Kyle Stine specializes in film and media theory. His research and teaching take an approach at once formalist and materialist, focusing on the materiality and technical structuring of media, from films to podcasts, while lending to both critical insight and creative practice. His larger project engages questions from the philosophy of science and technology, media archaeology, new materialism, and the nonhuman turn.
Since graduating with his doctorate in film studies from the University of Iowa, he has held research fellowships at Media@McGill at McGill University in Montreal and at the Smithsonian’s Lemelson Center for the Study of Invention and Innovation in Washington, DC. His dissertation was supported by a Mellon/ACLS Dissertation Completion Fellowship and a residency at the University of Iowa’s Obermann Center for Advanced Studies.
Integrating theory and practice, his courses touch on a wide range of topics in film and media studies. He designed the first course at Johns Hopkins to focus on podcasting and continues to teach the topic in a condensed “bootcamp” format during the winter intersession, in collaboration with the Digital Media Center, and in a semester-long critical studies course emphasizing creative practice. He has taught histories of the American film industry, photography, computer animation, documentary film, and environmental cinema, as well as thematic courses in film and media theory focusing on material practice and the meaning of the hand in art and media. Recently, he has also taught courses in The Writing Seminars at Johns Hopkins, including Writers on Film and Modernist Literature and Film.
He is the coeditor of the book Media Technologies and Digital Temporality: Infrastructures of Time, under contract with Amsterdam University Press, which follows from two international conferences he co-organized in Montreal, Canada, and Siegen, Germany. His articles have appeared in Critical Inquiry, Discourse, Image and Narrative, Media Fields, and The Journal of Cinema and Media Studies (forthcoming).
He is currently working on two interrelated book projects that interrogate recent phenomena of nonhuman cinema, focusing, respectively, on the visual culture of microprocessors and on contemporary durational films and art projects.