Eve Oishi (She/her/hers, They/them/theirs) is an associate professor in Claremont Graduate University’s Cultural Studies Department. Her primary research interests include Asian American cultural studies, independent and experimental film and video, transnational media, and gender and queer theory. At CGU, Oishi offers courses in Time & Space of Cultural Studies; Transnational Media Theory; Visual Research Methods; Popular Culture; Feminist & Queer Theory; Film Theory & Criticism; Film History; and Cultural Studies, Activism, & Social Change.
Having received her PhD from Rutgers University in English Literature, Oishi focuses primarily on cinema and media studies, as they have guided her career in cultural studies. She is the recipient of a number of postdoctoral fellowships, including a Mellon Postdoctoral Fellowship and Fellow-in-Residence at the Humanities Research Institute at UC Irvine. She is also an independent film and video curator.
Oishi has published on numerous topics concerning gender studies and Asian American media. These publications include “Collective Orgasm: The Ecocyberpornography of Shu Lea Cheang” in Women’s Studies Quarterly (2007); “Screen Memories: Fakeness in Asian-American Media Practice” in F is for Phony: Fake Documentary and Truth’s Undoing (University of Minnesota Press, 2006); “Visual Perversions: Race, Sex, and Cinematic Pleasure” in Signs: Journal of Women in Culture and Society (2006); “’High-Class Fakery’: Race, Sex and Class in the Screenwriting of Winnifred Eaton (1925–1931)” in Quarterly Review of Film and Video (2006).
Oishi is working on a book-length project that examines theoretical frameworks of Asian American studies in relation to media studies.
To see some of Oishi’s works, please visit www.researchgate.net/profile/Eve_Oishi
Co-written with Marisa Hicks-Alcaraz. “Negotiating Political Identity in Community-based Film Festivals: Reflexive Perspectives from Curator/Scholar/Activists.” Forthcoming in Feminist Media Histories 5, no. 4 (Fall 2019).
“Queer Asian American Experimental Media.” In Routledge Companion to Asian American Media, edited by Vincent Pham and Lori Kido Lopez. Routledge, 2017.
“Reading Realness: Paris is Burning, Wildness, and Queer and Transgender Documentary Practice.” In A Companion to Contemporary Documentary Film, edited by Alisa Lebow and Alexandra Juhasz, 252–70. Hoboken, NJ: Wiley-Blackwell, 2015.
“I-Hotel.” In Routledge Companion to Asian American and Pacific Islander Literature and Culture, edited by Rachel Lee. London: Routledge, 2014.
“Collective Orgasm: The Ecocyberpornography of Shu Lea Cheang.” Women’s Studies Quarterly, v. 35, nos. 1&2 (spring/summer 2007).
“Screen Memories: Fakeness in Asian American Media Practice.” F is for Phony: Fake Documentary and Truth’s Undoing, edited by Alexandra Juhasz and Jesse Lerner. University of Minnesota Press, 2006.
“Visual Perversions: Race, Sex, and Cinematic Pleasure.” Signs: Journal of Women in Culture and Society 31, no. 3 (2006): 641–74.
“’High-Class Fakery’: Race, Sex and Class in the Screenwriting of Winnifred Eaton (1925–1931).” Quarterly Review of Film and Video 23, no. 1 (2006): 23–36.
Time & Space of Cultural Studies
Transnational Media Theory
Visual Research Methods
Popular Culture
Feminist & Queer Theory
Film Theory & Criticism
Film History
Cultural Studies, Activism & Social Change
Advanced Writing Workshop: MA Thesis, Dissertation Proposal, and Publishing