Year	Degree	Institution
	B.A.	University of Oregon
	M.A.	University of Iowa
	PhD	University of Iowa

Scott Curtis studies the history of film, especially early and silent-era cinema. He is especially interested in the appropriation of motion pictures by other disciplines, such as the scientific and medical use of moving image technology as a research tool or diagnostic instrument. His book projects--Managing Modernity: Art, Science, and Early Cinema in Germany and Tangible as Tissue: Science, Medicine, and the Moving Image--reflect this interest in the interaction between film and other institutions.


He teaches lecture courses on textual analysis (220: Media Texts) and film history (312-1 & 2: History of Film), as well as smaller courses on a variety of topics (Scorsese, Japanese cinema, history of animation, etc.). He also leads graduate courses on film historiography (410: Early Cinema and Modernity, The Concept of National Cinema, Film Exhibition, etc.) and special research topics (584: Medicine and the Moving Image).


A native of Oregon, he has held posts as the medical photographer for Sacred Heart Medical Center in Eugene, the Research Archivist for the Special Collections Department of the Academy of Motion Picture Arts & Sciences' Margaret Herrick Library, and a lecturer for the Critical Studies Department of the University of Southern California. He is also the co-founder and director of the Northwestern Film Forum, a co-chair of Chicago Film Seminar, and the founder and a faculty advisor for Block Cinema.

Curtis, Scott (2005). Die kinematographische Methode. Das "Bewegte Bild" und die Brownsche Bewegung. montage/av: Zeitschrift für Theorie & Geschichte audiovisueller Kommunikation: 23-43.

(2004). “A House Divided: The MPPC in Transition,” in Charlie Keil and Shelley Stamp, American Cinema’s Transitional Era: 239-264. University of California Press.

(2004). “Still/Moving: Digital Imaging and Medical Hermeneutics,” in Lauren Rabinovitz and Abraham Geil , Memory Bytes: History, Technology, and Culture: 218-254. Duke University Press.

(2003). “Cell Life, Physiological Time, and Microcinematography, or The Chicken That Ate Manhattan”. Cinema & Cie (Milan).

(2001). “Aesthetics as Applied Physiology: Corporal Understanding in the Kino-Debatte,” in Leonardo Quaresima and Laura Vichi, The Tenth Muse: Cinema and the Other Arts (La decima musa: il cinema e le altre arti): 407-413. Udine, Italy: Forum.

(2000). “The Making of Rear Window,” in John Belton, Alfred Hitchcock’s Rear Window: 21-56. Cambridge University Press.

(1999). "'If It's Not Scottish, It's Crap!': Harry Lauder Sings for Selig". Film History 11.4: 418-425.

(1994). "The Taste of a Nation: Training the Senses and Sensibility of Cinema Audiences in Imperial Germany". Film History 6.4: 445-469.

(1992). "The Sound of the Early Warner Bros. Cartoons" in Rick Altman, Sound Theory, Sound Practice: 191-203. Routledge.

Last Updated: Mar 27 2007 12:12PM