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Film & Digital Media

Irene Lisztig

While making Yours in Sisterhood, UC Santa Cruz professor and documentary filmmaker, Irene Lusztig, went to 32 states to film people reading and responding to letters sent to Ms. Magazine in the 1970s. 

Janet Chen

Immigrating from Taiwan to the United States with her family when she was just nine years old, filmmaker Janet Chen learned to speak English by watching American television shows and movies.

We Are Not Princesses by UC Santa Cruz alumna Bridgette Auger

We Are Not Princessesthe first feature film by UC Santa Cruz alumna Bridgette Auger (SocDoc ’11) will have its world premiere on November 14 at DOC NYC, the largest documentary film festival in the United States.

Francesca Romeo

Francesca Romeo received her BA in English Literature from UC Berkeley, and a dual Master’s degree from Pratt Institute in Photography and Art History.

Soraya Murray (Photo by Derek Conrad Murray)

In her new book, On Video Games: The Visual Politics of Race, Gender and Space, UC Santa Cruz professor Soraya Murray goes beyond the technical discussions of games and instead offers a deep dive into their cultural dimensions.

Mike Dillon

Since graduating from University of California, Santa Cruz Mike Dillon has been credited in the production of over 100 films. His accomplishments include working on movies such as The Blind Side (2009), Gravity (2013), and 16 separate Marvel movies.

Peter Bratt (photo by Tommy Lau)

Tapped by iconic guitarist Carlos Santana to make a film about the life of legendary farmworker activist Dolores Huerta, Peter Bratt panicked.

Jon Ayon Alonso

Jon Ayon Alonso, a new professor in the Film & Digital Media Department, has taught at Stanford University, San Francisco State, the California College of the Arts, and City College of San Francisco, and he’s excited to bring all this experience to UC Santa Cruz.

For Film and Digital Media senior Marisol Medina-Cadena, witnessing the bridge construction on the National Mall was not only a spectacular engineering feat but also a great visual metaphor—linking the historical legacies of this Inka tradition to a contemporary context in the shadow of the U.S.

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