Ben Sampson teaches the courses “Film Authors,” “Introduction to Visual Culture” and “Film and Social Change” in the Department of Film, Television and Digital Media.
Before entering graduate school, he worked as a freelance videographer and editor in documentary films and global NGO projects. His primary area of scholarly research explores the modern intersection between media industries and cultural ideology. He has conducted research across the United States on the modern relationship between Hollywood and Christian film culture. Additionally, Sampson has also conducted extensive research throughout Europe on the Roman Catholic Church’s interaction with mainstream cinema.
Given his background in videographic work, Sampson also contributes to the new field of video essays — an attempt to bridge scholarly research with contemporary production tools. Sampson has published numerous works in journals and online magazines, and he sits on the advisory board of [in]Transition, an online extension of Cinema Journal and the first peer-reviewed journal devoted to videographic work.
Sampson received his B.A. in history from California State University, Northridge, and his M.A. and Ph.D. in Cinema and Media Studies from the UCLA School of Theater, Film and Television. At UCLA TFT, he was the recipient of the Plitt Southern Trust Fellowship, the Charles Boyer Fellowship and the Dissertation Year Fellowship.
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).
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.
Jasmine Nadua Trice is an assistant professor of Cinema and Media Studies. Her research focuses on film cultures within transnational contexts. Her particular areas of specialization include contemporary Asian cinemas, exhibition and moviegoing, cinema and urbanism, and media spaces. Broadly, her work uses cinema as a lens to investigate the changes wrought by global modernities, emphasizing how communities positioned at the margins of those transformations adapt, dismiss or challenge them.
Drawing from more than two years of research in the city, her current book project, Speculative Publics: Cinema Circulation and Alternative Film Culture in Manila, Philippines (under review), examines the circulation of local and transnational alternative cinemas in contemporary Manila, Philippines. Focusing on sites of exhibition and distribution, including the pirated DVD district, the mall multiplex, art house cinemas, the university film institute, and the state-sponsored mobile cinemas designed to bring screenings to the poor, the project considers how discourses surrounding these spaces construct speculative publics — contested visions of audience appearing across public discourse from filmmakers, cultural institutions, activists and the state. The book includes a digital companion site, which maps shooting sites and exhibition spaces throughout Manila.
In addition, she is working on two other research projects. The first is a study of multiplex cinemas that cater to diasporic audiences. She was invited to develop this project through UCLA’s Urban Humanities Initiative. The second is a historical project that examines film culture in Manila during the American colonial period. Trice has received numerous fellowships for her research, which has been funded through institutions such as the American Association of University Women, the Asian Cultural Council, and the Hellman Fellows. She has published articles in journals such as Asian Cinema, International Journal of Cultural Studies, Quarterly Review of Film and Video and Feminist Media Studies.
Commitments to teaching, mentorship and public engagement drive much of Trice’s work. At her former post at the National University of Singapore, she was a recipient of the university’s Annual Teaching Excellence Award for her work in an undergraduate writing and critical thinking program.
Since 2016, Trice has been a co-investigator of a four-country research network funded through the Arts and Humanities Research Council (U.K.). The Southeast Asian Cinemas Research Network: Promoting Dialogue Across Critical and Creative Practice aims to create spaces for the exchange of ideas among scholars, students, filmmakers, curators, archivists and the general public. The network is comprised of events organized with partners in four countries: a conference in Kuala Lumpur, with the Association for Southeast Asian Cinemas (July 2016); a two-day symposium at UCLA in collaboration with the L.A. Asian Pacific Film Festival (March 2017); a symposium and series of workshops at Hanoi DocLab (November 2017); and a symposium and film program in Glasgow, in collaboration with the Glasgow Short Film Festival (March 2018).
Trice earned her Ph.D. from the Department of Communication and Culture at Indiana University – Bloomington. Her dissertation won received Honorable Mention from the Society for Cinema and Media Studies.
Silvia Kratzer’s publications in the academic field focus on the issues of exile and transnational cinemas as well as documentary film. She frequently serves as a jury member and film programmer for numerous international film festivals including the Monte Carlo Film Festival, SENE New York Film Festival, Red Rock Film Festival, Method Film Festival, and the Burbank International Film Festival.
She has worked as a screenwriter, webisode developer and professional script consultant in Hollywood for Samuel Goldwyn Jr., Avenue Entertainment, Spirit, ITC, and the Walt Disney Co. As a producer she created the webisode “Behind the Scenes at Chapman Film School,” and co-produced the documentary “The Last Shtetl” and the short film “Before it’s too Late,” starring Robert Loggia.
Kratzer recently founded the New Hollywood Film School, to offer a variety of film-related courses and networking opportunities to students and to help them gain a deeper understanding of the cinema, acquire crucial professional and writing skills, and to expand their business connections within the film industry.
Kratzer received her master’s degree in mass communication and theater arts at Ludwig Maximilian University in Munich, Germany. She has a second master’s degree in critical theory from the University of Iowa’s Department of Film and a Television; and a Ph.D. in critical theory from the UCLA School of Theater, Film and Television.
Kratzer also teaches at Chapman University and Pepperdine University.
Greg Cohen’s teaching and research center broadly on theories of spatiality and the moving image in post-war visual culture, with particular interests in avant-garde and experimental film and video; landscape art and landscape theory; the history and theory of architecture and urbanism; and the convergence of art theory and radical political discourses in the Global Sixties. His doctoral training was in romance languages and literatures (Ph.D., Harvard University ’08), with a specialization in Latin American cultural studies, a field that continues to inform his work.
More recently, his research has gravitated towards questions of cultural memory, the aesthetics and politics of appropriation, and theories and practices of the archive, all of which bear on his role as co-curator of the Festival of (In)appropriation, an annual, international showcase of experimental found-footage film and video sponsored by LA Filmforum, now in its sixth year. Mr. Cohen also maintains an active practice as a poet and visual artist. His writing has appeared in journals such as Annetna Nepo, E-ratio, and Anti-, and his photographic work featured among the winners of the 2013 International Juried Competition of the Los Angeles Center for Digital Art (LACDA). From October 2012 to April 2013, he served as Visualist-in-Residence at the Institute for Cultural Inquiry in Los Angeles, where he developed The Valaco Archive, a multi-media visual research installation concerned with notions of experimental accumulation and speculative archives.
Stephen Mamber is a research professor in the Cinema and Media Studies Program of the Department of Film, Television and Digital Media. His digital media courses include the seminars Issues in Electronic Culture, Computer Applications for Film Studies and Videogame Theory. His film courses include classes on narrative theory, visual analysis, and directors and genres, among others.
Mamber is the author of the iPad app ClipNotes, which has been available in the App Store since November 2012. ClipNotes is a way to help retrieve pre-selected segments of any film or video and show them together with your descriptions while the segments are showing. It’s useful for individual study, teaching or presentation. ClipNotes for Windows became available in November 2013 and can now be used on any computer running Windows 10.
Mamber’s Who Shot Liberty Valance? is available as a free iPad app in the iOS App Store. The app is an experimental study of the classic 1962 John Ford film The Man Who Shot Liberty Valance and advances an argument about new ways to consider it. The app includes opportunities to simultaneously explore selected key segments, as well as some magnified views, 3D models and diagrams. Annotated selections from 50 years of scholarly writing about the film are also included.
Mamber’s third app, 7 Thursdays: Looking at Brief Encounter, is also available in the iOS App Store. This is the next in a series looking at films with unusual time structures (Liberty Valance is the first). This is an experimental study of the great 1946 David Lean film and invites new ways to consider it. The app includes opportunities to simultaneously explore selected key segments, as well as a week-by-week accounting of how space is used in the repeated scenes in the tea room set, using 3-D models and clips from the film. References to time and some scholarship about the film are also presented.
Mamber’s fourth app (and the next in this series looking at films with unusual time structures), is The Seventh Race: Kubrick at the Starting Gate, completed in July 2018 and also available in the iOS App Store. It is a study of the 1955 Stanley Kubrick film The Killing. Like the others in this series, the app includes a variety of ways to explore the film’s complex construction, as well as much commentary and scholarship, along with some charts and 3D maps. And if you don’t know how Lenny Bruce, Rodney Dangerfield, and Frank Sinatra have connections to this film, here’s your chance to find out.
Mamber has been active in the digital media arena for several decades. He started out writing a variety of tools and applications, principally exploring the possibilities of using digital media for film analysis, and has gone on to design multimedia applications and web sites. He has been a visiting research scientist at the IBM T.J. Watson Center in New York and has served as a National IBM Consulting Scholar. His work has been supported by a MacArthur Foundation grant and by the Intel Research Council.
His publications include Cinema Verite in America: Studies in Uncontrolled Documentary (MIT Press), as well as numerous articles and chapters on film and new media subjects. He has also been the editor of Cinema magazine, and is a recipient of an Associated Press Golden Mike Award for his film criticism on Pacifica Radio.
Mamber’s current activities outside the classroom include developing video database applications; experimenting with single-board microcontroller Arduino and other electronic devices for use in multimedia projects; and creating video-related apps for iOS devices and other platforms.
In addition to teaching at UCLA TFT, Mamber has taught at Georgia Institute of Technology’s School of Literature, Communication, and Culture; in the Interactive Media Program at the University of Southern California, and at Art Center College of Design in Pasadena. He has also been an adjunct faculty member at the Centre for Digital Media in Vancouver and taught several online courses there.
Mamber received his undergraduate degree from UC Berkeley, where he double majored in mathematics and dramatic art. He earned his Ph.D. from the University of Southern California. Additionally, he was a Fellow at the American Film Institute Center for Advanced Film Studies and is a founding member of the Los Angeles Film Critics Association.
Educator, critic, preservationist and former dean of the UCLA School of Theater, Film and Television, Robert Rosen has spoken at scholarly, public, and professional meetings in more than twenty nations on subjects related to film criticism, media history, and curatorship. He has published widely in the field of media preservation and has guided the growth of the UCLA Film & Television Archive from a small study collection to the world’s largest university-based holding of original film and television materials. As a preservationist and historian, he has occupied many positions of leadership in the field. These include: Founding Director of the National Center for Film and Video Preservation at the American Film Institute, the Executive Committee of the International Federation of Film Archives, member of the National Film Preservation Board of the Library of Congress, and Board Member of the Stanford Theater Foundation and the Geffen Playhouse. With Martin Scorsese he was the organizer of the Film foundation on which he currently serves as the founding Chair of the Archivists Council. Rosen was decorated by the French Government as an Officer of Arts and Letters and was awarded the International Documentary Association’s Career Achievement Award for Scholarship and Preservation. For ten years he was the film critic for KCRW National Public Radio and he is an active member of the Los Angeles Film Critics Association. He stepped down as dean of the School in July, 2009.
María Elena de las Carreras, M.A. ’89, Ph.D. ’95, is a Fulbright scholar and film critic from Argentina. She is a regular collaborator of the Latin American Cinemateca of Los Angeles and the CSUN Cinematheque. She has been an accredited journalist at the Berlin Film Festival since 1986. In 2017, she co-curated the UCLA Film & Television Archive series “Recuerdos de un cine en español: Latin American cinema in Los Angeles, 1930-1930.” Since 2014 she has been conducting research and interviews for the Academy of Motion Picture Arts and Sciences’ Visual History Program. She has published many journal articles and essays in English and Spanish. Her scholarly publications and blog are available through academia.edu.
“Magical tricks and Ingmar Bergman: Referentiality in Magic in the Moonlight,” chapter in Referentiality and the Films of Woody Allen, ed. K.Szlezák & D.Wynter, Palgrave MacMillan, 2015
“A case of entente cordiale between State and Church,” chapter in Moralizing Cinema, ed. D. Biltereyst & D. Treveri, Routledge, 2014
“The ‘Setentista’ discourse in recent Argentine political documentaries,” Arctic Antarctic, Vol. 6, No. 6, 2012
“Luis Buñuel’s quarrel with the Catholic Church,” Buñuel, siglo XXI. Spain: Instituto Fernando el Católico, 2004
“The Catholic Vision in Hollywood,” Film History, Vol. 14, No. 2, 2002
“Marina Goldovskaya,” “Gyula Gazdag,” “Krzysztof Kieslowski,” Encyclopedia of the Documentary Film, 2006
“El control de cine en la Argentina: 1968-1984” and “El control del cine en la Argentina: 1984-1991,” Foro Político, Revista del Instituto de Ciencias Políticas, Buenos Aires, Universidad del Museo Social Argentino, Vol. XIX