WILLIAM PAUL
Department Chair
Prof. William Paul, (Ph.D., Columbia University) has specialized in writing about comedy and film genres: he is the author of Ernst Lubitsch's American Comedy and Laughing Screaming: Modern Hollywood Horror & Comedy, a cultural history that looks at the rise of grossout comedy and horror in the 1970s-80s. Prof. Paul is moving in a different direction with his current project, Movies/Theaters: Architecture, Exhibition, and Film Technology, in which he traces the various and changing ways in which people have viewed movies over their 100-plus year history. He has taught at the University of Michigan-Ann Arbor, M.I.T., Columbia University, and Haverford College. Contact Prof. Paul at (314)935-7903 or by email at bpaul@wustl.edu

RICHARD CHAPMAN
Senior Lecturer Richard Chapman is a veteran screenwriter and producer in film and television. He has created, produced and written over two hundred hours of network series, including such credits as SIMON & SIMON (CBS), THE NEW ALFRED HITCHCOCK PRESENTS (NBC), DISNEY’S ABSENTMINDED PROFESSOR, and the Golden Globe and Emmy nominated HBO Original Movie, LIVE FROM BAGHDAD. His career in motion pictures features MY FELLOW AMERICANS and an adaptation of Christopher Buckley’s novel THANK YOU FOR SMOKING. Chapman has written over twenty motion picture screenplays for such stars as Mel Gibson, Meg Ryan, Alec Baldwin and Bette Midler. He has also produced a feature length documentary, SHOOTING THE MESSENGERS, the behind the scenes story of media coverage of the Vietnam War. It is a comprehensive and controversial study of how journalists from all media (print, electronic, photojournalism) reported the entire war and is culled from over fifty hours of interviews with such icons as Walter Cronkite and the late David Halberstam. Contact Prof. Chapman at (314)935-8238 or by email at rchapman@wustl.edu.

PIER MARTON
Senior Lecturer Pier Marton, (MFA, UCLA) is a videomaker/new media artist and writer. He has taught courses in film and video production as well as computer graphics at the School of the Art Institute of Chicago (where he also served as chairperson of the production program), UCLA, the Minneapolis College of Art and Design, Carnegie Mellon University, Indiana University, among others. Issues of ethnicity, spirituality, audience passivity, and violence have been recurring themes in his video works. His exhibits include the Museum of Modern Art, the Whitney, the Jewish Museum in N.Y.C., the Beaubourg Museum in Paris, and a variety of other international venues like the Berlin Film Festival and French Television. Mr. Marton's works are in the collections of the M.o.M.A. in New York, the Carnegie Museum in Pittsburgh, the Beaubourg in Paris, the National Gallery of Canada, and the Japan Victor Corporation Archives in Japan. He is the recipient of various grants from the N.E.A. and other funding agencies. Contact Prof. Marton at (314)935-4055, by email at marton@wustl.edu or visit his website.

PHILIP SEWELL
Assistant Professor Philip Sewell (Ph.D., University of Wisconsin-Madison) teaches media history and criticism and specializes in television and new media. His dissertation, “The Substance of Things Hoped For: Quality, Cultural Authority, and the Realization of U.S. Television,” explores the evaluation and standardization of television through the varying definitions of quality used by inventors, regulators, producers, industry executives, critics, and audience members. He has previously published work on professional wrestling and worked as coordinating co-editor of The Velvet Light Trap: A Critical Journal of Film and Television. His research interests include the business and legal culture of the media industries, the mediation of masculinities, and the history of debates about the future of television.
Contact professor Sewell at pwsewell@wustl.edu

M. HUNTER VAUGHAN
M. Hunter Vaughan, who takes up his post as Lecturer in Film and Media Studies in Fall 2008, received his Ph.D. in cinema and philosophy from the department of Modern Languages at the University of Oxford, England. His dissertation, ‘From Camera to Code: Godard, Resnais, and the Problem of Representation in Film Theory,’ uses the early films of Alain Resnais and Jean-Luc Godard to bridge semiotic and phenomenological approaches to cinema through a theory of subject-object relations. Dr Vaughan’s areas of expertise and interest include critical theory, representations of gender and ethnicity, American and European cinemas, and new media studies. Having spent many years doing research and teaching at the University of Oxford and the Universite de Paris, he looks forward to contributing to Washinton University’s incorporation of film studies into a wider interdisciplinary approach to critical thought and to the social sciences, cultural studies, and languages. Contact professor Vaughan at hvaughan@wustl.edu