Associate Professor of French
Ph.D., Yale University (2004)
Joseph Mai teaches all levels of French, including courses on film, poetry, and contemporary civilization, as well as in the World Cinemas Program. Professor Mai’s scholarly interests include French Film, World Cinema, Film Theory and Philosophy, and Contemporary Literature. He is the author of a widely reviewed monograph on the Belgian filmmakers Jean-Pierre and Luc Dardenne, and is currently writing a book exploring friendship and politics in the work of the Marseille filmmaker Robert Guédiguian. He has also been pursuing a number of projects in the field of animal studies and French literature. Penultimate versions of several publications can be found at the following site: https://clemson.academia.edu/JosephMai
Jean-Pierre and Luc Dardenne. Urbana: University of Illinois Press, 2010. Reviewed in: H-France, Film-Philosophy, Sight and Sound, Contemporary French Civilization, The French Review, Modern & Contemporary France, Choice
“Traces of Animals: Writing Human and Animal Lives in Olivia Rosenthal’s Que font les rennes après noël?” Forthcoming in Mosaic: A Journal for the Interdisciplinary Study of Literature (2016)
“Infinity and Home: Exploring Conscience and Action in Les misérables.” Approaches to Teaching Victor Hugo’s Les misérables.” Ed. Ginsberg, Michal and Stevens, Bradley. MLA press. Forthcoming.
Wang Bing’s ‘Til Madness Do Us Part (2013): An Apprenticeship in Seeing. LOLA (2016) http://www.lolajournal.com/6/index.html
“The Ideal of Ararat: Friendship, Politics, and National Origins in Robert Guédiguian’s Le voyage en Arménie.” in Gott, Michael and Herzog, Todd ed. East, West, and Centre: Reframing post-European Cinema Since 1989. Edinburgh: Edinburgh University Press, 2015.
“‘Humanity’s True Moral Test’: Shame, Idyll, and Animal Vulnerability in Milan Kundera’s The Unbearable Lightness of Being,” Studies in the Novel, vol. 46.1 (2014), 100-116.
The Dardennes’s Lorna's Silence: Form, viewer, and Levinas' ethical alternative, New Review of Television and Film Studies, vol. 9.4 (2011), 435-453.
Corps-Caméra: The Evocation of Touch in the Dardennes' La promesse (1996), Esprit Créateur 47.3 (2007), 133-144.
New(er) stories: Narrative and de-figuration in Robert Bresson's Mouchette (1967), Studies in French Cinema 7.1 (2007), 31-42.