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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 first 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.


Olivia Crough

Olivia Crough is a first-year PhD student in the department of Film and Visual Studies. She completed her BA at New York University in 2012. Her interests include aesthetics, media theory, and Soviet intellectual and cultural history. She is particularly curious about questions of space, representation, and visibility in relation to architecture, installation, and cultural and political exhibition.

Yu Mingyi

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).

Dan D'Amore

Dan D'Amore is a second-year graduate student in Film and Visual Studies. He graduated with High Honors in Cinema Studies from Oberlin College in 2009 and has worked as a freelance videographer and editor. He is primarily concerned with the intersections of film, architecture, games, and the strange. Dan comes from Ohio.

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

Brandon is a second-year graduate student in Film and Visual Studies. He is interested in the relation between sound, space, and the social, both in and beyond the variety of aesthetic experience called "art." His interests span the following topics: soundscapes, the nature of auditory experience, the interplay between or interdependence of different sensory modes, notions of "the aesthetic," affect theory, sensory ethnography and ethnography of the senses, experimental forms of (re)presenting research, forms of the quotidian, and new media theory. Around all of these topics, he is also interested in the ontological status of art in relation to other fields of life, and how to deal with this question in the practice and presentation of research in a inter/multi-disciplinary context. He has also recently become interested in the place of sound in Sikh philosophy and praxis, particularly in 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.

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

Caufield is a second-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.

Zach Furste

Zach Furste is beginning his third 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.

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.

Kate Rennebohm

Kate Rennebohm is a G3 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 at University of Alberta. She has a book review in a recent edition of the Canadian Journal of Film Studies, has published articles in the film journals Offscreen and Synoptique, and has contributed to an edited collection on Joss Whedon’s Dollhouse. Kate has a standing position with the Telluride Film Festival as production manager, and is serving this year as a member-at-large for the Film Studies Association of Canada. Her research finds its specific interests in the study of philosophy and film and media, particularly the cross-pollination of ethical philosophy and film theory; modernist and avant-garde cinemas; gender studies; world art cinemas; and cinephilia.

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 G3 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 is a G4 student in Film and Visual Studies. Her interests include film and media theory and history, with particular emphasis on modernity, issues of temporality and the moving image, the politics of attention and screen culture, film beyond the theatre, technology and the senses, and diasporic cinemas. Stephanie has published in CinéAction and Offscreen. She has a BA in English from the University of British Columbia, a BFA in Film and Art History from Concordia University and an MA in Cinema Studies from the University of Toronto.

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).  


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.


© 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.