I consider the natural world alongside the history of moving-image practice as it relates to the current state of cinema. Without ever attempting to obliterate what technology now allows for in hybrid workflows, I foreground the material basis of my chosen mediums, not only as a functional timestamp but also as a conceptual and tangible means of addressing shifting aesthetics. As I move forward, I want to deepen my investigations into the ways in which people have materially and physically adjusted to the Anthropocene era, and how the natural world has responded, in turn.
CINE 2001 - Space Odysseys: Astrophys/Astronomy via Cinema/Arts
Spring 2018 / Fall 2018
Understanding representation of space in cinematic arts, as well as the underlying science. What are the political, societal, scientific and commercial motives in attempting to show our species venturing beyond Earth? These adventures highlight our hopes and fears for the future, while simultaneously clarifying contemporary anxieties. From the director G. Melies to the screenwriter B. Marling. Formerly FILM 1003.
CINE 3041 - Environmental Cinema
Interrogates how fiction and nonfiction filmmakers, writers, cinematographers, and moving-image editors have creatively responded to discoveries made In the field of environmental science. Using books by Rachel Carson and Scott MacDonald as a framework, we will examine a broad spectrum of filmmakers (e.g. Wes Anderson, Todd Haynes, Jennifer Baichwal, Bruce Conner, Percy Smith) alongside the most pressing environmental issues. Formerly FILM 3041.
CMDP 7300 - Theories of the Avant-Garde
Spring 2018 / Spring 2019
Explores various manifestations of avant-garde and experimental literature, art and media performance in the 20th century such as Cubism, Futurism, Dada, Surrealism, Theatre of the Absurd, the Situationists, Fluxus, Oulipo and others. Media forms analyzed will include manifestos, sound poetry, theatre, the novel, happenings, cinema, installation and other forms of historical avant-garde art practices.