CURRICULUM VITAE – JACK CRONIN
EDUCATION:
2001 Master of Fine Arts
Film, University of Wisconsin-Milwaukee summa cum laude
1997 Bachelor of Science
Telecommunications & Film, Eastern Michigan University (minors: Photography & Creative Writing)
PROFESSIONAL EXPERIENCE:
2005-Present Full-time Faculty, Oakland Community College, Farmington Hills, MI
• HUM 1900 Introduction to the Film
• HUM 2100 Special Topics in Film
• PHO 1800 Fundamentals of Digital Video
• PHO 2800 Advanced Digital Video
2006 Instructor, College for Creative Studies’ Art at the Center program for art educators
• Cinema Skills
2004-2006 Director, Detroit Film Center, 1227 Washington Blvd, Detroit, MI
• Overseeing the DFC’s educational program: hiring instructors, developing the
curriculum, scheduling classes, coordinating/supervising interns
• Programming/scheduling DFC screenings & visiting artists
• Facilitating day-to-day operations, administration, and community outreach
2003-2005 Adjunct Faculty, College for Creative Studies, Detroit, MI
• Winter 2005 Digital Cinema 1 - Basic Production (instructor of record)
• Winter 2005 Digital Cinema 2 - Light & Sound (instructor of record)
• Fall 2004 Digital Cinema 3 - Directing (instructor of record)
• Fall 2004 Digital Cinema 1 - Basic Production (instructor of record)
• Winter 2004 Digital Media Survey (instructor of record)
• Winter 2004 Digital Cinema 2 - Light & Sound (instructor of record)
• Fall 2003 Digital Cinema 3 - Directing (instructor of record)
2003-2005 Instructor, Detroit Film Center
• Spring 2005 Experimental Filmmaking (instructor of record)
• Summer 2004 Film 1 (instructor of record)
• Summer 2004 Final Cut Pro Editing (instructor of record)
• Summer 2003 Film 1 (instructor of record)
• Spring 2003 Film 1 (instructor of record)
2003-2005 Adjunct Faculty, Wayne State University, Detroit, MI
• Spring 2005 Video & Film Editing (instructor of record)
• Winter 2005 Film Production (instructor of record)
• Winter 2005 Techniques of Film & Video Production (instructor of record)
• Summer 2004 Film Production (instructor of record)
• Winter 2004 Techniques of Film & Video Production (instructor of record)
• Fall 2003 Directors Workshop (instructor of record)
• Fall 2003 Video & Film Editing (instructor of record)
2002-2003 Visiting Assistant Professor, Wayne State University
• Spring 2003 Video & Film Editing
• Winter 2003 Techniques of Film & Video Production
• Winter 2003 Film Production
• Winter 2003 Video & Film Editing
• Fall 2002 Techniques of Film & Video Production
2002 Instructor, University School of Milwaukee
• Black & White Photography (instructor of record)
2000-2002 Adjunct Faculty, University of Wisconsin-Milwaukee
• Summer 2002 Experimental Narrative Filmmaking (instructor of record)
• Spring 2002 Experimental Narrative Filmmaking (instructor of record)
• Spring 2002 Contemporary Topics in Media Arts
• Fall 2001 Junior Project (instructor of record)
• Summer 2001 Experimental Narrative Filmmaking (instructor of record)
• Spring 2001 Junior Project (instructor of record)
• Fall 2000 Basic Elements of Filmmaking I (instructor of record)
• Summer 2000 Experimental Narrative Filmmaking (instructor of record)
1998-00 Teaching Assistant, University of Wisconsin-Milwaukee
• Spring 2000 Basic Elements of Filmmaking II
• Fall 1999 Basic Elements of Filmmaking I
• Summer 1999 Experimental Narrative Filmmaking (instructor of record)
• Spring 1999 Introduction to Media Arts 102
• Fall 1998 Introduction to Media Arts 101
1997-98 Substitute Teacher, Dearborn Public Schools, Dearborn, MI
• All Subjects
College Tutor, Oakland Community College, Farmington Hills, MI
• Photography, Communication
1996-97 Teaching Assistant, Eastern Michigan University, Ypsilanti, MI
• Fall 1996/Spring 1997 Fundamentals of Film Production & Direction
1995-96 Film Timer/Printer, Film Craft Lab, Grace & Wild Studios, Farmington Hills, MI
EXHIBITIONS/SCREENINGS (1999-Present):
Invisible City (TRT: 11:00, b/w)
• Detroit, In Focus, Contemporary Art Institute of Detroit, MI
• Shrinking Cities, Museum of Contemporary Art Detroit (MOCAD), Detroit, MI.
• Detroit Film Center, Detroit, MI.
• Athens International Film Festival, Athens, OH, Juried, Awarded “1st Place Experimental,” and “Black Bear Award for Sound Design.”
• Big Muddy Film Festival, Carbondale, IL, Juried.
• Black Maria Film Festival, Jersey City, NJ, Juried, Awarded “Honorable Mention.”
• Delta International Film & Video Festival, Cleveland, MS, Juried, Awarded “Best Cinematography.”
• Ann Arbor Film Festival, Ann Arbor, MI, Juried.
• Milwaukee Underground Film Festival, Milwaukee, WI, Juried.
• Chicago Underground Film Festival, Chicago, IL, Juried, Awarded “Best Documentary Short.”
• Antimatter Film Festival, Victoria, BC, Juried.
• Museum of Contemporary Art Detroit (MOCAD), Outdoor Screening, Detroit, MI.
• Northwest Film Center, Portland, OR.
• Yale University, Avant-Garde Film Series, New Haven, CT.
• 3rd Annual Estacionarte, Mexico City, Mexico.
Ginevra (TRT: 3:00, b/w)
• Detroit Film Center, Detroit, MI.
• Heaven Gallery, Chicago, IL.
• Green Gallery, Milwaukee, WI.
• Aurora Picture Show, Extremely Shorts 10, Juried.
• Milwaukee Underground Film Festival, Milwaukee, WI, shown as part of juror program.
The Deer and the Antelope (TRT: 14:00, color)
• 42nd Ann Arbor Film Festival, Ann Arbor, MI, Juried.
• Detroit Docs Film Festival, Detroit, MI, Juried.
• Big Muddy Film Festival, Carbondale, IL, Juried, Awarded “Honorable Mention.”
• Portland Documentary and Experimental Film Festival (PDX), Portland, OR, Juried.
• IFP Flyover Zone Short Film and Video Festival, held in conjunction with the IFP 11th Annual Independent Filmmakers Conference, School of the Art Institute of Chicago Auditorium, Chicago, IL, Juried, Awarded “Best Experimental Short” and “Best of Festival.”
• 38th Chicago International Film Festival, Chicago, IL, Juried, Awarded “Certificate of Merit.”
• NextFrame Film Festival, (touring) Temple University, Philadelphia, PA, Juried, Awarded
“Director’s Choice.”
• Marin County Festival of Short Film and Video, San Rafael, CA, Juried, Awarded “Best of Category – Experimental.”
• Athens International Film and Video Festival, Ridges Auditorium, Athens, OH, Juried.
• Wisconsin Film Festival, Bartell Theatre, Madison, WI, Juried, Awarded “Best Experimental.”
• Salon 2002, Electro Acoustic Music Center, University of Wisconsin-Milwaukee, Dir. Jon Welstead, Invitational.
My Neighbor (TRT: 4:00, b/w)
• The Garage, Winston-Salem, NC.
• Museu de Arte Moderna, Rio de Janeiro, Brazil.
• Project 101, Paris, France.
• 111 Minna Gallery, San Francisco, CA.
• Firestation #3, Houston, TX.
• Cinema Obscura, Santa Barbara, CA.
• Green Bean, Greensboro, NC.
• Strange Brew Coffeehouse, Springfield, OH.
• Reel Noise, Seattle, WA.
• Wisconsin Film Festival, Madison, WI, Juried.
• Independent Exposure!, screening series presented by Microcinema International, San Francisco, CA.
• UWM Student Film & Video Shorts Festival, UWM Union Cinema, Milwaukee, WI, Juried, Awarded “Judges Award: 1st Place.”
Fluoride (TRT: 7:00, b/w)
• 33rd Humboldt International Film Festival, Arcata, CA, Juried.
• Milwaukee Underground Film Showcase, 703 S. 2nd St., Milwaukee, WI, Juried.
• Film & Video Series, Walker’s Point Center for the Arts, Milwaukee, WI, Invitational.
• Wisconsin Film Festival, The Fredrick March Play Circle, Madison, WI, Juried, Awarded “Honorable Mention.”
• UWM Student Film & Video Festival, UWM Union Cinema, Milwaukee, WI, Juried.
• Ouch, Café Caffeine, Milwaukee, WI, Invitational.
Shore Line (TRT: 2:30, color)
• The Water Show, Walker’s Point Center for the Arts, Milwaukee, WI, Invitational.
• Salon 2000 – The New Frontier, Electro Acoustic Music Center, University of Wisconsin-Milwaukee, Director: Jon Welstead, Invitational.
Cyclotron: An Evening of Performance Art (TRT: 25:00, color)
• It Won’t Kill You To Try It!, Fine Arts Cinema, University of Wisconsin-Milwaukee.
• Milwaukee Degenerative Arts Weekend, Bangkok Orchid, Milwaukee, WI, Invitational.
1995-98 Misc. Screenings & Exhibitions:
• EMU Telecom. & Film Dept. Screening, Eastern Michigan University, Ypsilanti, MI, Juried, “Best Short Film” 1995-96 & 1996-97.
• 1996-97 EMU Student Art Exhibit, Intermedia Gallery, Ypsilanti, MI, Juror: George N’Namdi, Awarded “Best of Photography,” and “Honorable Mention Best of Show” (photography).
• Photographer’s Forum 17th Annual College Photography Contest, Awarded “Honorable Mention” (photography).
• 1996-97 Cellar Roots Literary Journal, two pieces of prose and one photograph published.
• 1995-96 EMU Student Art Exhibit, Intermedia Gallery, Ypsilanti, MI, Juried, (photography).
PROFESSIONAL SERVICE:
• Oakland Community College Humanities Dept. Chair
• Executive Director of 2007 Detroit Docs International Film Festival
• Juror for 2008 Milwaukee Underground Film Festival
• Higher Learning Commission Self-Study Committee (OCC)
• Technology Management Committee (OCC)
• Board of Directors, Treasurer, Detroit Film Center
• Judge for 2006 Planet Ant Film Festival
• Programmer of Media City 11 Student Film Program
• Programmer of “Boxcar” Bi-Monthly Int’l Short Film Series at the Detroit Film Center
• Co-Director of the Second Annual Wayne State University Film Festival
• Advisor to the Wayne State University Student Film Club (2002-2003)
• Staff Writer for The UWM Post, Arts & Entertainment section (2001)
• Judge for 2000-01 WAPC Video Festival
• Judge for 2000 UWM Student Film & Video Festival
• Producer for West Allis Community Media Center, West Allis, WI (1999-02)
• Producer for Hamtramck Public Access, Hamtramck, MI (1997)
• Producer for Community Television Network, Ann Arbor, MI (1994-96)
TEACHING PHILOSOPHY – Jack Cronin
Throughout my teaching experience, I have found that an essential element in being an effective
instructor is the ability to inspire and motivate students. One of my chief goals is the cultivation of my
students’ enthusiasm toward the creative and expressive potential of film and video production. I believe
that motivation stems from the knowledge that one’s own work has importance and significance. Some of
the most influential teachers I have had were people who invested themselves in helping me to articulate
and refine my ideas. My ambition is to instill this same sort of conviction and assurance in others. I like
to believe that my students can draw strength and motivation from the knowledge that their work is
integral to the class and the instructor.
I place a considerable emphasis on providing students with individual attention, both in class and
outside of class. It is my belief that personalized instruction is paramount to the development of student-
artists because it facilitates their individual aesthetic growth. My role as an instructor is to help the
student develop a language through which their distinct, personal experience and expression can
communicate to others in an evocative way. A specific understanding of the student’s intention, in
addition to a contemplative analysis of the student’s work are indispensable in terms of providing
direction to that student, as well as guiding meaningful class discussion. I have always tried to facilitate a
significant amount of class discussion and interaction and have found that students often learn a great deal
from each other, just as I invariably learn a great deal from listening to my students. Also, a student’s
ability to verbally articulate their reactions and opinions regarding a fellow student’s work, or their own
work, is a significant part of becoming an artist. Enlightened criticism and debate have been invaluable
components of my classes.
A working knowledge of aesthetic traditions is a necessary foundation upon which a student’s
curiosity can develop. It is important to understand and revere the rich heritage of cinema, and it is
equally important to forge ahead with new modes of cinematic communication. The mediation of
traditional and experimental modes of filmmaking is something I have worked to instill in my production
classes. I am lucky to have attended, and taught at, schools that incorporate varied modes of production,
such as narrative, experimental, documentary, animation, and installation. I take every opportunity to
expose my students to a wide range of work, discussing the ideas and strategies explored by various
filmmakers, contemporary and historical. Ultimately, each student must be encouraged to explore many
different avenues of communication in the pursuit of their particular voice. It is an approach that draws
upon the student’s individual experiences and employs an investigation of new ways of thinking about
film and, hopefully, personal expression.
