Dr. Jacqueline Pinkowitz is a Visiting Assistant Professor of Film and Representation Studies at St. Lawrence University. She holds a PhD in Media Studies from the University of Texas at Austin and an MA in Cinema Studies from New York University. Interrogating politics of difference and processes of othering in media and culture, her work examines constructions of race and intersectional identities in American film and television. Working intersectionally within film and media studies, critical race studies, media industry studies, critical cultural studies, gender studies, and southern studies, her scholarship and teaching interrogate mediated processes of racialization and identity construction while deconstructing naturalized hierarchies and power relations, focusing specifically on representations of blackness, whiteness, and the U.S. South in a range of Hollywood, independent, and exploitation films. Her work on race and racial mixing, regional imaginaries, and the cultural and industrial histories and politics of American film and media have appeared or are forthcoming in the Journal of Popular Film and Television, the Journal of Popular Culture, The Global South, the Journal of Transformative Works and Cultures, and an edited collection, Detecting the South in Fiction, Film, and Television (Louisiana State University Press, 2019).
She is currently working on turning her dissertation, Reel South: Race, Region, and the American Film Industry in the Era of Black Civil Rights, 1954-1976, into a book manuscript. The project explores how different industry sectors responded to the racial transformations and industrial destabilizations of the African American civil rights and Black Power movements, examining how studios, indepdents, and exploitation producers and distributors textually and discursively co-constructed racial and regional imaginaries in the production and promotion of miscegencenation, slavery explotiation, and rural horror film cycles. Considering how each redeployed the South's rhetorically denigrated position, I show how these films participated in the regional scapegoating and containment of white racism, racial violence, and the inequalities stemming from slavery, in both the film industry and U.S. society, thereby ultimatley upholding both American democratic ideals and whiteness itself.
Dr. Pinkowitz previously served as Co-Managing Editor of Flow, the online media studies journal, and in multiple positions on the editorial board of the The Velvet Light Trap. She also served as Graduate Student Representative for the Society for Cinema and Media Studies’ Urbanism, Geography, and Architecture Special Interest Group. She teaches such courses as Film History, Introduction to Film Studies, Screening Blackness in Film and TV, the South on Film, Racial Mixing on Screen, and Cultures of Horror.
“Revising Slavery, Reissuing Uncle Tom’s Cabin: Interracial Sex and Black Resistance in the Black Power Era Slavery Exploitation Film Cycle.” Journal of Popular Culture 52.4 (August 2019): 862-89.
“Whiteness Undercover: Racial Passing and/as the Detection of White Southern Racism in Black Like Me (1964).” Detecting the South: The Intersections of Film Noir, the Detective Genre, and the Southern Imaginary. Edited by Deborah Barker and Theresa Starkey. Baton Rouge: Louisiana State University Press, 2019.
“Down South: Regional Exploitation Films, Southern Audiences, and Hillbilly Horror in Herschell Gordon Lewis’ Two Thousand Maniacs! (1964).” Journal of Popular Film and Television 44.2 (Summer 2016): 109-19.
“‘The rabid fans that take [Twilight] much too seriously’: The Construction and Rejection of Excess in Twilight Anti-Fandom.” The Journal of Transformative Works and Cultures 7 (2011). Online.