{"id":157,"date":"2023-02-21T13:33:10","date_gmt":"2023-02-21T21:33:10","guid":{"rendered":"https:\/\/dornsife.usc.edu\/vsgc\/?page_id=157"},"modified":"2025-10-13T14:08:42","modified_gmt":"2025-10-13T21:08:42","slug":"alumni","status":"publish","type":"page","link":"https:\/\/dornsife.usc.edu\/vsgc\/alumni\/","title":{"rendered":"Alumni"},"content":{"rendered":"\n\n \n \n \n\n\n\n\n\n\n\n
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\n Elizabeth Affuso<\/a>\n <\/h3>\n\n\n<\/div>\n \n \n
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Academic Director of Intercollegiate Media Studies, Pitzer College<\/p>\n

PhD, Critical Studies, School of Cinematic Arts, 2011<\/p>\n

Dissertation:
\n“The Sculptural Screen: Spectatorship, Exhibition, and Hollywood in Contemporary Film\/Video Art”<\/p>\n\n\n\n<\/div>\n \n <\/div>\n\n\n \n \n \n

\n\n \n \n \n \n \n \n \n \n \n\n \n \n \n <\/a>\n \n\n<\/div>\n\n \n <\/div>\n\n \n
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\n Emily Anderson<\/a>\n <\/h3>\n\n\n<\/div>\n \n \n
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Associate Director of the\u00a0Center on Science, Technology, and Public Life<\/a>\u00a0; Lecturer- Art History, USC<\/p>\n

PhD, Art History, USC Dornsife, 2020<\/p>\n

Dissertation: “The Bespoke Book: Experimental Printing in Early Modern Italy”<\/p>\n\n\n\n<\/div>\n \n <\/div>\n\n\n \n \n \n

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\n Anirban Baishya<\/a>\n <\/h3>\n\n\n<\/div>\n \n \n
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Assistant Professor, Rhetoric, Politics and Culture, Department of Communication Arts, University of Wisconsin-Madison<\/p>\n

PhD, Cinema and Media Studies, 2018<\/p>\n\n\n\n<\/div>\n \n <\/div>\n\n\n \n \n \n

\n\n \n \n \n \n \n \n \n \n \n\n \n \n \n <\/a>\n \n\n<\/div>\n\n \n <\/div>\n\n \n
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\n Nadya Bair<\/a>\n <\/h3>\n\n\n<\/div>\n \n \n
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Assistant Professor of Art History, Hamilton College<\/p>\n

PhD, Art History, USC Dornsife, 2016<\/p>\n

Dissertation: \u201cThe Decisive Network: Magnum Photos and the Art of Collaboration in Postwar Photojournalism\u201d<\/p>\n\n\n\n<\/div>\n \n <\/div>\n\n\n \n \n \n

\n\n \n \n \n \n \n \n \n \n \n\n \n \n \n <\/a>\n \n\n<\/div>\n\n \n <\/div>\n\n \n
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\n Sara Bakerman<\/a>\n <\/h3>\n\n\n<\/div>\n \n \n
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Assistant Director of College Programs, University of Chicago<\/p>\n

PhD, Cinema and Media Studies, 2020<\/p>\n

Dissertation: “According to Legend: Aging Female Stars and Hollywood Nostalgia, 1967\u20131994”<\/p>\n

 <\/p>\n\n\n\n<\/div>\n \n <\/div>\n\n\n \n \n \n

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\n Alice Bardan<\/a>\n <\/h3>\n\n\n<\/div>\n \n \n
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Associate Professor, Mount Saint Mary’s University, Los Angeles<\/p>\n

Dissertation: \u201cContemporary European Cinema in a Transnational Perspective: Aftereffects of 1989\u201d<\/p>\n\n\n\n<\/div>\n \n <\/div>\n\n\n \n \n \n

\n\n \n \n \n \n \n \n \n \n \n\n \n \n \n <\/a>\n \n\n<\/div>\n\n \n <\/div>\n\n \n
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\n Priyanka Basu<\/a>\n <\/h3>\n\n\n<\/div>\n \n \n
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Associate Professor, Art History, University of Minnesota Morris<\/p>\n

PhD, Art History, 2011<\/p>\n

Dissertation: \u201cKunstwissenschaft<\/em>\u00a0and the \u2018Primitive\u2019: Excursions in the History of Art History, 1879\u20131914\u201d<\/p>\n\n\n\n<\/div>\n \n <\/div>\n\n\n \n \n \n

\n\n \n \n \n \n \n \n \n \n \n\n \n \n \n <\/a>\n \n\n<\/div>\n\n \n <\/div>\n\n \n
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\n Emma Ben Ayoun<\/a>\n <\/h3>\n\n\n<\/div>\n \n \n
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Assistant Professor of Film and Media, SUNY Fashion Institute of Technology<\/p>\n

PhD, Cinema and Media Studies, 2022<\/p>\n

Dissertation: “Sick Cinema: Illness, Disability, and the Moving Image”<\/p>\n\n\n\n<\/div>\n \n <\/div>\n\n\n \n \n \n

\n\n \n \n \n \n \n \n \n \n \n\n \n \n \n <\/a>\n \n\n<\/div>\n\n \n <\/div>\n\n \n
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\n Sanders Bernstein<\/a>\n <\/h3>\n\n\n<\/div>\n \n \n
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Author<\/p>\n

Dissertation: \u201cAmerican (Proto)fascism, 1914-1933\u201d<\/p>\n\n\n\n<\/div>\n \n <\/div>\n\n\n \n \n \n

\n\n \n \n \n \n \n \n \n \n \n\n \n \n \n <\/a>\n \n\n<\/div>\n\n \n <\/div>\n\n \n
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\n Jennifer Black<\/a>\n <\/h3>\n\n\n<\/div>\n \n \n
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Associate Professor of History and Director, Public History & Museum Studies, Misericordia University<\/span><\/p>\n

PhD, American History, 2013<\/p>\n

Dissertation: \u201cBranding Trust: Advertising, Trademarks, and the Problem of Legitimacy in the United States, 1876\u20141920″<\/span><\/p>\n\n\n\n<\/div>\n \n <\/div>\n\n\n \n \n \n

\n\n \n \n \n \n \n \n \n \n \n\n \n \n \n <\/a>\n \n\n<\/div>\n\n \n <\/div>\n\n \n
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\n Jake Bohrod<\/a>\n <\/h3>\n\n\n<\/div>\n \n \n
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Instructor of Film, TV, and Media Studies, Loyola Marymount University.<\/p>\n

PhD, Cinema and Media Studies, 2021<\/p>\n

Dissertation: \u201cVirtual Documentary: the Virtual Real and Its Rhetorical Legitimations\u201d<\/p>\n\n\n\n<\/div>\n \n <\/div>\n\n\n \n \n \n

\n\n \n \n \n \n \n \n \n \n \n\n \n \n \n <\/a>\n \n\n<\/div>\n\n \n <\/div>\n\n \n
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\n Mark Braude<\/a>\n <\/h3>\n\n\n<\/div>\n \n \n
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Author<\/p>\n

PhD, History, 2013<\/p>\n

Dissertation:”Spinning Wheels: Cosmopolitanism, Mobility, and Media in Monaco, 1855-1956\u201d<\/p>\n\n\n\n<\/div>\n \n <\/div>\n\n\n \n \n \n

\n\n \n \n \n \n \n \n \n \n \n\n \n \n \n <\/a>\n \n\n<\/div>\n\n \n <\/div>\n\n \n
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\n Jessica D. Brier<\/a>\n <\/h3>\n\n\n<\/div>\n \n \n
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Curator of Photography at the Frances Lehman Loeb Art Center at Vassar College<\/span><\/p>\n

PhD, Art History, USC Dornsife, 2020<\/p>\n

Dissertation: \u201cTypophoto and the Reinvention of Photography in Weimar Germany” <\/span><\/p>\n\n\n\n<\/div>\n \n <\/div>\n\n\n \n \n \n

\n\n \n \n \n \n \n \n \n \n \n\n \n \n \n <\/a>\n \n\n<\/div>\n\n \n <\/div>\n\n \n
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\n Emily Brown<\/a>\n <\/h3>\n\n\n<\/div>\n \n \n
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Postdoctoral Teaching Fellows, Classics, USC<\/p>\n

PhD, Classics, 2021<\/p>\n

 <\/p>\n\n\n\n<\/div>\n \n <\/div>\n\n\n \n \n \n

\n\n \n \n \n \n \n \n \n \n \n\n \n \n \n <\/a>\n \n\n<\/div>\n\n \n <\/div>\n\n \n
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\n Umayyah Cable<\/a>\n <\/h3>\n\n\n<\/div>\n \n \n
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Assistant Professor of American Culture and Film, Television, and Media, University of Michigan-Ann Arbor<\/p>\n

PhD, American Studies and Ethnicity, 2016<\/p>\n

Dissertation: “Cinematic Activism: Film Festivals and the Exhibition of Palestinian Cultural Politics in the United States”<\/p>\n\n\n\n<\/div>\n \n <\/div>\n\n\n \n \n \n

\n\n \n \n \n \n \n \n \n \n \n\n \n \n \n <\/a>\n \n\n<\/div>\n\n \n <\/div>\n\n \n
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\n Samantha Carrick\n <\/h3>\n\n\n<\/div>\n \n \n
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Teacher,\u00a0High Tech High International, San Diego<\/p>\n

PhD, English<\/p>\n

Dissertation: \u201c\u2018Each Body Has Its Art\u2019: The Unruly Bodies of American Modernism\u201d<\/p>\n\n\n\n<\/div>\n \n <\/div>\n\n\n \n \n \n

\n\n \n \n \n \n \n \n \n \n\n \n \n \n \n\n<\/div>\n\n \n <\/div>\n\n \n
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\n Melissa Mei-Lin Chan<\/a>\n <\/h3>\n\n\n<\/div>\n \n \n
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Assistant Professor, School for Studies in Art and Culture, Carleton University in Ottawa<\/p>\n

PhD, East Asian Languages and Cultures, 2019<\/p>\n

Dissertation: \u201cChoreographing the Sinophone Body: Hong Kong Martial Arts Media and Embodied Languages\u201d<\/p>\n\n\n\n<\/div>\n \n <\/div>\n\n\n \n \n \n

\n\n \n \n \n \n \n \n \n \n \n\n \n \n \n <\/a>\n \n\n<\/div>\n\n \n <\/div>\n\n \n
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\n Nadine Chan<\/a>\n <\/h3>\n\n\n<\/div>\n \n \n
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Assistant Professor, Cinema Studies Institute, University of Toronto<\/p>\n

PhD, Cinema and Media Studies, 2015<\/p>\n

Dissertation: “Instructing Unruly Empires: Colonial Educational Film in British Malaya”<\/p>\n\n\n\n<\/div>\n \n <\/div>\n\n\n \n \n \n

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\n Danielle Charlap\n <\/h3>\n\n\n<\/div>\n \n \n
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PhD, Art History, 2024<\/p>\n\n\n\n<\/div>\n \n <\/div>\n\n\n \n \n \n

\n\n \n \n \n \n \n \n \n \n\n \n \n \n \n\n<\/div>\n\n \n <\/div>\n\n \n
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\n Jih-Fei Cheng<\/a>\n <\/h3>\n\n\n<\/div>\n \n \n
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Associate Professor of Feminist, Gender, and Sexuality Studies, Scripps College<\/p>\n

PhD, American Studies and Ethnicity, 2015<\/p>\n

Dissertation: \u201cQueer Visibilities: Race, Gender, and Viral Ways of Seeing\u201d<\/p>\n\n\n\n<\/div>\n \n <\/div>\n\n\n \n \n \n

\n\n \n \n \n \n \n \n \n \n \n\n \n \n \n <\/a>\n \n\n<\/div>\n\n \n <\/div>\n\n \n
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\n Catherine Clark<\/a>\n <\/h3>\n\n\n<\/div>\n \n \n
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Senior Director of Programs at the USC Shoah Foundation<\/p>\n

PhD, History, 2012<\/p>\n

Dissertation: \u201cPhotography as History: Collecting, Narrating, and Preserving Paris, 1870-1970\u201d<\/p>\n\n\n\n<\/div>\n \n <\/div>\n\n\n \n \n \n

\n\n \n \n \n \n \n \n \n \n \n\n \n \n \n <\/a>\n \n\n<\/div>\n\n \n <\/div>\n\n \n
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\n Grace Converse\n <\/h3>\n\n\n<\/div>\n \n \n
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Karsh Curatorial Fellow, Decorative Arts and Design, Los Angeles County Museum of Art<\/p>\n

PhD, Art History, 2023<\/p>\n

Dissertation: “Making Belief: Art, Theosophy, and the Creative Production of Truth, 1875\u20131945″<\/span><\/p>\n\n\n\n<\/div>\n \n <\/div>\n\n\n \n \n \n

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\n Jelena Culibrk\n <\/h3>\n\n\n<\/div>\n \n \n
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PhD, Cinema and Media Studies, 2022<\/p>\n

Dissertation: \u201cScreening the Invisible Hand: State-Sponsored Documentary Media, (Neo)Liberalism, and the Riddle of Politics, 1918-1980\u201d<\/p>\n\n\n\n<\/div>\n \n <\/div>\n\n\n \n \n \n

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\n Jonathan Dentler<\/a>\n <\/h3>\n\n\n<\/div>\n \n \n
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Ma\u00eetre de conf\u00e9rences \/ Associate Professor<\/span><\/p>\n

PhD, History, 2020<\/p>\n

Dissertation: \u201cWired Images: Visual Telecommunications, News Agencies, and the Invention of the World Picture, 1917-1955<\/span>\u201d<\/span><\/p>\n\n\n\n<\/div>\n \n <\/div>\n\n\n \n \n \n

\n\n \n \n \n \n \n \n \n \n \n\n \n \n \n <\/a>\n \n\n<\/div>\n\n \n <\/div>\n\n \n
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\n Harrison Diskin\n <\/h3>\n\n\n<\/div>\n \n \n
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PhD, History, 2022<\/p>\n

Dissertation: \u201cMaking Manhattan: Sovereignty, Material Culture, and the Politics of Place, 1614-1664\u201d<\/p>\n

 <\/p>\n\n\n\n<\/div>\n \n <\/div>\n\n\n \n \n \n

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\n Lauren Dodds<\/a>\n <\/h3>\n\n\n<\/div>\n \n \n
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Project Specialist for USC-Huntington Early Modern Studies Institute and USC Mellon Humanities in a Digital World<\/p>\n

PhD, Art History, 2019<\/p>\n

Dissertation: “Collecting the Renaissance: The Samuel H. Kress Collection of Italian Art”<\/p>\n\n\n\n<\/div>\n \n <\/div>\n\n\n \n \n \n

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\n Nicholas Earheart\n <\/h3>\n\n\n<\/div>\n \n \n
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PhD, English<\/p>\n\n\n\n<\/div>\n \n <\/div>\n\n\n \n \n \n

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\n Curtis Fletcher<\/a>\n <\/h3>\n\n\n<\/div>\n \n \n
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Director of the Ahmanson Lab, USC Sidney Harmon Academy for Polymathic Study<\/p>\n

PhD, History<\/p>\n\n\n\n<\/div>\n \n <\/div>\n\n\n \n \n \n

\n\n \n \n \n \n \n \n \n \n \n\n \n \n \n <\/a>\n \n\n<\/div>\n\n \n <\/div>\n\n \n
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\n Matthew Fox-Amato<\/a>\n <\/h3>\n\n\n<\/div>\n \n \n
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Associate Professor of History, University of Idaho<\/p>\n

PhD, History, 2013<\/p>\n

Dissertation: \u201cExposing Humanity: Slavery, Antislavery, and Early Photography in America, 1839-1865″<\/p>\n\n\n\n<\/div>\n \n <\/div>\n\n\n \n \n \n

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\n Robert Gordon-Fogelson<\/a>\n <\/h3>\n\n\n<\/div>\n \n \n
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Lecturer in Visual Culture, Rochester Institute of Technology<\/p>\n

PhD, Art History, 2022<\/p>\n

Dissertation: “Total Integration: Design, Business, and Society in the United States, 1935\u20131985”<\/p>\n\n\n\n<\/div>\n \n <\/div>\n\n\n \n \n \n

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\n Veena Hariharan<\/a>\n <\/h3>\n\n\n<\/div>\n \n \n
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Associate Professor, School of Arts & Aesthetics, Jawaharlal Nehru University<\/p>\n

PhD, Critical Studies, School of Cinematic Arts, 2011<\/p>\n\n\n\n<\/div>\n \n <\/div>\n\n\n \n \n \n

\n\n \n \n \n \n \n \n \n \n \n\n \n \n \n <\/a>\n \n\n<\/div>\n\n \n <\/div>\n\n \n
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\n Huan He<\/a>\n <\/h3>\n\n\n<\/div>\n \n \n
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Assistant Professor of English, Vanderbilt University<\/p>\n

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PhD, American Studies & Ethnicity, 2022<\/p>\n

Dissertation: “The Racial Interface: Asian Racialization and the Dreams of the Digital”<\/p>\n<\/div>\n<\/div>\n<\/div>\n\n\n\n<\/div>\n \n <\/div>\n\n\n \n \n \n

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\n Jason Hill<\/a>\n <\/h3>\n\n\n<\/div>\n \n \n
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Associate Professor and Associate Chair, Modern and Contemporary Art and Visual Culture, University of Delaware<\/p>\n

PhD, Art History, 2011<\/p>\n

Dissertation: \u201cArtist as Reporter: The PM News Picture, 1940-1948\u201d<\/p>\n\n\n\n<\/div>\n \n <\/div>\n\n\n \n \n \n

\n\n \n \n \n \n \n \n \n \n \n\n \n \n \n <\/a>\n \n\n<\/div>\n\n \n <\/div>\n\n \n
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\n Heidi Amin-Hong<\/a>\n <\/h3>\n\n\n<\/div>\n \n \n
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Assistant Professor, English, University of California Santa Barbara<\/p>\n

PhD, American Studies and Ethnicity<\/p>\n\n\n\n<\/div>\n \n <\/div>\n\n\n \n \n \n

\n\n \n \n \n \n \n \n \n \n \n\n \n \n \n <\/a>\n \n\n<\/div>\n\n \n <\/div>\n\n \n
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\n Dylan Howell\n <\/h3>\n\n\n<\/div>\n \n \n
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PhD, Cinema and Media Studies, 2023<\/p>\n

Dissertation: \u201cThe Revisionist West: Placing the Postwar American Avant-garde\u201d<\/p>\n\n\n\n<\/div>\n \n <\/div>\n\n\n \n \n \n

\n\n \n \n \n \n \n \n \n \n\n \n \n \n \n\n<\/div>\n\n \n <\/div>\n\n \n
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\n Brian R. Jacobson<\/a>\n <\/h3>\n\n\n<\/div>\n \n \n
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Professor of Visual Culture, Caltech<\/p>\n

\n
PhD, Cinema, 2011<\/div>\n
<\/div>\n
Dissertation: \u201cStudios Before the System: Architecture, Technology, and Early Cinema\u201d<\/div>\n
[Winner of the 2013 Society for Cinema and Media Studies Dissertation Award]<\/div>\n<\/div>\n\n\n\n<\/div>\n \n <\/div>\n\n\n \n \n \n
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\n Ennuri Jo<\/a>\n <\/h3>\n\n\n<\/div>\n \n \n
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Postdoctoral Fellow, Center for Advanced Research in Global Communication<\/p>\n

PhD, Cinema and Media Studies, 2023<\/p>\n

Dissertation: “Aqueous Image: cinema and Rhetoric of Water at the End of the World\u201d<\/p>\n\n\n\n<\/div>\n \n <\/div>\n\n\n \n \n \n

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\n Grant Klarich Johnson<\/a>\n <\/h3>\n\n\n<\/div>\n \n \n
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Andrew W. Mellon Postdoctoral Fellow, Philadelphia Museum of Art<\/p>\n

PhD, Art History, 2021<\/p>\n

Dissertation: “Sheila Hicks: Weaving to the World”<\/p>\n\n\n\n<\/div>\n \n <\/div>\n\n\n \n \n \n

\n\n \n \n \n \n \n \n \n \n \n\n \n \n \n <\/a>\n \n\n<\/div>\n\n \n <\/div>\n\n \n
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\n Lindsay S. R. Jolivette<\/a>\n <\/h3>\n\n\n<\/div>\n \n \n
\n\n \n

Postdoctoral Teaching Fellow, University of Southern California<\/p>\n

PhD, East Asian Languages and Cultures, 2024<\/span><\/p>\n

Dissertation: “Horrific Environments: Confronting the Nonhuman in Korean and Japanese Ecomedia”<\/span><\/p>\n\n\n\n<\/div>\n \n <\/div>\n\n\n \n \n \n

\n\n \n \n \n \n \n \n \n \n \n\n \n \n \n <\/a>\n \n\n<\/div>\n\n \n <\/div>\n\n \n
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\n Laura Kalba<\/a>\n <\/h3>\n\n\n<\/div>\n \n \n
\n\n \n

Associate Professor of Art History, University of Minnesota<\/p>\n

PhD, Art History, 2008<\/p>\n

 <\/p>\n\n\n\n<\/div>\n \n <\/div>\n\n\n \n \n \n

\n\n \n \n \n \n \n \n \n \n \n\n \n \n \n <\/a>\n \n\n<\/div>\n\n \n <\/div>\n\n \n
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\n Juan Carlos Kase<\/a>\n <\/h3>\n\n\n<\/div>\n \n \n
\n\n \n
Associate Professor and Chair of Film Studies, University of North Carolina Wilmington<\/div>\n
<\/div>\n
PhD, Critical Studies, School of Cinematic Arts, 2009<\/div>\n
<\/div>\n
Dissertation: “A Cinema of Anxiety: Experimental Film in the Realm of Art (1964-1976)”<\/div>\n\n\n\n<\/div>\n \n <\/div>\n\n\n \n \n \n
\n\n \n \n \n \n \n \n \n \n \n\n \n \n \n <\/a>\n \n\n<\/div>\n\n \n <\/div>\n\n \n
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\n\n \n
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\n Chera Kee<\/a>\n <\/h3>\n\n\n<\/div>\n \n \n
\n\n \n

Professor of Film and Media Studies, Wayne State University<\/p>\n

PhD, Critical Studies, School of Cinematic Arts, University of Southern California, 2011<\/p>\n

Dissertation: “And the Dead Shall Walk the Earth: Zombies and the Politics of Death”<\/p>\n\n\n\n<\/div>\n \n <\/div>\n\n\n \n \n \n

\n\n \n \n \n \n \n \n \n \n \n\n \n \n \n <\/a>\n \n\n<\/div>\n\n \n <\/div>\n\n \n
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\n Peter Labuza<\/a>\n <\/h3>\n\n\n<\/div>\n \n \n
\n\n \n

Researcher with the International Cinematographers Guild, IATSE Local 600<\/p>\n

PhD, Cinema and Media Studies, 2020<\/p>\n

Dissertation: \u201cWhen A Handshake Meant Something: Lawyers, Deal Making, and the Emergence of New Hollywood<\/a>,\u201d awarded the Society for Cinema and Media Studies prize for Best Dissertation<\/p>\n\n\n\n<\/div>\n \n <\/div>\n\n\n \n \n \n

\n\n \n \n \n \n \n \n \n \n \n\n \n \n \n <\/a>\n \n\n<\/div>\n\n \n <\/div>\n\n \n
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\n Anne LaGatta<\/a>\n <\/h3>\n\n\n<\/div>\n \n \n
\n\n \n

Visiting Assistant Professor of Art History, Kenyon College<\/p>\n

PhD, Art History, 2024<\/p>\n

Dissertation: “‘The Most Beautiful and Enduring Images’: Visual Culture in the Principate of Tiberius (14-37 CE)”<\/p>\n\n\n\n<\/div>\n \n <\/div>\n\n\n \n \n \n

\n\n \n \n \n \n \n \n \n \n \n\n \n \n \n <\/a>\n \n\n<\/div>\n\n \n <\/div>\n\n \n
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\n Jayson Lantz\n <\/h3>\n\n\n<\/div>\n \n \n
\n\n \n

Postdoctoral Teaching Fellow, Department of Comparative Literature, University of Southern California<\/p>\n

PhD, Comparative Studies in Literature and Culture, 2025<\/p>\n

Dissertation: “Experiments in Belief: Chris Marker, The Book, and the Technics of Documentary, 1952\u20131966”<\/p>\n\n\n\n<\/div>\n \n <\/div>\n\n\n \n \n \n

\n\n \n \n \n \n \n \n \n \n\n \n \n \n \n\n<\/div>\n\n \n <\/div>\n\n \n
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\n Anca Lasc<\/a>\n <\/h3>\n\n\n<\/div>\n \n \n
\n\n \n

Associate Professor of History and Theory of Design, Pratt Institute<\/p>\n

PhD, Art History, 2012<\/p>\n

Dissertation:
\n\u201cBefore Art Nouveau: The Invention, Commercialization, and Display of the Modern Interior in Nineteenth-Century France\u201d<\/p>\n\n\n\n<\/div>\n \n <\/div>\n\n\n \n \n \n

\n\n \n \n \n \n \n \n \n \n \n\n \n \n \n <\/a>\n \n\n<\/div>\n\n \n <\/div>\n\n \n
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\n Natalia Lauricella\n <\/h3>\n\n\n<\/div>\n \n \n
\n\n \n

Assistant Curator of Prints, Drawings, and Photographs at the Achenbach Foundation for Graphic Arts, Fine Arts Museums of San Francisco<\/span><\/p>\n

PhD, Art History, 2021<\/p>\n

Dissertation: \u201cCollaboration in Color: Master Printers, Dealer-Publishers, and Avant-Garde Lithography in Late Nineteenth-Century France\u201d<\/p>\n\n\n\n<\/div>\n \n <\/div>\n\n\n \n \n \n

\n\n \n \n \n \n \n \n \n \n\n \n \n \n \n\n<\/div>\n\n \n <\/div>\n\n \n
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\n Frances Lazare<\/a>\n <\/h3>\n\n\n<\/div>\n \n \n
\n\n \n

Adjust Assistant Professor, ArtCenter<\/p>\n

PhD, Art History<\/p>\n\n\n\n<\/div>\n \n <\/div>\n\n\n \n \n \n

\n\n \n \n \n \n \n \n \n \n \n\n \n \n \n <\/a>\n \n\n<\/div>\n\n \n <\/div>\n\n \n
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\n Aleca le Blanc<\/a>\n <\/h3>\n\n\n<\/div>\n \n \n
\n\n \n

Assistant Professor of Art History, University of California, Riverside<\/p>\n

PhD, Art History, 2011<\/p>\n

Dissertation:<\/p>\n

\u201cTropical Modernisms: Art and architecture in Rio de Janeiro in the 1950s\u201d<\/p>\n\n\n\n<\/div>\n \n <\/div>\n\n\n \n \n \n

\n\n \n \n \n \n \n \n \n \n \n\n \n \n \n <\/a>\n \n\n<\/div>\n\n \n <\/div>\n\n \n
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\n\n \n
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\n Ana Paulina Lee<\/a>\n <\/h3>\n\n\n<\/div>\n \n \n
\n\n \n

Associate Professor of Latin American and Iberian Cultures, Columbia University<\/p>\n

PhD, Comparative Literature, 2014<\/p>\n

Dissertation: “The Shards of China in Brazilian and Cuban Literature and Visual Culture, 1847-1889”<\/div>\n\n\n\n<\/div>\n \n <\/div>\n\n\n \n \n \n
\n\n \n \n \n \n \n \n \n \n \n\n \n \n \n <\/a>\n \n\n<\/div>\n\n \n <\/div>\n\n \n
\n\n
\n\n \n
\n\n \n

\n Robin Coste Lewis<\/a>\n <\/h3>\n\n\n<\/div>\n \n \n
\n\n \n

Professor of English<\/p>\n

PhD, Creative Writing and Literature<\/p>\n

 <\/p>\n\n\n\n<\/div>\n \n <\/div>\n\n\n \n \n \n

\n\n \n \n \n \n \n \n \n \n \n\n \n \n \n <\/a>\n \n\n<\/div>\n\n \n <\/div>\n\n \n
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\n Ryan Linkof<\/a>\n <\/h3>\n\n\n<\/div>\n \n \n
\n\n \n

Senior Curator, Lucas Museum of Narrative Art<\/p>\n

PhD, History, 2011<\/p>\n

Dissertation: \u201cThe Public Eye: Celebrity and Photojournalism in the Making of the British Tabloids, 1904-1938\u201d<\/p>\n\n\n\n<\/div>\n \n <\/div>\n\n\n \n \n \n

\n\n \n \n \n \n \n \n \n \n \n\n \n \n \n <\/a>\n \n\n<\/div>\n\n \n <\/div>\n\n \n
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\n Ioana Literat<\/a>\n <\/h3>\n\n\n<\/div>\n \n \n
\n\n \n

Associate Professor,\u00a0Communication, Media & Learning Technologies Design,\u00a0<\/span>Department of Mathematics, Science and Technology,\u00a0<\/span>Teachers College, Columbia University<\/span><\/p>\n

PhD, Annenberg School for Communication and Journalism, 2015<\/span><\/p>\n

Dissertation: “Crowdsourced Art: Activating Creative Participation in Online Spaces”<\/p>\n



<\/p>\n\n\n\n<\/div>\n \n <\/div>\n\n\n \n \n \n

\n\n \n \n \n \n \n \n \n \n \n\n \n \n \n <\/a>\n \n\n<\/div>\n\n \n <\/div>\n\n \n
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\n Myles Little<\/a>\n <\/h3>\n\n\n<\/div>\n \n \n
\n\n \n

Curator of Special Projects at Curatorial Exhibitions<\/p>\n

PhD, Art History, 2024<\/p>\n

Dissertation: “Blackout: Photography, Darkness, and New York City, 1965-1985”<\/p>\n\n\n\n<\/div>\n \n <\/div>\n\n\n \n \n \n

\n\n \n \n \n \n \n \n \n \n \n\n \n \n \n <\/a>\n \n\n<\/div>\n\n \n <\/div>\n\n \n
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\n Zachary Mann<\/a>\n <\/h3>\n\n\n<\/div>\n \n \n
\n\n \n

Associate Director, Levan Institute for the Humanities
\nProgram Coordinator, Society of Fellows in the Humanities<\/p>\n

PhD, English, 2022<\/p>\n\n\n\n<\/div>\n \n <\/div>\n\n\n \n \n \n

\n\n \n \n \n \n \n \n \n \n \n\n \n \n \n <\/a>\n \n\n<\/div>\n\n \n <\/div>\n\n \n
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\n Luci Marzola<\/a>\n <\/h3>\n\n\n<\/div>\n \n \n
\n\n \n

Student Services Advisor II, USC School of Cinematic Arts<\/p>\n

PhD, Cinema and Media Studies, 2016<\/p>\n

Dissertation: “Engineering Hollywood: Technology, Technicians, and the Science of Building the Studio System, 1915-1933”<\/p>\n\n\n\n<\/div>\n \n <\/div>\n\n\n \n \n \n

\n\n \n \n \n \n \n \n \n \n \n\n \n \n \n <\/a>\n \n\n<\/div>\n\n \n <\/div>\n\n \n
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\n Christopher J. McGeorge<\/a>\n <\/h3>\n\n\n<\/div>\n \n \n
\n\n \n

COO Wild Blue Studios<\/p>\n

PhD, Art History<\/p>\n

Dissertation: “Mediums for the Masses: Stained Glass and Murals in the Age of Mechanical Reproduction.\u201d<\/p>\n\n\n\n<\/div>\n \n <\/div>\n\n\n \n \n \n

\n\n \n \n \n \n \n \n \n \n \n\n \n \n \n <\/a>\n \n\n<\/div>\n\n \n <\/div>\n\n \n
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\n Brendan McMahon<\/a>\n <\/h3>\n\n\n<\/div>\n \n \n
\n\n \n

Assistant Professor and Postdoctoral Scholar, Michigan Society of Fellows, History of Art, University of Michigan<\/p>\n

PhD, Art History, 2017<\/p>\n

Dissertation: \u201cTo Turn in the Sun: Iridescent Thinking in the Early Modern Spanish World”<\/p>\n\n\n\n<\/div>\n \n <\/div>\n\n\n \n \n \n

\n\n \n \n \n \n \n \n \n \n \n\n \n \n \n <\/a>\n \n\n<\/div>\n\n \n <\/div>\n\n \n
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\n Rachel Middleman<\/a>\n <\/h3>\n\n\n<\/div>\n \n \n
\n\n \n
Professor of Art History, California State University, Chico<\/div>\n
<\/div>\n
PhD, Art History, 2010<\/div>\n
\n

Dissertation:
\n“A New Eros: Sexuality in Women’s Art before the Feminist Art Movement”<\/p>\n<\/div>\n\n\n\n<\/div>\n \n <\/div>\n\n\n \n \n \n

\n\n \n \n \n \n \n \n \n \n \n\n \n \n \n <\/a>\n \n\n<\/div>\n\n \n <\/div>\n\n \n
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\n Leta Y. Ming<\/a>\n <\/h3>\n\n\n<\/div>\n \n \n
\n\n \n

Associate Professor, Art History, Chaffey College<\/p>\n

PhD, Art History<\/p>\n

Dissertation: \u201cTom Marioni and the Museum of Conceptual Art, San Francisco (1978\u20131979)\u201d<\/p>\n\n\n\n<\/div>\n \n <\/div>\n\n\n \n \n \n

\n\n \n \n \n \n \n \n \n \n \n\n \n \n \n <\/a>\n \n\n<\/div>\n\n \n <\/div>\n\n \n
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\n Darshana Sreedhar Mini<\/a>\n <\/h3>\n\n\n<\/div>\n \n \n
\n\n \n

Associate Professor, Communication Arts, University of Wisconsin-Madison<\/p>\n

PhD, Cinema and Media Studies, 2020<\/p>\n

Dissertation: “Transnational Journeys of Malayalam Soft-Porn: Obscenity, Censorship and Mediations of Desire”<\/p>\n

 <\/p>\n\n\n\n<\/div>\n \n <\/div>\n\n\n \n \n \n

\n\n \n \n \n \n \n \n \n \n \n\n \n \n \n <\/a>\n \n\n<\/div>\n\n \n <\/div>\n\n \n
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\n Sonia Misra<\/a>\n <\/h3>\n\n\n<\/div>\n \n \n
\n\n \n

Instructor of Film Studies, Connecticut College<\/p>\n

PhD, Cinema and Media Studies<\/p>\n\n\n\n<\/div>\n \n <\/div>\n\n\n \n \n \n

\n\n \n \n \n \n \n \n \n \n \n\n \n \n \n <\/a>\n \n\n<\/div>\n\n \n <\/div>\n\n \n
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\n Avigail Moss\n <\/h3>\n\n\n<\/div>\n \n \n
\n\n \n

PhD, Art History<\/p>\n

Dissertation: “Actuarial Imaginaries of Art and Empire, 1824\u20131914”<\/p>\n\n\n\n<\/div>\n \n <\/div>\n\n\n \n \n \n

\n\n \n \n \n \n \n \n \n \n\n \n \n \n \n\n<\/div>\n\n \n <\/div>\n\n \n
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\n Dina Murokh<\/a>\n <\/h3>\n\n\n<\/div>\n \n \n
\n\n \n

Assistant Director, Graduate Program in the History of Art, Williams College in collaboration with the Clark Art Institute<\/span><\/p>\n

PhD Art History, 2023<\/p>\n

Dissertation: \u201c’A Sort of Picture Gallery\u2019: Encounters with Print in Antebellum US Society\u201d<\/p>\n\n\n\n<\/div>\n \n <\/div>\n\n\n \n \n \n

\n\n \n \n \n \n \n \n \n \n \n\n \n \n \n <\/a>\n \n\n<\/div>\n\n \n <\/div>\n\n \n
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\n Wakae Nakane\n <\/h3>\n\n\n<\/div>\n \n \n
\n\n \n

Postdoctoral Fellow in Cinema and Media Studies, University of Southern California<\/p>\n

PhD, Cinema and Media Studies, 2025<\/p>\n

Dissertation: “Embodying Subjectivity: Essayism and Documentary in Postwar Japan”<\/p>\n\n\n\n<\/div>\n \n <\/div>\n\n\n \n \n \n

\n\n \n \n \n \n \n \n \n \n\n \n \n \n \n\n<\/div>\n\n \n <\/div>\n\n \n
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\n Anjali Nath<\/a>\n <\/h3>\n\n\n<\/div>\n \n \n
\n\n \n

Assistant Professor in Institute of Communication, Culture, Information, and Technology at the University of Toronto Mississauga<\/p>\n

 <\/p>\n\n\n\n<\/div>\n \n <\/div>\n\n\n \n \n \n

\n\n \n \n \n \n \n \n \n \n \n\n \n \n \n <\/a>\n \n\n<\/div>\n\n \n <\/div>\n\n \n
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\n Patricia Nelson<\/a>\n <\/h3>\n\n\n<\/div>\n \n \n
\n\n \n

Instructor, English, UC San Diego Extended Studies<\/p>\n

PhD, English<\/p>\n

Dissertation: “Crossing Over: Comedy and Lesbian Identity in American Popular Culture”<\/p>\n\n\n\n<\/div>\n \n <\/div>\n\n\n \n \n \n

\n\n \n \n \n \n \n \n \n \n \n\n \n \n \n <\/a>\n \n\n<\/div>\n\n \n <\/div>\n\n \n
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\n Nike Nivar Ortiz<\/a>\n <\/h3>\n\n\n<\/div>\n \n \n
\n\n \n

Program Officer, ACLS<\/p>\n

PhD, Comparative Media and Culture, 2020<\/p>\n

 <\/p>\n\n\n\n<\/div>\n \n <\/div>\n\n\n \n \n \n

\n\n \n \n \n \n \n \n \n \n \n\n \n \n \n <\/a>\n \n\n<\/div>\n\n \n <\/div>\n\n \n
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\n Younjung Oh<\/a>\n <\/h3>\n\n\n<\/div>\n \n \n
\n\n \n

Associate Professor of Asian Languages and Civilizations, Seoul National University<\/p>\n

PhD, 2012<\/p>\n

Dissertation: \u201cArt into Everyday Life: Department Stores as Purveyors of Culture in Modern Japan\u201d<\/p>\n\n\n\n<\/div>\n \n <\/div>\n\n\n \n \n \n

\n\n \n \n \n \n \n \n \n \n \n\n \n \n \n <\/a>\n \n\n<\/div>\n\n \n <\/div>\n\n \n
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\n Christopher Persaud<\/a>\n <\/h3>\n\n\n<\/div>\n \n \n
\n\n \n

Research Scientist,\u00a0Intel Labs<\/p>\n

PhD, Communication, 2024<\/p>\n

Dissertation: “Examining the Digital Labor and Platform Governance of Queer Sexual Content Creators and Artists”<\/p>\n\n\n\n<\/div>\n \n <\/div>\n\n\n \n \n \n

\n\n \n \n \n \n \n \n \n \n \n\n \n \n \n <\/a>\n \n\n<\/div>\n\n \n <\/div>\n\n \n
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\n Maria Francesca Piazzoni<\/a>\n <\/h3>\n\n\n<\/div>\n \n \n
\n\n \n

Associate Professor, School of Architecture, University of Liverpool<\/p>\n

PhD, Urban Planning, 2019<\/p>\n\n\n\n<\/div>\n \n <\/div>\n\n\n \n \n \n

\n\n \n \n \n \n \n \n \n \n \n\n \n \n \n <\/a>\n \n\n<\/div>\n\n \n <\/div>\n\n \n
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\n Cord-Heinrich Plinke\n <\/h3>\n\n\n<\/div>\n \n \n
\n\n \n

PhD, Comparative Studies in Literature and Culture<\/p>\n

Dissertation: \u201cThe Plastic Body: Abstraction, Alienation, and Affinity in Translation\u201d<\/p>\n\n\n\n<\/div>\n \n <\/div>\n\n\n \n \n \n

\n\n \n \n \n \n \n \n \n \n\n \n \n \n \n\n<\/div>\n\n \n <\/div>\n\n \n
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\n Meredith Drake Reitan<\/a>\n <\/h3>\n\n\n<\/div>\n \n \n
\n\n \n

Associate Dean in the Graduate School at the University of Southern California and an adjunct professor in USC\u2019s Price School of Public Policy<\/p>\n

\n
\n
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PhD, Policy, Planning and Development, Price School of Public Policy, 2010<\/p>\n

Dissertation: \u201cRhetoric of representation: Planning Los Angeles’ civic space, 1909\u20142009\u201d<\/p>\n<\/div>\n<\/div>\n<\/div>\n\n\n\n<\/div>\n \n <\/div>\n\n\n \n \n \n

\n\n \n \n \n \n \n \n \n \n \n\n \n \n \n <\/a>\n \n\n<\/div>\n\n \n <\/div>\n\n \n
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\n Jennifer Reynolds-Kaye<\/a>\n <\/h3>\n\n\n<\/div>\n \n \n
\n\n \n

Director, Housatonic Museum of Art<\/p>\n

PhD, Art History, 2014<\/p>\n

 <\/p>\n\n\n\n<\/div>\n \n <\/div>\n\n\n \n \n \n

\n\n \n \n \n \n \n \n \n \n \n\n \n \n \n <\/a>\n \n\n<\/div>\n\n \n <\/div>\n\n \n
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\n Aaron Rich<\/a>\n <\/h3>\n\n\n<\/div>\n \n \n
\n\n \n
Researcher,\u00a0<\/span><\/span>USC Architecture and Fine Art Library<\/span><\/span><\/div>\n
<\/div>\n
PhD, Cinema and Media Studies, 2020<\/div>\n
<\/div>\n
Dissertation: \u201c<\/span>The Hollywood Research Library: Visual Knowledge in the Republic of <\/span>Images\u201d<\/div>\n\n\n\n<\/div>\n \n <\/div>\n\n\n \n \n \n
\n\n \n \n \n \n \n \n \n \n \n\n \n \n \n <\/a>\n \n\n<\/div>\n\n \n <\/div>\n\n \n
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\n Bella Honess Roe<\/a>\n <\/h3>\n\n\n<\/div>\n \n \n
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Senior Lecturer in Film Studies & Director of Employability (School of Literature and Languages), University of Surrey<\/p>\n

PhD, Critical Studies, School of Cinematic Arts, 2009<\/p>\n

Dissertation: “Animating Documentary”<\/p>\n\n\n\n<\/div>\n \n <\/div>\n\n\n \n \n \n

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\n Jennifer Rosales<\/a>\n <\/h3>\n\n\n<\/div>\n \n \n
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Senior Vice President for Community and Campus Life, Dartmouth<\/p>\n

PhD, Media Studies<\/p>\n\n\n\n<\/div>\n \n <\/div>\n\n\n \n \n \n

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\n Amanda K. Ruud<\/a>\n <\/h3>\n\n\n<\/div>\n \n \n
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Assistant Professor of Humanities and Literature, Valparaiso University<\/p>\n

PhD, English, 2020<\/p>\n

Dissertation: “Shakespeare’s Speaking Pictures”<\/p>\n

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\n Steven Weiss Samols\n <\/h3>\n\n\n<\/div>\n \n \n
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Postdoctoral Fellow, University College London’s Department of Hebrew and Jewish Studies<\/p>\n

PhD, History, 2023<\/p>\n

Dissertation: \u201cCapturing Difference, Making History: the Photobook as a Jewish Artifact\u201d<\/p>\n\n\n\n<\/div>\n \n <\/div>\n\n\n \n \n \n

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\n Sophia Serrano<\/a>\n <\/h3>\n\n\n<\/div>\n \n \n
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Assistant Curator at Academy Museum of Motion Pictures<\/p>\n

PhD, Cinema and Media Studies, 2019<\/p>\n

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\n Lacey Schauwecker\n <\/h3>\n\n\n<\/div>\n \n \n
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PhD, Comparative Studies in Literature and Culture, 2018<\/p>\n\n\n\n<\/div>\n \n <\/div>\n\n\n \n \n \n

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\n Kirsten Seuffert<\/a>\n <\/h3>\n\n\n<\/div>\n \n \n
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Postdoctoral Research Fellow, University of Michigan Center for Japanese Studies<\/p>\n

PhD, East Asian Languages and Cultures, 2024<\/span><\/p>\n

Dissertation: “Adjusting Images: Women’s Bodies and Embodied Experience in Cinema and Visual Culture in Japan, 1974\u20131989”<\/p>\n\n\n\n<\/div>\n \n <\/div>\n\n\n \n \n \n

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\n Jacqueline Beland Sheean <\/a>\n <\/h3>\n\n\n<\/div>\n \n \n
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Assistant Professor of Spanish, Department of World Languages and Cultures,\u00a0<\/span><\/span>University of Utah<\/span><\/span><\/div>\n
<\/div>\n
PhD, Comparative Studies in Literature and Culture, 2020<\/div>\n
<\/div>\n
Dissertation: \u201cDictatorial Duress: A Cinematic Mapping of Madrid from Dictatorship to Democracy\u201d<\/div>\n
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\n Stephanie Sparling Williams<\/a>\n <\/h3>\n\n\n<\/div>\n \n \n
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Andrew W. Mellon Curator of American Art at the Brooklyn Musem<\/p>\n

PhD, American Studies and Ethnicity, 2016<\/p>\n

Dissertation: “Speaking Out of Turn: Race, Gender, and Direct Address in American Art Museums”<\/p>\n\n\n\n<\/div>\n \n <\/div>\n\n\n \n \n \n

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\n Joselyn Takacs<\/a>\n <\/h3>\n\n\n<\/div>\n \n \n
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Author<\/p>\n

PhD, Literature and Creative Writing, 2021<\/p>\n

Dissertation: \u201cPetroleum in Five Acts: Slow Violence Along the Mississippi River and the Niger River\u201d<\/p>\n\n\n\n<\/div>\n \n <\/div>\n\n\n \n \n \n

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\n Jia Tan<\/a>\n <\/h3>\n\n\n<\/div>\n \n \n
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Assistant Professor of Cultural Studies,\u00a0Department of Cultural and Religious Studies, The Chinese University of Hong Kong<\/p>\n

PhD, Critical Studies, Cinema & Television<\/p>\n\n\n\n<\/div>\n \n <\/div>\n\n\n \n \n \n

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\n Dora Vanette<\/a>\n <\/h3>\n\n\n<\/div>\n \n \n
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PhD, Art History<\/p>\n

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\n Amy Von Lintel<\/a>\n <\/h3>\n\n\n<\/div>\n \n \n
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Professor of Art History and Director of Gender Studies, West Texas A&M University<\/p>\n

PhD, Art History, 2010<\/p>\n

Dissertation:<\/p>\n

\u201cSurveying the Field: The Popular Origins of Art History in Nineteenth-\u00ad\u2010Century Britain and France\u201d<\/p>\n\n\n\n<\/div>\n \n <\/div>\n\n\n \n \n \n

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\n Isabel Frampton Wade<\/a>\n <\/h3>\n\n\n<\/div>\n \n \n
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Dornsife Fellow in General Education<\/p>\n

PhD, Art History, 2023<\/p>\n

Dissertation: \u201cExposing Urban Form: Commercial Architectural Photography in Los Angeles, 1938-1981\u201d<\/p>\n\n\n\n<\/div>\n \n <\/div>\n\n\n \n \n \n

\n\n \n \n \n \n \n \n \n \n \n\n \n \n \n <\/a>\n \n\n<\/div>\n\n \n <\/div>\n\n \n
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\n Kay Wells<\/a>\n <\/h3>\n\n\n<\/div>\n \n \n
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Associate Professor of Art History, University of Wisconsin-Milwaukee<\/p>\n

PhD, Art History, 2014<\/p>\n

Dissertation: \u201cModernism\u2019s Other Tableau: Tapestry in the Twentieth Century.\u201d<\/p>\n\n\n\n<\/div>\n \n <\/div>\n\n\n \n \n \n

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\n Genevieve Yue<\/a>\n <\/h3>\n\n\n<\/div>\n \n \n
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Associate Professor and Director of Screen Studies, Eugene Lang College, the New School<\/p>\n

PhD, Critical Studies, School of Cinematic Arts, 2012<\/p>\n

Dissertation: \u201cMedusan Optics: Film, Feminism, and the Forbidden Image\u201d<\/p>\n\n\n\n<\/div>\n \n <\/div>\n\n\n \n \n \n

\n\n \n \n \n \n \n \n \n \n \n\n \n \n \n <\/a>\n \n\n<\/div>\n\n \n <\/div>\n\n \n
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\n Maria Zalewska<\/a>\n <\/h3>\n\n\n<\/div>\n \n \n
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Executive Director, Auschwitz-Birkenau Memorial Foundation<\/p>\n

PhD, Cinema and Media Studies, 2019<\/p>\n

Dissertation: \u201c#Holocaust: Rethinking the Relationship Between Spaces of Memory and Places of Commemoration In The Digital Age\u201d<\/p>\n\n\n\n<\/div>\n \n <\/div>\n\n\n \n \n \n

\n\n \n \n \n \n \n \n \n \n \n\n \n \n \n <\/a>\n \n\n<\/div>\n\n \n <\/div>\n\n \n
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\n Sandra Zalman<\/a>\n <\/h3>\n\n\n<\/div>\n \n \n
\n\n \n

Associate Dean for Research and Faculty; Associate Professor of Art History, University of Houston<\/p>\n

PhD, Art History, 2008<\/p>\n

Dissertation: “A Vernacular Vanguard: Surrealism and the Making of American Art History 1936-1986”<\/p>\n

 <\/p>\n\n\n\n<\/div>\n \n <\/div>\n\n\n \n \n \n

\n\n \n \n \n \n \n \n \n \n \n\n \n \n \n <\/a>\n \n\n<\/div>\n\n \n <\/div>\n\n \n
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\n Cynthia Zhang\n <\/h3>\n\n\n<\/div>\n \n \n
\n\n \n

PhD, Comparative Studies in Literature and Culture, 2025<\/p>\n

Dissertation: “‘To See with Eyes Unclouded’: The Alternative Epistemologies of Fantasy Fiction”<\/p>\n

 <\/p>\n\n\n\n<\/div>\n \n <\/div>\n\n\n \n \n \n

\n\n \n \n \n \n \n \n \n \n\n \n \n \n \n\n<\/div>\n\n \n <\/div>\n\n \n
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\n Lin Zhang<\/a>\n <\/h3>\n\n\n<\/div>\n \n \n
\n\n \n

Assistant Professor of Communication and Media Studies, University of New Hampshire<\/p>\n

PhD, Communication<\/p>\n\n\n\n<\/div>\n \n <\/div>\n\n\n \n \n \n

\n\n \n \n \n \n \n \n \n \n \n\n \n \n \n <\/a>\n \n\n<\/div>\n\n \n <\/div>\n\n \n <\/div>\n \n\n <\/div><\/div>\n","protected":false},"excerpt":{"rendered":"","protected":false},"author":194,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_acf_changed":false,"footnotes":""},"class_list":["post-157","page","type-page","status-publish","hentry"],"acf":[],"yoast_head":"\nAlumni - Visual Studies Graduate Certificate<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/dornsife.usc.edu\/vsgc\/alumni\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Alumni - Visual Studies Graduate Certificate\" \/>\n<meta property=\"og:url\" content=\"https:\/\/dornsife.usc.edu\/vsgc\/alumni\/\" \/>\n<meta property=\"og:site_name\" content=\"Visual Studies Graduate Certificate\" \/>\n<meta property=\"article:modified_time\" content=\"2025-10-13T21:08:42+00:00\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"WebPage\",\"@id\":\"https:\/\/dornsife.usc.edu\/vsgc\/alumni\/\",\"url\":\"https:\/\/dornsife.usc.edu\/vsgc\/alumni\/\",\"name\":\"Alumni - 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