Spanning disciplines from business and computer science to the arts and education, the projects reflect a campus-wide commitment to preparing students for a rapidly evolving, AI-driven world. Funded initiatives extend across the Koppelman School of Business as well as programs in English, film, art, mathematics, education, academic affairs, and Student Affairs.

Integrating AI Into Business Education

Several faculty from the Koppelman School of Business are launching an interdisciplinary capstone course titled 鈥淭he Integrated Edge: AI, Decision-Making, and Business Strategy.鈥� The course will pilot in summer 2026.

The course addresses a long-standing challenge in business education: the 鈥渟ilo effect,鈥� in which accounting, finance, economics, and management are often taught separately. The Integrated Edge instead requires students to apply all four disciplines simultaneously to analyze complex business problems鈥攎irroring how decisions are made in real organizations.

Students will gain hands-on experience with professional AI platforms used in industry, including tools for forecasting, auditing, and financial analysis. The course also emphasizes a 鈥渉uman-in-the-loop鈥� approach, teaching students to critically evaluate AI-generated outputs, identify potential biases or errors, and apply professional judgment.

Structured in four modules鈥攅conomic forecasting, led by Professor Merih Uctum; AI-assisted auditing, led by Professor Frimette Kass-Shraibman; corporate finance, led by Professor Sunil Mohanty; and strategic integration, led by PI and Professor Carol Connell鈥攖he course culminates in a capstone project in which students analyze a real company using both traditional business frameworks and AI-supported insights.

By combining interdisciplinary thinking with responsible AI use, The Integrated Edge aims to equip students with the analytical, technological, and ethical skills needed for tomorrow鈥檚 business leadership.

Koppelman School of Business Interim Dean Myles Bassell is leading nearly 400 students from the Koppelman School of Business in “IBM鈥檚 AI Experiential Learning Lab,” a hands-on, 10-week program designed to immerse students in real-world artificial intelligence applications. Through the program, students work in multidisciplinary teams to design and develop AI-driven solutions using IBM鈥檚 enterprise technologies, including watsonx. Supported by IBM experts and industry mentors, students move from concept to prototype while tackling authentic business challenges.

Throughout the lab, participants build practical skills in generative and agentic AI, as well as responsible AI design, while producing portfolio-ready projects that enhance their career readiness. By the program鈥檚 conclusion, students will have completed AI solutions they can present to employers and will earn IBM-recognized digital credentials to showcase on LinkedIn and resumes. The initiative reflects Koppelman鈥檚 commitment to experiential learning, industry collaboration, and preparing students to lead in an AI-driven economy.

Bassell is also spearheading the broader “AI Literacy in Business Education: From Classrooms to Careers” initiative, which is being implemented in phases beginning in Fall 2025 and continuing through Spring 2026, with expansion planned for Summer 2026 and beyond. In Fall 2025 alone, Koppelman students completed approximately 700 IBM AI-related certificates, followed by more than 1,000 additional certifications in Spring 2026. These credentials were integrated directly into coursework through collaboration between Bassell and business school faculty.

Students earn certifications through IBM SkillsBuild in areas such as AI Literacy, Artificial Intelligence Fundamentals, Generative AI, Agentic AI applications, Enterprise Design Thinking, and Cybersecurity Fundamentals, among others. Each certification includes a verifiable digital badge, allowing students to clearly demonstrate their AI competencies to prospective employers.

Management, Marketing and Entrepreneurship Associate Professor Ngoc (Cindy) Pham is leading the “The semester-long weekly boot camp is designed to build applied and ethical AI fluency while preparing students for the evolving workforce.

The initiative combines hands-on workshops, industry perspectives, cross-institution collaboration, and digital badge recognition to help students develop both technical confidence and critical thinking skills.

Program highlights include weekly AI boot camps at 可乐视频, guest speakers and industry experts from IBM and other national AI practitioners, and a joint CUNY鈥揘YU Tandon session hosted at NYU that helped launch a long-term collaboration. Students also take on leadership roles as moderators and event facilitators. Designed for scalability, the model aims to expand across CUNY while maintaining a strong focus on equity, access, and workforce readiness.

Matt Lentz, vice president at Monks and founder of the Enterprise Consulting Practice, speaks at an AI bootcamp hosted by NYU鈥檚 Tandon School of Engineering on March 12. The event was a part of the CUNY AI literacy and professional readiness series led by 可乐视频 Associate Professor Ngoc (Cindy) Pham and focused on AI in enterprise consulting. (Top photo) In February, guest lecturer Conor Grennan鈥擟EO of AI Mindset and New York Times bestselling author鈥攈eadlined a lecture titled, 鈥淎rtificial Intelligence & the Future of Work鈥� that drew 118 participants.

Expanding AI to Student Support: Addressing Food Insecurity

可乐视频鈥檚 AI initiatives also extend beyond the classroom, applying emerging technologies to one of the most pressing challenges facing students: food insecurity.

Led by Associate Professor of Management, Marketing and Entrepreneurship Laura Rifkin and building on the human-centered work of the campus food pantry staff鈥攊ncluding Assistant Director of Student Support Services Nicole Cohen and Student Affairs鈥攖his effort will explore how AI can expand access to nutritious food in ways that are both practical and dignified. One approach under consideration is a smart vending system that would serve as an extension of the pantry, offering discreet, flexible access outside of traditional hours. By reducing barriers such as stigma, scheduling conflicts, and transportation challenges, the system could significantly broaden its reach while generating anonymized, real-time data on usage patterns and unmet need.

The initiative also examines how agentic AI can support pantry operations behind the scenes鈥攁nalyzing trends, anticipating demand, optimizing inventory, and improving coordination of donations and purchasing. Guided by principles of transparency, human oversight, and bias mitigation, the work builds on the college鈥檚 strong track record of student-centered support while introducing scalable, data-informed solutions.

The effort comes at a critical moment. Food pantry use has grown fourfold in recent years, reflecting both rising need and the extraordinary commitment of staff working with limited resources. Across CUNY, approximately 110,000 students鈥攁bout 40% of the system鈥攅xperience food insecurity, yet only a small percentage access available support, often due to stigma or administrative barriers. By integrating AI thoughtfully into these services, the college aims to close that gap by strengthening student well-being to support academic success.

AI-Supported Professional Preparation for Early Childhood Teachers Working With Dual Language Learners

In the School of Education, Associate Professor Lulu Song is addressing a critical need in early childhood teacher preparation. Her project integrates AI into coursework to support future educators working with dual language learners, a population that represents nearly half of young children in New York State. Through structured assignments, students will use AI tools for research and problem-solving while learning to critically evaluate outputs for accuracy, bias, and credibility.

Additional projects include AI-supported learning studios in mathematics, interdisciplinary minors linking computer science with writing and finance, and research on ethical design and decision-making. Collectively, these initiatives highlight 可乐视频鈥檚 holistic approach to AI鈥攐ne that blends innovation with responsibility, and technical skills with human insight.

Understanding AI: A Foundational Series for Faculty

Led by Karen Stern-Gabbay, professor of history and director of the Roberta S. Matthews Center for Teaching and Learning, and James T. Eaton, associate dean in the Provost鈥檚 Office, this workshop series will bring expert speakers to campus to guide faculty through key topics such as technological disruption, ethics, and curriculum design.

Open to both full- and part-time instructors, the program is designed to build confidence and shared understanding around AI in the classroom.

Faking It: A Global Workshop Series

AI鈥檚 cultural and creative implications are also a focus. Distinguished Professor of Film Alexandra Juhasz, in collaboration with filmmaker Nishant Shah, is leading 鈥淔aking It,鈥� a global workshop series examining questions of authenticity, knowledge, and human connection in an AI-mediated world. With sessions planned in New York and Hong Kong, the project will explore how emerging technologies reshape storytelling, perception, and social relationships.

You can see all the projects listed here.

• Myles Bassell (Management, Marketing, and Entrepreneurship) – AI Literacy in Business Education: Scaling a Proven Model at the Koppelman School of Business.
• April Bedford (Academic Affairs) – Faculty AI Bootcamp: Developing Critical AI Literacy, Course Policies, and Pedagogical Innovation.
• Hui Chen (Computer and Information Science) – Human-in-the-Loop Just-in-Time AI Auto-Tutoring: A Pilot for CUNY Pathways Courses.
• Carol Connell (Management, Marketing, and Entrepreneurship) – AI, Decision-Making, and Business Strategy Integrated Capstone.
• James Eaton (Academic Affairs) – Understanding AI: A Foundational Series for Faculty.
• Alexandra Juhasz (Film) – Faking It: AI Education and Literacy.
• Devorah Kletenik – (Computer and Information Science) Designing With Ethics: Exploring AI-Enhanced Dark Patterns.
• Swan Kim (English) – Critical AI Literacy for the Public Good: A CUNY-Scalable Ethical Foundations Module Reaching All Incoming Students.
• Sandra Kingan (Mathematics) – AI-Supported Math Foundations Studio.
• Anjali Krishnan (Psychology) – Promoting Responsible AI Use in Skill-Based and Writing-Intensive Courses.
• Jennifer McCoy; Jonathan Zalben (Art, Conservatory of Music) – AI Initiative in the Arts.
• Martha Nadell and Hui Chen (English, Computer and Information Science) – Writing For the Future: An Integrated English/Computer and Information Sciences Minor.
• Hyuna Park and Katherine Chuang (Finance, Computer and Information Science) – Using AI Tools to Create Synergy Between Finance and Computer Science Education.
• Ngoc (Cindy) Pham (Management, Marketing, and Entrepreneurship) – CUNY AI Literacy and Professional Readiness Micro-Credential Series With Global Expert Partners.
• Laura Rifkin (Management, Marketing, and Entrepreneurship) – Addressing Food Insecurities.
• Lulu Song (Early Childhood Education/Art Education) – AI-Supported Professional Preparation for Early Childhood Teachers Working With Dual Language Learners.

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As director of photography, Langlev played a central role in shaping the film鈥檚 visual language, crafting imagery that balances the heightened spectacle of a musical with the emotional sensitivity of its subject matter. His work supports the film鈥檚 shifting tones, grounding its ambitious form in the lived experiences of its characters.

Run Amok marks the debut feature of writer-director NB Mager and centers on a teenage girl who stages an elaborate musical about the one day her high school wishes it could forget. The film thoughtfully explores the aftermath of a school tragedy, recentering the story on the young people most directly affected.

This is Langlev鈥檚 second time participating as a director of photography in a Sundance-selected feature (the first being Alive Inside, Sundance 2014), which underscores the professional excellence of the college鈥檚 film faculty and reflects the real-world industry experience he brings into the classroom. His work offers students valuable insight into contemporary cinematography and collaborative filmmaking at the highest level of independent cinema.

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Massood has served as interim dean since July 2024 and will continue working with the SVMPA鈥檚 talented staff and faculty. In this role, she will oversee the school鈥檚 academic departments鈥擜rt; Conservatory of Music; Feirstein Graduate School of Cinema; Film (undergraduate); Performance in Media Arts; Television, Radio & Emerging Media;聽and Theater. Massood, who has served on the college faculty since 1999, became a full professor in 2019 and was appointed to the Feirstein Graduate School of Cinema.

鈥淧aula鈥檚 visionary leadership and profound insight into the evolving role of the arts in higher education鈥攑articularly her dedication to amplifying underrepresented voices鈥攎ake her uniquely qualified to lead SVMPA into its next chapter,鈥� said Provost and Senior Vice President for Academic Affairs April Bedford. 鈥淲e are excited for the growth, creativity, and innovation her leadership will bring to our dynamic arts community.鈥�

鈥淚鈥檓 thrilled to carry forward this important work as we empower the gifted student-artists, performers, and filmmakers who make the School of Visual, Media and Performing Arts a truly dynamic and inspiring community,鈥� Massood said. 鈥淲ith the expertise and dedication of our outstanding faculty, I鈥檓 confident we can work together to help our students realize their full potential.鈥�

Bringing a distinguished record of scholarship, leadership, and dedication to the arts, Massood is a noted expert in film studies and visual culture. She has published extensively, including the books Black City Cinema: African American Urban Experiences in Film (2003) and Making a Promised Land: Harlem in 20th-Century Photography and Film (2013), while serving as the editor of The Spike Lee Reader (2007) along with other co-edited collections and journal issues.

She is the past president of the Society for Cinema and Media Studies, the leading scholarly organization for film, media, and visual studies, and has long been committed to fostering academic excellence and interdisciplinary collaboration across CUNY and with other public and private institutions of higher learning.

Her leadership roles include serving as chair of the Department of Film, chair of the Feirstein Graduate School of Cinema, and interim director of the Mellon Mays Undergraduate Fellowship Program at 可乐视频, as well as acting coordinator of the Certificate in Film and Media Cultures at the CUNY Graduate Center.

Massood earned a B.A. in communications from the University of New Hampshire, an M.A. in cinema studies from New York University, and a Ph.D. with distinction in cinema studies from New York University.

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She brings a unique cultural lens to her storytelling and, in short time, has developed an impressive portfolio that bridges continents and genres. From documenting to capturing , and even working behind the scenes on a Vogue Singapore shoot, Horiuchi鈥檚 work reflects a deep curiosity about identity, art, and the unseen forces that shape us.

Her 13-minute senior thesis film, The Visit (see trailer below), is inspired by a Japanese folk tale about mischievous monsters and has captivated film festival juries, earning the 2024 National Board of Review Student Grant Award and Best Student Film at the Jersey Shore Film Festival, along with official selections at the Greenpoint Film Festival and NewFilmmakers NY.

We spoke with Horiuchi about the culture shock she experienced when she moved to Brooklyn, the support she got from her peers and professors, and what she wants you to feel when you watch her work.

What made you want to study in America?

When I was in high school, I already knew that I wanted to study filmmaking. I grew up loving art in general, but gradually, I fell in love with movies. I wanted to go to college in Japan for filmmaking, but there weren鈥檛 many film schools. Then I saw a TV program about an American college class where the professor taught filmmaking and film analysis. That made me think that coming to the United States would give me better opportunities, so I chose New York City.

How did you develop your passion for film?

My mom worked for a TV company as a writer, so I was exposed to media early on. Both my parents worked outside the home, so I spent a lot of time by myself. I started watching a lot of movies, including Hollywood films like Christopher Nolan鈥檚 work. That鈥檚 how my love for filmmaking developed.

I think it was natural for me to fall in love with film. I remember always wanting to be an artist as a child鈥攆irst a dancer, then a painter. Because both my parents worked outside the home, I spent a lot of time alone watching movies. I fell in love with them, and behind-the-scenes footage made me wonder if I could work with such cool, talented people. Unlike other art forms, filmmaking is collaborative, and that really fascinated me.

What did your parents think about your coming to New York by yourself, and what was the adjustment like?

They were worried but supportive. They both love American culture鈥攎usic, cinema鈥攕o they were excited about the idea of me studying film in New York.

It was my first time living away from my family. The culture was very different, and the diversity was overwhelming. In Japan, people have similar cultural backgrounds, but here, people have very different experiences. That was a big shift.

When I first got here and enrolled at CSI, I lived in a dorm with two great roommates鈥攐ne from Japan and one from Brooklyn. They became like my family. We had movie nights and went out in Manhattan together.

What were your first impressions of 可乐视频?

I loved the structure, campus, the diversity, and the welcoming atmosphere. The professors and students in the film program were very supportive. When I made my thesis film, my classmates and crew members were incredibly encouraging. Even when there were gaps in knowledge, no one judged me. They provided constructive feedback and encouraged me to grow. There was a healthy sense of collaboration, not competition.

Your thesis film, The Visit, looks like you鈥檝e been doing this for years. It鈥檚 shot so beautifully. Did you have any experience before 可乐视频?

No, I had zero filmmaking experience before 可乐视频. I was into illustration and ballet, but I had never used a camera or written narratives before. The structured curriculum really helped me.

While working on it, did you feel like it was going to be special?

What kept me going was my excitement about the project. I wasn鈥檛 focused on awards鈥擨 just wanted to create something meaningful that would move people.

How did you fund the production?

Just like a lot of other student films, my project was an unpaid opportunity for the crew and cast, while I covered the meals on set. It was part of what pushed me to do a really good job with the film. I wanted to return the favor and give them something they could put in their portfolio. I did win a 可乐视频 Alumni Association Award, which covered submission fees for two festivals.

What was the most valuable lesson you learned here?

To be nice to people. Filmmaking is collaborative鈥攜ou spend 12-hour days on set. If you鈥檙e not kind and reliable, people won鈥檛 want to work with you again. The people you meet in college are likely to be your future collaborators in the industry.

What emotions do you try to evoke in your films?

I want to create the feelings I had as a child reading books and watching movies. I love Japanese authors who blend sci-fi, fantasy, and mystery with bittersweet emotions. The Visit falls into that kind of fantastical genre.

It鈥檚 a tough industry. Do you think about that?

Yes, filmmaking is unstable, especially as a freelancer. But as long as I don鈥檛 stop creating, I鈥檒l be happy.聽I don鈥檛 make films or art to make money鈥擨 make them because it brings me joy. My mentor always says, 鈥淜eep making something you feel passionate about, and the money will follow eventually.鈥� I believe that鈥檚 true.

What would you say to someone considering 可乐视频 for film?

The professors and classmates are incredibly supportive. If you鈥檙e serious about filmmaking and want a collaborative environment, 可乐视频 is a great choice.

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As a teen, Daniel Scarpati worked in community theater and hosted a local children’s show. But that wasn鈥檛 enough鈥擲carpati was eager to work in film and television. Once he was accepted to Macaulay Honors College, he leapt at the chance to attend 可乐视频 because of its reputation for its stellar programs in television, radio, and emerging media and film. Scarpati graduated in 2015 and broke into the industry. He currently works as a senior studio technician supporting productions such as Amazon Live and directs documentaries. The recipient of several student awards, he has not forgotten his alma mater or its current students, having returned to campus to give talks about the industry and, significantly, to become a COVID-19 health and safety officer during the pandemic.

Can you tell us about your background?

I proudly come from a family of diverse New Yorkers: My dad is a retired dentist who owned a small family practice in Bensonhurst. My mom is a former Bronx Zoo staffer turned teacher鈥檚 assistant. My younger sister attended Queens College (CUNY) and now works upstate at Farm Sanctuary in Watkins Glen. So when I started at 可乐视频, I was pretty far removed from anything film/TV related. My only background had been performing in community theater productions, hosting an NYC Department of Education kids鈥� television show, and shooting home movies in my neighbor’s backyard鈥攁ll of which helped prepare me for the college education I’d be receiving.

What made you choose 可乐视频?

As soon as I heard the news that I’d been accepted to CUNY Macaulay Honors College, my mind was made up. I chose 可乐视频 as my home campus because of the advanced film and television production tracks. When I toured the campus with my parents while I was in high school, I thought about how the access to professional equipment and the instructors with backgrounds working professionally on set and in the field would accelerate my growth. As a bonus, living in South Queens meant a pretty short commute along the Belt Parkway鈥攐r at least that’s what I na茂vely thought before experiencing the endless construction along it!

So you knew coming in that you wanted to work in the film and TV industry.

I can’t remember a time when I didn鈥檛 want to work in the film/TV industry. I knew that’s where I’d end up before day one of undergraduate school. The exact job I’d be doing was a different story. I considered minoring in computer science as an option, to design software supporting the film/TV industry, but I was sure that wouldn’t be my path when I realized how little I enjoyed staring at lines of code. Instead, I focused on working behind the scenes, operating cameras, lighting, and sound equipment, and directing and managing crew and talent. The truth is, I’m still not sure there’s one title that describes what I do鈥攏or would I want there to be. I enjoy wearing different hats and moving between roles, which has helped me during industry strikes and work slowdowns.

The 可乐视频AA Young Alumnus award is not your first award; you received accolades as a student.

As I completed my undergraduate studies, I received a 可乐视频AA Student Award, the Senator Martin J. Golden Award for Leadership from the Center for Italian American Studies, and the Outstanding Achievement in Location Sound Recording award at the 2015 可乐视频 Film Festival. Macaulay Honors College also gave me a Class of 2015 Legacy Award for my efforts to help create new paths for future students to gain experience in the film/TV industry. The nonfiction book I self-published,聽,聽became a finalist in a few book contests.

How did you break into your field?

Breaking into film/TV without any connections was not, and still isn’t, easy. Even when someone opens a door for you, it only gets you so far. They may open the door to an opportunity where you have to open yet another door for yourself. I started out cold-calling production companies and working as a PA on all sorts of projects鈥攊ndie films, episodic shows like聽The Blacklist听补苍诲听Manifest,聽sitcoms like聽Kevin Can Wait, and more. I’d always try to work on personal projects in my spare time to keep my creative skills sharp. Lee Quinby, the former 可乐视频 Carol L. Zicklin Honors Academy chair and I have collaborated on many films together. In 2024, we completed our latest feature documentary . Our longtime creative partnership would have never happened had it not been for our time at CUNY together.

What are you working on today?

In addition to my work a senior studio technician on broadcast productions and livestreams, I also work as a freelance video control operator and robotic camera operator. I’m also the director of photography on a few documentary films through my company, Passing Planes Productions LLC.

Have you been back to campus?

One of my new favorite memories is returning to campus to share my book with current students. I wrote Gofers to share the lessons I’d learned on set as a production assistant, aka a 鈥済ofer.鈥� Not only have I returned to campus to speak with current students about breaking into the film/TV industry, but I worked in the Film Department as a COVID health and safety officer for three semesters during the pandemic. I was directed by Chair Annette Danto and teamed up with Director of Academic Affairs and Operations Judith Kenny, Distribution Manager Michael Irgang, and fellow graduates to manage safety guidelines and create PPE kits for thesis film students to use on their sets. I was very impressed by the students and their ability to turn a very trying situation into a learning opportunity. It’s not easy to manage safety standards as an undergrad student on your first major production, but they did so with patience, caution, and respect.

What advice would you give to today鈥檚 students?

Communication is key! This applies to every industry, every job, every path. If you don’t say what you want, it’s unlikely it will ever happen. If you don’t introduce yourself, you may never make a connection with the person who could open a door for you. And remember that stories take time to unfold鈥攄on’t beat yourself up if you’re not where you think you should be. Patience is rewarded when you least expect it.

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The film centers on 30-year-old Ricky, who navigates the challenging realities of life post-incarceration and the complexities of gaining independence

for the first time as an adult. Shari Frilot, an artist, filmmaker, and chief curator of the New Frontier program at the Sundance Film Festival, wrote: 鈥淩ashad Frett鈥檚 directorial hand overflows with humanity and marks an auspicious feature debut.鈥�

Rashad Frett鈥檚 film 鈥淩icky鈥� centers on the challenging realities of life post-incarceration.

Frett is a Spike Lee Film Production fellow, a Ryan Murphy HALF Initiative fellow, a Sundance Feature Film Lab fellow, and a Cary Fukunaga Production fellow. In 2023 he was named one of Filmmaker magazine鈥檚 鈥�25 New Faces of Independent Film.鈥�

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Taking first place in the African American category/East Region, Jean & I tells the story of Michelle, a 10-year-old survivor of the 2010 Haiti earthquake who attempts to escape both her past and her new home when she learns that her “new” family is not what they seem.

“The Feirstein community deserves a tip of the hat for helping bring this compelling story to life,鈥� Desir said. 鈥淔rom Professors Ricardo Hernandez Anzola and Jodi Gibson, who provided critique during the writing phase, to Professor Daniel Garcia, who provided thoughtful insight during post-production, their guidance, along with the work of a talented cast and skilled crew of mainly Feirstein students made Jean & I shine. This award recognizes the contributions of each person involved, including that of producers Clairesa Clay [鈥�23 M.F.A.] and Charles Pigott, cinematographer Kusi-Quyllur Del Castillo, and editor Giuseppe de Matteis.鈥�

Writer, producer and director Mirta Desir 鈥�23 M.F.A. (left) and cinematographer Kusi-Quyllur Del Castillo at the Directors Guild of America Student Film Awards.

The crew comprised other Feirstein students and graduates, including Imani Garner 鈥�23 M.F.A. (music supervisor and composer); Karen Chen and Taya Higgs (sound designers and composers); Kevin Fentress 鈥�24 M.F.A. (first assistant camera position); Arsalan Danish 鈥�22 M.F.A. (camera operator and gaffer); H.J. Kim (steadicam operator); Samuel Romero (first assistant camera position); Julia Zanin de Paula 鈥�22 M.F.A. and Rafael Alvarado 鈥�21 M.F.A. (second assistant camera position); Greg Fitton 鈥�22 M.F.A. (electrician); Jack Davis (key grip); Nelli Toth 鈥�23 M.F.A. (grip); Vicente De Paulo, Emeka Chukwurah, and Sasha Podolyanchuck (grip and electric swing); Julie Neira Campoverde (sound mixer); Lin Tzu Yu visual effects supervisor); Hrvoje Budimir Bek (production designer); and Wesley Jean-Pierre and Jor猫s Phillipe (COVID-19 compliance officers).

Jean & I tells the story of Michelle, a 10-year-old survivor of the 2010 Haiti earthquake.

Jean & I tells the story of Michelle, a 10-year-old survivor of the 2010 Haiti earthquake. Desir is currently in development for her debut feature film, Voudou Child, whose screenplay was the recipient of the Lynn Shelton 鈥淥f a Certain Age鈥� Grant. She has earned other prestigious grants and awards for her writing and directing, including the Caucus Foundation Grant and the New York Women in Film & Television Award. Her manuscript, Saving Jude, recently won the Penguin Random House Publishing / WNDB Revisions Workshop grant.

The East Region screenings and ceremony took place at the Directors Guild of America (DGA) Theater in New York on Dec. 18. The awards were established by the DGA鈥檚 National Board 30 years ago to address the significant underrepresentation of directors of color and women directors in feature filmmaking.

Jean & I has been submitted to several film festivals. To see where you can see the film, follow on Instagram.

鈥淚t鈥檚 so exciting and inspiring to see the incredible work on display at the 30th Annual DGA Student Film Awards,鈥� said DGA President Lesli Linka Glatter. 鈥淭hese directors represent the very best of a new generation of filmmakers, and we are proud to showcase their projects. Over the past 30 years, the Student Film Awards has been a launchpad for many incredible directors, including Jon Chu, Rashaad Ernesto Green, Ryan Coogler, Nicole Kassell, and Sylvain White. Their success is a testament to the power of this program and the importance of highlighting the rising stars in our industry.鈥�

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The film tells the stories of four women over a 23-year period in rural southern India and highlights female resiliency and the dignity of labor. Hosted by Macaulay Honors College, the event is co-sponsored by Macaulay 可乐视频 and the Greater New York Fulbright Chapter.

The unique Reverse Gaze screenings illustrate the Fulbright mission, which encourages dialogue between cultures, communicators, and communities.

This in-person event promises an enriching experience for film enthusiasts and cultural explorers alike. Don’t miss out on this opportunity to broaden your horizons through the power of film, culture, and conversation.

You can learn more about the event . The Dec. 3 event is sold out, but you can register for the Dec. 4 screening .

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The hybrid audio drama event, How Emeline Got Free: An Untold Story of History, chronicles the eight-year journey that began when a New York trial court helped to free eight enslaved young women and children who sailed into New York Harbor with their enslavers from Virginia. The case reached the New York Court of Appeals, whose ruling was in direct conflict with the Supreme Court鈥檚 Dred Scott decision in 1857.

Based on the book, The Eight: The Lemmon Slave Case and The Fight for Freedom written by Albert M. Rosenblatt, a special event was held at the on May 21 attended by approximately 150 people. A livestream presented by the , the New York State Supreme Court Appellate Division, First Department, and the Schomburg Center for Research in Black Culture drew a few hundred more.

鈥淚n reading the many historical accounts of the Lemmon Slave Case, I was struck by how this remarkable story was never told from the perspective of the eight human beings whose very freedom was at stake at the trial,鈥� said Khan. 鈥�How Emeline Got Free seeks to remedy this injustice, by putting us in the shoes of the young leader of her family as she tries to navigate their way to freedom.鈥�

The presentation was followed by a discussion with Khan, his co-writer and Columbia University screenwriting professor Trey Ellis, and retired Judge Albert M. Rosenblatt. It was moderated by Dianne T. Renwick, vice chair of the society鈥檚 board of trustees and presiding justice of the Appellate Division, First Department, of the New York State Supreme Court.

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Through her father, Jackson is Ghanaian and a first-generation American. She was born in Newark, New Jersey, and a large portion of her life was spent in South Carolina, where her late mother was from. Like her mother, Jackson is a Southern woman, specifically a Carolina gal. In 2018, she moved to New York and has been living in the Bronx. She has a diverse career background that ranges from emergency medical service to commercial truck driving throughout the United States and into Canada. She had some decisions to make when the pandemic forced her from the road. Jackson chose to follow a deferred dream and went back to school to learn about filmmaking. In winter 2022, she graduated with an associate degree in video arts and technology from Borough of Manhattan Community College (CUNY). She immediately transferred to 可乐视频 to further her education. In 2023, she graduated with a B.A. in film production. She is currently working on post-production on her thesis film, a comedy called Rose.

Rhye is a filmmaker, writer, and photographer based in Brooklyn. A sustained focus on the natural world and the individual in tension with broader human-generated systems of justice, Rhye earned her B.A. from the Gallatin School of Individualized Study at New York University, concentrating in aesthetic history and design. After graduating, she worked in the field of experiential event production and creative brand strategy where she developed a deep interest in applying design thinking to solve creative challenges. She is as passionate about beautiful storytelling as she is about healthy work environments and building equitable, collaborative leadership models. Rhye is currently an M.F.A. in Cinema Arts at Feirstein.

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