JONATHAN L. BELLER
Professor, Humanities and Media Studies and Critical and Visual Studies, Pratt Institute, Brooklyn, NY, 2008-present
Program Director, Graduate Program in Media Studies, Pratt Institute, 2012-
Associate Professor, English and Humanities and Critical and Visual Studies, Pratt Institute, Brooklyn, NY, 2004-2008
Visiting Associate Professor, English and Women’s Studies,
Barnard College, Columbia University
Visiting Assistant Professor, History of Consciousness and Literature, University of California, Santa Cruz, 2001-2003, 2005-2006
Visiting Faculty, Humanities Department, San Francisco State University, 2004
Ph.D. Duke University, Graduate Program in Literature, December, 1994
Dissertation: The Cinematic Mode of Production
M.A. Columbia University, Department of English and Comparative Literature, 1988
— University of Texas, Graduate Department of English, 1986-1987
B.A. Columbia University, English, 1985
GRANTS AND HONORS
Fellow, Barnard Center for Research on Women and Gender (2011-2014)
Mellon Research Stipend, Pratt Institute, 2011
Mellon Research Stipend, Pratt Institute, 2010
Mellon Research Stipend Pratt Institute, 2009
Faculty Development Grant, Pratt Institute, 2008
Mellon Research Stipend, Pratt Institute, 2008
Mellon Travel Award, Pratt Institute, 2008
Nomination of The Cinematic Mode of Production for The Society of Cinema and Media Studies Kovacs Book Award for outstanding scholarship in film and media studies, 2007
Essay “Paying Attention,” in Cabinet #24 selected for Documenta XII, 2007
Mellon Research Stipend, Pratt Institute, 2007
Mellon Travel Award, Pratt Institute, 2007
Mellon Research Stipend, Pratt Institute, 2006
Mellon Travel Award, Pratt Institute, 2006
Mellon Research Stipend, Pratt Institute, 2005
Mellon Travel Award, Pratt Institute, 2005
Mellon Research Stipend, Pratt Institute, 2004
Research Associate: History of Consciousness, University of California, Santa Cruz, 2003-2004
Research Fellow, Center for Cultural Studies, University of California, Santa Cruz, 1998-2000
J. Paul Getty Postdoctoral Fellow in the History of Art and Humanities, 1998-99
Fulbright Lecturing/Research Senior Scholar Award, De La Salle University, University of the Philippines and Ateneo de Manila, Manila, Philippines, 1998-99
University Fellowship, Duke University 1989-1993
Duke University Travel Grant, Image of Technology Conference, 1993
Duke University Travel Grant, ILASSA Conference, UT Austin, 1992
Duke University Travel Grant, Subversions Conference, UC Boulder, 1991
Mellon Foundation Grant from the Duke-UNC Program in Latin American
Studies, for Video Research Project in Argentina, Chile and Uruguay, Summer 1991
International Research Grant , Duke University Program in
International Studies, Summer 1991
University Fellowship, Columbia University 1987-88
University Fellowship, University of Texas at Austin 1986-87
BOOKS AND EDITED VOLUMES
Wagers Within the Image: Computational Capital and Aesthetics of Survival (forthcoming)
The Rain of Images: Media Logistics of Postmodern Fascism (forthcoming)
Feminist Media Theory: Iterations of Social Difference: A Special Issue of Scholar and Feminist Online, ed., Jonathan Beller, 10:3; (Summer, 2012).
Present Senses: Aesthetics, Affect, Asia in the Global (with Neferti Tadiar, in progress)
The Cinematic Mode of Production: Towards A Political Economy of the Society of the Spectacle, (Dartmouth: Dartmouth College/University Press of New England, 2006). Croatian translation forthcoming from Cinestetika, 2012.
Acquiring Eyes: Philippine Visuality, Nationalist Struggle and The World Media-System, (Manila: Ateneo de Manila University Press, 2006).
Kristology and Radical Communion: Works of Emmanuel Garibay, (Manila: Sipat Publications, 1999).
Polygraph 8/9 Special Issue: New Metropolitan Forms (Durham:1996), Issue editor (with Neferti Xina M. Tadiar and Mark Simpson).
“Advertisarial Relations and Aesthetics of Survival,” in NECS: European Journal of Media Studies, Fall 2013. Earlier version appeared in Actionable Image: Agency of Image, Performance of Body, Apparatus of Spectating in Frakcija Performing Arts Journal, No., 62-63; (Zagreb, 2012).
“Pathologistics of Attention” in The Psychopathology of Cognitive Capitalism, vol. 1, eds., Arne de Boever and Warren Neidich, Berlin: Archive Books, 2013. Revised edition forthcoming in Discourse, Fall 2013.
“Digitality and the Shattering of Tradition,” in Parallel Slalom: A Lexicon of Non-aligned Poetics, ed. Bojana Cvejic and Sergej Pristas, (Belgrade and Zagreb: Walking Theory, 2013).
“Introduction,” Feminist Media Theory: Iterations of Social Difference, in Scholar and Feminist Online, 10:3, Summer 2012.
“Camera Obscura After All: The Racist Writing With Light,” in Scholar and Feminist Online, 10:3, Summer 2012.
“Wagers Within the Image,” Culture Machine, (special issue entitled Paying Attention), eds., Patrick Crogan and Sam Kinsley, Vol. 13, 2012. Republished in Michael A. Peters and Tina Beasly (Eds.), The Creative University, New Zealand: Sense Publishers, 2013; 93-110.
“Digitality and the Media of Dispossession” in Digital Labor: The Internet as Playground and Factory, ed. Trebor Sholtz, New York: Routledge, 2012.
“The Martial Art of Cinema: Modes of Virtuosity a la Hong Kong and the Philippines” (in Vaginal Economies, a special issue of positions: east asia, cultures, critique, vol. 19, no. 2, Fall 2011)
“Cognitive Capitalist Pedagogy and Its Discontents,” Cognitivie Capitalism, Education, and Digital Labor, eds., Michael A. Peters and Ergin Bulut (Peter Lang, 2011 ).
“Digitality and the Shattering of Tradition,” forthcoming from East Dance Academy [Zagreb], 2011.
“Grammar of the McMultitudes: The Labor (Value) or Theory,” Communication and Critical/Cultural Studies Volume 7, Issue 1 March 2010 , pages 106 –113, March, 2010).
“Jonathan Beller and Marina Grzinic, Discussing Contemporary Capitalism and the Cinematic Mode of Production,” [Interview] in Reartikulacija no.9 (in English and Slovenian), 2009.
“The Martial Art Called “Cinema”” [in English and Croatian], China in the Global Cultural Imaginary (Zagreb: Subversive Film Festival, 2009).
German Translation of “Third Cinema in a Global Frame” from Acquiring Eyes in Cargo: Film / Medien / Kultur, Vol. 1. no.1, February 2009.
“Iterations of the Impossible: Questions of Digital Revolution in the Philippines“, Postcolonial Studies, Vol. 11, No. 4, pp. 435-450, 2008.
“Cultural Revolution Internationale” in conversation with Neferti X. Tadiar, And Now China? [special issue] Ctrl +P Journal of Contmporary Art, (No. 11, pp. 40-45, March 2008).
“Paying Attention,” Cabinet #24, (New York: Distributed Art Publishers, 2007), essay selected for Documenta XII.
“21st Century Fascism, ‘Political’ Killing, and the Crisis of Representation,” Kontra-Gahum: Academics Against Political Killings, ed., Sarah Raymundo, Manila: Ibon Publications, 2006.
“Third Cinema,” entry in the New Dictionary of the History of Ideas, Detroit: Charles Scribner’s Sons, 2005 (3000 words).
“Visual Culture,” entry in the New Dictionary of the History of Ideas, Ed. Maryanne Horowitz. Vol. 6. Detroit: Charles Scribner’s Sons, 2005. (2423–29).
“From Social Realism to the Specter of Abstraction: Conceptualizing the Visual Practices of H. R. Ocampo,” Kritika Kultura, Issue 5, Fall 2004.
“The Cinematic Mode of Production: Towards a Political Economy of the
Postmodern,” in Culture, Theory & Critique, 44(1)(2003), p. 91-106.
“Numismatics of the Sensual, Calculus of the Image: The Pyrotechnics of Control,” Image [&] Narrative 6: Medium Theory (2003). Reprinted in Pavilion #10-11: What Was Socialism and What Comes Next? (Bucharest, Romania: Harris Print, 2007).
“Kino-I, Kino World: Notes on the Cinematic Mode of Production,” in The Visual Culture Reader, Second Edition, ed. Nicholas Mirzoeff, Routledge, 2002.
“Third Cinema in a Global Frame: Curacha, Yahoo!, and Ishmael Bernal’s Manila By Night,” Positions 9:2 Fall 2001, 331-368.
“Nationalism’s Molten Prayers: The Early Writings of Filipino National Artist H. R. Ocampo,” Philippine Studies, vol.47, Fourth Quarter 1999; 468-491.
“Directing the Real: Orapronobis Against Philippine Totalitarianism (2000),” ThirdText no.45, Winter 1998-99 . Republished in: Geopolitics of the Visible: Essays on Philippine Film Cultures, ed. , Roland Tolentino (Manila: Ateneo de Manila University Press,2000). Also reprinted in The Third Text Reader, eds., Sean Cubitt, Rashid Araeen and Ziauddin Sardar (New York and London: Continuum, 2002).
“Towards a Theory of Visuality in Philippine Modernity,” Fineprint, Volume V,1998.
“Identity Through Death / The Nature of Capital: The Media Environment for Natural Born Killers,” Post-Identity, vol. 1, no. 2, Summer 1998; 55-67.
“Painting Bytes,” Public Culture, vol. 10, no. 2, Winter 1998; 454-456 [review].
“PMLA in the Philippines?”, “PMLA Forum,” PMLA, vol. 113, no. 5, October 1998 [letter].
“Capital/Cinema,” in Deleuze and Guattari: New Mappings in Politics/Philosophy/Culture, eds., Eleanor Kaufman and Kevin Heller (Minneapolis: University of Minnesota Press, 1998). Turkish translation published in Gilles Deleuze’de Toplumve Denetim, ed. Ali Akay (Istanbul, Kasim: Baglam yay, 2005) ISBN: 9758803468.
“Writing Video Art,” Afterimage, vol. 26, no. 1, July/August 1998.
“City of Television: Metropolitan Affects and the New Americanism,” Polygraph 8/9: New Metropolitan Forms (Durham: 1996): 133-151.
“Introduction: Making ‘New Metropolitan Forms,’” with Mark Simpson and Neferti Tadiar, Polygraph 8/9: New Metropolitan Forms (Durham: 1996): 3-7.
“Desiring the Involuntary: Late Capitalist Circulation and the Machinic Assemblage in Deleuze and Robocop 2,” in Global/Local: Cultural Production and the Transnational Imaginary, eds. Rob Wilson and Wimal Dissanayake (Durham: Duke University Press, 1996).
“The Spectatorship of the Proletariat,” boundary 2, Vol. 22, No. 3 (Fall 1995): 171-228.
Download–The Spectatorship of the Proletariat
“The Radical Imagination in American Film,” Creative Screenwriting, vol. 1, no. 4 (Winter 1994): 41-50.
“Cinema, Capital of the Twentieth Century,” Postmodern Culture, v.4 n.3 Oxford University Press (May 1994). An earlier version appears in The Image of Technology Conference Proceedings, eds., Will Wright and Steven Kaplan, Univ. of Southern Colorado (1994).
“Print Edition of ‘Intervention in the Field of Dreams with Ariel Dorfman,’” in Learning History in America: Schools, Cultures and Politics, eds. Lloyd Kramer, Donald Reid and William L. Barnery (Minneapolis: University of Minnesota Press,1994).
“The Circulating Eye,” Communication Research, vol. 20, no. 2 (April 1993): 298-313.
“Imperial Jive,” World Picture vol. 1, no.1, March 2008.
“Self Portrait as a Prosthetic Limb,” Ubiquitous (Pratt Literary Journal), 2007.
“Military Industrial Complex,” in Shock and Awe: War on Words (Santa Cruz: New Pacific Press, 2004).
“Review of A Perfect Storm,” KUSP broadcast, July 16/17, 2000
“Review of Mission Impossible 2,” KUSP broadcast May 26/27, 2000.
“Review of Hi-Fidelity,” KUSP broadcast April 27/28, 2000
“Review of Black and White,” KUSP broadcast April 10/11, 2000.
“Multicultural Depression (Kills)” (review of Romeo Must Die), KUSP broadcast March 25/26, 2000.
“Wonder Why” (review of Wonder Boys), KUSP broadcast March 11/12, 2000.
“Executing Reality: The Whole Nine Yards,” KUSP broadcast, February 25/26, 2000.
“The Enterprise of Galaxy Quest,” KUSP broadcast February 11/12, 2000.
“The Why of the Beholder” (review of Eye of the Beholder), KUSP broadcast January 28/29, 2000.
“All About Your Desire” (review of All About My Mother), KUSP Broadcast, January 14/15, 2000.
“The Silence of Alienated Toys” (review of Toy Story 2), KUSP Broadcast, December 31, 1999/January 1, 2000.
“The Vile Green Mile, KUSP Broadcast, December 17, 1999.
“The End of The End of Days, KUSP Broadcast, December 3 and 4, 1999.
“What’s Inside The Insider?” KUSP Broadcast, November 19/20.
“Fight Club‘s Utopian Dick,” KUSP Broadcast, November 5/6, 1999.
“Painting the Audience: Realism of Emmanuel Garibay,” Philippine Daily Inquirer, Sunday Magazine, January 26, 1997.
“Manila By Night: A Tribute to Ishmael Bernal,” Philippine Daily Inquirer, Sunday Magazine, June 23, 1996.
“Jackie Chan’s Martial Art: The Body as a Site of Struggle,” Philippine Daily Inquirer, Saturday Special, September 30, 1995.
“The Invisible of Television: Lino Brocka’s Alternative Cinema,” Kampus Journal, Vol.1, No. 1, University of the Philippines, Diliman, September, 1995.
“Are You a Cyborg?” Philippine Daily Inquirer, Saturday Special, 9/2/95.
“Casper, The Ghost of Childhood,” Philippine Daily Inquirer, Saturday Special, July 22, 1995.
“The Pulp Fiction Faction: Notes Towards an Investigation,” Philippine Daily Inquirer, Saturday Special, July 1, 1995.
“The Utopian Strains of Rob Roy,” Manila Chronicle, June 4, 1995.
“The Nature of Capital: Environment and Selection in Natural Born Killers,” trans. Stefan Jonsson, Dagens Nyheter, (Swedish Newspaper), November, 1994.
“From Democratic Man to Demolition Man: Stallone’s Demolition (of the mind of) Man, Manila Chronicle, Section 4, January 4, 1994.
“Dinosaurs of Postmodernity: Jurassic Park and the World System,” Manila Chronicle, Section 4, August 3, 1993.
“White Homeland in A Far Off Place,” Manila Chronicle, Saturday Culture and Entertainment Magazine, July 24, 1993.
“Winning the Heart of the Military Industrial Complex: A Re-View of Robocop 3,” Manila Chronicle, Section 4, June 8, 1993.
“Philippine Film Precurses American Cinema,” Manila Chronicle, 2/16/93.
LECTURES, CONFERENCE PRESENTATIONS, PAPERS, ETC.
“Image-Code-Financialization,” Keynote Address at NECS European Media Studies Conference, Prague, Czech Republic, June 20-22, 2013.
“Pathologistics of Attention” at “The Psychopathology of Cognitive Capitalism Conference,” CalArts, Los Angeles, CA. Talk also given at USC, Nov. 8-9, 2012. Paper also presented at ACLA, Toronto, April 2013.
“Advertisarial Relations and Aesthetics of Survival,” for Actionable Image: Agency of Image, Performance of Body, Apparatus of Spectating Conference, La Mama, Zagreb Croatia, 2012.
“Materializing the Invisible: The Media of History” University Seminar, Columbia University, April 25, 2011.
From Wage to Wager: Visuality and the Form of Value,” invited lecture, Center for Labor, Technology and Subjectivity, CUNY Graduate Center, April 1,2011.
“Labor, Attention, Digitality,” invited lecture, New School for Social Research,” March 30, 2011.
“Rise of Visuality and the Transformation of Labor and the Form of Value, Center for the Critical Analysis of Social Difference, Keywords Series: “Labor,” Columbia University, Feb. 9, 2011.
“Forward to Class: Class Formations in the Capitalist Media Environment,” University of the Philippines, August, 23, 2010.
“The Media of Dispossession,” New School for Social Research, April 8, 2010.
“The Evisceration of the Sign,” at “Global Capitalism/Histories of Oppression,” Apex Art, NY, NY February 23, 2010.
“The Digital Ideology,” at “The Internet as Playground and Factory: Conference on Digital Labor,” The New School, NYC, Nov. 12-14, 2009.
“The Martial Art of Cinema: Modes of Virtuosity a la Hong Kong and the Philippines,” Graduate Program in Literature Alumni lecture series, Duke University, lecture and seminar, Durham, NC, January 22-23, 2009
“The Martial Art of Cinema: Modes of Virtuosity a la Hong Kong and the Philippines,” Ljubljana, Slovenia, December 15, 2008.
Keynote address, “Cinematicity and Choreography,” at “The Cinematic Mode of Choreography” conference, East Dance Academy and La Mama, Zagreb, Croatia, December 13, 2008.
“Camera Obscura After All: The Racist Writing With Light,” Center for the Critical Analysis of Social Difference Conference: Seeing Race, Columbia University, October 30, 2008.
“Materialist Analysis of the Visible,” Congress of Teachers /Educators for Nationalism and Democracy (CONTEND), Lecture and Seminar, University of the Philippines, Diliman, August 14 and 15, 2008.
Mediology and the Dissertation Proposal , PhD Workshop, Ateneo de Manila, August 11, 2008.
“Iterations of the Impossible,” Kritika Kultura Lecture Series, Ateneo de Manila, August 8, 2008.
“Aesthetics and Politics of the Posthuman” Seminar, Visual Praxis Collective, University of Washington, May 28th, 2008.
“Iterations of the Impossible,” Visual Praxis Collective, University of Washington, May 27th, 2008.
“Attention: The Archive,” Mellon Working Group: Networking Visual Cultures, USC, May 2-3, 2008
“Iterations of the Impossible,” New York University, King Carlos I Center, April 18, 2008
“Visuality in the Maelstrom of the Digital,” New York University, Department of Media, Culture and Communication, Jan. 25, 2008
Seminar on The Cinematic Mode of Production, Goldsmiths, Nov. 6, 2007
“Dziga Vertov’s Enthusiasm,” Historical Materialism Conference, London, Nov. 5, 2007.
“’The America(n) Effect’: Abstract Expressionism Meets the School of the Americas,” Historical Materialism Conference, London, Nov. 5, 2007.
“’Visual Culture’ is the State of Emergency,” NYU, Visual Culture working group, Oct., 2007
“Blogging for Dollars,” Visual Culture and Contemporary Media Conference, New York University, April 20, 2007
“The Status of Formalism,” Panel Discussion, The Pratt Institute, April 16, 2007
“Roundtable on the Cinematic Mode of Production,” Critical and Visual Studies, Pratt Institute, February 28, 2007.
“The Martial Art of Cinema: Modes of Virtuosity a la Hong Kong and the Philippines,” UC Santa Cruz, February 5, 2007.
“Farce, Political Killings and the current Cultural Revolution,” University of the Philippines, July 28, 2006.
“Philippine Realism in a Time of Farce,” Roundtable Discussion, University of Washington at Seattle, May 26, 2006.
“’The America(n) Effect’: Abstract Expressionism Meets the School of the Americas,” 94th Annual College Art Association Conference, Feb. 24th 2006.
“The America(n) Effect,” Nineteenth Annual Conference on Liberal Arts and the Education of Artists, School of Visual Arts, Oct 19-21, 2005.
Panel Chair, “Resistance in Performance: Dance, Theater, and Politics,” Performing Ethnicity Conference, City College of NY, 17 October, 2004
“Visual Culture as Counterrevolution,” Film Department, University of the Philippines (sponsored by CONTEND), July 11, 2004.
“Remediating the Real: Postcolonial Visuality and Philippine Cinema,” UC Riverside, May 5, 2004.
“Cinema All the Way Down,” Image and Critique,” Lansing Art Center, University of Nottingham, September 13-14, 2003.
“Media of Global War,” UCSC Teach-In, April 3, 2003.
“Legacy of Third Cinema,” San Francisco State University, Feb. 14, 2003.
“Metaphysics of the Cinema” University of Otago, Dunedin, New Zealand, July 17, 2002.
“End (of) America!,” at “Culture Against War: Philippines on the Axis of Empire,” UCSC 6 April, 2002.
“The Capital of Innocence,” Post-9/11 Media Teach-In, UCSC, November 2001.
“The Medium of War,” at the “N to N” conference, UCSC, November, 2001.
“Wires, papers, sounds: the hidden potentials of Ronaldo Lopes de Oliveira” exhibition notes, bAsE gallery, 27 October 2000
“Third Cinema in a Global Frame: Curacha, Yahoo! and Manila By Night,” University of California, Riverside, Dept. of Ethnic Studies, 2 March, 2000. Paper also delivered at SUNY Albany, Dept. of English, 28 February, 2000 and at UC Santa Cruz, Jr. Faculty Colloquim, 28 January, 2000, and at “New Asia Pacific Cinemas
Conference,” University of California, Irvine, October 8-9, 1999.
“Missing the Cultural Revolution: “Culture” as Mode of Production,” The State of Dissidence, University of the Philippines, Diliman, September 30, 1999.
“Literature, Media and Cultural Studies,” Far Eastern University, Manila, Philippines, September 8, 1999.
“Third Cinema in a Global Frame,” Film Department, University of California, Santa Barbara, February 11, 1999.
“Visual Transformations and Philippine Modernity: Nationalism’s Molten Prayer,” Center for Cultural Studies, University of California, Santa Cruz, December 2, 1998.
“Visuality as a Site of Production and Resistance,” Tatag Sining Congress for Visual Artists, National Council for Culture and the Arts, Mayjayjay, Philippines, September 18-20, 1998.
Lecture Series: “Mass Mediations: Domination and Resistance,” Communications Dept. De La Salle University, Manila, Philippines, July 11 – August 15, 1998.
“Scenes and Spaces of American (Literary) Intervention,” ACELT Conference, Ateneo de Manila University, August 8, 1998.
Response to Savage Acts: Wars Fairs and Empire, July 27, 1998, College of Mass Communications, University of the Philippines, Diliman.
“Cinema: The Highest Stage of Capital (to date),” Cultural Studies Symposium, University of California, Santa Cruz, October 29, 1997.
“Cinema: The Highest Stage of Capital (to date),” Berkeley Film & Video Consortium, San Francisco Museum of Modern Art, October 25, 1997.
“A Freeze-Dried History of the Philippines: Gemo Tapales’ Exhibition of ‘Now and Then,'” exhibition text (with N. Tadiar) at The Philippine Embassy, NYC, May 19-30, 1997.
“Conceptualizing the Visual Practices of H.R. Ocampo,” Critical Forum Venue, University of the Philippines, October 28, 1996.
“The Shelf-life of Abstraction: Daniel Oliver’s ‘Series Mondrian,'” exhibition text at The Lyons Weir Gallery, Chicago, November, 1994.
“Ideology and Pedagogy of Globalization,” Comparative Area Studies steering committee seminar at Duke University, September 16, 1994.
“City of Television: Metropolitan Affects and the New Americanism,” New Metropolitan Forms Conference, Duke University, April 7-9, 1994.
“Cinema, Capital of the Twentieth Century,” The Image of Technology, University of Southern Colorado, Colorado Springs, March 10-13, 1994
“Food for Hallucination, or, Meat Dreams,” Screening Latinidad: A Project on Media, Performance and Visual Culture, Duke University, February 4-5, 1994
“God, Shit, Sex and Syntax: The Formal Consequences of Radical Thought in Alternative Video,” Mowelfund Film Institute, Manila Philippines, July 1993
“Towards a Dialectical Film of the Cinema (Books),” Deleuze Conference, Program in Literature, Duke University, March 5-7, 1993
“Alternative Video in the Southern Cone,” with Neferti X. M. Tadiar, Twelfth Annual ILASSA Conference on Latin America, University of Texas, Austin, March 6-8, 1992
“On the Emergent Visual Economy of Modernism,” Walter Benjamin and the Jetztzeit:1892-1992, Duke University, February 21-2, 1992
“Desiring the Involuntary: Robocop 2,” Subversions, University of Colorado at Boulder, February, 1991
“Intervention in A Field of Dreams with Ariel Dorfman” (video/talk), How We Learn History: The Past, The Classroom and Society, UNC, Chapel Hill, 1991
VIDEO AND FILM PRODUCTION
The ABC’s of Censorship, Videographer for Ariel Dorfman’s television segment, Channel 4, London, (broadcast:1991).
“Intervention in A Field of Dreams with Ariel Dorfman,” Director, for Paper Tiger Television, 30 min. (cablecast:1990).
“970-WIFE” (video-8, 21 min.),Videomaker, with Liz Ekhart, 1990
Mexica, experimental, B&W, 16 mm., sound, 18′, 1989
Persistence of Vision, experimental documentary, B&W, 16 mm., silent, 17′, 1988