Dr. Rashna Wadia Richards serves as the Associate Provost at ¶¶ŇőMAX. She has primary responsibility for all matters of the academic budget, including faculty salary, staffing, and administrative operations. She oversees faculty hiring, academic space and renovations, and student success. She serves ex officio on the following committees: Academic Advising Committee, Educational Program Committee, and Technology and Academic Space Committee. The Associate Dean for Assessment and Academic Effectiveness, Registrar, Director of Health Professions Advising, Director of Pre-Legal Advising, Director of the First-Year Academic Experience, and the Entrepreneur in Residence report to her.
Dr. Richards’s teaching and research interests include American film and television. She has published three books. Her first monograph, (2013), and her co-edited collection, (2017), were published by Indiana University Press. Her third book, (2021), was published by Oxford University Press. She is currently co-editing a collection on Bollywood film remakes, which is under contract with Edinburgh University Press.
Peer-Reviewed Articles and Book Chapters
“Visualizing with New Comprehension: Mothering and Autoethnography,” in Mothers of Invention: Parenting and/as Filmmaking Practice, eds. Corinn Columpar and Sophie Mayer (Forthcoming).
“Love, Desi Style: Arranged Marriage and Transnational Mobility in Mira Nair’s The Namesake.” Canadian Journal of Film Studies 26.1 (2017): 64-80.
“Introduction: Love and Teaching, Love and Film,” For the Love of Cinema: Teaching Our Passion in and outside the Classroom, eds. Rashna Wadia Richards and David T. Johnson (Bloomington: Indiana University Press, 2017), 1-23.
“Translating Cool: Cinematic Exchange between Hong Kong, Hollywood, and Bollywood.” Transnational Film Remakes, eds. Constantine Verevis and Iain Robert Smith (Edinburgh: Edinburgh University Press, 2017), 118-129.
“(Not) Kramer vs. Kumar: The Contemporary Bollywood Remake as Glocal Masala Film.” Quarterly Review of Film and Video 28.4 (2011): 342-352.
“Unsynched: The Contrapuntal Sounds of Luis Buñuel’s L’Age d’Or.” Film Criticism 33.2 (2008-09): 23-43.
“Loose Ends: The Stuff That Movies Are Made of.” Arizona Quarterly 63.4 (2007): 83-118.
“Show-Stoppers: 1937 and the Chance Encounter with Chiffons.” Framework: The Journal of Cinema and Media 48.2 (2007): 84-110.
“So Many Fragments, So Many Beginnings, So Many Pleasures: The Neglected Detail(s) in Film Theory.” Criticism 45.2 (2003): 173-195. (Published under maiden name, Wadia)
Short Essays and Reviews
“T±đ˛ął¦łóľ±˛Ô˛µ Invasion of the Body Snatchers.” The Cine-Files 9 (2015).
“Nothingness, Spectacle, Cinema.” Film Quarterly 61.4 (2008): 92-93.
Review of Mira Nair’s The Namesake. Scope 10 (2008).
“Re-Viewing Cinephilia: The Movement and the Moment.” Politics and Culture 1 (2006).
“Humphrey Bogart,” Men and Masculinities: A Social, Cultural, and Historical Encyclopedia, eds. Michael Kimmel and Amy Aronson (Santa Barbara: ABC-CLIO, 2003), 95-96. (Published under maiden name, Wadia)
Review of Thomas Cartelli’s Repositioning Shakespeare: National Formations, Postcolonial Appropriations. Shakespeare and Renaissance Association Selected Papers 24 (2001): 77-79. (Published under maiden name, Wadia)
