I began the Arizona State University Film and Media Studies program in summer 2011. The following papers were presented as part of the program portfolio.


I had the great pleasure to work with Independent Feature Project Phoenix in support of the Phoenix Film Festival Industry Night event. IFP provides development and education to support the growth of independent film in Arizona, and outreach communication and event support was the focus of my internship. The event provided networking and vendor access for the Arizona media industry. Staff work group meetings provided a great overview of festival planning and implementation. I also participated in the festival kids day event, teaching ages 5-12 the basics filming techniques and how to plan a shoot. Each of the children visited a progressive series of stations that culminated in the creation of their own film production from scriptwriting and shooting to post-production.

Course Work

593 Applied Project: the goal of this course was to produce a useful project that contributed to both the audiovisual archives profession and to independent filmmakers. Indie filmmakers were asked to complete a short survey describing their personal digital archiving plan and concerns about long-term preservation of digital assets. From the responses and a review of the literature, I developed the Digital Moving Images Archive: A Guide for Independent Filmmakers. The guide provides basic information about preserving digital data and to encourage collaboration with moving image archives. The final paper, Covering Your Assets, provides in-depth analysis of the challenges for independent and amateur filmmakers and encourages the audiovisual archive community to get involved with the local independent media industry. The guide is now listed on the Library of Congress National Film Board resources site, and is being used in the curriculum at the L. Jeffrey Selznick School of Film Preservation at George Eastman House.

520 Cultural History of U.S. Television: exploring cultural representation in U.S. Television, the course applied cultural theory and methods to analyze how television programming reflected and refracted issues of gender, class, ethnicity, religion and sexual orientation. The final paper, Feminist Theory and Women Writers in American Television, examined the impact of women writers in the profession and on the characters they crafted. The paper focuses on four of the most influential and successful women writers: Gertrude Berg, Treva Silverman, Roseanne Barr and Tina Fey.

511 Screenwriting: the goal of this course was to produce a series of short film scripts and treatments, and to implement and evaluate the core elements of successful scriptwriting. Focus on plot, dialogue and characterization explored the complicated and multi-layered aspects of engaging storytelling and expectations of professional scriptwriters.

504 Film Analysis: this course focused on the central methodologies of film analysis, including narrative structure, genre, style, editing, mise-en-scene, cinematography and authorship in the context of social identity, national culture and history. Desert: A Principle Character in Lawrence of Arabia analyzes the use of landscape as the central female antagonist and her role in advancing the narrative, and was the final paper.

503 Film and Media Industry: course focused on the methods and theories supporting  critical study of the media industry, including the cultural, sociopolitical and economic entities that drive the media industry. Foundational theoretical concepts were applied to current issues and business practices within the field. The final paper, Festival Distribution of Native American Indian Films, evaluated the cultural contribution of Native cinema to local and national audiences and the economic challenges and opportunities within the festival circuit for Native productions.

502 Hollywood Film Historiography: this course focused on the technical and economic history of Hollywood studios and the film industry. The final paper, Studio Films: Access and Public Domain, supports the call for increased access to out-of-copyright and orphan works that are currently stored in legal limbo in studio archives.