D. A. Miller is the John F. Hotchkis Professor of English. He received his Ph.D. in Comparative Literature from Yale University in 1977 and has taught at Columbia and Harvard as well as at Berkeley, where he has been a member of the English Department since 2000. Professor Miller works in the areas of nineteenth-century fiction, film, and gay and cultural studies. His recent courses have addressed postwar European art film, queer cinema, close reading, and the work of Hitchcock, Poe, and Proust, among others. His books include 8½ (BFI, 2008); Jane Austen, or the Secret of Style (Princeton University Press, 2003); Place for Us: Essay on the Broadway Musical (Harvard University Press, 1998); Bringing Out Roland Barthes (University of California Press, 1992); and The Novel and the Police (University of California Press, 1988). Professor Miller also serves on the editorial boards of differences, Film Quarterly, and Novel: A Forum on Fiction, and writes a regular column for Film Quarterly called "Second Time Around." In 2013, he was elected a member of the American Academy of Arts and Sciences.
|Jane Austen, or The Secret of Style What is the world-historical importance of Jane Austen? An old maid writes with the detachment of a god. Here, the stigmatized condition of a spinster; there, a writer's unequalled display of absolute, impersonal authority. In between, the secret work of Austen's style: to keep at bay the social doom that would follow if she ever wrote as the person she is. For no Jane Austen could ....|
|8 1/2 Federico Fellini’s masterpiece 8 1/2 (Otto e mezzo) shocked audiences around the world when it was released in 1963 by its sheer auteurist gall. The hero, a film director named Guido Anselmi, seemed to be Fellini’s mirror image, and the story to reflect the making of 8 1/2itself. Whether attacked for self-indulgence or extolled for self-consciousness, ....|
8½, Houndmills: Palgrave Macmillan [BFI Film Classics], 2008; French translation, 2011.
Jane Austen, or The Secret of Style, Princeton, NJ: Princeton University Press, 2003.
Place for Us: Essay on the Broadway Musical, Cambridge: Harvard University Press, 1998.
Bringing Out Roland Barthes, Berkeley and Los Angeles:University of California Press, 1992.
The Novel and the Police, Berkeley and Los Angeles:University of California Press, 1988.
Narrative and its Discontents: Problems of Closure in the Traditional Novel, Princeton, NJ: Princeton University Press, 1981.
"Hitchcock's Understyle: A Too-Close View of Rope," Representations 121, Winter 2013, 1-30
“Call for Papers” [In memoriam Barbara Johnson], GLQ 17:2-3 (2011), 365-69.
"Hitchcock's Hidden Pictures," Critical Inquiry, Autumn 2010, 106-130.
“On the Universality of Brokeback Mountain,” Film Quarterly 60:3 (2007), 50-60.
"Foutre! Bougre! Ecriture!" The Yale Journal of Criticism 14:2, 2001:503-511.
"Visual Pleasure in 1959," October 81, 1997: 35-58.
"Austen’s Attitude," The Yale Journal of Criticism 8, 1995: 1-5.
"Anal Rope," Representations 32, Fall 1990: 114-133
"The Late Jane Austen," Raritan, Summer 1990: 55-79.
"Sontag’s Urbanity," October 49, Summer 1989:91-101.
"1839: Body Bildung and Textual Liberation," in A New History of French Literature, edited by Denis Hollier, Cambridge: Harvard University Press, 1989: 681-687.
Selected columns from Film Quarterly:
Berlin Alexanderplatz (Spring 2008)
Vertigo (Winter 2008-09)
The H-Man (Winter 2009-10)
Toby Dammit (Spring 2011)
Medea (Summer 2012)
"Hitchcock Touches": on Hitchcock's hidden style
|24/2||Freshman Seminar: Reading <em>Madame Bovary</em>||
|190/12||Research Seminar: The Oversexed Cinema of Pedro Almodóvar||
|190/15||Research Seminar: Alfred Hitchcock||
|173/1||The Language and Literature of Films: Italian Cinema/Italian American Cinema||
|173/101 -- discussion section||
|190/8||Research Seminar: Roland Barthes: The Critic as Artist||
|173/101||(discussion) The Language and Literature of Films||