Visiting Assistant Professor of Video
At present, she is a visiting assistant professor of video and film in the School of Humanities, Arts, and Cultural Studies, Hampshire College, and a research associate at the Five College Women’s Studies Research Center, Five Colleges Incorporated (FCI) in Amherst, MA. In the summer of 2017, Patricia was the faculty director of the Screenwriting For Film and Video Program at Hampshire College. She lives in the neighboring city of Northampton.
In her creative work, Patricia draws on her bi-national identity and her Queer, U.S./Mexico border, and East-West North American experience to tackle the existential conditions and cultural contradictions experienced by immigrants from Latin America who are living in the United States. Her videos address issues of migration, memory, and identity through lyrical explorations of text, dialogue, theatrical adaptations, and the depiction of intimate human relations within the context of urban landscapes. Patricia is a product of the cultural and political movements of the 1990's, which were characterized by the impetus to express, in a personal voice, and with a sense of urgency, issues of identity and belonging.
Patricia Montoya is working with the feminist collective Kegels for Hegel, in the production of the music video for the song Take Me to Yr Borderlands (Love Song to Gloria E. Anzaldúa) with scholars and artists Dr. Sarah Luna, visiting assistant professor of Latin American Studies at Davidson College, and Alexis Salas, visiting assistant professor of art at Hampshire College. She has also collaborated in the production of The Real Women of Orange is the New Black, a documentary series co-directed by Carol Skelsky Soto and Braccus Giovanno, based on the Netflix series Orange is the New Black. She is currently in the developmental stages of various projects including the production of La Niña de La Carta, an animation short about a young woman/spirit in NYC who engages in long, solitary, aimless walks in New York City and can’t satisfy her hunger for food and love.
Patricia has been a recipient of a Media Production Grant: New York Council for the Arts Individual Artists Program, NY; the University of California, San Diego Faculty/Fellow Award; the Transborder Interventions, Transcontinental Archives Graduate Student-Award: University of California San Diego, and an Artist-in-Residency at the then-alternative art space Lui Velazquez, Tijuana, Mexico in 2006.
Patricia holds an M.F.A. from the University of California, San Diego and is a graduate of the Film and Video Production Program at Third World Newsreel. She has served in the selection committee for the New York Foundation for the Arts and has curated several film and video programs in film and video festivals.
Patricia Montoya has shown her work in several venues in New York, Los Angeles, Mexico, and Canada, the latest of which is Los Angeles Filmforum's Exhibition Ism Ism Ism: Experimental Cinema In Latin America (Ismo Ismo Ismo: Cine Experimental En América Latina) As Part Of Pacific Standard Time: La/La, (2017). Among others, she has shown at Highways Performance Space, Los Angeles; Here Not There San Diego Art Now, Museum of Contemporary Art San Diego, San Diego, CA 2010; Compass 2007: New Art from the University of California’s MFA Programs, UC Riverside; San Diego Latino Film Festival, San Diego, California; BorDocs Foro Documental Tijuana, Tijuana, MX; The 11th Annual Freewaves Festival of Experimental Media Art, Los Angeles, CA; Interactiva07 Bienal de la Nuevas Artes, Mérida, México; The Museum of Modern Art, New York, NY: Third World Newsreel at Thirty, 1998; The Whitney Museum of American Art, New York, NY: Lesbian Genders, 1996; Women in the Director’s Chair, Chicago; Images Festival of Independent Film & Video, Toronto, Canada; Lesbian & Gay Experimental Film Festival; MIX, New York, NY.
Video, still images and sound are used in this course to explore the fundamental character of storytelling, filmmaking and time-based art practices. Students perform all aspects of production with particular attention to developing ideas and building analytical and critical skills. We will read seminal written work and interviews with practicing avant-garde artists in order to expand our knowledge, understanding, and love for the medium. Through exercises that include in-class and weekly projects, students will produce sketches aimed at exploring video as an experimentation tool. There will be special emphasis paid to sound design that includes original music, and ambient sound gathered with a separate sound recorder. The class will review the history of video art to give students the basic theoretical tools to critique their own productions and develop an understanding of the possibilities that medium offers.
This intermediate level production course places the interview as the locus of inquiry in order to explore, respond to, and express the ways in which social issues such as racism, economic inequality, homophobia, transphobia, sexism, bullying, hate speech and hate crimes, disability, incarceration, to name a few, affect us. In Interview Practices, Dialogue and Conversation in Studio Video Production, students create, research and analyze the process of producing scripted, story-based, socially engaged, short nonfiction and experimental videos. The course examines elements of performance for the camera, studio and in-the-field shooting, various interview and editing techniques, as well as the form, history, and function of the nonfiction genre in the U.S. The course is ideal for students who have completed other production courses and wish to further expand their skills and create a production portfolio. The first part of the course will be studying components of studio-based production with hands-on, in-class short production exercises including the use of the green screen and three camera setups, and shooting with editing in mind and being part of a production and editing crew. In the process, students will understand the various production roles of a studio shoot. In the remaining weeks, students will produce a short interview-based documentary, a conversation or a dialogue scene. This will be a demanding production course that will require intense work outside class, pre-production and organizational skills.
With special attention to project development, research, scene design and rehearsal, the course introduces students to the ways in which writing creates meaning in moving images through script formatting, internal and external structure, world of story, description, narration and dialogue, and mise-en-scene. From idea to pitch, from script to production, this course emphasizes the structural character of the script-writing process and preproduction. The class will analyze different scripting techniques in traditional and experimental nonfiction film and video. Students will develop the concept or story, write treatments and project descriptions, and create structures, treatments, production schedules, and idea presentations. Students will become familiar with writing styles, genres and formats used for short films and videos and will have a chance to workshop their writing/sketch into scenes and/or segments toward the development of their advanced Division II portfolios and Division III Advanced Activities projects.
This course will examine historical and contemporary stereotyping and representations of class/race/gender/ethnicity/sexuality in contemporary media, and discuss music videos, documentaries, experimental film and video that challenge such notions. Through readings, screenings and discussions, the class will inquire into the reasons for and consequences of stereotyping and the ways in which tensions of content, form and voice contest exploitative representation. A section of the class will be dedicated to films from global south and third cinema and to topics related to dying and death. The class also includes student-curated screenings. We will engage in textual analyses of the material discussed in class to critique and compare how the techniques employed to marginalize are challenged and employed to provide voice and self-representation to the otherwise silenced. The class will respond to these messages and representations through written assignments and a video production project analyzing and exploring the effects they have on socio-political, cultural, and personal relations. Enrolled students and top 5 waitlist students who DO NOT attend the first class session risk losing their place on the class roster.
Video, still images and sound are used in this course to explore the fundamental character of story telling, filmmaking and time-based art practices. Students perform all aspects of production with particular attention to developing ideas and building analytical and critical skills. We will read seminal written work and interviews with practicing avant-garde artists in order to expand our knowledge, understanding and love for the medium. Through exercises that include in-class and weekly projects students will produce sketches aimed at exploring video as an experimentation tool. There will be special emphasis paid to sound design that includes original music, and ambient sound gathered with separate sound recorder. The class will review the history of video art to give students the basic theoretical tools to critique their own productions and develop an understanding of the possibilities that medium offers. Enrolled students and top 5 waitlist students who DO NOT attend the first class session risk losing their place on the class roster.