Ivone Margulies has a Phd. in Cinema Studies, New York University. Her academic research and interests include reenactment and forms of theatricality in cinema; the representation of everyday and duration in global realist cinema; cinema verité and psychodrama, French film, feminist film practice, Independent film and performance.
Ivone Margulies is the author of In Person: Reenactment in Postwar and Contemporary Cinema (OUP, 2018) an exploration of the exemplary testimonial and phenomenological dimensions of in-person reenactment. Her Nothing Happens: Chantal Akerman’s Hyperrealist Everyday (Duke UP, 1996), a comprehensive study of the work of Chantal Akerman, has come out in translation in Brazil Nada Acontece: O cinema hiper-realista de Chantal Akerman (University of Sao Paulo Press, 2016) and in Spain Nada Ocurre: el hiperrealismo cotidiano en Chantal Akerman (editorial 8mm, 2018). She edited and introduced a collection of essays Rites of Realism: Essays on Corporeal Cinema (Duke UP, 2003) reassessing the theoretical relevance of realism in film globally.
Selected publications include book chapters, journal essays and catalogue texts, some reprinted in translation in French and Portuguese: “The Changing Landscape and Rohmer’s Temptation of Architecture,” in The Films of Eric Rohmer. Ed. Leah Anderst (Palgrave, 2014); “Bazin’s Exquisite Corpses,” in Opening Bazin: Postwar Film Theory and its Afterlives. Ed. Dudley Andrew with Hervé-Joubert Laurencin. (Oxford U. Press. 2011); “The Real In-balance in Jean Rouch’s La Pyramide Humaine” in Building Bridges: The Cinema of Jean Rouch. Ed. Joram Ten Brink. (Wallflower Press. 2007); “John Cassavetes: Amateur Director” in New American Cinema. Ed. Jon Lewis); “Re-enactment and A-filiation in Andrea Tonacci’s Serras da Desordem,”; Rohmer’s Triple Agent: Theatricality, Archive and the 1930s ; La Chambre Akerman: The captive as creator. “Sacha Guitry, National Portraiture and the Artist’s Hand” French Cultural Studies 16: 3 (2005.) Chronicle of a Summer (1960) as Autocritique (1959): A Transition in the French Left,” and catalogue essays: “Little Films (Filminhos) in Close-up” Anna Maria Maiolino, Fundacció Tapiés (2010); “Stan Douglas’ Clear and Present Strangeness,” in Stan Douglas: Past Imperfect-Works 1986-2007. (Staatsgalerie Stuttgart 2007/2008). She also wrote “A Matter of Time,” liner notes for Criterion Collection DVD of Chantal Akerman’s Jeanne Dielman, 23 quai du Commerce, 1080, Bruxelles and was featured in The Art of Time by Fergus Daily and Katherine Waugh. 2009.
She has been invited to present her work in a number of academic contexts and international venues and she gave the Keynote lecture “Relatives: the Real/actor’s body in Reenactment cinema,” in “Bodies in Between: Corporeality and Visuality from Historical Avant-garde to Social Media” Babes Bolyai University, Cluj-Napoca / Romania 2014, and the lecture “The Arrow and the Firebrand: Twenty-Years-After Brazilian Cinema,” at Cinematic Temporalities conference, Berkeley University. She was featured keynote in “Return of the Real: Cinema and Contemporary thought” International symposium, Forum de Ciência e Cultura da UFRJ, Rio de Janeiro, 2009.)
Margulies has organized and collaborated in number of screenings. At Anthology Film Archives and in conjunction with the launch of her most recent book she organized the series In Person Reenactment (reviewed in The New Yorker; NY Books; The New York Times)
At Hunter and at the Graduate Center she has organized an Interdisciplinary Masterclass with Chantal Akerman, sponsored by the Arts Across the Curriculum pilot initiative in 2012; The Trial: Stages of Truth. Interdisciplinary conference on the trial, and performance at The Center for the Humanities, Graduate Center, 2007; Documenting Catharsis: a film series on War and Reckoning, CUNY Graduate Center.
In the Film and Media Studies Dept. at Hunter she teaches undergraduate courses on French and Italian Cinema; courses on selected decades—the cinema of the 1970s and 1930s as well as Women and Film and Topics in Genre: Women films of the 1940s; Cassavetes, Akerman and Robert Bresson. At the Graduate Center film Studies Certificate program she has taught courses on realism and cinema, and theatricality in film and co-taught courses in Film and Art in the 1930s. In the Integrated Media Arts MFA she has taught Visible Evidence: Realist Strategies in Film, Video and TV.