• colin williamson
Visiting Assistant Profess of Film & Media Studies
Theatre, Dance and Film

Biography

Colin Williamson is a film scholar who specializes in European and American film history, animation, and special effects. In addition to having a background in film production, his research and teaching also extend to art history, visual anthropology, philosophy, and the history of science and technology. His work has been supported by numerous interdisciplinary humanities grants and awards, including fellowships from the Andrew W. Mellon Foundation and the University of Chicago, The American Academy of Arts and Sciences, and the Mahindra Humanities Center at Harvard University.

Williamson has published widely on film history, animation, science films, and critical theory. His most recent book, Hidden in Plain Sight: An Archaeology of Magic and the Cinema​, explores the history of the cinema as a technology of illusion, and the experience of wonder during periods of technological innovation from the 19th century to the present. Current projects include an essay on early sound films and The Mystery of the Wax Museum (1933) for a book on Michael Curtiz, an article on Teddy Roosevelt’s role in the early history of ethnographic film, and a new book-length study of the shared history of science and animation in the cinema. The bulk of this focuses on popular science films and television shows made during the Cold War by Walt Disney and a scientist named John Ott. 

 Education
  • Ph.D. in Cinema and Media Studies, The University of Chicago – Chicago, IL
  • B.A. in Film Studies, The University of California, Santa Barbara – Santa Barbara, CA

 Publications

Hidden in Plain Sight: An Archaeology of Magic and the Cinema (forthcoming, New Brunswick, NJ: Rutgers University Press, 2015).

“Walter Benjamin: Afterimages of the Aura,” in Thinking in the Dark: Cinema, Theory, Practice, eds. Murray Pomerance and R. Barton Palmer (forthcoming, New Brunswick, NJ: Rutgers University Press, 2015).

“Quicker Than the Eye? Sleight of Hand and Cinemas of Scientific Discovery from Chronophotography to Cognitive Film Theory,” Leonardo, Journal of Arts, Sciences, and Technology (forthcoming, 2015).

Spectacular Digital Effects: CGI and Contemporary Cinema, by Kristen Whissel. Historical Journal of Film, Radio, and Television (forthcoming, May 2015).

Giorgio Agamben, “For an Ethics of the Cinema,” in Cinema and Agamben: Ethics, Biopolitics, and the Moving Image (New York: Bloomsbury Press, 2014), co-trans. John Garner.

Giorgio Agamben, “Cinema and History: On Jean-Luc Godard,” in Cinema and Agamben: Ethics, Biopolitics, and the Moving Image (New York: Bloomsbury Press, 2014), co-trans. John Garner.

Between Still and Moving Images: Photography and Cinema in the 20th Century, eds. Laurent Guido and Olivier Lugon. Historical Journal of Film, Radio, and Television 34, no. 2 (May 2014): 325-327.

Beyond the Screen: Institutions, Networks, and Publics of Early Cinema, eds. Marta Braun, Charles Keil, Rob King, Paul Moore, and Louis Pelletier. Historical Journal of Film, Radio, and Television 33, no. 3 (September 2013): 528-530.

Disappearing Tricks: Silent Film, Houdini, and the New Magic of the Twentieth Century, by Matthew Solomon. Historical Journal of Film, Radio, and Television 32, no. 3 (August 2012): 494-496.

“The Blow Book, Performance Magic, and Early Animation: Mediating the Living Dead.” animation: an interdisciplinary journal 6, no. 2 (July 2011): 111-126. 

 Courses

  • TDF 165 - Introduction to Film and Media Studies
  • TDF 363 - Film Theory Seminar: Film and the Uncanny
  • TDF 371 - Revolutionary Cinemas 
  • CNX 213 - Virtually Real: Perception, Illusion, Technology