Department of Languages and Cultures

Bruce Williams, Ph.D.

Office: Atrium 246
Phone: (973) 720-3654
Office Hours: Wednesday: 4:00 PM - 4:45 PM & 7:00 PM - 8:30 PM

Department: Languages and Cultures
Position: Professor

Area Specialization
Cinema history and theory, sociolinguistics of the cinema, cultural studies, multiculturalism and discourse.

Dr. Williams' full CV




Holding a Ph.D. from the University of California at Los Angeles, Bruce Williams is Professor and Graduate Director in the Department of Languages and Cultures and Co-coordinator of the program in International Cinema at the William Paterson University of New Jersey.  He has published extensively in the areas of cinema history; film theory; Latin American and European cinemas, and language and cinema. His current research interests include Albanian cinema; film criticism as a tool for nation-building in North Korea and Albania; cinematic ties between Brazil and the Soviet Union; radical cinema and reception; celebrity studies, and the sociolinguistics of the cinema..






Ph.D.,  1986, The University of California at Los Angeles.  Hispanic Languages and Literatures. 

M.A. (with distinction), 1980, The University of California at Los Angeles. Luso-Brazilian Studies. 

M.A.,  1977, The University of Pennsylvania. Germanic Languages and Literatures. 

B.A. (summa cum laude), 1977, The University of Pennsylvania.  German and French.



Fulbright Research Grant to Brazil 1977-78.  Research on Brazilian cinema, experimental film, and concrete poetry.





Two Lenses on the Korean Ethos: Key Cultural Words and Their Appearance in the Cinema (with Keumsil Kim Yoon).  Jefferson, NC: McFarland, 2015.






“It’s a Wonderful Job! Women at Work in the Films of Communist Albania.”  Studies in Eastern European Cinema  6.1 (2015): 4-20.

 “Two Degrees of Separation: Xhanfise Keko and the Albanian Children’s Film.” Framework 54.1 (Spring 2013): 40-58.

 “What Ever Happened to West Side Story?:  Gene Kelly, Jazz Dance and Not So Real Men in Jacques Demy’s The Young Girls of Rochefort” (with Svea Becker).  New Review of Film and Television Studies 6.3 (December, 2008): 303-321

 “A Madison for Outcasts: Dance and Critical Displacements in Jean-Luc Godard’s Band  of Outsider” (with Svea Becker) .Cinémas 18.2 (Spring, 2008): 215-233.

“Double Eagle, Double Indemnity: Bekim Fehmiu and (Yugoslav) Albanian Identity.”  Kinema 27 Spring 2007:  69-84.

“The Lie that Told the Truth: (Self) Publicity Strategies in Mário Peixoto’s Limite.” Film History 17.4 (2005)P 392-403.

“The Bridges of Los Angeles County: Marketing Language in the Chicano Cinema of Gregory Nava.” Canadian Journal of Film Studies/Revue canadienne d’études cinématographiques 14.2 (Fall 2005): 57-73.

“Bemberg’s Third Sex: Argentine Mothers at the Dawn of Democracy.” Cinémas 15.1 (2005): 125-144.

“The Text in the Third Degree: Gay Camp Recoupment in What Ever Happened to…? and High Heels.” New Review of Film and Television Studies 2.2 (November 2004): 161-179.

“Julie Christie Down Argentine Way: Reading Repression Cross-Nationally in Bemberg’s Miss Mary.Journal of Film and Video 55.4 (Winter 2003): 15-29.

“Something Borrowed, Something Blue: Robert van Ackeren’s Deutschland privat and  the Economics of Eroticism.” Post Script 22.1 (Fall, 2002): 43-51.

“Without Habeas Corpus: The Discourse of the Absent Body.” Kinema 18 (Fall, 2002): 29-41.

“Frysky Business: Micro-regionalism in the Era of Post-nationalism.” Film History 14.1 (2002): 100-112.

“A Mirror of Desire: Looking Lesbian in María Luisa Bemberg’s I, the Worst of All.” Quarterly Review of Film and Video 19.2 (April-June, 2002): 133-143.

“Mrs. Bates, I Presume, or Decomposing Identification in Leitão de Barros’ Inês de Castro.” Scope: An Online Journal of Film Studies (Summer, 2002): Online at

 “I Am the Eye that Penetrates: Cinema and the Nostalgic Gaze of Murilo Mendes’s Poemas.” Chasqui 30.2 (November 2001): 35-45.

“Straight from Brazil? National and Sexual Disawowal in Mário Peixoto’s Limite. Luso-Brazilian Review 38.1 (Summer 2001): 31-40.

“Playgrounds of Desire: Almodóvar, Fetishism, and the Male Ideal Ego. Journal of Film and Video 52.2 (Summer 2000): 28-40.

“I Lost It at the Movies: Parodic Spectatorship in Héctor Babenco’s Kiss of the Spider Woman.” Cinémas  10.1 (Fall 1999): 79-94.

“Dwarfing Difference: Deformity at the Threshold of the Visible in Bemberg’s I Don’t Want to Talk About It.”  Canadian Journal of Film Studies/Revue canadienne d’études cinématographiques 8.2 (Fall 1999): 44-55.

“To Serve Godard: Anthropophogical Processes in Brazilian Cinema.” Literature/Film Quarterly 27.3 (summer, 1999): 202-209.

“Memory in Drag:  Historical and Sexual Strategies in Tomás Gutiérrez Alea's Memories of Underdevelopment."  Cinémas  8.3 (spring, 1998): 105-120.

 “Life Is Very Precious: Even Right Now: (Un)Happy Camping in the  New German Cinema." Post Script 16.3 (summer, 1997): 71-84.

“Madrid au naturel or the Reassment of Genre in the Post-Franco Cinema." Excavatio IX, Fall, 1997: 212-219.

“In the Realm of the Feminine:  María Luisa Bemberg's Camila at the Edge of the Gaze."  Chasqui 25.1 (1996): 62-71.

“Slippery When Wet: En-sexualized Transgression in the Films of Pedro Almodóvar."  Post Script 14.3 (summer, 1995): 3-13.  Reprinted in Salas, Susan, ed .Hispanic Literature Criticism Supplement Vol.1. Farmington Hills, MI: Gale Group, 1999: 84-91.

"A Transit to Significance:  Poetic Discourse in Chantal Akerman's Toute une nuit."  Literature/Film Quarterly 23.3 (1995): 216-222.

“Peep-show Windows on the Economic Miracle: Robert van Ackeren's  Erotic Melodramas." Film Criticism 19.3 (Spring 1995): 30-43.

 “A Mirror of the Cinema:  Poetic Discourse and Autotelic Aesthetics in Dovzhenko's Earth."  Journal of Ukranian Studies 19.1 (Summer,  1994): 67-83.

“Splintered Perspectives:  Counterpoint and Subjectivity in the Modernist Film Narrative."  Film Criticism 15.2 (Winter 1991): 2-12.

“A Captive of the Screen:  Archetype and Gaze in Barreto's Gabriela."  Film Criticism 14.2 (Winter 90):  24-32.

poetamenos: Campo(s) de criação em côres."  Mester 14.1 (1985):  55-65.

“Sonhar e desvairar:  O mito abortivo de Páscoa feliz."  Mester 13.2 (1984):  17-26.



“In the Heat of the Factory: The Global Fires of The Hour of the Furnaces.” In Mazierska. Eva and Lars Kristensen, eds. Marxism and Film Activism: Screening Alternative Worlds. London: Berghahn, 2015, pp. 124-143.


“The Distant among Us: Kolonel Bunker in a Postcolonial Context.” In Mazierska, Ewa, Eva Näripea, and Lars Kristensen, eds. Postcolonial Approaches to Eastern European Cinema: Portraying Neighbours on Screen. London: I.B. Tauris, 2014: 253-278. 

“Kujtim Çashku e a emergência do cinema independente na Albânia.” In Suppia, Alfredo, org. Cinema(s) independente(s): Cartografias para um fenômeno audiovisual global. Juiz de Fora, Editora da Universidade Federal de Juiz de Fora, (2013): pp. 213-231 (in press).

"Redshift: New Albanian Cinema and Its Dialogue with the Old.”  In Imre, Anikó, ed. A Companion to Eastern European Cinemas. Oxford: Wiley-Blackwell, 2012, pp. 224-243. 

 “Spotting the Eagle on Anglophone Turf: Postcommunist Reception and Albanian Cinema.” In Kristensen, Lars, ed. Postcommunist Film--Russia, Eastern Europe and World Culture: Moving Images of Postcommunism.. Oxford: Routledge, 2012, pp. 89-104.

“Una voz de las fisuras: contra-narración en Threads of Hope.” In Sepúlveda, Emma, ed. Memorial de una escritura: aproximaciones a la obra de Marjorie Agosín. Santiago de Chile: Cuarto propio, 2002, pp. 167-176.

“In the Silence of the Tortured Image: Emma Sepúlveda-Pulvirenti." In Agosín, Marjorie, ed. A Woman's Gaze: Latin American Women Artists. Fredonia: White Pine Press, 1998, pp. 145-161.

“The Reflection of a Blinded Gaze: María Luisa Bemberg, Filmmaker." In Agosín, Marjorie, ed. A Woman's Gaze: Latin American Women Artists. Fredonia: White Pine Press, 1998, pp. 171-190.

“De la puerta de Ibsen a la Plaza de Mayo: La historización transtextual de lo femenino." In Sepúlveda-Pulvirenti, Emma, ed. El testimonio femenino como escritura contestataria. Santiago de Chile: Asterión, 1995, pp. 85-100.