Melissa Croteau, Ph.D.
Professor of Film Studies Film Program Lead
Office Phone: (951) 343-4327 E-mail: firstname.lastname@example.org Office Location: W. E. James Building, Room 362 Office Hours: Meetings held virtually through Webex by appointment. Please email to arrange for a meeting.
|Ph.D.||English and Film Studies||Claremont Graduate University||2004|
|M.A.||Shakespeare Studies: Text, Performance, & Media||Shakespeare Institute - University of Birmingham (UK)||1994|
|B.A.||English and Theology||Biola University||1992|
Film Theory and Criticism
Adaptation and Intertextuality
Independent Film and Counter-Cinema
Introduction to Film Studies
Literature and Film
Shakespeare on Film
Renaissance Literature and Culture
Women Writers/Women's Voices
Academic Areas & Scholarly Interests
Global Cinema, Film and Aesthetic Theory, Japanese Cinema, Indian Cinema, Screen Shakespeares, Critical Theory
Teaching Experience at Institutions Other than CBU
Prof. Croteau has taught at a dozen institutions of higher education over the past twenty-five years, including all levels of the California state system (UC, Cal State, and community college). She also has taught at a number of private universities and colleges, such as Woodbury University, Geneva College, and Biola University. She has been teaching at CBU since 2008.
Research, Presentations, & Publications
BOOK IN PROGRESS
I currently am under contract with Routledge for a new monograph, titled Transcendence and Spirituality on Film: The Expression of Spiritual, Human, and Ecological Transcendence in Japanese Cinema.
Re-forming Shakespeare: Adaptations and Appropriations of the Bard in Millennial Film and Popular Culture.
Lambert Academic Publishing, 2013.
Co-editor of Apocalyptic Shakespeare: Essays on Vision of Chaos and Revelation in Recent Film Adaptations. Jefferson, NC: McFarland, 2009.
Editor of Reel Histories: Studies in American Film. Los Angeles: Press Americana, 2008.
“Bollywood: Macbeth, Othello,” in Shakespeare and Emotion. Ed. Katharine Craik,
Cambridge University Press, 2020, pp. 136-50.
“Nature versus Nurture/Wilderness versus Words: Syncretizing Binaries and the Getting of
Wisdom in Sean Penn’s Into the Wild (2007),” in A Companion to the Biopic. Ed. Deborah Cartmell and Ashley D. Polasek, Wiley-Blackwell, 2020.
“Wicked Humans and Weeping Buddhas: (Post)Humanism and Hell in Kurosawa’s Ran,”
in Shakespeare on Screen: King Lear. Ed. Sarah Hatchuel, Nathalie Vienne-Guerrin, and
Victoria Bladen. Cambridge University Press, 2019.
“Surfing with Juliet: The Shakespearean Dialectics of Disney’s Teen Beach Movie (2013),” in Shakespeare /
Not Shakespeare. Ed. Christy Desmet, Natalie Loper, and Jim Casey. Palgrave, 2018, pp. 241-58.
"London's Burning: Remembering the Gunpowder Plot and 17th Century Conflict in V for Vendetta," in The English Renaissance in Popular Culture: An Age for All Time. Ed. Gregory Semenza. Palgrave, 2010,
“Introduction: Beginning at the Ends,” in Apocalyptic Shakespeare: Essays on Visions of Chaos and Revelation in Recent Film Adaptations. Ed. Melissa Croteau and Carolyn Jess-Cooke. McFarland,
2009, pp. 1-27.
“Celluloid Revelations: Millennial Culture and Dialogic ‘Pastiche’ in Michael Almereyda’s Hamlet (2000)” and “Introduction: Beginning at the Ends,” in Apocalyptic Shakespeare: Essays on Visions of Chaos and Revelation in Recent Film Adaptations. Ed. Melissa Croteau and Carolyn Jess-Cooke. McFarland,
2009, pp. 110-31.
"Aki Kaurismäki's Hamlet Goes Business (1987): A Socialist Shakespearean Film Noir Comedy," in
Shakespeare's World/World Shakespeares: The Selected Proceedings of the VIII World Shakespeare Congress Brisbane 2006. Ed. Richard Fotheringham and Christa Jansohn. University of Delaware Press, 2008, pp. 193-205.
“Guns, Rasa, and Roses: Sanjay Leela Bhansali’s Ram-Leela (2013), a ‘Desi’ Romeo and Juliet.”
Shakespeare on Screen in the Digital Era Conference. Montpellier, France. 26-28 September 2019.
“‘Art thou not, fatal vision, sensible / To feeling as to sight?’: Bollywood, Shakespeare, and the Crossing of
Emotional and Generic Boundaries in Vishal Bhardwaj’s Maqbool and Omkara.”
European Shakespeare Research Association Conference. Rome, Italy. 9-12 July 2019.
“Tinseltown Histories: Casey Wilder Mott’s Indie A Midsummer Night’s Dream (2018) in Hollywood.”
Shakespeare Association of America Annual Conference. Washington, DC. 17-20 April 2019.
“Cosmic Wholeness: Transcending Disintegration in I Wish (Hirokazu Kore-eda 2011).”
Asian Studies Development Program National Conference, Nashville, TN. 7-9 March 2019.
“Shakespeare and Posthuman Worlds in Emily St. John Mandel’s Station Eleven — An Ecocritical Excursion.”
Spanish and Portuguese Society for English Renaissance Studies. Guadalajara, Spain. 9-11 May 2018.
“Le Songe d’une Nuit d’Eté of Ambroise Thomas: L’éclat at the End of the Tunnel.” European Shakespeare
Research Association Conference. Gdansk, Poland. 27-30 July 2017.
“Ancient Aesthetics and Current Conflicts: Indian Rasa Theory and Vishal Bhardwaj’s Haider (2014).”
Shakespeare Association of America Annual Conference. Atlanta, GA. 5-8 April 2017.
“Wicked Humans and Weeping Buddhas: Humanism and Hell in Akira Kurosawa’s Ran (1985).”
World Shakespeare Congress. Stratford-upon-Avon & London, UK. 30 July – 6 August 2016.
“Sacred Space, Cosmic Trees, and Labyrinths: Hierophany in Akira Kurosawa’s Throne of Blood (1958).” Shakespeare Association of America Annual Conference. New Orleans, LA. 23-26 March 2016.
AWARDS AND HONORS
National Endowment for the Humanities Institute Fellow, “Buddhist East Asia: The Interplay of Religion, the
Arts, and Politics,” The East-West Center, Honolulu, Hawaii, May 28 – June 22, 2018.
Nagel Institute for the Study of World Christianity/CCCU Faculty Development/Collaborative Research
Seminar Member, “Society and the Rule of Law in China,” Shanghai and Beijing, China,
2-16 June 2011.
National Endowment for the Humanities Institute Fellow, India: Past and Present, July 2008