"My teaching philosophy draws on my experience as a student at UC Berkeley, where I had the best teachers in the world, and in Paris, where I learned from the best theorists in my field. They are my mentors and my inspiration for the three cornerstones of my teaching philosophy: Passion, Commitment, Compassion. The first means engagement with the material, approaching the challenges of my subject with a sense of surprise and wonder. The second involves a commitment to learning, a commitment to each other, and a commitment to the world at large, making classroom learning relevant to life outside the classroom. And the third sees teaching and learning as a reciprocal process, a sense of community that comes from the connections we establish through education. In my teaching I strive to embody these qualities and I hope that my students, in turn, find these qualities in themselves. "

Biography

Professor Flitterman-Lewis' publications include: To Desire Differently: Feminism and the French Cinema (1st ed.; Illinois, 1990), To Desire Differently: Feminism and the French Cinema, (2nd edition; Columbia University Press, 1996), New Vocabularies in Film Semiotics (Routledge, 1992), and Essay-Chapters in 30 anthologies; articles in 36 scholarly journals. She organized Hidden Voices: Childhood, The Family, and Antisemitism in Occupation France (A symposium on daily life and material culture in France during World War II with an emphasis on the lives of children; Columbia University, Maison Francaise, April 3-4, 1998) and co-founded Camera Obscura: A Journal of Feminism and Film Theory and Discourse: Theoretical Studies in Media and Culture. Her work has been translated into French, Italian, Spanish, Korean, Chinese, Japanese, Turkish, Croatian, Russian, Basque, and German.  Her pioneering study of avant-garde French filmmaker Germaine Dulac was recognized at a major retrospective of the director's work at the Musee d'Orsay in Paris, where she was a featured speaker. She is an acknowledged international expert on the work of Chantal Akerman and Agnes Varda, two of the most important filmmakers of the 20th and 21st centuries.

• Senior Seminar: Film Theory
• Femme Fatale in Film Noir
• Film and Society
• Film Genres
• Film Melodrama
• French New Wave
• Godard/Resnais
• History/Memory/Social Conscience
• Introduction to Film
• Major Film Makers
• Renoir/Lang
• Surrealism & Cinema
• Theories of Women and Film
• World Cinema in the Cinema

• Introduction to Film
• Topics in Comparative Literature
• Women and Film

• "Mémoire, amitié et histoire dans Au revoir les enfants" Trad. Elisabeth Sauvage Callahan
  Louis Malle dans tous ses états, April 2022
• "Passion, Commitment, Compassion: Les Justes au Panthéon by Agnès Varda " 
  Camera Obscura 106.36.1, 2021
• "Memory, Friendship, and History in Au revoir les enfants"
• Site of Infamy: The Vel' d'Hiv in French Cinema"
• "Review of The Queen"
  Cineaste: America's leading magazine on the art and politics of the cinema, Spring 2007
• "Camera Obscura: Feminism, Culture, and Media Studies" 
  Camera Obscura 61.21.1, 2006
• "Review of Army of Shadows"
  Cineaste: America's leading magazine on the art and politics of the cinema, Fall 2006
• "The Spirit of Resistance: An Interview with Bertand Tavernier"
  co-authored with Richard Porton. Cineaste: America's leading magazine on the art and politics of the cinema, Spring 2003
• "The Blossom and the Bole: Narrative and Visual Spectacle in Early Film Melodrama" 
  Cinema Journal 33.3, Spring 1994
• "Fascination, Friendship, and the 'Eternal Feminine,' or the Discursive Production of (Cinematic) Desire"
  The French Review 66.6, May 1993

• Essay-Chapters in 30 anthologies; articles in 36 scholarly journals
• Hidden Voices: Childhood, the Family, and Antisemitism in Occupation France
• Kindred Spirits (Photos)
• Voyage á Paris (Photos)
• Holocaust Remembrance (Photos)