Dr. Jennifer Lynde Barker

Associate Professor, English
Director of Film Studies Minor
Director of Design, Art and Technology Program
Ph.D., Indiana University, 2005

Office: Alumni Hall 208
Email: jbarker@bellarmine.edu

Dr. Barker is an Associate Professor, Advisor for the Film Studies Minor, and Director of the Design, Arts and Technology major. She specializes in film history and aesthetics, animation, cultural studies, and transatlantic modernism. Her research interests also include visual studies, theories of cosmopolitanism, collage, and the legacies of antifascism. She was a Fulbright Lecturer in Kyoto, Japan during 2015-2016, and previous awards include a Post-Doctoral Fellowship at Stanford University and a NEH Summer Seminar Grant. Author of The Aesthetics of Antifascist Film: Radical Projection (Routledge, 2012; reprint 2016), she has published in a number of journals and book collections including Animation: An Interdisciplinary Journal, Literature/Film Quarterly, Journal of African American Studies, and Beloved and Rejected: Cinema in the Young Federal Republic of Germany from 1949 to 1963.

Dr. Barker studied at Tulane University, the University of Oregon, Indiana University and the University of Wales. In addition to Bellarmine University, she has taught courses at Stanford, East Tennessee State, Kyoto University of Foreign Studies, Doshisha, and Kwansei Gakuin, as well as summer courses in Scotland and Paris. Courses taught include the history of animation, contemporary global cinema, film history and theory, film adaptation, modernism, film noir, musicals, documentary, and introductory classes on literature, composition, and creative writing. She serves as advisor for the Bellarmine Cinema Association.

Select Publications

  • Review of The Journey, by Nick Hamm. Cinema Scope Online, 10 Sept. 2016.
  • Review of Sámi Blood, by Amanda Kernell. Cinema Scope Online, 13 Sept. 2016.
  • “’Dort und Hier’: Hans Fisherkoesen in the 1950s.” Beloved and Rejected: Cinema in the Young Federal Republic of Germany from 1949 to 1963. Frankfurt am Main: Deutsches Filminstitut: 2016.
  • “Animation in Translation: Hollywood and Japan.” Newsletter of the Tohoku Association for American Studies 67 (June): 2016.
  • “Cosmopolitanism and Animated Kinography in Persepolis and Sita Sings the Blues.” Review of Western History (Kwangaku Seiyoshi Ronshu) 39 (March 2016): 49-60.
  • “Film and Culture in Translation: Teaching Hollywood’s Golden Age in Japan.” Review of Western History (Kwangaku Seiyoshi Ronshu) 39 (March 2016): 61-69.
  • “Tilt-Shift Flânerie: Miniature View, Globalscape.” Animation: An Interdisciplinary Journal 9.2 (July 2014): 177-195.
  • The Aesthetics of Antifascist Film: Radical Projection. New York: Routledge, 2012.
  • “Documenting Genocide in Orson Welles’ The Stranger.” Film and Genocide. Eds. Kristi Wilson and Tomás Crowder-Taraborrelli. Madison: University of Wisconsin Press, 2012. 45-66.
  • Guest Editor with Dr. Kirstin Ellsworth. “Women Inventing the 1950s.” Special Issue of Women’s Studies: An Interdisciplinary Journal 40:8 (November 2011).
  • “Hollywood, Black Animation, and the Problem of Representation in The Princess and the Frog and Little Ol’ Bosko.” Journal of African American Studies 14.4 (2010): 482-98.
  • “Indifference, Identification and Desire in Woolf’s Three Guineas, Riefenstahl’s The Blue Light, and Sagan’s Maedchen in Uniform.” Women in German Yearbook 26 (2010): 73-96.
  • “‘A Hero Will Rise’: The Myth of the Fascist Man in Fight Club and Gladiator.Literature/Film Quarterly 36:3 (August 2008): 171-87.
  • “Double Exposure: De-composing the ‘Nazi Idyll’ in Kay Boyle’s Death of a Man.” Kay Boyle for the 21st Century: New Essays. Ed. Thomas Austenfeld. Wissenschaftlicher Verlag Trier, 2008. 43-61.
  • “Segregation at the Movies, 1905-1950.” African Americans in Cinema: The First Half Century. Ed. Phyllis Klotman. Urbana: University of Illinois Press, 2003.