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Dissertations

Listed by year of graduation

• Dissertation: " Aluminum Lesbians: Recycling Lesbian Legacy in Classical Hollywood"
• Chair: Mark Lynn Anderson (English)
• Readers: Jules Gill-Peterson (English), Nancy Glazener (English), David Pettersen (French & Italian)
• Dissertation: " Process over Product: Kinesthetic Cinema, Sporting Bodies, and Media Milieux"
• Readers: Randall Halle (German), Adam Lowenstein (English), Neepa Majumdar (English)
• Dissertation: White Design: Engineering the Visualization of Race and Racism in Social Media
• Chair: Jinying Li (English) & Zachary Horton (English)
• Readers: Mark Lynn Anderson (English), Brenton Malin (Communication), Elizabeth Reich (English)
• Dissertation: From Women's Cinema to Women's Horror Cinema: Genre and Gender in the Twenty-First Century
• Chair: Adam Lowenstein (English)
• Readers: Lucy Fischer (English), Neepa Majumdar (English), David Pettersen (French & Italian)
• Dissertation: Soviet Tableau: Cinema and History under Late Socialism (1953-1985)
• Chair:  Nancy Condee  (Slavic)
• Readers:   David Birnbaum  (Slavic),   Randall Halle  (German),  Neepa Majumdar  (English),  Marcia Landy  (English),  Vladimir Padunov  (Slavic),  Dan Morgan  (Cinema and Media Studies, University of Chicago)
• Dissertation:  Cinema in Fragments: Transmediating Popular Hindi Cinema on Small Screens
• Chair: Neepa Majumdar (English)
• Readers: Nancy Condee (Slavic), Jinying Li (English), Aswin Punathambekar (Communication Studies, University of Michigan), Jennifer Waldron (English)
• Dissertation:  The Interstate Logic: How Networks Change the Cinematic Representation of Time and Space
• Chair:   Lucy Fischer  (English)
• Readers:  Randall Halle  (German),  Mark Lynn Anderson  (English),  Neepa Majumdar  (English)
• Dissertation:  "Quiet on Set!": Craft Discourse and Below-the-Line Labor in Hollywood, 1919-1985
• Chair:  Mark Lynn Anderson  (English)
• Readers:  Adam Lowenstein  (English),  Neepa Majumdar  (English),   Randall Halle  (German), Dana Polan (NYU),  Dan Morgan  (Cinema and Media Studies, University of Chicago)
• Dissertation:  The Matter of Identity: Digital Media, Television, and Embodied Difference
• Chair:  Jane Feuer  (English)
• Readers:  Brenton J. Malin  (Communication), Jinying Li (English),  Jennifer Waldron  (English)
• Dissertation:  The Rehearsal for Terror: Form, Trauma, and Modern Horror
• Chair:  Marcia Landy  (English)
• Readers:  Mark Lynn Anderson  (English),  Adam Lowenstein  (English),  Dan Morgan  (Cinema and Media Studies, University of Chicago)
• Dissertation:  FEEL IT ALL AROUND: ART MUSIC VIDEO, ART CINEMA, AND SPECTATORSHIP IN THE STREAMING ERA
• Chair:  Adam Lowenstein  (English)
• Readers:  Mark Lynn Anderson  (English),  Neepa Majumdar  (English),   Randall Halle  (German),   Dan Morgan  (Cinema and Media Studies, University of Chicago)
• Dissertation:  The Cinematic Animal: Animal Life, Technology, and the Moving Image
• Readers:  Neepa Majumdar  (English),   Adam Lowenstein  (English), Akira Lippit (Cinema & Media Studies, University of Southern California)
• Dissertation:  Sustaining Life During the AIDS Crisis: New Queer Cinema and the Biopic
• Readers:  Lucy Fischer  (English),   Randall Halle  (German),   Marcia Landy  (English)
• Dissertation: Pataphysical Networking: Virtuality, Potentiality and the Experimental Works of the Collège de 'Pataphysique, the Oulipo, and the Mouvement Panique
• Dissertation: "Everything new is born illegal." Historicisizing Rapid Migration through New Media Projects
• Chair: Randall Halle (German)
• Readers: Nancy Condee (Slavic), Sabine von Dirk (German), John B. Lyon (German)
• Dissertation:  Impasse in Multilingual Spaces: Politics of Language and Identity in Contemporary Francophone Contact Zones
• Chair:  David Pettersen  (French & Italian)
• Readers:  Nancy Condee  (Slavic),  Neil Doshi  (French & Italian),  Giuseppina Mecchia  (French & Italian)
• Dissertation:  Press Play: Video Games and the Ludic Quality of Aesthetic Experiences across Media
• Readers:   Randall Halle  (German), Jinying Li (English),  Neepa Majumdar  (English),  Dan Morgan  (Cinema and Media Studies, University of Chicago)
• Dissertation:  Shopping the Look: Hollywood Costume Production and American Fashion Consumption, 1960-1969
• Chair:  Neepa Majumdar  (English)
• Readers:  Mark Lynn Anderson  (English),  Jane Feuer  (English),  Brenton J. Malin  (Communication)
• Dissertation:  Another Habitat for the Muses: The Poetic Investigations of Mexican Film Criticism, 1896-1968
• Readers:  Neepa Majumdar  (English),  Adam Lowenstein  (English),  Joshua Lund  (University of Notre Dame)
• Dissertation:  Frame and Finitude: The Aporetic Aesthetics of Alain Resnais's Cinematic Modernism
• Co-Chairs:  Adam Lowenstein  (English),  Daniel Morgan  (Cinema and Media Studies, University of Chicago)
• Readers:  Neepa Majumdar  (English),  Marcia Landy  (English)

Natalie Ryabchikova

• Dissertation: The Flying Fish: Sergei Eisenstein Abroad, 1929-1932.
• Chair: Mark Lynn Anderson (Film)
• Readers: William Chase (History), Nancy Condee (Slavic), Randall Halle  (Film), Vladimir Padunov (Slavic)

Kelly Trimble

• Dissertation:  The Celebrification of Soviet Culture: State Heroes after Stalin, 2017
• Chair: Vladimir Padunov (Slavic)
• Readers: David Birnbaum (Slavic), Nancy Condee (Slavic), Randall Halle (German)
• Dissertation:  A Hidden Light: Judaism, Contemporary Israeli Film, and the Cinematic Experience
• ​Chair:   Lucy Fischer  (English)
• Readers:  Adam Lowenstein  (English),  Neepa Majumdar  (English), Adam Shear  (Religious Studies)
• Dissertation:  Global Russian Cinema in the Digital Age: The Films of Timur Bekmambetov
• ​Chair:   Nancy Condee  (Slavic)
• Readers:  Vladimir Padunov  (Slavic),  Randall Halle  (German),  Daniel Morgan  (Cinema and Media Studies, University of Chicago)
• Dissertation:  The Flying Fish: Sergei Eisenstein Abroad, 1929-1932
• ​Chair:   Vladimir Padunov  (Slavic)
• Readers:  Mark Lynn Anderson  (English),  William Chase  (History),  Nancy Condee  (Slavic),  Randall Halle  (German)

Anne Wesserling , Visiting Assistant Professor, University of North Georgia

• Dissertation: Screening Violence: Meditations on Perception in Recent Argentine Literature and Film of the Post-Dictatorship
• Chair: Daniel Balderston  (Hispanic Languages & Literature)
• Readers: John Beverley  (Hispanic Languages & Literature), Gonzalo Lamana  (Hispanic Languages & Literature), Adam Lowenstein  (English)
• Dissertation:  The British War Film, 1939-1980: Culture, History, and Genre
• Readers:  Adam Lowenstein  (English),  Colin MacCabe  (English),  David Pettersen  (French & Italian)
• Dissertation:  Unseen Femininity: Women in Japanese New Wave Cinema
• Readers:  Nancy Condee  (Slavic),  Marcia Landy  (English),  Neepa Majumdar  (English)
• Dissertation: Visualizing the Past: Perestroika Documentary Memory of Stalin-era
• Readers: Nancy Condee (Slavic), David J. Birnbaum  (Slavic), Jeremy Hicks  (Languages, Linguistics, Film)

Gavin M. Hicks

• Disseration: Soccer and Social Identity in Contemporary German Film and Media  
• Readers: John B. Lyon  (German), Sabine von Dirke (German), Clark Muenzer  (German), Gayle Rogers (English)
• Dissertation:  Film Dance, Female Stardom, and the Production of Gender in Popular Hindi Cinema
• Readers:   Lucy Fischer  (English),  Marcia Landy  (English), Ranjani Mazumdar (Cinema Studies, Jawaharlal Nehru University)
• Dissertation:  Overlooking the Evidence: Gender, Genre and the Female Detective in Hollywood Film and Television
• Readers:  Mark Lynn Anderson  (English),  Adam Lowenstein  (English),  Brenton J. Malin  (Communications)

Christopher Nielsen , Educator, Institute for Health and Socioeconomic Policy/National Nurses United

• Dissertation: Narco Realism in Contemporary Mexican and Transnational Narrative, Film, and Online Media
• Chair: Juan Duchesen-Winter (Hispanic Languages & Literature)
• Readers: John Beverley (Hispanic Languages & Literature), Joshua Lund (Hispanic Languages & Literature), Giuseppina Mecchia  (French & Italian)
• Dissertation:  New Korean Cinema: Mourning to Regeneration
• Readers: Kyung Hyun Kim (East Asian Languages and Literatures, University of California, Irvine),  Adam Lowenstein  (English),  Colin MacCabe  (English)
• Dissertation:  “Insubordinate” Looking: Consumerism, Power, Identity, and the Art of Popular (Music) Dance Movies
• Readers:  Mark Lynn Anderson  (English),   Lucy Fischer  (English),  Randall Halle  (German)
• Dissertation:  Sustaining Feminist Film Cultures: An Institutional History of Women Make Movies
• Readers:   Mark Lynn Anderson  (English),  Neepa Majumdar  (English),  Randall Halle  (German Language),  David Pettersen  (French & Italian)

Yvonne Franke , Assistant Professor of German, Midwestern State University

• Dissertation:  The Genres of Europeanization - Moving Towards the "New Heimatfilm"
• Readers: Lucy Fischer (Film), John B. Lyon (German), Sabine von Dirke (German)

Olga Kilmova ,  Visiting Lecturer, University of Pittsburgh

• Dissertation: Soviet Youth Films under Brezhnev: Watching Between the Lines
• Chair: Nancy Condee (Slavic)
• Readers: Vladimir Padunov  (Slavic), David J. Birnbaum  (Slavic), Lucy Fischer  (Communication), Alexander V. Prokhorov (Slavic)
• Dissertation:  The Toy Like Nature: On the History and Theory of Animated Motion
• Chair: Daniel Morgan
• Readers:  Marcia Landy  (English), Mark Lynn Anderson  (English), Scott Bukatman (Film & Media Studies, Stanford University)
• Dissertation:  Cinematic Occupation: Intelligibility, Queerness, and Palestine
• Readers:  Mark Lynn Anderson  (English), Troy Boone  (English), Todd Reeser (French & Italian)

Yahya Laayouni , Assistant Professor of Arabic and French, Bloomsberg University of Pennsylvania

• Dissertation: Redefining Beur Cinema: Constituting Subjectivity through Film
• Co-Chairs: Giuseppina Mecchia  (French and Italian) & Randall Halle  (German)
• Readers: Todd Reeser (French and Italian), Mohammed Bamyeh  (Sociology & Religious Studies), Neil Doshi  (French & Italian)
• Dissertation:  Image to Infinity: Rethinking Description and Detail in the Cinema
• Chair:   Marcia Landy  (English)
• Readers: Troy Boone ,  Adam Lowenstein  (English),  Colin MacCabe  (English),  Randall Halle  (German)
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• Dissertation:  Screen Combat: Recreating World War II in American Film and Media
• Readers:   Lucy Fischer  (English),  Marcia Landy  (English),  Randall Halle  (German)
• Dissertation:  Modern Kinesis: Motion Picture Technology, Embodiment, and Re-Playability in the Late Nineteenth and Early Twenty-First Centuries
• Readers:   Lucy Fischer  (English),  Adam Lowenstein  (English),  Giuseppina Mecchia  (French & Italian)
• Dissertation:  Research in the Form of a Spectacle: Godard and the Cinematic Essay
• Readers:   Lucy Fischer  (English),  Marcia Landy  (English)
• Dissertation:  Immaterial Materiality: Collecting in Live-Action Film, Animation, and Digital Games
• Readers:  Marcia Landy  (English),  Adam Lowenstein  (English),  Randall Halle  (German)
• Dissertation:  Nation, Nostalgia, and Masculinity: Clinton/Spielberg/Hanks
• Readers:  Marcia Landy  (English),  Adam Lowenstein  (English),  Brent Malin  (Communications)
• Dissertation:  Body Image: Fashioning the Postwar American
• Readers:  Jane Feuer  (English), Marianne Novy (English), Carol Stabile (English, University of Oregon)

Natalia Maria Ramirez-Lopez , 

• Dissertation: MARGINALIDAD Y VIOLENCIA JUVENIL EN MEDELLÍN Y BOGOTÁ: NARRATIVAS LITERARIAS Y FÍMICAS DE LOS AÑOS 80 Y 90 EN COLOMBIA
• Chair: Hermann Herlinghaus  (Latin American Literature, University of Freiburg)
• Readers: Aníbal Perez-Linán (Political Science), Bobby J. Chamberlain  (Hispanic Languages & Literature), Gerald Martin (Hispanic Languages & Literature)

Dawn Seckler , Associate Director of Development, Bridgeway Capital

• Dissertation: Engendering Genre: The Contemporary Russian Buddy Film
• Readers: David MacFadyen (University of California, Los Angeles), Lucy Fischer  (Film), Nancy Condee (Slavic)
• Dissertation:  The Ethnic Turn: Studies in Political Cinema from Brazil and the United States, 1960-2002
• Readers:  Adam Lowenstein  (English), Shalini Puri,  Neepa Majumdar  (English),  John Beverley  (Hispanic)
• Dissertation:  Acting Social: The Cinema of Mike Nichols
• Readers:  Mark Anderson  (English),  Marcia Landy  (English),  Colin MacCabe  (English), David Shumway (English, Carnegie Mellon University)
• Dissertation:  Ruins and Riots: Transnational Currents in Mexican Cinema
• Readers:   Lucy Fischer  (English),  Adam Lowenstein  (English),  John Beverly  (Hispanic)
• Dissertation:  The Word Made Cinematic: The Representation of Jesus in Cinema
• Readers: Troy Boone ,  Adam Lowenstein  (English), Vernell Lillie (Africana Studies)
• Dissertation:  Fathers of a Still-Born Past: Hindu Empire, Globality, and the Rhetoric of the Trikaal
• Readers: Paul Bové  (English), Ronald Judy  (English),  Nancy Condee  (Slavic)
• Dissertation:  Excavating the Ghetto Action Cycle (1991-1996): A Case Study for a Cycle-Based Approach to Genre Theory
• Readers:  Jane Feuer  (English),  Neepa Majumdar  (English), Paula Massood (Cinema and Media Studies, Brooklyn College, CUNY)
• Dissertation:  "The World Goes One Way and We Go Another": Movement, Migration, and Myths of Irish Cinema
• Readers:  Adam Lowenstein  (English),  Colin MacCabe  (English),  Nancy Condee  (Slavic Languages and Literatures)
• Dissertation:  The Writing on the Screen: Images of Text in the German Cinema from 1920-1949
• Readers: Paul Bové  (English),  Lucy Fischer  (English), Linda Shulte-Sasse (German, McAllister College)
• Dissertation:  Mantras of the Metropole: Geo-Televisuality and Contemporary Indian Cinema
• Readers: Paul Bové  (English); Eric Clarke (English);  Colin MacCabe  (English); M. Prasad (Film Theory, Central Institute of English and Foreign Languages, Hyderabad)
• Dissertation:  Hollywood Youth Narratives and the Family Values Campaign 1980-1992
• Readers: Troy Boone  (English),  Marcia Landy  (English), Carol Stabile (Communications)
• Dissertation:  Reading Scars: Circumcision as Textual Trope
• Chair: Philip Smith  (English)
• Readers:   Lucy Fischer  (English), Mariolina Salvatori, Greg Goekjian (Portland State University)
• Dissertation:  Dreaming in Crisis: Angels and the Allegorical Imagination in Postwar America
• Chair:  Colin MacCabe  (English)
• Readers: Ronald Judy  (English), Jonathan Arac ,  Nancy Condee  (Slavic)
• Dissertation:  Laying Down the Rules: The American Sports Film Genre From 1872 to 1960
• Readers:  Jane Feuer  (English), Moya Luckett, Carol Stabile (Communications)

Elena Prokhorova

• Dissertation: Fragmented Mythologies: Soviet TV Series of the 1970s
• Readers: Carol Stabile (Communications), Jane Feuer (English and Film), Martin Votruba (Slavic), Nancy Condee (Slavic)
• Dissertation:  Nickels and Dimes: The Movies in a Rampantly American City, 1914-1923
• Readers: Moya Luckett,  Jane Feuer , Gregory Waller (University of Kentucky)
• Dissertation:  As Far As Anyone Knows: Fetishism and the Anti-Televisual Paradoxes of Film Noir
• Readers: Valerie Krips, James Knapp, Henry Krips (Communications)

Alexander Prokhorov , Associate Professor, College of William and Mary

• Dissertation: Inherited Discourse: Stalinist Tropes in Thaw Culture
• Chair: Helena Goscilo (Slavic)
• Readers: Lucy Fischer (Film), Mark Altshuller (Slavic), Nancy Condee (Slavic), Vladimir Padunov (Slavic)
• Dissertation:  “Dig If You Will The Picture”: The Cinematic, the Black Femme, and the Image of Common Sense
• Chair:   Marcia Landy  (English)
• Readers: Paul Bové  (English),  Colin MacCabe  (English), Amy Villarejo (Cornell), Wahneema Lubiano (Duke)
• Dissertation:   French Film Criticism, Authorship, and National Culture in the Mirror of John Cassavetes’s Body, His Life, His Work
• Readers:   Marcia Landy  (English), James Knapp
• Dissertation:  In The Shadow of His Language: Language and Feminine Subjectivity in the Cinema
• Chair:   Colin MacCabe  (English)
• Readers:   Lucy Fischer  (English), Lynn Emanuel, Patrizia Lombardo (French and Italian)
• Dissertation:  Being In Control: The Ending Of The Information Age
• Chair: Paul Bové  (English)
• Readers: Jonathan Arac ,  Marcia Landy , Carol Stabile (Communications)
• Dissertation:  The Emergence of Date Rape: Feminism, Theory, Institutional Discourse, and Popular Culture
• Readers: Nancy Glazener  (English),   Lucy Fischer  (English), Carol A. Stabile (Communications)
• Dissertation:  Gender and the Politics and Practices of Representation in Contemporary British Cinema
• Readers: James Knapp,  Marcia Landy  (English),  Colin MacCabe  (English), Sabine Hake (German)
• Dissertation:  Telling the Story of AIDS in Popular Culture
• Chair:   Jane Feuer  (English)
• Readers: Eric Clarke (English),  Marcia Landy  (English), Danae Clark (Communications)
• Dissertation:  Technology, the Natural and the Other: The Case of Childbirth Representations in Contemporary Popular Culture
• Readers:  Marcia Landy  (English), Dana Polan, Iris M. Young (Graduate School of Public and International Affairs, University of Pittsburgh)
• Dissertation:  Lesbian Rule:  Cultural Criticism and the Value of Desire
• Readers: Paul Bové  (English),  Colin MacCabe  (English), Gayatri Spivak (Columbia)
• Dissertation:  Feminism, Postmodernism, and Science Fiction: Gender and Ways of Thinking Otherwise
• Chair:  Philip Smith
• Readers:  Marica Landy  (English),  Lucy Fischer  (English), Dana Polan, Tamara Horowitz (Philosophy)
• Dissertation:  Camp and the Question of Value
• Readers:   Lucy Fischer  (English),  Marcia Landy  (English), Eric Clarke (English), Janet Staiger (University of Texas–Austin)
• Dissertation:  Culture in a State of Crisis:  A Historical Construction in Cinematic Ideology in India, 1919-75
• Readers: Paul Bové  (English),  Colin MacCabe  (English), Keya Ganguly (Carnegie Mellon University)
• Dissertation:  The Ethics of Transgression: Criticism and Cultural Marginality
• Chair: Paul Bove  (English)
• Readers:   Lucy Fischer  (English),  Marcia Landy  (English), Dana Pollan, Danae Clarke
• Dissertation:  Sally Bowles: Fascism, Female Spectacle, and the Politics of Looking
• Readers:  Marcia Landy  (English), Dana Polan, Sabine Hake (German)

Home > FACULTIES > Film Studies > FILM-ETD

Film Studies Theses and Dissertations

This collection contains theses and dissertations from the Department of Film Studies, collected from the Scholarship@Western Electronic Thesis and Dissertation Repository

Theses/Dissertations from 2015 2015

The Rise of Marvel and DC's Transmedia Superheroes: Comic Book Adaptations, Fanboy Auteurs, and Guiding Fan Reception , Alex Brundige

Contemporary French Queer Cinema: Explicit Sex and the Politics of Normalization , Joanna K. Smith

Rob Zombie, the Brand: Crafting the Convergence-Era Horror Auteur , Ryan Stam

Transnational Monsters: Navigating Identity and Intertextuality in the Films of Guillermo del Toro , Sean M. Volk

Theses/Dissertations from 2014 2014

Tragedy, Ecstasy, Doom: Modernist Moods of "West Side Story" , Andrew M. Falcao

Theses/Dissertations from 2013 2013

Music, Cinema and the Representation of Africa , Natasha Callender

Clash of the Industry Titans: Marvel, DC and the Battle for Market Dominance , Caitlin Foster

The New French Extremity: Bruno Dumont and Gaspar Noé, France's Contemporary Zeitgeist , Timothy J. Nicodemo

'Subbed-Titles': Hollywood, the Art House Market and the Best Foreign Language Film Category at the Oscars , Kyle W. J. Tabbernor

Theses/Dissertations from 2012 2012

Fighting, Screaming, and Laughing for an Audience: Stars, Genres, and the Question of Constructing a Popular Anglophone Canadian Cinema in the Twenty First Century , Sean C. Fitzpatrick

New York Beat: Collaborative Video and Filmmaking in The Lower East Side and the South Bronx from 1977-1984 , Andrew G. Hicks

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Department of Film & Media UC Berkeley

Dissertations and career paths.

Eliot Bessette Dissertation: “Thinking Through Fear in Film and Haunts”

Alexandra Bush Dissertation: “Cold Storage: A Media History of the Glacier”

Jennifer Blaylock Research Associate in Cinema Studies, Bowdoin College Dissertation: “Media/Fetish: A Postcolonial Archaeology of New Media and Africa”

Dolores McElroy Lecturer, UC Berkeley Department of Film & Media Dissertation: “Passionate Failures: The Diva Onscreen”

Justin Vaccaro

Dissertation: “Human Sciences, Human Monsters: the SF-Horror Film from the 1930s to 1960s”

Fareed Ben-Youssef

Global Perspectives on Society Teaching Fellow, NYU-Shanghai Dissertation: “Visions of Power: Violence, the Law and the Post-9/11 Genre Film”

Patrick Ellis

Brittain Fellow, Georgia Tech University  Dissertation: “Aeroscopics: Spectacles of the Bird’s-Eye View”

Jennifer Pranolo

Center for Humanistic Inquiry Fellow, Amherst College  Dissertation: “Studio/World: Photography’s Other Nature”

Robert Alford

Assistant Director, Donor Relations at UCLA School of the Arts and Architecture  Dissertation:“’To Know the Words to the Music’: Spatial Circulation, Queer Discourse and the Musical”

Christopher Goetz

Assistant Professor of Cinematic Arts, University of Iowa  Dissertation: “At Home Everywhere: Empowerment Fantasies in the Domestication of Videogames”

Kristen Loutensock

Dissertation: “Genre Disorder: Autism and Narrative in American Popular Culture”

Nicholas Baer

Assistant Professor of Film Studies, University of Groeningen Dissertation: “Absolute Relativity: Weimar Cinema and the Crisis of Historicism”

Irene Chien

Assistant Professor of Media and Communication at Muhlenberg College  Dissertation: “Programmed Moves: Race and Embodiment in Fighting and Dancing Videogames”

Jonathan Haynes

Dissertation : “The Mid-Atlantic : Fantasmatic Genealogies of the French and American New Waves”

George Larkin

Chair of Filmmaking, Associate Professor, Woodbury University, Burbank, CA Dissertation: “Post-Production: The Invisible Revolution of Filmmaking”

Irina Leimbacher

Assistant Professor of Film Studies, Keene State College  Dissertation: “More Than Talking Heads: Nonfiction Testimony and Cinematic Form”

Erica Levin

Assistant Professor of History of Art, Ohio State University  Dissertation: “Social Media: The News in Experimental Film, Video Art, and Performance after 1960”

Kevin Wynter

Assistant Professor of Media Studies, Pomona College  Dissertation : “Feeling Absence: Horror in Cinema from Post War to Post-Wall”

Kris Fallon

Assistant Professor of Cinema and Digital Media, University of California, Davis  Dissertation: “Where Truth Lies: Political Documentary Film & Digital Media, 2000-2010”

Dissertation: “The Initimacy of Distance: South Korean Cinema and the Conditions of Capitalist Individuation”

Rielle Navitski

Assistant Professor of Theatre and Film Studies, University of Georgia  Dissertation: “Sensationalism, Cinema and the Popular Press in Mexico and Brazil, 1905-1930”

Damon Young

Assistant Professor of Film and Media and French, University of California, Berkeley  Dissertation: “Making Sex Public: Cinema and the Liberal Social Body”

Laura Horak

Associate Professor of Film Studies, Carleton University  Dissertation: “Girls Will Be Boys: Cross-Dressed Women and the Legitimation of American Silent Cinema”

Jennifer Malkowski

Assistant Professor of Film and Media Studies, Smith College  Dissertation: “‘Dying in Full Detail’: Mortality and Duration in Digital Documentary”

Scott Ferguson

Assistant Professor in the Department of Humanities and Cultural Studies, University of South Florida  Research Scholar, Binzagr Institute for Sustainable Prosperity  Dissertation: “Recapitulation in close-up: Ontogeny, phylogeny, and the face of evolutionary time”

Meredith Hoy

Assistant Professor of Art History and Theory, Arizona State University  Dissertation: “From Point to Pixel: A Genealogy of Digital Aesthetics”

Associate Professor, Department of Humanities and Cultural Studies, University of South Florida  Dissertation: “‘Passionate Detachment’: Technologies of Vision and Violence in American Cinema, 1967 – 1974”

Associate Professor, Media and Communications, Muhlenberg College  Dissertation: “Traveling spectators: Cinema, geography, and multiculturalism in late twentieth-century America”

Douglas Cunningham

Adjunct Professor, Professor of Humanities, BYU  Adjunct Professor of Film and Media, University of Utah  Dissertation: “Imagining Air Force identity: Masculinity, aeriality, and the films of the U.S. Army Air Forces First Motion Picture Unit”

Tung-hui Hu

Associate Professor of English, University of Michigan Postdoctoral Scholar in the Michigan Society of Fellows, and Assistant Professor of English Language and Literature, University of Michigan, 2009-2012  Dissertation: “Seeing Emptiness: Berlin, Nevada, and the Space of New Media”

Anupama Kapse

Associate Professor of Film Studies, Loyola Marymount University  Film and Media Studies, Queens College, City University of New York  Dissertation: “The moving image: melodrama and early Indian cinema 1913-1939”

Associate Professor of Critical Studies, School of Cinema, San Francisco State University Dissertation: “Life and death in the cinema of Weimar Germany, 1919-1924”

Hoang Tan Nguyen

Associate Professor of Literature and Cultural Studies, UC San Diego  Dissertation: “A view from the bottom: Asian American masculinity and sexual representation”

Scott Combs

Associate Professor of English, St. John’s University in Queens, New York City  Dissertation: “Final touches: Registering death in American cinema”

Minette Hillyer

Lecturer, Department of English, Film, Theatre, and Media Studies, Victoria University of Wellington, New Zealand  Dissertation : “Making home: Film and the modern American everyday”

Ara Osterweil

Assistant Professor, Department of English, McGill University  Dissertation: “Flesh cinema: The corporeal avant-garde 1959-1979”

Guo-Juin Hong

Associate Professor, Department of Asian and Middle Eastern Studies; Director, Program in the Arts of the Moving Image; Academic Director, Duke in LA Program; Duke University Dissertation: “Cinematograph of history: Post/colonial modernity in 1930s Shanghai and new Taiwanese cinema since 1982”

Maria St John

Associate Clinical Professor of Psychiatry, UC San Francisco; Chair, Feminist Psychology Program, New College Graduate Psychiatry Program  Dissertation: “The mammy fantasy: Psychoanalysis, race, and the ideology of absolute maternity”

Frank Wilderson

Professor, African-American Studies and Drama, UC Irvine  Dissertation: “Settler, ‘savage’, slave : cinema and the structure of U.S. antagonisms”

Dissertation: “Acoustic graffiti: The rock soundtrack in contemporary American cinema”

Domietta Torlasco

Associate Professor of Italian and Comparative Literature, Northwestern University  Dissertation: “Undoing the scene of the crime: Time and vision in Italian cinema”

Lecturer, Writing Program, University of California, Santa Barbara  Dissertation: “Beowulf in Hollywood: Popular Film as Folktale and Legend”

Catherine Zimmer

Associate Professor of English, Pace University  Dissertation : “Film on film: Self-reflexivity and moving image technology”

___________________________________________________________________________________________________

Designated Emphasis

Juan Ospina Leon (Spanish and Portuguese, 2015)

Asst. Professor of Hispanic Studies, Dept. of Modern Languages and Literatures, The Catholic University of America

Todd Barnes (Rhetoric, 2010)

Associate Professor of Literature, Ramapo College of New Jersey

Mona El-Sherif (Political Science, 2010)

Assistant Professor of Arabic, Colorado College

David Pettersen (French, 2008)

Associate Professor of Film Studies, and French Languages and Literatures, University of Pittsburgh

Elisabeth Anker (Political Science, 2007)

Associate Professor, American Studies, George Washington University

Zeynep Gürsel (Anthropology, 2007)

Associate Professor of Anthropology, Macalester College

June Hwang (German, 2007)

Associate Professor of German, University of Rochester

Rani Neutill (Ethnic Studies, 2007)

Harvard University, Committee on Degrees in History and Literature

Polina Barskova (Slavic, 2006)

Associate Professor of Russian Literature; Humanities, Arts and Cultural Studies Faculty, Hampshire College

Jane McGonigal (Performance Studies, 2006)

Games designer and researcher, lecturer, consultant

Christopher Oscarson (Scandinavian, 2006)

Associate Professor, Department of Humanities, Classics and Comparative Literature, Brigham Young University

Minh-ha T. Pham (Ethnic Studies, 2006)

Associate Professor/Faculty Fellow of Social and Cultural Analysis, Pratt institute

Andrey Shcherbenok (Rhetoric, 2006)

Three-year post-doc, Columbia University, Society of Fellows; since 2010, Fellow, Russian and Slavonic Studies, The University of Sheffield

Reid Davis (Performance Studies, 2005)

Adjunct Professor, Department of Performing Arts, Saint Mary’s College, Moraga; also works extensively as a theater director.

Deborah Shamoon (Japanese, 2005)

Associate Professor, East Asian Languages and Cultures, University of Notre Dame

Andrew Uroskie (Rhetoric, 2005)

Associate Professor, Art Department, Stony Brook University (fields of specialization: Late Modern and Contemporary Art, Photography and the Moving Image)

Christopher Caes (Slavic, 2004)

Lecturer in Polish/Acting Director, East Central European Center, Columbia University

Kirsten Cather (Japanese, 2004)

Associate Professor, Asian Studies, University of Texas, Austin

José Alaniz (Comparative Literature, 2003)

Associate Professor, Slavic Languages and Literatures, University of Washington

Jennifer Kapczynski (German, 2003)

Assistant Professor, Germanic Languages and Literatures, Washington University, St Louis

Arne Lunde (Scandinavian, 2003)

Associate Professor, The Scandinavian Section, University of California, Los Angeles

Lucia Galleno (Spanish and Portuguese, 2002)

Associate Professor, Queens University, Charlotte, North Carolina

Jared Sexton (Ethnic Studies, 2002)

Associate Professor, African American Studies and Film and Media Studies, School of Humanities, University of California, Irvine

Cari Borja (Anthropology, 2001)

Clothes designer. See Cariborja.com

Lilya Kaganovsky (Comparative Literature, 2000)

Professor of Comparative Literature, University of Illinois at Urbana-Champaign

Film and Media Studies Program

Dissertations, completed dissertations, dissertations in progress.

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ONCE UPON A TIME IN MOVIE THEATRES: HOW THE FILM INDUSTRY IS RE-WRITING ITS SCREENPLAY Master thesis in CULTURAL ECONOMICS

The outbreak of Covid-19 pandemic in the early months of 2020 unleashed a domino effect that impacted a wide variety of sectors. Among others, the film industry registered critical detriments, with thousands of cinema theatres closed around the world and film productions, major releases and some of the most important events in the field, such as festivals and awards postponed, temporarily suspended or definitively cancelled. The aim of this thesis is to outline an extensive picture of the Covid-19 effects on the world of cinema, starting from the analysis of the pre-existing challenges that were affecting the business and that have been exacerbated by the health crisis, namely the impact of digital technologies on the film value chain, the enhancement of OTT and VOD platforms and the consequent “streaming war”, the constant need for original contents, the overload of franchises and sequels and the predominance of blockbusters at the expenses of small and mid-budget productions. The research will therefore focus on film festivals that, being the quintessential node of intersection between trade and artistic interests can be regarded as an ideal “microcosm” from which to develop a reflection on cinema and the processes in which it is involved. In this respect, the analysis of the 34th edition of Il Cinema Ritrovato was deemed an emblematic case study to investigate the extent in which the outbreak of the virus impacted the industry of cinema, providing interesting insights on the implementation and management of an unprecedented festival configuration involving the co-existence of live and digital events. The study will thus highlight the pivotal role played by the pandemic hiatus in accelerating a process of change in spaces, times and means of consumption, eventually giving the opportunity to re-think the way in which audiences and professional approach and define cinema.

Related Papers

Rafael L Freire , Charlotte Orzel

The COVID-19 (SARS-CoV-2) pandemic has led to a generational crisis for film exhibition around the world. Since the pandemic began in 2019, movie theaters have been forced to close their doors temporarily or permanently, alter their modes of presentation and the parameters of the theatrical experience, and transform their operations in countless other ways. But COVID-19 is certainly not the first crisis in film exhibition, nor the only one in process locally and globally. The introduction to this special section examines the concept of crisis in the study of film exhibition and the historic and contemporary crises that have altered cinemagoing practice. It argues that these crises open opportunities for scholars to analyze a broad array of social, political, and industrial impacts that influence film exhibition and related areas of cultural and creative practice across time and space, introducing new research that employs this analytical lens.

Herwin Cabasal

Quarantine cinema emerges as a film culture and genre characterized by its offering of alternative film practice and prevalent narratives in the time of COVID-19 pandemic. This phenomenon is a result of necessary adjustments to adapt in these trying times and a critical response to the social, political, and economic issues brought by a public health crisis. The research questions that this paper sought to answer deals with both the creative process and content: (a) How did the filmmakers of quarantine cinema and organizers of quarantine film festivals, despite the inevitable constraints and challenges, resiliently respond to the imperative need to change in terms of filmmaking and film screening? (b) What are the prevalent themes and patterns in the narratives of quarantine cinema that genuinely depicted the lived experiences based on the overlapping struggles and triumphs of the Filipinos during the first year of the COVID-19 pandemic? The results indicate how quarantine cinema plays its part in sustaining art and culture amidst the virus outbreak by practicing alternative ways of film production that is limited and confined at homes and personal spaces; film aesthetics that deviate from the standardized forms, techniques, and styles; and film exhibition and events that heavily relied on social media and online platforms. Based on the recurring categories of themes in the narratives of quarantine cinema, these audiovisual productions significantly contribute to the data, proof, and collective memories that reveal how the Philippines and its people experienced the virus outbreak intended for cultural and social dialogue, criticism, and discourse.

Marijke de Valck , Antoine Damiens

As the year 2020 is slowly coming to an end, we are confronting an unprecedented crisis and witnessing what will likely be a major moment in the history of film festivals. The novel coronavirus COVID-19 provoked a pandemic of soaring proportions and the restrictive measures taken to contain the virus are heavily impacting the global festival world. This particular climate is defined by uncertainty: as such, it seems that the festival circuit is in a constant state of suspension. We do not know how long the disruption will last, to what extent we will be able to ‘go back to normal’, nor how deeply the festival world will be impacted. For those working in and for the film festival industry, the current crisis poses immediate challenges and severe risks. For those with scholarly engagement to film festivals and the industries and cinemas supported by them, the crisis offers challenges as well as opportunities to reflect on our ways of thinking about the festival ecosystem.

Zeitschrift für Medienwissenschaft

Ger Zielinski

Open-Access text with link below. On the state of film festivals under the COVID-19 pandemic 2020. Open-Media-Studies-Blog, Zeitschrift für Medienwissenschaft Link at https://mediastudies.hypotheses.org/2484

Documentary film cultures in the age of COVID-19

Anna Zoellner

Aniki: Revista Portuguesa da Imagem em Movimento

Charlotte Orzel

Interview with Jackie Brenneman and Bryan Braunlich of the National Association of Theater Owners (NATO) and The Cinema Foundation, in which they discuss their organizations’ response to the COVID-19 pandemic in defense of US cinema owners. Brenneman recounts the first three years of the pandemic, including NATO’s initial understandings and activities during the early weeks of the pandemic’s spread to the US. She details NATO’s role in government support programs, distribution challenges, and evolving industry narratives surrounding exhibition, as well as her own experiences working to assist in exhibition’s recovery. Brenneman also reflects on the broader impact of the pandemic on the industry after three years of struggle and adaptation. With Braunlich, she explains the goals, initiatives, and trajectory of The Cinema Foundation, a cross-industry organization founded in the wake of the pandemic to advocate for stakeholders across the exhibition sector.

Péter Szitás

The past two years have posed unprecedented challenges for the cultural sector as a whole, including theatres. The outbreak of the pandemic, and the restrictions imposed to contain it, turned the institutional routine on its head, placing the world of the performing arts in a dimension alien to it. Our study focuses on the internal processes that characterised theatres before, during and after the pandemic. We will illustrate how the venues have responded to the enforced closures, what they have done to preserve their communities and audiences, and whether they have acquired valuable knowledge at a level that may be applied in returning them to their former domain.

Marco Dalla Gassa

Reframing Film Festivals: Histories, Economies and Cultures is an international film studies conference organised by the Ca’ Foscari University of Venice and the Aldo Moro University of Bari, in collaboration with the the Apulia Film Commission, the Consulta Universitaria Cinema and the Associazione Italiana per le Ricerche di Storia del Cinema and is supported by the Centro Studi Apulia Film Commission, Science Gallery Venice and Hostelsclub. This double-event conference seeks to contribute to the so-called film festival studies through a series of roundtables and debates involving film critics, practitioners and scholars. In this vein, Reframing Film Festivals seeks to foster an interdisciplinary and intersectional reading of film festivals, here conceived as a historiographic “dispositive”, as cultural formations and as financial institutions. Within a single and cohesive research framework, the Ca’ Foscari strand (11-12 February) will be devoted to the critical-historic and historiographic dimension of film festivals, while at the University of Bari (25-26 March) the focus will be placed on their cultural and economic dimension.

Baltic Screen Media Review

Indrek Ibrus , Teet Teinemaa

CTC 2021 PROCEEDINGS BOOK

OKAN ORMANLI

Covid-19, a disease that transformed into a pandemic at the beginning of 2020, caused catastrophic results in the world and Turkey. There have been some restrictions on trade, education, tourism, and art. Daily life was not interrupted but some services and events that they have not primary functions (for some people) like “art” were on the verge of stopping and carried to the digital platforms. In this context, some corporations opened their archives and sometimes actual events to the public free of charge or for a certain amount of money. Art, which has always had “healing”, “mediating” and “unifying” effects, was consumed by the billions of people through digital devices. Considering art is both a sector and an industry, the unexpected phenomenon of Covid-19, which is a kind of crisis that occurs one in a hundred years and takes longer than expected, led to the temporary or permanent closure of some art and culture institutions. Due to these results, some supportive programs have...

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Dissertations / Theses on the topic 'Film production'

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Wille, Kirstin. "Film production in Cambodia conditions and structure of the Cambodian film production market, demand and supply in consideration of film genre." Erfurt Thüringisch-Kambodschan. Ges, 2009. http://www.tkgev.org/film-production-in-cambodia.html.

Kieran, Jonathan P. "For Want Of: A Punk Rock Short Film." ScholarWorks@UNO, 2015. http://scholarworks.uno.edu/td/1992.

Goksu, Emel Iraz. "Hemicellulose Based Biodegradable Film Production." Master's thesis, METU, 2005. http://etd.lib.metu.edu.tr/upload/12605940/index.pdf.

Theuer, Timothy. "Submit: A Narrative Film Production." ScholarWorks@UNO, 2005. http://scholarworks.uno.edu/td/232.

Song, Dae Hyun. "Pre-Production, Production and Post-Production on Short Film "Draw Me Invisible"." Thesis, The University of Arizona, 2014. http://hdl.handle.net/10150/321962.

Carter-Hansen, Jill, University of Western Sydney, and of Performance Fine Arts and Design Faculty. "Travelling light - with a case for discovery : the making of the film Songs of the Immigrant Bride." THESIS_FVPA_XXX_CarterHansen_J.xml, 1997. http://handle.uws.edu.au:8081/1959.7/680.

Harmon, Joseph C. "The Cuddle Club." ScholarWorks@UNO, 2015. http://scholarworks.uno.edu/td/1970.

Thomas, M. "Gelatin film formation related to capsule production." Thesis, Cardiff University, 1986. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.372355.

BREA, JOANA DE OLIVEIRA. "SUBTLE RESISTANCIES: FILM CREATION AND PRODUCTION INSTANCIES." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2008. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=12940@1.

Vales, Marcela. "The Golden Ring: A Narrative Film Production." ScholarWorks@UNO, 2005. http://scholarworks.uno.edu/td/285.

Gooch, Sara Anne. "Mediating the mill: steel production in film." Diss., University of Iowa, 2012. https://ir.uiowa.edu/etd/2879.

Stratton, Sabra. "Get Out of My Hair." Scholarship @ Claremont, 2017. http://scholarship.claremont.edu/scripps_theses/978.

Lange, Shara K. "Documentary Production & Documentary Problems." Digital Commons @ East Tennessee State University, 2012. https://dc.etsu.edu/etsu-works/3666.

Raymond, Mark C. "Going In circles." ScholarWorks@UNO, 2014. http://scholarworks.uno.edu/td/1938.

Cheng, Alexandra. "TERMS: A Short Film." Scholarship @ Claremont, 2018. http://scholarship.claremont.edu/cmc_theses/1807.

Ho, Isabella Mei-yu. "The BFI and film production : a history of policy and practice from the Experimental Film Fund to the Production Board." Thesis, University of Exeter, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.437470.

Xing, Zishuo. "Unfolding the Spectrum of Emotions." Scholarship @ Claremont, 2019. https://scholarship.claremont.edu/scripps_theses/1243.

Merz, Caroline. "Why not a Scots Hollywood? : fiction film production in Scotland, 1911-1928." Thesis, University of Edinburgh, 2016. http://hdl.handle.net/1842/22054.

CASEIRO, IGOR AJUZ DE ABREU. "APPLICATIONS OF RFID IN A FILM PRODUCTION COMPANY." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2011. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=18171@1.

Nozaic, Claire. "An introduction to audio post-production for film." Thesis, Stellenbosch : Stellenbosch University, 2006. http://hdl.handle.net/10019.1/17405.

El, Khachab Chihab. "Technology, labor, and mediation in Egyptian film production." Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:3968411a-84aa-4478-887b-b2c59be71522.

Mynatt, Trenton T. "Splitting Maul." ScholarWorks@UNO, 2016. http://scholarworks.uno.edu/td/2176.

McNamee, Robert V. "Writing for film : the role of the Production Board of the British Film Institute." Thesis, University of Oxford, 1994. https://ora.ox.ac.uk/objects/uuid:bf4bcf2d-4120-4c59-a196-05d9f771a9dc.

Crockett, Emmett J. III. "Timelocked: A Thesis." ScholarWorks@UNO, 2019. https://scholarworks.uno.edu/td/2600.

Ationu, A. "Comparison of fixed Acetobacter film fermenter systems." Thesis, University of Strathclyde, 1986. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.382281.

Beaudet, Madison. "Can the Good Man Be Happy? The Production of "Beyond Memory"." ScholarWorks@UNO, 2016. http://scholarworks.uno.edu/td/2129.

Meiser, Cory. "Documentary Film: Love's Story." Thesis, University of North Texas, 2006. https://digital.library.unt.edu/ark:/67531/metadc5312/.

Norwood, Tracy L. "The Blanket of the Dark." ScholarWorks@UNO, 2017. http://scholarworks.uno.edu/td/2389.

Ziemsen, Eva. "Developing a learning model for teaching film production online." Thesis, University of British Columbia, 2017. http://hdl.handle.net/2429/63862.

Holtmeier, Matthew. "The modern political film : biopolitical production and cinematic subjectivity." Thesis, University of St Andrews, 2013. http://hdl.handle.net/10023/3624.

Mulligan, Talley. "Lekhost a Tize: An Experiment in Film Production Methodology." ScholarWorks@UNO, 2003. http://scholarworks.uno.edu/td/46.

Barquinha, Pedro. "Transparent oxide thin-film transistors: production, characterization and integration." Doctoral thesis, Faculdade de Ciências e Tecnologia, 2010. http://hdl.handle.net/10362/5380.

Kaimal, Kiren G. "Light: Journey of a Lifetime." ScholarWorks@UNO, 2008. http://scholarworks.uno.edu/td/709.

Mackay, Jem. "www.swarmtv.net : non-hierarchy through open source approaches to distributed filmmaking." Thesis, University of the Arts London, 2015. http://ualresearchonline.arts.ac.uk/8756/.

Elliott, Emma M. "Damn Spot: Navigating Emotional Trauma in the Body." Scholarship @ Claremont, 2019. https://scholarship.claremont.edu/scripps_theses/1252.

Lopez, Laura. "BAKER:THE MAKING OF AN INDEPENDENT THRILLER." Master's thesis, University of Central Florida, 2008. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/2096.

Johnson, Jeb E. Mr. "Exploring Hollywood Cinema: A Look at Cinematic Techniques and the Classical Hollywood Ideology." Digital Commons @ East Tennessee State University, 2016. https://dc.etsu.edu/honors/350.

Bentley, Christina Mitchell. ""THAT'S JUST THE WAY WE LIKE IT": THE CHILDREN'S HORROR FILM IN THE 1980'S." Lexington, Ky. : [University of Kentucky Libraries], 2002. http://lib.uky.edu/ETD/ukyengl2002t00033/00cmbthe.pdf.

Karamanlioglu, Mehlika. "Xylan-based Biodegradable And Wheat Gluten-based Antimicrobial Film Production." Master's thesis, METU, 2008. http://etd.lib.metu.edu.tr/upload/3/12609376/index.pdf.

Barcsay, Katherine Eva. "Profit and production : Jane Austen's Pride and Prejudice on film." Thesis, University of British Columbia, 2008. http://hdl.handle.net/2429/5152.

Xu, Wei Wei. "Career management : a study of the Chinese film production industry." Thesis, Kingston University, 2012. http://eprints.kingston.ac.uk/23025/.

Cliche, André. "Optimisation de la production de glace dans un film tombant." Mémoire, Université de Sherbrooke, 2005. http://savoirs.usherbrooke.ca/handle/11143/1304.

Ribera, Deborah. "(Re)Presentation: An Affective Exploration of Ethnographic Documentary Film Production." Bowling Green State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1428658018.

Costello, Anthony John. "Lost nights." Thesis, 2014. http://hdl.handle.net/2152/26369.

Lee, Yun-ping, and 李芸萍. "An Observation on Taiwan Independent Film Production──A Case Study of HMC Film Productions." Thesis, 1999. http://ndltd.ncl.edu.tw/handle/08057077932501480217.

Theuer, Timothy Louis. "Submit a narrative film production /." 2005. http://louisdl.louislibraries.org/u?/NOD,207.

Irvine, Andrew Robert. "Plus/minus." Thesis, 2014. http://hdl.handle.net/2152/26417.

KYAWK, DAD YIN, and 趙德胤. "Low-Cost Independent Digital Film Production." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/21495567688747565685.

Kaeja, Allen. "Transcending media : adapting the dance production 'Asylum of Spoons' from stage to film /." 2009. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:MR51545.

Edwards, Timothy Serpell. "Pō." Thesis, 2014. http://hdl.handle.net/2152/26357.

Two win Chancellor's Award for Excellence

Keunpyo (Root) Park, an associate professor of filmmaking in the Department of Theater, Film, and Digital Production, and Qixuan Wang, an assistant professor of mathematics, received the 2023-24 Chancellor’s Award for Excellence in Undergraduate Research and Creative Achievement.

Park has been on the UCR faculty for 16 years, and in 2008 created the filmmaking program at UCR; it is today’s one of UCR’s fastest-growing majors. His nomination notes Park’s role creating “more inclusive pipelines into the entertainment industry and to the lasting success of student filmmakers at UCR.”

Wang’s research is in mathematical biology, focusing on multiscale modeling of complex developmental systems. Her nomination notes repeated success co-authoring journal papers with undergraduate students, many of them female, first-generation, and representing underrepresented minorities.  The award has been presented since the 1993-94 academic year to up to two faculty members every spring, with selection by the UCR Academic Senate. Each awardee receives a monetary stipend of $500. 

Related Awards

Graduate students win dissertation completion fellowship awards, psychology researcher named aaas fellow, history professor wins emory elliott award for book on native women, self-talk helps highlander take third place at uc grad slam.

Los Angeles loses ground to rivals in film and TV employment but remains the biggest player

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Los Angeles’ portion of the domestic film and TV economy shrank last year amid devastating industry struggles, but it remains by far the most powerful entertainment player in the United States.

According to the latest Otis College Report on the Creative Economy, released Thursday, the City of Angels posted a 27% share of domestic film and TV employment in 2023 — down 8% from 2022 but still way ahead of its fiercest competitor, New York, which made up 12% of the entertainment workforce.

Other U.S. production hubs lagged far behind Los Angeles. Each claiming 2% of the entertainment pie last year were Atlanta, Dallas, San Francisco, Chicago and Miami; while Nashville, Tenn., Austin, Texas, and Washington, D.C., each hovered at 1% — largely in line with where they stood 10 years ago.

Last year, the entertainment industry was hobbled by six months of overlapping strikes by the Writers Guild of America and Screen Actors Guild-American Federation of Television and Radio Artists.

Company Town

Here’s how many jobs L.A. lost during the Hollywood strikes

The Otis College of Art and Design recorded a 17% employment drop in the entertainment industry in Los Angeles during the Hollywood strikes.

Dec. 7, 2023

Additionally, the Otis report found that workers in Los Angeles County earned 50% of all wages across the domestic film and TV industry last year.

With the exception of New York — long a production stronghold — film and TV activity outside of Los Angeles was spread pretty evenly throughout other parts of the country, leading Otis College to conclude that there is no “New Hollywood” on the horizon.

The new report tracks the pivotal decade from 2013 — when Netflix launched the streaming revolution with the release of “House of Cards” — to early 2024, immediately following the Hollywood writers’ and actors’ strikes.

“Los Angeles is still the apex of the entertainment industry, but the industry itself is undergoing once-in-a-generation changes,” Patrick Adler, principal at Westwood Economics and Planning Associates, said in a statement.

“It is less dependent on film and television studios, more oriented toward online content creation, live events and gaming, and also much more technical and managerial than ever. What it means to work in Hollywood is starkly different today than even 10 years ago.”

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According to the study, film and TV currently covers about 52% of the entertainment business in Los Angeles County, coming in 12% behind 2013. Employment levels spanning film, TV, sound, broadcasting and print media — all labeled “traditional” entertainment fields by Otis — have similarly fallen roughly 9% from 2013 to 2024.

The waning prominence of film and TV coincides with a drop in production, which is still down 9% from pre-strike levels, according to the report. Film and TV employment in Los Angeles County is 19% lower than it was prior to the work stoppages — leaving thousands of writers , crew members and other entertainment workers in a state of financial and emotional distress.

Otis College previously reported that entertainment employment in the greater Los Angeles area plummeted by 17% during the overlapping writers’ and actors’ strikes.

Previous reporting by The Times illustrates that the production and employment crisis in Los Angeles predates the walkouts and can be largely attributed to an ongoing industry contraction following studios’ overspending during the streaming wars.

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As a result, film, TV, commercial and other production activity in the first quarter of 2024 was about 20% below the five-year average, according to FilmLA, a nonprofit organization that tracks on-location production in the Greater Los Angeles area.

Meanwhile, job growth in “modern” entertainment sectors — identified as software publishing, video gaming, social media, streaming, performing arts, live sports and “independent artists” — rose 53% between 2013 and 2024, Otis College reported.

The fastest-growing corner of the entertainment industry in the county is software publishing (including video games), which has jumped 149% in the last decade. Film, TV and traditional publishing are the only areas that have seen a decline.

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The report also determined that the number of college-educated workers in the Los Angeles entertainment industry increased from 46% to 68% between 2000 and 2022.

Creative and management positions accounted for 59% of entertainment jobs in 2013 and had risen to 66% by 2022. Meanwhile, the amount of manual occupations, such as transportation, cleaning, groundskeeping and construction, had declined.

Additionally, the entertainment workforce over the last decade has become more racially diverse. The share of white workers in creative fields decreased between 2013 and 2022, while employment for all other racial groups grew, the report indicates.

“My hope is that the trends identified in this study and our ongoing Otis College Report on the Creative Economy give industry leaders and policymakers insight into the needs of an evolving workforce,” Charles Hirschhorn, president of Otis College, said in a statement, “one that requires more training, investment and education than ever before.”

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Christi Carras reports on the entertainment industry for the Los Angeles Times. She previously covered entertainment news for The Times after graduating from UCLA and working at Variety, the Hollywood Reporter and CNN Newsource.

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Manhattan d.a. alvin bragg says donald trump conviction was reached “without fear or favor”, los angeles production struggling post-strike as shoot days down 8.7% in q1, filmla says.

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The dual Hollywood strikes are history, but production has been slow to return in Los Angeles , especially for television projects. The city and county’s film office said today that local on-location filming declined by 8.7% the first quarter, recording only 6,823 shoot days from January through March.

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Reality TV production dropped 18.6% in the first quarter to 1,317 shoot days, while location-heavy TV drama production dropped 5.5% and less location-heavy TV comedy production plunged by 51.5%. TV pilots — nearly none of which were made in 2023 — saw a 842.9% rise in quarterly production but yielded just 66 shoot days.

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Feature film production bucked the trend, though, rising slightly during Q1 with 634 shoot days to finish 6.6% ahead of the period in 2023.

The film office also blames runaway production, series cancellations and planned reductions in content spend as limiting industry output and work opportunities.

RELATED: Hollywood Contraction: How Writers Are Reacting To Ongoing Industrywide Cost-Cutting

“Since the first week of January, people have called FilmLA to say, ‘I am still looking for work. The phone isn’t ringing. Is the industry back?’” said FilmLA President Paul Audley. “Unfortunately, production is still slow, and things are not as they were.”

He added: “Many who weathered months without access to work and income had hoped filming would return quickly after the holidays. Production didn’t really stabilize until March, meeting our predictions while falling short of our hopes.”

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“Job seekers sometimes ask us how Shoot Days and days spent working on-location are connected to the creation of industry jobs,” FilmLA’s Audley added. “When we dug into the permit data and examined the self-reported number of cast and crew present and working on-location, we found additional evidence of the delayed return to work.”

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Miami’s Busy Telemundo Center Gears Up for the Election, Olympics and Even More Film and TV Productions

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A significant portion of the Spanish-language programming made for Latin American audiences in the U.S. emanates from a single place in Miami — Telemundo Center . Opened in 2018, it hosts everything from Telemundo’s sports and news coverage, scripted programs (“Betty en NY,” “100 Días para Enamorarnos”) and reality competition shows (“El Domo del Dinero,” “Asi se Baila”) to NBCUniversal productions including “Miley’s New Year’s Eve Party” in 2022 and 2023 and “The Katie Phang Show.”

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Spread out across 21 acres 12 miles from Miami Airport, the 500,000-square foot facility houses 15 studios, seven control rooms and 48 edit bays that collectively churn out more than 3,000 hours of content annually.

Telemundo Center also offers turnkey production facilities to third party productions, such as music videos and rehearsals for top Latina artists, live shows, movies, along with reality and sports programs for major streaming services.

It has stages ranging in size from 750 to 8,000 square feet, one of which includes a 36’ x 18’ heated pool. While not large enough to host a big budget movie shoot, the stages are accompanied by a deep array of production support services. The facility maintains a stockpile of more than 200,000 props spread out over three warehouses spanning more 115,000 square feet and 70,000 pieces of clothing stored in a single 5,000-square-foot climate-controlled warehouse. It also has hair and makeup, lighting rental and set construction departments, as well as project management and end-to-end virtual production services.

“With the green screen combined with the multi-camera system that we have here, we can do anything, whereas with the LED wall space, they have some limitations, especially when it comes to multi-camera shows,” says Treny.

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Lachanze launches production company for theater and more.

The award-winning actor and producer will look for original works to produce on Broadway and elsewhere.

By Caitlin Huston

Caitlin Huston

Business Writer

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Tony Award winner LaChanze is launching her own multimedia production company.

The company, LaChanze Productions, will seek to produce Broadway and other commercial theater projects, with an eye to original works that bring new talent to the stage. All current projects in development are plays and musicals, but the company also plans to expand into film and television as well. 

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In recent years, LaChanze has also been producing on Broadway. She served as a co-producer of Kimberly Akimbo , which won the 2023 Tony Award for best musical; TopDog/Underdog , which won the Tony for best play that same year; and this season’s Jaja’s African Hair Braiding, Here Lies Love and The Outsiders . She is also president of Black Theatre United, which has been pushing for equality and inclusion on Broadway.

“Since 2009, I have wanted a seat on the other side of the table,” LaChanze said. “As a career theater professional, I have had the good fortune to witness all aspects of what it takes to build a successful theatrical production. My love for this industry coupled with my advocacy to develop new audiences has inspired me to launch LaChanze Productions. I hope to bring a unique perspective to each project we produce, and I look forward to continuing to build this company, nurture new productions and bring on other passionate people to join me in this endeavor.”

Titles currently in development include Love Warrior, a one-man show about triumphing over trauma with Daniel “Koa” Beaty, produced with Vanessa Williams for Asé Enterprises, and Reunion at Bartersville , a whodunnit involving senior citizens, set for a private industry reading on June 13. 

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