About

Amy Herzog is a media historian whose research spans a broad range of interdisciplinary subjects, including film, philosophy, popular music, gender and sexuality, urban history, pornography, gentrification, parasites, amusement parks, and dioramas. She is Professor of Media Studies at Queens College and on the faculty of Film Studies, Music, and Women’s and Gender Studies at the CUNY Graduate Center. She has also taught as Visiting Associate Professor at the Lewis Center for the Arts at Princeton University.

Herzog is the author of Dreams of Difference, Songs of the Same: The Musical Moment in Film (University of Minnesota Press, 2010) and co-editor, with Carol Vernallis and John Richardson, of The Oxford Handbook of Sound and Image in Digital Media (Oxford, 2013). Her writing has appeared in journals such as Film Quarterly, Feminist Media Histories, and Millennium Film Journal, and she has presented her work at numerous venues including the Guggenheim Museum of New York, the New Museum, Dixon Place, New York Academy of Medicine, and The Morbid Anatomy Museum.

Recent Work

  • “Proximities of Violence: The Zone of Interest,” Film Quarterly 77.3 (Spring 2024), 8-21. PDF
  • “On Listening, Talking, and Silence: Reenactment as Feminist Praxis in Maria Schneider, 1983 and My Name Is Andrea,” Film Quarterly 77.1 (Fall 2023), 13-24. PDF
  • “Dark Times: Fabulation, Synchrony, and the Musical Moment Reprised.” When Music Takes Over in Film. Ed. Phil Powrie, Claus Tieber, and Anna Katharina Windisch. London: Palgrave, 2022. 15-34. PDF
  • “Control and Chaos: Cate Blanchett.” Program Essay for the 47th Chaplin Award at Film and Lincoln Center, reprinted in the Film Comment Letter. April 25, 2022, https://www.filmcomment.com/blog/control-and-chaos-cate-blanchett/
  • “On Jonas Mekas.” Millennium Film Journal 71/72 (Fall/Spring 2020): 144-151. PDF
  • “Braids tuh’da flo(w).” Black One Shot 13.1. ASAP-J (August 13, 2020). https://asapjournal.com/13-1-braids-tuhda-flow-amy-herzog/.
  • “Sylvester, ‘You Make Me Feel (Mighty Real).’” Crisis Harmonies. ASAP-J (April 2, 2020). https://asapjournal.com/sylvester-you-make-me-feel-mighty-real/.
  • “Breaking the Bubble: Mika Rottenberg’s Industrial Attractions.” Exhibition catalogue essay. Mika Rottenberg. Paris: Palais de Tokyo, 2016. 60-67 (in French); 77-83 (in English). PDF
  • “The Art of Undressing: Automation and Exposure at the Margins of Cinema.” Film, Fashion, and the 1960s. Ed. Eugenia Paulicelli, Drake Strutesman, and Louise Wallenberg. Bloomington: Indiana University Press, 2017. 34-48. PDF
  • “Assemblage, Constellation, Image: Reading Filmic Matter.” Discourse 38.2 (2016): 215-234. PDF
  • “Star Vehicle: Labor and Surface-Level Pleasures in Under the Skin.” Jump Cut 57 (Fall 2016), http://www.ejumpcut.org/currentissue/-HerzogSkin/index.html
  • “Architectures of Exchange: Feminism, Public Space, and the Politics of Vulnerability.” Feminist Media Histories, special issue on Materialisms, ed. Caetlin Benson-Allott, 1.3 (2015): 66-94. PDF
  • “Memento Mori: Reflections on the Art of the Tableau.” The Morbid Anatomy Anthology, Vol. 1. Ed. Joanna Ebenstein and Colin Dickey. New York: Morbid Anatomy Library, 2014. 48-65. PDF
  • “Architectural Fictions: Renderings, Rats, and the Virtualization of Urban Space.” Semiotic Review, special issue on Parasites, ed. Matthew Wolf-Meyer (April 2013), https://www.semioticreview.com/ojs/index.php/sr/article/view/32/32

Continue reading “Recent Work”

Programming & Curatorial

Select programming & curatorial work

Mediating the Archive (2014-2016)

The Glass House, Zoe Beloff

Led by Amy Herzog and Edward Miller, the Mediating the Archive research group (2014-2016) focused on how archival studies dovetail with the scholarly and artistic legacy of queer activism through visual art, film, digital media, and dance. Their work ensures such counter archives are a part of public discourse. The group was part of The Seminar on Public Engagement and Collaborative Research sponsored by the Center for the Humanities at the CUNY Graduate Center, and was made possible by the Andrew W. Mellon Foundation. Continue reading “Programming & Curatorial”

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