Rashna Richards is Associate Professor and T. K. Young Chair of English. She also directs the Film and Media Studies program. Her teaching and research interests include American film and television, critical theory, and transnational cultural studies. Her first book, Cinematic Flashes: Cinephilia and Classical Hollywood (Indiana UP, 2013), offers a cinephiliac history of the studio system. Her second book, a co-edited collection titled For the Love of Cinema: Teaching Our Passion in and outside the Classroom (Indiana UP, 2017), explores the role of love, of cinema and of cinema studies, in teaching film. She is now working on Cinematic TV: Serial Drama Goes to the Movies (under advance contract with Oxford UP), which investigates how contemporary serial dramas copy, quote, and appropriate American cinema. Vita
For the Love of Cinema: Teaching Our Passion in and outside the Classroom (Bloomington: Indiana UP, 2017)
Cinematic Flashes: Cinephilia and Classical Hollywood. (Bloomington: Indiana UP, 2013.)
Peer-Reviewed Articles and Book Chapters
“Visualizing with New Comprehension: Mothering and Autoethnography,” in Mothers of Invention: Parenting and/as Filmmaking Practice, eds. Corinn Columpar and Sophie Mayer (Forthcoming).
“Love, Desi Style: Arranged Marriage and Transnational Mobility in Mira Nair’s The Namesake.” Canadian Journal of Film Studies 26.1 (2017): 64-80.
“Introduction: Love and Teaching, Love and Film,” For the Love of Cinema: Teaching Our Passion in and outside the Classroom, eds. Rashna Wadia Richards and David T. Johnson (Bloomington: Indiana University Press, 2017), 1-23.
“Translating Cool: Cinematic Exchange between Hong Kong, Hollywood, and Bollywood.” Transnational Film Remakes, eds. Constantine Verevis and Iain Robert Smith (Edinburgh: Edinburgh University Press, 2017), 118-129.
“(Not) Kramer vs. Kumar: The Contemporary Bollywood Remake as Glocal Masala Film.” Quarterly Review of Film and Video 28.4 (2011): 342-352.
“Unsynched: The Contrapuntal Sounds of Luis Buñuel’s L’Age d’Or.” Film Criticism 33.2 (2008-09): 23-43.
“Loose Ends: The Stuff That Movies Are Made of.” Arizona Quarterly 63.4 (2007): 83-118.
“Show-Stoppers: 1937 and the Chance Encounter with Chiffons.” Framework: The Journal of Cinema and Media 48.2 (2007): 84-110.
“So Many Fragments, So Many Beginnings, So Many Pleasures: The Neglected Detail(s) in Film Theory.” Criticism 45.2 (2003): 173-195. (Published under maiden name, Wadia)
Short Essays and Reviews
“Teaching Invasion of the Body Snatchers.” The Cine-Files 9 (2015).
“Nothingness, Spectacle, Cinema.” Film Quarterly 61.4 (2008): 92-93.
Review of Mira Nair’s The Namesake. Scope 10 (2008).
“Re-Viewing Cinephilia: The Movement and the Moment.” Politics and Culture 1 (2006).
“Humphrey Bogart,” Men and Masculinities: A Social, Cultural, and Historical Encyclopedia, eds. Michael Kimmel and Amy Aronson (Santa Barbara: ABC-CLIO, 2003), 95-96. (Published under maiden name, Wadia)
Review of Thomas Cartelli’s Repositioning Shakespeare: National Formations, Postcolonial Appropriations. Shakespeare and Renaissance Association Selected Papers 24 (2001): 77-79. (Published under maiden name, Wadia)
M.A., English, West Virginia University, 2001
M.A., English, University of Mumbai, India, 1999
B.S., Business, Narsee Monjee College, India, 1997