Deidre Pribram

  • Why I Love Teaching at Molloy College

    Working closely with our students is a terrific pleasure.  We get to know them (and they us) extremely well. Watching their progress over a number of years is gratifying. I also enjoy my colleagues and the Communications Department enormously. The Department is going through a period of exciting growth.

  • Academic Interests
    • Film and television studies
    • Cultural studies
    • Gender theory
    • Emotion theory
  • What I am working on

    My most recent book is Emotions, Genre, Justice in Film and Television: Detecting Feeling (Routledge, 2011).  It looks at the ways emotions are depicted in films and on television shows dealing with detectives, criminals, lawyers, and so on.  For some years now, I've been pursuing research and publishing on a cultural approach to emotions.

  • Educational Philosophy

    I believe strongly in the merging of practice and theory.  For communications this means developing skills in production, whether video, public relations, or new media, as well as building a solid academic foundation in research, writing, speaking skills, and critical thinkin.

  • Educational Background
    • School of Cultural Studies, Sheffield Hallam University, England - Ph.D., 1999, Independent Film in the United States, 1980-1999
    • Tyler School of Art, Temple University, Philadelphia - M.F.A., film and video, 1988
    • University of Toronto, Toronto, Canada - Honours B.A., literature and history, 1977
  • Additional Information
    For more information on the Communications Department or its faculty, please see our website at
  • Publications/Presentations
    • Emotions, Genre, Justice in Film and Television: Detecting Feeling.  New York: Routledge, 2011. 
    • "Circulating Emotion: Race, Gender, and Genre in Crash," in Gender in Genre: Interactions in Contemporary Film Culture, ed. Christine Gledhill.  Urbana: University of Illinois, 2011.
    • "An Individual of Feeling: Emotion, Gender, and Subjectivity in Historical Perspectives on Sensibility," in Sexed Sentiments: Interdisciplinary Perspectives on Gender and Emotion, eds. W. Ruberg and K. Steenbergh.  Amsterdam and New York:  Rodopi,  2010.
    • "Mr. Monk and the Emotion-Reason Dilemma," in Mr. Monk and Philosophy: The Curious Case of the Defective Detective, ed. D. E. Wittkower.  Chicago: Open Court, 2010.
    • Co-editor, Emotions: A Cultural Studies Reader.  London: Routledge, 2009.
    •  "Cold Comfort: Emotion, Television Detection Dramas, and Cold Case," in Emotions: A Cultural Studies Reader, eds. J. Harding and E.D. Pribram.  London: Routledge, 2009.
    •  "Losing Our Cool?  Following Williams and Grossberg on Emotions," co-authored with Jennifer Harding, Cultural Studies, volume 18, number 6, November 2004.
    •  Cinema and Culture: Independent Film in the United States, 1980-2001.  New York: Peter Lang, 2002.
    • "The Power of Feeling: Locating Emotions in Culture," co-authored with Jennifer Harding, European Journal of Cultural Studies, volume 5, number 4, November 2002.
    • "Spectatorship and Subjectivity," in A Companion to Film Theory, eds. Toby Miller and Robert Stam.  Oxford: Basil Blackwell, 1999.
    • "Viewer Discretion Advised: Moral and Emotional Codes in NYPD Blue," Creative Screenwriting, volume 4, number 4, winter 1997.
    • "Sleepless in Seattle: Three Writers, Three Concepts", Creative Screenwriting, volume 3, number 4, Special Issue 1996.
    • Review Essay, "Apollo 13: Rewriting History", Creative Screenwriting, volume 3, number 1, spring 1996.
    • "M.F.E.O.: Nora Ephron's Sleepless in Seattle", co-authored with Jeanne Hall, Creative Screenwriting, volume 1, number 1, spring 1994.
    • "Institutional Power and Independent Film Funding", Afterimage, volume 21, number 1, summer 1993.
    • "Introduction" to Female Spectators: Looking at Film and Television anthologized in Women's Studies: Essential Readings, ed. Stevi Jackson.  New York: New York University Press, 1993.
    • "Seduction, Control and the Search for Authenticity:  Madonna's Truth or Dare," in The Madonna Connection: Representational Politics, Subcultural Identities and Cultural Theory, ed. C. Schwichtenberg.  Boulder, CO: Westview Press, 1992.
    • Editor and "Introduction," Female Spectators: Looking at Film and Television, London: Verso, 1988.


    • The Family Business, narrative feature film, 1997. Writer, director, editor
    • Kids Like Us: Recovering From Addiction in the Family, video, 1990. Writer, producer, director, editor
    • E de K (Elaine de Kooning), video, 1989 Writer, producer, director, editor
    • Aladar, video, 1988 Writer, producer, director, editor
    • Single Parent Families, film, 1988 Writer, producer, director, editor
    • Axis 1 Diagnosis, film, 1987 Writer, producer, director, editor

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