Codruţa Morari

cmorari@wellesley.edu

(781) 283-2479
French
B.A., Babes-Bolyai University (Romania), B.A., M.A., Ph.D., University of Paris III
Green Hall 133



Codruţa Morari
Assistant Professor of French

French Cinema in International Context, Intellectual History, Aesthetic Theory, History of Film Festivals, Media Theory.


Trained as a film theorist and intellectual historian, I wrote a dissertation on film metaphors entitled "The Topographical Mind". The concept of "metaphor" is used to examine the relationship between film medium and the cognitive, affective and ideological basis of film perception. The book above all aims to remap discourses in film theory. My current book project, "The Melancholy of Knowing: the legacy of authorship in French cinema", examines the political significance of film authorship and cinephilia, in the context of intellectual history. The excellence and singularity of the artist were established in discourses articulated after the French Revolution and that remained dominant in film theory, despite the challenges brought by the technological evolution of film medium. My project argues that the emphatic canonization of film authors along with its cinephilic movements are driven by an intellectual obsession with, indeed a melancholy for an absolute source of knowledge. Robert Bresson's status of auteur is examined in the light of such filmmakers as Jean Eustache, Maurice Pialat, Philippe Garrel or Bruno Dumont.

I teach classes in the history and theory of French cinema. I am committed to training students to read filmic forms in relationship with the historical context that produced them, whether we explore cinema's place in the formation of modernity, the place of French cinema in international context, or the history of political cinema. I also teach French language courses that beyond the linguistic part of the process, enable students to articulate their own experience in a new language.

Although my current book project is in French film history, it is informed by a long standing interest in film phenomenology and aesthetics, as well as history of ideas. My work is above all inspired by intellectual polemics of the 20th century, especially the one between Ernst Cassirer and Martin Heidegger and the one between Pierre Bourdieu and Jacques Rancière.