Lea Jacobs
Lea Jacobs | |
|---|---|
| Born | January 12, 1957 Passaic, New Jersey, U.S. |
| Occupation | Historian |
| Awards | Guggenheim Fellowship (2002) |
| Academic background | |
| Alma mater | |
| Thesis | Reforming the fallen woman cycle: strategies of film censorship, 1930-1940 (1986) |
| Academic work | |
| Sub-discipline | American film |
| Institutions | University of Wisconsin–Madison |
Lea Jacobs (born January 12, 1957) is an American historian of American film. A 2002 Guggenheim Fellow, she is author of The Wages of Sin (1991), Theatre to Cinema (1997), The Decline of Sentiment (2008), and Film Rhythm After Sound (2015). She is professor emerita of Film at University of Wisconsin–Madison Department of Communication Arts.[1]
Biography
Lea Jacobs was born on January 12, 1957, in Passaic, New Jersey.[2] After obtaining a BA in University of California, San Diego in 1977, she did graduate studies at the University of California, Los Angeles, obtaining an MA in 1981 and PhD in 1986.[2] Her doctoral dissertation, Reforming the fallen woman cycle: strategies of film censorship, 1930-1940,[3] was supervised by Janet Bergstrom.[4]
After working at the Rockefeller Foundation as a postdoctoral fellow from 1987 to 1988, Jacobs joined the University of Wisconsin–Madison, as an assistant professor of communication arts.[2] She was promoted to associate professor in 1994 and full professor in 1999,[2] eventually becoming a professor emerita.[1] She was a 1994 fellow of UW Madison's Institute for Research in the Humanities[2] and a 2010-2011 American Council of Learned Societies Fellow.[5] In 2013, she became associate vice-chancellor for arts and humanities at UW Madison.[5]
As an academic, Jacobs focuses on American film.[1] She has written four books: The Wages of Sin (1991) on the evolution of fallen women cinema due to Hollywood censorship;[6] Theatre to Cinema (1997; co-authored with Ben Brewster), on the relationship between stage visual effects and their early film counterparts;[7] The Decline of Sentiment (2008), on the change of values in 1920s American film;[8] and Film Rhythm After Sound (2015), on the history of film technology during the transition between silent film and sound.[9] In 2002,[10] she was awarded a Guggenheim Fellowship for "a study of the decline of sentiment in American silent film."[2] In addition to film history, she also teaches animation history at UW Madison.[1]
Bibliography
- The Wages of Sin (1991)[11][6]
- Theatre to Cinema (1997)[12][7][13][14]
- The Decline of Sentiment (2008)[15][16]
- Film Rhythm After Sound (2015)[17][18][19][20][21]
References
- ^ a b c d "Jacobs, Lea". University of Wisconsin–Madison Department of Communication Arts. Archived from the original on April 21, 2025. Retrieved August 8, 2025.
- ^ a b c d e f Reports of the President and the Treasurer. John Simon Guggenheim Memorial Foundation. 2003. p. 81.
- ^ Jacobs, Lea (1986). Reforming the fallen woman cycle: strategies of film censorship, 1930-1940 (PhD thesis). University of California, Los Angeles. OCLC 16413017.
- ^ Jacobs, Lea (1997). The Wages of Sin: Censorship and the Fallen Woman Film, 1928-1942. p. xiii.
- ^ a b "CV of Lea Jacobs" (PDF). University of Wisconsin–Madison Department of Communication Arts Arts. Retrieved August 8, 2025.
- ^ a b Koppes, Clayton R. (1992). "Film Censorship: Beyond the Heroic Interpretation". American Quarterly. 44 (4): 643–649. doi:10.2307/2713218. ISSN 0003-0678. JSTOR 2713218.
- ^ a b Carnicke, Sharon Marie (1999). "Review of Theatre to Cinema: Stage Pictorialism and the Early Feature Film". Film Quarterly. 53 (1): 59–59. doi:10.2307/3697225. ISSN 0015-1386. JSTOR 3697225.
- ^ "The Decline of Sentiment by Lea Jacobs - Paper". University of California Press. Archived from the original on February 23, 2025. Retrieved August 8, 2025.
- ^ "Professor Lea Jacobs's New Book: Film Rhythm after Sound". University of Wisconsin–Madison Department of Communication Arts. January 6, 2015. Retrieved August 8, 2025.
- ^ "Lea Jacobs". Guggenheim Fellowships. Retrieved August 8, 2025.
- ^ Kaplan, E. Ann (1994). "Review of The Wages of Sin: Censorship and the Fallen Woman Film, 1928-1942; Women Watching Television: Gender, Class, and Generation in the American Television Experience; All That Hollywood Allows: Re-Reading Gender in 1950s Melodrama". Signs. 19 (2): 550–555. ISSN 0097-9740. JSTOR 3174823.
- ^ Ames, Eric (1999). "Ben Brewster, Lea Jacobs: Theatre to Cinema. Stage Pictorialism and the Early Feature Film". MEDIENwissenschaft: Rezensionen | Reviews. doi:10.17192/ep1999.2.2975.
- ^ Shaiman, Mark (1999). "Theatre to Cinema: Stage Pictorialism and the Early Feature Film. By Ben Brewster and Lea Jacobs". Theatre Survey. 40 (2): 96–98. doi:10.1017/S0040557400003641. ISSN 0040-5574.
- ^ Waltz, Gwendolyn (2000). "Ben Brewster and Lea Jacobs, "Theatre to Cinema: Stage Pictorialism and the Early Feature Film" (Book Review)". Nineteenth Century Theatre. 28 (1): 70.
- ^ Auerbach, Jonathan (2009). "Review of The Decline of Sentiment: American Film in the 1920s". The Journal of American History. 95 (4): 1208–1209. doi:10.2307/27694666. ISSN 0021-8723. JSTOR 27694666.
- ^ Neale, Steve (2010). "Review of The Decline of Sentiment: American Film in the 1920s". Film Quarterly. 64 (1): 79–80. doi:10.1525/fq.2010.64.1.79. ISSN 0015-1386. JSTOR 10.1525/fq.2010.64.1.79.
- ^ "Recent Books in Film History". Film History. 29 (2): 192–200. 2017. doi:10.2979/filmhistory.29.2.08. ISSN 0892-2160. JSTOR 10.2979/filmhistory.29.2.08.
- ^ Jones, Kent (2015). "Get Rhythm". Film Comment. 51 (3): 78–78. ISSN 0015-119X. JSTOR 43460087.
- ^ Pipolo, Tony (2016). "Review of Film Rhythm After Sound: Technology, Music, and Performance". Cinéaste. 41 (3): 76–77. ISSN 0009-7004. JSTOR 26356446.
- ^ Shpolberg, Masha (2015). "Film Rhythm after Sound: Technology, Music, and Performance by Lea Jacobs". Film Quarterly. 68 (4): 101–102. doi:10.1525/fq.2015.68.4.101. ISSN 0015-1386. JSTOR 10.1525/fq.2015.68.4.101.
- ^ Wang, George Chun Han (2017). "Review of FILM RHYTHM AFTER SOUND: TECHNOLOGY, MUSIC, AND PERFORMANCE". Journal of Film and Video. 69 (2): 58–59. doi:10.5406/jfilmvideo.69.2.0058. ISSN 0742-4671. JSTOR 10.5406/jfilmvideo.69.2.0058.