Rick Warner

Email:   crwarner@email.unc.edu
Phone:   (919) 962-4048
Office:   Greenlaw 439
Website:   https://unc.academia.edu/RickWarner
Curriculum Vitae:   PDF icon Warner CV current 2018.pdf
Hire Date:   2 012

Administrative or staff position:  
Comparative Literature Advisor, Co-Director of Graduate Placement, Concentration Coordinator for Film & Media Studies Major


Assistant Professor

Kenan Fellow

Affiliate faculty in Global Studies



Ph.D. English with Certificate in Film Studies, University of Pittsburgh (2010)

M.A. Film Studies, Emory University (2004)

B.A. English, Georgetown College (2000)


My scholarship and teaching investigate the history of film style in a global context. My approach to cinema is interdisciplinary and comparative, with an eye to how film, literature, and other media interrelate. I am particularly interested in the philosophical and reflective capabilities of cinema, hence my focus in recent publications on forms such as the essay film and “contemplative cinema.” My courses at Carolina, whatever their topic, show students how to critically engage with and write about moving images (and sounds) with precision, clarity, and nuance. My aim is not merely to expand students’ knowledge and appreciation of film history but also to improve their perceptual acuity – that is, their audiovisual literacy – and to show them how the expressive resources of cinema and other media participate meaningfully in larger cultural and political conversations. 


Professional Experience

Assistant Professor, Department of English and Comparative Literature, University of North Carolina at Chapel Hill (2012-)
Visiting Lecturer, Department of English, University of Pennsylvania (2011-12)
Visiting Lecturer, Department of English, Carnegie Mellon University (2008)





Godard and the Essay Film: A Form That Thinks. Northwestern University Press, forthcoming 2018, http://www.nupress.northwestern.edu/content/godard-and-essay-film. 

True to the Spirit: Film Adaptation and the Question of Fidelity, co-editor with Colin MacCabe and Kathleen Murray. Oxford University Press, 2011.


Selected Articles and Chapters:

"Jack Nicholson in The Passenger.” In Close-Up: Great Cinematic Performances Volume 1: America, edited by Murray Pomerance and Kyle Stevens. Edinburgh: Edinburgh University Press, 2018, 199-211.


“The Essayist among and through Others: Chris Marker’s Symposial Montage in The Owl’s Legacy.The Cine-Files: A Scholarly Journal of Cinema Studies. Special Issue on Chris Marker and Jacques Rivette, forthcoming 2017.


“Orange is the Warmest Color: Mood and Chromatic Temperature in Robert Altman’s McCabe & Mrs. Miller.” New Review of Film and Television Studies 15, no. 1 (2017): 24-39.


“Essaying the Forms of Popular Cinema: Godard, Farocki, and the Principle of Shot-Countershot.” In The Essay Film: Dialogue, Politics, Utopia, edited by Caroline Eades and Elizabeth Papazian, 28-66. London: Wallflower, 2016.


“Godard’s Stereoscopic Essay: Thinking in and with Adieu au langage.” In The Global Auteur: Politics and Philosophy in 21st Century Cinema, edited by Seung-hoon Jeong and Jeremi Szaniawski, 61-78. New York: Bloomsbury, 2016. 


"Filming a Miracle: OrdetSilent Light, and the Spirit of Contemplative Cinema," Critical Quarterly 57, no. 2 (2015): 46-71.


“The Cinematic Essay as Adaptive Process,” Adaptation 6, no. 1 (2013): 1-24.


Contempt Revisited: Godard at the Margins of Adaptation.” In True to the Spirit: Film Adaptation and the Question of Fidelity, edited by Colin MacCabe, Kathleen Murray, and Rick Warner, 195-213. New York: Oxford University Press, 2011.


“Go-for-Broke Games of History: Chris Marker Between ‘Old’ and ‘New’ Media.” Post Script: Essays in Film and the Humanities 24, no. 1 (2009): 14-26.


“Shocking Histoire(s): Godard, Surrealism, and Historical Montage.” Quarterly Review of Film and Video 25, no. 1 (2008): 1-15.


Current Book Project:

The Reinvention of Suspense in Global Art Cinema: Contemplative Rhythms and Atmospheres -- an account of the emergence and continuation of "contemplative" film aesthetics 



CMPL 143 History of Gobal Cinema

CMPL 144 Film Culture 

CMPL 240 Introduction to Film Theory

CMPL 280 Film Genres (Suspense Thriller/Comedy)

CMPL 375 New Wave Cinema: Its Sources and its Legacies (survey of new wave cinemas across Western and Eastern Europe, North America, Latin America, and East Asia) 

ENGL 323 American Films of the 1970s

ENGL 324 Creating the Video Essay

ENGL 380 Film History

ENGL 381 Cinema and Literature

ENGL 389 Film Directors (Hitchcock/Kubrick)  

ENGL 410H Documentary Film

CMPL 420 Film, Photography, and the Digital Image

CMPL 463 Cinema and Surrealism

CMPL 484 Cinematic Uses of the Essay Form 

ENGL 680 Film Theory and Pedagogy 

ENGL 881 Cinemas of Thought: Essayistic and Contemplative Traditions since 1945


Interdisciplenary Connections 

Advisory board, Film & Media Studies

Affiliate faculty, Curriculum in Global Studies