Faculty Directory

Total Page:16

File Type:pdf, Size:1020Kb

Faculty Directory FACULTY AND ADMINISTRATORS 2016-2017 CLAYTON ABAJIAN (2014), Lecturer of Nursing, B.S.N., California State University, Sacramento MIKAEL J. ANDERSON (2003), Professor of Construction KIMO AH YUN (1996), Professor of Communication Management; Chair, Department of Construction Studies, B.A., California State University, Management, B.S., M.S., University of California, Sacramento; M.A., Kansas State University; Ph.D., Davis; Registered Professional Engineer; Licensed Michigan State University General Contractor DALE AINSWORTH (2014), Assistant Professor of Health ANDREW K. ANKER (1996), Professor of Design; Chair, Science, B.A., Mississippi College; M.S., Pepperdine Department of Design, B.A., State University of University; Ph.D., Saybrook University New York, Binghamton; M.Arch., Harvard Graduate School of Design; M.Env.Des., Yale PHILLIP D. AKUTSU (2008), Associate Professor of School of Architecture Psychology, B.S., University of Washington; Ph.D., University of California, Los Angeles JUDE ANTONYAPPAN (1998), Professor of Social Work, P.U.C., Holy Cross College, University of Madurai; KRISTEN WEEDE-ALEXANDER (2002), Professor, B.Sc., St. Mary's College; M.S.W., Stella Maris College of Education, Graduate and Professional College, Ph.D., University of California, Berkeley Studies, B.A., University of California, Riverside; M.S., Ph.D., University of California, Davis BEHNAM S. ARAD (1997), Professor of Computer Science, B.S., University of Massachusetts, Lowell; M.S., DALE ALLENDER (2014), Assistant Professor, College of Purdue University, West Lafayette; Ph.D., Education, Teaching Credentials, B.A., University Louisiana State University, Baton Rouge of Wisconsin, Milwaukee; M.A., University of Iowa; Ph.D., University of Queensland, Australia ADELE ARELLANO (1998), Professor, College of Education, Teaching Credentials, B.A., Saint Mary's AYAD SAYID AL-QAZZAZ (1969), Professor of Sociology, College of California, Moraga; M.A., California B.A., University of Baghdad; M.A., University of State University, Sacramento; Ph.D., Stanford California, Berkeley University TANYA ALTMANN (2003), Professor of Nursing; Chair, RICHARD ARMSTRONG (2015), Assistant Professor of School of Nursing, B.S.N., Memorial University; Civil Engineering, B.S., University of Manitoba, M.S.N., Clarkson College; Ph.D., Duquesne Canada; M.S., Stanford University; Ph.D., University, Pennsylvania University California, Davis JAIME R. ALVAYAY (1991), Professor of Real Estate and VANESSA ARNAUD (2003), Lecturer of French, Honors, Land Use Affairs, B.S., University of Chile, & First Year Experience, B.A., M.A., Ph.D., Santiago; M.A., Ph.D., University of Georgia, University of California, Los Angeles Athens CYRUS ARYANI (1988), Professor of Civil Engineering, BENJAMIN T. AMATA (1985), Librarian, Reference, B.A., B.S., M.S., Ph.D., Utah State University; California California State University, Northridge; M.L.S., Registered Civil Engineer and Geotechnical University of California, Berkeley Engineer AMY E. ANDERSON (1996), Lecturer of English, B.A., RACHEL A. AUGUST-DAPKEWICZ (1997), Professor of M.A., California State University, Sacramento Psychology, B.A., University of Virginia, DAVID ANDERSEN-RODGERS (2006), Associate Charlottesville; M.A., Ph.D., The Claremont Professor of Government, B.A., Hampshire College, Graduate School Amherst; M.A., Ph.D., University of Maryland, PAULA AUSTIN (2015), Assistant Professor of History, College Park B.A., New School for Social Research; M.A., North JOSEPH ANDERSON (1998), Professor of Social Work, Carolina Central University; Ph.D., City University, B.S., M.Ed., Shippensburg University, New York Pennsylvania; M.S.W., West Virginia University; NETZAHUALCOYL AVELAR (2002), Lecturer of Ethnic Ph.D., University of Maryland Studies, B.A., University of California, Santa Page | 1 FACULTY AND ADMINISTRATORS 2016-2017 Barbara; J.D., Hastings College Of The Law; Ph.D., TEIAHSHA BANKHEAD (2002), Associate Professor of University of San Francisco Social Work, B.A., Syracuse University; M.S.W., Ph.D., University of California, Berkeley WILLIAM E. AVERY (1998), Professor of Biological Sciences, B.S., M.A., Humboldt State University; MANUEL BARAJAS (2002), Professor of Sociology, B.A., Ph.D., Utah State University University of California, Davis; M.A., Ph.D., University of California, Riverside SEUNG B. BACH (2006), Professor of Strategic Management, B.S., M.S., Hanyang University; EDWARD T. BARAKATT (1997), Professor of Physical M.B.A., The George Washington University; Ph.D., Therapy, B.S., California State University, University of Tennessee Northridge; M.A., University of Iowa, Iowa City; Ph.D., University of California, Davis JESSICA BAGGER (2006), Professor of Human Resources Management, B.A., B.S.B.A., M.S., Ph.D., University EDWARD BARANOWSKI (2002), Professor of Spanish; of Arizona Graduate Coordinator, B.A., University of California, Santa Cruz; M.A., Middlebury College; BRIAN BAKER (2002), Professor of Ethnic Studies, B.S., Ph.D., University of Wisconsin, Madison Northland College; M.A., Central Michigan University; M.A., Ph.D., Stanford University DATA BARATA (2009), Associate Professor of Anthropology, B.A., M.A., Addis Ababa University; DIAN BAKER (2006), Professor of Nursing, B.S.N., M.S.N., Ph.D., University of Bergen, Norway California State University, Sacramento; M.A., University of California, Davis; Ph.D., University of DAVID BARKER (2012), Professor of Government; Hawaii; Post-Doctoral Fellow, University of Director, Institute for Social Research, B.A., Baylor California, Davis University; Ph.D., University of Houston SUSAN BAKER (2001), Professor, College of Education, SARAH BARNES (2014), Assistant Professor of Nursing, Teaching Credentials, B.A., Kenyon College, B.S.N., Murray State University; M.S.N., California Gambier; M.A., Ph.D., Stanford University State University, Sacramento; DNP, The Johns Hopkins University FRED D. BALDINI (1988), Professor of Kinesiology; Dean, College of Health and Human Services, B.A., M.A., MARK E. BASGALL (1995), Professor of Anthropology; California State University, Sacramento; Ph.D., Director, Archaeological Research Center, B.S., Arizona State University M.A., Ph.D., University of California, Davis BRIAN BALDUS (2013), Assistant Professor of Marketing, BERNICE BASS de MARTINEZ (2000), Professor, Special B.S., Brigham Young University; Ph.D., Michigan Assistant to Deans of Education and Arts and State University Letters, B.A., M.A., University of Northern Colorado; Ph.D., University of Florida RUTH E. BALLARD (1998), Professor of Biological Sciences, B.S., California State University, JAMES W. BAXTER (2003), Professor of Biological Sacramento; M.S., Ph.D., University of California, Sciences, B.A., University of California, Santa Cruz; Davis M.A., San Francisco State University; Ph.D., Rutgers University, New Brunswick PIERRE BALTHAZARD (2015), Professor of Management Information Systems; Dean, College of Business JEAN-PIERRE BAYARD (1990), Professor of Electrical and Administration, B.Sc., McGill University; M.S., Electronic Engineering; Assistant Vice President Ph.D., University of Arizona for Academic Affairs Technology Initiatives, B.S., M.S.E.C.E., Ph.D., University of Massachusetts, RABINDRANATH BANDY (1985), Professor of Amherst Mechanical Engineering, B.S., University of Calcutta; B.Tech., Indian Institute of Technology; LORELEI BAYNE (2005), Associate Professor of Theatre M.S., University of Hawaii; Ph.D., University of and Dance; Vice Chair, Department of Theatre and Manitoba, Canada Dance, B.A., University of South Florida; M.F.A., NYU/Tisch School of the Arts Page | 2 FACULTY AND ADMINISTRATORS 2016-2017 MAGGIE BEDDOW (2003), Associate Professor, College MARTIN BISKOWSKI (2002), Professor of Anthropology, of Education, Undergraduate Studies, B.A., M.A., B.A., Beloit College; M.A., Ph.D., University of California State University, Sacramento; Ph.D., California, Los Angeles University of California, Davis ANDREW BEIN (1994), Professor of Social Work, B.A., M.S.S.W., University of Wisconsin, Madison; Ph.D., University of Illinois, Chicago SAMANTHA BLACKBURN (2014), Assistant Professor of FETHI BELKHOUCHE (2009), Associate Professor of Nursing, B.A., Swarthmore College; M.S.N., Electrical and Electronic Engineering, B.S., M.S., University of California, San Francisco; Ph.D., Universite de Tlemcen, Algeria; M.S., Ph.D., Tulane University of California, Davis University MARIO BLANC (1990), Professor of Spanish, B.S., M.A., CHRISTINA M. BELLON (2002), Professor of Philosophy; Brigham Young University; Ph.D., University of Chair, Department of Philosophy, B.Sc., University Kansas of Toronto; M.A., Dalhousie University; Ph.D., ANN BLANTON (2008), Associate Professor of Speech University of Colorado, Boulder Pathology and Audiology, B.A., California ELLEN BERG (2002), Professor of Sociology, B.A., Polytechnic State University, San Luis Obispo; University of Washington; M.S., Ph.D., Arizona B.A., M.A., M.S., California State University, State University Northridge; Ph.D., University of Nevada, Reno LEE P. BERRIGAN (1989), Professor of Psychology, B.A., MATTHEW BLOCK (2014), Assistant Professor of Physics University of California, Riverside; B.S., Providence and Astronomy, B.S., Georgia Institute of College; M.B.A., Boston University; Ph.D., Technology; M.A., Ph.D., University of California, Washington University Santa Barbara IRENE BERSOLA-NGUYEN (1997), Lecturer, College of STEPHEN BLUMBERG (2003), Professor of Music, B.A., Education, Undergraduate Studies, B.A., M.A.,
Recommended publications
  • Toxic Trespass
    w omeN 2010 make New Releases movies WMM www.wmm.com Women Make Movies Staff Jen Ahlstrom Finance Coordinator Liza Brice Online Marketing ABOUT & Outreach Coordinator Jessica Drammeh IT/Facilities Coordinator WOMEN MAKE MOVIES Kristen Fitzpatrick A NON-PROFIT INDEPENDENT MEDIA DISTRIBUTOR Distribution Manager Tracie Holder Production Assistance From cutting-edge documentaries that give depth to today’s headlines to smart, Program Consultant stunning fi lms that push artistic and intellectual boundaries in all genres, Stephanie Houghton Educational Sales Women Make Movies (WMM), a non-profi t media organization, is the world’s & Marketing Coordinator leading distributor of independent fi lms by and about women. WMM’s Maya Jakubowicz Finance & Administrative Manager commitment to groundbreaking fi lms continues in 2010 with 24 new, astonishing Cristela Melendez and inspiring works that tackle, with passion and intelligence, everything Administrative Aide from portraits of courageous and inspiring women affecting social change in Amy O’Hara PATSY MINK: AHEAD OF THE MAJORITY, A CRUSHING LOVE, and AFRICA RISING, Offi ce Manager to three new fi lms on issues facing young women today: COVER GIRL CULTURE, Merrill Sterritt Production Assistance ARRESTING ANA, and WIRED FOR SEX, LIES AND POWER TRIPS. Other highlights Program Coordinator include THE HERETICS, a look at the Second Wave of feminism, and two new Julie Whang fi lms in our growing green collection, MY TOXIC BABY and TOXIC TRESPASS. Sales & Marketing Manager Debra Zimmerman Executive Director The WMM collection is used by thousands of educational, cultural, and community organizations across North America. In the last fi ve years dozens Board of Directors of WMM fi lms have been broadcast on PBS, HBO, and the Sundance Channel Claire Aguilar among others, and have garnered top awards from Sundance to Cannes, as Vanessa Arteaga well as Academy Awards®, Emmy Awards®, and Peabody Awards.
    [Show full text]
  • Linda Garcia Merchant 11252 S
    Linda Garcia Merchant 11252 S. Normal Avenue, Chicago, IL 60628 c (312) 399-7811 f (773) 629-8170 [email protected] EDUCATION 1982, B.S., with honors, Advertising Design/Photography Western Illinois University 2008-2009, Columbia College Chicago, MFA Film & Video, Follett Fellowship Recipient SELECTED PROFESSIONAL POSITIONS: Producer, Las Pilonas Productions, Phoenix, Arizona 2011 to present Project Coordinator, ‘The Virtual Reunification of the Wisconsin Latina Activist Network’ Course CLS 330: Past and Present Ideologies of the Chican@/Latin@ Movements, University of Wisconsin, Madison 2012 to present Technical Director ‘Chicana Por Mi Raza’ Digital Humanities Project, University of Michigan, 2009 to present Consultant, Somos Latinas Digital Humanities project, 2012 to present Organizing Manager, Voces Primeras, LLC, 2006 to present Web Designer/Developer, Duografix, 2000-2008 Adjunct Professor, Columbia College, Arts, Entertainment & Media Management Department “Management Applications for the Web”, 2000 to 2001 Editor and Content Producer, twotightshoes.net, Chicago, IL 1998 – 2003 Marketing Specialist/IT, Larry Gordon Agency, Chicago, IL 1998 to present Graphics Production Coordinator, 1996 Olympics /Atlanta. GES Exposition Services FILMS/PUBLICATIONS Producer, Director, “Chicana Por Mi Raza Digital Humanities Project: Mujeres del Partido” 2012 Director, ‘Thresholds’, February 2011 Writer, Producer, Four In Grace, 2009, Noelle, 2013 Blogpost, ‘Organized Coraje’, Summer of Feminista, Viva La Feminista, 2012 Producer, Co-director, ‘The A Word’, 2011 Blogpost, ‘Chicanas who spoke out and inspire’, Summer of Feminista, Viva La Feminista, 2011 Producer, Director, ‘Amigas! Fifteen Years of Amigas Latinas’ 2010 Producer, Co-director, ‘Palabras Dulces, Palabras Amargas’ (Sweet Words, Bitter Words) 2009 “From Ava Gardner to Mis Nalgas: The Story of My Brown Skinned Sexuality”, Dialogo, DePaul University Press, 2009.
    [Show full text]
  • T H E C O M B at IV E P H a SE C Heck Y U W Ebsite for in Form Ation
    PHASE COMBATIVE THE May 6–June 25, 2017 6–June 25, May The Combative Phase takes its title from an essay by Teshome Gabriel as ‘speaking for,’ as in politics, and representation as ‘representation,’ as in The university and the cinema are not dissimilar institutions. They make 23 titled “Towards a Critical Theory of Third art or philosophy.” 23 comparable claims to be spaces of revelation and of enlightenment. In 19 Teshome Gabriel, “Towards Gayatri Chakravorty Spivak, World Films.”19 This text draws on the writing a Critical Theory of Third World “Can the Subaltern Speak?” 1969, a pivotal year for this exhibition, Noël Burch coined the unwieldy Films,” Questions of Third Cinema, Colonial Discourse and Post-Colonial of Frantz Fanon on decolonization, and ed. Jim Pines and Paul Willemen The temporal, spatial, and socio-political Theory: A Reader, eds. Patrick term “institutional mode of representation (IMR)” to characterize the Williams and Laura Chrisman (London: BFI, 1989), 298–316. 1 proposes a “genealogy of Third World film frame of the university—and particularly, (New York: Columbia University dominant standard of totalizing illusionistic representation in cinema. Press, 1994), 70. culture” on a path from “domination to liberation.” Gabriel identifies three its attendant conditions of access to IMR might equally be applied to the 1 Noël Burch, Praxis du Cinéma, phases in this genealogy: firstly, a phase of “unqualified assimilation” in education and means of production—unifies the films exhibited. More figure of the modern university.
    [Show full text]
  • Making Movement Through Motion Pictures
    Making Movement through Motion Pictures Period films & videos from 1968 to 1975 programmed by Julia Reichert and Ariel Dougherty FILM played a significant role in conjunction with this conference. In fact, a work-in-progress screening of LEFT ON PEARL ignited the whole idea for A Revolutionary Moment. The conference featured two evenings of screenings of documentaries about Second Wave feminism, including Joan Braderman’s “Heretics.” Jennifer Lee’s “Feminist: Stories from Women’s Liberation,” Catherine Russo’s “A Moment in Her Story,” Susie Rivo and the 888 Women’s History Project’s “Left on Pearl,” Liane Brandon’s “Anything You Want to Be,” and excerpts from Mary Dore’s “She’s Beautiful When She’s Angry.” A third evening featured a range of films from the early 1970s, selected by Julia Reichert and Ariel Dougherty. Two workshops focused entirely on women’s filmmaking. Numerous others included film as a component of the context of recording issues of the period. MAKING A MOVEMENT THROUGH MOTION PICTURES PROGRAM NOTES: Films of the Period 1968 – 1975 programmed by Julia Reichert and Ariel Dougherty For A REVOLUTIONARY MOMENT Conference / Boston University Saturday March 29, 2014 7:30 pm GSU Conf Auditorium This selection of films from the period includes documentary, fiction, experimental & animated works from all over the US. These film clips and shorts will introduce viewers to authentic voices from the birth of the Women's Liberation Movement. The works are pointedly a response to omission of voices and /or distortion of viewpoints in mainstream corporate media that still persists today. While here we show only US based work, this movement was international.
    [Show full text]
  • Mexican and Chicano Images in Film (CCS and LATAM 400)
    Mexican and Chicano Images in Film (CCS and LATAM 400) Department of Chicana and Chicano Studies Center for Latin American Studies Spring 2016 Schedule Number for CCS 400: 20569 Schedule Number for LATAM 400: 21870 Professor Norma Iglesias-Prieto Contact information: Class Day: Monday Office Hours: Wed 12:00-15:15 PM and Tuesday 2 to 3 pm (only Class Time: 4:00 to 6:40 PM by appointment) Class Location: SH 105 Office Location: AL 398 Telephone: (619) 594-0656 E-mail: [email protected] (not through blackboard) Course Description from General Catalogue: Comparative study of images presented by Hollywood, Mexican, and Chicano cinemas. Critical analysis and discussion of projected values. Comparison of themes in film and text. General Course Description: This course is an introduction to the analysis of representations and misrepresentations of Mexicans, Latinos, and Chicanos in Hollywood Cinema. It is also an introduction to Chicano Cinema. Films will be utilized as a resource for historical, political, artistic, and cultural analysis within the multidisciplinary field of Chicana and Chicano Studies. The course emphasizes and includes a critical approach to film, utilizing textbooks and film resources. The first part of the course analyzes the way that Mexicans, Latinos, and Mexican-Americans have been depicted in Hollywood films. The second and most important part of the course covers contemporary work (1969- present) by Chicano/a and Mexican directors and producers who have been producing films about their own communities. They counteract the negative racial, ethnic, and gender stereotypes typical of Hollywood and Mexican commercial film with more accurate and complex images of their history and culture.
    [Show full text]
  • Davalos, Karen Mary and Alicia Partnoy. “Translating the Backslash
    Davalos, Karen Mary and Alicia Partnoy. “Translating the Backslash,” Chicana/Latina Studies: The Journal of Mujeres Activas en Letras y Cambio Social 4: 1 (fall 2004): 6-18. Chicana/Latina Studies: THE JOURNAL OF MUJERES ACTIVAS EN LETRAS Y CAMBIO SOCIAL Volume 4 Issue 1 Fall 2004 Davalos, Karen Mary and Alicia Partnoy. “Translating the Backslash,” Chicana/Latina Studies: The Journal of Mujeres Activas en Letras y Cambio Social 4: 1 (fall 2004): 6-18. Chicana/Latina Studies One LMU Drive, Suite 4400 Loyola Marymount University Los Angeles, California 90045 E-mail: [email protected], [email protected] Tel: 310-338-5750, 310-338-3011 Fax: 310-338-5270 Web: www.malcs.chicanas.com Cover art by Favianna Rodríguez, “Femicidio: Las Mujeres de Juárez Exigen Justicia,” (detail) silkscreen, 2004, appears courtesy of the artist. Journal design by Ashlee Goodwin. CHICANA/LATINA STUDIES: THE JOURNAL OF MUJERES ACTIVAS EN LETRAS Y CAMBIO SOCIAL (ISSN: 1550-2546) is published twice a year, in spring and fall, by MALCS with the generous support of Loyola Marymount University. The Journal is a peer-reviewed, bi-annual publication of a feminist Chicana/Latina academic organization dedicated to building bridges between community and university settings, transforming higher education, and promoting new paradigms and methods. As the publication of a diverse association that aims to provide space for those historically marginalized, the Journal publishes academic articles and creative works by Chicanas/Latinas of the Americas and is receptive to all scholarly methods and theoretical perspectives that examine, describe, analyze, or interpret our experiences. Chicana/Latina Studies: the Journal of Mujeres Activas en Letras y Cambio Social continues Voces: A Journal of Chicana/Latina Studies.
    [Show full text]
  • Voices of Feminism Oral History Project: Martinez, Betita
    Voices of Feminism Oral History Project Sophia Smith Collection, Smith College Northampton, MA ELIZABETH (BETITA) MARTINEZ interviewed by LORETTA ROSS March 3, 2006, Atlanta, GA August 6, 2006, Oakland, CA This interview was made possible with generous support from the Ford Foundation. © Sophia Smith Collection 2006 Voices of Feminism Oral History Project Sophia Smith Collection, Smith College Narrator Elizabeth (Betita) Martinez was born December 12, 1925. As the child of a dark-skinned Mexican-born father and a white Euro-American mother, Betita met discrimination as she was growing up in segregated Washington, D.C. During World War II, Martinez attended Swarthmore College, where she was the only non- white student on campus. After graduation in 1946, she worked at the newly-established United Nations, where she researched decolonization efforts and strategies. In the late 1950s she became an editor at Simon & Schuster, and later Books and Arts Editor of The Nation magazine. She also became active in the U.S. civil rights movement, directing the New York office of the Student Nonviolent Coordinating Committee (SNCC) and participating in SNCC’s Freedom Summer in Mississippi in 1964. From 1968 to 1976, Martinez lived in New Mexico where she became founding editor of El Grito del Norte (The Cry of the North), a monthly community newspaper that linked the Chicano land movement to similar struggles around the world. She served as founding director of the Chicano Communications Center in Albuquerque to teach Chicanos about history and contemporary issues. After moving to California in 1976, Martinez joined the Democratic Workers Party, a Marxist group led by women, and became involved in Central American solidarity work, local struggles for social justice, and grassroots organizing to save public services.
    [Show full text]
  • The Aztlán Film Institute's Top 100 List
    The Aztlán Film Institutes Top 100 List Chon A. Noriega In June 1998, on nationwide television, the American Film Institute (AFI) unveiled its list of the 100 greatest American movies. The star-studded hoopla commemorated the first 100 years of American filmmaking, with the studios teaming up, for the first time ever, to promote home video rentals and sales under the guise of historical and artistic appreciation. The AFI, which has recently lost almost all of its federal funding, has learned a valuable lesson or two from Hollywood deals, allow- ing it to continue fighting the good fight for the preservation of American film. Happy ending. But what is American film? In fact, what is film? And why should we care? For the AFI, American means Hollywood and film means popular feature-length narratives. That is why the list contains no independent films, no documentary films, no avant-garde films, no short narrative films, and precious few silent films. It also explains why the list contains no films directed by women or racial minorities. None! Quite simply, Hollywood is not an equal opportunity employer, and each year the employment numbers get a little worse. Such exclusions are of a different order than the galling absence of Erich von Stronheims Greed (192325), F. W. Murnaus Sunrise: A Song of Two Humans (1927), or any films by Joseph von Sternberg, Buster Keaton, Ernst Lubitsch, Preston Sturges, or Busby Berkeley, let alone films starring Fred Astaire and Ginger Rogers or even Jerry Lewis. These exclusions speak to the present-day market sensibilities and the middlebrow amensia that guide the AFI endeavor; but, even Aztlán 23:2 Fall 1998 1 Noriega if they were rectified, the exclusion of women and racial mi- norities would remain unchanged.1 But why should we care? Because the list is being done in our name: Americans.
    [Show full text]
  • Una Nueva Conciencia Sin Fronteras Tiffany Ana López
    CONFERENCE REVIEW Against Fear and Terror: Una Nueva Conciencia Sin Fronteras Tiffany Ana López Against Fear and Terror: Una Nueva Conciencia Sin Fronteras. August 3-6, 2011. California State University, Los Angeles. Under the leadership of Dionne Espinoza, with the MALCS, National and Cal State LA Chapter, the conference was sponsored by the College of Arts and Letter; College of Natural and Social Sciences; Center for the Study of Gender and Sexuality, Department of Chicana(o)/Latina(o) Studies; Office of the Provost and Vice President of Academic Affairs; Educational Opportunity Program, Cross Cultural Centers, University Student Union, CSULA Kennedy Library, and California Faculty Association. This year’s conference focused on the theme “Against Fear and Terror: Una Nueva Concíencía Sín Fronteras.” In the program welcome notes, conference chair Marie “Keta” Miranda and chair-elect, Mónica F. Torres outlined their two key goals for the Institute: to be critical and to focus on bylaws. They clarified that while bylaws often appear “merely a bureaucratic feature of an organization,” within MALCS they provide the foundation for “who we are, what we do, and how we operate,” especially significant as the organization evolves into the 21st century. They also emphasized the importance of cultivating a sense of individual and collective responses that take into account “the need to balance our home lives, work lives and larger social pressures, such as the extended economic downturn and ongoing attacks on immigrant populations.” Throughout the conference, a large number of sessions were devoted to these explorations. Spotlight panels addressed such matters as career development 222 CHICANA/LATINA STUDIES 11:1 FALL 2011 CONFERENCE REVIEW throughout the pipeline of higher education, from graduate programs into the ranks of the professoriate and administrative leadership.
    [Show full text]
  • Women Filmmakers in the New Hollywood Era, 1967—1980, May 2—20
    BAMcinématek presents A Different Picture: Women Filmmakers in the New Hollywood Era, 1967—1980, May 2—20 Including appearances by Claudia Weill, Julia Reichert, and Christine Choy April 2, 2018/Brooklyn, NY—From Wednesday, May 2 through Sunday, May 20, BAMcinématek presents A Different Picture: Women Filmmakers in the New Hollywood Era, 1967—1980. A counter- narrative to the traditional macho mythology of the New Hollywood era, this series seeks to correct a historical wrong. As programmer Jesse Trussell explains, “This series is a redress to the established Easy Riders and Raging Bulls narratives; women from coast to coast radically altering film form, film subject and film power structures.” This series spotlights the prodigious work of female filmmakers in the United States from 1967—1980; films made both inside and outside of the Hollywood system and encompassing a wide array of genres from comedy to drama, art house to exploitation. The series opens with Claudia Weill in person for It’s My Turn (1980—May 2), starring Jill Clayburgh and Michael Douglas. It’s My Turn screens with Joyce Chopra’s Joyce at 34 (1972), made in collaboration with Weill. The series closes with Weill’s iconic Girlfriends (1978—May 20). Two films by Elaine May, one of the few women making major studio films at the time, appear in the series: A New Leaf (1971— May 4), screening with Faith Hubley’s W.O.W. (Women of the World) (1975), and Mikey and Nicky (1976—May 13). There are also two films by Joan Micklin Silver: Chilly Scenes of Winter (1979—May 13) and the Academy Award-nominated Hester Street (1975—May 6).
    [Show full text]
  • Californian Latino/A Film Festivas and Their Promotion of Latinidad
    ANNETTE L. RUKWIED PROTEST – PITCHING – CROSSOVER DREAMING: CALIFORNIAN LATINO/A FILM FESTIVALS AND THEIR PROMOTION OF LATINIDAD Soweit nicht anders angegeben, wird diese Publikation unter der Lizenz CC BY-NC-ND (4.0): Creative Commons Namensnennung - Nicht kommerziell - Keine Bearbeitungen 4.0 International veröffentlicht. Weitere Informationen finden Sie unter: https://creativecommons.org/licenses/by-nc-nd/4.0/deed.de https://creativecommons.org/licenses/by-nc-nd/4.0/legalcode.de This work has been published under the Creative Commons license BY-NC-ND (4.0): Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International. More information: https://creativecommons.org/licenses/by-nc-nd/4.0/deed.en https://creativecommons.org/licenses/by-nc-nd/4.0/legalcode C/S Cover images (all private). Top: Reel Rasquache Arts and Film Festival 2011: Billboard advertising the festival, Regency Academy 6 Cinemas, Pasadena, California Bottom, left to right: San Francisco Latino Film Festival 2012: Q & A at the premiere of Sin Padre (USA 2012, Jay Francisco López), at Victoria Theatre, San Francisco, California San Diego Latino Film Festival 2010: Box Office, Ultra Star Cinemas at Hazard Center/Mission Valley, San Diego, California Street view, Mission District, San Francisco, California, featuring a poster advertising the San Francisco Latino Film Festival 2010 Gedruckt auf alterungsbeständigem Papier nach ISO 9706 (säure-, holz- und chlorfrei). Protest – Pitching – Crossover Dreaming: Californian Latino/a Film Festivals and Their Promotion of Latinidad Dissertation zur Erlangung des Titels Doktor der Geisteswissenschaften (Dr. phil.) der Fakultät Linguistik und Literaturwissenschaft der Universität Bielefeld Gutachter Professor Dr. Wilfried Raussert, Universität Bielefeld Professor Dr. Sebastian Thies, Eberhard Karls Universität Tübingen Vorgelegt von Annette L.
    [Show full text]
  • Chapter Four Beyond the Spitfire: Re-Visioning Latinas in Sylvia
    Chapter Four Beyond the Spitfire: Re-visioning Latinas in Sylvia Morales’ A Crushing Love (2009) Catherine Leen From Dolores del Río to Salma Hayek and from Lupe Vélez to Eva Longoria, the portrayal of Latinas in the United States has provoked debate, criticism and controversy. Since the era of silent movies, Hollywood’s depiction of the Latina has been rigidly prescribed and reductive, while Latinos and Latinas themselves have contested these problematic portrayals in more nuanced and multifaceted visions of their communities. Sylvia Morales’s documentary A Crushing Love: Chicanas, Motherhood and Activism (2009) presents a vision of activists and mothers that is radically at odds with the stereotypes of Latinas in Hollywood film and in the US media more generally.1 This chapter examines the film against the context of persistently problematic representation of Latinas in the media and the ways in which Morales’ film counters demeaning images of Chicanas through a multilayered examination of different experiences of motherhood by politically radical women. Twenty-first century foxes: Latinas on and behind the screen The well known sexualised images of Latinas in mainstream US media are perhaps most troubling because of their endurance and the paucity of other images to counterbalance them. As recently as 1995, Chicana theorist and writer Ana Castillo noted that: ‘We almost never see women reflective of ourselves (except usually in stereotypes) on television, in Hollywood productions, popular U.S. literature, or anywhere in mass media’ (Castillo 1995: 191). Latinas have been relegated to an extremely limited range of roles that overwhelmingly present them as exotic, erotic others whose excessive sexuality is matched only by their irascible and irrational temperaments.
    [Show full text]