Aaron Taylor


Associate Professor and Chair

BA (with Distinction) (English/Cinema Studies)
MA (Film Studies)
PhD (Film Studies)

Aaron Taylor is an Associate Professor and Chair of the New Media Department at the University of Lethbridge. A specialist in Film Studies, he is the author of numerous publications on film acting, American cinema, cognitive film theory, and comic books. His research projects include investigations of the psychology of screen acting, comics and superhero cinema, and the cult reception of sentimental movies.




Edited Anthologies

  • Theorizing Film Acting. New York: Routledge, 2012.


Journal Articles

  • “The Continuing Adventures of the ‘Inherently Unfilmable’ Book: Zack Snyder’s Watchmen.” Cinema Journal 56.2 (2017): 125-31.
  • “Blind Spots and Mind Games: Performance, Motivation and Emotion in the Films of Stanley ” Velvet Light Trap 77 (2016): 5-27.
  • “Avengers Dissemble! Transmedia Superhero Franchises & Cultic Management.” Journal of Adaptation in Film and Performance 7.2 (2014): 181-94.
  • “A Cannibal’s Sermon: Hannibal Lecter, Sympathetic Villainy and Moral Revaluation.” Cinema: Journal of Philosophy and the Moving Image 4 (2014). http://cjpmi.ifilnova.pt/4-contents.
  • “Uncelebrated Lives: Reflections on the Supporting Player.” Quarterly Review of Film and Video 29.2 (2012): 114-28.
  • “Angels, Stones, Hunters: Murder, Celebrity and Direct Cinema.” Studies in Documentary Film 5.1 (2011): 45-60.
  • “Twilight of the Idols: Performance, Melodramatic Villainy and Sunset Boulevard.” The Journal of Film and Video 59.2 (2007): 13-31.
  • “He’s Gotta’ Be Strong and He’s Gotta’ Be Fast and He’s Gotta’ Be Larger Than Life: Investigating the Engendered Superhero Body.” Journal of Popular Culture 40.2 (2007): 344-60.
  • “Rough Beasts Slouch Toward Bethlehem to Be Born: Eraserhead and the Grotesque Infant.” The Canadian Journal of Film Studies 55-69 (2000): 55-69.


Book Chapters

  • “Genre and Superhero Cinema.” From Panel to Frame. Ed. Barry Keith Grant and Scott Austin: University of Texas Press, 2018. In press.
  • “Fool for Love: Jean-Pierre Léaud in Stolen Kisses.” Great Performances in International Cinema. Murray Pomerance and Kyle Stevens. Edinburgh University Press, 2018. In press.
  • “Playing Peter Parker: Spider-Man and Superhero Film Performance.” Make Ours Marvel: Media Convergence and a Comics Universe. Ed. Matt Yockey. University of Texas Press, 2017. 268-96.
  • “How to See Things Differently: Tim Burton’s Reimaginings.” The Works of Tim Burton: From Margins to Mainstream. Jeffrey Weinstock. Palgrave Macmillan, 2013. 99-116.
  • “Adam Sandler, An Apologia: Anger, Arrested Adolescence, Amour Fou.” Millennial Masculinity: Men in Contemporary American Cinema. Ed. Timothy Shary. Wayne State UP, 2013. 19-51.
  • “Introduction: Acting, Casually and Theoretically Speaking.” Theorizing Film Acting. Ed. Aaron Routledge, 2012. 1-16.
  • “Thinking Through Acting: Performative Indices and Philosophical Assertions.” Acting and Performance in Moving Image Culture: Bodies, Screens, Renderings. Ed. Joerg Sternagel, Deborah Levitt, Dieter Mersch. Bielefeld: Transcript Verlag, 2012. 395-412.
  • “Playing to the Balcony: Screen Acting, Distance and Cavellian Theatricality.” Stages of Reality: Theatricality in Cinema. Ed. André Loiselle & Jeremy Maron. University of Toronto Press, 2012. 185-203.
  • “Straight Outta’ Hogtown: Sex, Drugs and Bruce McDonald.” Great Canadian Film Directors. George Melnyk. University of Alberta Press, 2007. 199-225.
  • “Everyone Wants a Piece of Pooh: Winnie, from Adaptation to Market Saturation.” Rethinking Disney: Private Control and Public Dimensions. Ed. Mike Budd. Wesleyan University Press, 2005. 181-98.


Video Essays – Co-authored


  • “Thinking Through Acting.” [in]Transition4. 22 November, 2016. Co-authored with Bryn Hewko. http://mediacommons.futureofthebook.org/intransition/2016/11/22/thinking-through-acting-performative-indices-and-philosophical-assertions.

Undergraduate Courses

  • CINE 1000 – Introduction to Film Studies
  • CINE 3000 – Contemporary American Cinema
  • CINE 3001 – Film Authorship
  • CINE 3201 – Documentary Film
  • CINE 3202 – Genre & Film Noir
  • NMED 3560 – Popular Narrative