"Veronica Paredes: What I've Been Teaching"
> Veronica Paredes
Veronica Paredes' research focuses on reconfigured urban media spaces and feminist digital practices in pedagogy and collective organizing. She is currently working on a book project about movie theater use, reuse, and representation in urban space, emphasizing how intermedial connections and social, racial and cultural dimensions of moviegoing disrupt popular understandings of vintage movie theaters.
Paredes is also an active member of the networked feminist collective FemTechNet and Situated Critical Race & Media (SCRAM). SCRAM is presently working on an online multimodal plug-n-play pedagogical platform with iterative playlists for collaborative critical making and mapping of media called FemTechSonic. The current prototype focuses on Games, Sound, and Location. Her individual work has been published in Amodern; collaboratively written work has been published in Frontiers: A Journal of Women Studies, and is also forthcoming in the newest volume of the Debates in Digital Humanities series, Bodies of Information.
Before arriving at the UCLA School of Theater, Film and Television, Paredes taught at The New School and New York University, and the University of Illinois at Urbana-Champaign. At the University of Illinois, she led the Experimental Media Arts Lab at the National Center for Supercomputing Applications (XMAL@NCSA).
Paredes received her Ph.D. from the Media Arts + Practice program at the University of Southern California's School of Cinematic Arts.
in Feature Stories and News
Kristy Guevara-Flanagan has been making documentary and experimental films for nearly two decades, starting with a 1999 experimental documentary about a blow-up doll (which screened at the Los Angeles County Museum of Art, among other venues). Her first feature-length film, Going on 13 (2009), covers four years in the lives of four adolescent girls; it premiered at Tribeca and was broadcast on PBS. She also produced and directed several short films, including El Corrido de Cecilia Rios (1999), which chronicles the violent death of 15-year-old Cecilia Rios and won the Golden Gate Award for Best Bay Area Short Documentary at the San Francisco International Film Festival. It was also an official selection of the Sundance Film Festival and broadcast on the Sundance Channel. Her feature, Wonder Women! The Untold Story of American Superheroines (2013), traces the evolution and legacy of the comic book hero Wonder Woman as a way to reflect on society’s anxieties about women’s liberation. The film garnered numerous awards, premiered at the South by Southwest Film Festival and was broadcast on the PBS series Independent Lens in 2013.
Recent film work includes the short film What Happened to Her (2016), a forensic exploration of our cultural obsession with images of the dead woman on screen, which premiered at the Hot Docs Canadian Film Festival and won the Grand Jury Prize for best short film at the Dallas International Film Festival; The End of Weed (2018), in which fires, heavy rains and endless physical toil fill the days of a small grower over the agrarian year, and in which both he and the filmmaker document his crop (honorable mention, Los Angeles Documentary Film Festival); and the feature Mothertime (2018), a video diary that takes viewers on a corporeal journey in parenting via a small HD camera mounted on the filmmaker and her toddler. The film is now in distribution with Women Make Movies.
Guevara-Flanagan has won many accolades for her newest short film, Águilas (2021), about an all-volunteer organization that searches for migrants who go missing as they cross the border between Mexico and the United States. Águilas won Best Short Documentary at SXSW, Best Short Film at the Los Angeles Latino International Film Festival and Best Mini-Documentary at the Big Sky International Film Festival. It has subsequently been acquired and published at The New Yorker online.
Her in-progress feature documentary, Body Parts, continues her exploration on the themes of gender and representation.
Guevara-Flanagan's work has been funded by ITVS, the Sundance Institute, Fork Films, the International Documentary Association, the Tribeca Institute, Latino Public Broadcasting and California Humanities. She serves on juries for several organizations including Sundance’s Documentary Grant, the International Documentary Association, ITVS, California Humanities and the Peabody Awards.
Guevara-Flanagan received her M.F.A. in cinema from San Francisco State University.
> Marike Splint
Vice Chair, Undergraduate Studies; Head of Directing; Associate Professor
Marike Splint is a Dutch French-Tunisian theater maker based in Los Angeles, specializing in creating work in public space that explores the relationship between people, places and identity.
She has created shows in sites ranging from a bus driving through the streets of a city to wide open meadows, taxicabs, train stations, beach piers, subways and hotel rooms. Presenters of her original work include La Jolla Playhouse/WOW Festival, UCLA Center for the Art of Performance, Skirball Cultural Center, Metro Art Los Angeles and the Los Angeles Exchange Festival (USA); Oerol Festival, Theaterfestival Boulevard, Over het IJ Festival (The Netherlands); Urbane Kuenste Ruhr (Germany); GeoAIR (Tbilisi, Georgia); and Anciens Abattoirs de Casablanca (Morocco).
She co-edited the book Tbilisi — It’s Complicated, composed of artistic accounts that critically reflect on recent urban and social changes in Georgia’s capital Tbilisi, and curated the 2014 edition of Winters Binnen Festival in Amsterdam, showcasing more than 50 performances and concerts in site-specific venues across Amsterdam-Noord. She has been invited as a fellow to the Internationales Forum at the Theatertreffen (Berlin), and to the Rencontres Internationales at the Festival TransAmériques (Montreal).
Splint is the recipient of a Fulbright Scholarship, a Hellman Fellowship and a Columbia University Merit Fellowship, among other awards. She received her B.A. in philosophy from the University of Amsterdam and her M.F.A. in directing from Columbia University.
Drawing insights from diverse critical fields such as film and media studies, theories of space and place, and cultural studies, Jasmine Nadua Trice’s work engages with film aesthetics, industries, production cultures and reception. She has written on Southeast Asian women filmmakers, ethnoburban multiplexes, production subcultures in Los Angeles, visual culture and embodiment in colonial Manila, and the relationship between film practice and theory.
Her first book, City of Screens: Imagining Audiences in Manila's Alternative Film Culture (Duke University Press, 2021) examines the politics of cinema circulation in early-2000s Manila, Philippines, a moment of profound technological and industrial transition. Employing theories of public culture, urban studies and Philippine cultural studies, the book traces Manila's post-millennial cinema landscape by focusing on the primary locations of film exhibition and distribution: the pirated DVD district, mall multiplexes, art-house cinemas, the university film institute and state-sponsored cinematheques. In the wake of digital media piracy and the decline of the local commercial film industry, the rising independent cinema movement had been a site of contestation between filmmakers and the state, each constructing different notions of a prospective, national public film audience. The book includes a digital companion site, which maps a selection of shooting sites and exhibition spaces throughout Manila.
Trice is currently working on a second book on film organizing in Southeast Asia, co-authored with Dr. Philippa Lovatt of the University of St. Andrews, Scotland. This book grew out of a curatorial project undertaken between 2016 to 2018, in collaboration with the Association for Southeast Asian Cinemas (ASEAC). Trice was 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. The network aimed to create spaces for the exchange of ideas among scholars, students, filmmakers, curators, archivists and the general public. As a means of continuing this project and its commitments to public-facing film research, Trice has created an online portal to share oral histories of film practice in Southeast Asia.
She has published in academic journals such as the Journal of Cinema and Media Studies, Feminist Media Histories, the International Journal of Cultural Studies, Asian Cinema, The Projector: A Journal of Film, Media, and Culture and the Quarterly Review of Film and Video. Other essays have appeared in Sinekultura Film Journal, In Media Res, Cinemas of Asia: Journal of the Network for the Promotion of Asian Cinema, and the National Museum of Singapore’s Cinematheque Quarterly.
Trice has received numerous fellowships and awards to support her work, including a Hellman Fellowship, a Faculty Career Development Award, a Council on Academic Research Grant, a Dean’s Vision Fund Award, an Asian Cultural Council grant, and an American Association for University Women fellowship. Her dissertation received Honorable Mention from the Society of Cinema and Media Studies.
Trice is committed to teaching, mentorship and service both within and beyond her home department of Film, Television and Digital Media. She has taught classes on histories of exhibition and moviegoing, media studies approaches to space and place, transnational media industry studies, Southeast Asian film and video cultures, and Asian urbanism on screen. Before joining UCLA, Trice taught at the National University of Singapore, where she received the Annual Teaching Excellence Award. She has served as the co-chair of the Asian Pacific American Caucus (APAC) at the Society for Cinema and Media Studies, and she is on the organizing committee for the Association for Southeast Asian Cinemas.