CV

ACADEMIC POSITIONS

Assistant Professor of Media and Popular Culture
Communications
University of California, San Diego
2019-present

Lecturer
Theater, Film and Television
University of California, Los Angeles
2017-2019

EDUCATION

PhD in Cinema and Media Studies
University of California, Los Angeles – Los Angeles, CA – 2011-2017
Dissertation: “Derivative Media: The Financialization of Film, Television, and Popular Music, 2004-2016”
Committee: John T. Caldwell (Adviser), Denise Mann, Stephen Mamber, Johanna Drucker

Master of Arts in Film Studies
University of British Columbia – Vancouver, BC – 2006-2009
Thesis: “The Museum: Textworks, Cultural Economy, and Polytextual Dispersion”
Committee: Ernest Mathijs (Adviser), Lisa Coulthard, Brian McIlroy

  • Awarded the level of Distinction on thesis

Bachelor of Arts, Honours double major in Media, Information and Technoculture and Film Studies
University of Western Ontario – London, ON – 2001-2006
Thesis: “Steven Soderbergh, Section Eight Ltd., and the Sellebrity Auteur: Commercial Authorship in Contemporary Hollywood.”
Advisor: Keir Keightley

MONOGRAPHS

The Cinema of Steven Soderbergh: indie sex, corporate lies and digital videotape. Co-authored with R. Colin Tait. New York: Columbia University Press/Wallflower Press, 2013.

REFEREED JOURNAL ARTICLES

“From Copyright Cartels to Commons and Care: A Public Infrastructure Model for Canadian Music Communities.” Co-authored with Brian Fauteux and Brianne Selman. Partnership: the Canadian Journal of Library and Information Practice and Research 17.1 (2022). doi:10.21083/partnership.v17i1.6706.

“Independent Canadian Music in the Streaming Age: The Sound from Above (Critical Political Economy) and Below (Ethnography of Musicians).” Co-authored with Brian Fauteux and Brianne Selman. Popular Music and Society 45.3 (2022). doi:10.1080/03007766.2021.2010028. 

“Financialized Hollywood: Institutional Investment, Venture Capital, and Private Equity in the Film and Television Industry,” JCMS: Journal of Cinema and Media Studies 59.4 (2020): 54-84. doi:10.1353/cj.2020.0041.

“The Cultural Capital Project: Radical Monetization of the Music Industry.” Co-authored with Brian Fauteux and Ian Dahlman. IASPM@Journal 3.1 (2013). doi:10.5429/635. [Full text pdf]

“The Geography of Melodrama, The Melodrama of Geography: The ‘Hood Film’s Spatial Pathos.”  Cinephile 4.1 (2008).  58-65. [Full text pdf]

“The Global Social Problem Film.”  Cinephile 3.1 (2007).  12-18. [Full text pdf]

CHAPTERS IN EDITED COLLECTIONS

“The Hood Is Where the Heart Is: Melodrama, Habitus, and the Hood Film.”  Habitus of the ’Hood.  Eds. Chris Richardson and Hans Skott-Myhre. Chicago, IL: Intellect Ltd, 2012. 253 – 270. [Abstract] [Full text pdf] [Intellect] [WorldCat]

“Intertextuality, Broken Mirrors, and The Good German.”  The Philosophy of Steven Soderbergh.  Eds. Steven M. Sanders and R. Barton Palmer.  Lexington, KY: University Press of Kentucky, 2010.  107-119.  [Abstract] [Full text pdf] [University Press of Kentucky] [WorldCat]

“Joints and Jams: Spike Lee as Sellebrity Auteur.” Fight the Power!: The Spike Lee Reader.  Eds. Janice D. Hamlet and Robin R. Means Coleman.  New York: Peter Lang, 2008. 345-361. [Abstract] [Full text pdf] [WorldCat] [Peter Lang]

“It’s Up To You… No Really, It’s Up to You: Radiohead, Big Music, and the Future of the Record Industry.” The Business of Entertainment: Popular Music. Ed. Robert C. Sickels. Praeger Publishers, 2008. 133-153. [Praeger] [WorldCat]

REFEREED ONLINE PUBLICATIONS

“ClipNotes in the Classroom: Film Annotation Software for Instruction and Collaboration.” Cinema Journal Teaching Dossier 3.3 (2016).

REFEREED BIBLIOGRAPHIES

“Steven Soderbergh.” Oxford Online Bibliographies. Oxford University Press. 2015.

INVITED BOOK REVIEWS

“Review of ‘Another Steven Soderbergh Experience: Authorship and Contemporary Hollywood.’” Journal of American Studies 48 (2014). 1131-1132. [Full text pdf]

NATIONAL AWARDS

  • 2011 – 2015: Social Sciences and Humanities Research Council of Canada Doctoral Fellowship
  • 2006 – 2007: Social Sciences and Humanities Research Council of Canada Graduate Scholarship

FELLOWSHIPS

  • 2011 – 2017: UC Regents Special Fellowship – University of California, Los Angeles
  • 2011 – 2017: UC Regents Special Fellowship – University of California, Santa Barbara (declined)
  • 2016 – 2017: Dissertation Year Fellowship – University of California, Los Angeles
  • 2016: Collegium of University Teaching Fellowship – University of California, Los Angeles
  • 2015: Research Fellowship – University of California Humanities Research Institute
  • 2014: Gilbert Cates Fellowship – University of California, Los Angeles
  • 2007: Patrick David Campbell Graduate Fellowship – University of British Columbia

UNIVERSITY AWARDS

  • 2011: Chancellor’s Prize – University of California, Los Angeles
  • 2006: Faculty of Arts Grant Supplement Award – University of British Columbia
  • 2006: Graduate Entrance Scholarship – University of British Columbia
  • 2006: Ontario Graduate Scholarship (declined)

DEPARTMENTAL AWARDS

  • 2015: Kemp R. Niver Award in Film History – University of California, Los Angeles
  • 2014: Georgia Frontiere Scholarship In Memory Of The Humanitarian Efforts Of Aaron Curtis Taylor – University of California, Los Angeles
  • 2013: Otis Ferguson Memorial Award in Critical Writing – University of California, Los Angeles
  • 2012: Jack K. Sauter Award – University of California, Los Angeles

WRITING AWARDS

  • 2012: Student Writing Award – Society for Cinema and Media Studies

GRANTS

The Cultural Capital Project: Digital Stewardship and Sustainable Monetization for Canadian Independent Musicians
2012, 2018-2020

ClipNotes in the Classroom: Annotation Software for Undergraduate Film Instruction
2016 – 2018

  • Principle grant writer
  • Funding: Office of Instructional Development, UCLA

RESEARCH PROJECTS

The Cultural Capital Project: Radical Monetization of the Music Industry
University of California, Los Angeles
2012 – present

  • Role: Co-founder and co-principal investigator
  • Research explores the creation of a non-profit patronage software system for a more equitable music industry.

ClipNotes: Video Annotation Software
University of California, Los Angeles
2012 – present

  • Role: Project Manager
  • Oversee a team integrating video annotation software into undergraduate courses.

Digital Incubator and Think Tank
University of California, Los Angeles
2014 – 2016

  • Role: Research Associate
  • Funding: Havas Media
  • Research explores digital trends in film and television, branded entertainment, digital media, and the music industry

Culture, Industry, Finance
University of California, Irvine
Spring 2015

  • Role: Research Fellow
  • Funding: University of California Humanities Research Institute
  • Research explores the relationship between the cultural and financial industries

GOVERNMENT PRESENTATIONS

2019. “The Financialization of the Cultural Industries.” Presentation to the “Knowledge Lab” at Canadian Radio-television and Telecommunications Commission. Ottawa, Canada.

2018. “Putting Users and Small-Scale Creators First in Canadian Copyright Law and Beyond.” Co-authored with Brian Fauteux and Brianne Selman. Presentation and written submission to the Standing Committee on Canadian Heritage: Remuneration Models for Artists and Creative Industries in the Context of Copyright. Presented on behalf of “The Cultural Capital Project.” House of Commons, Parliament of Canada. Ottawa, Canada.

PLENARY PRESENTATIONS

2013. “The Cultural Capital Project: Radical Monetization of the Music Industry.” International Association for the Study of Popular Music. Gijon, Spain.

INVITED PRESENTATIONS

2018. “Finance and Venture Capital in the Media.” Radio and Television Arts. Ryerson University.

2014. “The Cultural Capital Project: Radical Monetization of the Music Industry.” Scoring Capital: The Political Economy of Music. University of California, Irvine.

REFEREED CONFERENCE PRESENTATIONS

2020. “Financial Capital and Global Media Consolidation.” Media Industries 2020: Global Currents and Contradictions. London, England. Canceled due to pandemic.

2020. “Billionaire Boutiques & Plutocratic Patrons: Independent Film Production Companies and Wealth Inequality.” Society for Cinema & Media Studies. Chicago, IL. Canceled due to pandemic.

2020. “The Canadian Implications of the Financialization of the Music Industry.” International Association for the Study of Popular Music. Cape Breton, Canada. Canceled due to pandemic.

2019. “Media in the Age of Cheap Credit: Finance, Private Equity, and Debt.” Canadian Communication Association. Vancouver, BC.

2019. “Streaming Media in the Second Gilded Age: Private Equity, the Public Interest, and Private Disinterest.” Society for Cinema & Media Studies. Seattle, WA.

2018. “Promotional Vehicles: Financialization, Cultural Analytics, and Hip-Hop.” International Association for the Study of Popular Music. Regina, SK.

2018. “TPG Capital, Silver Lake Partners, and Hollywood’s Financial ‘Shadow Studios.’” Society for Cinema & Media Studies. Toronto, ON.

  • Organizer & Chair of panel: “The Trading Floor of Cultural Production: Finance and the Media.”

2017. “At the Intersection of Hollywood Boulevard and Wall Street: Private Equity Firms and the Financialization of the Film & Television Industry.” Society for Cinema & Media Studies. Chicago, IL.

2017. “Every Reference on 30 Rock : Data Visualization, Mise-en-synergy, and the Political Economy of Intertextuality.” International Communication Association. San Diego, CA.

2017. “Destruction through Disruption: The Financialization of the Music Industry.” International Association for the Study of Popular Music. Kassel, Germany.

2016. “Bain Capital Records: Private Equity and Venture Capital in the Music Industry.” International
Association for the Study of Popular Music. Calgary, AB.

2016. “The Financialization of Entertainment: Private Equity in Film, Television, and Music.” Canadian
Communication Association. Calgary, AB.

2016. “The Financialization of the Music Industry: Equity Stakes, Big Data, and the Black Box.” International Communication Association. Fukuoka, Japan.

2015. “New Gatekeeper Same as the Old Gatekeeper: Big Data and the Continued Concentration of Ownership in the Music Industry.” Society for Cinema & Media Studies. Montreal, QC.

2014. “ClipNotes: Digital Annotation and Data-Mining for Film & Television Analysis.” Digital Humanities 2014. Lausanne, Switzerland.

2014. “Marty Weiser, Exploitation Agent: Product Placement, Publicity and the Tie-Up Business in Late Classical Hollywood.” Film Studies Association of Canada. Brock University, St. Catherines, ON.

2014. “Marty Weiser, Exploitation Agent: Product Placement, Publicity and the Tie-Up Business in Late Classical Hollywood.” Society for Cinema & Media Studies. Seattle, WA.

2014. “The Cultural Capital Project: Designing a Stewardship Platform for Digital Music.” International Association for the Study of Popular Music. University of North Carolina, Chapel Hill, NC.

2013. “Software Applications for Digital Film Analysis.” Film Studies Association of Canada. University of Victoria, BC.

2013. “The Art of the Pitch, The Craft of the Sell: Steven Soderbergh’s Economic Auteurism.” Society for Cinema & Media Studies. Chicago, IL.

2012. “The Cultural Capital Project: Radical Monetization of the Music Industry.” Society for Cinema & Media Studies. Boston, MA.

2011. “Mise-en-synergy.” Society for Cinema & Media Studies. New Orleans, LA.

2010. “Featuring Music From…: Song, Sound, and Remix” panel at the FLOW Conference. University of Texas-Austin, TX.

2010. “Mise-en-Scene, Sound, Cinema, Synergy, Samurai.” Film Studies Association of Canada. Concordia University, Montreal, QC.

2010. “30 Rock, General Electric, and the Boardroom Musical.” Canadian Communication Association.  Concordia University, Montreal, QC.

2008. “The Intertextual Museum (and Gift Shop): Towards a Cultural Economy of Intermediality.”  Film Studies Association of Canada. University of British Columbia, Vancouver, BC.

2007. “A Deleuzian Re-Imagining of the (Global) Social Problem Film.”  Film Studies Association of Canada. University of Saskatchewan, Saskatoon, SK.

CONFERENCE AND COLLOQUIUM ORGANIZING

2017-2018, 2018-2019. Organized “Cinema and Media Studies Graduate Colloquium,” a bi-weekly speaker and workshop series. UCLA.

2018. Organized and Chaired “The Trading Floor of Cultural Production: Finance and the Media,” a panel with John Caldwell, Charles Acland, and Aynne Kokas. Society for Cinema & Media Studies, Toronto, ON.

2015. Co-organized “Inertia: A Conference on Sound, Media, and the Digital Humanities,” a three-day conference. UCLA.

2014-2015. Organized “Digital Humanities Working Group,” a bi-weekly speaker and workshop series. UCLA

TEACHING EXPERIENCE

Assistant Professor – Communication
University of California, San Diego

  • Fall 2020 – COMM 106t: Cultural Industries: TV, Culture & the Public (undergraduate) – “How to Watch TV”
  • Fall 2020 – COGR 200a (graduate) – “Communication as a Social Force”
  • Spring 2020 – COMM 113T: Intermediate Topics in Communication (u) – “Film Authorship: Spike Lee & Kathryn Bigelow”
  • Spring 2020 – COMM 146: Advanced Topics in Cultural Production (u) – “How to Watch TV”
  • Winter 2020 – COMM 190 (u) – “The Culture and Economy of Streaming Media”

Lecturer – Theater, Film and Television Department
University of California, Los Angeles

  • Summer 2019 – FTV 84 (undergraduate) – “Overview of the Contemporary Film Industry”
  • Summer 2019 – FTV 221 (graduate) – “Film Authors: Spike Lee & Kathryn Bigelow”
  • Spring 2019 – FTV 10 (u) – “American Television History”
  • Spring 2019 – FTV 212 (g) – “Cinema and Media Studies Graduate Colloquium”
  • Winter 2019 – IS 210 (g) – “Global Media and Information”
  • Winter 2019 – FTV 113 (u) – “Film Authors: Spike Lee & Kathryn Bigelow” 
  • Fall 2018 – FTV 201 (g) – “Media Industries and Cultures of Production”
  • Fall 2018 – FTV 212 (g) – “Cinema and Media Studies Graduate Colloquium”
  • Summer 2018 – FTV 84 (u) – “Overview of the Contemporary Film Industry”
  • Summer 2018 – FTV 213 (g) – “Film Authorship in Contemporary Hollywood”
  • Spring 2018 – FTV 84 (u) – “Overview of the Contemporary Film Industry”
  • Spring 2018 – FTV 212 (g) – “Cinema and Media Studies Graduate Colloquium”
  • Winter 2018 – FTV 224 (g) – “Digital Humanities and Media Studies”
  • Winter 2018 – FTV 113 (u) – “Film Authors: Steven Soderbergh, Spike Lee, Kathryn Bigelow”
  • Fall 2017 – FTV 212 (g) – “Cinema and Media Studies Graduate Colloquium”

Lecturer – School of Media Culture & Design
Woodbury University

  • Spring 2019 – FILM 102 (u) – “Film History II”
  • Fall 2018 – FILM 302 (u) – “World Film History”
  • Spring 2018 – FILM 102 (u) – “Film History II”

Lecturer – Media Design Practices
Art Center College of Design

  • Fall 2018 – GMDP 504 (g) – “Critical Histories I”

Collegium of University Teaching Fellow – Theater, Film and Television Department
University of California, Los Angeles

  • 2016 – FTV 98 (u) – “Consumer Culture and Branded Entertainment”

Teaching Assistant Coordinator – Theater, Film and Television Department
University of California, Los Angeles

  • 2015-16 – FTV 495 (g) – “Teaching Film and Television”
  • 2014-15 – FTV 495 (g) – “Teaching Film and Television”

Teaching Assistant Coordinator – Theater and Film Department
University of British Columbia

  • 2008 – “Teaching Assistant Training” (g)

Teaching Assistant Experience

Teaching Assistant – Theater, Film and Television Department
University of California, Los Angeles

  • 2015 – FTV 106 – “History of the American Motion Picture”
  • 2014 – FTV 110 – “History of American Television”
  • 2013 – FTV 114 – “Film Genre”
  • 2012 – FTV 112 – “Film & Social Change”
  • 2012 – FTV 115 – “Stylistic Studies of Moving Image”

Teaching Assistant – Theater and Film Department
University of British Columbia

  • 2009 – FIST 100 – “Introduction to Film Studies”
  • 2008 – FIST 200 – “Introduction to Canadian Cinema”
  • 2008 – FIST 210 – “Early Cinema”
  • 2007 – FIST 220 – “Hollywood Cinema, 1930-1960”
  • 2007 – FIST 210 – “Early Cinema”
  • 2006 – FIST 100 – “Introduction to Film Studies”

GUEST LECTURES

  • “Data-Mining and Visualization” in Software Applications for Film Studies, UCLA, February 2016.
  • “30 Rock and the Concentration of Media Ownership” in History of American Television, UCLA, June 2014.
  • “Hood Films and the Gangster Genre” in Film Genre, UCLA, February 2013.
  • “New Hollywood and Chinatown” in Stylistic Studies of the Moving Image, UCLA, November 2012.
  • “Second-Wave Feminism, The Czech New Wave, and Daisies” in Film and Social Change, UCLA, May 2012.
  • “Steven Soderbergh as Sellebrity Auteur” in Film Auteurs, UBC, March 2010.
  • “Douglas Sirk, Melodrama, and ‘Women’s Films’” in Hollywood Cinema, UBC, October 2009.

SERVICE

  • 2020 – 2021. Academic Senate Rep. UCSD.
  • 2019 – 2020. The Democracy Lab. UCSD.
  • 2016 – 2017. Faculty Search Committee: Experimental & Alternative Media. Cinema and Media Studies Program. UCLA.
  • 2016 – 2017. Faculty Search Committee: Cultural/Social Theories & Media. Cinema and Media Studies Program. UCLA.
  • 2015 – 2016. Graduate Student Representative: Cinema and Media Studies Program. UCLA.
  • 2014 – 2015. Community Garden Coordinator: University Apartments South Residents Association. UCLA.

PEDAGOGY TRAINING

  • Teaching Assistant Coordinator Pedagogy Seminar – Office of Instructional Development, UCLA, 2015.
  • Collegium of University Teaching Fellow Pedagogy Seminar – Office of Instructional Development, UCLA, 2015.
  • Teaching Assistant Coordinator Pedagogy Seminar – Office of Instructional Development, UCLA, 2014.

JOURNAL AND EDITING EXPERIENCE

Editorial Board Member and Web Designer – Mediascape 
University of California, Los Angeles – Los Angeles, CA – 2011-2012

  • Worked on the “Features” editorial board to craft Call For Papers, send papers for peer review, and copy edit.

Assistant Editor – Rodopi   
New York and Amsterdam – 2008-2010

  • Worked on the “Contemporary Cinema” book series doing proofreading, copy-editing, formatting, print layout, and cover design for two books: Theorizing Bruce Lee, French Minority Cinema.

Editor-in-Chief – Cinephile: UBC’s Film Journal
University of British Columbia – Vancouver, BC – 2008-2011

  • Worked on 5 volumes, one as Editor-in-Chief and all five as member of editorial board, layout designer, and web designer.

Editor – Mediations: Journal of Media, Information and Technoculture   
University of Western Ontario – London, ON – 2004-2005

WORKSHOPS

  • 2014. Oral History Workshop. One day. University of California, Los Angeles.
  • 2013. History of Capitalism Summer Institute. Ten days. Cornell University, NY.
  • 2013. Digital Humanities Summer Institute. “Text Encoding Fundamentals and their Application.” Five days. University of Victoria, BC.
  • 2012. French Language Immersion. Five weeks. University of Victoria, BC.
  • 2006. Advanced Oral History Summer Institute. Five days. University of California, Berkeley, CA.

AFFILIATIONS

  • Society for Cinema and Media Studies (SCMS)
  • Film Studies Association of Canada (FSAC)
  • Canadian Communications Association (CCA)
  • International Communication Association (ICA)
  • International Association for the Study of Popular Music (IASPM)
  • Canadian Society for Digital Humanities (CSDH)

CREATIVE WORKS

Just Kids: Homeless Youth in Canada (2003)

  • Documentary comprised of interviews with homeless youth about the struggles and hardships of living on the streets in London, Ontario.
  • Competed in multiple festivals, still used in Ontario secondary schools and university courses as teaching material.

RELEVANT WORK EXPERIENCE

Coordinator – Digital Literacy Centre
University of British Columbia – Vancouver, BC – 2010-2011

  • Facilitated research and teaching in language and literary education that utilizes digital media
  • Organized research collaborations, offered consultation, and provided instructional support
  • Supervised graduate students and assisted conferences, research projects, and week-long workshops.

Consultant Co-Curator – Museum of Anthropology
University of British Columbia – Vancouver, BC – 2009-2011

  • Researched and developed exhibit entitled “Musée Noir,” exploring the cross-development of the museum and the cinema, with a focus on film noir.
  • Interpretative analysis, artifact acquisition, designing exhibition display, archiving discoveries.

Freelance Web Designer
2003-2011

  • unityproject.ca – a community-based website for a homeless shelter, using Dreamweaver
  • cinephile.ca – peer-reviewed film journal at the University of British Columbia, using WordPress
  • cultmediastudies.ning.com – forum and community for the academic study of cult media, using Ning
  • lled.educ.ubc.ca – departmental website at the University of British Columbia, using Drupal

Outreach Assistant – Contemporary Art Gallery    
Vancouver, BC – 2009-2010

  • Developed outreach strategy and promotional material, copy-edited publications, assisted curatorial work, photographed artwork and events; spearheaded collaborative project called DAFFT (Dance Art Film Field Trip), which brings school children on a tour of three art facilities.

eLearning Consultant – Instructional Technology Resource Centre
University of Western Ontario – London, ON – 2001-2006

  • Worked with university professors to build multimedia-extensive course web sites and technological resources; part of a team of support specialists responsible for providing assistance to faculty members.

eLearning Consultant – Interdisciplinary Media Centre
University of Western Ontario – London, ON – 2005-2006

  • Provided technical support in a computer lab used for web and graphic design, video and music production, and multimedia research.

TECHNICAL SKILLS

  • Adobe Creative Suite – Photoshop, Illustrator, InDesign, Premiere
  • Web platforms – WordPress, Drupal, Mediawiki
  • Coding – HTML, CSS, XML
  • eLearning – WebCT, Blackboard, Moodle, Zotero, PKP
  • Video and Audio – various production, conversion, and editing software

LANGUAGES

  • English: Native
  • French: Intermediate

PRESS

CV last updated: August 2020