Jeremy Carr

Faculty Assoc
TEMPE Campus


Jeremy Carr teaches film studies at Arizona State University and writes for the publications Film International, Cineaste, Senses of Cinema, MUBI/Notebook, Cinema Retro, Vague Visages, The Retro Set, The Moving Image, Diabolique Magazine, and Fandor.


  • M.L.St. Film and Media Studies (Summa Cum Laude), Arizona State University 2010
  • B.A. English, Arizona State University 2006

Research Interests

ASU Center for Film, Media and Popular Culture - Visiting Research Fellow (2010-Present)


Film Presentations/Screenings

  • Presented The Movies That Changed the Movies series  October-December, 2015: The Jazz Singer (1927), Citizen Kane (1941), The Wild Bunch (1969)
  • Presented Summer with the Stars series  July-September, 2015: The Philadelphia Story (1940), The Big Sleep (1946), East of Eden (1955)
  • Presented Media Matters series - April-June, 2015: A Face in the Crowd (1957), Dog Day Afternoon (1975), Network (1976)
  • Presented French Film series - January-March, 2015: The Milky Way (1969), Day for Night (1973), Amelie (2001)
  • Presented Strangers in a Strange Land series  September-November, 2014 and February-April, 2015: Ninotchka (1939), All That Heaven Allows (1955), The Apartment (1960)
  • Presented American Movie Masters series - February-April, 2014; September-November, 2014; January-March, 2015: The Magnificent Ambersons (1942), She Wore a Yellow Ribbon (1949), Paths of Glory (1957)
  • Presented Science Fiction Films series - June-August, 2014 and July-August, 2014: Inception (2010), Children of Men (2006), RoboCop (1987)
  • Presented International Classics series - October 2013-January, 2014, and March-April, 2014: The Red Shoes (1948), Repulsion (1965), Blow-Up (1966).
  • Introduction to Post Tenebras Lux (2012) as part of Cine Latino at the Phoenix Art Museum  October, 2013.
  • Presented Neglected Genre Classics series - July-September, 2013: Twentieth Century (1934), The Naked Spur (1953), Underworld U.S.A. (1961).
  • Presented Foreign Film Essentials series - March-May, 2013: Bicycle Thieves (1948), The Seventh Seal (1957), Breathless (1960)
  • Presented Great Depression and America Film series  January, 2013: Gold Diggers of 1933 (1933), My Man Godfrey (1936), Scarface (1932)
  • Presented Arizona Westerns series - August-December, 2012: The Searchers (1956), Winchester 73 (1950), Rio Bravo (1959), Tombstone (1993).
  • Presented three films (The Gospel According to St. Matthew, Kundun, 2001: A Space Odyssey) as part of the Sacred Word and Image: Five World Religions program at the Phoenix Art Museum (2012).


Course Development

  • Built and designed online course through College of Liberal Arts and Sciences grant - FMS 394: Arizona Identity and the Western Film (2012)


Lecture Presentation

  • Presented From the Saguaro Cactus to the Gunfight at the O.K. Corral: Arizona's Identity in Western Movies as part of The Arizona Humanities Festival (2011).


Grant Sponsored Series

  • Wrote a successful Arizona Humanities Council grant for a four-film series, which began June, 2011, on The Politics of 1950s American Film. Researched, wrote, and delivered presentations on three of the four films: On the Waterfront (1954), Johnny Guitar (1954), and Touch of Evil (1958)


Association of Moving Image Archivists (2014-present)


  • Member, Education Committee
  • Member, Preservation Committee
  • Member, Moving Image Related Materials and Documentation Committee


Society for Cinema and Media Studies (2010-2016)


  • Member, Scholarly Interest Group: Silent Cinema
  • Member, Scholarly Interest Group: French Francophone Cinema and Media


American Film Institute (2011-2012)


  • Researched and wrote AFI Catalog entries for: Against All Odds  The Shining  Manhattan  The Tenant  Dressed to Kill  3 Women  The Outlaw Josey Wales  The Fury  Interiors  Pretty Baby  Opening Night Taxi Driver  Terminator 2: Judgment Day



Film International (


  • Film Review: The Creation of Truth: Eight Films by Jean Rouch (Print, Volume 16, Issue 1, 2018)
  • An Archive of Indoctrination: Hitler’s Hollywood (April, 2018)
  • War’s Veiled Aftermath: 1945 (April , 2018)
  • Family Values and Civic Duties: Fassbinder’s Eight Hours Don’t Make a Day (March, 2018)
  • Coincidence and Conviction: Irving Pichel’s Tomorrow is Forever (1946) (February, 2018)
  • The Form and Function of a Cult Film: ”Deep Red” by Alexia Kannas (February, 2018)
  • Film Musings: The More Things Change: Godard in ’67 (Print, Volume 15, Issue 4, 2017)
  • Book Review: Full Disclosure: ”Paul Verhoeven: Interviews” (Print, Volume 15, Issue 4, 2017)
  • The Kids Are Alright: Miss Kiet’s Children (December, 2017)
  • Double Vision: The Breadwinner (November, 2017)
  • Truth and Consequences: ”Conversations with Buñuel” by Max Aub, translated and edited by Julie Jones (November, 2017)
  • Two of a Kind: Faces Places (November, 2017)
  • Life After Death: Dementia 13 (2017) (October, 2017)
  • Life on Hold: Mike Leigh’s Meantime (September, 2017)
  • Love Kills: Sid & Nancy from the Criterion Collection (September, 2017)
  • Catharsis, Backstage and Beyond: Spettacolo (September, 2017)
  • Cops, Criminals, and Cultural Revolution: The Nile Hilton Incident (September, 2017)
  • Haunted Houses and Gothic Dread: An Interview with Brian O’Malley on The Lodgers (TIFF) (September, 2017)
  • As Offbeat As Fancher: Escapes (August, 2017)
  • After Love: Verity and Banality (August, 2017)
  • Coppola’s Dazzling Teenage Dream: Rumble Fish (July, 17)
  • Visions of Invasion: An Interview with Mathieu Ratthe on The Gracefield Incident (July, 2017)
  • A Road Movie at “Elephant Speed”: Pop Aye (July 2017)
  • The Lights Are On, But Is Anybody Home?: House & House II (June, 2017)
  • Taking Chances: An Interview with Doug Liman on The Wall (May, 2017)
  • Contradictions of the West(ern): The Man Who Shot Liberty Valance (Print, Volume 15, Issue 1, 2017)
  • Criterion Core: Wenders on the Road (Alice in the Cities, Wrong Move, Kings of the Road) (Print, Volume 14 Issues 3-4, 2017)
  • De Palma’s Raising Cain: Re-cut and Revisited (April, 2017)
  • Into the Land of Salt and Fire: An Interview with Veronica Ferres (April, 2017)
  • The Confidence of Competence: Howard Hawks’ Rio Bravo (Print, Volume 14 Issue 2, 2016)
  • Cat People: Horror, Necessity, and Creative Collaboration (January, 2017)
  • The New World: Exploring the Developing Territory of Terrence Malick (October, 2016)
  • Review/feature: A Film of its Time: Spies, Fritz Lang’s Enduring Espionage Thriller (August, 2016)
  • F.W. Murnau’s Faust: A Dazzling Achievement in German Silent Cinema (July, 2016)
  • Looking Back at The Graduate (May, 2016)
  • Who Needs Enemies? Getting Acquainted with Eddie Coyle and His Friends (September, 2015)
  • Constancy and Variation: An Autumn Afternoon as Ozu’s Final Testament (April, 2015)
  • Il Sorpasso (March, 2015)
  • Bridging the Divides: The Fine Lines of Crime Across 110th Street (January, 2015)
  • Tati Time: Criterion Delivers The Complete Jacques Tati (December, 2014)
  • Journey to Italy: A New, New Realism (Print, Volume 12 Issue 3, 2014)
  • Eraserhead: David Lynch's ‘Subconscious Experience’ (October, 2014)  
  • A House of Nightmares: Douglas Sirk's Sleep, My Love (August, 2014)
  • Picnic at Hanging Rock (July, 2014)
  • Double Indemnity (June, 2014)
  • The Lying Camera of De Palma's Snake Eyes (April, 2014)
  • God's Little Acre (March, 2014)
  • Autumn Sonata (February, 2014)
  • Rififi (January, 2014)


Notebook (


  • Pictures of Perception: Close-Up on Welles’ Touch of Evil and The Trial (May, 2018)
  • The Uneasy Evolution of the Death Wish Series (March, 2018)
  • Expecting the Unexpected: Four by Luis Buñuel (February, 2018)
  • Fellini's Fancy: Close-Up on The White Sheik and Nights of Cabiria (January, 2018)
  • Crime and Punishment: Close-Up on Brighton Rock (January, 2018)
  • That’s Entertainment: Close-Up on The Gang’s All Here (December, 2017)
  • In and Of the World: The Textures of Michael’s Mann’s Heat (December, 2017)
  • The Speed of Passion: Close-Up on David Lean’s Breaking the Sound Barrier (October, 2017)
  • A Twist of Fate: Close-Up on The Chase (October, 2017)
  • A New Phase of Horror: Close-Up on Night of the Living Dead (October, 2017)
  • Review. Logan Lucky—Steven Soderbergh Remains in Fine Form (August, 2017)
  • The Master of...Class Consciousness? Close-Up on 3 from Hitchcock (August, 2017)
  • Red Desert & Husbands and Wives: Two Visions from Carlo Di Palma (July, 2017)
  • Empire Dreams and the New York City of Midnight Cowboy (July, 2017)
  • The Lifecycle of a Franchise: Alien and its Offspring (May, 2017)
  • El Dorado: The Dawn of Caan (May, 2017)
  • The Nature of Borowczyk’s Passion: Close-Up on The Beast (March, 2017)
  • Giallo Norms and Deviations: Close-up on Deep Red and The Strange Color of Your Body’s Tears (Feburary, 2017)
  • Close-Up on Leo McCarey’s The Awful Truth: Love and Remarriage (February, 2017)
  • The Double Bill Brilliance of Jack Hill: Close-Up on Spider Baby and Pit Stop (January, 2017)
  • Miklós Jancsó and the Wages of War: Close-Up on The Red and the White (January, 2017)
  • De Sica and His Dynamic Duo Do What They Do Best: Close-Up on Yesterday, Today and Tomorrow (January, 2017)
  • The Little Things: Marcel Pagnol's "Marseilles Trilogy" (January, 2017)
  • I, Spy?: The Tall Blond Man with One Black Shoe (November, 2016)
  • The Tragic Romance of Max Ophüls’ Liebelei (November, 2016)
  • Close-Up on General Della Rovere: Rossellini Returns to War
  • Mauvaise Graine: Billy Wilder's Swift and Satisfying Directorial Debut (August, 2016)
  • Persistence of Vision: The Cinema of Theodoros Angelopoulos (July, 2016)
  • Close-Up on Farewell My Concubine: A Spectacular Ode to Life, Love, and Art (May, 2016)
  • A Touch of Zen: King Hu’s Masterful Concoction of Cinematic Flavors (April, 2016)
  • Close-Up on William Wyler’s The Little Foxes: Family Drama Down South (February, 2016)
  • Close-Up on Ball of Fire: Screwball Classic Skewers Stuffiness with Snappy Slang (January, 2016)
  • Close-Up on Black Sabbath and Bay of Blood: Double Bava Is Horror at Its Best (October, 2015)
  • Close-Up on Two Lovers: James Gray's Extraordinary Average Love Story (August, 2015)
  • Close-Up on To Be or Not To Be: Lubitsch Answers the Question of “What's So Funny About the Nazis?” (July, 2015)
  • Hondo: Quintessential John Wayne, a Quintessential Western—in 3-D (June, 2015)
  • Both Sides Now: The Duality of Sinatra, Small Towns, and Some Came Running (April, 2015)
  •  “Art and the theory of art”: The Man from Laramie and the Anthony Mann Western (January, 2015)


Senses of Cinema (


  • Minnie and Moskowitz (Issue 86, March 2018)
  • Great Directors profile of Max Ophuls (Issue 85, December 2018)
  • Boetticher’s Bad Men (Revisiting Budd Boetticher dossier, Issue 83, June 2017)
  • Great Directors profile of Béla Tarr (Issue 83, June 2017)
  • Great Directors profile of Elia Kazan (Issue 81, December, 2016)
  • Great Directors profile of John Cassavetes (Issue 79, July 2016)
  • Essay: Familiar Refrains and Minor Variations: Quentin Tarantino’s Hateful Eighth (Issue 78, March, 2016)
  • Great Directors profile of Quentin Tarantino (Issue 77, December, 2015)
  • Great Directors profile of Roman Polanski (Issue 74, March, 2015)
  • Cinémathèque Annotations On Film: Scorpio Rising (Issue 74, March, 2015)
  • Great Directors profile of Samuel Fuller (Issue 72, October, 2014)


Vague Visages (


  • Column – “Vague Visages is FilmStruck” (November, 2016-present): Jean-Pierre Melville’s Le Samouraï - Stanley Kubrick’s Fear and Desire - Pedro Costa’s In Vanda’s Room - Mike Leigh’s Happy-Go-Lucky - Carlos Saura’s Cría cuervos - Mikhail Kalatozov’s I Am Cuba - Yasujirô Ozu’s I Was Born, But… - François Truffaut’s Shoot the Piano Player - Jacques Demy’s Lola - Jean Vigo’s L’Atalante - Pier Paolo Pasolini’s Mamma Roma - Andrei Tarkovsky’s Solaris - Federico Fellini’s La Strada - Anthony Mann’s T-Men and Raw Deal - David Lean’s This Happy Breed -  Louis Malle’s ‘Black Moon’ - Ingmar Bergman’s Summer with Monika - Erich von Stroheim’s Greed - Costa-Gavras’ Z - Henri-Georges Clouzot’s The Wages of Fear - Howard Hawks’ Twentieth Century - Michael Powell and Emeric Pressburger’s The Red Shoes
  • Stardust Memories: Woody Allen’s Comic Catharsis (May, 2017)
  • Krzysztof Kieślowski’s Dekalog: Putting Faith in the Everyday (October, 2016)
  • Love and Death: The Romantic Sorrow of Fritz Lang’s Destiny (September, 2016)
  • The Style, Sins and Sympathies of Robert Bresson’s Au hasard Balthazar (September, 2016)
  • Modern Times: Charlie Chaplin Finds Freedom in the Age of Industry (August, 2016)
  • Classes, Clashes and the City of Michelangelo Antonioni’s Le amiche (July, 2016)
  • Piecing Together the Fragments of Jean-Luc Godard’s A Married Woman (June, 2016)
  • The Uneasy Allegiances of Nicholas Ray’s In a Lonely Place (June, 2016)


The Retro Set (


  • Style and Then Some: The Thomas Crown Affair (April, 2018)
  • Woody Allen gets serious, entertains all the same: September (March, 2018)
  • A Western Worth Revisiting—in 3-D: Gun Fury (February, 2018)


Diabolique Magazine (


  • The Cannon Canon: Invasion U.S.A. (1985) (March, 2018)
  • The Cannon Canon: Over the Top (1987) (January, 2018)
  • A Thrilling Rediscovery: Nightkill (1980) (January, 2018)
  • Roy Colt and Winchester Jack (1970): Mario Bava’s eccentric Spaghetti Western (October, 2017)
  • Not Your Average Nasty: The Cannibal Man at 45 (August, 2017)


Screen Mayhem (


  • Akira Kurosawa’s The Most Beautiful (May, 2018)
  • Sun, Scandal and Jean Seberg. Otto Preminger’s Lavish Bonjour Tristesse (February, 2018)
  • Michelangelo Antonioni’s The Passenger is a Ride Worth Taking (January, 2018)
  • Love and Loss in War-torn Russia. Grigori Chukhrai’s Ballad of a Soldier is a Soviet Masterwork (November, 2017)
  • Two Rode Together is a Western Worth Searching For. Another Look at John Ford’s Neglected Classic (October, 2017)
  • Donkey Skin Another Look at Jacques Demy’s Gorgeous Fairytale (September, 2017)
  • Another Look: Jeremy Carr on Robert Altman’s Popeye (August, 2017)


Cinema Retro (

  • Othello (March 2018)
  • The Savage Innocents (December, 2017)
  • One, Two, Three (June, 2017)
  • Chimes at Midnight (April, 2017)
  • The Taking of Pelham One Two Three (August, 2016)
  • These Three (July, 2016)
  • Jane B. for Agnès V. (July, 2016)
  • I Confess (May, 2016)
  • The American Friend (March, 2016)
  • Slaughter (October, 2015)


Little White Lies (

  • The rule of war in Stanley Kubrick’s Paths of Glory (December, 2017)


Fandor/Keyframe Daily (


  • Re-examining Stop Making Sense a Year After Jonathan Demme's Passing (April, 2018)
  • The Oscars' Forgotten Movies (February, 2018)
  • John Waters: United by Filth - Saluting a perverse paragon of tolerance (March, 2017)
  • Giving Voice to The Voiceless - Fifty years of Black Girl and Ousmane Sembène (December, 2016)
  • Mel Gibson, Director: An Affirmation (November, 2016)


Cut Print Film (


  • Weekly “New on Blu-ray” column (June, 2016-present)


The Moving Image (


  • 3-D Rarities (Print, Vol. 17, No. 2, Fall 2017)
  • Love in the City (Print, Volume 15, Issue 1, Spring, 2015)


Cineaste Magazine (


  • The Player (Web Exclusive - Vol. XLI, No. 4, Fall, 2016)
  • Cries and Whispers (Print, Volume XL, No. 3, Summer, 2015)


Movie Mezzanine (


  • Revolutionary Brilliance (Abel Gance’s Napoleon) (December, 2016)
  • Celebrating the Great Revisionist Western (Robert Altman’s McCabe & Mrs. Miller (October, 2016)
  • A Masterpiece of Moments: The Big Sleep Turns 70 (August, 2016)
  • Big Trouble in Little China at 30: Still Shaking the Pillars of Heaven (June, 2016)
  • Death and Despair: Dirk Bogarde, Unlucky in Love (March, 2016)


PopOptiq (


  • Weekly “New on Video” column and special Spotlight contributions (November, 2013-May, 2016)


Bright Lights Film Journal (


  • Coming of age with Kes (June, 2014)


CineAction (


  • People and Their Places in Antonioni's La Notte (Print, Issue 93, spring, 2014)


  • On-line reviews/essays: The True Story of Jesse James, Kes, and Blow Out. April, 2011.


Moving Pictures Magazine


  • Reviews: Tony, One Piece at a Time, and Breathless. April, 2010.


Spring 2022
Course Number Course Title
FMS 394 Special Topics
Fall 2021
Course Number Course Title
FMS 394 Special Topics
Spring 2021
Course Number Course Title
FMS 394 Special Topics
Fall 2020
Course Number Course Title
FMS 394 Special Topics
Spring 2020
Course Number Course Title
FMS 394 Special Topics
Fall 2019
Course Number Course Title
FMS 394 Special Topics
Spring 2019
Course Number Course Title
FMS 394 Special Topics
Fall 2018
Course Number Course Title
FMS 394 Special Topics
Spring 2018
Course Number Course Title
FMS 351 Emerging Digital Media
FMS 394 Special Topics
Fall 2017
Course Number Course Title
FMS 351 Emerging Digital Media
FMS 394 Special Topics

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