Fall Course Catalogue - Department of Cinematic Arts - University of ...

Fall 2013 

Course Catalogue 

Department of 

CinematicArts.unm.edu

FALL 2013 Schedule 

Please check course descriptions for any applicable prerequisites or restrictions. 

This layout only shows courses housed within the department of cinematic arts. 

Monday Tuesday Wednesday Thursday Friday Saturday 

Digital Post Production Tech Intro Video STILL / MOVING Tech Intro Video EveryDay Art I + II Intro to Film 

MA 429.001 MA 111.002 MA 330/430.004 MA 111.002 MA 330/430.001 MA 210.002 

1100-1300 0900-1115 1000-1330 0900-1115 II: MA 430.002 1000-1330 

CERIA 365 CERIA 365 CERIA 365 CERIA 365 1130-1800 CTRART 2018 

CERIA 365 

Tech Intro Video Film Theory: Filmic Essay Tech Intro Video Final Cut Pro Workshop Chicano-Mexican 

MA 111.003 MA 331/431.001 MA 111.003 MA 429.006/007 Car Culture MA 330/430.003 

1400-1615 1330 - 1700 1400-1615 1500-1700 MA 330.008/430.006 1100-1430 

CERIA 365 CERIA 365 CERIA 365 CERIA 365 1330-1700 CERIA 337 

CERIA 337 

Cinema of C Chaplin Intro to Film History of Film I Int'l Horror 

MA 330.002/430.008 MA 210.001 MA 326/426.002 MA 335/435 

1730-2100 1730-2100 1730-2100 1730-2100 

CTRART 2018 CTRART 2018 CTRART 2018 CTRART 2018 

Art of Collage Intro Video Art Prod Intro Video Art Prod 16mm Filmmaking 

MA 429.002 MA 216.002 MA 216.001 MA 391.000 

1730-2100 1730-2100 1730-2100 1730-2100 

CERIA 365 CERIA 365 CERIA 365 CERIA 365 

Beyond Hollywood Intro to Screenwriting Current Trends Advanced Screenwriting 

MA 212.003 MA 324.003 MA 330.007/430.005 MA 390.001 

1730-2100 1800-2100 1730-2100 1700-2000 

CERIA 337 CERIA 337 CERIA 337 CERIA 337 

Tech Intro Video Tech Intro Video 

MA 111.004 MA 111.004 

1800-2015 1800-2015 

Woodward 138 Woodward 138

COURSES HOUSED IN OTHER DEPARTMENTS 

CREATING CHANGE 

MA 429.001 OR 429.002 

Szu-Han Ho, Catherine Harries, Andrea Polli + Molly Sturges 

Offered through Art + Art History Department with Music + 

Theater 

Saturdays, 11:00 a.m. – 4:00 pm + Arranged (3 credit hours) 

ART 350, Special Fee $98. 

COLLABORATION AND 

PARTICIPATION 

MA 429 

Molly Sturges 

Offered through Art + Art History 

Fridays 1:00pm – 4:00pm 

Special Fee $98. 

FRENCH CINEMA 

MA 330.009/430.007 

W. Putnam 

Offered through Foreign Languages 

Wednesdays 4:00pm – 6:45pm 


RUSSIAN CULTURE + FILM 

MA 339.001 

Natalia Rud 

Offered through Foreign Languages 

Tuesdays + Thursdays 2:00pm – 3:15pm 


SOCIAL TRANSFORMATION + FILM 

MA 330 

Teresa Cutler-Broyles 

Offered through Peace Studies 

SOMETIME 2:00pm – 3:15pm 


SOCIAL PROBLEMS + FILM 

MA 330.006 

Tamara Key 

Offered through Sociology 

Tuesdays + Thursdays 2:00pm – 4:30pm 


CHICANO/A CULTURE 

MA 330.005 

Jesse Aleman 

Offered through English 

Wednesdays 4:00pm – 6:30pm 

Special Fee $63.

CINEMATIC ARTS GENERAL INFO 

MAIN OFFICE: 

TO CONTACT: 277-6262, or CINEMA@UNM.EDU 

HOURS: Monday – Friday 8am – 5pm 

ADDRESS: 

LOCATION: 

CERIA Bldg. 83, Room 370 MSC04 2570; 

1 University of New Mexico; 

Albuquerque, New Mexico 87131-0001 

CERIA is north of Art & Art History and east of Northrop Hall by the lily fountain. 

We are on the third floor, and you’ll find the office to your right of the elevator in room 370. 

ACADEMIC ADVISEMENT: 

DEPARTMENT: Dr. James Stone. 277-9469, or JSTONE@UNM.EDU 

COLLEGE: CFA Main Office: 277-481, or visit them online: FINEARTS.UNM.EDU 

EQUIPMENT + PRODUCTION: 

Technical Coordinator James Roy 277-5069 JASROY@UNM.EDU 

CAGE Manager Scott Rancher 277-1171 MACAGE@UNM.EDU 

NOTE TO MEDIA ARTS MAJORS: 

Some courses described in the following pages bear two numbers (a 300- and a 400- number). When you enroll in such 

classes, please register for the number listed under Cinematic Arts “Major Study Requirements” in the UNM catalogue. 

Consult the same page and the following one for a general update on course numbers in Cinematic Arts. If you have 

questions as you register, please contact the Cinematic Arts Office at 277-6262. 

NOTE TO UNM GRADUATE STUDENTS: 

A course with an asterisk before its numeral, such as M A *430, is available for graduate credit to students enrolled in 

graduate programs; graduate-level work will be expected. It is important to have your home department pre-approve any 

coursework taken for graduate credit at this level. 

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INTRO TO FILM STUDIES 

MA 210.001 (CRN 11974) 

TERESA CUTLER-BROYLES 

Tuesdays, 5:30-9:00 p.m. 

CA 2018, Special Fee $63. 

MA 210.002 (CRN 46000) 

BECKY PETERSON 

Saturdays, 10:00a.m. – 1:30p.m. 


An overview of a century of film history and study, this course will 

feature a broad range of film types (narrative, experimental, 

documentary), as well as a range of approaches to understanding 

HISTORY, CRITICISM, THEORY COURSES 

the aesthetic and cultural significance of the medium. “INTRODUCTION 

TO FILM” IS A REQUIRED COURSE FOR CINEMATIC ARTS MAJORS AND 

MINORS; it is also a prerequisite to production courses at the 200- 

level and above, and to courses in history, criticism, and theory at 

the 300-level and above. 

BEYOND HOLLYWOOD: CINEMA OF 

EXILE AND DIASPORA 

MA 212.003 (CRN 42335) 

CAROLINE HINKLEY 

Mondays, 5:30-9:00 p.m. 

CERIA 337, Special Fee $63. 

This course examines the filmmaking of postcolonial, Third World, 

and other displaced subjects living in the West. We explore many of 

the shared themes, metaphors, and symbols of these films, among 

those alienation, displacement, journeying, nomadism, borders, 

migrancy, homelessness, nostalgia, and home-seeking. We also 

examine and discuss certain styles that characterize these films, 

many of them demonstrating fragmented, multilingual, epistolary, 

interstitial, and self-reflexive characteristics. In most of these films, 

identity is not fixed but is represented as a process of becoming and 

transformation. “BEYOND HOLLYWOOD” IS A REQUIRED COURSE FOR 

MAJORS. 

PREREQUISITE: MA 210 OR PERMISSION OF INSTRUCTOR. 

HISTORY OF FILM I: SILENT ERA 

MA 326/*426.002 (CRN 35746 and 35747) 

JAMES STONE 

Wednesdays, 5:30–9:00 p.m. 

CA 2018, Special Fee $63; 

A study of major fiction, documentary, and experimental films from 

around the world in relation to prominent artistic, social, and political 

concerns of the silent era (approximately 1890 -1930). Films from the 

US, France, England, Germany, the former USSR, and Japan are 

included in this historical survey. 

“HISTORY OF FILM” IS A REQUIRED COURSE FOR MAJORS. 


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EVERYDAY ART 

MA 330/430.001 (CRN 44126 and 44127) 

Cross-listed with RELG 347.005 (CRN 44495) 

+ PCST 340.002 (CRN 47632) 

SUSAN DEVER + CAROLINE HINKLEY 

Fridays + 2 Saturdays, 11:30-6:00 p.m. 

Ceria 365, Special Fee $63. 

DATES: AUG 23, 24 + 31; SEPT 6 + 20, OCT 4 + 18, NOV 1, 15, 22 

+ 23 

EVERYDAY ART II 

MA 430.002 (CRN 44128) 

Everyday, adjective. Ordinary, routine, common . . . brilliantly what is 

Every day, adverb. Daily, habitually, steadfastly . . . with much 

delight in discipline 

EveryDay Art, an adjectival noun adverb (or some such thing, surely). 

e.g., a good cup of tea made mindfully each morning; 

a symphony composed on paper napkins 

This is a course about cultivating art-making as a daily habit, a way 

of seeing, being, taking in, and responding to our world. With 

Tibetan Buddhist artist Chögyam Trungpa’s True Perception, plus 

the work of other Buddhist arts exemplars, accompanied by a range 

of profoundly moving moving-images, we’ll practice the techniques 

of mindfulness-awareness meditation, quieting our minds so that 

insight has means, method, and opportunity to arise. Off the 

cushion and away from our theater seats, we’ll visit sacred and 

secular sites (an all-faith exploration, from sports arenas to 

churches) to help us further experience elements that constitute the 

seeds of our in(ter)dependent studies. Individual or group projects 

may range from screenplays, critical essays, photography portfolios, 

scholarly investigations, cinematic novellas, scientific projects, to 

other quotidian and other evanescent pleasures. 

CHICANO/MEXICAN FILM AND 

LITERATURE 

MA 330/430.003 (CRN 36896 and 38228) 

STEPHANIE BECKER 

Saturdays, 11:00 - 2:30 p.m. 


This course will examine the intersections between cinema and 

cinematic prose from and about Mexico and the US Latino 

Southwest. We will read classics and newly released excerpts from 

Chicano/as and explore the complex world of family, identity, 

gender, and border politics as we watch films from both sides of the 

border. For more information about our studies, or to learn why the 

popular Chicana novelist Denise Chávez loves Mexican movie idol 

Pedro Infante, simply sign up. 

STILL / MOVING 

MA 330/*430.004 (CRN 39353 and 36949) 

CAROLINE HINKLEY 

Wednesdays, 10:00a.m. – 1:30p.m. 


This course will examine films and texts by filmmakers, 

photographers, critics, and historians who address encounters, 

intersections, and collisions of the still and moving image. There is 

an emergent dialogue occurring across disciplines particularly with 

film studies scholars, artists and interdisciplinary practitioners who 

find these cinema and photo-based migrations and mutations critical 

in the formation of post-modern film studies. In this class we will 

examine installations and exhibitions of artists who not only expose 

an audience to the intersections of the moving and still image, but 

expose cinema and photography to each other in a single work. 

Among others we will view films by Chris Marker, Patrick Keilor, 

Atom Egoyan, Rebecca Baron, Nancy Davenport who combine 

video, digital, and photographic formats to produce and blur 

traditional cinematic boundaries. 

4

CINEMA OF CHARLIE CHAPLIN 

MA 330.002/*430.008 (CRN 43366 and 43368) 

JAMES STONE 

Mondays, 5:30 - 9:00 p.m. 


Charlie Chaplin was a comic genius. Celebrated the world over, his 

“Little Tramp” remains an instantly recognizable cinematic icon. 

Chaplin’s art was intimately related to his life and times. Each week 

we will screen and discuss his most important (and funniest!) works, 

making sure to place them within a biographical and historical 

context. His life was extraordinarily dramatic. Born into a family 

wracked by poverty, mental illness, and alcoholism he grew up to 

be, perhaps, the most famous person in the world. Acclaimed for his 

unsurpassed skills as a physical comedian, he was also persecuted 

by anti-Communist forces, hounded by a scandal-hungry press, and 

driven out of the United States for his political beliefs. His cinema 

moves seamlessly between moments of frenetic slapstick, sublime 

choreography, life-and-death struggle, passionate courtship, and 

heartbreaking loss. Chaplin made art that runs the gamut of human 

experience. 

CURRENT TRENDS IN MOVING 

IMAGE ART 

MA 330.007/*430.005 (CRN 46722 and 46723) 

BRYAN KONEFSKY 

Wednesdays, 5:30pm – 9:00pm 


Moving image art represent profound artifacts of human activity that 

are both expressions of radical imagination and barometers of the 

human condition. This course will survey a wide range of undependent 

media focusing on artistic practice in the context of 

historic, cultural and political concerns. The various histories of 

moving image art raise important issues concerning the limits and 

possibilities of what a movie might be. The politics of voice, 

representation, and cultural ownership are central concepts that we 

will explore. The course will consist of screenings, readings, 

discussions, and lectures. Students will be evaluated through 

written assignments, exams, and class participation. 

PREREQUISITE: MA 210 or permission of instructor. 

I DRIVE, THEREFORE I AM: CAR 

CULTURE AND THE SPEED OF LIGHT 

MA 330.008/*430.006 (CRN 46724 and 46725) 


Fridays, 1:30pm – 5:00pm 


“I think that cars today are almost the exact equivalent of the great 

Gothic cathedrals. (They are) the supreme creation of an era, 

conceived with passion…and consumed in image if not in usage by 

a whole population which appropriates them as a purely magical 

object.” – Roland Barthes, Paris, 1957. 

From flat heads to big blocks, the Model T to Ford’s Super Duty, the 

automobile has played an important role in the history of cinema 

and, as Roland Barthes suggests, shaping our cultural sense of self. 

This course will explore, study, deconstruct, and “unpack” a 

selection of cinematic incarnations of the automobile as both 

magical object and cultural icon. MA 330/430 will consist of 

screenings, readings, discussions, lectures and a field trip to the 

Albuquerque Dragway. Students will be evaluated through written 

assignments, exams, and class participation. 

5

FILM THEORY: THE FILMIC ESSAY 

MA 331/431-001 (CRN 38969 and 38970) 

CAROLINE HINKLEY + NINA FONOROFF 

Tuesdays, 1:30 – 5:00 p.m. 

Ceria 365, Special Fee $63; 

Students will explore major concepts in film theory and criticism 

through comparative analysis of critical essays and films of diverse 

styles. We will read and discuss the ideas of historical and 

contemporary theorists as they pertain to a variety of films screened 

in class. Themes will include cinematic realism, montage editing, the 

development of narrative, documentary, new media, animation, 

gaming, and avant-garde theories and practices in cinema; plus 

psychoanalytic, feminist, queer, phenomenological, and multicultural 

readings of films. What defines cinema as a unique art form? What 

elements connect films with our notions of reality? How do 

ideologies come to be inscribed in films? How does film resemble a 

language? These are among the questions that we will address. 

This course will provide the background for further studies in media 

history/theory, film and video making, and cultural studies. 

“Film Theory” is a required course for majors. 

Prerequisite: MA 210 or permission of instructor. 

INTERNATIONAL HORROR 

MA 335/*435.001 (CRN 46726 and 46727) 

JAMES STONE 

Thursdays, 5:30 - 9:00 p.m. 

CA 2018, Special Fee $63; 

A survey of the horror film genre from its origins in silent films 

through its contemporary instances, this course asks what it is that 

horror, as a genre, studies. Among monsters of various kinds, 

fabulous distortions of the human, what fundamental aspects of 

human existence and culture are revealed? What do we learn about 

dreams, suspense, fear, and fantasy? What is it about us that 

delights in being horrified? 


6

TECHNICAL INTRO TO VIDEO 

MA 111.002 (CRN 11972) 

JAMES ROY 

Tuesdays & Thursdays, 9:00am – 11:15am 


MA 111.003 (CRN 33109) 

JESSIE LENDERMAN 

Mondays & Wednesdays, 2:00pm – 4:15pm 


MA 111.004 (CRN 35226) 

MICHAEL KAMINS 

Tuesdays & Thursdays, 6:00pm – 8:15pm 

WOOD 138, Special Fee $88. 

Through a hands-on approach, you’ll learn the technical and 

operational foundations of video production equipment and 

procedures, becoming knowledgeable about the responsibilities and 

techniques of individual production. This studio course will take you 

through the phases of production from pre- through postproduction. 

You’ll gain awareness of the creative potential of motion 

pictures (including video and film) as art. Focusing on narrative and 

non-narrative vocabularies, we will explore the art of moving images 

as you develop your own work with in-class critiques, exercises, and 

projects. This course is a prerequisite for further courses in 

production. 

STUDIO COURSES 

INTRO TO MOVING IMAGE ART 

PRODUCTION 

MA 216.002 (CRN 29516) 


Tuesdays, 5:30 - 9:00 p.m. 

CERIA 365, Special Fee $123, 

MA 216.001 (CRN 46729) 

DEBORAH FORT 

Wednesdays, 5:30 - 9:00 p.m. 


According to artist Jean Cocteau, “film and video will only become a 

true art form when their tools are as inexpensive as pencil and 

paper.” The low cost of new digital equipment suggests that only 

now—eighty years after his prophetic statement—are we beginning 

to realize Cocteau’s dream. This introductory course will be 

structured as a creative laboratory where students will explore a 

variety of aesthetic and theoretical issues relating to new media 

technology and the creative process. Students will learn basic digital 

production and post-production skills through a range of 

collaborative and individual projects and exercises. 

PREREQUISITE: M A 111 AND 210 OR PERMISSION OF 

INSTRUCTOR. 

7

INTRODUCTION TO SCREENWRITING 

MA 324.003 (CRN 12169) 

(Cross-listed THEA 458.003 + ENGL 324.003) 

MATTHEW MCDUFFIE 

Tuesdays, 6:00pm – 9:00pm 

CERIA 337, Special Fee $63; 

An in-depth workshop on the basics of character, structure, scenes, 

dialogue, conflict, visualization, and good old story telling as it 

applies to the screenplay format. Open to variations (including 

Television, Graphic Novels, Documentary). We’ll read scenes from 

scripts, watch film clips, and write at least forty pages of an original 

screenplay. 

PREREQUISITE: ENG 224 OR PERMISSION OF INSTRUCTOR. 

ADVANCED SCREENWRITING 

MA 390.001 (CRN 30600) 

(Cross-listed with THEA 458.001 / 558.001 + ENGL 424.001) 

MATTHEW MCDUFFIE 

Thursdays, 5:00pm – 8:00pm 


This is a continuation of the introductory course. Emphasis will be on 

developing story ideas, dramatic conflict, sequencing, and scene 

work. Intense workshops will lead to a completed 120-page 

screenplay. 


16MM FILMMAKING 

MA 391-001 (CRN 41578) 

Nina Fonoroff 



This course introduces basic 16mm filmmaking techniques, with an 

emphasis on film as a creative art form. Students will be introduced 

to pre-production planning through the final edit, and will become 

familiar with both the practical and aesthetic challenges of making 

short films. Class sessions will include critiques of student work, 

technical demonstrations, screening of short films made by a variety 

of artists, and the planning and execution of a class project. Among 

the topics that are covered in the class are camerawork, lighting, film 

stocks and exposure, sound recording, editing techniques, and 

preparing the film for the lab. Students will be responsible for 

purchasing the majority of their own materials for the course; 16mm 

production costs usually run approximately $500 to $600 for the 

semester. 

Prerequisite: Permission of instructor. 

8

DIGITAL POST PRODUCTION: Hybrid 

Course 

MA 429.001 (CRN 39362) 

DEBORAH FORT 

Mondays, 11:00am – 1:00pm AND ONLINE 


Digital Post Production is designed to facilitate the expansion of the 

student’s awareness of the editing process, and to develop skills as 

an editor. We will explore a wide range of films in order to better 

understand what makes them work in terms of editing. Students will 

also develop a level of competence with the tools necessary to 

effectively practice the art of the editor. There are numerous 

programs being used by professional editors today. We will be 

working with Final Cut X, Adobe Premiere, and Avid Media 

Composer as our primary editing platforms. We will also be using 

Adobe After Effects for compositing, and animation, Speed Grade 

for color correction, Squeeze and Adobe Media Encoder for 

compression and Adobe Encore for final DVD compilation. We will 

use Adobe Photoshop (or Gimp) for developing graphic elements, 

and prepping materials for use in After Effects. The essentials of 

visual aesthetics, editing theory and post-production management 

will be addressed with all projects. Students will apply their skills in a 

variety of exercises and projects. This is a hybrid class, which means 

that half of the class is online and half of it is face to face. There are 

no specific class prerequisites for this class, though students will 

need a basic understanding of editing on both the technical and 

theoretical levels, and have the independence and maturity 

necessary for success in an online or hybrid class. 

RESTRICTED: PERMISSION OF INSTRUCTOR 

ART OF COLLAGE 

MA 429.002 (CRN 43418) 

NINA FONOROFF 

Mondays, 5:30pm – 9:00pm 


The rich history of collage, assemblage, and bricolage in twentiethcentury 

artmaking provides the backdrop of this studio practice 

course, as we explore exciting uses of “found” materials across 

several different media: paper, film, video, and sound. Students will 

work with film leaders, found footage, audio from varied sources— 

and, of course, good old-fashioned paper, scissors and glue—to 

produce a portfolio of small-scale work. Creating still images from 

moving-image work, and translating sequential still images into video 

are among the methods students may investigate. The course is 

well-suited to both beginning and advanced students who wish to 

expand the range of media they can use creatively, and who are 

interested in learning some basic techniques of digital manipulation 

using Final Cut Pro, Soundtrack Pro, and Photoshop. When time 

permits, we will also look at—and listen to—work by visual artists, 

filmmakers, and sound artists who have created resonant work with 

a collage sensibility. 

RESTRICTED: PERMISSION OF INSTRUCTOR 

FINAL CUT PRO WORKSHOP 

(TWO 8-WEEK SESSIONS, 1 CREDIT EACH) 

MA 429.006 from August 20 to October 15, 2011 (CRN 32504) 

MA 429.007 from October 15 to Dec 7, 2011 (CRN 32505) 

DANIEL GALASSINI 



This one-credit workshop will introduce students to basic techniques 

of video editing in Final Cut Pro software for the Macintosh. 

Instruction will include logging and capturing of video clips, file 

management on Firewire hard drives, arranging video and audio 

clips on the timeline, video and audio transitions, and advanced 

editing techniques. This course is highly recommended for students 

enrolled in Cinematic Arts studio courses under the MA 216 number. 

9

Dr. Stephanie Becker, who earned her doctorate from UNM’s 

Department of Spanish and Portuguese while serving as a 

Cinematic Arts TA, became an Adjunct Lecturer, uniting 

research and writing in Mexican/US Latino Studies to create 

our newest version of “Latin American Film” and Spain’s 

“Films of Almodovar.” She has extended her studies to include 

comparative analysis of gender construction and performance 

in Chicano film and literature. She is currently working on a 

comparative project in which she explores how the 'political is 

personal' in which family dysfunction mirrors political upheaval 

in films from Chile, Mexico, and Argentina. To contact, please 

email SBECKER@UNM.EDU 

Teresa Cutler-Broyles has a Master's Degree in Cultural 

Studies and Comparative Literature and is a Ph.D. candidate 

in American Studies with a focus on representation, popular 

culture, film and performance. She hosts writing workshops 

to Italy through InkWell International LLC, and teaches 

courses such as Cult Film, Middle Eastern Film, Social 

Transformation through Film, and Monsters in Film. Writing 

professionally since 1992, her work includes short fiction and 

novels, non-fiction, travel essays, book reviews, and profiles. 

To contact, please email TERESA_CUTLER@COMCAST.NET 

The subjects of Dr. Susan Dever’s sabbatical scholarship and 

practice—Eastern philosophy and film art—continue to inform 

a series of new Cinematic Arts courses in Contemplative 

Cinema and Visual Epistemologies. The ever-changing 

“EveryDay Art: Mindfulness for Moviemakers and Other 

Poets,” plus all the different iterations of “Celluloid Buddhas,” 

have garnered high marks from “group/independent study” 

students discovering, through the combined practice of 

secular sitting meditation and interdependent cinematic artmaking 

of all sorts, what it means to be an artist. Contact at 

SUSANDEV@UNM.EDU 

FALL 2013 FACULTY 

Associate Professor Nina Fonoroff’s hybrids of collage, 

painting, and musical composition from sampled sound and 

cinema have recently resulted in new variations of her wellreceived 

courses. Central to her creative process is a deep 

involvement in almost all of the phases of a film’s 

production—from scripting and shooting to editing and 

finishing of image and sound elements—enriching our 

students’ vision and skill. Most recently, Fonoroff has begun 

experimenting with hand-processing film. To contact, please 

email at NFONOROFF@AOL.COM 

The newest member of the full time faculty, Associate 

Professor Deborah Fort, is a Digital Media Artist working with 

live image synthesis, using Max/MSP/Jitter. Her experiments 

have culminated in several interactive, real-time video projects 

using a rock band drum set, among other toys and gadgets. 

Uniting filmmakers, dancers, composers, and other artists in 

her interactive, feature length documentaries and performance 

pieces, Fort is now transferring endless creative skills to 

teaching her current students in the new-for-us “Advanced 

Editing” and documentary film courses To contact, please 

email at DEBFILMS@UNM.EDU 

Daniel Gallassini originally wanted to be an architect, but 

realized that somebody makes the movies, so why not do 

that. In his 25 year career he has done special effects for 

various features, TV programs and commercials. He has been 

the Post Production Engineer at Loyola Marymount University 

in LA and the Theater Engineer for the Dynatheater at the New 

Mexico Museum of Natural History. He is currently on faculty 

at UNM and Trinity Southwest University. He is the staff 

cinematographer for the Tall el-Hammam Excavation Project, 

an archaeological project in Jordan, producing on a 

documentary on the dig. Dan is a fourth generation New 

Mexican and doesn’t know why anyone would live (or film)

anywhere else. To contact, please email at 

DGALASSINI@UNM.EDU 

Visiting Professor Caroline Hinkley (MFA, California Institute of 

the Arts; MFA Claremont Graduate School) is an 

internationally-regarded artist/scholar whose teaching and 

expositions encompass film theory, motion and still 

photography (digital and conventional), immersive spaces 

(including museums, sacred spaces, and the "elsewhere" of 

exile). Caroline has been the recipient of a WESTAF/NEA, the 

Phelan Award for excellence in Photography from the San 

Francisco Foundation. Associate Professor Hinkley has 

recently received grants from the Icelandic Visual Arts 

Association, Cill Rialaig in County Kerry, Ireland linking her 

current photographic art with on-going explorations of the 

Himalayas. In 2011 Caroline was part of a collaborative 

exhibition of Irish and American artists at the Lesley Heller 

Workspace in NYC. Please contact at CINEH@UNM.EDU 

Lecturer Bryan Konefsky is a self-taught media maker and 

self-described counter-culture worker. He is the director of 

Experiments in Cinema film festival and the president of 

Basement Films. Additionally, he serves on the board of 

advisors for the Ann Arbor Film Festival. Konefsky’s creative 

work has received numerous awards including grants from the 

National Endowment for the Arts, The Banff Centre for the 

Arts, The New Mexico Film Office, and the Trust for Mutual 

Understanding. Additionally, Konefsky has lectured 

internationally at venues such as The Bienal de la Imagen en 

Movimiento in Buenos Aires, The Smolny Institute in St. 

Petersburg Russia, The Directors Lounge in Berlin Germany, 

Dongguk University in South Korea, and Anthology Film 

Archive in New York City. To contact, please email at 

BRYANK@UNM.EDU 

Jessie Lenderman has worked as a documentarian, film editor 

and educator in New Mexico and New York in a variety of 

settings and with diverse clients. She also works as a personal 

biographer, has a background in music and has worked as an 

art curator and administratot with local non-profit 

organizations. She holds degrees in Education and filmmaking 

from Eugene Lang Collage at the New School for Social 

Research and from the College of Santa Fe. To contact, 

please email at JLENDERMAN@UNM.EDU 

Snow Balls, Professor of Practice Matt McDuffie’s new work, 

will be produced by its writer and shot in New Mexico. His 

students will now have even greater insight into the workings 

of the professional film world. To contact, please email at 

BUZZBLANCO@COMCAST.NET 

Treating his students to new experiments in the sonic world, 

Adjunct Instructor James Roy collaborated with CFA’s Master 

of Sound, Manny Rettinger, to produce four concerts in the 

Electric Ensemble’s “Live at the ARTS Lab” series. This 

semester-long project brought renowned local and national 

talent to UNM, where artists’ performances were recorded to 

CD and video-taped to DVD for distribution. To contact, 

please email at JASROY@UNM.EDU 

Assistant Professor Dr. James Stone’s British Film Institute 

research in London led to his presenting a paper at a 

conference in the Netherlands on the cinema of Michael 

Powell, soon to be published by the University of Groningen. 

Another article, “Enjoying 9/11: The Pleasures of Cloverfield,” 

was accepted for publication by Duke University’s Radical 

History Review, paving the way for a new iteration of CA’s 

“Science Fiction.” To contact, please email JSTONE@UNM.EDU 

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Fall Course Catalogue - Department of Cinematic Arts - University of ...

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