Home > Faculty > Phyllis Nagy

Phyllis Nagy

Head of Screenwriting; Professor

“PhyllisPhyllis Nagy most recently directed Call Jane, starring Elizabeth Banks and Sigourney Weaver, which was a Competition selection at the 72nd Berlinale, as well as an official selection of the Premieres section at the Sundance Film Festival. Call Jane will be released theatrically in the United States by Roadside Attractions in October 2022.

Nagy’s screenplay for Carol, based on the Patricia Highsmith novel The Price of Salt, won the New York and Seattle Film Critics Circle awards and received Academy Award, BAFTA, Spirit Award, Gotham Award, and WGA Award nominations for Best Adapted Screenplay, among numerous other awards and nominations.

She previously wrote and directed Mrs. Harris (HBO Films), which starred Annette Bening and Ben Kingsley. A Gala Presentation at the Toronto International Film Festival, Mrs. Harris received 12 Emmy nominations, including nods for Nagy’s work as a writer and a director, won a PEN Literary Award for its script, a Gracie Allen Award for its direction, and was nominated for multiple Golden Globe and SAG Awards.

Nagy served as Writer-in-Residence at The Royal Court Theatre, London, where four of her plays premiered: Weldon Rising, Disappeared, The Strip and Never Land. Her other plays include Butterfly Kiss (Almeida Theatre, London); The Talented Mr. Ripley (Palace Theatre, Watford); The Seagull (Chichester Festival Theatre); The Scarlet Letter (Denver Center Theater, Classic Stage Company, New York and Chichester Festival Theatre); Trip’s Cinch (Actors Theater of Louisville Human Festival); and Delores (BBC Radio), a contemporary version of Euripides’s Andromache. Her plays have been translated into a dozen languages, have been performed across the globe and are published by Methuen Drama, Faber & Faber, and Samuel French.

Nagy is a member of the Academy Motion Picture Arts and Sciences, where she served as a member of the Writers Branch Executive Committee; the British Academy of Film and Television Arts (BAFTA); the Academy of Television Arts & Sciences; Writers Guild of America West; Directors Guild of America; and PEN American Center.


Home > Faculty > George Huang

George Huang


“GeorgeScreenwriter and director George Huang began his Hollywood career working as an assistant at Paramount Pictures, Universal, Warner Brothers, Disney and Columbia. He turned a decade of experience fetching coffee into his writing/directing debut, Swimming With Sharks starring Kevin Spacey, Frank Whaley, Michelle Forbes and Benicio del Toro.

This 1995 low-budget independent film garnered awards from the Deauville Film Festival, Seattle International Film Festival, Independent Spirit Awards and the New York Film Critics Circle. Variety called it a “must-see for aspiring producers and studio execs” and Entertainment Weekly declared the film “exuberantly nasty and shockingly funny.” Ten years later, AFI recognized Kevin Spacey's performance in its “100 Year...100 Villains” nominations. Sharks has also been adapted as a stage play in London, Singapore, Toronto and, most recently, Mexico City with Academy Award nominee Demian Bichir in the lead. It is currently being adapted as a TV series for the E! Network.

Huang has also worked on dozens of film and TV projects including S.W.A.T., Spy Kids, Machete and Law & Order: Special Victims Unit. His wide range of experiences include Rock the Vote ads, a comedy channel on YouTube, actor Elijah Wood's audition reel for The Lord of the Rings, and a Nike short film starring basketball star Kobe Bryant. He has worked with acclaimed directors Robert Rodriguez and Luc Besson as well as many first-time filmmakers and students.

Huang’s most recently produced screenplay is Final Recipe, a South Korean-Chinese-Thai co-production directed by UCLA TFT Professor Gina Kim and starring Michelle Yeoh.


Home > Faculty > Liza Johnson

Liza Johnson

Adjunct Professor

Liza JohnsonLiza Johnson is a writer and director who teaches directing in the Department of Film, Television and Digital Media. Her films have screened at the Cannes Film Festival, New York Film Festival, Berlin International Film Festival and Toronto International Film Festival and are in the permanent collection of the Museum of Modern Art in New York City.

Johnson wrote and directed the film Return (2011), a drama about a woman returning from her military deployment, starring Linda Cardellini and Michael Shannon. Her film Hateship Loveship (2013) was an adaptation of Alice Munro's story Hateship, Friendship, Courtship, Loveship, Marriage, which she directed from a screenplay written by Mark Jude Poirer. The film starred Kristen Wiig in her first dramatic lead. She also directed the satiric comedy Elvis and Nixon (2016), starring Michael Shannon and Kevin Spacey, from a screenplay written by Cary Elwes, Hanala Segal and Joey Segal.

Additionally, Johnson has created many short films and video installations, often working with nonprofessional actors in specific social environments. These include the films South of Ten, In the Air and Karrabing: Low Tide Turning, which she co-directed with Elizabeth Povinelli.

For television, she recently directed episodes of HBO's Silicon Valley (2019) and Barry (2019). She previously directed an episode of Ryan Murphy’s Feud (2017) and the Amazon series Good Girls Revolt (2016).

Johnson has been a fellow of the DAAD Berlin Kunstlerprogramm and the Sundance Institute, and has been recipient the Wexner Center for the Arts Residency Award and the De Cordova Museum's Rappaport Prize.

She holds a B.A. from Williams College and an M.F.A. from UC San Diego.


Home > Faculty > Steve Anderson

Steve Anderson


Anderson, SteveSteve Anderson is a scholar-practitioner working at the intersection of media, history, technology and culture. He teaches the production and theory of digital media and documentary in the School of Theater, Film and Television and holds a joint appointment in the department of Design Media Arts.

His book Technologies of Vision: The War Between Data and Images (MIT, 2017) surveys the emergence of competing regimes of computational and photographic image making from the 1830s to the present, focusing on cultural implications related to space, data visualization and surveillance. His previous book, Technologies of History: Visual Media and the Eccentricity of the Past (Dartmouth, 2011), investigated the emergence of experimental history across a range of visual media including film, television and digital games. With Christie Milliken, he is co-editor of the anthology Reclaiming Popular Documentary (Indiana University Press, 2021).

Anderson received a Digital Innovation Fellowship by the American Council of Learned Societies to create Technologies of Cinema, an ongoing work of digital scholarship that explores the tortured history of computation seen on film and television since 1950, incorporating video essays, textual analysis and media curation. He is also the founder and principal investigator of the public media archive Critical Commons. With Tara McPherson, he co-edited the interdisciplinary electronic journal Vectors and now serves as co-principal investigator of the Alliance for Networking Visual Culture, developers of the open source electronic publishing platform Scalar.

His scholarly work has appeared in the journals Visible Language, [In]Transition: Journal of Videographic Film and Moving Image Studies, American Literature, Cultural Science Journal, The Cine-FilesGAME: The Italian Journal of Game Studies, The Journal of Media Literacy Education, Frames Cinema Journal, Vectors, Profession, Pre/Text, The Moving Image, Release Print, The Independent, Filmmaker, Res Magazine, Intelligent Agent, Film Quarterly and Digital Humanities Quarterly, and is anthologized in the books Transmedia Frictions: The Digital, the Arts, and the Humanities; F Is for Phony: Fake Documentary and Truth’s Undoing; Television Histories: Shaping Collective Memory in the Media Age; Digital Youth, Innovation and the Unexpected; Debating New Approaches to History; and New Media, Old Media: A History and Theory Reader, Reclaiming Popular Documentary and The Routledge Handbook of Remix Studies and Digital Humanities.

At UCLA, Anderson has served as Chair of the faculty at the School of Theater, Film and Television, Interim Chair of the Department of Film, Television and Digital Media, and Vice Chair of Undergraduate Studies. Previously, Anderson taught for 15 years in the USC School of Cinematic Arts, where he was the founding director of the practice-based Ph.D. program in Media Arts + Practice (iMap) and a faculty member in the divisions of Interactive Media & Games.

A former documentary film and sound editor in Washington, D.C., Anderson worked for National Geographic, the U.S. Holocaust Memorial Museum, the National Audubon Society, Guggenheim Productions, NHK Broadcasting and ABC Television. He served for more than a decade as a board member of Los Angeles Filmforum and as co-curator with Holly Willis of the experimental digital screening series Blur + Sharpen.

His work has received support from the American Council of Learned Societies, the NEH Office of Digital Humanities, the Andrew W. Mellon Foundation, the MacArthur Foundation, the National Endowment for the Humanities, Adobe Systems, Oculus VR/Facebook, Related Content Database and Google Daydream.

Anderson’s creative work mobilizes a deliberately unstable array of media and technology positioned at the intersection of data and images, incorporating documentary, computational and immersive media. His project Live-VR Corridor received the award for Best Mixed Reality at the New Media Film Festival and was featured in the Beijing International Film Festival in 2021.

Anderson received a Ph.D. in film, literature and culture from USC and an M.F.A. in film and video from CalArts.


Home > Faculty > Suk-Young Kim

Suk-Young Kim


Suk-Young Kim

Suk-Young Kim's research interests cover a wide range of academic disciplines, such as East Asian Performance and Visual Culture, Gender and Nationalism, Korean Cultural Studies, Russian Literature and Slavic Folklore. Her publications have appeared in English, German, Korean, Polish and Russian while her research has been acknowledged by the International Federation for Theatre Research's New Scholar's Prize (2004), the American Society for Theater Research Fellowship (2006), the Library of Congress Kluge Fellowship (2006-7) and the Academy of Korean Studies Research Grant (2008, 2010, 2015-2020), among others. Her first book, Illusive Utopia:Theater, Film, and Everyday Performance in North Korea (University of Michigan Press, 2010), the winner of the 2013 James Palais Book Prize from the Association for Asian Studies, explores how state-produced propaganda performances intersect with everyday life practice in North Korea. Her second book, DMZ Crossing: Performing Emotional Citizenship Along the Korean Border (Columbia University Press, 2014), focuses on various types of inter-Korean border crossers who traverse one of the most heavily guarded areas in the world to redefine Korean citizenship as based on emotional affiliations rather than constitutional delineations. In 2015, DMZ Crossing was recognized with the Association for Theater in Higher Education Outstanding Book Award. In collaboration with Kim Yong, she also co-authored Long Road Home (Columbia University Press, 2009), which investigates transnational human rights and the efficacy of oral history through the testimony of a North Korean labor camp survivor.

Sponsored by the 2014-15 ACLS/SSRC/NEH International and Area Studies Fellowship, she recently published K-pop Live: Fans, Idols, and Multimedia Performance (Stanford University Press, 2018). This project traces the rapid rise of Korean popular music (K-pop) in relation to the equally meteoric rise of digital consumerism — a phenomenon mostly championed by the widespread development of high-speed Internet and the distribution of mobile gadgets — and situates their tenacious partnership in the historical context of Korea from the early 1990s to the present day. She is currently working on several book-length projects: Media and Technology in North Korea, Korean Language Theater in Kazakhstan and Russian Theatrical Costumes and the Vestige of Empire.

Kim served on the editorial board of the Routledge Handbook of Sexuality Studies in East Asia and is currently at work as a senior editor for the Oxford Research Encyclopedia of Literature. She also sits on the editorial board of the Journal of Korean Studies and serves on the advisory committee for the Hong Kong University Book Series Crossings: Asian Cinema and Media Culture.

Kim previously taught at Dartmouth College and UC Santa Barbara. She received her Ph.D. in Interdisciplinary Theatre and Drama with a Certificate in Gender Studies from Northwestern University in 2005 and her Ph.D. in Slavic Languages and Literature from the University of Illinois at Chicago in 2001.


Millennial North Korea: Forbidden Media and Living Creatively with Surveillance
(under contract with Stanford University Press)

Surviving Squid Game: A Guide to K-Drama, Netflix and Global Streaming Wars
(Applause Books, forthcoming, 2023)

The Cambridge Companion to K-Pop, editor
(Cambridge University Press, forthcoming, 2023)

K-pop Live: Fans, Idols, and Multimedia Performance
(Stanford University Press, 2018)

DMZ Crossing: Performing Emotional Citizenship Along the Korean Border
(Columbia University Press, 2014)

Illusive Utopia: Theater, Film, and Everyday Performance in North Korea
(Ann Arbor: University of Michigan Press, 2010)

Long Road Home: Testimony of a North Korean Camp Survivor
Co-authored with Kim Yong
(Columbia University Press, 2009)

Recent Articles

"Ajumma Fabulosity and the Art of Wearing Vizor with Ferocity," Prism: Theory and Modern Chinese Literature (Fall 2022)

"Black K-Pop: Racial Surplus and the Global Consumption of Korean Pop Music," TDR (Summer 2020)

"Disastrously Creative: K-Pop, Virtual Nation, and the Rebirth of Culture Technology," TDR (Spring 2020)

"Beauty and the Waste: Fashioning Idols and the Ethics of Recycling in Korean Pop Music Videos," Fashion Theory (March 2019)

"Recycled Theatre: Virtuous Lives of the Reclaimed and the Reused," Theatre Survey (September 2016)

"Looking into Asia Beyond Nation States: Pan-Mongolianism and its Specters," Verge: Studies on Global Asias (Spring 2015)

Video Lectures, Interviews and Op-Eds

Op-ed: “Hollywood, take note, Korean pop culture is here to stay” (Los Angeles Times, 2022)

Op-ed: "K-pop stans’ anti-Trump, Black Lives Matter activism" (NBC News, 2020)

Podcast: Vox Media Switched on Pop (2019)

Podcast: K-pop Live with New Books Network (2019)

Interview: KBS America (2022)

Interview: Quartz News Show (2019)

Interview: All Things Considered (NPR, 2016)

Interview: “K-popporazzi” (Radio Lab, 2016)

Lecture: "What is K-pop?" (USC Korean Studies Institute, 2016)

Lecture: "For the Eyes of the Dear Leader: Fashion and Body Politics in North Korean Visual Arts" (Library of Congress, 2007)


Home > Faculty > Dominic Taylor

Dominic Taylor


Dominic Taylor

Dominic Taylor is a writer-director and scholar of African American theater whose work has been seen across the country.

He is presently working on a commission from Ford’s Theatre in their Lincoln Legacy Project. In addition, the Goodman Theatre, Steppenwolf Theatre, Ensemble Studio Theatre and New York Theatre Workshop have all commissioned Taylor as a writer. His published work includes Wedding Dance and Personal History; both produced at the Kennedy Center by the African Continuum Theatre; Upcity Service(s), included in the anthology Seven More Different Plays, edited by Mac Wellman (Broadway Play Publishing); and Hype Hero, which was developed at the Eugene O'Neill Theatre Center in Waterford, Conn., produced at Brown University in Fall 2014 and published in 2021 at Playscripts.com. His play I Wish You Love premiered at Penumbra Theatre Co. in St. Paul, Minn., and was produced at The Kennedy Center and Hartford Stage in 2012.

Taylor recently directed an adaptation of Toni Morrison’s The Bluest Eye. He directed Alice Childress' Trouble in Mind in St. Paul. He re-envisioned and directed a classic of the Harlem Renaissance, The Purple Flower, at Boston's Factory Theatre and incorporated shadow puppets as his characters. Taylor’s directing projects have been as varied as the opera Fresh Faust at the Institute of Contemporary Art in Boston; The Negroes Burial Ground at The Kitchen in New York City; Destiny and Uppa Creek at Manhattan's Dixon Place; Ride the Rhythm in the Hip-Hop Theatre Festival in Washington, D.C., and The Wiz at the University of Minnesota's Rarig Center in Minneapolis. He also reimagined and restaged The Black Nativity for Penumbra Theatre and directed Complicated Fun, a musical about the 1980s music scene in Minneapolis. His next directing project will be a commercial musical, Selassie, which he will also write.

In the 1990s, Taylor helmed Public Transportation Productions. This film and media company made the award-winning shorts Counter Puncher and In This Corner, and the early web film preview program It’s Coming. He is currently developing a television project for the studio eOne.

As a scholar, Taylor's training began under the tutelage of George Houston Bass and his Research to Performance Method (RPM) at Brown's Rites and Reasons Theatre. In Summer 2014, Taylor was part of the Consortium on African American Aesthetics at Emory University. He was part of the original group of artists and scholars gathered at August Wilson's "The National Black Theatre Summit: On Golden Pond." Taylor was part of the cohort that presented a paper on aesthetics. He is also the performance editor of the Massachusetts Review and his essay Don’t Call African American Theatre Black Theatre: It’s Like Calling a Dog a Cat was published in September 2019.

He is the former associate artistic director of Penumbra Theatre Co., one of the premiere African American theaters in the country. There he utilized his unique culturally specific play development process called OKRA.

Previously, Taylor was an associate professor at the University of Minnesota, Twin Cities. He has also taught at Bard College, City University in New York, Columbia College of Chicago, Bennington College and Brown University.

Taylor is an alumnus member of New Dramatists. He received his bachelor and MFA degrees from Brown University and is a member of Stage Directors and Choreographers Society and the Dramatists Guild.


Home > Faculty > Purnima Mankekar

Purnima Mankekar


Purnima MankekarFeminist Media Studies, Post-9/11Public Cultures, Affect Thoeries, Outsourcing and Information Technology, Transnational Cultural Studies; South Asian America, South Asia


Home > Faculty > Gina Kim

Gina Kim


Gina Kim Los Angeles-based Gina Kim is one of the few South Korean filmmakers to produce works in Hollywood and her home country. Her award-winning films reimagine cinematic storytelling across different genres and platforms, developing a unique transnational perspective centered on female protagonists. Her five feature-length films and works of video art have screened at more than 150 prestigious international film festivals and venues including Cannes, Berlin, Venice and Sundance, 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 to critical acclaim in Europe, Asia and the United States. 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." In 2018, The Hollywood Reporter selected Kim as one of “5 South Korean Talents to Watch” noting Kim’s pioneering efforts in Asian cinema.

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. In 2018, Kim and L’Atelier des Cahiers published Seoul, Visages d’une Ville, a trilingual multimedia photo book essay based on the documentary.

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 works include a virtual reality trilogy about the issue of U.S. military camp towns in South Korea. The first of the trilogy, Bloodless, (2017) transforms the controversial issue of crimes by U.S. military personnel stationed in South Korea into a personal and emotional experience. Bloodless received Best VR awards at Venice International Film Festival, Thessaloniki International Film Festival and Bogotá Short Film Festival. Filmmaker Magazine featured Bloodless as the Best VR Storytelling of 2017. The second part of the trilogy Tearless (2020) premiered at the Venice Film Festival accompanied by metaverse of “Monkey House,” a medical prison that detained U.S. comfort women who were suspected to have STDs.

Kim is widely recognized as an innovative instructor who uses media for social justice. She has taught at Harvard University as the first Asian woman at her department and was awarded a Certificate of Teaching Excellence in 2014. In 2018, Variety listed Kim as one of the “Top Teachers in Film, TV” noting Kim’s “keen understanding of the future of entertainment technology.”


Home > Faculty > Erkki Huhtamo

Erkki Huhtamo


Erkki HuhtamoErkki 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.

  • Contact

  • Phone: 310-825-8292


Home > Faculty > Sean Metzger

Sean Metzger

Head of Performance Studies; Associate Dean, Faculty and Students; Professor

Sean MetzgerSean Metzger is a scholar who works at the intersections of several fields: visual culture (art, fashion, film, theater) as well as Asian American, Caribbean, Chinese, film, performance and sexuality studies. He has written two books. Chinese Looks: Fashion, Performance, Race (Indiana University Press, 2014) demonstrates how aesthetics, gender, politics, economics and race are interwoven through particular forms of dress in what Metzger calls the Sino/American interface from the late 19th through early 21st centuries. The Chinese Atlantic: Seascapes and the Theatricality of Globalization (Indiana University Press, 2020) complicates discourses of globalization through an examination of aesthetic objects and practices situated in cities from Shanghai to Cape Town. The Chinese Atlantic won the 2022 Association for Asian American Studies Book Award for Humanities & Cultural Studies: Interdisciplinary/Media Studies and the 2021 John W. Frick Award from the American Theatre and Drama Society for best book on theater and performance of/in the Americas. Metzger has published more than 75 articles and reviews in various print and online venues.

He has worked extensively to increase collaboration among thinkers and artists from different disciplines and has co-edited numerous interdisciplinary collections of essays in this vein: Embodying Asian/American Sexualities with Gina Masequesmay (Lexington, 2009); Futures of Chinese Cinema: Technologies and Temporalities in Chinese Screen Cultures with Olivia Khoo (Intellect, 2009); Race, Space, Place: The Making and Unmaking of Freedoms in the Atlantic World with Michaeline Crichlow (Cultural Dynamics, 2009); Islands, Images, Imaginaries with Francisco J. Hernández Adrián and Michaeline Crichlow (Third Text, 2014); Expressions of Asian Caribbeanness with Andil Gosine and Patricia Mohamed (Asian Diasporic Visual Cultures and the Americas, 2019); and Transient Performance with Kimberly Chantal Welch (Cultural Dynamics, 2020). He is co-editor with Roberta Mock of The Methuen Drama Handbook to Theatre and Gender (forthcoming). With John Clum, he edited an anthology of plays called Awkward Stages: Plays about Growing Up Gay (Cambria, 2015). He has been an associate editor of Cultural Dynamics for several years and and is currently the editor of Theatre Journal for which he curated special issues entitled Minor Asias (2020), AI (2021), Installation (2022) and Refugee Processing (forthcoming 2023).

Metzger also strives to create educational and scholarly networks from the local to the global. He served on the Executive Board of Performance Studies international for six years, serving as the organization’s president from 2016-2020. He then co-convened PSi’s inaugural Committee on Anti-Racist Actions and Practices (2020-2021). In 2014, he taught for the UC Education Abroad Program at Fudan University (China). He travels often, giving guest lectures in the U.S. and abroad. He was a fellow at the Asian American Studies Center at UNC-Chapel Hill (2021-2022). He worked for nine years as a UCLA Faculty-in-Residence, where he worked to engage students with Los Angeles as a global media capital. He consults for major entertainment companies.

Before his arrival at the UCLA School of Theater, Film and Television in 2012, Metzger was an assistant professor of English, theater studies, and Asian & Middle Eastern studies at Duke University. He was named the inaugural Fulbright Research Chair in North American Society and Culture at Concordia University (Canada) in 2008 and a Framing the Global fellow with Indiana University and Indiana University Press (2011-2018). At the beginning of his academic career, he served as adjunct faculty at Antioch University, Loyola Marymount University and the USC School of Dramatic Arts. In addition to his academic work, he spent three years in social services at the L.A. LGBT Center and as an independent consultant to school districts and other non-profit institutions.

Metzger holds a Ph.D. in theater (twentieth century performance and culture), an M.A. in comparative literature and a B.A. summa cum laude in humanities and psychology.

  • Contact

  • Office: 3352 Macgowan
  • Phone: 310-205-0429