Dr. Lorrie Palmer

Associate Professor

 Dr. Lorrie Palmer

Contact Info

Phone:
Office:
7800 York Rd. YR 232

Education

Indiana University (Ph.D.)
University of Miami (MA)
University of Missouri (BA)

Areas of Expertise

Film history, film and TV genres (action, sci-fi, horror), race and gender in media, digital aesthetics, city space in screen cultures

Biography

After an earlier incarnation as a musician in London, Lorrie Palmer returned to academia in 2004 for her graduate education and joined EMF in the fall of 2015. She has taught courses in film history, race/gender/sexuality in film and media, film and media criticism/theory/history, and film genres (horror, action). Dr. Palmer has published in peer-reviewed journal articles and anthologies on silent film actor Harold Lloyd, on the crossover stardom of Will Smith, on the digital hypermediation and hypermasculinity in the "Crank" film series, on the history of female heroism and science fiction in the "Terminator" franchise, on race and public housing in the British SF/comedy "Attack the Block," on the queered heterosexuality in career girl films of the 1950s-60s, on the link from classic Hollywood genres (the road movie and the Western) to the rural masculinity in the CW's long-running series, "Supernatural," on the female astronaut in “Gravity” and in the history of NASA, on the film noir influence and domestic-space production design in the vampire series, “Angel,” on the raced-gendered city spaces of the Eastern bazaar in the James Bond franchise, and on the diegetic digital-as-feminine FX in the action film, “Lucy.” She has presented her film and media scholarship at professional academic conferences in the US and the UK. In her teaching, research, and conference work, Dr. Palmer seeks out the relationship in narrative, aesthetics, and production contexts as they make shared meaning across both the historical film/media text and contemporary popular culture. Fun Fact: she appeared as a "Third-Class Survivor" in the 1997 James Cameron film, "Titanic" and, subsequently in Deleted Scene #29 from that epic piece of film history -- and she hopes this isn't a metaphor.