Chadwick Jenkins

Chadwick lives in New York City and teaches Music History and Theory at The City College of New York. He earned his doctorate in Musicology at Columbia University. He has given papers on topics ranging from 12th Century lament to Duke Ellington and early radio to the use of Wagner's music in Bugs Bunny cartoons. He has published in scholarly journals on the music of John Cage, Richard Strauss, and Wolfgang Amadeus Mozart. He has taught courses on music history, the history of rock, and the history of jazz at the University of Maryland, College Park, and Columbia University.
The Erotic Disruption of the Self in Paul Schrader’s ‘The Comfort of Strangers’

The Erotic Disruption of the Self in Paul Schrader’s ‘The Comfort of Strangers’

Paul Schrader’s The Comfort of Strangers presents the discomfiting encounter with another —someone like you—and yet entirely unlike you, mysterious to you, unknown and unknowable.

Performing Race in James Whale’s ‘Show Boat’

Performing Race in James Whale’s ‘Show Boat’

There's a song performed in James Whale's musical, Show Boat, wherein race is revealed as a set of variegated and contradictory performances, signals to others, a manner of being seen and a manner of remaining hidden, and it isn't "Old Man River".

Breaching Closure in Pasolini’s ‘Teorema’

Breaching Closure in Pasolini’s ‘Teorema’

Pier Paolo Pasolini's classic drama, Teorema, grapples with the parable -- the manner of knowing that which always remains just beyond our grasp.

What Does Water See? On Fighting as Perception in Bruce Lee’s Kung Fu Films

What Does Water See? On Fighting as Perception in Bruce Lee’s Kung Fu Films

Bruce Lee's fight scenes evoke Gestalt theory: actual perception is a response to a provocation. Consider this philosophy while watching the films in Bruce Lee: His Greatest Hits and you too can become the water.

On Infinity in Miranda July’s ‘Me and You and Everyone We Know’

On Infinity in Miranda July’s ‘Me and You and Everyone We Know’

In a strange kind of way, Miranda July's Me and You and Everyone We Know is about two competing notions of "forever" in relation to love.

We Must Not Mean What We Say: On Godard’s ‘Le Petit Soldat’

We Must Not Mean What We Say: On Godard’s ‘Le Petit Soldat’

While philosopher Stanley Cavell endeavors to show that we must mean what we say, Godard’s Bruno Forestier of Le Petit Soldat suggests that we simply cannot and must not mean what we say.

Stepping into the Phantasmagoric Otherwise with Karel Zeman

Stepping into the Phantasmagoric Otherwise with Karel Zeman

While all films project a world that might be, certain films and certain filmmakers, like Karel Zeman, come closer than others in bringing to the surface the underlying phantasmagoric essence of cinema.

“I’ll See You Later”: Repetition and Time in Pedro Almodóvar’s ‘All About My Mother’

“I’ll See You Later”: Repetition and Time in Pedro Almodóvar’s ‘All About My Mother’

There are mythical moments in Almodóvar’s All About My Mother. We are meant to register repetition in the story as something wonderfully strange, a connection across the chasm of impossibility.

Love at a Socially-Isolating Distance

Love at a Socially-Isolating Distance

In one sense, life in the time of Coronavirus clarifies an essential element of love: love always occurs at an ontological distance.

Resounding Silence and Profound Superfluity: The Actorly Camera in Jean-Pierre Melville’s ‘Un flic’

Resounding Silence and Profound Superfluity: The Actorly Camera in Jean-Pierre Melville’s ‘Un flic’

The movements of the camera in Melville's Un flic attempt to overcome one of the most inscrutable divides in existence.

No Sanctuary in the Light: The Story of Temple Drake

No Sanctuary in the Light: The Story of Temple Drake

Based on William Faulkner’s Sanctuary, The Story of Temple Drake grapples with the unbidden, unsettling force of emergent sexuality.