Teaching Philosophy

My goal as a teacher is to cultivate a creative, non-competitive environment where learners—especially those historically excluded from the film industry—can build practical skills to use in real-world applications. As a female director/cinematographer and entrepreneur, I have personally dealt with sexual discrimination in the male-dominated film industry. And unfortunately, I’ve encountered many others who have experienced  similar inequity and imposter syndrome for not fitting into the stereotype of “what a filmmaker looks like.” As an instructor, I am dedicated to helping break down these barriers by making my classroom a place where all students are empowered to flourish as storytellers. 

To do this, I’ve developed a student-centered approach that combines screenings and readings, group discussions, hands-on learning, and critical response. My courses guide students to utilize film as a tool for engagement with the wider world, not simply to produce an end product. I believe that with an intentional creative practice, filmmakers can build bridges, traverse disciplines, and make a positive impact. 

Critical Discourse

In a world where we are bombarded with digital content from the moment we open our eyes, I want students to examine both what they consume and the context in which it was created. I encourage them to ask the questions: who is it about, and who does it serve? What are the filmmaker’s intentions, and in what ways were they successful or unsuccessful? And, was this work created ethically?

While it is worthwhile to have a handle on classic films and their approaches, I make a concerted effort to integrate screenings of diverse filmmakers who aren’t traditionally represented in Hollywood. I’ve found success in generating critical and inspiring conversations by assigning films and corresponding reflections for students to complete as homework. Then, during class, I divide the students into small discussion groups before gathering for a larger conversation. This approach often leads to increased class participation and strengthens students' rapport.

Hands-on Practice and Skill-sharing

The technical aspects of filmmaking—shooting, lighting, recording sound—can be intimidating to those who self-identify as “bad with technology,” causing some bright students to avoid specialized production roles. I aim to build competence and autonomy in students by including hands-on training in my courses. In addition to demonstrating the technology myself, I teach hard skills by flipping the classroom. For example, I will assign my own pre-recorded camera trainings for students to watch outside of class. Then, when we gather as a group, students can ask specific, detailed questions about the new concepts. This method allows inexperienced students to learn the technical basics at their own pace by returning to the instructional videos as needed. In contrast, more experienced students can cement their knowledge by helping their peers. 

Students then hone their technique by creating short films, referencing concepts covered in the readings, screenings, and demonstrations. In my Editing for Film and Video course, the first assignment is to create a short, found-footage film, drawing on montage theory and an introductory lesson to Adobe Premiere. Later in the term, students work in teams to create short films of their own design, promoting collaboration and autonomy. 

Group Critiques

Learning to give and receive productive feedback is one of the most valuable parts of being an art student. While there are many effective critique styles, I use Liz Lerman’s Critical Response. This four-part method empowers the artist by allowing them to ask the audience for specific feedback. Instead of responding to each other’s work with ambiguous compliments, students will learn how to support their peers by providing statements of meaning, asking questions, and giving specific feedback. As an instructor, these sessions also allow me to gauge my students' progress throughout the semester. 

Diversity and Inclusion

As a cis-gendered, white, American female, I am aware of how my position in the dominant culture may impact my teaching. I consciously work to create an equitable classroom by examining and correcting my implicit biases. Several concrete steps I take in every class include: clearly stating the course expectations verbally and in writing, making space for students to share what they deem important aspects of their identities, providing course materials from diverse authors, and mentoring aspiring filmmakers.

Early in my career as a documentarian, I decided that if I were going to continue on the path of filmmaking, I needed to help foster a radically different creative environment. So, in 2014, I founded a documentary and commercial production company, Forage Films. Through my business, I have mentored numerous aspiring female and nonbinary filmmakers, and I consistently hire crews composed of people who are traditionally underrepresented in the film industry. These efforts have paid off. Our work has been featured on PBS, VICE, and HBO, and we have produced branded content and commercials for national brands such as Red Lobster, Parents Magazine, and Colgate. 

I am committed to continuing the work of dismantling white supremacy by regularly participating in race, equity, and inclusion workshops, promoting the advancement of creatives from diverse backgrounds, and being a role model and mentor. I have furthered my own understanding of racial equity through my participation in DEI courses (Teaching Diverse Learners), fellowships (Race and the Professions Fellowship), and conferences (presenting my documentary, Power Lines, and leading a discussion on environmental racism with Alternate ROOTS).