B.A., Johns Hopkins University
M.A., Ph.D., University of Wisconsin, Madison
ART 541 Media Aesthetics: Stop-Motion Animation
COMM 590 Independent Study
ENGL 337 Hollywood Stardom: Celebrity, Performance, Fandom
FILM 116 Approaches to Film & Film Criticism
FILM 162 The Afro-Brazilian Experience & Brazilian Cinema
FILM 219 Methods of Film Analysis
FILM 221 Film History II
FILM 262 Film and Representation: Cross-Cultural Projections – Asian, American, Asian-American
FILM 352 Avant-Garde & Experimental Cinema
FILM 352 Documentary
FILM 352 Melodrama
FILM 353 African-American Cinema
FILM 353 American Film Comedy: History & Theory
FILM 353 Contemporary Chinese Cinemas: Hong Kong, Taiwan, China
FILM 353 Russian & Soviet Cinema
FILM 450 Classical Film Theory
FILM 450 Film Style
FILM 454 Film Theory
FILM 479 Film Studies Internship
FILM 490 Directed Study
FILM 491 Directed Study
FILM 550 Topics
FYS 100 Comedy
FILM 352 Animation: History, Theory, Practice
FILM 376 Experimental Filmmaking
Russian & Soviet Cinema, East Asian Cinema, Documentary Film, Film Style & Analysis
Professor Bohlinger is currently working on a book titled
A Second Utopia: Soviet Film Style between Montage and Socialist Realism, 1928-1936
. This project is based on archival documents and films found in and around Moscow and examines the changing content, look, and sound of Soviet Cinema during the early years of Stalin. He is also co-editing a volume of collected essays on Soviet-era movie stars. In addition to film and television, his other interests include mind games, gardening, cooking, and carbs.
“Echoes of The 400 Blows: Ambiguous Closure in Art Cinema” [On Dorthe Scheffmann's The Beach (1995)], Short Film Studies 7, no. 1 (2016): 67-70.
“On the Malaise and Menace of a Pencil Sharpener” [On Krzysztof Kieslowski’s
Short Film Studies 5, no. 1 (April 2015): 45-48.
“‘The East is a delicate matter’: White Sun of the Desert and the Soviet Western.” In
(Re)Locating the Frontier: International Western Films, edited by Cynthia Miller and A. Bowdoin Van Riper, 373-393. Lanham: Scarecrow Press, 2014.
“Self-Reflexivity and Historical Revision in
A Moment of Innocence and
The Apple.” In
Cine-Ethics: Ethical Dimensions of Film Theory, Practice, and Spectatorship, edited by Jinhee Choi and Mattias Frey, 125-141. London: Routledge, 2014.
“The Development of Sound Technology in the Soviet Union during the First Five-Year Plan,”
Studies in Russian and Soviet Cinema 7, no. 2 (Summer 2013): 189-205.
“Engrossing? Exciting! Incomprehensible? Boring! Audience Survey Responses to Eisenstein’s
October,” Studies in Russian and Soviet Cinema 5, no. 1 (Spring 2011): 5-27.
“Arnheim on the Ontology of the Photographic Image.” In
Arnheim for Film and Media Studies, edited by Scott Higgins, 249-265. New York: Routledge, 2011.
Awards and Affiliations
Center Associate, Davis Center for Russian and Eurasian Studies, Harvard University, July 2013-June 2016
Title VIII Short-Term Grant, Kennan Institute, Woodrow Wilson International Center for Scholars, Washington, D.C., April-May 2013
Summer Research Laboratory Associate, Russian, East European, and Eurasian Center (REEEC), University of Illinois at Urbana-Champaign, June 2010
Selected Participant, National Endowment for the Humanities Faculty Research Institute “Russian and Soviet Visual Cultures, 1860-1935,” New York Public Library, June-July 2008
Social Science Research Council (SSRC) Fellowship, 2005-2006
Fulbright-Hays Fellowship, 2004-2005
Jacob K. Javits Fellowship, 1998-2002