Curriculum Vitae (Revised 1/11/12) J. Ronald Green [email protected] EDUCATION 1965-66 Cambridge University, England V.S. (Visiting Scholar), Fellowship to read Shakespeare, Milton, Metaphysical Poets, and Russian Novel at Trinity College 1967 Rice University B.A., English 1972 State University of New York (SUNY) at Buffalo Ph.D., English/Cinema Studies, "Five Films by Jean-Luc Godard" 1974-77 American Seminar on Film Harvard University/SUNY at Buffalo/New York University: on documentary film, film narrative, and film theory PROFESSIONAL EXPERIENCE A. Teaching 2001-present Professor, Film Studies, Department of History of Art Ohio State University 2002-present Adjunct Professor, Department of English Ohio State University 1995-present Adjunct Professor, Advanced Computing Center for Art and Design, Ohio State University 1990-present Adjunct Professor, French and Italian, Ohio State University 1991-2001 Associate Professor, Department of History of Art Ohio State University 1978-91 Associate Professor, Department of Photography and Cinema, Ohio State University 1975-78 Adjunct Associate Professor, Center for Media Study/SUNY at Buffalo 1971-75 Assistant Professor of Literature, American University B. Administrative 1998 Acting Chair, Department of History of Art, Ohio State University 1993-present Co-Chair, University Film Studies Committee, Ohio State University 1989-91 Acting Chair, Department of Photography & Cinema, Ohio State University 1983-86 Board of Trustees, American Film Institute, Los Angeles 1982-85 President, National Alliance of Media Arts Centers, New York City 1978-82 Chair, Department of Photography and Cinema, The Ohio State University, Columbus, OH 1977-78 Director, Media Study/Buffalo, an NEA-designated major media arts center 1975-76 Assistant Director, Public Media Program (now called Media Arts Program), National Endowment for the Arts, Washington, DC C. Consultant 2000 Martin Luther King, Jr. Performing and Cultural Arts Complex, evaluator for Ohio Humanities Council grant project, “Three Legends: Elizabeth Catlett, Jacob Lawrence and Samella Lewis” 1975-76 Center for Understanding Media, Study of the film and video resources in the San Francisco Bay area. 1976 Rockefeller Foundation and Bay Area Video Coalition. Planning and developing a regional video center in the San Francisco Bay area. 1974 United States Information Agency. Development of a seminar on American Film for foreign service officers. Grants panel, National Endowment for the Humanities, Youthgrants in Film, 1973-74. Consultant, United State Information Agency, development of a Foreign Service seminar on American film, 1974. Judge, Public Broadcasting Service (PBS), National Television Production Awards, 1975. Consultant, Center for Understanding Media, research and writing of report on the not-for-profit film and video resources in the San Francisco Bay area, 1975-76. Consultant, Rockefeller Foundation, planning and development of the Bay Area Video Coalition, a regional media arts center, 1976. Consultant, National Endowment for the Arts, a book-length report—“The Media Arts Center Movement, 1980”—on sixty regional media arts centers in the continental US and Hawaii, including survey, analysis, and recommendations, 1975-80. Full-time consultant, University of Buffalo Foundation, media arts development, 1976-77. Grants panel, New York State Council on the Arts, Film, 1977; 1978. Grants panel, National Endowment for the Arts, Challenge Grants, Spring 1979. Grants panel, National Endowment for the Arts, Programming in the Arts, Spring 1979. Grants panel, National Endowment for the Arts, Major Media Centers, Summer 1979. Grants panel, National Endowment for the Arts, Production Aid, Fall 1979. Consultant, Southern Illinois University, outside evaluator in review of the Department of Cinema and Photography, 1980. Consultant, National Endowment for the Arts, outside evaluator of long-term grant project of Global Village, New York, 1980. Consultant, Corporation for Public Broadcasting, outside reader for Program Fund Independent Film Production proposals, 1980. Grants panel, National Endowment for the Arts, Challenge Grants, Spring 1980. Grants panel, Pennsylvania Council on the Arts, 1980. Grants panel, National Endowment for the Arts, Programming in the Arts, Spring 1980. Grants panel, National Endowment for the Arts, Satellite Distribution Program, Spring 1980, Summer 1980. Consultant, West Virginia Department of Culture and History, juror for annual state art exhibition, 1981. Consultant, Greater Columbus Arts Council, reviewer for Artists in the Schools program, 1981. Grants panel, National Endowment for the Arts, Programming in the Arts, Spring 1981. Grants panel, Bush Foundation, annual artist fellowships, St. Paul, Minnesota, 1982. Grants panel, Corporation for Public Broadcasting, Program Fund, Washington, DC, 1982. Consultant, Michigan Arts Council, solo media arts grant reviewer, 1982. Consultant, Hawaii Loa College, Office of the President (for development of a film studio and school), 1983. Consultant, Kentucky Arts Council, evaluator of media arts programs, 1983. Consultant, Illinois Arts Council, juror for individual artist grants, 1983. Consultant, National Black Programming Consortium, judge for National Prized Pieces Festival of Black Public Television Programming, 1984. Juror, Sinking Creek Film Celebration, Nashville, Tennessee, 1985. Juror, Huntington Art Galleries, Exhibition 280: Works on Walls, Huntington, West Virginia, 1986. Consultant, National Black Programming Consortium, Prized Pieces Festival committee, 1986. Consultant, Wright State University, outside evaluator in review of the cinema program, 1987. Consultant, Public Defender, Franklin County, Ohio, expert witness on pornography case, 1987. Judge, Columbus Video Festival, 1987. Judge, National Black Programming Consortium, National Prized Pieces Festival of Black Public Television Programming, 1988. Judge, Wexner Center for the Arts, Independent Film Festival, 1995, 1996. Speaker, Wexner Center for the Arts, Education Department, “Chris Marker’s video installation, Silent Movie, February 1995. Consultant, Wexner Center for the Arts, Department of Education, consultation on design of High School Film Connection, an educational outreach program, 1996-97. Consultant, South Dakota Humanities Council, visiting scholar for Annual Oscar Micheaux Film Festival, Gregory, South Dakota, 1997, 1998, 2001. Guest curator, Wexner Center for the Arts, Oscar Micheaux film series, 1997. PUBLICATIONS BOOKS: With a Crooked Stick--The Films of Oscar Micheaux, 2004, Indiana University Press. Straight Lick: The Cinema of Oscar Micheaux, 2000, Indiana University Press. BOOKS IN PROGRESS: “Poor Cinema: The Case for Inexpensive Films,” manuscript completed, under review and in revision, 300 pp., 2012. “The Film/Video Loop: History, and Theory of Re-emergence,” in progress, 100 pp. completed “The Control Room Film: History and Theory,” in progress, 50 pp completed ARTICLES: “The Re-emergence of the Film/Video Loop,” Millennium Film Journal, No. 55, Spring 2012, in production, c. 20 pages. “Oscar Micheaux,” In Oxford Bibliographies Online: Cinema and Media Studies. Ed. Krin Gabbard. New York: Oxford University Press, 2011, 30 pages. http://www.oxfordbibliographiesonline.com/view/document/obo- 9780199791286/obo-9780199791286- 0049.xml?rskey=jBwC11&result=43&q= “Sophistication Under Construction: Micheaux’s Infamous Sound Films,” Framework: The Journal of Cinema and Media, April, 2010, pp151-163. “Twoness and the Film Style of Oscar Micheaux (1993),” reprinted in Auteurs and Authorship: A Film Reader, Barry Keith Grant, ed. (NY: Wiley-Blackwell, 2008), pp. 304-316. “Thanks Fidel,” in Tony Mendoza: Photographs, Words, Video (Columbus, Ohio: Columbus Museum of Art, 2003), pp. 24-37. “The Legacy of Jan Maiden Fine Art,” dialogue: the art, architecture, and design journal of the Heartland, Vol. 25, No. 3, Sept.-Oct., 2002, pp. 9-10. "The Reemergence of Oscar Micheaux: A Timeline and Bibliographic Essay," in Oscar Micheaux and His Circle, Pearl Bowser, Jane Gaines, Charles Musser, eds. (proceedings of conference at Yale, catalog for international tour of Micheaux's films distributed by the Museum of Modern Art in NY), Indiana University Press and Le Giornate del Cinema Muto, 2001, pp. 211-227. “Maximizing Indeterminacy: On Collage in Writing, Film, Video, Installation and Other Artistic Realms (as well as the Shroud of Turin),” Afterimage, May/June 2000, pp. 8-11. “Oscar Micheaux’s Interrogation of Caricature as Entertainment,” Film Quarterly, Vol. 51, No. 3, Spring 1998, pp. 16-31. “Always Already: Affinities Between Art and Film,” Afterimage, March/April 1998, pp. 8-11. "Micheaux v. Griffith," Griffithiana Vol. 60/61, Oct 1997, pp. 32-49. Feature article on Nam June Paik's touring exhibition, "Paik's Electronic Super Highway," Afterimage, Summer 1996. Review of "Framing Blackness: The African American Image in Film" by Ed Guerrero, Film Quarterly, Summer 1995, pp. 47-49. "Oscar Micheaux's Darktown Revue: Caricature and Class Conflict," In Touch with the Spirit. Indiana University, 1994, pp. 73-92. "Toward a Definitive Listing of Oscar Micheaux's Films," Oscar Micheaux Society Newsletter, Summer 1994, pp. 2-3. "The Illustrated Lecture," Quarterly Review of Film and Video (University of Southern California), Summer 1994, pp. 1-26. "Oscar Micheaux's Style," Black Film Review, Spring 1993, pp. 32-34. "Twoness in the Style of Oscar Micheaux," essay in Manthia Diawara,ed., Black American Cinema,