2008 fall media studies viewbook

MASTER OF ARTS IN

MEDIA STUDIES

CONTENTS

2 Media Studies and The New School

4 Degree Requirements

5 Courses

18 Faculty

26 Resources

28 Admission

28 Financial Information

29 Facilities and Student Services

30 Eight Schools/One University

inside back cover Campus Map

ABOUT THE NEW SCHOOL

The New School is a unique urban university in New York City’s

Greenwich Village. It was founded in 1919 by a group of well-

known progressive scholars including Charles Beard, John Dewey,

James Harvey Robinson, and Thorstein Veblen. They described

the New School for Social Research, as it was incorporated,

as a center for “discussion, instruction, and counseling for

mature men and women.” They intended their school to bring

higher education out of the traditional universities, with an

open curriculum, minimal hierarchy, and free discussion of

controversial ideas. In 1933, The New School became a degree-

granting institution when it gave a home to the University in Exile,

a refuge for scholars forced from Europe by the Nazis. In 1934,

this distinguished intellectual community was incorporated into

The New School for Social Research as the Graduate Faculty of

Political and Social Science, offering MA and PhD degrees.

In the decades since, The New School has grown into a university

of eight undergraduate and graduate schools enrolling more than

9,000 students in its degree programs. It also continues to enroll

thousands of students annually in noncredit continuing education

programs. It offers courses online as well as in the classroom. It is

home to several distinguished research and policy institutes.

From the earliest period, the university was always called simply

The New School. In 2005, this simpler name was made official.

At the same time, the eight academic divisions were renamed to

reinforce their affiliation with The New School: Parsons The New

School for Design, Milano The New School for Management and

Urban Policy, Eugene Lang College The New School for Liberal

Arts, Mannes College The New School for Music, The New School

for Drama, The New School for Jazz and Contemporary Music;

the founding division is now called The New School for General

Studies, and the Graduate Faculty is now again The New School

for Social Research.

What is unchanged is the university’s commitment to breaking

down the walls of traditional academic disciplines, its close

connections to the cosmopolitan cultural and professional life

of New York City, and its constant willingness to reinvent itself.

Superbly adapted to the postmodern world of lifelong education

for all citizens, The New School holds its place in the avant-garde

of American universities. For the adventurous, the creative, those

interested in a vocation as well as a career, The New School is a

good place to be today, just as it was in 1919.

Media Studies 1

MEdiA STUdiES

UNdErSTANdiNg MEdiATEd CULTUrE

“We live in a world where there is more and more information

and less and less meaning.” Jean Baudrillard

At The New School, people learn how to make messages with

meaning, producing both thoughtful work and engaged citizens.

The New School has offered the Master of Arts degree in Media

Studies since 1975, when Marshall McLuhan’s colleague John

Culkin brought his Center for Understanding Media here. It was

the first degree of its kind. The notion of communication “media”

as a subject of serious intellectual inquiry had only recently

acquired legitimacy when McLuhan’s 1964 book Understanding

Media caught public attention with his phrase “the medium is

the message.” But The New School had been offering courses on

the social impact of mass communication since the 1920s, and

being a place where social theory and modern art were already

intertwined, it was a natural laboratory for a graduate degree in a

discipline still unheard of.

The Media Studies MA program currently enrolls more than

450 graduate students from 30 states and 20 countries.

Taking advantage of the natural laboratory of media

industries in New York City and The New School’s tradition

of interdisciplinary education, the Media Studies program

has evolved into a complex and sophisticated curriculum,

mingling cultural and technological history and social theory

with media production and business. Students not in New

York City can earn their master’s degree online—see page

3 for more information about the New School online.

Media Studies

www.newschool.edu/mediastudies

70 Fifth Avenue, 12th floor

New York, NY 10011

Information: 212.229.5630

[email protected]

Linda dunne, Dean, The New School for General Studies

Peter Haratonik, Chair,

Department of Media Studies and Film

dawnja Burris, Associate Chair

Shannon Mattern, Director of Graduate Studies

Marshall McLuhan, John Culkin

2 www.newschool.edu/mediastudies

MEdiA STUdiES ANd THE NEW SCHOOL

The New School was one of the first educational institutions

to notice that new forms of communication were changing

modern society. In 1926, pioneering film producer/editor Terry

Ramsaye wrote a history of the cinema titled A Million and One

Nights and offered a course at the New School on “The Motion

Picture,” the first college course in the United States devoted

to cinema studies. In the 1930s, one of the many émigrés who

found a haven from repression at The New School was Jean

Benoit-Lévy, a documentary filmmaker, who offered the first

filmmaking course here. In those days, The New School offered

a variety of courses about the media, such as “The Power of

the Press” (1928) and “Radio: Today and Tomorrow” (1940).

Alexander Wolcott taught a course in the history of American

journalism in 1936, and during World War II, a whole curriculum

was developed devoted to investigation of mass communication,

public relations, and propaganda.

After the war, the avant-garde of communication theory and

practice came to The New School. Ernst Kris, editor of Freud’s

Collected Works, taught “The Psychology of Mass Communication.”

Charles Morris’ course, “Meaning and Communication: Introduction

to the Science of Signs,” was an early venture in semiotics. Polling

pioneers Louis Harris and Julien Woodward taught workshops on

public opinion surveys. When Marshall McLuhan’s dictum “the

medium is the message” made headlines in the 1960s, the media

had been studied at The New School for almost 40 years.

John Culkin was the man responsible for bringing Marshall

McLuhan to teach in the United States in 1968. That partnership

inspired Culkin to establish the Center for Understanding Media

in 1969 and offer the first master’s degree in media studies in

the United States, which he brought to The New School in 1975.

Committed to educating media generalists, the program was

predicated on a belief in the relationship between theory and

practice—that no one can really understand the mass media

and their implications without having some hands-on experience

making media. The MA in Media Studies was an innovative

academic program, combining serious study of media theory

with practical courses in the production of photographs, films,

audio, and video, as well as newspapers, magazines, and books.

Inspired by the tumultuous social, political, and technological

changes of the time, this new discipline of media studies

attracted a wide range of pioneering spirits—artists, journalists,

filmmakers, political activists, educators—eager to grasp the

implications of McLuhan’s ideas and put them into practice.

The connection of media theory and practice has been the core

value of the program since its founding 30 years ago, although

the discipline of media studies has changed in the intervening

years, expanding to encompass corporate communications as

well as cultural studies. In a world constantly redefined by rapidly

changing technologies, the program remains open to change

and respectful of the integrity and potential contributions of all

academic disciplines and all media formats. Today it provides

state-of-the-art instruction in audio, video, film, and multimedia

as well as the latest media theory. Through a diverse student

body and inclusive curriculum, it encourages awareness of the

ethical imperatives of communication within the “global village”

and sensitivity to the ways in which media theory and practice

can contribute to intercultural understanding. Media studies thus

endeavors to prepare students to be thoughtful and humane

citizens in an increasingly mediated world and competitive

contributors in a challenging media marketplace.

Some recent thesis titles reveal the breadth of their ideas

and creativity as well as the richness of media studies at

The New School: “A New Nationalism Promoted in Turkish TV

Advertisements”; “Media Theory of Viral Marketing”; “A Case

Study on the Effects of the Virtual Office on Interpersonal

Relations”; “From the Screen to Stove: The Food Television

Explosion”; “Total Theaters and Poly-Visionaries: Parallel

Experiments in Cinematic Spatiality from 1923–1967”; “Beirut:

Media, Geography and Identity”; “The Orality of Blogging”; “Sonic

Heterotopias: Reimagining Public Space in the Modern City

through Sound Performance”; and “Delicious Clouds: Examining

Folksonomies through the Social Bookmarking Site del.icio.us.”

Student production theses have been screened at national and

international festivals and venues including Sundance, the Tribeca

Film Festival and the Museum of Modern Art, and many have won

prizes, including the Student Academy Award. Rosario Garcia-

Montero’s short narrative film “Are You Feeling Lonely,” screened

at Sundance and won the Grand Jury Award at the 37th Annual

New York Expo in 2003. Jordan Waid’s short film “The Piece” won

a 1999 Student Academy Award in the Alternative Film category.

Media Studies 3

PrOgrAMS Of STUdy

MA iN MEdiA STUdiES

The graduate program in Media Studies is a 39-credit course of

study leading to the Master of Arts degree. The degree may be

pursued on a full-time (9 credits or more) or part-time (6 credits or

fewer) basis, with most courses offered in the weekday evening

hours. The academic year consists of fall and spring semesters

and an intensive summer term. There are two options for earning

the Master of Arts degree: the Thesis Option, which culminates in a

written master’s thesis or thesis project, and the Non-Thesis Option.

During the first semester, students prepare with an advisor a

plan of study that includes all degree requirements. Advisors help

students consider the options according to their academic and

professional backgrounds and goals. It is not necessary to formally

select the Thesis or Non-Thesis Option until later in the program.

ONLiNE MA PrOgrAM Students can complete all required and

elective courses in theory and research via online coursework. A

sequence in digital design, web design, or digital audio production

can fulfill the production requirement. Degree candidates studying

entirely online can choose the Thesis or Non-Thesis Option.

THE NEW SCHOOL ONLiNE The New School was a pioneer of e-learning, and our cyberspace

“campus” at www.newschool.edu/online has been completely

renovated and is better than ever. Students can enter the

“classroom” from their homes, offices, even on the road, whenever

they choose, 24 hours a day, seven days a week. All they need

is a personal computer and access to the Internet. All learning

materials are made available online, and instruction and group

interaction are equivalent to the classroom experience. Whenever

students come to “class,” they find a discussion in progress.

The instructor “lectures,” provides resources, asks and answers

questions, gives assignments, assesses progress, and offers

public and private feedback. To learn more, visit the website at

www.newschool.edu/online.

John Waters, artist-in-residence, and Jonas Mekas. dorothy H. Hirshon film festival 2004

gregory Bateson, Anthropology 1947 Kenneth Burke, Literary Criticism 1937

Spike Lee 1987

Arnold Eagle, 16mm filmmaking 1974

Charlie rose 1993


MA/PHd iN MEdiA STUdiES/SOCiOLOgy The New School for

Social Research awards the PhD degree in Sociology with a

Media Studies concentration. The MA in Media Studies can be

incorporated into the PhD program for qualified students. For

more information about the PhD track, speak to MA/PhD advisors

at your earliest opportunity after admission to the MA program.

CErTifiCATE PrOgrAMS The Master’s Program in Media Studies

offers graduate certificates in Documentary Media Studies and

Media Management. All graduate credits earned with a grade

of B or higher toward the Media Management or Documentary

Media Studies certificate can be used to meet master’s degree

requirements.

Media Management Certificate: The Media Management Program

(MMP) is a 12-credit graduate certificate program designed to

provide current and prospective media professionals with a

state-of-the-art education in the principles and skills necessary

to become industry leaders. Content areas include Industry

Perspectives, Media Economics, Media Management and

Leadership, Information Technologies, Competitive Strategies,

and Corporate Responsibility. Courses are taught by industry

leaders. They are offered onsite and online. The certificate is

awarded to students who successfully complete a total of 4

approved courses and write a synthesizing paper that applies the

coursework to their career objectives.

documentary Media Studies Certificate: This is an 18-credit

graduate certificate program. Students take courses that engage

them with the history and theory of documentary filmmaking and

contemporary debates and practices while each works on an

individual project, a short documentary video. The curriculum,

including the final project, is designed to be completed in one year

of full-time study.

MA dEgrEE rEqUirEMENTS

To earn the Master of Arts degree, a student must successfully

complete 39 credits and fulfill degree requirements. All students

are required to take Understanding Media Studies; Media

Studies: Ideas; Media Practices: Concepts; three credits of

Methods coursework, and a minimum of two production courses.

Further information on the required courses, production courses,

and thematic focus areas in the program may be found at

www.newschool.edu/mediastudies.

Thesis Option Credits

Understanding Media Studies 3

Media Studies: Ideas 3

Media Practices: Concepts 3

Methods Courses 3

Seminar Courses 12–18

Production Courses 6–12

Media Practices: Time-based

Media Practices: Film Form

Media Practices: Interactive

Thesis Proposal Supervision 1

Thesis Tutorial 1

Thesis Supervision 1

Total Credits 39

Non-Thesis Option Credits

Understanding Media Studies 3

Media Studies: Ideas 3

Media Practices: Concepts 3

Methods Courses 3

Seminar Courses 12–21

Production Courses 6–15

Media Practices: Time-based



Project-based Courses

Total Credits 39

Transfer Credits: Students admitted to the Media Studies

program can transfer a maximum of 6 graduate credits from

other institutions. All transfer credit determinations are made

on a case-by-case basis by a student’s academic advisor after

matriculation in the program.

Media Studies 5

THE MEdiA STUdiES CUrriCULUM

Unless otherwise specified, all courses carry 3 graduate credits.

fOCUS ArEAS

The New School master’s program in Media Studies is character-

ized by its flexibility. With limited program requirements, students

are encouraged to work with their faculty advisors to chart their

own paths through the program while taking advantage of the

myriad resources available at the university and in New York City.

Students can choose to be generalists but are also invited to

concentrate their coursework in areas of personal and profes-

sional interest that are supported by the curriculum. Typical areas

of focus include: media theory and research; media and the urban

environment; media and international affairs; documentary studies;

social media and social change; media management studies; film

form and practice; and sound studies and acoustic environments.

Faculty advisors are always available to help you fine-tune your

plan of study.

rEqUirEd COUrSES

Understanding Media Studies

(On site/Online; required colloquium for all Media Studies

students in their first semester) Every week, different members

of the faculty and invited guests from the wider world of media

studies and practice share their work and methods, introducing

students to the many dimensions of media research and

production. Over the course of the semester, students engage

the faculty and colleagues with whom they will work throughout

the master’s program, become familiar with university and New

York City resources, and develop skills and practices needed

for successful graduate study. Students complete a variety of

reflective and exploratory exercises leading incrementally toward

completion of a personal comprehensive academic plan, which

serves as an essential advising document. Grading is pass/fail.

Media Studies: Ideas

(On site/Online) This course must be completed in the first year

of study. Students may take it either concurrently with or in the

semester following Understanding Media Studies. The course is

an overview of the major schools of academic thought that have

influenced the field of media studies as pertains to three central

themes: Media and Power, Media and Technology, and Media and

Aesthetics. The historical and philosophical roots of the discipline

are emphasized through a variety of readings, discussions, and

academic writing assignments.


Media Practices: Concepts

This course looks at the nature of different media forms, the

relationship between forms, and guidelines for deciding how

best to approach a communications project. Concentrating on

design thinking, it is an experiential tour of the creative tool set

and the foundation course for additional media practice- and

project-based courses. Through a series of short projects,

using simple digital tools, students work with sound, the digital

still image, lighting and the moving image, and digital post-

production and distribution techniques. Additional software used

professionally and in subsequent media practice and project-based

courses is introduced; Saturday lab sessions provide additional

instruction in production equipment and software. Each student

completes a series of individual projects combining media formats,

and a collaborative project using the group’s choice of medium, to

satisfy an assigned design problem. The goal is to connect media

designers to their personal sources of creativity and orient them to

the master’s program Media Practice curriculum.

Media Methods

All students must complete a minimum of three credits in

methodology. This requirement may be fulfilled by taking one

three-credit pre-approved methodology course, a combination

of one- and two-credit pre-approved methodology courses, or by

substituting an elective methodology course or combination of

courses approved by the student’s advisor. Students are advised

to take these courses after they’ve defined a specific independent

study/project or thesis so that the methods courses can be

applied in the completion of a specific project. Sample Methods

courses: Sampling, Interviewing, Focus Groups, Discourse

Analysis, Content Analysis, Audience Research, Oral History,

Research for Media Activism, Ethnography, and New Media.

Bob Kerrey, Julian Schnabel, Carol Wilder, Chuck Close, Laurie Anderson 2005

John Sculley 1995

Walter Cronkite, Leonard Probst 1975

donald Spoto, The Art of Hitchcock 1979

Alan Kay, Teri McLuhanMarshall McLuhan Lecture 2002

Media Studies 7

Emerging Media and Documentary Practice

Elizabeth Ellsworth

(Online; selected weeks on site) Emergent media forms and

technologies (podcasting, locative media, video-blogging,

broadband video, internet radio, cell phone audio and video,

online social networks, collaborative online productions) both

unsettle and extend the concepts and assumptions at the

heart of “documentary” as a practice and as an idea. New

media technologies allow documentary makers to collect and

present stories in new ways, personalize and democratize media

production, create and involve nontraditional audiences through

innovative forms of distribution and exhibition. In this course,

we explore how emerging media technologies are shaping new

documentary practices and how new production, distribution, and

reception practices are shaping emerging documentary forms. We

consider how digital media present documentary makers with ways

to catalyze surprising, as yet unlived forms of social relationality

and cultural expression through media production practices that

respond to events in-the-making.

Ethnography and New Media

Jason Pine

This course provides a set of broad theoretical observations

on the current new media ecology and develops a set of

ethnographic research methodologies that account for them,

based on five salient features that scholars have identified: The

Posthuman, Design, Friction, the Network Society, and Force.

Each feature comprises a course unit in which we: 1) study

the theoretical works that describe this feature of the new

media ecology, 2) discuss ethnographic accounts of how it is

transforming the very constitution of the self, communication,

cultural forms, political economy, and power, and 3) test a set of

methods for performing ethnographic research under these new

conditions. Course work consist of hands-on research projects

and experiences, off- and on-line readings (theoretical and

ethnographic), films, and discussions.

MEdiA THEOry ANd rESEArCH

The Aesthetics of Editing

Rafael Parra

The aesthetics of editing—the choice of images, their timing and

sequence—is the heart of film and video production. This course

focuses on the analysis of structure and styles of editing of both

fiction and nonfiction work. Major topics include rhythm, continuity

editing, mise-en-scene, montage, and cinematic time and space.

We discuss the creative relationship between editor and director—

how they interact to find the pace and structure of the film.

Lectures and screenings of excerpts from selected films explore

the strategies and techniques used by editors to connect images.

Students are encouraged to apply the editing concepts learned in

class in their own projects.

The Design Process

Diane Mitchell

What is design? What underlies a design’s “good looks”? How does

design facilitate, synthesize, and contextualize ideas into effective

communication? Design, in the broadest sense, creates order

out of chaos. This is why the biggest challenge designers face is

not mastering technologies but creating meaning. This combined

seminar/workshop investigates the design process through

experiments, case studies, theoretical readings, discussions,

guest lectures, and critiques of student work. Whether you want to

develop a television show, ad campaign, magazine, web page, art

project, or totally original media project, this introduction to design

principles and practices should help you.

Documentary: Its Art and History

Deirdre Boyle

The documentary is one of the most challenging and influential

forms of film and video. It touches, informs, and sometimes

outrages millions of viewers seeking facts and insights in a

complex world. This historical introduction to the genre begins with

the earliest “actuality” films of the Lumiere brothers and ends

with the latest postmodern explorations of film truth. The course

examines how changing technology, shifting social and political

realities, and the personalities and talents of influential individuals

have continually redefined what documentary means. Ethical as

well as aesthetic issues are considered. Weekly screenings include

classics by Vertov, Flaherty, Grierson, Riefenstahl, Rouch, and

Wiseman, as well as contemporary works.


Film Adaptation

Michael Gillespie

This course focuses on the major theories and strategies of the

adaptation of literary works for film. Rather than judging individual

films in terms of their successful fidelity to the source work, the

class looks at a variety of films that collectively represent different

kinds of literature. Students explore questions of the specificity of

film narration while simultaneously developing an appreciation for

the dialogue between film and literature. Through a careful framing

of film theory in the historical and cultural contexts of the film and

literary works studies, the course is also an opportunity to address

the formal and textual properties of film.

Globalization and Media

Sumita Chakravarty

The aim of this course is to conceptualize and explore the role

of media in the process of globalization. We seek to clarify the

ambiguities surrounding such issues of globalization as media

and cultural imperialism, regionalization, homogenization, and

hybridization; the changing relevance of time, place and space; and

the role of new media technologies. We also explore and debate

the impact of media coverage of international events and how

these affect and constitute global, national, and local audiences.

Some attention is also devoted to transnational cultural forms like

Hollywood and Bollywood and how they construct new communities

of meaning.

Human Rights and Photography

Peter Lucas

This course focuses specifically on the crucial role that

photography plays in the global human rights movement. Many

photographers who once considered themselves to be working

in a documentary tradition now also conceive of themselves as

working within a human rights framework. In order to understand

this change, we review historical and contemporary movements

in documentary photography. We also explore critical issues

surrounding the ethics and politics of photographic representation

and the different media (such as traditional print media versus new

media) used to express human rights issues. We carefully place

photography and other visual representations within the wider field

of human rights documentation. And finally, we study the historical

impact of photographs on social change and the many possibilities

for photography in future struggles for universal human rights.

Media and Architecture

Shannon Mattern

Despite the digital vanguard’s campaign to “dematerialize” our

physical bodies and environments, we have not yet traded in

corporeality for virtuality—nor have we exchanged our brick-and-

mortar schools, churches, and communities for virtual versions.

In fact, many argue that as our media have become more virtual,

the design and development of our physical spaces have become

even more important. This course examines the dynamic and

complex relationship between media and architecture. We study

architecture as media—symbols and embodiments of particular

ideas and values—and the impact that communication media have

had on the practice of architecture and the way we experience

material environments.

Media and Social Theory

Jaeho Kang

This course examines the relationship between the media and

modernity. It explores the key contributions of a number of social

theorists to the critical understanding of mass communication. It

analyzes the substantive theoretical debates on the development

of the media and its impact on the emergence and transformation

of modern societies. We reexamine key concepts in social theories

as applied to media phenomena, including ideology, hegemony,

culture, and the public sphere: First, the key debates of Western

Marxism over the rise of modern mass culture and consumption,

specifically the relevant work of Gramsci, Lukács, and the early

members of the Frankfurt School; second, subsequent media

theories developed by Harold Innis, Marshall McLuhan, and others,

who explored how the media affect the spatial and temporal

organization of power, globalization, and the body; third, important

contributions to media theory made by more recent social theorists

such as Foucault, Habermas, Bourdieu, and Baudrillard.

Media Studies 9

Media and Child Development

Peter Haratonik

While the media are presumed to have a social responsibility

for their products, they exist within the framework of a highly

competitive commercial marketplace. In the quest for media

market share, children have become their most important

audience, readership, and users. This course examines the media,

both forms and institutions, and their impacts on the lives of

children. We begin by surveying the current role of media in the

lives of children and review the history of media-effects research

and educational policies with regard to new technology. We review

current research in media and child development and carefully

probe selected media products especially produced for young

audiences. We also study the role of adult media in the lives of

children and consider the role that media education or media

“literacy” should play in education. Individual case studies examine

particular media in-depth. Particular emphasis is placed on the

Internet and its emergent social and educational role.

Museums as Media

William Crow

(Online) Cultural institutions such as art, science, and natural

history museums, historical societies, and performance venues

often assert the value of the authentic, original object or first-

hand experience of live performance. Many of these institutions

speak of the importance of the original work of art or primary

source material in mission and vision statements regarding

their interface with the public, as well as with funders. However,

media experiences (web, digital imaging, audio production,

interactive media) have become an increasingly present feature

of these institutions, from websites to gallery installations, online

instruction, and online resources for audiences. At times, the

digital formats attempt to capture aspects of more traditional

media (painting, sculpture, fossils, documents), and, at other

times, the media presentation itself is the museum object. This

seminar examines various facets of the role of digital media in

contemporary museums and cultural institutions and how these

institutions function as media themselves as they serve as

interpretive repositories of objects that are valued in our culture

and across cultures.

Other Music: Music and Difference

Barry Salmon

Jazz, blues, international popular and less than popular music;.

so-called serious music, ambient, “electronica,” and dance forms;

music for television commercials and “background” music;

music at the fringes of mass mediated cultural experience: these

“other musics” constitute about 80 percent of our musico-social

experience. This course is concerned with expressions and

cultural implications of music and difference, with music that

circulates through discursive networks of alterity around the axes

of race, gender, class, globalism, and high/low culture. From the

“chinoiserie” of romantic classicism, to the “jazz” of Stravinsky

and Copland, to the wholesale transposition of musical culture

in pop, television, television commercials, and even broadcast

journalism; from transcendent and authentic, to sinister, vulgar

and fake, the course studies the ways in which we code and

understand difference and representation in music, that most “non-

representational” of media forms, within a fractured postmodern

global musical culture.

Political Communication

Carol Wilder

Political communication can include any media or communication

exchange having to do with the allocation of power and resources.

In this seminar, we look at the nature and role of political

communication in political campaigns, social movements,

advertising, literature, and popular culture. We study alternative

forms of political discourse such as theater, music, and direct

action. We take a close look at contemporary media politics.

While the course focuses on political communication in the

United States, international students in the class are expected to

contribute a global perspective.


Political Economy of Media

Paolo Carpignano

This course studies the relationship between two forms of

mediation. The first is work, an activity said to mediate between

human beings and nature. The second is communication, an

activity that is preeminently understood as a form of social

mediation. According to a commonly held view, these two types

of activity refer to two different domains of production: to work is

assigned the function of fabrication of objects, to communication

the production of social relations. Usually associated with this

notion of production are concepts such as subject and object,

interiority and exteriority, individual and social. The course argues

that these distinctions, and primarily that between work and

communication, have been blurred by the development of new

forms of production in which the distinction between work and

communication is difficult to maintain. This transformation has

been called variously “postindustrialism,” “information society,”

“economies of sign and space,” “postfordism,” “network society,”

“cognitive capital,” etc. Work is increasingly characterized by

immateriality, by its knowledge content, and by the communicative

network it generates, and social relations of communication are

increasingly inseparable from the material conditions of their

mediation. For these reasons, media are not simply means of

communication but have to be seen as productive forces, and their

analysis is central to the understanding of late capitalism and of

its transformation.

The Producer’s Craft

Kit Laybourne

Producing is a high stakes game that encompasses an eclectic

web of disciplines. The pace is fast, and a gap in knowledge can

mean a project’s failure. This utilitarian course offers survival

skills—the basic “producer chops”—required by television,

film, advertising, and interactive environments. It is based on

a fundamental assumption that collaboration works: in idea

development, in project execution, and in amassing specific

knowledge upon which success depends. With references

to case studies and discussions with guest producers, the

course tracks 10 steps in the realization of any large project:

1) conceptualization and pitching, 2) defining resources and

deliverables, 3) building a production plan, 4) budgeting,

5) legal affairs and business deals, 6) staffing and gear,

7) creative management (including how to “manage up”),

8) production (studio and location), 9) posting and special

effects, and 10) finishing (testing, archiving, press, marketing,

etc.). Students partner up in developing and pitching a project

of their own choosing. This yields a full proposal with complete

production plan capable of immediate implementation. Students

work in teams in a collective mapping of media industry sectors

and career opportunities.

Social Media and the Millennials

Bob Berkman

(Online) The generation born after 1985 is the first to have

grown up fully immersed in digital media and the Internet from

childhood. These “digital natives,” have been assigned a variety

of generational titles: Gen Y, Millennials, and Generation Next,

among others. But whatever the label, this cohort is noteworthy for

finding innovative and novel approaches to navigating the Internet

and immersion in digital media. In fact, this generation’s capability

to create new forms of digital media online and its information

seeking behavior are causing dramatic changes in the larger media

landscape, from advertising and public relations to newspapers

and other traditional forms of media and communications. This

course describes, examines, and analyzes the media use and

creation habits of the Millennial generation, exploring key themes

such as identity construction on the Internet; multitasking and

allotment of attention; media usage; and the emergence of new

social norms.

Media Studies 11

Storytelling Through Visual Analysis

Michelle Materre

Whether you are a writer, director or producer, having a clear

understanding of story structure and dramatic principles are

essential tools of the trade. In narrative film, the script gives you

an in-depth perspective of a storyline, its characters, dialogue,

images and theme. In documentary filmmaking, you may have an

idea of what the story could be, but whether it turns out as you

expected is another story. Whichever mode you choose, finding

your story involves developing good technique and storytelling

principles. In this course, we examine the elements of good

storytelling techniques, in documentaries, more mainstream

Hollywood films, independent features and everything in between,

including television and podcasting. We analyze how essential

information is conveyed, how story elements are communicated

through visual means, how a dramatic arc is built with cause and

effect, how to create conflict, and what makes a character credible

and complex. With these tools in hand, students are able to

examine films critically and become more informed in developing

their own film ideas and writing their own documentary treatments

as well as screenplays.

Visual Systems

Vlad Nikolic

Emphasis is on visualizing the script. By focusing on directing

and screenwriting, we connect project conceptualization, film

aesthetics, script-breakdowns, blocking and shot-coverage to the

language of editing. We examine a variety of approaches to visual

storytelling through scene-based assignments and directorial

exercises, as well as discussions about scripts and films. We

investigate dramatic structures, character development and scene

arcs in relation to mainstream narrative conventions, as well as

more direct, experimental, or improvisational approaches. While

analyzing and applying various directing methods and techniques

to create well-constructed and stylistically coherent projects,

students develop and construct the style, tone and visual language

of individual film and video projects, and through this process

discover their own directorial voice.

Virtual Learning Environments

Josephine Dorado

(Online) How have current trends in technology, such as social

media and virtual worlds, affected the processes and objectives

of education? Virtual Learning Environments (VLEs) are

designed information and social spaces that integrate multiple

technologies and pedagogical approaches. In this course, we

examine a variety of VLEs, ranging from text-based forms such as

Blackboard to 3D immersive worlds like Second Life, with focus

on optimizing virtual world platforms for learning experiences.

We explore the collaborative and instructional processes, the

kinds of collaboration possible, and the methods adapted to

accommodate teaching, learning, and sharing in these socially

engaged networked spaces. We examine how instruction and

learning have evolved to include a more dynamic role for the

student and, in general, how much instruction now involves

blended forms of learning across different media and disciplines.

We integrate these aspects, learning about VLEs from the inside,

culminating in the development of an educational project for

real-world implementation. Students collaborate with each other

and with students concurrently enrolled in Social Marketing with

Social Media, to create a multi-modal project conceptualized and

developed in a virtual world while being implemented in real-world

partnerships with international nonprofit organizations.

Media Industry Perspectives: Digital Media

Ken Krushel

Driven by the confluence of new technologies, creative ingenuity,

increasing population and literacy, availability of capital, and

government policies, the media have become the most influential

and largest wealth-creating industry in America. Its influences,

positive and negative, affect people and governments around the

world. The purpose of this course, as the word “perspectives”

in its title suggests, is to discuss varying views of the forces

that have shaped the growth of the media and communications

industry. These perspectives include the comparative

impact of government policies, changing technology, and the

entrepreneurial and managerial drive of the key individuals who

have built the media companies.

Media Management and Leadership

Michael Weiskopf

Dramatic changes in technology and the media’s role in converging

technologies require new management and leadership techniques

and paradigms. This course surveys of some of the latest

management and leadership theories, including those encouraging

a new sense of social responsibility. It also gives students the

opportunity to apply these theories to a number of different

competitive, structural, motivational, strategic, and organizational

issues in the media world by writing original case studies and

solving problems in existing case studies.

MEdiA MANAgEMENT

Media, Corporate Responsibility, and the Law

Lynn Oberlander

This course provides an overview of media law, including

constitutional, regulatory, and statutory schemes. The course is

organized into thematic sections, and discussion is augmented

by published court opinions and audiovisual materials as well as

guest speakers from the media industry. By the end of the course,

the students should be aware of the legal framework for the media

industry generally, as well as the different manner in which the

law treats print, broadcast, cable, and the Internet. Throughout

the class, we focus on the interplay between the corporate

ownership of mass media, the government, and the ramifications

for the fourth estate. Does the label “news” unfairly protect

plainly commercial enterprises from the costs and risks that other

businesses face?

Media Economics

Steven Hammersly

This course covers the financial components of a wide range of

media industry segments and describes employment opportunities

in media industries. It offers a comprehensive review of the

economics of newspapers, direct mail, magazines, radio, television,

book publishing, cable television, motion pictures, and on-line

interactive media. Each medium is reviewed from the perspectives

of the consumer, the advertiser, and the media owner. A view of the

future growth of each segment is be presented and debated. There

are guest lectures by media industry executives.


Media Studies 13

MEdiA PrOdUCTiON

Media practice cultivates understanding and proficiency with

design and production. In this curriculum, students conceive real

projects, develop individual design approaches, and utilize the

technical tools to create them.

These courses present media production formats as tools of

communication – as means to the end of creating aural and visual

messages – rather than promoting the mastery of particular

equipment and software as an end in itself. Instruction in Media

Practice courses frames the necessary technical training within

a larger context of design and production conceptualization

and research and promotes a cross-platform or comparative

approach, that is, students discover how processes and tools

translate between media, and those who are already proficient

in particular production formats encounter the aesthetic and

communicative possibilities of others. Instruction always includes

the processes of preproduction (conception and design, writing,

scheduling, budgeting); production (directing, shooting/image

production, lighting, recording); and postproduction (logging,

editing, sound mixing, compressing for distribution).

Cameras, microphones, and audio recorders and digital

editing workstations with current and appropriate software for

postproduction are provided for all courses. In-class listening/

viewing, analysis and critique, and assigned readings provide

support and context for production work.

Media Practices: Concepts

This is the foundation course for all Media Practice and project-

based courses and must be taken by all students in their first

year of study. See the description on page 6.

Annie Howell and Vladan Nikolic

Bill Viola 1998

Barry Salmon


Video and Audio

Media Practices: Time -based

The course expands beyond the core concepts and skills of

producing and editing audio and video. Students learn professional

production processes in both media, delving into the technical

aspects of production and post-production. Aesthetic instruction

addresses different ways in which a project may be conceived

stylistically as well as how to solve particular communication

issues. Exploring audio, students learn microphone techniques,

recording, editing, and mixing skills. Exploring video, they learn

lighting, framing, camera movement, recording, and digital

editing techniques. The combination of the two media provides a

production context for project work and prepares students to make

time-based work in advanced-level courses.

Projects in Digital Video Editing

Students utilize computer-driven digital editing stations

and current non-linear editing software (Final Cut Pro). The

sophistication and capacity of this technology has changed the

entire production process, from project inception and planning

through to final broadcast. Work editing short assignments (3–5

minute videos) while learning the principles of random-access

digital editing: theory of nonlinear editing, capturing video and

audio, organizing and accessing rough footage, editing sync and

non-sync material, assembling and trimming sequences, editing

and mixing audio, adding effects, creating titles, color correction,

and outputting work.

Television and Ideas

Deanna Kamiel

Finding fault with television has become such an easy,

comfortable activity for intellectuals at a loss for more difficult

targets on which to test their enormous critical powers. To break

new ground on the subject, you may enjoy, purely for the sake

of argument, not only exploring television’s potential for thought

but even making some thoughtful television of your own as well.

This course shows you how to shape, shoot, and edit a kind of

television that will reflect and provoke.

film


Sam Ishii Gonzales

In this hybrid theory/practice course, students are immersed

in aesthetic questions that challenge them to think precisely

and creatively about the properties of the medium. What are

the fundamental structures at the basis of film? What role do

these structures play in the spectator’s cognitive and affective

engagement with a film? Rather than presume an answer derived

from the other arts, students are encouraged to engage cinema

on its own terms as a unique system of sign production. Through

close study of selected films representing a variety of styles and

genres (shorts and features, fiction and documentary, narrative

and experimental) students are introduced to framing and

perspective; open and closed forms of montage; movement- and

time-image; on- and off-screen space (actual and virtual space);

and audio-visual relations. Class discussion and analysis is

supplemented by Saturday afternoon tech labs where students

receive instruction in film (Bolex), sound (Flash), video (mini DV),

and editing (FCP).

Film Form Production Studio

In this course, students plan and implement production of a short

cinema project, originating on film or digital video. Projects may

range from traditional fiction narratives to experimental or other

nonclassical approaches. The emphasis is on collaboration–

all students must crew on each other’s productions in order to

practice the cooperation necessary in filmmaking and optimize

the learning experience. Topics include preproduction (budgeting,

casting, scheduling, locations, permits, releases, film stocks),

advanced directing (including script analysis and rehearsals),

advanced camera and lighting (with professional equipment like

the Arriflex SR camera, the Panasonic DVX 100B and Mole-Rich-

ardson and Lowel lights), sound (use of professional microphones

and equipment like the DAT recorder), and editing (synching

dailies and an editing approach). Students should expect to incur

additional expenses. Projects developed for this course may be

proposed as thesis projects.

Media Studies 15

Semiotics for Digital Producers

Paul Ryan

Semiotics is the formal study of signs (anything that represents

something for somebody in some respect). In this course, we

learn a tenfold sign system appropriate for digital video editing.

This system grows out of a fundamental division of signs

into icons (example, a drawing of a wind-blown tree), indexes

(example, a weathervane showing the direction of the wind),

and symbols (example, a poem titled “The West Wind”). Just as

a painter learns how to compose a painting using a palette of

colors, so digital editors learn to compose video using this palette

of ten signs. The course combines theoretical readings with video

editing exercises until students can apply their understanding

of semiotics into original narrative, documentary, experimental,

or artistic video productions, each accompanied by a paper

explaining the use of semiotics for digital editing.

WNSR Radio Lab

Jim Briggs

This modular classroom seminar gives equal attention to Web radio

production and radio station operations. It solicits students from

every division of The New School, graduates and highly qualified

undergraduates, to create a diverse class environment with a

wide array of skill sets. Students develop the skills necessary

to maintain and grow and lead an emerging online radio station,

including financial and business planning, major productions and

production scheduling, radio principles and techniques, audience

outreach and development, and current issues confronting Web

radio and media at educational institutions.

Projects in Media Advocacy

Lydia Foerster

Advocacy media is used to train, teach, motivate, shock,

inspire, raise awareness, consciousness and funds. With more

opportunities for independent journalists and activist groups to

form global alliances, advocacy media is an increasingly powerful

tool for social change. In this course, students interested in

the potent intersection of media, action and society explore

theoretical approaches to social change while they work on

Audio Documentary

Sound is an exhilarating, challenging and effective way to

convey complex information about people, ideas and trends,

including insight into other cultures and the to the intimate inner

worlds of individuals, including ourselves. Through lectures,

guest speakers, listening sessions, classroom discussion

and assigned reading, students become familiar with audio

documentary modes, including podcasts; sound-walk tours of

travel destinations, museums or other sites; promotional and

educational audio modules for websites and blogs; biographies

and sound-rich “docudrama” memoirs; and bonus features for

CDs and iTunes designed to enhance musical, poetic, or other

artistic works or showcase a significant ethnic, immigrant or

religious subculture through sound and reportage. The course

examines the evolution of the theory and practice of audio

documentary making over time, as well as advanced interviewing,

recording and mixing techniques. Students design and produce

several audio short documentaries of their own.

Sound Objects

Woody Sullender

This course introduces possibilities and techniques for producing

audio outside of the limitations of existing distribution media

(CD audio, MP3, radio, etc.). Students work hands-on designing

and constructing physical objects that will produce sound in

unusual ways. We examine basic electronics, hacking pre-existing

technology, using various types of sensors, creating devices

to interface with computer software, etc. and apply this to a

range of practices including sculpture, radio/transmission arts,

installation, music, and things that defy easy categorization.

(What does one call a “pen” constructed out of a tape head

that allows users to “write” audio information on a sheet of

magnetic tape?) To understand the history and context of these

objects, we consider contemporary audio work by Alvin Lucier,

Christina Kubisch, Michael J. Schumacher, Paul Demarinis, Achim

Wollscheid, STEIM, Free103point9, and others.


Sumita Chakravarty

Carol Wilder, geraldine Laybourne, chairman, CEO, Oxygen Media, J. William grimes 2004

Peter Haratonik foundations of Media Theory 1983

deirdre Boyle

Elizabeth Ellsworth

exercises that extend and strengthen their production skills.

We explore the advocacy potential of the production process

as well as the product, including media training, witness and

performance media, and alternative authorship approaches to

traditional documentary and narrative. We also investigate the

tactical potentials of various specific media, including mobile video,

podcasting and flash mob activism. This course is meant to be

a strategic approach to media advocacy as it relates to social

issues today. Students are expected to make individual contact

with nonprofits, special-interest groups, families, friends, or

communities to collaborate on a final project.

Radio Narratives

Jason Schuman

Radio narratives span a gamut of styles, from a single voice

detailing an intimate story to layers of voices and sounds creating

an impressionist “cinema for the ear.” We listen to a variety

of styles that are broadcast on many outlets, from the familiar

“This American Life” to international programs, online radio,

and podcasts airing unconventional radio stories. Meanwhile,

each student workshops a fully-produced narrative radio work,

determining a subject and style and reworking it twice into a

finished piece. Careful polishing of students’ narrative projects is

the focus of classroom critiques. Short production experiments

allow students to play with narrative forms before they tackle their

original projects.

Multimedia

Media Practices: Design

Exploring the principles of visualization, graphic design, typogra-

phy and color theory, students learn to create designs that will

have visual impact and communicative power. Instruction and

class activities cover composition techniques, image editing,

graphics creation, and file preparation for distributing projects us-

ing current professional software. Projects focus on creating de-

signs for advocacy, branding, and digital art. This is a foundation

for advanced-level courses in interactive design, motion design,

publishing, and inter-media applications. Students are expected

to research and develop solutions for weekly design problems

and participate in regular critiques while building a digital design

portfolio, including a final professional-quality visual presentation.

Media Studies 17


This course introduces design and production of interactive

media for web-based and mobile environments. Approaches

to navigation, interface, and narrative design are surveyed

along with information architecture and Web 2.0 and dynamic

databases. Instruction includes the fundamentals of coding, CSS,

javascript, animation, streaming media file formats, platform and

browser issues. Using appropriate software, students discover

how to structure content and apply techniques to solve real

world design problems. Producing skills for (digital, audio, or

video) are assumed, and each student designs an original rich

media website. Class activities and critiques help students build

effective interactive presentations.

Projects in Motion Design

Diane Mitchell

Motion graphics are utilized in documentaries, fine art, advertising,

television logos, corporate presentations, promotions, etc. This

course teaches design and production of motion graphics for

television and film, exploring ways to enliven text and imagery

and to generate visual messages with impact. Using Adobe

AfterEffects, a 2D application for professional film and video

production, each student creates three short broadcast-quality

projects. Concepts and techniques of masking, compositing, key

frame animation, interpolation, titling, special effects, and 3D

space, are examined through lectures and class activities.

Projects in Multisensorial Spaces

Ernesto Klar

The course is organized as a theory and production seminar

in which students produce art installations that emphasize

intersensory experience. Synaesthesia is broadly defined as

the cross-wiring of sensory perceptions or as a synthesis of

the arts. This is the foundation on which students design and

produce innovative media works that explore our relationships

to the built environment and the urban experience. Lectures and

readings focus on models of perception, relational aesthetics, and

phenomenological thought as these relate to synaesthetic inquiry.

Works reviewed include examples of Neo-Concrete Art, Kinetic Art,

Fluxus, and New Media Art, among others. Assignments include

selected readings and group discussions, a series of cumulative

digital media projects, and a final installation art piece for

exhibition at the end of the term.

iNdiVidUALizEd OPTiONS

Independent Study (On site/Online) Qualified students who have

defined a specific subject or problem that they would like to

investigate can pursue a course of study independent of regular

class structures, meetings, and assignments. The student must

design the project with an interested faculty member who serves

as advisor. Permission of both the faculty advisor and the Director

of Graduate Studies is required.

Independent Production (On site/Online) Designed to meet the

needs of qualified students who wish to pursue advanced work in

a particular medium. The student designs a project with approval

from an interested faculty member who serves as advisor.

Permission of both the faculty advisor and Director of Graduate

Studies is required. The students must arrange for all necessary

production facilities and equipment.

Research Internship An internship is an opportunity to receive

credit for supervised professional activities, working, for example,

in archives, museums, libraries, TV stations, ad agencies, or

production facilities. The intern’s primary responsibilities must be

research oriented and a written report must be filed at the end of

the internship. All internships must be approved and arranged by

the department of Media Studies and Film.

Production Internship An opportunity to receive credit for

supervised activities in TV stations, cable facilities, art

agencies, production facilities, schools, etc. The intern’s primary

responsibilities must be production oriented, and a written report

must be filed at the end of the internship. All internships must be

approved and arranged by the department of Media Studies

and Film.

Thesis Proposal Supervision Students who plan to submit a

thesis proposal must register for one-credit of Thesis Proposal

Supervision with their Primary Thesis Advisor.

Thesis Tutorial The tutorial is required for MA candidates planning

to write or produce a thesis. Restricted to students who have

completed a minimum of 27 credits.

Thesis Supervision Students who have taken the Thesis Tutorial

work to complete the thesis during the subsequent semester(s).

For each subsequent semester needed to complete the thesis,

the student registers for Thesis Supervision.


Paolo Carpignano (PhD, University of Rome), associate professor.

Writer, consultant, and producer for production companies in

the United States, Brazil, and Italy. Author of Crisis and Workers’

Organization and The Formation of the Mass Worker in the USA, as

well as numerous articles on international communication. Has

taught Italian culture, sociology, and mass media at Hunter College,

Queens College, and Fordham University. Affiliated faculty member,

Department of Sociology, The New School for Social Research.

Sumita S. Chakravarty (PhD, Lucknow University, India; PhD,

University of Illinois, Urbana-Champaign), associate professor.

Author, National Identity in Indian Popular Cinema (Texas,

1993); editor of The Enemy Within: The Films of Mrinal Sen

(Flicks Books, 2000); essays in several anthologies, including

Redirecting the Gaze (SUNY Press, 1998) and Cinema and Nation

(Routledge, 2001). She holds a joint appointment with Eugene

Lang College The New School for Liberal Arts, where she is chair

of Cultural Studies.

Elizabeth Ellsworth (PhD, University of Wisconsin), professor.

Research and teaching areas include media theory and criticism,

history and criticism of documentary film, media and social

change, design of mediated learning environments, and uses of

media to teach about and across social and cultural differences.

Formerly professor of Educational Communications Technology

at the University of Wisconsin-Madison; she was also a visiting

professor in the philosophy and cultural studies programs

at Columbia University Teachers College. She has published

extensively and is the author of five books, including Places of

Learning: Media, Architecture, Pedagogy (Routledge, 2004). Her

current work draws from emerging theories of pragmatic action

and change to address how humans use media to do things in

the world. As a co-founder of a nonprofit media arts collaboration,

www.smudgestudio.org, she is turning the results of her research

and writing into a variety of media forms, exhibitions, and

projects, such as ExtremeMediaStudies.org.

THE MEdiA STUdiES fACULTy

PriNCiPAL fACULTy

robert Berkman (MA, University of Montana), associate professor

and online student advisor. In 1988, he founded and continues

to edit the Information Advisor, an international monthly journal

for professional researchers. He is the author of several books

on media, research, and technology, including Digital Dilemmas:

Ethical Issues for Online Media Professionals, with Chris Shumway

(Blackwell, 2003); The Skeptical Searcher (CyberAge, 2004); and

Find it Fast: How to Uncover Expert Information on Any Subject

(HarperCollins, 5th ed. 2000). His current research is focused on

social media.

deirdre Boyle (MA, Antioch College; MSW, New York University),

associate professor; media historian, critic, and curator. She is

the author of eight books, including Subject to Change: Guerrilla

Television Revisited (Oxford), and is writing a book on the work

of Errol Morris. She has taught at New York University, Fordham

University, Rutgers University, and City College/CUNY, and been

guest curator for the Hong Kong Arts Centre, Brussels Video

Festival, and The Museum of Modern Art, among others. Awards

include the University’s Teaching Excellence Award, a Guggenheim

Fellowship, Fulbright Fellowship, Asian Cultural Council Fellowships,

and Cable Ace Award for Best Documentary Series. Current

research interests and classes focus on hybrid documentary;

media, history, and memory; and media consumption and the body.

dawnja Burris (MA, The New School; PhD candidate, European

Graduate School), assistant professor and associate

chair. Independent media producer since 1992, applying

photography, film, and electronic media to marketing, consulting,

entertainment, and performance projects. Faculty advisor for the

Video Lab and producer of the Global Conversations series for

United Nations University in New York. Former faculty member

and producer, New York University/NYU-TV. Her work and research

interests explore cultural and social practices through their

representation in media.

Media Studies 19

Michael B. gillespie (PhD, New York University), assistant

professor. Through the lens of cinema studies, his work frames

the art of film as a multidiscursive consideration. His pedagogical

motivation entails emphasis on critical thinking and writing,

attention to the social and historical contexts in which media, as

texts, appear, and a conviction that the critical theory informing

research and study offers a vocabulary for students to use

in developing a language to address of art and culture. He is

working on a book, tentatively titled “Significations of Blackness:

American Cinema and the Idea of a Black Film.”

Peter L. Haratonik (MA, New York University), associate professor

and chair; writer and consultant. His research interests include

media education, the impact of technology on social institutions,

and media and urban environments. He recent presented

papers in Glasgow and Shanghai. He was previously director of

Film/Video/Broadcasting at New York University and chair of

Communication Arts and director of the Television Institute at

Hofstra University. He is a past president of the Association of

Communication Administration.

Annie Howell (MFA, New York University), assistant professor.

She has written and directed several short fiction and nonfiction

films. Her work has been exhibited internationally on the film

festival circuit, including SXSW, Newport, Full Frame,

Clermont-Ferrand, MadCat and SilverDOCS. Her films have been

shown on the Sundance Channel, PBS, and the Independent

Film Channel. Her recent work includes a feature-length

screenplay in development with Other Films, for which she

received a 2005 Screenwriters’ Colony fellowship, and a

webisode, Sparks (www.sparks-series.com). She taught previously

in Duke University’s film and video program and Center for

Documentary Studies.

Sam ishii gonzalez (doctoral candidate, New York University),

instructor, teaches aesthetics and film history. He is the

co-editor of two books on Alfred Hitchcock—Hitchcock Centenary

Essays (BFI, 1999) and Hitchcock, Past and Future (Routledge,

2004). He has published articles on Luis Buñuel, David Lynch, the

painter Francis Bacon, and the philosopher Gilles Deleuze. His

dissertation examines the claims made by Deleuze in regards to

the modern “image of thought” generated by neo-realist cinema

from Rossellini to Antonioni to Pasolini. He has several film

projects in development and two book projects, tentatively titled

“Philosophers of Film” and “Being and Presence, or Non-Acting in

the Cinema.”

Jaeho Kang (PhD, Cambridge University), assistant professor.

He is Alexander von Humboldt Research Fellow at the Institut

fur Sozialforschung at Frankfurt University. His research and

teaching interests include critical theory of media; media and

the city; political communication; and sociology of sports. He

has published articles on the social theories of Walter Benjamin,

Herbert Marcuse and Michel Foucault. He is now investigating

Siegfried Kracauer’s critical theory of media and politics, focusing

on film, propaganda, and the mediated public sphere. His current

work expands the scope of his research by analyzing the interplay

between media and urban spaces in East Asian cities like

Shanghai, Tokyo and Seoul.

Kit Laybourne (MA, UCLA), associate professor. One of the

founders of the Media Studies program in the 1970s, he

returned to The New School in 2002. He was for many years an

independent producer in partnerships with Eli Noyes, Kathleen

Minton, and Mickey Lemle. He was a cofounder and executive

producer of Oxygen Media, LLC, a cable TV network targeting

women, where he managed projects in animation, interactive

programming, and DV-based documentaries. He is the author of

The Animation Book (Crown, 1979; revised 1998) and creator of a

rich-media web site, MediaChops.com. He lectures widely, and his

productions have received many awards.

Michelle Materre (MEd, Boston College), assistant professor.

Her professional background is as an independent film and

television producer, writer, arts administrator, outreach

consultant, distribution/marketing specialist, and teacher. She

was a staff writer/producer for Henry Hampton’s Blackside

Productions and an assistant story editor for MGM/UA. As

a founding partner of KJM3 Entertainment Group, Inc., a

film distribution and marketing company that specialized in

multicultural film and television projects, she directly managed

the positioning of 23 films, including the successful theatrical


Vladan Nikolic (MA, The New School), associate professor.

Director, editor, writer and producer of feature films,

documentaries, shorts, commercials, and music videos. He was

formerly the Director for NTV Studio B, the first independent

television network in Belgrade, Yugoslavia. He wrote and directed

one of the first digitally produced feature films, Burn (Telluride

Indiefest winner 2001). His feature film Love premiered at the

2005 Tribeca Film Festival, where he won the Best Director Award

and critical acclaim. He most recent work includes a feature

documentary, Fire Under the Snow, and a fictional feature, Here

and There.

rafael Parra (BA, Hunter College; Laureate, Universidad de Los

Andes), assistant professor. A professional Avid editor, he is

owner and senior editor of TimeLine Film & Video, Inc., a New

York City post-production facility. Teaches digital audio and video

editing at Film and Video Arts.

Paul ryan, associate professor. Former McLuhan Fellow; his

mentor in cybernetics was Gregory Bateson. Author of Cybernetics

of the Sacred and Video Mind, Earth Mind: Art, Communications

and Ecology. His video art has been shown in Japan, Turkey,

Germany, Holland, France, and Spain, and throughout the

United States. Other projects include the cybernetic design of

a television channel dedicated to monitoring the ecology of a

region, which was displayed at MoMA and at the U.N. Conference

on Sustainable Cities. The Smithsonian Institution is archiving his

papers and tapes.

Barry Salmon (MA, The New School), associate professor,

assistant chair for undergraduate studies. He is the composer

of numerous film scores, as well as music for dance, theater,

radio, and video art. Festival honors and awards include CINE

Golden Eagle, Berlin, Brussels, Frankfurt, Sundance, Telluride,

and Toronto film festivals; Chicago Museum of Broadcasting, the

Museum of Modern Art. Performing and recording guitarist and

record/CD producer.

release of Daughters of the Dust by Julie Dash and L’Homme

Sur les Quais (The Man By the Shore) by Raoul Peck. For

many years, she has been the lead curator of the Creatively

Speaking film series, known for introducing broad audiences

to the work of independent filmmakers. She is an independent

media consultant to filmmakers and film/video organizations

for issues of distribution strategy, fundraising, marketing,

outreach, and programming and production. Professor

Materre received a University Distinguished Teaching Award

from The New School in 2005 and the Pen and Brush

Achievement Award for Women in the Arts in 2008.

Shannon Mattern (PhD, New York University), assistant professor

and director of graduate studies. Her teaching and research

address relationships between media and spatial theory and

practice—particularly the links between mass media and

architecture and urban planning—and connections between

media and contemporary art. Her work is motivated by a desire

to look “beyond the screen” or page to the larger arena in which

media operates, and to the fruitful convergences of media with

other fields of creative production and scholarship. Recently a

Mellon Postdoctoral Fellow in the History of Art at the University

of Pennsylvania, she has also taught at New York University,

Parsons The New School for Design, and Rutgers. She is the

author of The New Downtown Library: Designing With Communities

(University of Minnesota Press, 2007), which was supported by

a grant from the Graham Foundation for Advanced Studies in the

Fine Arts. Other work has appeared in the Journal of Architectural

Education, Invisible Culture, The Senses & Society, In the Site of

Sound, and Public Culture.

diane Mitchell (MFA, Michigan State University), associate

professor, is an artist and multimedia producer/designer of

commercial and educational programs. She was previously a

member of the faculty of Parsons The New School for Design.

She is a recipient of grants from NEA and NYSCA for design

advancement and from NYCH and private foundations for public

history presentations, and of industry awards for multimedia

productions for Fortune 500 companies and the United Nations.

Her art projects are exhibited internationally and on the Web. .

Media Studies 21

dorothy H. Hirshon, benefactor dorothy H. Hirshon film festival

John Cameron Mitchell, artist-in-residence 2007

Carol B. Wilder (PhD, Kent State University), professor. From

1995–2007, she was chair of the Department of Media Studies

and Film and associate dean of The New School. From 1975–

1995 she was a member of the Communication Studies faculty

of San Francisco State University, including as professor and

chair; she was named Professor Emerita in 1996. In 2007–08,

she was a Fulbright Scholar at Hanoi University in Vietnam. She

is the author of numerous articles and essays on communication

theory, politics and the media, and the rhetoric of the Vietnam-

American war. She received the National Communication

Association Book Award for Rigor & Imagination: Essays from the

Legacy of Gregory Bateson.

AdJUNCT fACULTy

Margaret Lewis Bates (EdD, Columbia University Teachers

College). Media consultant, most recently for Primedia Software

on Demand; former director of new business development at

AT&T’s Downtown Digital studio.

James Briggs iii (MA, The New School). Sound editor, recording

engineer, and composer for sonic, visual and physical media and

performance. His credits include The Supreme Court and American

Experience (PBS) and Dido/MTV Europe Awards; records by

Paul Simon and R.E.M.; and scores for VIA Dance Collaborative.

His work has been heard on records, broadcasts, and stages

worldwide, and in exhibition at Contour-Mechelen Gallery

(Belgium), Lower Manhattan Cultural Council Swing Space, and

the Full Frame Documentary Film Festival.

Andy Bobrow (MA, The New School). Executive producer and

creative director at BioMedia, an award-winning producer of video,

audio, and interactive multimedia programs.

royal S. Brown (PhD, Columbia University). Professor of Film

Studies, Queens College-CUNY and professor, CUNY Graduate

Center; music editor of Fanfare magazine; author of Focus on

Godard and Overtones and Undertones: Reading Film.


Mridu Chandra (MA, University of Chicago) has been producing

social-issue documentaries and narrative films for more than

10 years. Four of her films have premiered at Sundance, and

one of her documentaries was selected by the Academy of

Motion Picture Arts & Sciences for their 2005 Contemporary

Documentary series. Film credits include: Brother Outsider:

The Life of Bayard Rustin (PBS/2003), Let the Church Say

Amen (PBS/2004), Love Ludlow (2005), and The Dissection of

Thanksgiving (in post production, 2007).

Vinay Chowdhry (MFA, Bard College). Filmmaker, media arts

director for LREI (Little Red School House and Elizabeth Irwin High

School); he is finishing a documentary film, Personality, about the

lives of struggling dancers in “Bollywood.”

Sue Collins (PhD candidate, New York University). Her research

interest include cultural history; political economy of media;

celebrity and activism; cultural policy studies, media and

globalization. Her dissertation, Bonding with the Stars: WWI and

the Emergence of Star Political Authority, examines U.S. domestic

propaganda during the first world war and the first use of film

stars as a source of political validation.

Ben Coonley, (MFA, Bard College), video/electronic media

artist. His work has been exhibited at the Moscow Biennale of

Contemporary Art, Sundance Film Festival New Frontier Program,

Rotterdam International Film Festival, New York Underground

Film Festival, Chicago Underground Film Festival, Cinematexas

Film Festival, Robert Flaherty Film Seminar, the Corcoran

Gallery, (Washington, D.C.), Pacific Film Archive, Impakt (Utrecht,

Netherlands), Montreal Festival of New Cinema and New Media,

and VideoEx (Zurich). His awards include the Barbara Aronofsky

Latham Award in 2003 for Exceptional Emerging Video Artist and

the Cinematexas Festival Director’s Award in 2001. His films are

distributed by Video Data Bank.

William Crow (MFA, Hunter College CUNY) is an artist and

educator. His art has been widely exhibited in New York City and

elsewhere in the United States. He is currently a lecturer in the

Education Department of the Metropolitan Museum of Art.

ramu dhara (MA, The New School). Founding director of IIS

Visionworks, New Delhi, India, producers of CD-ROMs, Web

productions, and digital video.

Josephine dorado (MA, The New School). Fulbright scholarship

recipient and an artist-in-residence at Waag Society for Old and

New Media in Amsterdam. She is a is a New York-based media

artist, performer, and educator. Josephine is also a technical

trainer and consultant; her clients include Banc of America

Securities, HSBC, and the United Nations.

Pete dorogoff, founder and president of iPro Communications, is a

new media consultant and marketing communications strategist in

the media and high-tech industries. Clients have included Reuters

New Media division, Microsoft’s Worldwide Small & Midmarket

Solutions and Partners division, and Overture/AltaVista during its

merger with Yahoo!.

Lydia foerster (MA, University of Texas). Videographer and

producer; most recently, associate producer of an independent

documentary about women and politics.

Laura forlano (Master of International Affairs, Columbia),

received a Diploma in International Relations from the Johns

Hopkins University and is a PhD candidate in Communications

at Columbia. She is a currently Visiting Fellow at the Information

Society Project of Yale Law School.

Lauhona ganguly (PhD candidate, American University). Her

doctoral research in international relations examines the

significance of private satellite television and global media

processes as a socio-political force in India. Lauhona has worked

in the television industry in the United States and India and

with non-profit groups in designing communication strategies in

support of social justice and development programs.

Steven Hammersly (MA, The New School), is a vice president and

director of strategic alliances at Pearson Education; his work

has involved the creation of co-publishing entities with IBM,

Apple, Nokia, H-P, and Adobe, and the development of Pearson’s

e-book initiative.

Media Studies 23

Eric Hopper (MA, New School) is a musician, sound artist,

videographer, and editor. His music has been recorded by Sony/

Columbia, Treehorn, Doghouse, and Flat Earth Records. His films

and videos have been featured in the Durango Independent Film

Festival, Full Frame Film Festival, Cinequest, Margaret Mead Film

Festival, and Chicago Underground Film Festival.

Philip Kain (MPS, New York University). Multimedia performance

artist.

deanna Kamiel is a senior producer for PBS and documentary

writer and director; author of The Lace Ghetto.

Shari Kessler (MA, The New School). Editorial photographer and

visual media consultant; studied fine art photography with guru

Minor White.

Ernesto Klar (MFA, Parsons The New School for Design). Artist;

solo and group shows include Eyebeam, Chelsea Art Museum,

BAP Lab Festival in New York City, ICA Boston, CCCB in

Barcelona, and FILE Sao Paulo in Brazil. Honors include grants,

fellowships, and commissions from the New York Foundation

for the Arts, Massachusetts Cultural Council, and the Lower

Manhattan Cultural Council.

Kenneth Krushel (BA, Amherst College) is president of Citizenews,

Inc., an Internet video platform that aggregates reports by

international video journalists.

Mara Kurtz (MA, The New School), a graphic designer, illustrator,

and photographer, is also a member of the faculty of Parsons The

New School for Design.

Marlon Lipschutz (MA, New York University) writes, directs

and produces documentary films. She and her partner, Rose

Rosenblatt, are currently working on a film set on the Pine Ridge

Sioux Reservation, supported by the Sundance Documentary

Fund. Films include The Education of Shelby Knox, which won

awards at the Sundance Film Festival, SXSW, Miami Gay & Les-

bian Film Festival, and Full Frame Emerging Pictures, and which

led off the 2005 PBS series Point of View. Other works include

Life Free or Die (POV), Fatherhood USA (PBS), The Abortion Pill

(PBS) and The Trenchcoat Gang (Court TV).

Peter Lucas (PhD, New York University). His research and

teaching has focused on school violence and school safety,

peace education in the schools, international human rights

education, the role of visual media in human rights witnessing,

and small-arms disarmament education in the U.S., Brazil, and

Turkey. His recent studies include Viva Favela: Photojournalism,

Visual Inclusion, and Human Rights in Brazil, forthcoming from

Umbrage Editions.

Chris Mann (DiplEd, University of LaTrobe). Composer working in

compositional linguistics; former member of Machine for

Making Sense.

david E. Marcinkowski (MA, The New School) is associate

director of technology and program development at Pratt

Manhattan. He is a free-lance web designer and teacher. His

Interests include bridging the gap between technical and design

aspects of the Internet.

Brian McCormick (MA, The New School). Journalist, dance critic,

writing instructor; arts editor of Gay City News; managing director

of Nicholas Leichter Dance.

Helena Medina (PhD, Columbia University). TV scriptwriter and

script advisor to the prestigious Media Plus Programme of the

European Union.

douglas Morrione (MA, The New School). Award-winning film and

video editor and producer; recently worked with Stick Figure

Productions on the series Family Bonds, for HBO.

Jörg Müller (PhD, European Graduate School, Switzerland).

Independent web developer; credits include interactive directory

at DoubleYou for Creative Web Communications.

Lynn Oberlander (JD, Columbia University). General counsel for

The New Yorker; formerly editorial counsel at Forbes Inc. and

senior media counsel at NBC, Inc.

Aras Ozgun (MS, Middle East Technical University in Ankara,

Turkey; MA, The New School). Scholar and video artist;

co-founded Pyromedia Media Arts Collective, producers of

experimental media works.


Mario Paoli (BMus, Berklee College of Music). Electronic music

composer, video artist/producer, media educator, was an original

company member of Mobius Performing Group in Boston; staff

teacher and editor at Film and Video Arts Inc.

Bill Phillips (PhD candidate, New York University) is writing

a dissertation on the impact of digital technology on music

production. He is a musician and music producer and is the

co-author of the Encyclopedia of Heavy Metal Music and Culture

(forthcoming from Greenwood Press).

Jason Pine (PhD, University of Texas at Austin) teaches

anthropology at SUNY at Purchase. He has conducted several

years of ongoing videotaped ethnographic research on aesthetic

practices, shadow media, and organized crime in Naples, Italy.

John Plenge (MA, The New School). ASCAP, NYSCA, and OBIE award

winning composer, sound artist, and music producer.

Phillip robertson has been covering the wars in Afghanistan and

Iraq for Salon.com since 2001. He has also reported for Time

magazine, BBC World Service Radio, National Public Radio in the

United States, and the Christian Science Monitor.

Peter Schnall, a six-time Emmy Award winner, was senior

producer of the long-running National Geographic Television

series Explorer. He formed Partisan Pictures in New York City,

producers of Russia, Land of the Tsars (2003), The French

Revolution (2004), Titanic Revealed (2004), and Inside the Secret

Service (2004). His film credits also include a documentary

made for The White House, Air Force One, and a film about Oprah

Winfrey’s trip to southern Africa to draw attention to the plight

of children with AIDS.

Joan Schuman (MFA, San Jose State University). Award-winning

independent producer of narrative radio broadcasts in the United

States, Europe, Australia, Canada, online; print journalist

MM Serra (MA, New York University). Executive director of

New American Cinema Group/The Film-Makers’ Cooperative;

experimental film and multi-media producer and distributor.

Ethan Spigland (MA, University of Paris; MFA, New York University).

Award-winning filmmaker and screenwriter; his film, The Strange

Case of Balthazar Hyppolite, was nominated for an Academy Award

for Best Short Subject; studied philosophy with Derrida and Lyotard.

ralph “Woody” Sullender (MFA, Bard College) is a digital media

artist, composer, and performer. Most recently, he has created

video, audio, websites, etc. for the New York Times, New York

University, JetBlue, and the Video Data Bank.

reiko Tahara (MA, The New School) is an independent documentary

filmmaker. Her films have been shown in various venues including

the Margaret Mead Festival, SXSW, Japan Society, Hawaii

International Film Fest, and many Asian American festivals. She

has received multiple production grants from NEA, NYSCA, Jerome

Foundation, Japan-US Friendship Commission, and CAAM (Center

for Asian American Media). She received a Japanese government

Overseas Grant for 2007−08 for Experimental Documentary.

Tom Veltre (PhD, New York University). As a producer/

cinematographer, his work has been broadcast by PBS, Discovery

Channel, National Geographic Channel, CNN, BBC, NHK (Japan). He

holds an undergraduate degree in Music Education from the Crane

School of Music at SUNY-Potsdam.

Angie Waller (MFA, University of California Los Angeles). Artist.

Her work has exhibited at Sundance Film Festival, Edith Russ Site

for Media Art (Oldenburg, Germany), Contemporary Museum of

Baltimore, International Symposium for Electronic Art (Walker Art

Center, Minneapolis), Shanghai Duolon Museum of Modern Art,;

Walter Phillips Gallery at the Banff Centre (Alberta, Canada); Impakt

Online (Utrecht, Netherlands), and Biennale of the Moving Image

(Geneva). Awards include the 2001 HT-Telecommunication Art Award

at the Split Film Festival (Croatia).

Media Studies 25

Charles Warner is the author of Media Selling, the most widely

used sales textbook in the field, and a companion book, Media

Sales Management. He is a blogger on MediaCurmudgeon.com.

He was Goldenson Endowed Professor and is now Goldenson

Chair Emeritus at the University of Missouri School of Journalism,

where he created and ran the annual Management Seminar for

News Executives. He left Missouri to become Vice President of

AOL’s Interactive Marketing division until he retired in 2002. He is

currently a volunteer teaching assistant in the Metropolitan Museum

of Art family program as well as teaching at The New School. He has

served as a management and sales consultant and trainer for CBS,

ABC, ESPN, MTV, TCI, Fox, AH Belo, Hearst Magazines, Microsoft’s

MSN, and Cox Cable, has been VP General Manager, of WNBC-

AM (now WFAN) in New York, WMAQ-AM and WKQX-FM in Chicago,

WWSW-AM, WPEZ-FM in Pittsburgh, and CBS Radio Spot Sales.

Michael Weiskopf (BA, Montclair State University). Founder and

chairman, Lifestyle Ventures (now Lifestyle Media), an independent

privately held company consisting of ten magazines; former

executive VP and publisher, Chemical Week Assocs.; publisher of

Personal Computing Magazine; group VP of Reed Exhibitions, and

advertising director of East Coast Rocker.

Virgil Wong (BFA, Rhode Island School of Design, European

Honors Program, University of Rome Medical School). Multimedia

artist; head of Web services for New York-Presbyterian Hospital

and Weill Medical College of Cornell University.

Bilge yesil (PhD, New York University). Her work examines

technology and political dynamics, visual culture, consumer society

and advertising, and has appeared in Cultural Studies, Media History,

Journal of Popular Culture, and M/C Review.


rESOUrCES

New York is the communications capital of the world, and the

Media Studies Program fully enjoys the advantages inherent in its

urban setting. Professional internship opportunities are available

in broadcast television stations; cable operations; film, video and

audio production companies; research programs; and corporate

communication facilities, among others. A network of media

professionals is maintained through the large representation of

communications experts on the faculty and in the student body.

Media Studies students are invited to the many public lectures,

seminars, conferences, film series, and other special events

offered regularly by the Department of Media Studies and Film

and other departments of The New School for General Studies.

MEdiA PrOdUCTiON fACiLiTiES

THE ArNHOLd HALL MULTiMEdiA LABOrATOry This state-of-the-

art technical facility occupies 12,000 square feet at 55 West

13th Street. It houses classrooms equipped for computer, video,

and sound presentations; multimedia computer classrooms;

Final Cut Pro digital video editing stations; ProTools digital audio

production and mixing suites; a large open lab with Macintosh

and Windows workstations; an equipment center including Sony

and Panasonic DVCams, Tascam Audio Flash recorders, Nikon

digital cameras, and lighting and sound equipment. Media

Studies students have access to this facility and any equipment

required by their courses.

MEdiA PrOdUCTiON CENTEr Located at 66 Fifth Avenue.

Graduate students registered for film production courses have

access to the facility, which provides professional filmmaking

equipment, including Arriflex SR and Eclair NPR cameras,

Mole-Richardson and Lowel lights, Nagra 4.2 audio recorders,

and analog and digital editing equipment.

SPECiAL EVENTS ANd STUdENT ACTiViTiES

Every year, the Media Studies program organizes a number

of special events for students including seminars with

representatives from various media organizations and lectures

and presentations by notable scholars and media professionals.

The department also sponsors student shows and other student-

produced events. Media Studies students present their own work

to packed houses in film shows, video programs, an audio and

media design show, and the annual juried multi-format show,

Mixed Messages, a showcase of the year’s best work in film,

video, audio, and multimedia.

Since 2003, the Dorothy H. Hirshon Film Festival, a two-week

series of screenings and panel discussions endowed by a late

trustee of The New School, offers students a chance to work

with distinguished artists-in-residence and culminates in the

annual New School Invitational Film Show, a juried show featuring

the best student films of the academic year. Hirshon artists-

in-residence to date are D.A. Pennebaker and Chris Hegedes

(2003), John Waters (2004), Laurie Anderson (2005), Academy

Award-winning director (Hearts and Minds) Peter Davis, (2006),

John Cameron Mitchell (2007), and Cynthia Wade (2008).

There is an annual student-produced academic conference,

Critical Themes in Media Studies. Recent themes include

globalization, popular culture, the public sphere, cyberspace,

representation, identity, media theory, and visual culture.

Immediacy is a student-produced online journal that functions

as an ongoing forum for the discussion of ideas about media

and culture.

The website at www.newschool.edu/mediastudies provides up-to-

date faculty and course information, a calendar of events, and a

rich archive of student work. Also on the website is Media Matrix,

an online resource for Media Studies students and faculty.

Graduate students may apply for a personal website on the

university server.

Media Studies 27

LiBrAriES

The New School operates three libraries, which are open to

all university students. Each library concentrates on specific

subjects: The Raymond Fogelman Library collection is weighted

toward the social sciences and philosophy. Its extensive reserve

collection is utilized by the entire university. The Adam and Sophie

Gimbel Design Library at Parsons The New School for Design

holds an extensive collection of materials relevant to applied and

fine arts. The Harry Scherman Library serves Mannes College The

New School for Music and specializes in European and American

classical music.

THE rESEArCH LiBrAry CONSOrTiUM Of SOUTH MANHATTAN

In addition to its own libraries, The New School is a member of

the Research Library Association of South Manhattan. Other

consortium members are New York University, the Cooper

Union for the Advancement of Science and Art, and the New

York Library of Interior Design. This is one of the largest inter-

university library consortia in the country—NYU’s Elmer Holmes

Bobst Library alone houses more than three million volumes.

Most holdings of the consortium libraries are listed in BobCat,

a user-friendly online catalog that can be accessed over the

Internet or by direct dial-in. All the libraries provide information

resource training and orientations for students, normally at the

beginning of every semester.

New School students also have reading access to materials at

the nearby Cardozo Law School of Yeshiva University. Through a

membership in the Metropolitan Reference and Research Library

Agency, students have access to more than 300 other libraries in

the New York City area.

For more information about university libraries and consortium

privileges, visit the website at www.newschool.edu/library.

ACAdEMiC COMPUTiNg

University Academic Computing currently operates three general

access facilities for students. Each facility offers a wide variety

of software such as word processing, spreadsheet, database,

electronic mail, graphics, and statistical packages. Students

using the centers are supported by a full-time staff and assisted

by lab aides. Training seminars and documentation are available

on supported software and hardware. Each facility is fully

networked and has access to the Internet.

iMovie U High School Movie-Making Project National Arts Club President O. Aldon James

Chuck Kesl, Carol Wilder, Associate dean and Chair, Jon Alpert, “Mixed Messages” 1997


AdMiSSiON POLiCiES ANd PrOCEdUrES

An applicant to the Media Studies MA program must hold

a bachelor’s degree from a regionally accredited college or

university. A statement of purpose, official transcripts of all

undergraduate and graduate work, a résumé, and two letters

of recommendation (from academic and/or professional

references) are required of all applicants.

International applicants must submit official transcripts of all

undergraduate and graduate studies, with English translations, and

a WES “course-by-course” credential evaluation (www.wes.org).

If English is not the student’s native language, a minimum TOEFL

score of 100 on the internet-based test (250 on the computer-

based test) is required for admission.

To apply online or download an application go to www.newschool.

edu/mediastudies. For more information, contact the New School

Office of Admission, 66 West 12th Street, room 401, New York, NY

10011; 212.229.5630; email: [email protected].

APPLiCATiON dEAdLiNES Students are admitted to the Media

Studies program for either the fall or spring semester. The fall

application deadline is february 15. The deadline for the spring

semester is October 15. It is the responsibility of the applicant

to ensure the receipt of all admission materials by the published

deadline. An offer of admission is valid for the semester specified

in the letter of acceptance. A non-refundable tuition deposit is

required to hold a place in a class. If unusual circumstances

require a change in plans, an admitted applicant may request

admission deferral for up to two semesters. Departmental

scholarships and other financial aid awards are not deferrable;

you must reapply.

BACHELOr’S/MASTEr’S STATUS Students in certain undergraduate

programs of The New School, upon completion of 60 credits

(including at least 12 credits earned at The New School), may

apply for bachelor’s/master’s status. If approved, they may take

selected graduate courses in Media Studies and apply up to 12

graduate credits towards the bachelor’s degree requirements.

Upon successful completion of the undergraduate degree and

admission into the Media Studies Program, those 12 credits

will also be applied to the credit requirements for the master’s

degree. Interested undergraduates should speak to their

academic advisors.

fiNANCiAL iNfOrMATiON

Media Studies tuition for the 2008–09 academic year is $1,020

per credit. Full payment of tuition and fees is normally due at the

time of registration. New tuition and fee schedules are posted on

the University website in advance of each academic year.

fiNANCiNg yOUr EdUCATiON

Financial aid is available to MA candidates and graduate

certificate students. No one should decide against applying for

admission to the Media Studies program for financial reasons. A

variety of financial assistance is available to qualified students.

Assistance is granted on the basis of need and merit with

financial need determined in accordance with federal formulas.

The New School participates in the full range of federal and New

York State financial assistance programs (see Student

Financial Services).

It is not necessary to have an admission decision to begin

the financial aid process. All applicants should file the Free

Application for Federal Student Aid (FAFSA), which is available on

line at www.fafsa.ed.gov. Priority deadlines for filing FAFSA are

March 1 for fall applicants and November 1 for spring applicants.

The FAFSA school code is 002780.

Media Studies 29

department Assistantships

Assistantships and fellowships require recipients to meet

specific requirements or work a certain number of hours for the

department or with a faculty member. Any hours worked under

the College Work Study program or other on-campus employment

program are in addition to, and may not be combined with, the

work requirements of any Media Studies stipend.

Course Assistant ($1,500) Assists a teacher in a course.

Applicants must be available 4½ hours per week during the

academic year.

Research Associate ($3,000) Assists a member of the faculty in

an area of academic research. Research and writing skills are

required. Applicants must be available 9 hours per week during

the academic year.

Technical Associate ($3,000) Must demonstrate specific technical

expertise in a production area and have an interest in teaching.

A technical associate assists the department in producing media

shows or may be assigned to provide in-class assistance to an

instructor. Applicants must be available 9 hours per week during

the academic year.

Graduate Fellowship ($7,500) A graduate fellow works 12 hours

per week during the academic year with a member of the Media

Studies faculty or the administrative staff. Responsibilities vary.

This award is available only to students who have completed at

least 15 credits in the MA program.

University Scholarships

Graduate students may be eligible for various university

scholarships and awards. All graduate students who file a

financial aid application are considered for all applicable

scholarships.

Student financial Services

Details about financial aid programs and all forms and

instructions are available from the Student Financial Services

Office, 65 Fifth Avenue, New York, NY 10003; 212.229.8930;

[email protected]. Students are entitled to receive all

information and application documents in paper format on

request, or these can be downloaded from the Financing

Solutions Guide at www.newschool.edu/admin/finaid.

THE NEW SCHOOL: A UNiVErSiTy

The New School is a member of the Association of American

Colleges and Universities. The university and its degrees are

accredited by the Commission on Higher Education of the Middle

States Association of Colleges and Secondary Schools. A

privately supported institution, The New School is chartered as a

university by the Regents of the State of New York.

The New School maintains the following institutional information

on its website at www.newschool.edu: FERPA (Family Education

Rights and Privacy Act), financial assistance information (federal,

state, local, private, and institutional need-based and non-

need-based assistance programs, Title IV, FFEL, and direct

loan deferments), university policy information (fees, refund

policies, withdrawing from school, Title IV grant and loan policies,

academic policies, policies for international students, and

disability services), and the Campus Security Report. To request

copies of any of these policies or reports, contact the

appropriate office.

Equal Employment and Educational Opportunity The New School is

committed to creating and maintaining an environment of diversity

and tolerance in all areas of employment, education, and access to

its educational, artistic, and cultural programs and activities. The

New School does not discriminate on the basis of age, race, color,

sex or sexual orientation, religion, mental or physical disability,

national or ethnic origin, citizenship status, or veteran status.

fACiLiTiES ANd STUdENT SErViCES

The New School is located in New York City’s Greenwich Village, a

historic residential neighborhood that supports an exciting mix of

intellectual, artistic, and commercial activity. The landmark Alvin

Johnson Building at 66 West 12th Street was designed as the

home of The New School in 1930 by noted Bauhaus architect

Joseph Urban. Most other facilities are located within a few

blocks of the Johnson Building. There is a neighborhood map on

the inside back cover of this catalog.

HOUSiNg Student housing offers graduate students convenient

living and learning spaces with amenities suitable for diverse

needs and budgets. Residence hall and apartment facilities

are fully furnished and professionally staffed. There is 24-hour

security coverage in all our residences, and our staff is trained to

handle emergencies.


For students who wish to navigate the metro New York real

estate market, the Office of Student Housing offers assistance in

searching for off-campus accommodations. Printed and electronic

listings for rental properties, shared apartments, sublets, and

short-term accommodations are available in the office. For more

information, visit www.newschool.edu/studentservices.

STUdENT LifE The New School offers many kinds of workshops,

lectures, and other programs throughout the academic year

designed to enrich the student’s experience. Student services

activities reflect the diversity of our student population—

intellectually, artistically, culturally, and socially. Students are

encouraged to become involved in recognized student organizations

and leadership programs. Student services also include a

recreation program. For more information, visit www.newschool.

edu/studentservices.

Graduate students can participate in the governance of their

programs and of the university by serving on student advisory

committees, which have been established by most academic

departments, and on several university committees that include

student representatives.

iNTErNATiONAL STUdENT SErViCES The New School is authorized

under federal law to enroll non-immigrant alien students.

The mission of International Student Services is to help

these students reach their fullest potential and have positive

experiences at The New School. It offers workshops, printed

materials and other media, and individual advice and support.

Before registering, all international students are required to

attend an orientation and report individually to International

Student Services so that the university can confirm that they

have been properly admitted into the United States, and explain

their rights and responsibilities and U.S. government regulations.

International Student Services offers individual advising

throughout the year by appointment. For more information, visit

www.newschool.edu/studentservices.

EigHT SCHOOLS/ONE UNiVErSiTy

THE NEW SCHOOL fOr gENErAL STUdiES The founding school

of the university has never neglected its original mission. It

continues to serve the intellectual, cultural, and professional

needs and interests of adult students through its unique

bachelor’s degree program for continuing students, graduate

degree programs that integrate theory and practice in original

ways, and a broad and serious curriculum open to non-credit

students. The New School for General Studies offers the following

degrees, Bachelor of Arts and Bachelor of Science in Liberal Arts;

Master of Arts and Master of Science in International Affairs,

Master of Arts in Media Studies, Master of Fine Arts in Creative

Writing, and Master of Arts in TESOL, as well as graduate- and

undergraduate-level certificates. The pioneer of lifelong education

in the United States is still a center of innovation and imagination

in American higher education.

THE NEW SCHOOL fOr SOCiAL rESEArCH The New School for

Social Research, the graduate faculty of social and political

science, was established in 1934 by the scholars of the

University in Exile. It has been a seat of world-class scholars

since then, in an academic setting where disciplinary boundaries

are easily crossed. It justly retains the proud name of The

New School for Social Research. This graduate school awards

master’s and doctoral degrees in anthropology, economics,

philosophy, political science, psychology (including clinical

psychology), and sociology, and terminal MA degrees in historical

studies and liberal studies.

PArSONS THE NEW SCHOOL fOr dESigN Parsons was founded in

1896 by the noted artist William Merritt Chase. In the 1930s,

it was named Parsons School of Design for its long-serving

president, Frank Alvah Parsons, whose career was dedicated

to merging visual art and industrial design. Today, it is one

of the preeminent design schools in the world. Its graduates

contribute to the quality of life through beautiful products,

built environments, and visual communications. Parsons

offers the bachelor of fine arts degree in architectural design,

communication design, fashion design, fine arts, illustration,

Media Studies 31

interior design, photography, product design, and its integrated

design curriculum; the Bachelor of Business Administration

in design and management, and the Bachelor of Science in

Environmental Studies (New York State approval pending).

Master’s degrees are offered in architecture, lighting design,

history of decorative arts, fine arts (painting and sculpture),

interior design (New York State approval pending), photography,

and design and technology. Parsons also offers a post-

baccalaureate AAS degree and a continuing education program.

EUgENE LANg COLLEgE THE NEW SCHOOL fOr LiBErAL ArTS

This is The New School’s four-year college for traditional-age

undergraduates. Emphasis is on small, seminar-style classes.

Innovative interdisciplinary areas of study lead to the Bachelor of

Arts degree. These include literature and writing; arts in context;

visual arts, theater; dance; environmental studies; religious

studies; social and historical studies; psychology; philosophy;

science, technology and society; education studies; urban studies;

and cultural studies and media. Qualified students can earn a dual

bachelor of arts/bachelor of fine arts degree at Parsons The New

School for Design or The New School for Jazz and Contemporary

Music. There are accelerated bachelor’s/master’s degree options

in association with several graduate programs. The school began

in 1973 as an experimental program. It became a full division of

the university in 1985 thanks to a generous gift from New School

trustee Eugene Lang, the well-known educational philanthropist.

MiLANO THE NEW SCHOOL fOr MANAgEMENT ANd UrBAN POLiCy

Originally the Graduate School of Management and Urban

Professions, since 1975 its graduate programs have been

developing the analytical, managerial, and leadership skills

of working professionals with the goal of facilitating positive

changes in communities, governments, and corporations,

locally, nationally, and globally. The school is named for late

university trustee Robert J. Milano who generously supported its

mission. Milano offers the Master of Science degree in urban

policy analysis and management, nonprofit management, health

services management and policy, and organizational change

management and a PhD degree in public and urban policy.

MANNES COLLEgE THE NEW SCHOOL fOr MUSiC Founded in 1916

by David Mannes, this distinguished conservatory became a

division of The New School in 1989. Mannes offers aspiring

young musicians an unusually comprehensive conservatory

curriculum in a supportive setting, training students in

instrumental and vocal performance, composition, conducting,

and music theory. The college offers the degrees and credentials:

Bachelor of Music, Bachelor of Science, Diploma, and Master

of Music and Professional Studies Diploma. Unique among New

York’s conservatories, Mannes remains true to its origins as a

community music school via its Extension Division and children’s

Preparatory Division.

THE NEW SCHOOL fOr drAMA Ever since Erwin Piscator brought

his Dramatic Workshop to The New School in the 1940s, the

university has had a close association with the theater. Since

1994 The New School has been training actors, writers, and

directors side-by-side in a coherent graduate curriculum. The

training is rooted in the Stanislavski Method. This full-time,

three-year program leads to the Master of Fine Arts degree in

acting, directing, or playwriting.

THE NEW SCHOOL fOr JAzz ANd CONTEMPOrAry MUSiC

The New School for Jazz and Contemporary Music offers young

musicians a unique, mentor-based course of study with a faculty

of professional artists and close links with the renowned jazz

world of New York City. It is a program for students who expect to

make a living from their music. Traditionally, jazz was not learned

in schools but was handed down from one musician to another.

The New School keeps that heritage alive. Its students profit

from direct exposure to jazz traditions and the latest professional

practices in an intellectual context that encourages exploration

and innovation. The New School for Jazz and Contemporary Music

offers the Bachelor of Fine Arts degree in jazz performance and

jazz composition and arranging. Qualified students may pursue

a dual BA/BFA degree in collaboration with Eugene Lang College

The New School for Liberal Arts.

The information published here represents the plans of The New School at the time of publication. The university reserves the right to change without notice any matter contained in this publication, including but not limited to tuition, fees, policies, degree programs, names of programs, course offerings, academic activities, academic requirements, facilities, faculty, and/or administrators. Payment of tuition or attendance in any classes shall constitute a student’s acceptance of the administration’s rights as set forth in the above paragraph.

Published 2008 by The New School.

Produced by Communications and External Affairs, The New School

Photography: Sara Barrett, Paula Giraldo, Graham Haber, Don Hamerman, Ryan Blum-Kryzstal, Joe Schuyler, Jerry Speier, Matthew Sussman, Edwin Tse; also: Arlene Avril, Betsy Bell, Stephanie Berger, Bjorg, Ralph Crane, Laima Druskis, Carla Gahr, Peter Moore, Jose Picayo, Paul Seligman, Stan Seligson, Kosti Ruohoma, Star Black, Karen Zebulon, The New School University Archives, Corbis-Bettmann, FPG, PhotoDisc; also courtesy of T.S. McLuhan, University of Pennsylvania Libraries.

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66 Fifth Ave. 68 Fifth Ave.

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Albert List Academic Center . . . . . . . . . . . . . . . . . . . . . . . . . . . FAlumni Relations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .DAlvin Johnson/J .M . Kaplan Hall . . . . . . . . . . . . . . . . . . . . . . . . .AArnhold Hall . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . I

Dorothy H . Hirshon Suite . . . . . . . . . . . . . . . . . . . . . . . . . . . ITheresa Lang Community & Student Center . . . . . . . . . . . . . ITishman Gallery . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . I

AuditoriaEdward Swayduck Auditorium . . . . . . . . . . . . . . . . . . . . . . . . FJohn L . Tishman Auditorium . . . . . . . . . . . . . . . . . . . . . . . . . .AParsons Auditorium . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .N

Building AffiliatesBeth Israel . . . . . . . . . . . . . . . . . . . . . . . . . . . . .317 E . 17 St .Cardozo Law Library . . . . . . . . . . . . . . . . . . . . . . 55 Fifth Ave .Cooper Hewitt Museum . . . . . . . . . . . . . . . . . . . . . . 2 E . 91 St .Cooper Union Library . . . . . . . . . . . . . . . . . . . . . . .Cooper Sq .Elmer Holmes Bobst Library . . . . . . . . . . . . . . . . .Wash . Sq . S .

Cafeterias . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .B, F, ICenters and Institutes

Center for New York City Affairs . . . . . . . . . . . . . . . . . . . . . . .HIndia China Institute . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .NInternational Center for Migration, Ethnicity & Citizenship . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .DParsons Institute for Information Mapping . . . . . . . . . . . . . . . ISchwartz Center for Economic Policy Analysis . . . . . . . . . . . .DTransregional Center for Democratic Studies . . . . . . . . . . . . .GUniversity Writing Center . . . . . . . . . . . . . . . . . . . . . . . . . . . . FVera List Center for Art & Politics . . . . . . . . . . . . . . . . . . . . . .AWolfson Center for National Affairs . . . . . . . . . . . . . . . . . . . .N

Computing CentersAcademic Computing Center . . . . . . . . . . . . . . . . . . . . . . . . . FDigital Resource Library . . . . . . . . . . . . . . . . . . . . . . . . . . . . IFashion Computing Center . . . . . . . . . . . . . . . . . . . . . . . . . .KKnowledge Union . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . IUniversity Computing Center . . . . . . . . . . . . . . . . . . . . . . . . . I

Eugene Lang College The New School for Liberal Arts . . . . . . . .BAdmissions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .BLang Annex . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .CLang Writing Center . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .B

Fanton Hall . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .HHuman Resources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .DLibraries

Raymond Fogelman Library . . . . . . . . . . . . . . . . . . . . . . . . . . FAdam & Sophie Gimbel Design Library . . . . . . . . . . . . . . . . .NKellen Archives . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .NHarry Scherman Library . . . . . . . . . . . . . . . . . . . . . . . . . . . . J

Mannes College The New School for Music . . . . . . . . . . . . . . . . JAdmissions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . JGoldmark Practice Center . . . . . . . . . . . . . . . . . . . . . . . . . . .O

Milano The New School for Management and Urban Policy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .H

Admissions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .HThe New School for Drama . . . . . . . . . . . . . . . . . . . . . . . . . . . . Z

Admissions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ZTheater . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Z

The New School for General Studies . . . . . . . . . . . . . . . . . . . . .AAdmissions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .AInternational Affairs Program . . . . . . . . . . . . . . . . . . . . . . . . .AMedia Studies Program . . . . . . . . . . . . . . . . . . . . . . . . . . . .NTESOL Program . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . MWriting Program . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .A

The New School for Jazz and Contemporary Music . . . . . . . . . . IAdmissions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . I

The New School for Social Research . . . . . . . . . . . . . . . . . . . . .DAcademic Affairs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .DAdmissions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . F

Parsons The New School for Design . . . . . . . . . . . . . . . .D, E, K, NAdmissions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . FArnold & Sheila Aronson Galleries . . . . . . . . . . . . . . . . . . . . .NDavid Schwartz Fashion Education Center . . . . . . . . . . . . . . .KSheila C . Johnson Design Center . . . . . . . . . . . . . . . . . . M, N

Residence Halls13th Street Residence . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Q20th Street Residence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . YGrove Street Apartments . . . . . . . . . . . . . . . . . . . . . . . . . . . .ULoeb Residence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .SMarlton Residence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .RUnion Square West Residence . . . . . . . . . . . . . . . . . . . . . . . TWilliam Street Residence . . . . . . . . . . . . . . . . . . . . . . . . . . . V

Student Services (university-wide)Career Development . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . FHealth Services . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .SHigher Education Opportunity Program (HEOP) . . . . . . . . . . .DHousing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .DIntercultural Support . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . FInternational Student Services . . . . . . . . . . . . . . . . . . . . . . .DOmbuds . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .DRecords . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .DRegistrar’s Office . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .DRegistration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . FStudent Development . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . IStudent Disability Services . . . . . . . . . . . . . . . . . . . . . . . . . .DStudent Financial Services . . . . . . . . . . . . . . . . . . . . . . . . . . FStudent Rights and Responsibilities . . . . . . . . . . . . . . . . . . .D

University Administration . . . . . . . . . . . . . . . . . . . . . . . . A, D, G, I

Not shown: Anderson Residence: Anderson Hall, Manhattan School of Music, Claremont Ave. & W. 122nd St.; Stuyvesant Apartments: 1st Ave. & E. 14th St.; 23rd Street Apartments: 225 W. 23rd St.

The New School is undergoing expansion and renovation . Watch for updated maps each semester . Published 8/15/08 .

The New SchoolOffice of Admissions 66 West 12th Street, Rm 401 New York, NY 10011

www.newschool.edu/mediastudies

2008 fall media studies viewbook

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