethnic Difference.‖ Presented at the 18th annual Ohio University Film Conference, Athens, OH, November 6-8, 1997. ―Citizen, Communist, Counterspy: I Led 3 Lives and Television‘s Masculine Historical Subject.‖ Presented at the Console-ing Passions Television and Feminist Criticism Conference, Montreal, Canada, May 1-4, 1997. ―Spotting Secret Agents on the Global Screen: Mission: Impossible and National Identity.‖ Presented at the Society for Cinema Studies Conference, Ottawa, Canada, May 15-18, 1997. ―Walls of Fear: Surveillance, Automation, and the Performance of the Suburban Home.‖ Presented at
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