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 1 is an introductory video production course. Over the course of the semester students will gain experience in pre-production, production, and post-production techniques to allow them to create narratives and non-fiction video projects. Projects are designed to develop basic technical proficiency in the video medium as well as the necessary working skills and mental discipline so important to a successful working process. This semester, the course focuses on writing and it will introduce students to the ways in which writing and meaning are created in moving images through concepts such as mise-en-scene, composition and lighting. From idea to pitch, from script to production, students will develop the treatment and production schedule to produce three short dialogue or interview-driven videos. Through screenings and selected readings, students will gain historical knowledge of the video medium, marking video as a distinct medium from film. Students will be required to write original non-fiction and fiction scripts and will assemble a crew. Emphasis will be made on writing process and re-writing of treatments that will delineate concept, process, self-reflection and style. Critiques and feedback will be based on in-class collaboration, production skills and issues of representation. The projects produced in class will pay particular attention to creative risk-taking, critical analysis and to projects that give voice to underrepresented people or social justice issues. Students must attend weekly screenings or workshops. Prerequisites: Tutorial in FPV or Film I or Video I or Photo I or HACU-202 or equivalent 100 level medial arts course.
This is a co-taught course that combines theory and practice. After establishing an initial theoretical framework, it divides into two tracks of project production: students choose between art historical scholarly activism or video-based work in which the interview is the source of inquiry and research method. We challenge patriarchal frameworks by researching queer, People of Color (POC), and feminist scholars, activists, and artists through virtual and in-person interviews. Through engagement with these thinkers, we examine discourses of woman power in both Latin, Central, and North America. In studying transnational, transgender, and transgenerational practices, we consider the tension between allies in the destabilized discourses of the "female" (a term itself that will be put into question) body. Topics and theoretical frameworks include the menstrual taboo, sex work, raunch aesthetics, and femicidios. The readings will inform discussion of performance art, conceptual practices, film, public actions, music videos, and fine art. Students choosing art historical scholarly production will write about artists' practices. Students choosing video-based production will generate podcasts and video-recorded interviews with artists. Both tracks will research and make creative projects in dialogue with the artists studied.
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.
This course will look at films that construct cities as the main character of their narrative. In this context, narrative includes: discursive construction of history, meaning, and structure of the city, belonging is represented in several forms of video production and presentation. Special attention will be given to Latin American Cinema, youth in urban settings, and experimental work to engage with the ways in which social landscapes shape the human experience. Different film genres will be analyzed, including fiction and nonfiction films, with special emphasis on the essay film and its transformation to discursive expressions. As a final assignment, students will produce a short essay film about a location of their choice. Students are expected to explore the city in walks, field trips, and activities that involve everyday life and city happenings. Enrolled students and top 5 waitlist students who DO NOT attend the first class session risk losing their place on the class roster.
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. 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. Screening Series: Monthly, student-curated screening and discussion event, open to the public and the school community at large. The screening series will show a selection of films and videos seen and discussed in this course. HACU 250 will expose students to critical readings and a kaleidoscopic collection of music videos, clips, ads, social issue documentaries and experimental film and video that challenge notions of race, gender and class through tensions of content and form in regards to representation and voice. The screening series will provide students presentation and film screening event organization skills and engage with the community in discussions about pressing issues in contemporary culture. Enrolled students and top 5 waitlist students who DO NOT attend the first class session risk losing their place on the class roster.
This intermediate level production course places the interview as the locus of inquiry in order to explore, respond to, 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 Social Issues and Interview Practices In TV Studio Video Production, students create, research and analyze the process of producing scripted, story-based, socially engaged, short non-fiction 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 non-fiction 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. In the process, students will understand the various production roles of a studio shoot. In the remaining weeks, students will produce a short documentary for the web and public screenings and have the opportunity to work with the instructor in the production of three stylized studio interviews for Real Women Wear Orange, a documentary film by Braccus Giovanno and Carol Soto. The film tells the story of the women in the book Orange is the New Black by Piper Kerman and offers a critique to the romanticized view of formerly incarcerated women and girls presented in the Netflix series. This will be a demanding production course that will require intense work outside class, pre-production and organizational skills. Enrolled students and top 5 waitlist students who DO NOT attend the first class session risk losing their place on the class roster.