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Hicham Awad

Hicham Awad is a second-year graduate student in Film and Visual Studies. He explores audiovisual configurations of space and movement produced by photographic and post-photographic technologies of capture and simulation. He is invested in drawing out intersections between improvisational/experimental music and expanded/experimental cinema. Areas of focus include philosophical conceptions of space, film sound, electronic music and noise, computer-generated imagery, architecture, and aerial cinematography.

Hisham completed an MA in Aural and Visual Cultures at Goldsmiths, University of London, in 2011, and a BA in Audiovisual Directing from ALBA (Académie Libanaise des Beaux-Arts) in 2009.

He has served as Contributing Editor of Portal 9: Stories and Critical Writing about the City. His writing has been published in ArteEast Quarterly and 98editions, and his talks and presentations include "Physical Memories" at The Status of Sound: Writing Histories of Sonic Art conference (The Graduate Center, City University of New York), "The Liquid and the Arid" (Barber Shop project space, Lisbon), and "V as in Vertigo: On Disorientation in Cinema", with Basia Lewandowska Cummings, in the framework of The Dream Machine 2, at the Beirut Art Center. 


Jessica Bardsley
jessicabardsley [at] fas.harvard.edu

Jessica Bardsley is a film artist and critical writer exploring experimental non-fiction forms. Her work has screened across the U.S. and internationally at esteemed venues such CPH:DOX, Visions du Réel, Antimatter Film Festival, European Media Arts Festival, Kassel Dokfest, Rencontres Internationales Paris/Berlin/Madrid, Images Festival, Big Sky Documentary Film Festival, Rooftop Films and more. She is the recipient of a Princess Grace Award in Film (2010), a Flaherty Fellowship (2011), Director's Choice at the Black Maria Film and Video Festival (2012), Grand Prix at 25FPS (2012), and the Eileen Maitland Award at the Ann Arbor Film Festival (2013). She received an MFA in Film, Video, New Media and Animation as well as an MA in Visual and Critical Studies at the School of the Art Institute of Chicago, and is a second year PhD student in Film and Visual Studies at Harvard University. Her research and creative practice have focused on the importance of personal and cultural memory, affect, and the archival. Exploring the possibilities available to artists, filmmakers, and scholars representing the past, she is most interested in works that account for what we cannot remember, what we do not know, or the inventive role desire plays in our interpretations.


Hannah Cohen pictureHannah Cohen
hcohen [at] g.harvard.edu

Hannah Cohen is a second-year graduate student in Film and Visual Studies. She comes to Harvard from Princeton University, where she graduated with honors in 2011 with a Bachelors degree in the Study of Religion. Hannah’s interests concern the intersections of painting, experimental cinema, fashion, design and spatial practices. Recent topics of inquiry include handpainted film, performative painting and American Language Poetry. 


Olivia Crough pictureOlivia Crough

Olivia Crough is a third-year PhD student in Film and Visual Studies. Working between film theory, philosophy and history of art, and media archaeology, she takes a comparative approach to the early 20th century European avant-gardes, moving between cinema, exhibition, and artists’ books. Her main area of focus is 1920s and 1930s German and Soviet art and poetics, with an emphasis on collage, editing, landscape, and relations of medium and materiality. She completed a BA at New York University in 2013. She works on the trains between Cambridge and New York.

Dan D'Amore picture Dan D'Amore

Daniel D'Amore is a fourth-year PhD candidate in Film & Visual Studies. Previously, he attended Oberlin College, graduating with High Honors in 2009, followed by a brief parenthesis as a freelance videographer and editor. Much of his research draws on theories and philosophies of media, mediality, and space to interrogate topics such as the effects and legacies of pollution, cybernetics, and the weird in post-modern architecture, experimental and educational film, and visual culture at large. Future work might focus on the Astrodome. Dan comes from Ohio.

Brandon Evans picture T. Brandon Evans
tevans [at] fas.harvard.edu

Brandon is a fourth-year PhD student in Film and Visual Studies whose work revolves around questions of sound, space, media, visuality and aesthetics. The locus of his work is sound studies as an interdisciplinary field including sound art; architectural acoustics; soundscapes and acoustic ecology; anthropology, ethnography, and linguistics in/of sound; field recording; technology and aesthetics of sound and audiovisual media; hearing and deafness; and (of course) music.  He also is interested in the implications of “sonic thinking” and the nature of auditory experience for media theory, media archaeology, affect, interdisciplinarity, and the philosophy of history. Around all of these topics, he is also interested in art in relation to other fields of life, and how to deal with aesthetic forms and genres in scholarly practice, toward which end he occasionally produces works of sound art and field recording.  Finally, he has research interests in Punjab and the global Sikh diaspora, especially with respect to the in the place of sound in Sikhism, including the concept of Naad (the “universal sound current”) and performance of kirtan (devotional song). Brandon holds an MA in Visual and Critical Studies from the School of the Art Institute of Chicago, and a BA in Linguistics and Interdisciplinary Studies in Art/Semiotics from Georgetown University.  He enjoys being friends with dogs, playing harmonium, and studying languages that begin with the letter P (notably, Portuguese and Punjabi).

Zach Furste picture Zach Furste

Zach Furste is in his fifth year in the Film and Visual Studies PhD program. He comes to Harvard from Western Washington University in Bellingham, WA where he managed to earn a bachelors in English literature after four years of studying film, French, and philosophy. Zach's research now constellates around topics in nineteenth- and twentieth-century aesthetics and avant-garde visual culture. Drawing on approaches from film theory to media archaeology to art history, he's especially interested in questions of reappropriation, the body, and the archive as they arise in continental thought, early cinema and photography, experimental film and video, new media, and modern and contemporary art.

John Hulsey

John Hulsey is a doctoral candidate in Film and Visual Studies and Critical Media Practice. He completed his A.B. at Harvard College and his maîtrise at the Université Paris-III Sorbonne Nouvelle (Cinéma et Audio-Visuel). His research and artistic practice sit at the intersection of multiple histories: film and video, collaborative performance, social movement activism. His dissertation, Taking Place: Contemporary Art and the Tactical Occupation of Space examines work from the 1970s to the present that challenges received notions of property, place, and land in the neoliberal city. He has taught at NYU in Paris and written on a variety of topics for publications in the U.S. and Europe. His work has been exhibited at the U.S. Pavilion of the Venice Architecture Biennial, Creative Time’s Living as Form (The Nomadic Version), among other venues.


Jonathan Knapp picture pictureJonathan L. Knapp
jknapp [at] g.harvard.edu

Jonathan L. Knapp is a second-year graduate student in Film and Visual Studies. He did his undergraduate work in English literature and Film Studies at Bowdoin College. Following this, he spent a decade in the San Francisco Bay Area, working at various film festivals, archives, and museums, and ultimately completing an MA in Cinema Studies at San Francisco State University. His research is motivated primarily by questions of space, place, and historical trauma—exploring the landscape in conjunction with violence, memory, and the spectral.


Katie Kohn

Six years ago Katie Kohn was looking for contemporary philosophy at an American university in New York and found it in film and media studies. After graduating early from NYU with a BA in Cinema Studies and a minor in Gender and Sexuality Studies (that, due to a bureaucratic error of entirely the university's doing, never officially appears on her record), Katie decided to go pro. Despite having already set her sights on pseudo-mythical (yet entirely legitimate) intellectual boot-camp of the Alps, the European Graduate School, Katie nevertheless decided to be prudent about graduate school and spent her spare year in London, drinking legally and working towards a venerable MA in Contemporary Cinema Cultures through Kings College, U. of London before ascending the mountains to rub elbows with some of the "who's who" of continental philosophy, do a bit of hiking and watch the glaciers melt. She is currently G5 on the PhD track in Film and Visual Studies at Harvard University where her work in visual theory keeps her running from law to philosophy to popular media and back again. Katie is also interested in the relation between sculpture and film and is currently vetting the topic for a research project. In her spare time, Katie writes comics and young adult novels for chicks and is deeply protective of girl culture. She currently has no academic publications, nor does she have a house cat. She fully intends to change this in the near future.

Stephanie Lam
stephanielam [at] fas.harvard.edu

Stephanie Lam is an itinerant Canadian and a sixth year doctoral candidate in Film and Visual Studies.  Her dissertation focuses on questions of scale in contemporary ecocinema/ecomedia and the visual culture of environmentalism.  Other research interests include film and media theory, history of science and technology, cinema beyond the theater, experimental film, animal studies, and East Asian cinema.

She recently published a chapter in Slow Cinema (forthcoming 2015), has contributed to the film journal CinéAction, has written for the Toronto gallery, ASpace, and has presented her work at conferences in the US (SCMS 2013) and Canada (Under Western Skies 3).  Stephanie completed an MA in Cinema Studies at the University of Toronto, a joint BFA in Film Studies/Art History at Concordia University, and a BA in English Literature at the University of British Columbia.

Jungmin Lee picture Jungmin Lee

Jungmin Lee is a graduate student and practitioner in the PhD program in Film and Visual Studies. She holds a dual bachelors degree with Honors in Modern Culture and Media and French Civilization from Brown University, attending Université Paris 1 Panthéon- Sorbonne and Paris VIII in 2010. Trained in film studies, critical theory, and visual arts, she probes practices of moving image installation and exhibition at the crossroad of projection, art, and architecture, from pre-cinema, European avant-garde movements of the 1920s, expanded cinema, to contemporary art. Main areas of focus include performance/performativity, materiality, the senses, memory, and space. She has worked in the curatorial department at Centre Pompidou in France and the EYE Film Instituut in the Netherlands. In the US, she led Brown/ RISD Hillel Gallery as a co-director. She is the recipient of the Brown University’s William Weston ’43 Award in Fine Arts and the Greenberg Prize in French Studies in 2011.

Lindsey Lodhie

Lindsey Lodhie is a doctoral candidate in Film and Visual Studies and Critical Media Practice. She has taught at Emerson College and done curatorial work at the Harvard Art Museums, the Harvard Film Archive and the Carpenter Center for the Visual Arts. Her dissertation title is "Contents Unknown”: From Incendiary Devices to the Objet Ambigu, Mediating Conceptual Art. Lindsey’s general fields of study include: Film Studies, Art History, Visual Culture, Media Studies, Digital Humanities, History of Science, and Continental Philosophy. Particular focus on post-war Modern and Contemporary Art, Medium Specificity, Temporality, Installation and Screen-based art, Media Archaeology, Object Theory, Avant-Garde and Art Cinema, Affect Theory.


Kyle Parry

Kyle Parry is a doctoral candidate in Visual and Environmental Studies and Critical Media Practice. He focuses on public memory practices with particular attention to digital and network media contexts. He is also a researcher at metaLAB where he works in project research and design around digital archiving and digital ecologies.


Joana Pimenta

Joana Pimenta is a graduate student in Film and Visual Studies and Critical Media Practice. With a background both as a filmmaker and a researcher, she completed her B.A. at the New University of Lisbon and the Université Paris 8 UFR Arts, and worked and taught in Lisbon, Cambridge and Amsterdam. Her research works through transfer and reversal: from the spaces of film to those of electronic images, print and celluloid, documentary and contemporary art. She is currently a fellow at the Film Study Center at Harvard, where she is developing the project Grande Hotel (working title).  


Kate Rennebohm picture Kate Rennebohm

Kate Rennebohm is a G5 student in Harvard's Film and Visual Studies program, having completed her Masters degree in Cinema Studies at Concordia University in Montreal and her BA in Film Studies at University of Alberta. She is embarking this year on her Doctoral Thesis, which will argue for the dramatic, but un-theorized, influence of cinema upon ethical thinking and philosophy within the 21st century. Her research finds its interests in the cross-pollination of philosophy and film and media; the inter-relations of ethics and aesthetics, modernist and avant-garde cinemas; film theory; gender studies; world art cinemas; and cinephilia. She is passionate about teaching, and greatly enjoys working with the undergraduate students at Harvard. 

Kate has published book reviews in the Canadian Journal of Film Studies and Film & History (forthcoming), articles in the film journals Offscreen and Synoptique, and has contributed to an edited collection on Joss Whedon’s Dollhouse. She has a standing position with the Telluride Film Festival as production manager. In addition to presenting her work at the conferences of the Society for Cinema and Media Studies and the Film Studies Association of Canada (for which she has served as a member at large), she has presented at conferences around the world, including the International Lisbon Conference on Philosophy and Film (2014) and the Powers of the False Symposium in London (2012). Kate has been a recipient of the Social Sciences and Humanities Research Council of Canada Research Grant for both her Doctorate and Masters.

Nathan Roberts picture Nathan Roberts
nathanroberts [at] g.harvard.edu

Nathan Roberts is a first-year graduate student in Film and Visual Studies. He comes to Harvard with a freshly minted bachelor's degree from the Gallatin School of Individualized Study at New York University, where he concentrated in Cinematic Philosophy, graduated summa cum laude, and snagged an Interdisciplinary Academic Excellence Award. Some current interests: a historically-grounded approach to modernist and postmodern aesthetic, philosophical, and spiritual shifts in the 20th century; The Czech New Wave; affect theory; the nexus of surrealism and comedy; spirituality, mysticism, and cinema; and phenomenological approaches to new media.

Sometimes, Nathan tries to ground his intellectual interests in lived reality via creative nonfiction. His work has appeared on TIME.com, patheos.com, and Prague Post. His memoir about media interaction is forthcoming from Hendrickson Publishers in 2016.


Caufield Schnug picture Caufield Schnug
schnug [at] fas.harvard.edu

Caufield is a fourth-year graduate student in Film and Visual Studies. Caufield completed his BA in English/Film Studies at Hendrix College in scenic central Arkansas, where he managed a film society, made a documentary film in Barcelona, studied abroad at the University of Oxford, and created an original nonfiction project about Arkansan shape note singing that was exhibited in downtown Little Rock. He has published (an article titled "The Plight of the Screen Animal: Animal Disappearance and Death on Film" in Film Matters) and presented (a project called "Images of the Unseeable: Teshigahara's Post-War Cinema and Atomic Spectacle" at the National Conference for Undergraduate Research held at Ithaca College) on his various interests in film studies. Currently, he excitedly attempts to corral an ever-expanding number of intellectual interests and research pursuits, though he is particularly fascinated by cinematic space and geography, architecture, warfare and visual culture, and animal studies.

Andre Uhl pictureAndre Uhl
andreuhl [at] g.harvard.edu

Andre Uhl holds an M.A. in New Media from Tokyo University of the Arts and a B.A. in both Film Studies and East Asia Studies from Free University, Berlin. He is a member of the German National Academic Foundation Studienstiftung and had been the recipient of a four year MEXT fellowship of the Japanese Ministry of Education, Culture, Sports, Science and Technology.

Andre’s multi-disciplinary research explores the aesthetics of emergent imaging systems and the changing paradigms of perception. Before joining the Department of Visual and Environmental Studies at Harvard, Andre has been the only international graduate student in the New Media Lab at Tokyo University of the Arts. He experimented with recent 3D Imaging and Virtual Reality applications and graduated with a series of animations based on 3D scan data.

Andre anticipates drawing on his span of experiences from taking theory to practice, working in both Fine Arts and the entertainment industry, as well as operating in a European and East-Asian conceptual framework. As a PhD student at the Harvard Graduate School of Arts and Sciences, he looks forward to do research on the history and further development of imaging and discuss the momentous impact advancing modes of visualization have on science, society and the human mind.



Becca Voelcker
voelcker [at] g.harvard.edu

Becca Voelcker is a first-year PhD student and Harvard Presidential Scholar. Her research explores how moving image and sound made between artistic and ethnographic practices can communicate sense(s) of place. She is interested in how memory and experiences of displacement or being in a minority culture can shape how spaces are felt, built, abandoned or imagined - and how film can explore this, in all its sensory complexity. Becca grew up bilingually in rural Wales, UK. Before beginning at Harvard, she studied at Goldsmiths, University of London, and The University of Cambridge. From 2013-15 she was based in Tokyo, Japan, as a Daiwa Scholar. Although focused on writing, curating and programming, her research also includes making short films and photographic work. She has exhibited internationally, and writes for contemporary art journals including Frieze.



Mingyi Yu

Yu Mingyi is an artist, theorist and critic. Having graduated with a BA in Fine Art and History of Art from Goldsmiths, University of London in 2013, he started work towards a PhD in Film and Visual Studies at Harvard University in the fall of that year. Mingyi's research speculates on uncertainty and aesthetic experience, as well as philosophical approaches towards theory and criticism. Recent topics of inquiry include the history of probabilistic and statistical thinking, mathematics and mysticism, modernity and the mass, media philosophy and 'technics', efforts at the colonization of outer space, and the 'thermodynamic' tradition of aesthetics (Nietzche, Bataille, Deleuze).
© President & Fellows of Harvard University Images from: Instructions for a Light and Sound Machine (2005), directed by Peter Tscherkassky, from a print in the collection of the Harvard Film Archive.