Patricia Zimmermann

Patricia Zimmermann

Professor, Media Arts, Sciences and Studies
Faculty, Culture and Communication
Faculty, Cinema and Photography
Faculty, Documentary Studies and Production

Recent Book chapters

“The Robert Flaherty Film Seminar in the 1950s: Humanist and Poetic Activism,”  in Film Festivals and Activism, edited by Leshu Torchin and Dina Iordanova( St. Andrews, Scotland: University of St. Andrews Press, 2012), 31-46.

“The Home Movie Archive Live,” in Saving Private Reels, edited by Barry Monahan, Laura Rascoroli, Gwen Young (Intellect Press, forthcoming)

“Towards a Theory of Open Space Documentary in Old and New Media, “ with Helen De Michiel, The Documentary Reader, edited by Brian Winston (London: British Film Institute, forthcoming)

“Ardent Spaces, Formidable Environments,” catalog essay for Fierce: Women’s Hot-Blooded Film/Video, McMaster University Museum of Art, Hamilton, Ontario, Canada, January 2010, 20-31.

“Speculations on Home Movies: Thirty Axioms for Navigating Historiography and Psychic Vectors,”  in Private Eyes and the Public Gaze: The Manipulation and Valorisation of Amateur Images, edited by Sonja Kmec and Viviane Thill, (Luxembourg: Kliomedia BmbH, Trier, 2009), 25-32. 

“Public Domains: Engaging Iraq through Experimental Digitalities and Documentaries,” in Rethinking Documentary: New Perspectives and Practices, edited by Thomas Austin (London, England: Open University Press, 2008))  341-363.

“Introduction: The Home Movie Movement: Excavations, Artifacts, Minings,” in Mining the Home Movie: Excavations in Histories and Memories, edited  by Karen I. Ishizuka and Patricia R. Zimmermann (Berkeley: University of California Press, 2007) 1-28

“The Home Movie and the National Film Registry: The Story of Topaz”, with Karen I. Ishizuka, in Mining the Home Movie: Excavations in Histories and Memories, edited by Karen I. Ishizuka and Patricia R. Zimmermann (Berkeley: University of California Press, 2007), 126-141

“Morphing History into Histories: From Amateur Film to the Archive of the Future,” in Mining the Home Movie: Excavations in Histories and Memories, edited by Karen I. Ishizuka and Patricia R. Zimmermann (Berkeley: University of California Press, 2007), 126-141

“Cartographies of the Impossible and the Possible,”  essay for Small Arms: Children at War, the Photographic Work of Michael Kienitz, ( Madison, Wisconsin: Chazen Art Museum, University of Wisconsin, 2007), 7-15

“Documentary in the 1990s,” in Contemporary American Cinema, edited by Linda RuthWilliams and Mark Hammond, (New York: McGraw Hill, 2006),  355-385.

“Pirates of the New World Order, in Technology and Culture edited by Andrew Utterson (London: Routledge, 2006), 186-199.

“Digital Imaginaries,”in Contemporary American Independent Film, edited by ChristineHolmlund and Justin Wyatt, (New York:Routledge Press, 2006),  245-264

“Peter Forgacs” in Understanding Film Genres, edited by Tom Pendergast, Sara Pendergast, Steven Jay Schneider (New York: McGraw Hill, 2006), 230-236