Recap and Photos from Hopkins in Hollywood

A Johns Hopkins Alumni and Student Networking Event and Panel Discussion in Los Angeles on 1-12-17

Over 75 alumni, students, and faculty from Johns Hopkins got together on January 12, 2017 for a networking mixer and panel discussion relating to the entertainment and media business. Johns Hopkins alum and emeritus board of trustees member Don Kurz (A&S ’77) graciously hosted the event at his company Omelete in Culver City.

Just prior to the event the current students, primarily seniors and juniors who were visiting Los Angeles as part of an Intersession course within the Film and Media Studies Program, met with alum and cinematography legend Caleb Deschanel (A&S ’66) to hear about his industry experiences and ask questions. Following this there was an hour long drinks/hors d’oeuvres mixer of both students and alumni.

Host Don Kurz then thanked everyone for attending and introduced Film and Media Studies Program Director Linda DeLibero. She gave a quick overview of the program and its growth over the past few years and introduced the group of students who had traveled out from Baltimore for the class.

Don Kurz (JHU A&S ’77) welcomes everyone to Omelete while Caleb Deschanel and Linda DeLibero watch from the far left.

Following this Don moderated a panel discussion and Q&A featuring alumni Paul Boardman (A&S ’89), Jason Altman (A&S ’99), Devon Chivvis (A&S ’96), and Chris Aldrich (Engr. ’96). Panelists discussed how some of their Hopkins experiences helped to shape their subsequent careers in the entertainment and media sectors.

Panelist Paul Boardman (seated at far end) describing how his experience in breaking down films scene by scene at Hopkins helped to prepare him for a subsequent career as a screenwriter. Jason Altman and Devon Chivvis sit to his right.

After the discussion, Linda presented Don with a gift of a framed artistic print of the newly renovated Center Theatre, part of Station North and a hub for the Film and Media Studies Program. She thanked him for all of his work and effort on behalf of the program, saying she knew he’s “always got our back.”

Panelist Devon Chivvis (right) watches as Linda DeLibero presents host Don Kurz (left) with a small token of the Film and Media Studies Program’s gratitude.

Emily Hogan gave a brief overview of her work at the JHU Career Center and encouraged alumni who had job openings or internship opportunities within their companies or knew of other opportunities for students/alumni to contact her with details and help in filling them.

Following some additional networking, a portion of the crowd retired to nearby pub/restaurant Public School 310 to continue the discussion.

Alumni continue the conversation at Public School 310. Picutred left to right: Jason Somerville, Jason Altman, Paul Boardman (obscured), Devon Chivvis, Cari Ugent, Karen Swift, Mark Swift, and Kathryn Alsman.

Event Photo Gallery

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Caleb Deschanel shooting FRATRICIDE starring Richard Macksey

Caleb Deschanel shooting FRATRICIDE starring Richard Macksey. This may likely have been his first DP job circa '66 @johnshopkinsu. Photo courtesy of our friend @henryjameskorn. #tbt #amerikankrazy #cinematography #studentfilm
Caleb Deschanel on the set of Fratricide. This may likely have been his first DP job circa ’66 while a student at Johns Hopkins. Photo courtesy of our friend Henry James Korn.

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Johns Hopkins Goes West | Alumni News–June 1997 | JHU Magazine

Reposted Johns Hopkins Goes West | Alumni News--June 1997 by Billie Walker (editor) (Johns Hopkins Magazine)
More than 400 guests attended Johns Hopkins convocations in San Francisco and Burbank in March, hearing from President William R. Brody and other outstanding faculty speakers about developments at Johns Hopkins. The Southern California convocation, held at the Walt Disney Studios, was hosted by University trustee John F. Cooke, Disney's executive vice president-corporate affairs.
During the convocation luncheon at the Disney Commissary in Burbank, Oscar-nominated cinematographer Caleb Deschanel, A&S ’66, at left, talks with Chris Aldrich, A&S ’96. At right is James Neal, the Sheridan Director of Homewood’s Eisenhower Library and one of the event speakers.
After his computer music performance at the Southern California convocation, Peabody’s Forrest Tobey is surrounded by admirers as he explains his use of arm gestures to trigger sounds stored in the synthesizer.
In Pasadena on the evening before the Southern California convocation, President Brody meets Los Angeles area alumni and friends at a dinner hosted by University trustee Charles D. Miller. Here he talks with Dr. and Mrs. J. Michael Criley, at left, and Dr. and Mrs. Richard Call.

MSE Symposium Unspools Tuesday at Shriver Hall : At 100, Why Do Movies Matter? | JHU Gazette

Reposted MSE Symposium Unspools Tuesday at Shriver Hall : At 100, Why Do Movies Matter? by Mike Giuliano (Johns Hopkins Gazette: October 9, 1995)


MSE Symposium Unspools Tuesday at Shriver Hall

At 100, Why Do Movies Matter?

Mike Giuliano
-------------------------
Special to The Gazette

     Not that turf-conscious professors need worry about one of the main campus buildings being converted into a nine-screen multiplex theater, but the movies have arrived on the Homewood campus in a big way.

     Most immediately, the Milton S. Eisenhower Symposium, "Framing Society: A Century of Cinema," opens this week to examine the roles of the motion pictures in American society. Its undergraduate co-chairmen, Matt Gross and Chris Aldrich, are no strangers to the subject of film. Each is involved in film classes, student film organizations, film production, screenings and a just-launched magazine. All of which, considered together with the symposium, they hope will provide a new frame of reference at Hopkins for the only art form that proceeds at 24 frames per second. 

     Lest anyone still harbor the prejudice that movies should be accompanied by popcorn and not term papers, young filmmaker Gross is quick to defend the academic worth of their symposium offering.  

     "Chris and I always felt it was an appropriate topic for the symposium," he says. "It wasn't so much deciding whether to do it as how to do it. We want to explore how cinema fits into our culture. Can a particular movie or stream of movies change things in society?"

     By way of example, he dips into film and political history for the famous anecdote about President Woodrow Wilson's proclamation that D.W. Griffith's controversial 1915 film Birth of a Nation was "like history written by lightning."

     Gross says, "It's a historical fact that Wilson was one of the first people to give legitimacy to film. Since he went to Hopkins, he's like this guy sitting on top of the ivory tower saying this is a way of reporting history. That legitimizes film as a historical pursuit. And the 100th anniversary of cinema is an opportunity to look back on film in a cultural and intellectual way."

     Gross adds that a visit to Paris reinforced his sense that the French, whose visionary Lumière brothers began showing movies commercially in 1895, have a much keener sense of film history than do Americans.

     "It's not just that Americans don't have a grasp of film history. There's not a good grasp of history among the American people," he says.

     There's yet another reason why Gross believes movies haven't always received the respect they deserve in this country.

     "Also, possibly, the business of film has gotten in the way somewhat," he says. "Because it is big business--it's a product--some people may not feel it's worth looking at" in an academic forum, he says.

     Gross looks on this year's symposium as a springboard for a broader discussion, both on campus and in the larger community, of the role played by movies.  

     "The symposium is a way to get everybody who is interested together in one place to talk about movies. Beyond the symposium, we're trying to create at Hopkins a kind of cinematic culture. And we need to expand so that the Baltimore public knows about what's at Hopkins," Gross says. "Being on campus for four years, everything feels so isolated. Many students know a lot about film but not always about what's going on off campus, and people off campus in Baltimore know about film but not about what we have here. 

     "We'd like to integrate Hopkins into the Baltimore community at large. We want to be a regular part of the movie scene. So we want the symposium to act as a catalyst for everything else," he says.

     One impact the symposium will have on and off campus will result from the outfitting of Shriver Hall with a new 38-foot screen.

     "The old screen had been subjected to The Rocky Horror Picture Show and other things," says Mary Ellen Porter, special assistant to dean of students Larry Benedict. The film is noted as much for its campy content as for its cult following, who make viewing the film an interactive experience replete with vegetables and other substances tossed at the screen. 

     Also added were 35mm film projectors, and there are plans to add "surround sound" equipment next year. These technical enhancements will make the 1,174-seat hall the largest and potentially one of the best movie theaters in the Baltimore area.

     Existing film series such as the long-running Reel World and Weekend Wonderflix will look better on screen. Porter says the booking of preview screenings and other special programs "will give us a chance to reach out to the greater community in a way we don't now."

     Better campus screening facilities can enhance both a weekend date for the latest Die Hard movie and a student taking notes on the mise-en-scène in a Renoir film.

     "In terms of facilities, film is a machine art and machines are a part of it," notes Richard Macksey, a longtime Hopkins professor of humanities and film and an active member of Baltimore's cinema culture. He cites the upgrading of 110 Gilman several years ago as an instance of how film courses prosper when projection moves closer to state of the art.

     Indeed, the cinematic zeitgeist on campus seems healthy. Last summer saw the birth of yet another film series, The Snark, which offers classics and avant-garde fare. Also recently arrived on the screen scene is the Animation Club.    

     The recently established Johns Hopkins Film Society and its magazine, Frame of Reference, promote film culture at Hopkins, including criticism, theory, history and production. Mardi Gras Baltimore, co-directed by Gross and 1995 graduate Gil Jawetz, will premiere at the symposium at 8 p.m. on Nov. 15. 

     Gross hopes the diversity of symposium speakers will provide the insights and inspiration to support and nourish the
confluence of Hopkins' film-related activities.   

     For example, James G. Robinson, founder and CEO of Morgan Creek Productions, will talk about the business of making movies. Veteran screenwriter Millard Kaufman and young director Rose Troche will each talk about their place within that industry. Critic Molly Haskell will talk about the role played by women in filmmaking and criticism. And Thomas Cripps, among the world's leading scholars of black film history, will add his reflections on the representation of blacks in the movies and the social effects of those images.

     It's a lineup that has won over at least one initial skeptic.

     "Frankly, I was a little skeptical of it at first because a lot of money goes into [the symposium], and I didn't want to see speakers who'd stand up there schmoozing and then vanish into the night," says English professor Jerome Christensen, who directs the Film and Media Studies program. 

     Established in 1991, Film and Media Studies is a cooperative program of the departments of English, French, German, Hispanic and Italian Studies, Writing Seminars, Humanities and Philosophy. Presently, students may minor in this area, but Christensen expects that the eventual addition of a film production course will enable students to major in Film and Media Studies. Although he says Hopkins "will never be a film school" on the scale of New York University or the University of Southern California, it is taking its place with other academic pursuits at Homewood.

     "I'm glad [Gross and Aldrich] have used [the symposium] in a way that will be educational," Christensen says. "I'm hoping the symposium will demonstrate the range of opportunities both in terms of careers and the intellectual challenges that contemporary film represents. It also gives us a push to do other things."

     Christensen suggests the symposium visit of Indian filmmaker Girish Karnad will likely figure into classroom discussions in a course on Indian film being offered in the spring. Undergraduate internships with Robinson also are under discussion.

     "My aim is to have some institutional pay-off to these things," he says.

     "Film is especially adaptable to an interdisciplinary approach and it's used for so many pedagogical purposes now," says Macksey of the Hopkins approach to teaching film. Having mentored such future Hollywood talents as Walter Murch and Caleb Deschanel during their student days in the 1960s, Macksey has been a constant advocate for film studies on campus.

     And what would the students like to see on the classroom screen scene in the semesters ahead?

     "I'd like to consider how the film study is done at New York University, Columbia, USC and elsewhere and then find a different and original way to go at it at Hopkins," Gross says. "Many of those film schools examine how movies are made and not as much attention is paid to movies as literature. That's something Hopkins can do."