Post on 29-Nov-2014
transcript
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
nsadmissions@newschool.edu
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
4 www.newschool.edu/mediastudies
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
Media Practices: Film Form
Media Practices: Interactive
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.
6 www.newschool.edu/mediastudies
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.
8 www.newschool.edu/mediastudies
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.
10 www.newschool.edu/mediastudies
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.
12 www.newschool.edu/mediastudies
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
14 www.newschool.edu/mediastudies
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
Media Practices: Film Form
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.
16 www.newschool.edu/mediastudies
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
Media Practices: Interactive
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.
18 www.newschool.edu/mediastudies
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
20 www.newschool.edu/mediastudies
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.
22 www.newschool.edu/mediastudies
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.
24 www.newschool.edu/mediastudies
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.
26 www.newschool.edu/mediastudies
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
28 www.newschool.edu/mediastudies
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: nsadmissions@newschool.edu.
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;
sfs@newschool.edu. 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.
30 www.newschool.edu/mediastudies
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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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
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