> Arne Lunde
Arne Lunde is an associate professor in the Scandinavian Section at UCLA and an affiliate associate professor of Cinema and Media Studies at UCLA TFT. He teaches courses on Swedish film and other Nordic national cinemas, Ingmar Bergman, Carl-Theodor Dreyer, and Scandinavian literature. His book Nordic Exposures: Scandinavian Identities in Classical Hollywood Cinema explores how Scandinavian whiteness and ethnicity functioned in Hollywood cinema between and during the two world wars. Lunde’s articles and reviews have appeared in Journal of Scandinavian Cinema, Film International, Film Quarterly, The Moving Image, Scandinavian Studies, Scandinavica, and Comparative Literature. His most recent publications include the following edited-volume chapters: “The Story of a Bad Girl!: Summer with Monika, Sexploitation and the Selling of Erotic Bergman in America” in Beyond Swedish Summers: The Breakthrough of Sexuality in Swedish Cinema; “The Scandinavian Colonies of Silent Era Hollywood” in The Blackwell Companion to Nordic Cinema; and “Going Hollywood: Nordic Directors in Contemporary American Cinema” in Popular Nordic Genre Film: Small Nation Film Cultures in the Global Marketplace.
Lunde is currently working on a book manuscript titled Early Bergman as Auteur Inside the Swedish Studio System, 1944-1960. The book focuses on the Swedish auteur before he became the brand name “Bergman” in 1960s and 1970s European art cinema and analyzes his first decade and a half as a writer-director working within the Swedish studio system, not only for Svensk Filmindustri (SF) but also rival studios such as Terrafilm and Sandrews. His case studies include the following chapter approaches: (1) Ingmar’s Hitchcockian Cameos: Early Bergman as Auteur inside the Swedish Studio System; (2) The City, Noir, and Jazz in 40s Bergman; (3) Scenes from a Menagerie: Dogs, Cats, and Teddy Bears; (4) Summer with Monika, Sexploitation, and the Selling of Erotic Bergman in America; and (5) Through a Laugh Darkly: Bergman and Comedy, Animation, and Effects. Lunde is also currently co-editing, with Professor Anna Westerståhl Stenport of Georgia Tech University, the volume Nordic Film Cultures: A Globalised History of Cinematic Elsewheres (under contract with Edinburgh University Press).
Gina Kim’s five feature-length films and works of video art have screened at more than 80 prestigious international film festivals and venues including Berlin, Locarno, Rotterdam, San Sebastian, Sundance and Venice, as well as such arts venues as the Museum of Modern Art in New York, the Smithsonian in Washington, D.C., and the Centre Pompidou in Paris.
Her work has been theatrically released in Europe, Asia, and the United States, receiving critical acclaim. According to Variety, “Kim’s highly sensitive camera turns the film into a chamber-piece hushed eroticism and surprising narrative grip.” Le Figaro said, “Kim is a fearless feminist who conceals an extreme sensitivity.”
Invisible Light (2003), hailed by the Los Angeles Times as a “deeply introspective and accomplished art film,” was selected by Film Comment as one of the 10 best films of 2003.
Never Forever (2007), starring Jung-woo Ha and Vera Farmiga, was the first co-production between the United States and South Korea. Kim was subsequently nominated in the Best New Director category at the Motion Picture Association of Korea’s Daejong Film Awards (the Korean equivalent of the Academy Awards) and was awarded the Jury prize at the 2007 Deauville American Film Festival.
Faces of Seoul (2009) premiered at the 66th annual Venice Film Festival, where Kim also served as a jury member. L’Uomo Vogue identified her as one of the “Talents of Venice.”
In 2016, Final Recipe was wide-released in China in more than 3,240 theaters. The Hollywood Reporter noted how the director “conjures a non-exotic piece out of a territory-trotting narrative, where every place is made to seem like home.” Prior to its release, Final Recipe was selected as the opening film in the Culinary Cinema sections of the Berlin and San Sebastian international film festivals.
Kim’s latest work is the virtual reality short Bloodless (2017). Based on a true story, Bloodless transforms the controversial issue of crimes by U.S. military personnel stationed in South Korea into a personal and emotional experience. Bloodless, which includes a companion “making of” documentary, has been featured in major Korean dailies and the American cultural magazine Anthem, and premiered at the Seoul International Women’s Film Festival.
Kim is widely recognized as an innovative instructor. She has taught at Harvard University, where in 2014 she received a Certificate of Teaching Excellence, and has conducted master classes around the world.
> Erkki Huhtamo
Erkki Huhtamo is an internationally renowned media historian and theorist, and also a specialist in the history and aesthetics of media arts. He is one of the founders of an emerging approach to media studies known as media archaeology.
Huhtamo has published extensively, lectured worldwide and given multimedia stage performances using both modern and original 19th-century media technology such as magic lanterns. With the artists Golan Levin and Zachary Lieberman, in 2005 he developed and performed Musings on Hands: Media Archaeology Meets New Media Performance at Waseda University’s Ono Memorial Hall in Tokyo, Japan and at the Ars Electronica Festival in Linz, Austria the following year. His most recent magic lantern show, From Dole to the Pole, or Professor Huhtamo’s Daring Adventures, featuring musicians and foley sound effect artists, was performed at Los Angeles’ Velaslavasay Panorama cultural center in 2012. The multimedia performance Mareorama Resurrected has thus far been seen in Los Angeles, Chicago and Pittsburgh (an edited version can be watched on the Internet). The lecture-performance Panoramas in Motion: Reflections on Moving Image Spectacles Before Film was presented at Germany’s 60th International Short Film Festival Oberhausen in 2014.
Huhtamo has curated numerous exhibitions in Europe, the United States and Australia. He created the major international exhibition “Outoäly/Alien Intelligence” for KIASMA Museum of Contemporary Art in Helsinki, Finland in 2000, and has curated retrospective exhibitions of the work of Toshio Iwai, Perry Hoberman, Paul DeMarinis and Bernie Lubell. In 1994, he was the quest director and curator of Sydney’s Australian International Video Festival. In 2000, Helsinki, Finland’s Museum of Cultures presented Phantasmagoria. Time Travelling in the Moving Image, which featured Huhtamo’s own extensive collection of antique magic lanterns, peepshow boxes, animation devices and other media archaeological artifacts. Parts of it have since been shown at UCLA and the Hammer Museum.
Huhtamo’s most recent books are Media Archaeology: Approaches, Applications, and Implications (ed. with Jussi Parikka, University of California Press, 2011) and Illusions in Motion: Media Archaeology of the Moving Panorama and Related Spectacles (The MIT Press, 2013). His first Italian and Japanese language single-authored works were published in 2014 and 2015. Recent research articles have discussed topics such as the history of media displays in public outdoor spaces; “peep media,” a notion Huhtamo coined; the trottoir roulant, or the moving walkway at Paris’ Universal Exposition of 1900; astronomical demonstration instruments as a challenge to “screenology,” another concept he coined; the history of the Spirograph, a forgotten device that presents microcinematographed moving pictures from spinning discs; the invention and early reception of the Kaleidoscope; interactive museum displays as a contribution to what he calls “exhibition anthropology”; and the archaeological tradition in media arts.
Huhtamo, who is also a professor in UCLA’s Department of Design and Media Arts, is currently working on two books, a new monograph on the history of mechanical theaters and a volume tentatively titled Media Archaeology as Topos Study.
He received his Ph.D. in cultural history from Finland’s University of Turku.
- Phone: 310-825-8292
Neil Thompson teaches a series of television comedy classes in the Department of Film, Television and Digital Media.
He grew up in Ames, Iowa, and attended Iowa State University, earning his B.S. degree in history, with distinction, in 1970. While at ISU, he was a member of Phi Kappa Phi honor society, lettered in both cross country and track for the Cyclones, and was tapped for Cardinal Key, the highest award granted to undergraduate men for service to the university.
After college, Thompson moved to Minneapolis, Minn., where he began a performing career with the long running improvisational theater company Dudley Riggs’ Brave New Workshop. In 1975, Thompson migrated to Los Angeles to pursue an acting and writing career that spanned more than 30 years. After appearing on several shows, including M*A*S*H, Laverne and Shirley, Happy Days, Kojak, McCloud and Private Benjamin, Thompson shifted his focus to writing comedy. He was a staff writer for 14 primetime network comedy series, contributing 65 credited scripts. He co-created and executive produced two series and co-executive produced six more. His credits include Police Squad!; Happy Days; Dreams; You Again?; Webster; Night Court; Stand By Your Man (co-creator and executive producer); The Boys Are Back; The Faculty (co-creator and executive producer); Men Behaving Badly; Union Square; Caroline in the City; God, the Devil, and Bob; and Malcolm in the Middle for which he was nominated three times by the Writers Guild of America for best comedy script of the year. He won the award in 2006.
Thompson received his M.A. degree in U.S. cultural history from California State University, Northridge in 2009. He has since taught five different history courses at CSUN, including one he created entitled "Hollywood and History," which uses popular film as a means of understanding the social, cultural, and political themes of 20th century America.