Faculty & STAFF
EPHRAIM ASILI Assistant Professor of Film and Electronic Arts
B.A. Film and Media Arts, Temple University, M.F.A Film & Video Arts, Bard College. Ephraim Asili is a Filmmaker, DJ, and Traveler whose work focuses on the African diaspora as a cultural force. His films have screened in festivals and venues all over the world, including the New York Film Festival, NY; Toronto International Film Festival, Canada; Ann Arbor Film Festival, MI; San Francisco International Film Festival, CA; Milano Film Festival, Italy; International Film Festival Rotterdam, Netherlands; MoMA PS1, NY; LAMOCA, CA; Museum of Fine Arts, Boston, MA; and the Whitney Museum, NY. As a DJ, Asili can be heard on his radio program In The Cut on WGXC, or live at his monthly dance party Botanica. Asili’s films are in distribution with Video Data Bank.
Thomas Beard is a founder and director of Light Industry, a venue for film and electronic art in Brooklyn, as well as a Programmer at Large for Film at Lincoln Center. He has organized screenings and related projects for Artists Space, the Centre Pompidou, the Metropolitan Museum of Art, the Museum of Modern Art, the National Gallery of Art, Tate Modern, and the Whitney Museum of American Art. At Bard since 2021.
BA, MFA, University of California, Los Angeles. Charles Burnett is an internationally acclaimed filmmaker and 2017 recipient of a Governors Award (honorary Oscar) from the Academy of Motion Picture Arts and Sciences. His films have been lauded for their poetic storytelling and incisive observations of class, race, and social relationships. His first feature film, Killer of Sheep, which depicts the problems confronting working class African Americans in South Central, California, was originally submitted as his master’s thesis at UCLA. Hailed as “an American masterpiece” by Manohla Dargis of the New York Times, Killer of Sheep was selected for preservation by the Library of Congress’s National Film Registry in 1990. The narrative and documentary films that followed—My Brother’s Wedding; To Sleep with Anger (added to the National Film Registry in 2017); The Glass Shield; Selma, Lord, Selma; The Wedding; Nightjohn; Nat Turner: A Troublesome Property; and Annihilation of Fish, among them—form a body of work that many critics believe offers the richest and most expansive exploration of African American culture and history of any filmmaker of Burnett’s generation. The 2007 rerelease of Burnett’s first two films, theatrically and on DVD, augured a renewal of interest in his work and its discovery by a new and younger audience. In January 2008, his oeuvre was honored by the New York Film Critics Circle.
Burnett is the recipient of numerous awards and honors, including MacArthur, Rockefeller, and Guggenheim fellowships, as well as the Horton Foote Screenwriting Award. Killer of Sheep shared first prize at the Sundance Film Festival and was awarded a top prize at the Berlin International Film Festival. In 2006, a retrospective of Burnett’s films was presented at the Louvre as part of an exhibition on the theme of exile, curated by Nobel Prize–winning author Toni Morrison. Selected honors also include a Golden Thumb Award, Roger Ebert Film Festival; Career Achievement Award, Chicago International Film Festival; Paul Robeson Award, Howard University; Best Screenplay Award for To Sleep with Anger, National Society of Film Critics; and the American Film Institute’s Maya Deren Award, also for 1990’s To Sleep with Anger. Retrospectives of his work include: “The Power to Endure,” Museum of Modern Art (2011); “The Outsider,” Louvre Museum (2006), and “Witnessing for Everyday Heroes,” Film Society of Lincoln Center and Human Rights Watch International Film Festival (1997).
Burnett previously taught or mentored students at Richard Linklater’s screenwriting workshop in Austin, Texas; Howard University; California Institute of the Arts; and University of California, Berkeley. At Bard since 2018.
B.A., Brown University; M.F.A., Milton Avery Graduate School of the Arts, Bard College. Media artist working in video, installation, stereoscopic 3D, VR, digital animation, and live performance. His work has been exhibited at LACMA; Whitney Museum of American Art; Film Society of Lincoln Center; MoMA PS1; Performa; Microscope Gallery, Brooklyn; Moscow Biennale; Images Festival, Toronto; and the New Museum of Contemporary Art; among others. Previously taught at Princeton University, Parsons The New School for Design, and the New School MA in Media Studies Program. At Bard since 2010.
B.A., Brown University; M.F.A., Rensselaer Polytechnic Institute. Recent films include include Hart’s Location (2016), The Measures (with Jenny Perlin 2014), The Observers (2011) and Stranger Comes to Town (2007). Recent exhibitions and screenings at American Museum of Natural History, Rotterdam Film Festival, New York Film Festival, London Film Festival, Pacific Film Archives, and the Museum of Modern Art in New York. Recipient, USA Rockefeller Award (2013), Alpert Award in the Arts (2007), DAAD Fellowship (2005), and Creative Capital Award (2005). At Bard since 2001.
Working on his farm outside of New Paltz, NY, Brent Green is a self-taught visual artist and filmmaker. Green’s films have screened, often with live musical accompaniment, in film and art settings alike at venues such as MoMA, BAM, The Getty, Walker, Hammer Museum, The Kitchen, Boston MFA, Wexner, Indianapolis Museum of Art, Rotterdam Film Festival, Sundance Film Festival as well as rooftops, warehouses and galleries throughout the globe. Often, his sculptural work and large-scale installation are displayed alongside his animated films, he’s had solo exhibitions at a bunch of places including the ASU Art Museum, Site Santa Fe, The Kohler Arts Center and the Berkeley Art Museum. Green’s work has been supported by Creative Capital, the Sundance Institute, San Francisco Film Society and the MAPfund. His art is in some fine public collections including MoMA, the Hammer Museum and the American Folk Art Museum. Green is represented by the Andrew Edlin Gallery in NYC. At Bard since 2018.
ED HALTER Critic in Residence of Film and Electronic Arts
B.A., Yale University; M.A., New York University. Ed Halter is a critic and curator living in New York City. He is a founder and director of Light Industry, a venue for film and electronic art in Brooklyn, New York, and his writing has appeared in Artforum, The Believer, Bookforum, Cinema Scope, frieze, Little Joe, Mousse, Rhizome, Triple Canopy, the Village Voice and elsewhere. He is a 2009 recipient of the Creative Capital | Warhol Foundation Arts Writers Grant, and his book From Sun Tzu to Xbox: War and Video Games was published in 2006. From 1995 to 2005, he programmed and oversaw the New York Underground Film Festival, and he has curated screenings and exhibitions at Artists Space, BAM, the Flaherty Film Seminar, the ICA, London, the Museum of Modern Art, the New Museum, PARTICIPANT INC., and Tate Modern, as well as the cinema for Greater New York 2010 at MoMA PS1 and the film and video program for the 2012 Whitney Biennial. He teaches in the Film and Electronic Arts department at Bard College, and is currently writing a critical history of contemporary experimental cinema in America. At Bard since 2007.
SKY HOPINKA Assistant Professor of Film and Electronic Arts
Sky Hopinka (Ho-Chunk Nation/Pechanga Band of Luiseño Indians) was born and raised in Ferndale, Washington and spent a number of years in Palm Springs and Riverside, California, Portland, Oregon, and Milwaukee, Wisconsin. In Portland he studied and taught chinuk wawa, a language indigenous to the Lower Columbia River Basin. His video, photo, and text work centers around personal positions of Indigenous homeland and landscape, designs of language as containers of culture expressed through personal, documentary, and non fiction forms of media. His work has played at various festivals including TIFF, Sundance, and the NYFF. His work was a part of the 2017 Whitney Biennial and the 2018 FRONT Triennial. He was a guest curator at the 2019 Whitney Biennial and was a part of Cosmopolis #2 at the Centre Pompidou. He was a fellow at the Radcliffe Institute for Advanced Study at Harvard University in 2018- 2019, a Sundance Art of Nonfiction Fellow for 2019, a recipient of an Alpert Award for Film & Video, and is a 2020 Guggenheim Fellow. He received his BA from Portland State University in Liberal Arts and his MFA in Film, Video, Animation, and New Genres from the University of Wisconsin-Milwaukee, and currently teaches at Bard College in Film and Electronic Arts. At Bard since 2020.
BA, Bard College; MA, University of Chicago. Lisa Katzman worked as a journalist, film critic, and educator for many years before becoming a documentary filmmaker and screenwriter. Tootie’s Last Suit, her documentary about the history and culture of New Orleans Mardi Gras Indians and iconic Chief Tootie Montana, premiered at the 2007 Full Frame Documentary Film Festival, played theatrically in New York and Chicago, and received the prestigious Jean Rouch Award from the Society for Visual Anthropology. Her current project, After Disasters, is a two-part documentary that explores the environmental and health effects of 9/11 and the BP oil spill in the Gulf of Mexico. For her original investigative work on BP’s use of the toxic dispersant Corexit during the 2010 Gulf disaster, she received a research fellowship from The Nation Institute’s Investigative Fund that led to a feature story in Mother Jones. She also served as writing and acting consultant on HBO’s 2017 series The Deuce. Original screenplays include Rachel and Gerard, an interracial romance set in the art world of Chicago, which will be directed by Visiting Artist in Residence and distinguished filmmaker Charles Burnett; and Deep Song, a commissioned adaptation of Dorien Ross’s Returning to A, a novel about an American woman’s experiences learning flamenco guitar from Spanish gypsies in the 1960s. Katzman has written extensively about film, art, food, the environment, feminism, and human rights for publications including the New York Times, Village Voice, Film Comment, Interview, Saveur, Playboy, High Times, Los Angeles Times, and Chicago Tribune. As an educator, she has taught film studies and screenwriting at New York University’s Tisch School of the Arts, Tulane University, Brooklyn College, and Vassar College. She also led screenwriting workshops for the Woodstock Film Festival and at Woodstock’s Byrdcliff Arts Colony. At Bard since 2018.
BA, Empire State University of New York, New York City; MFA, New York University’s Tisch School of The Arts, Dean’s Fellow; additional studies at New School’s Actors Studio Drama School. Professor Moreno is a director and screenwriter whose works have screened at SXSW, Tribeca Film Festival, BAMCinemaFest, and MOCADA Museum, among other venues. Professor Moreno is a Tribeca All Access, Sundance Women in Finance, and Film Independent fellow. Her short film White — the inspiration for her Athena List winning feature-length script received a San Francisco Film Society/Hearst Screenwriting Grant. Whitewasfunded by ITVS for the acclaimed Futurestates.tv series and is also available at PBS.org. Anothershort film, Sin Salida, aired on HBO/HBO Latino for two years and was a finalist at the American Black Film Festival. The Grey Woman premiered at Lincoln Center and won the Hallmark Channel short film competition. Her feature length script I’m Not Downis an AT&T & Tribeca Untold Stories Grant Recipient. Additional films include Binaand toy/tag/ break, a short film in Bushwisk Beats, an anthology feature of short films by six directors produced by Circle of Confusion that will premiere in 2019. She previously taught at Montclair State University and City University of New York, and served as lecturer at Cornell University, Williams College, and Marist College, and as teaching artist at The Pelham Picture House. At Bard since 2018.
VIKTORIA PARANYUK Visting Assistant Professor of Film and Electronic Arts
BA, SUNY Stony Brook; MA, Columbia University; PhD, Yale University. Paranyuk’s teaching and research interests include global film history, theories of realism and modernism, transatlantic film theory, film and other arts, contemporary global art cinema, Russian and Soviet cinema and visual culture, film and embodiment, migration studies, women in the film industry, and art and science. She previously taught at Pace University, where her courses ranged from international film history and film theory to storytelling across audiovisual media. She was also a teaching fellow at Yale University, where she received her PhD in film and media studies. Publications include peer-reviewed articles in Slavic Journal and the anthology Researching Women in Silent Cinema: New Findings and Perspectives, and book reviews in Film Quarterly. Manuscripts in progress include Modern Soviet Cinema: Realism, Internationalism, and the Aesthetics of Sincerity and the coauthored A History of Russian and Soviet Film Theory and Criticism, 1910-1991, among others. Selected screenings and curated film series include Body and Soul: The Films of Aleksandr Sokurov and New Voices from Russia: Emerging Filmmakers, Yale University; Harold Lloyd’s Never Weaken (1921) and Grandma’s Boy (1922), Silent Film Gala, also at Yale’s Whitney Humanities Center; and Film Albatros: Russians in 1920s Paris, Museum of Modern Art. For many years she also served as associate museum librarian at the Thomas J. Watson Library, Metropolitan Museum of Art, where she selected materials for purchase in Russian, Eastern European, and French art, and identified and selected Russian rare books. At Bard since 2020.
B.F.A., School of the Museum of Fine Arts, Tufts University. Reichardt’s new film Certain Women, starring Laura Dern, Michelle Williams, Kristen Stewart and Lily Gladstone, premiered at the 2016 New York Film Festival. Reichardt’s other films include: Night Moves (2013), Meek’s Cutoff (2010), Wendy and Lucy (2008), Old Joy ( 2006), and River of Grass (1994). Grants: United States Artists Fellowship, Guggenheim Fellowship, Anonymous Was a Woman Award, Renew Media Fellowship. Special Screenings: Whitney Biennial (2012), Film Forum, Cannes Film Festival in “un certain regard,” Venice International Film Festival, Sundance Film Festival, Berlin International Film Festival, Toronto International Film Festival, International Film Festival Rotterdam, BFI London Film Festival. Retrospectives: Anthology Film Archives, Pacific Film Archive, Museum of the Moving Image, Walker Art Center, American Cinematheque Los Angeles. At Bard since 2006.
B.A., Princeton University; M.A., M.Phil., joint Ph.D. (Film Studies and History of Art), Yale University. Film historian; has curated and organized retrospectives, series, traveling programs, and interdisciplinary conferences focusing on filmmakers, film movements, and particular moments from the silent era to the present at a number of venues including Bard College, Yale University, the Yale University Art Gallery, Freer and Sackler Galleries of the Smithsonian Institution, National Gallery of Art, Museum of the Moving Image, George Eastman House, Pacific Film Archive, Harvard Film Archive, UCLA Film and Television Archive, Toronto International Film Festival Cinematheque, British Film Institute, Austrian Film Museum, Munich Film Museum, Tokyo Filmex, National Museum of Singapore, Anthology Film Archives, and Princeton University. Author of Projections of Memory: Romanticism, Modernism, and the Aesthetics of Film (Oxford University Press, 2016) and editor, Hou Hsiao-hsien (Austrian Film Museum/Columbia University Press, 2014). Frequent contributor to The Moving Image and Senses of Cinema; articles published or forthcoming in Artforum (October 2015); Viewing Platform: Perspectives on the Panorama (Yale University Press, 2016); Positions: Asia Cultures Critique (2016); Ronshu Hasumi Shigehiko (Hatori Shoten, 2016); Robert Bresson (Indiana University Press, 2012); Olivier Assayas (Austrian Film Museum/Columbia University Press, 2012); Ashish Avikunthak (Aicon Gallery, 2012); Studies in French Cinema (Spring 2011); The Cinema World of Pedro Costa (Jeonju International Film Festival, 2010); Robert Beavers: My Hand Outstretched to the Winged Distance and Sightless Measure (Berkeley Art Museum and Pacific Film Archive, 2009); and the Encyclopedia of the Documentary Film (Routledge, 2005). Recipient, Whiting Fellowship (2009-2010); Stavros S. Niarchos Research Fellowship (2008); others. At Bard since 2010.
MARC SCHREIBMAN Technical Director of Film and Electronic Arts
B.A. Radio/TV Production, SUNY New Paltz. Marc is a filmmaker and photographer that has spent most of his life in the Hudson Valley with detours in Florida and NYC. For over 20 years he has worked in the film and television industry in one way or another – from feature films and documentaries to commercials and film lab work. Over those years Marc has gained a wealth of knowledge and understanding of all things technical in the industry. He has worked in crew positions such as cinematographer, assistant camera, gaffer, grip, and DIT. In addition to the on-set positions he also has extensive experience in post-production with editing, graphics, and color grading. At Bard since 2019.
RUTHIE TURK Administrative Assistant of Film and Electronic Arts
B.A. Theater, Siena College. Ruthie is a renaissance woman. She used her theatrical prowess to break into the New York City political landscape after college. She skyrocketed from State Senate Community Liaison to District Office Manager at the age of 23. After winning her state senator’s reelection, she was recruited by the congressperson in the district and she served as their Immigration Specialist. And as quickly as her political career began, she fled at the first opportunity. Ruthie then began hustling as a Stage and Production Manager for Inverse Theater Company. Those were some of the most exhilarating and exhausting years of her life. She then wandered into full-time work for a financial magazine, where she worked her way up from Assistant to the Publisher to Print Production Manager. When the recession hit in 2009, half of her company was laid off. She then began her most rewarding and intense endeavor… being a stay-at-home mother. After 5 years, she desperately longed for adult conversation and searched for what became a blessed opportunity at Bard. She has no experience with the film industry but she is a fantastic actress and fits right in.