Dillon Hawkins, PhD student in Screen Studies

Curriculum Vitae

MA in Screen Studies, Oklahoma State University
BS in Mass Communication, Shepherd University

Research Interests

  • History of American cinema
  • Film training and professionalization
  • Film festivals
  • Experimental film and literature
  • Postmodern fiction

Courses Taught

  • ENGL 1113: Composition I
  • ENGL 1213: Composition II
  • ENGL 2413: Conversations in Literature
  • ENGL 2453: Introduction to Film and Television
  • ENGL 3453: History of American Cinema 

Selected Conference Presentations

"Mockbusters and Professionalization in the Late-Second New Hollywood." Society of Cinema and Media Studies (SCMS). Denver, Colorado. April 2020. (accepted but conference canceled)

"The Post-Fordist Film School." Society of Cinema and Media Studies (SCMS). Seattle, Washington. March 2019. 

"Experimental TV: The Children's Television Workshop and the Avant-Garde." Society of Cinema and Media Studies (SCMS). Toronto, Canada. March 2018.

"Jane Campion presents Julia Leigh: Mentorships at the International Film Festival." MPCA/ACA Regional Conference. Chicago, Illinois. October 2016.

Professional Service

  • OSU English Department webmaster, 2015-present
  • Exciterbulb projectionist, 2012-2018
  • OSU First-Year Writing webmaster, 2014-2015

Awards and Recognition

  • Houston-Truax-Wentz Travel Award, Spring 2019
  • Houston-Truax-Wentz Travel Award, Spring 2018
  • Leonard J. Leff Film and Media Studies Award, Spring 2016


  • Society of Cinema and Media Studies (SCMS)

Current Research Projects

My dissertation project is concerned with practice-based film, television, and media education programs and their development under the logic of neoliberalism and post-Fordist production. I will investigate the global film industry's influence on film training and how regional film schools serve runaway productions and their local economies. 

In addition to researching and writing my dissertation, I am also drafting an article about mentorship practices in the film industry and how such relationships professionalize and initiate first-time or up-and-coming directors into the global film industry and cultivate institutional talent and prestige. I use as my primary case study Jane Campion's mentorship of Australian filmmaker Julia Leigh and Leigh's subsequent selection to the 2011 Cannes Film Festival. The article is provisionally titled "Jane Campion Presents: The Industrial Practices of Mentorship."