Faculty & Staff

FULL-TIME FACULTY | Part-time Faculty | Emeritus Faculty | Staff

Dr. James Stone

  • Department Chair + Associate Professor
  • Ph.D., University of New Mexico
  • Email: jstone@unm.edu
  • Office: CERIA 370B

Associate Professor Dr. James Stone teaches several courses in film history, among them “International Horror Film,” “The Cinema of Alfred Hitchcock,” and “Teen Rebels.” His primary interests are in British cinema, American popular culture, apocalyptic imagery, and gender studies.

“Enjoying 9/11: The Pleasures of Cloverfield,” his essay on the relationship between terrorism and spectacle, was published in Duke University’s Radical History Review. Another essay on the appeal of destruction, “The Meek Inherit the Earth: Celebrating the End of American Power in Mars Attacks!” appeared in Akademisk Kvarter, a Danish journal of the humanities. He contributed a chapter on 1930s film star Jessie Matthews to The Transnationalism of American Culture: Literature, Film, and Music, a collection from Routledge. His essay on the Paranormal Activity films is included in the Lexington Books anthology The Great Recession in Fiction Film and Television: Twenty-First-Century Bust Culture.

Recent publications—in collections by McFarland, Palgrave Macmillan, and Wilfred Laurier University Press—delve into the subjects of sexual abuse in the Resident Evil movies, eroticism in the neo-noir Romeo is Bleeding, and matriarchal space in Powell and Pressburger’s One of Our Aircraft is Missing.

A monograph, “America Through a British Lens: Cinematic Portrayals, 1930-2010,” is slated for publication by McFarland in 2016.


  • MA210 Introduction to Film
  • MA330/430 Hitchcock
  • MA326/426 Film History
  • MA334/434 Teen Rebels
  • MA335/435 International Horror Film
  • MA330/430 Cinema of Charlie Chaplin
Dr. James Stone

Dr. James Stone

Dr. Adán Ávalos

  • Assistant Professor + Academic Advisor
  • Ph.D., University of Southern California
  • Email: aavalos@unm.edu
  • Office: CERIA 350

We’re delighted to welcome our newest colleague to Cinematic Arts, Dr. Adán Ávalos, who joins us as an Assistant Professor of Latin American and US Latino/a film.

Professor Ávalos earned his Ph.D. at the University of Southern California’s School of Cinematic Arts with a dissertation focused on Latino migrant communities and media consumption/production. His academic work, focusing on exploitation films of the 1970s and 1980s—so-called naco movies—reclaims part of Mexican film history often dismissed by conventional scholarly research. After earning a BA in Chicano Studies and Art at California State University, Fresno, Dr. Ávalos also taught studio art in public schools for five years.

Both theory and practice of art are essential to this documentary filmmaker and installation artist. Reflecting a broad range of interests and borrowing from history and criticism, his work also encompasses traditional fiber art, photography, ceramics, and printmaking. His films explore the lives of low-income Latino populations in the Central Valley of California, and his most recent documentary centers on a panadero who has baked and delivered Mexican bread to the same Latino neighborhoods for decades. In addition to moving-image making, Dr. Ávalos also recently constructed a life-sized, soft sculptural piece of the iconic Chicano vehicle, a 1961 Ford Ranchero.


  • MA310/410 Latin American Film
  • MA331/431 Film Theory
  • MA330/430 Mexican Cinema
  • MA212 Beyond Hollywood
Dr. Adán Ávalos

Dr. Adán Ávalos

Dr. Susan Dever

  • Associate Professor
  • Ph.D., Stanford University
  • Email: susandev@unm.edu
  • Office: CERIA 366

The subjects of Dr. Susan Dever’s recent scholarship and practice—Eastern philosophy and film art—continue to inform a series of new Cinematic Arts courses in Contemplative Cinema and Visual Epistemologies. The ever-changing “EveryDay Art: Mindfulness for Moviemakers and Other Poets,” plus all the different iterations of “Celluloid Buddhas,” have garnered high marks from “group/independent study” students discovering, through the combined practice of secular sitting meditation and interdependent cinematic art-making of all sorts, what it means to be an artist.

Published: Celluloid Nationalism and Other Melodramas: From Post-Revolutionary Mexico to FinDe Siglo Mexamerica (Suny Series, Cultural Studies in Cinema/Video & Suny Series in Feminist Criticism and Theory)

Celluloid Nationalism and Other Melodramas looks at representation and rebellion in times of national uncertainty. Moving from mid-century Mexican cinema to recent films staged in Los Angeles and Mexico City, Susan Dever analyzes melodrama’s double function as a genre and as a sensibility, revealing coincidences between movie morals and political pieties in the civic-minded films of Emilio Fernández, Matilde Landeta, Allison Anders, and Marcela Fernández Violante. These filmmakers’ rationally and emotionally engaged cinema-offering representations of indigenous peoples and poor urban women who alternately endorsed “civilizing” projects and voiced resistance to such totalization-both interrupts and sustains fictions of national coherence in an increasingly transnational world.


  • MA330/430 Celluloid Buddhas
  • MA330/430 EveryDay Art
  • MA330/430 The Practice of Looking
  • MA330/430 The Mind’s Eye: Movies and Meditation

Nina Fonoroff

  • Associate Professor
  • M.F.A., San Francisco Art Institute
  • Email: NFonoroff@aol.com
  • Office: CERIA 352

Associate Professor Nina Fonoroff’s hybrids of collage, painting, and musical composition from sampled sound and cinema have recently resulted in new variations of her well-received courses.  Central to her creative process is a deep involvement in almost all of the phases of a film’s production—from scripting and shooting to editing and finishing of image and sound elements—enriching our students’ vision and skill.  Most recently, Fonoroff has begun experimenting with hand-processing film.

View her work online at ninafonoroff.com


  • MA330/430 Avant-Garde Film History
  • MA330/430 Musicals
  • MA330/430 The Cinematic Worlds of Michael Jackson
  • MA330/430 Science Fiction Film History
  • MA391 16MM Filmmaking
  • MA429 Found Footage
Nina and Bryan

Nina Fonoroff and Bryan Konefsky

Deborah Fort

  • Associate Professor
  • M.F.A., San Francisco Art Institute
  • Email: debfilms@unm.edu
  • Office: CERIA 364

In Fall 2010 we managed to score Professor Deborah Fort as Visiting Digital Media Artist to teach a new course in “Digital Storytelling.” She has since moved on to become a tenured full-time colleague and Associate Professor of Cinematic Arts. Fort is currently involved with several projects that utilize the interactive and live video manipulation capabilities of Max/MSP/Jitter. In her collaborative performances with internationally- acclaimed, physical improvisation artist Ruth Zaporah, Fort uses the midi capabilities of a Rockband Guitar to “play” video.

Fort is also researching various interactive approaches to documentary, book making, and other forms of digital storytelling. She incorporates her research into her classes, which include the use of mobile devises for both production and distribution.

Uniting filmmakers, dancers, composers, and other artists in her interactive, feature-length documentaries and performance pieces, Fort is now transferring endless creative skills to teaching her current students in digital post- production, documentary, book making and other practices of the contemporary digital media artist.

View her work online at deborahfort.com


  • MA216 Introduction to Moving Image Arts
  • MA332 Documentary Film History
  • MA390 Digital Storytelling
  • MA390 Avid Editing, online course
  • MA409 Advanced Video Art
  • MA429 Bookmaking in the Digital World
  • MA429 Digital Post Production
  • MA429 Documentary Film Production


Caroline Hinkley

  • Visiting Professor of Practice
  • M.F.A., California Institute of the Arts
  • M.F.A., Claremont Graduate University
  • Email: cineh@unm.edu
  • Office: CERIA 350

Visiting Professor Caroline Hinkley (MFA, California Institute of the Arts; MFA Claremont Graduate School) is an internationally-regarded artist/scholar whose teaching and expositions encompass film theory, motion and still photography (digital and conventional), immersive spaces (including museums, sacred spaces, and the “elsewhere” of exile). Caroline has been the recipient of a WESTAF/NEA, the Phelan Award for excellence in Photography from the San Francisco Foundation.  Associate Professor Hinkley has recently received grants from the Icelandic Visual Arts Association, Cill Rialaig in County Kerry, Ireland linking her current photographic art with on-going explorations of the Himalayas. In 2011 Caroline was part of a collaborative exhibition of Irish and American artists at the Lesley Heller Workspace in NYC.


RedLine Visual Arts Center

Here and Elsewhere, 2011, at St. John’s Art Gallery. Caroline Hinkley presented a collection of photographs that explore the edges of existence. Hinkley’s Tibetan and Icelandic landscapes encompass notions of the sublime. Her images explore the undertow of spirituality and metaphysics that draws viewers into the edges of Elsewhere.


  • MA331/431 Film Theory
  • MA330/430 Still/Moving
  • MA330/430 Science Fiction
  • MA336/436 Images of (Wo)men
  • MA212 Beyond Hollywood


Bryan Konefsky

  • Senior Lecturer
  • M.F.A., University of New Mexico
  • Email: bryank@unm.edu
  • Office: CERIA 362

Bryan Konefsky is a cultural worker dedicated to the advancement of un-dependent, experimental and personal cinema through his work as moving image artist, teacher, lecturer and film festival director. He teaches courses in moving image production and critical studies in the Department of Cinematic Arts at the University of New Mexico, where he was honored in 2009 with a university-wide Teacher of the Year award.

Konefsky is the president of Basement Films (a community-based arts non-profit organization), founder and director of Experiments in Cinema, an annual international film festival that showcases cinematic experimentation from around the world. He served as a panelist for the New Mexico Film Office’s New Visions filmmaking awards; he is a member of the board of advisors for the Ann Arbor Film Festival (the oldest independent festival in the United States), a guest curator for the Southwest Gay and Lesbian Film Festival and an experimental film judge for Videofest sponsored by the Dallas Video Association in Texas.

Konefsky lectures at colleges and universities internationally, among them the University of Applied Sciences in Wurzburg, Germany; the University of Pisa in Italy; Smolny Institute in St. Petersburg, Russia; Dongguk University in Seoul, South Korea; the University of Windsor in Ontario, Canada; the University of California at Santa Cruz; Ohio University; and the University of Michigan.

Konefsky’s work has been published in Peripheral Produce, The Art of Pixelvision, Forgotten Cassettes, Incite, Canyon Cinema, The Appropriation Alliance, Precious Realm, The Alternative Film/Video Festival Belgrade, Thinking Through Digital Media, and Otherzine. His moving image work has been supported by grants from the McCune Charitable Foundation, New Mexico Arts, The New Mexico Humanities Council, Instituto Cervantes, The New Mexico Film Office, The Moon and Stars Project for the American Turkish Society, The Albuquerque Film Office, The National Endowment for the Humanities, The Trust For Mutual Understanding, The National Endowment for the Arts, and the Banff Centre for the Arts in Canada.

Konefsky has presented his own films and curated programs internationally at venues such as Blinding Light Cinema in Vancouver, the Videoex Festival in Switzerland, the Erarta Museum for Contemporary Art in Russia, the Paris Underground Film Festival in France, Alchemy Film & Moving Image Festival in Scotland, Cinema Ritrovato in Italy, L’Alternativa Festival in Barcelona, Festival Internacional del Nuevo Cine Latinoamericano de La Habana, the Oslo Film Institute in Norway, the European Media Arts Festival in Germany, The Bienal de la Imagen en Movimiento in Buenos Aires, The Alternative Film/Video Festival in Belgrade, Serbia, the Long Beach Museum of Art in California, and the premiere experimental film venues in New York City, Anthology Film Archives and Millennium Film Workshop.



  • MA216 Introduction to Moving Image Art
  • MA330/430 Recent Trends in Moving Image Art
  • MA330/430 I Drive Therefore I Am: Car Culture and the Speed of Light
  • MA409 Advanced Moving Image Art
  • MA429 Experiments in Cinema (film festival)
  • MA 429 New Mexico Filmmaking Redux: Time and Place


Bryan Konefsky

Bryan Konefsky

Matthew McDuffie

Matthew McDuffie, Professor of Practice at the university, has been a professional screenwriter for twenty-five years, and has written for HBO, Showtime, CBS, Fox and Warner Bros. He is the writer/director of the upcoming film Burning Bodhi, starring Kaley Cuoco. He wrote the screenplay for The Face of Love, starring Annette Bening and Ed Harris, with the film’s director, Arie Posin. He was nominated for a Writers Guild Award for his teleplay of Anne Rule’s account of Ted Bundy, The Stranger Beside Me. He also created the story for Lifetime’s Odd Girl Out, adapted Meg Wolitzer’s, Surrender, Dorothy for Diane Keaton, and turned the novel, A Cool, Dry Place, into a film starring Vince Vaughn. He has taught introductory, advanced and graduate levels of screenwriting at The University of New Mexico for fifteen years.



  • MA324 Introduction to Screenwriting
  • MA390 Advanced Screenwriting
  • IFDM491 Graphic Novel to Screenplay
  • IFDM450 IFDM Capstone
Matthew McDuffie

Matthew McDuffie

Regina Chavez Puccetti

  • Lecturer II + Area Head, Arts Management Minor
  • M.C.R.P., University of New Mexico
  • Email: rchav217@unm.edu
  • Office: Center for the Arts 3020
  • Phone: 505.277.0726

Regina Chavez Puccetti is a Lecturer II faculty member at the University of New Mexico in the College of Fine Arts – Arts Management Program. She is the Area Head for the Arts Management Program and teaches Introduction to Arts Management and Advanced Arts Management Topics: Creative Economy, Professional Arts Management Practices, and Fundraising for the Arts. She also teaches Business & Law of Film & New Media for the Interdisciplinary Film & Digital Media Program, and has taught Creative Economy for the Freshman Learning Communities. Ms. Chavez co-developed The Business of Art professional certificate for the Executive & Professional Education Center at the Anderson School of Management and is an instructor for the certificate and for the Business Start Up 102 certificate. She is also the UNM Campus Project Manager for the Strategic National Arts Alumni Project (SNAAP), a national survey, data management and institutional improvement system designed to enhance the impact of arts-school education.

Ms. Chavez’s professional experience includes accounting, arts administration, economic development, non-profit leadership and development, entrepreneurship and education. She has worked for non-profits, local government and the private sector. Ms. Chavez has taught at the University of New Mexico, Santa Fe University of Art and Design, and Southwest University of Visual Arts.

She holds a Master of Community and Regional Planning (MCRP) from the University of New Mexico with an emphasis in public art planning and graduated with Distinction.


  • FA250 Intro to Arts Management
  • FA450 Professional Arts Management
  • FA470 Fundraising for Arts
  • IFDM410 Business & Law of Film & New Media

Regina Chavez Puccetti