WILLIAM P. HOBBY CENTENNIAL PROFESSOR OF COMMUNICATION, PROFESSOR OF WOMEN'S AND GENDER STUDIES (EMERITUS)
- authorship theory,
- various modes of production including classical Hollywood, "Indie" cinema, and world cinema,
- cultural and political issues of representation, especially involving gender, sexuality, and race/ethnicity,
- genre theory,
- the historical reception of cinema and television, and
- historiographical issues in writing media histories
Janet has served on various national committees including the National Film Preservation Board of the U.S. Library of Congress (1992-96) and the jury for the American Film Institute's Television Awards (2010, 2012). She is past president of the Society for Cinema and Media Studies (1991-93) and has served on the Executive Committees of the Cultural Studies Association (U.S.) (2005-09) and the Reception Studies Society (2005-present). At The University of Texas at Austin, she was Director of the Center for Women’s and Gender Studies (2001-04) and Chair of the University’s Faculty Council (2009-10).
Author and editor of twelve books and over 60 essays, her book publications include:
- Political Emotions co-ed. with Ann Cvetkovich, and Ann Reynolds (Routledge, 2010)
- Convergence Media History co-ed. with Sabine Hake (Routledge, 2008)
- Media Reception Studies (New York University, 2005)
- Authorship and Film co-ed. with David Gerstner (Routledge, 2003)
- Perverse Spectators: The Practices of Film Reception (New York University Press, 2000)
- Blockbuster TV: Must-See Sitcoms in the Network Era (New York University Press, 2000)
- Bad Women: Regulating Sexuality in Early American Cinema (University of Minnesota Press, 1995)
- The Studio System (ed.) (Rutgers University Press, 1995)
- Interpreting Films: Studies in the Historical Reception of American Cinema (Princeton University Press, 1992)
- The Classical Hollywood Cinema: Film Style and Mode of Production to 1960, co-author with David Bordwell and Kristin Thompson (Routledge & Kegan Paul/Columbia University Press, 1985)
Work by Topic
Authorship and Film. Co-edited: David A. Gerstner and Janet Staiger. New York: Routledge, 2002.
Includes: “Authorship Approaches," pp. 27-57.
"'Because I am a Woman': Thinking 'Identity' and 'Agency' for Historiography," Film History 25, nos. 1-2 (2013, forthcoming).
“Analysing Self-Fashioning in Authoring and Reception,” in Ingmar Bergman Revisited: Performance, Cinema and the Arts, ed. Maaret Koskinen. London: Wallflower, 2008. Pp. 89-106.
“Authorship Studies and Gus Van Sant,” Film Criticism 29, no. 1 (Fall 2004), 1-22.
The Studio System. Edited. New Brunswick, NJ: Rutgers University Press, 1995.
The Classical Hollywood Cinema: Film Style and Mode of Production to 1960. Co-authored: David Bordwell,
Janet Staiger, and Kristin Thompson. London and New York: Routledge & Kegan Paul and Columbia University Press, 1985.
“Considering the Script as Blueprint in 2012,” Northern Lights [Denmark], 10 (2012), 75-90.
“Independent of What? Sorting out Differences from Hollywood,” in American Independent Cinema, ed. Geoff King, Claire Molloy, and Yannis Tzioumakis. London: Routledge, 2012. Pp. 15-27.
"Das Starsystem und der Klassische Hollywoodfilm" ["The Star System and the Classical Hollywood Cinema"] in Der Star: Geschichte, Rezeption, Bedeutung, ed. Werner Faulstich and Helmut Korte. Munchen, Germany: Wilhelm Fink Verlag, 1997. Pp.48-59.
"Le commerce international du cinema et les flux culturels mondiaux: une approche neomarxiste" ["World Film Trade and Global Cultural Flows: A Neo-Marxist Approach"] in Une Histoire economique du cinema francais (1895-1995): Regards croises franco-americans, ed. Pierre-Jean Behghozi and Christian Delage. Paris: Editions L'Harmattan, 1997. Pp. 341-62. Rpt. in Film and Nationalism, ed. Alan Williams. New Brunswick, NJ: Rutgers University Press, 2002. Pp. 230-48.
"I B Movies e il discorso de Hollywood sul pubblico." In Studi Americani: Modi di produzione a Hollywood dalle origini all'era televisiva, ed. Vito Zagarri. Venezia, Italy: Marsilio Editori, 1994. Pp. 263-269. Trans. Daniele Di Chiappari.
"Announcing Wares, Winning Patrons, Voicing Ideals: Thinking about the History and Theory of Film Advertising," Cinema Journal, 29, no. 3 (Spring 1990), 3-31.
"Standardization and Independence: The Founding Objectives of the SMPTE," SMPTE Journal, 96, no. 6 (June 1987), 532-537.
"'The Eyes are Really the Focus': Photoplay Acting and Film Form and Style," Wide Angle, 6, no. 4 (1985), 14-23.
"Blueprints for Feature Films: Hollywood's Continuity Scripts," in The American Film Industry, ed. Tino Balio. 2nd ed. Madison, Wisconsin: University of Wisconsin Press, 1985. Pp. 173-92.
"'Tame' Authors and the Corporate Laboratory: Stories, Writers, and Scenarios in Hollywood," The Quarterly Review of Film Studies, 8, no. 4 (Fall 1983), 33-45.
"Combination and Litigation: Structures of US Film Distribution, 1896-1917," Cinema Journal, 23, no. 1 (Winter 1983), 41-72.
"Individualism versus Collectivism: The Shift to Independent Production in the US Film Industry," Screen, 24, no. 4-5 (July-October 1983), 68-79.
"Seeing Stars," The Velvet Light Trap, no. 20 (1983), 10-14.
"Mass-Produced Photoplays: Economic and Signifying Practices in the First Years of Hollywood," Wide Angle, 4, no. 2 (1981), 12-27.
"Dividing Labor for Production Control: Thomas Ince and the Rise of the Studio System," Cinema Journal, 18, no. 2 (Spring 1979), 16-25.
Political Emotions. Co-edited: Janet Staiger, Ann Cvetkovich, and Ann Reynolds. New York: Routledge, 2010.
Bad Women: Regulating Sexuality in Early American Cinema, 1907-1915. Minneapolis, MN: University of Minnesota Press, 1995.
"The Significance of Steven Spielberg's Old Mr. Lincoln: Political Emotions and Intertextual Knowledge," Jump Cut (forthcoming).
“Fault Line Stories: Families, Masculinities and Texas Dynasties,” The Texas Gulf Historical & Biographical Record, 37, no. 2 (November 2001), 45-58.
"Cinematic Shots: The Narration of Violence." In The Persistence of History, ed. Vivian Sobchack. New York: Routledge/American Film Institute Readers, 1996. Pp. 39-54. Rpt. in Perverse Spectators.
"Response to 'Ideology Takes a Day Off: Althusser and Mass Culture'," Studies in 20th Century Literature, 18, no. 1 (Winter 1994), 55-59. Rpt. as "The Places of Empirical Subjects in the Event of Mass Culture: Jeanie Bueller and Ideology" in Perverse Spectators.
"Self-Regulation and the Classical Hollywood Cinema," Journal of Dramatic Theory and Criticism, 6, no. 2 (Fall 1991), 221-231.
"Class, Ethnicity, and Gender: Explaining the Development of Early American Film Narrative," Iris [France], no. 11 (Summer 1990), 13-25.
"Securing the Fictional Narrative as a Tale of the Historical Real: The Return of Martin Guerre," South Atlantic Quarterly, 88, no. 2 (Spring 1989), 393-413. Rpt. in Perverse Spectators.
"Future Noir: Contemporary Representations of Visionary Cities," East-West Film Journal, 3, no. 1 (December 1988), 20-44.
“Les Belles Dames sans Merci, Femmes Fatales, Vampires, Vamps, and Gold Diggers: The Transformation and Narrative Value of Aggressive Fallen Women,” in Reclaiming the Archive: Feminism and Film History, ed. Vicki Callahan. Detroit, MI: Wayne State UP, 2010. Pp. 32-57.
“Film Noir as Male Melodrama: The Politics of Film Genre Labeling,” in The Shifting Definitions of Genre: Essays on Labeling Films, Television Shows and Media, ed. Lincoln Geraghty and Mark Jancovich. Jefferson, NC: McFarland & Company, 2008. Pp. 71-91.
Media Reception Studies. New York: New York University Press, 2005.
Perverse Spectators: The Practices of Film Reception. New York: New York University Press, 2000. 241pp. Includes reprints of:
"Modes of Reception," in Le Cinema en Histoire: Institution cinematographique, reception filmique et reconstitution historique, ed. Andre‚ Gaudreault, Germain Lacasse and Isabelle Raynauld. Quebec, Canada: Editions nota bene, 1999. Pp. 305-323.
“Writing the History of American Film Reception,” in Hollywood Spectatorship: Changing Perceptions of Cinema Audiences, ed. Melvyn Stokes and Richard Maltby. London: British Film Institute, 2001. Pp. 19-32.
"The Perversity of Spectators: Expanding the History of Classical Hollywood Cinema," in Moving Images, Culture and the Mind, ed. Ib Bondebjerg. Luton, England: University of Luton Press, 2000. Pp. 19-28.
“The Cultural Productions of A Clockwork Orange,” in Stanley Kubrick’s A Clockwork Orange, ed. Stuart Y. McDougal. New York: Cambridge University Press, 2003. Pp. 37-60.
"Finding Community in the Early 1960s: Underground Cinema and Sexual Politics," in Swinging Single: Representing Sexuality in the 1960s, ed. Hilary Radner and Moya Luckett. Minneapolis, MN: University of Minnesota Press, 1999. Pp. 38-74.
"The Romances of the Blonde Venus: Movie Censors Versus Movie Fans," Canadian Journal of Film Studies, 6, no. 2 (Fall 1997), 5-20.
"Hitchcock in Texas: Intertextuality in the Face of Blood and Gore," in "As Time Goes By": Festskrift i anledning Bjorn Sorenssens 50-arsday, ed. Gunnar Iversen, Stig Kulset, and Kathrine Skretting. Trondheim, Norway: Tapir, 1996. Pp. 189-197.
"Taboos and Totems: Cultural Meanings of Silence of the Lambs." In Film Theory Goes to the Movies, ed. Jim Collins, Hilary Radner, and Ava Collins. NY: Routledge/American Film Institute, 1993. Pp. 142-54.
Blockbuster TV: Must-See Sitcoms in the Network Era. New York: New York University Press, 2000.
Interpreting Films: Studies in the Historical Reception of American Cinema. Princeton, New Jersey: Princeton University Press, 1992.
“’The First Bond Who Bleeds, Literally and Metaphorically’: Gendered Spectatorship for ‘Pretty Boy’ Action Movies,” in Feminism at the Movies, ed. Hilary Radner and Rebecca Springer. New York: Routledge, 2011. Pp. 13-24.
“The Centrality of Affect in Reception Studies,” [on Sweeney Todd] in Film-Kino-Zuschauer: Filmrezeption/Film-Cinema-Spectator: Film Reception, ed. Irmbert Schenk, Margrit Tröhler, and Yvonne Zimmermann. Marburg, Germany: Schüren, 2010. Pp. 85-98.
“Kiss Me Deadly: Cold War Threats from Spillane to Aldrich, New York to Los Angeles, and the Mafia to the H-Bomb,” in New Directions in American Reception Studies, ed. Philip Goldstein and James L. Machor. NY: Oxford University Press, 2008. Pp. 279-88.
“The Revenge of the Film Education Movement: Cult Movies and Fan Interpretative Behaviors,” Reception: Texts, Readers, Audiences, History 1 (Fall 2008), 43-69. http://www.english.udel.edu/RSSsite/Staiger.pdf
“Cabinets of Transgression: Collecting and Arranging Hollywood Images,” Particip@tions 1, no. 3 (2005) http://www.participations.org/volume%201/issue%203/1_03_staiger_article.htm
"Film, Reception, and Cultural Studies," The Centennial Review, 36, no. 1(Winter 1992), 89-104.
"Reception Studies: The Death of the Reader," in The Cinematic Text: Methods and Approaches, ed. R. Barton Palmer. Georgia State Literary Studies, no. 3. New York: AMS Press, 1989. Pp. 353-68.
"'The Handmaiden of Villainy': Methods and Problems in Studying the Historical Reception of a Film," Wide Angle, 8, no. 1 (1986), 19-27. Revision reprinted in Interpreting Films.
Convergence Media History. Co-edited: Janet Staiger and Sabine Hake. New York: Routledge, 2008.
"The Wertham Case: Evaluating Effects of Media Theories," in Moral Panics, Social Fears, and the Media: Historical Perspectives, ed. Sian Nicholas and Tom O'Malley. New York: Routledge, forthcoming.
“Film History, Film Practices,” Scandia [Sweden] 76, no. 2 (2010), 13-30.
“The Future of the Past,” Cinema Journal 44, no. 1 (Fall 2004), 126-29.
“Matters of Taste, Subtexts of Rank,” Framework 45, no. 2 (Fall 2004): 76-80.
"Hybrid or Inbred: The Purity Hypothesis and Hollywood Genre History," Film Criticism, 22, no. 1 (Fall 1997), 5-20.
"The Pleasures and Profits of a Postmodern Film Historiography," Norsk medietidsskrift [Olso,Norway], 2, no. 2 (1995), 7-17.
"This Moving Image I Have Before Me," in Image as Artifact: The Historical Analysis of Film and Television, ed. John O'Connor. American Historical Association Institutional Services Program. Malabar, Florida: Robert Kreiger Publishers, 1990. Pp. 247-75.
"The Politics of Film Canons," Cinema Journal, 24, no. 3 (Spring 1985), 4-23. Dialogue response in 25, no. 1 (Fall 1985), 61-64.
"Theorist, yes, but what of? Bazin and History," Iris [France], 2, no. 2 (1984), 99-109.
"The History of World Cinema: Models for Economic Analysis," co-authored: Janet Staiger and Douglas Gomery, Film Reader, 4 (1979), 35-44.