When I lived in New York City from 2003-2010, I had access to some of the most sophisticated and lively film programming in the world: series at the Museum of Modern Art, the Museum of the Moving Image, Film Forum, and Film at Lincoln Center/NYFF, to name just a few. Assembling a film program is very much like writing a paper or putting together a syllabus, except your audience is, really, anyone who had the wherewithal to get dressed and get out of the house to see a movie. The opportunity to put together a program in a way to bring attention to forgotten texts, bring the rigor of the classroom to an evening or weekend crowd — indeed, to provoke questions in your audience and to generate meaningful conversation, both during and after the event — is a gift; getting to do so within a curious and engaged academic community offers its own set of challenges and rewards.

I was the Director of Programming for the Environmental Film Festival at Yale in 2014 and served as a core programmer for the Yale Film Colloquium, where I spearheaded “Screen to Screen” on postwar film and television and provided program notes for films including Illusions, The Lusty Men, and Caravaggio, and A Face in the Crowd (all posted to I also co-organized the Curating the Moving Image Conference (Spring 2015).

The Archive Panel  
(L-R: Anthology Film Archives’ John Klacsmann, Yale’s Brian Meacham,
MoMA’s Katie Trainor, me)

In Roanoke, I programmed a series of film and speaking events, including co-organized the bell hooks residency at Hollins University (Fall 2017) and a screening and panel discussion of The Revolution Generation (Fall 2018), as well as participating in a talk-back about comedy and mental health at the Grandin Theater.