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FILM AND VISUAL STUDIES PhD HARVARD UNIVERSITY
FILM AND VISUAL STUDIES GRADUATE STUDENT PROFILES
Dan D'Amore is a first-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
Brandon is a first-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." In list form, his interests might be enumerated like this: 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, and forms of the quotidian. He also tries with all his might, at times without great effect, to upset the dichotomy of art theory and practice. 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.
Zach Furste is beginning his second 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.
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 is a G3 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.
Jungmin Lee is a second-year 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, where she completed her thesis titled “Modes of Exhibition as Mediated Space: Projection Installation as Spectatorial Frame.” Trained in film studies, critical theory, and visual arts, she probes practices of moving image exhibition and installation at the crossroad of projection, art, and architecture, from pre-cinema, Expanded Cinema, experimental film and video to contemporary art. Main areas of focus include materiality, performativity, the senses, memory, and urban space.
Most recently, she interned in the curatorial department at the EYE Film Instituut Nederland in Amsterdam. In 2010, she attended Université Paris 1 Panthéon- Sorbonne and Paris VIII and worked for May, contemporary art publisher based in Paris. She also served as an editorial researcher for a bilingual publication by ToastinK Press in Paris in association with Sternberg Press and les presses du réel. In the US, she headed Brown/ RISD Hillel Gallery as a co-chair. 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.
Kyle Parry is a graduate student and media practitioner at Harvard. In 2009 he entered the PhD program in Film and Visual Studies, having studied Rhetoric and Development Studies at UC Berkeley. He has since joined the secondary field in Critical Media Practice, and, as of the summer of 2011, works as a researcher with the metaLAB (at) Harvard. He is interested in translating ideas and methods from across disciplines into critical but also accessible written, audiovisual, and web-based work. The emphases of his dissertation and CMP capstone projects are evolving, but he is exploring a synthesis of phenomenology, information science, STS, and visual and media studies.
Joana Pimenta is a graduate student in Film and Visual Studies, pursuing a secondary field in Critical Media Practice. With a background both as a filmmaker and a researcher, she completed her B.A. at the New University of Lisbon (with part of her coursework completed at the Université Paris 8, UFR Arts),, and has developed research work as a junior researcher for the project Film&Philosophy: mapping an encounter in Lisbon, and as guest researcher affiliated with the Imagined Futures of the Cinematic Dispositif project at the University of Amsterdam, as well as in the Visual and Environmental Studies department at Harvard University. Her films and video works have been shown in festivals in Lisbon, Singapore and New York, and she's editor-in-chief at Sensate: a journal for experiments in critical media practice.
Her research interests focus broadly on the dialogue between the moving image and the visual arts, media and technology, from expanded cinema and artists' film and video practices of the 1960s and 1970s to contemporary media and installation art. Working at the crossroads between film and visual studies, media theory and archeology, she is currently pursuing research on two moments of the articulation between the moving image and the history of science and technology: the scientific laboratory as a site for the emergence of cinema at the end of the 19th-century, focusing particularly on a topology of the articulation between entropy and the cinematographic; and the relation between moving image practices and the politics of information in the 1960s and 1970s, with an emphasis on the Information exhibition at MoMA in 1970.
Kate is thrilled to be working towards her Doctorate in Harvard’s Film and Visual Studies program. Kate completed her Masters degree in Cinema Studies at Concordia University in Montreal and her BA at University of Alberta. She has published articles in the film journals Offscreen and Synoptique, and has worked as a film reviewer. Kate has worked for the Telluride Film Festival for four years, and will return as long as they’ll have her! During her Doctorate, she wishes to expand upon the work performed during her Masters’ thesis, which focused on the filmmaking of Chantal Akerman and Judith Butler’s recent writing on ethics. While her specific interests are found in the study of post-structural ethics and film, Kate’s general interests include film and philosophy, gender studies, the slow cinema movement (although she’s not sure how she feels about that name) and representations of identity in film and television. And finally, she thinks that, although there have been many amazing contenders, Buffy the Vampire Slayer is still the best television show ever.
Caufield is a first-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.