Peter Baxter

Between joining the Department of Film Studies in 1976, and retiring from what had become the Department of Film and Media in 2013, I taught courses at every undergraduate level from first to fourth year. Whether it was our introductory course, FILM 110, or courses in film criticism or theory, I always brought a historical perspective to the subject at hand.

My research interests originally centred on the films of the American director Josef von Sternberg, whose work with Marlene Dietrich retains the power to engage and perplex its spectators decades after it appeared in the early 1930s. I edited one book of essays about Sternberg, and wrote another, Just Watch! Sternberg, Paramount and America, on their 1932 film Blonde Venus.

As the 21st century began, both my research and my teaching became more oriented toward contemporary film, though always in an historical framework. French cinema, as it evolved through the final decade of the previous century and the first years of the present, became a subject I enjoyed considering, researching and making available to students. Eventually, my attention focused on contemporary French filmmakers' presentation of the love story, and this became the subject of my fourth-year seminar courses.

Since retirement, I have continued to write about recent French cinema. 

Here are some of my recent publications on that topic:

카지노 게임 컬렉션�Love Has a History카지노 게임 컬렉션�: France, Film, and Edith Piaf카지노 게임 컬렉션�, Journal of Popular Film and Television카지노 게임 컬렉션� 43:4 (2015): 212-219.

카지노 게임 컬렉션�The cinema of Jacques Chirac: governing the French film industry, 1995-2007카지노 게임 컬렉션�, Screen 56.3 (Autumn 2015): 357-368.

카지노 게임 컬렉션�First sight: how love stories begin (and how some of them end) in today카지노 게임 컬렉션�s French cinema카지노 게임 컬렉션�, Studies in French Cinema 14.2 (2014):1-12.