Williams, Tami

Associate Professor
tamiw@uwm.eduCurtin Hall 474,
Williams, Tami

Degrees:

MA, University of California-Los Angeles
PhD, University of California-Los Angeles

Teaching and Research Interests:

Archive Studies
Silent Cinema
Classical Film Theory
Global Women Directors
National Cinemas (Europe, Asia, Middle East)
Film and the Other Arts (music, dance, theater, painting)
Cinema and Digital Culture

Tami Williams is an Associate Professor of Film Studies and English at the University of Wisconsin-Milwaukee, and the president of Domitor – the International Society for the Study of Early Cinema. She is co-editor of Global Cinema Networks (forthcoming-2018), editor of The Moving Image, 16.1 on Early Cinema & the Archive (2016), author of Germaine Dulac: A Cinema of Sensations (2014), and co-editor of Performing New Media, 1895-1915 (2014). She also is an area coordinator for the Women Film Pioneers Project (France) and the Media Ecology Project: Library of Congress Paper Print Pilot.

Recent Publications:

Williams, Tami M., ed. Early Cinema and the Archives. 16.1.1 The Moving Image, 2016.
Williams, Tami M. Germaine Dulac: A Cinema of Sensations. University of Illinois Press, 2014.
Williams, Tami M., Askari, Kaveh, Curtis, Scott, and Gray, Frank, eds. Performing New Media, 1890-1915. John Libbey Press, 2014.
Williams, Tami M. “The 'Silent Arts': Modern Pantomime and the Making of an Art Cinema in Belle Époque Paris.” A Companion to Early Cinema. Ed. Gaudreault, André, Dulac, Nicolas, and Hidalgo, Santiago. Wiley-Blackwell, (2012): 99-118.
Williams, Tami M. “Towards a New ‘Silent’ Cinema: 1920s French Impressionist Film and its Global Legacy.” Global Currents: A bi-annual bulletin by the Center for International Education., Center for International Education, University of Wisconsin-Milwaukee 8.1 Ed. Petro, Patrice. (2011): p. 14-15.
Williams, Tami M. “Toward the Development of a Modern 'Impressionist' Cinema: Germaine Dulac's La Belle Dams sans merci (1921) and the Deconstruction of the Femme Fatale Archetype.” Framework: The Journal of Cinema and Media 51.2 (2010): 404-419.