The School of English, Media Studies and Art History was renamed the School of Communication and Arts from 1 January 2015, and a new School website established.

The information in this website is therefore out of date but retained for archival and staff purposes.

Dr Ted Nannicelli
Dr Ted Nannicelli

PhD (University of Kent)

Lecturer in Film and Television Studies

Phone: (+61 7)  3365 54748
Email: t.nannicelli@uq.edu.au 

Biography

I am originally from the United States--I grew up watching the Red Sox in suburban Boston and did a B.A. in English and Film Studies at Emory University in Atlanta--but have lived elsewhere for most of my adult life. After completing my undergraduate degree, I served for two years as a U.S. Peace Corps volunteer in Cabo Verde before returning to academia. I received my M.F.A. in Film and Media Arts from Temple University (USA) and my Ph.D. in Film Studies from the University of Kent (UK). Before coming to UQ, I lectured for three years at the University of Waikato (Aotearoa/New Zealand).

Research and Teaching Focus

Research

  • Aesthetics of film and television
  • Philosophy of film, television and other visual arts
  • History and theory of screenwriting
  • American film and television
  • Comedy and satire
  • Non-narrative film

Selected Publications

Book

  • Cognitive Media Theory (AFI Film Readers Series). Co-edited with Paul Taberham. New York and London: Routledge, 2014.
  • A Philosophy of the Screenplay. New York and London: Routledge, 2013.

Book chapters

  • "The Screenplay." In The Routledge Companion to Philosophy of Literature, ed. Noel Carroll and John Gibson. New York and London: Routledge, forthcoming 2014.
  • "Introduction: Contemporary Cogntive Media Theory." Co-authored with Paul Taberham. In Cognitive Media Theory, 1-32.
  • "It's All Connected: Televisual Narrative Complexity." In The Wire: Urban Decay and American Television, ed. Tiffany Potter and C.W. Marshall, 190-202. London: Continuum, 2009.

Refereed Journal Articles

  • "Moderate Comic Immoralism and the Genetic Approach to the Ethical Criticism of Art." Journal of Aesthetics and Art Criticism (forthcoming).
  • "The Ontology and Literary Status of the Screenplay: The Case of 'Scriptfic.'" Journal of Literary Theory 13, no. 1-2 (November 2013): 135-153.
  • "Ontology, Intentionality, and Television Aesthetics." Screen 53, no. 2 (2012): 164-179.
  • "Why Can't Screenplays Be Artworks?" Journal of Aesthetics and Art Criticism 69, no. 4 (Fall 2011): 405-414.
  • "Instructions and Artworks: Musical Scores, Theatrical Scripts, Architectural Plans, and Screenplays." British Journal of Aesthetics 51, no. 4 (October 2011): 399-414.
  • "The Early Screenwriting Practice of Ernest Lehman." Journal of Screenwriting 1, no.2 (May 2010): 237-253.
  • "Luis Buñuel's Land Without Bread: The Critics and the Contexts." Studies in Documentary Film 1, no. 2 (October 2007): 137-150.
  • "From Representation to Evocation: Tracing a Progression in Jean Rouch's Les magiciens de Wanzerbe, Les Maîtres fous, and Jaguar." Visual Anthropology 19, no. 2 (January-February 2006): 123-143.

Conference Presentations

  • “Playwriting…for the Screen: Intermedial Connections Between Early 20th Century Screenwriting and Playwriting in the U.S.” 8th Australian Media Traditions Conference. University of Queensland, 2013.
  • “Television Studies and the Nature of Evaluative Television Criticism.” University of Auckland Aesthetics Conference, 2013 (invited).
  • "Movies in the Mind's Eye?" Words and Images: 5th Screenwriting Research Network International Conference. Macquarie University, 2012.
  • "Movies in the Mind's Eye?" Society for Cognitive Studies of the Moving Image Annual Conference. Sarah Lawrence College and New York University, 2012.
  • “The Ethics of Transnational Collaboration in the Cinema of Pedro Costa. World Cinema Now. Monash University, 2011.
  • “Why Can’t Screenplays Be Artworks? Thoughts for Noël Carroll.” British Society of Aesthetics Annual Conference. Heythrop College, University of London, 2010.
  • “Is a Functional Definition of the Screenplay Possible?” Society for Cognitive Studies of the Moving Image Annual Conference. University of Copenhagen, 2009.
  • “Fan Fiction and Virtual Screenplays.” Screenwriting Research Network Annual Conference. Helsinki University of Art and Design, 2009.
  • “The Two Faces of John Cassavetes’s Faces.” American Independent Cinema: Past, Present, and Future. Liverpool John Moores University, 2009.
  • “Are Screenplays Artworks?” European Network for Cinema Studies Annual Conference. Lund University, 2009.
  • “Are Screenplays Artworks?” Re-Thinking the Screenplay Annual Meeting. University of Leeds, 2008.
  • “Adaptation on Trial: The Case of Beckett’s Krapp’s Last Tape.” Literature/Film Association Annual Conference. University of Kansas, 2007.
  • “Adaptation on Trial: The Case of Beckett’s Krapp’s Last Tape.” Association for Adaptation Studies Annual Conference. Oglethorpe University, 2007.
  • “Just When We Thought We Were Out, They Pull Us Back In: Identifying with The Sopranos.” Northeast Modern Language Association Annual Conference. Baltimore, 2007.
  • "Luis Buñuel's Land Without Bread." Film and History League Conference. Dallas, 2006.

Book Reviews

  • Review of Psychocinematics: Exploring Cognition at the Movies, ed. Arthur Shimamura.  Forthcoming in Projections: The Journal for Movies and Mind.
  • Review of Getting Inside Your Head: What Cognitive Science Can Tell Us About Popular Culture by Lisa Zunshine.  Projections: The Journal for Movies and Mind 7, no. 2 (Winter 2013): 132-137.
  • Review of The Routledge Companion to Philosophy and Film, ed. Paisley Livingston and Carl Plantinga.  International Journal of Philosophical Studies 20, no. 5 (2012): 363-366.
  • Review of New Takes in Film-Philosophy, ed. Havi Carel and Greg Tuck.  Journal of Aesthetics and Art Criticism 70, no. 3 (Summer 2012): 326-328.
  • Review of The Adventure of the Real by Paul Henley.  Studies in Documentary Film 6, no. 1 (May 2012): 112-114.
  • Review of Hollywood Incoherent by Todd Berliner.  British Journal of Aesthetics 52, no. 3 (July 2012): 317-320.