Teaching Philosophy

My philosophy towards teaching is hands-on and interactive, emphasizing critical analysis through creative, practice-led education. I use a variety of inclusive teaching practices including in-class critiques and group-based work, both of which encourage and make space for student-led teaching and participation. I believe that a balanced emphasis on theory, practice, and technical skills is essential for a well-rounded film education. By providing students with opportunities to learn through doing, engaging with theoretical concepts, and collaborating with peers, I aim to cultivate an educational setting that enhances critical thinking and creativity.

As both a filmmaker and educator, the integration of theory and practice is always at the core of my creative and scholarly work.  This approach helps students simultaneously engage with theoretical frameworks and creative processes, stimulating innovative problem-solving, experimentation, and thoughtful practice in which students critically examine issues of integrity and ethics through embodied experiences.  For instance, I assign projects that require students to apply a theoretical idea to film, followed by a reflection on their findings.  I believe that grounding theory in creative practice enriches students’ engagement with nuances in theory by giving them the chance to explore ideas through physical and embodied experiences.

In my research and teaching, I value process over product, making space for the types of discoveries and thought development that can occur through imperfection, failure, and incompleteness.  In classes, this manifests as emphasizing reflecting on the creative process.  I also try to make my teaching style as inclusive and accessible as possible by creating a variety of assignments which accommodate different learning styles, and which are flexible in terms of output.  For example, I give the option to submit written or oral reflections on one’s own work. Similarly, I often do in-class critiques that rely on verbal participation, but I also give students the option to provide written feedback to each other in online discussion boards. 

Regardless of a students’ career path, I work to ensure that all students gain a working knowledge of technical filmmaking skills.  I have found that students who are less comfortable with technology sometimes resist leading in technical roles, which can be a result of sociocultural factors.  Because of this, I encourage everyone in my classes to try out different technical roles in filmmaking through short, achievable and low-stakes workshops that introduce students to technical concepts without impacting their grade.  I take a positive approach to giving feedback, prioritizing participation and experimentation over correctness.  An example of this was in a workshop focused on observational shooting techniques in documentary, where students worked in pairs and filmed the process of making a paper airplane.  One of the students had less technical experience than the others and was reluctant to film.  I encouraged the student to give it a try, and that it was okay if it wasn’t perfect, reminding them that documentary filmmaking is often unexpected and relies on responding to what is happening, meaning that we all must learn to be okay with uncertainty in the process.  I also found that creating a collaborative, team-oriented environment through working together and inclusive language, helped the student gain the confidence to participate. They ultimately succeeded in the observational filming exercise and seemed to be much more relaxed and comfortable with the camera afterwards.

As a commitment to equality, diversity, and inclusion, I always articulate my own position during lectures, making sure that positionality is never taken for granted.  I also ensure that my curriculum, particularly films and theoretical reading, reflect a variety of perspectives and cultures, and I encourage students to seek out films that differ from their own positionality in their research by guiding them towards film resources that highlight different viewpoints.  I believe that it is important to contextualize elements of film history and conventions through a decolonizing lens, pointing out potential undertones of institutionalized discrimination, and I am also open to critique of my own work and perspective.  Through my teaching practices, I endeavor to create an inclusive learning environment where all students feel valued and empowered to thrive.  My favorite part of teaching is learning from my students and I feel like a class is a success when I am inspired and challenged by them to see things in new ways.  I believe that filmmaking is well-placed to help students learn the kinds of practical and critical skills that are vital for becoming a well-rounded thinker, scholar, and member of society, and I hope that my teaching style encourages this type of development.