Herbertz 18 19 Far Final Compressed

Faculty Activity Report 18-19
Name: Matthew Herbertz

School: Florida Southern College
Rank: Assistant Professor
Division: Communication (Transitioning to the NEW Department of Visual Arts and Design)
Section I: Teaching
Describe your teaching over the past calendar year in the following way. For examples of
excellence in teaching, see Section III. F. 2.a. in the Faculty Handbook.
A. List courses taught by semester, course number, title, and the number of students in
each class.
Courses: Fall 2018
Contact Enrolled
Course Number Course Title Credit hours
hours Students
COM 2500 Visual Communication 4 4 20
COM 2240 Film History (independent Study 4 4 1
COM 2210 Storytelling for the Screen 4 4 20
COM 3370 Photojournalism 4 4 15
COM 3960 Communication Field Experience 1 1 1
COM 3997 Dance on Camera 4 4 15
COM 4900 Senior Project 4 4 1
HON 3955 Honors Directed Study 1 1 1

Courses: Spring 2019
Contact Enrolled
Course Number Course Title Credit hours
hours Students
COM 1101 001 Media Foundations 4 4 20
COM 3367 Video Short Form 4 4 11
COM 2240 Film History 4 4 25
COM 4100 Film Aesthetics 4 4 6
HON 3956 Honors Directed Study 2 2 1
B. Engaged Learning:
Describe some of the more common types of engaged learning that take place in your
classroom. What are your most prevalent types of engaged learning?
I know without a doubt I went above and beyond any expectations that have been
communicated to me about engaged learning and teaching within the classroom since my time at
Florida Southern. In addition to what I do inside the classroom, I make myself unbelievably
available for my students. It is common for me to start having meetings at 8:30am and finish
around 5:30 or 6:00pm. I use the youcanbookme online application and allow students to
schedule meetings with me anytime that is available. I am also at the college 5 days a week with
many days requiring me to be here after hours to help students in the editing labs. I believe
making myself this available to students will allow them to understand and see the passion and
dedication it takes to be successful in the creative industry. It is much better to practice what you
preach.
That being said, I do my best to incorporate engaged learning practices in every class that I
teach. My number one goal is to emulate a workplace environment and set high expectations for
my students from the moment they walk into my classroom. I also have written disclosures in my
syllabi that inform students of these expectations and communicate that their enrollment is the
equivalent of signing a contract. In addition, I encourage students to learn how to become
curious and independent individuals who hopefully embrace the freedom and criticism I give
them on each assignment.
All of my courses require some form of software integration. In my design and photography-
based courses (COM 1100, 2500, and 3370) students work with the adobe platforms such as
InDesign, Photoshop, Illustrator, Premiere, and Lightroom. In addition, these students work with
other platforms such as Content Management Systems like WorksPress, Weebly, Wix as well as
prototyping software like InVision.
In my film production courses, (COM 2210, 3367, 4100, 3997) students work with scriptwriting
software as well as in adobe Premiere and the color correction software Davinci Resolve. In
addition, these students work with modern film production equipment to get the most out of their
education. This includes but is not limited to: 4K cinema cameras, LED lights, Grip Equipment,
Lenses, Sound equipment and more. I incorporate a mixture of content-based lecture and a
hands-on workshop style classes into these courses so that students have the practical and the
informational.
In some of my content heavy courses, (COM 2240) I continue to explore and experiment with
new ways to engage my students. One new way was to require daily reading responses where
students posted their reflections in a blog like forum on the Portal. Then, at the start of the class I
would open up discussion in order for the students to express what makes them excited about
the content. Fortunately, my field inherently uses a visual medium as a teaching tool. I am able to
screen works and break down every element of a film in real time. I also am able to open this up
to students and allow them to put what they are learning into practice. Last, I usually break
students up into small groups and discuss what they found most interesting in the readings due
for that day. Then, they are asked to orally present this to the entire class.
A heavy number of projects in all of my courses all work help students build a portfolio of work
they will be able to use when applying for an internship or a job. In COMM 2500 students create
a complete concept deck for branding an original company. COMM 1100 has students work
toward creating TWO final portfolios: One “print-ready” portfolio and one “digital”. In addition,
these students must present these portfolios to the class and come under harsh scrutiny and are
graded for their oral presentation skills. COMM 2210 incorporates rigorous weekly writing
assignments that work toward creating a final short screenplay and pitch deck that would be
ready to submit to competitions or to potential investors. In COMM 3367, students create three
full short films throughout the semester either individually or in groups. One of my hardest
courses, COM 4100 (cinematography) had students create and submit a shot assignment every
single week so they could work towards improving their ability as working Cinematographer’s.
Every class requires students to collaborate and work in groups. Even in classes where they
submit work individually, I make sure they have to present their work to their peers and get
constructive and sometimes very harsh feedback. They will ALWAYS have to work with people
and sometimes they won’t get along with the people they work with. Teaching my students to
learn proper conflict management is a huge goal for me as a teacher. This is a way to get them to
understand that they do not create work in a vacuum and to prevent them from being sheltered. I
believe that that avoiding giving students the harshest feedback is doing them the greatest
disservice. Students should be prepared to confront and defend what they do at any moment.
Potential employers have been sent me cover letters, portfolios, and resumes of student students
who weren’t told honest feedback and it is an embarrassing representation of our institution.
Every single course I teach attempts to instill professionalism, passion, dedication, and
accountability in every student. One of my goals is to get every student to see the value of what
they are learning and doing inside the classroom and beyond. That they aren’t wasting their time
learning something they don’t care about, but can see that what they are doing has a purpose. Of
course, not every student will see this, but at least I try. I was so fulfilled to hear students tell me
they were surprised at how much they learned in my Film History class without even knowing. It
was a goal to make that content and lecture heavy course as engaging as possible, and I believe
I did that successfully.
Section II: Service:
Maintaining a community of teaching and learning requires the existence of a significant

support structure. Faculty members invest substantial amounts of time, talent, and energy in
faculty governance, committee work, academic program work, and the like. In addition, faculty
support is critical to the availability and success of academically enriching events that occur
outside the classroom. Therefore, all members of the faculty are expected to contribute to this
necessary aspect of College life. Further, faculty members may be involved in significant
discipline-related activities in the greater civic community, and those activities are valued by
the College.
Describe your service activities over the past three semesters. For examples of service, see
Section III. F. 2.c. in the Faculty Handbook.
You may wish to divide your activities into:
A. Service to the department

B. Service to the College
C. Service to the discipline and profession
D. Discipline-related service to the civic community
A. DEPARTMENT
I believe that I went beyond the expectations of service in the department for during my second
year as a member of Florida Southern. Some of the service I participated in were:
-Attending and contributing to departmental and college wide faculty meetings.

-Attending campus wide freshman move in day.
-Contributed to one Day on Campus event representing the Art Department and Comm.
-Held a seat on the Technology Committee and the Women and Gender Studies Minor
Committee.
-Promoting and contributing to the Film/Digital Media concentrations as well as the new
Film BFA.
-Attended the Senior Graphic Design and Senior Studio Art Critiques and openings.
-Attended the end of the year communication ceremony.
-Encouraged and got four students to submit and present their work at Fiat Lux.
-Attended Fiat Lux in the fall and Spring.
In addition to the expectations communicated to me from the department:
-Reorganized maintained Film/Digital Media equipment room. Probably spent about 15

hours a week in the room managing and maintaining it.
-Made significant curriculum changes: Started and successfully passed a new BFA in Film
Major; Passed new courses; Film History and Senior Media Project was passed as General
Education courses.
-Organized and brought Film Director/Feminist Elisabeth Subrin to campus for a master
class and to present her work at the Art of Film Series. (Department/College/Profession)
-Organized and curated the Art of Film series at the museum.
(Department/College/Profession)
-Co-Organized and got a guest juror for the Southern Reel Film showcase.
(Department/College)
-Advertised and collaborated with Marketing to promote communication and art events.
-Organized the Southern Reel Film Showcase with an attendance of around 100 people
from the college and the community.
-Helped lay down new floor in the Lux 12 room.
-Held equipment workshops and demos on Saturdays throughout the semester for any
student who wanted to learn more about the equipment.
-I helped advise video and design projects within Lux 12.
-Held after hour study/editing sessions for students.
-Held numerous one-on-one editing sessions and feedback with W James on his thesis
film. This project was not for credit, payment, or a part of my course load.
B. COLLEGE
On the college level I:
-Attended Move in Day and helped.

-Gave a guest lecture in Erica Bernheims poetry class on the male gaze.
-Traveled to Boston and Philadelphia for admissions events.
-Organized and brought Film Director/Feminist Elisabeth Subrin to campus for a master
class and to present her work at the Art of Film Series. (Department/College/Profession)
-Organized and curated the Art of Film series at the museum.
(Department/College/Profession)
-Co-Organized and got a guest juror for the Southern Reel Film showcase.
(Department/College)
-Was Creative Director on Day of Giving video campaign (total 7 videos) and got two
students to be paid for their work. TOTAL REACH: 18,000 views and counting:
-HYPE VIDEO
-KICKOFF VIDEO
-Charissa Schwartz
-DeAndre Campbell
-Addison Cantor
-Brandon Giczewski
-Carly Fischer
-Released the School of Education Promotional Video that was concepted and produced
by communication student, Julia Couch: VIDEO
TOTAL REACH: 16,000 views and counting
-Have developed a relationship with Admissions to begin developing ongoing video
projects with them.
-Worked closely with marketing and admissions to promote the new Film BFA.
-Received access to manage the film webpage for the college.
-Am very active at all campus events. I attend the plays, dance performances, sporting
events, etc.
-Was invited for the second year for the faculty appreciation night during one women’s
lacrosse game.
-Brought a group of 10 students to the Sunscreen Film Festival to show them my film that
half the crew were made up of Florida Southern Students.
-LINK TO ARTICLE
-Received lots of press and contributed to the Florida Southern Website:
LINK TO ARTICLE
-Held two equipment workshops for students.
-Collaborated with Paul Bawek on his Acting for the Camera class. Our students did
multiple Directing/Acting workshops.
C. PROFESSION/COMMUNITY
I am a very active member of the local, regional, and national filmmaking and film academic
community. I have strong working relationships with production companies, industry
professionals, film academics, and other institutions across the country. I attend Film Festivals to
present my work, guest juror, or to network and meet members of the film community to help
benefit the college and the department. For example, I am:
-Active member of Film Independent, University Film and Video Association, and Film
Florida.
-Independent Spirit Award Voter.
-Member of the Lakeland Creative Makers and attend meetings every month.
-Member of Make Plant City and attend meetings when I can.
-Attended multiple national film festivals. (around 6 throughout the year)
-Attended the UFVA conference in Las Cruces, New Mexico.
-Working relationship with Indie Atlantic Films, Nfocus Studios, Loudlife Productions, and
more.
-Have brought in donations from professionals for the new film program.
-Collaborated on a short video for the Cuban Exhibition at the Museum: VIDEO.
-Curate and Organize the Art of Film Series at the Polk Museum of Art.
-Included members of the Lakeland community on my film production summer 2018.
-Was covered by the Ledger:
LINK TO ARTICLE ONE
LINK TO ARTICLE TWO
Section III: Scholarly and Creative Activity
Scholarly and creative activity deepens personal and professional development, brings
recognition to the College, and most importantly, enlivens the classroom and campus
academically. Therefore, because FSC emphasizes excellent teaching, scholarly and/or
creative activity is expected of all members of the faculty.
Describe your scholarly and creative activities over the past three semesters. For examples of
scholarly and creative activities see Section III.F.2.b. in the Faculty Handbook.
This past summer and year exceeded my expectations for what I could achieve at the college
and professionally. Over the summer, I received a student/faculty collaboration grant, and
multiple internal and external donations, for a short proof of concept film, My Florida Home, that
brought industry professionals from LA, New York, Atlanta, Indiana, and more to work with Florida
southern students. The total production budget was around $13,000. In addition, I have been
continuing to develop relationships with local and regional companies for internships and for
myself to collaborate. As I move into this summer, I will be collaborating on a short film with Indie
Atlantic as well as freelancing for multiple company’s in many capacities. I’m doing this to help
communicate that I am active in my field as an industry professional. Just yesterday I was on set
for event videography. I believe doing work like this garners respect from my students to show
them that I actively work in my community and my field.
Throughout the summer and the entire academic year, my film Relax continued its festival tour
and ended up screening at 18 film festivals around the entire world. We screened in Australia, the
UK, as well as cities in the US like New York, Los Angeles, and more. The film ended up being
selected to premiere on a great online platform, Film Shortage. LINK TO FILM.
My Florida Home was completed and by collaborating with local artists on the film score and the
color correction. They were paid for their work. We have submitted to about 100 festivals and
have been accepted into 5 so far. Some with very low acceptance rates and even lower
nomination rates. One festival, The Sunscreen Film Festival, we were nominated for Best Florida
Short Film. We hope to continue to get into festivals throughout this upcoming year and have
very high hopes for its festival life.
In addition, I have continued to write my feature version of My Florida Home that I hope to submit
to the Sundance Development Lab again this year as well as the Screencraft Production Fund.
Along the same lines, I am writing my next short film and have submitted it to the Screencraft
Production Fund, Shore Script Short Film Fund, Scriptapolooza Screenplay Competition,
Slamdance Screenplay Competition, etc. I’m hoping to raise money to be able to produce and
shoot this film on 16mm film.
I have also been active in the local and national film community. I have taken a script written by
communication alumni, Pam Rodriguez, and pitched it to Indie Atlantic to help fund and produce.
In addition, I was awarded the Faculty/Student Collaboration grant this summer to produce the
film. We have award winning and HBO distributing director, Lizette Barrera, on the project in
addition to many other industry professionals. We have been in pre-production for about two
months and are ready to film at the end of June. Pam will be working hand in hand with this
amazing Director as well as many other students helping on the project in multiple capacities.
These types of opportunities are what makes our program and my creative research so fulfilling.
I’ve worked very closely with William Allen on shooting and editing his next short documentary
that we hope to make into a feature film. We have finished production that we started last spring
and hope to finish the short version throughout this summer. I was the cinematographer and will
be editing and helping the back end producing as well.
Last, I have been researching and compiling texts for a in depth analysis and paper that I will
present at the University Film and Video Conference 2019 (National Conference) entitled: Sexism
in the Classroom: A Straight White Male Perspective.
In the fall I presented my research on universal cinematic language during a panel at the Florida
Communication Conference entitled: Universal Cinematic Language in Myroslav
Slaboshpytskyi’s ‘The Tribe’.
I have attached the University Film and Video Association statement on creative work so that you
may partially begin to understand the scholarly equivalent of my work this past year.
Section IV: Goals for the upcoming calendar year
Provide a narrative identifying your goals for teaching, service, and scholarly activity for the
upcoming calendar year.
I have many goals for this upcoming academic year. My largest goal is to continue to build the
program that I have with my college William Allen. We have high hopes that the college and the
administration will continue to support these technology focused programs and see that they are
an amazing gateway to future research and job opportunities for the students at Florida
Southern. In addition I’ve listed out a number of goals I hope to achieve:
Teaching
- Improve the way in which I get students to engage and participate. I have some ideas for
more engaged feedback techniques.
- Continue to increase the level of expectations, rigor, and professionalism in the
classroom.
-Integrate successfully into a new department.
- Continue to raise the level of academic expectations for film students as we move into
the BFA program.
- Increase the number of guest speakers in the classroom.
-Continue to market and promote the new BFA program.
-Make school visits to local and national high schools who may be interested in our film
program.
-Rework my grading and feedback style a bit more. I can tell I need some more clarity on
my expectations in what students are being evaluated on.
-Implement more co-taught film courses across departments.
-Increase the number of student films made outside of standard curriculum.
-Make curriculum changes to the film BFA. To implement professional development and
practicum credits.
-Potentially incorporate a 2 credit “film” course where students would actually use and
shoot on film to learn. Only reserved for BFA Film Majors.
Service
-Continue to develop marketing strategies for Communication Department and for Film.
-Continue to work with Marketing and admissions to promote our program and the
college.
-Develop and organize an effective equipment checkout room and procedure to emulate
a professional equipment rental house.
-Help bring my unique perspectives to the new Art Department.
-Continue to have a bigger role in the Technology Committee.
-Become more involved in the faculty sentate meetings.
-Work more with Advancement to make soliciting donations for film and these tech-based
fields more a priority.
-Bring more Filmmakers on campus to showcase their work.
-Develop a Lakeland Film Florida Chapter.
-Develop a film related Junior Journey.
-Travel to Ecuador in the Winter for a Junior Journey.
-Create new relationships with the Lakeland Community and the Polk Theatre.
-Develop and strategize a Lakeland based international Film festival.
-Prepare the Film BFA for assessment at the college.
-Prepare and get ready for my third year review.
Creative/Scholarly
-Present my research on sexism in the film classroom at the national UFVA conference in
Minneapolis, MN.
-Continue to write and finish my feature script.
-Begin writing another feature script off my latest short film.
-Begin writing my next short film on community farming traps/religious cults/etc.
-Successfully produce and market the film we are shooting at the end of June with Indie
Atlantic.
-Continue to screen and present my film My Florida Home around the country. Hopefully
at about 30 festivals.
-Attempt to publish a paper this year.
-Raise money and produce my next short film as a Director to be shot on 16mm film and
get students involved. This film has been submitted to many external grants.
-Work on as many local films, commercial shoots, etc. as possible.
-Continue to freelance.
SECTION V: EVALUATIONS/ADVISING
EVALUATIONS:
I have attached all my evaluations from the past three semesters at the end of this document
after my CV.
After reflecting on my evaluations, I believe that I have made a considered effort to continue to
improve since my arrival at Florida Southern. There have been some issues in some courses
where I’ve tried new tactics and strategies that weren’t effective. But, I believe these mistakes
have made me a much better teacher. Overall, my evaluations are good and I think reflect my
classroom performance to a certain degree. But, as more and more research comes out about
how ineffective these are in evaluating professors, they should be taken with a grain of salt. I
mean one student this past semester said they “thought there was too much work for a film
class”. How offensive is that?
In addition, I make my expectations for grading and my feedback as un-bias as possible yet you
see some deviation in the evaluations in the areas of “making my evaluation methods clear”.
Some students do think I grade for “what I like” which is not the case and I make it very clear how
I grade and why I grade that way. But, you can see the curve that demonstrates how effective I
can be in the classroom. That being said, I think I do need to create more thorough rubrics that
goes a bit more in depth on evaluation standards. Even though I believe this restricts creativity
and how students approach their work.
I have no reflection on my peer evaluations other than that I need to continue to work on getting
more students involved in discussion by engaged methods as well as calling on students
randomly to hear their thoughts. I hope to continue to improve as a teacher and mentor.
ADVISING:
This past year was my first year advising students ever. I believe I did an effective job mentoring
and helping students while still pushing them towards becoming autonomous self-sufficient
students who have to plan and figure out their own schedule. My philosophy is to guide and to
assist, but to never just give them their schedule. I also made myself very available to all my
students and worked with them on a personal and academic level.
One experience I would like to share is when I had a potential student approach me about
switching to me as their advisor and switching to the new Film BFA. This student came to me in
tears from having been told by another faculty member that they CANNOT switch their major and
felt as if they weren’t being heard. I felt very concerned for the student, but also very disturbed
that this kind of experience happens at Florida Southern. I knew at that moment it was and will
continue to be my goal to create a challenging yet welcoming and open environment for each of
my students (advisee or not) so that they know they will never be pressured, forced, or coerced
into doing something they don’t want to.
SECTION VI: SUPPLEMENTAL IMAGES/MATERIALS
I have attached a number of supplemental images, posters, articles, etc. of my work from this past
year.
W James Thesis Film

Students working on the Day of Giving videos
Crew of My Florida Home production

Students during a class workshop
Student Filmmakers at the Southern Reel Showcase

One of TWO Equipment Workshops I held for students on Saturdays
Students at Sunscreen Film Festival

Matthew Herbertz
Herbertzfilm@gmail.com 721 Park Hill Ave
(317) 525-2218 Lakeland, FL 33801
matthewherbertzfilm.com
EDUCATION
MFA, Film and Video Production, 2016 Ohio University
BA, TV/Film, 2013 DeSales University
TEACHING EXPERIENCE
Florida Southern College, Art, Film Fall 2017 -
Assistant Professor of Film
Indiana University-Bloomington, SPEA, Arts Management Spring 2017
Adjunct Faculty
DePauw University, Film Studies Fall 2016
Assistant Professor of Film Studies
Ohio University, Film Division/Ohio University Media Arts and Studies 2014 - 2016
Graduate Instructor of Record
COURSES TAUGHT
Advanced Film Production: Creating the Short Film Photojournalism
Gender in Film Visual Communication
Intro to Film Studies Dance on Camera
Intro to Digital Filmmaking Video Short Form
Cinematography Terrorism and Masculinity in Film
Film Techniques: 16mm Film Production The Film Industry
Audio and Video Field Production Film History
Media Foundations Storytelling for the Screen
WORKS IN PROGRESS
Ghostal Galaxies. Cinematographer, Editor Beach Day. Writer.
Short Documentary (Post-Production) Short Fiction (Writing stage)
COMPLETED FILMS – Juried Exhibitions and Screenings

My Florida Home. 2019. Writer, Director, Producer
Short Fiction
Sunscreen Film Festival, St. Petersburg, FL – Nominated Best Florida Short 2019
Vero Beach Wine and Film Festival, Vero Beach, FL 2019
New Haven International Film Festival, New Haven, CT 2019
Film Fest 52, Bethel, CT 2019
University Film and Video Association Conference, Minneapolis, MN 2019
Short to the Point Short Film Festival, Romania 2019
Sands Film Festival, Jacksonville, FL – Finalist 2019
Relax. 2018. Writer, Director, Editor

Short Fiction
Fort Meyers Film Festival, Fort Meyers, FL 2019
DC Independent Film Festival, Washington, DC 2018
Sidewalk Film Festival, Birmingham, AL 2018
Knox Film Fest, Knoxville, TN 2018
Fort Lauderdale International Film Festival, Fort Lauderdale, FL 2018
San Antonio Film Festival, San Antonio, TX 2018
Athens International Film & Video Festival, Athens, OH 2018
NewFilmmakers NY, New York, NY 2018
Maumee Film Festival, Maumee, OH 2018
Sunscreen Film Festival, St. Petersburg, FL 2018
Riverbend Film Festival, Goshen, IN 2018
Fort Worth Indie Film Showcase, Fort Worth, TX 2018
University Film and Video Association Conference, Las Cruces, NM 2018
Ocean Coast Film Festival, Lavra, Matosinhos, Portugal 2018
Magnolia Independent Film Festival, Starkville, MS 2018
Beeston Film Festival, Nottingham, UK 2018
Watchdog Film Festival, Brisbane, AS 2018
Shed. 2018. Producer (Dir. Matt Burch and Andy McEntire)

Short Fiction
Macon Film Festival, Macon, GA 2018
Nashville Film Festival, Nashville, TN 2018
Tallahassee Film Festival, Tallahassee, FL 2018
DeadCENTER Film Festival, Oklahoma City, OK 2018
Sarasota Film Festival, Sarasota, FL 2018
ME Film festival, Milledgeville, GA 2018
Doll. 2017. Director of Photography (Dir. Cory Pratt)

Short Fiction
VicFilm Fest, Ciudad, MX 2018
Dances with Films, Los Angeles, CA 2017
Athens International Film and Video Festival, Athens, OH 2017
Nightmares Film Festival, Columbus, OH – Winner, Best Midnight Short 2017
Teadance LGBT Film Festival, Greenville, NC 2017
Ohio Short Film Showcase, Columbus, OH 2017
Deadpoint. 2016. Co-Writer, Director

Short Fiction
Fort Worth Indie Film Showcase, Fort Worth, TX – Nominated, Best “Foreign” Short 2017
River Bend Film Festival, Goshen, IN 2017
Princeton Independent Film Festival, Princeton, NJ 2016
Southwest Indiana Film Festival, Jasper, IN 2016
A Peculiar Thud. 2016. Producer, Director of Photography (Dir. Ross Morin)

Short Fiction
San Antonio Film Festival, San Antonio, TX 2017
Orlando Film Festival, Orlando, FL 2017
Emerge Film Festival, Auburn, ME 2017
Fargo Fantastic Film Festival, Fargo, ND 2017
NewFilmmakers New York, New York, NY 2017
East Lansing Film Festival, East Landing, MI 2017
Grimmfest, Manchester, UK 2017
Atlanta Horror Film Festival, Atlanta, GA 2017
Terror in the Bay Film Festival, Ontario, Canada 2017
Cornwall Film Festival, Cornwall, UK 2017
Great Lakes International Film Festival, Erie, PA 2017
Coney Island Film Festival, Brooklyn, NY 2017
DC Independent Film Festival, Washington, D.C. 2017
Atlanta Shortsfest, Atlanta, GA – Nominated, Best Short Thriller 2017
Kansas City International Film Festival, Kansas City, MO 2017
Halloween Picture Show, Tampa, FL 2017
Grimmfest Horror Festival, Manchester, UK 2017
Wreak Havoc Horror Film Festival, Greensboro, NC 2017
Pennine Film Festival, Lancashire, UK 2017
Long Island Film Expo, Bellmore, NY 2017
Cape Fear Independent Film Festival, Wilmington, NC 2017
Film Festival of Columbus, Columbus, OH 2017
Liberty Massacre Horror Short Film Fest, Philadelphia, PA – Winner Best Actor: Malcolm Mills 2017
Motor City Nightmares International Film Festival, Detroit, MI 2017
International Horror Hotel Film Festival, Cleveland, OH – Honorable Mention 2017
Unrestricted View Film Festival, London, England 2017
SENE Film Festival, Providence, RI – Winner, Best Short Horror Film 2017
Short to the Point, Bucharest, Romania 2017
Riverside International Film Festival, Riverside, CA 2017
Apple Cinemas, Cambridge, MA 2016
Nickelodeon Cinema, Portland, ME 2016
Leavitt Theater, Ogunquit, ME 2016
Frontier Cafe, Brunswick, ME 2016
The Gem, Bethel, ME 2016
Gracie Theater, Bangor, ME 2016
Magic Lantern, Bridgton, ME 2016
Nickelodeon Cinema, Portland, ME 2016
State Theater, Portland, ME 2016
Claire in Motion. 2016. Gaffer. Stedicam Operator (Dir. Annie Howell/Lisa Robinson)
Feature Fiction Film
South by Southwest Film Festival, Austin, TX 2016
Cinema Village, New York, NY 2017
Laemmle Music Hall, Los Angeles, CA 2017
Plaza Theater, Atlanta, GA 2017
Sie FilmCenter, Denver, CO 2017
Facets, Chicago, IL 2017
Cinema Paradiso, Miami, FL 2017
The Roxy, San Francisco, CA 2017
Cedar Lee Theater, Cleveland, OH 2017
PFS Roxy, Philadelphia, PA 2017
Leeds International Film Festival, Leeds, UK 2016
The Voice of a Woman Festival, New York, NY 2016
The Athena, Athens, OH 2016
Bogota International Film Festival, Bogota, CO 2016
La Costa Film Festival, San Diego, CA 2016
Wexner Center for the Arts, Columbus, OH 2016
Hell’s Half Mile Film Festival, Bay City, MI 2016
Flixx Fest, Jefferson State, CA 2016
Twin Cities Film Fest, St. Paul, MN 2016
Wexner Center for the Arts, Columbus, OH 2016
Sidewalk Film Festival, Birmingham, AL 2016
Portland Film Festival, Portland, OR 2016
South Bay Film and Music Festival, Hermosa Beach, CA 2016
Seattle International Film Festival, Seattle, WA 2016
Stony Brook Film Festival, Stony Brook, NY 2016
Nantucket Film Festival, Nantucket, MA 2016
Greenwich International Film Festival, Greenwich, CT 2016
A Man of God. 2015. Writer, Director

Short Fiction
Film Forum on the Lake, Geneva, OH 2017
BLOW-UP Chicago International Arthouse Film Festival, Chicago, IL 2016
Fort Worth Indie Film Showcase, Fort Worth, TX – Award Nominee 2016
Moving Media Film Festival, Detroit, MI – Winner 2nd place Best Narrative Short 2016
The Wild Rose Independent Film Festival, Des Moines, IA – Distinguished Filmmaker Award 2016
Distinguished Cinematography Award
Catalina Film Festival, Los Angeles, CA 2016
I Filmmaker International Film Festival 2016
Southway Film Festival, Mykolaiyv, Ukraine 2016
Sydney Independent Film Festival, Sydney, Australia (online festival) 2016
Film Fest 52, Bethel, CT 2016
University Film and Video Association Conference, Las Vegas, NV 2016
The Blackbird Film Festival, Cortland, NY 2016
Los Angeles CineFest, Los Angeles, CA (online festival) 2016
Middle Coast Film Festival, Bloomington, IN 2016
The Ukrainian International Short Film Festival, Kiev, Ukraine 2016
River Bend Film Festival, Goshen, IN 2016
Green Mountain Film Festival, Montpelier, VT 2016
Silk Road Film Festival, Dublin, Ireland 2016
Artfools Video Festival, Larissa, Greece 2016
Union City International Film Festival, Union City, NJ/Bogota, Columbia 2016
Miami Independent Film Festival, Miami, FL (online festival) 2016
Palm Springs International ShortFest (Film Market), Palm Springs, CA 2016
Pune Short Film Festival, Pune, India 2015
Cincinnati Film Festival, Cincinnati, OH 2015
A Wheel out of Kilter. 2015. Director of Photography (Dir. Ross Morin)

International Horror Hotel, Hudson, OH – 3rd Place Feature Films 2016
Spotlight Horror Film Awards, Atlanta, GA – Bronze Award Winner 2016
Macabre Faire Film Festival, Long Island, NY 2016
Broken Knuckle Film Festival (online festival) 2016
Little Rock Picture Show, Little Rock, AR 2016
University Film and Video Association Conference, Las Vegas, NV 2016
Unrestricted View Film Festival, London, England 2016
Emerge Film Festival of Maine, Auburn, ME 2016
Mountain Film Festival – Sir Edmund Hillary Award 2016
Blowup – Chicago International Arthouse Film Festival, Chicago, IL 2015
Princeton Film Festival, Princeton, NJ– Indie Spirit Award 2015
St Cloud Film Festival, Saint Cloud, MN 2015
Santa Monica Independent Film Festival, Santa Monica, CA – Honorable Mention 2015
Unprincipled. 2015. Director of Photography (Dir. John Kerfoot)

Short Fiction
Reality Bytes Independent Film Festival, DeKalb, IL – Best Narrative 2016
North by Midwest Film Festival, Kalamazoo, MI – 2nd place short film 2016
Middle Coast Film Festival, Bloomington, IN 2016
College Film Festival, State College, PA 2016
Moving Media Film Festival, Detroit, MI 2016
Hollywood Verge Film Awards, Hollywood, CA 2016
Mother. 2014. Producer (Dir. Iryna Zhygaliuk)

Short Fiction
Russian Diaspora: Israeli Russian Film Festival 2016
I Filmmaker International Film Festival, Marbella, Spain 2016
Columbus International Film & Video Festival, Columbus, OH 2015
Warsaw Jewish Film Festival, Warsaw, Poland 2015
First Step Film Festival, Albania 2015
Kin International Women’s Film Festival, Yerevan, Armenia 2015
Underground FilmFest, Munich, Germany 2015
Female Eye Film Festival, Toronto, Canada 2015
Ohio Shorts Screening and Reception, Columbus, OH 2015
Newark FAMFEST, Newark, OH 2015
Cannes Film Festival Short Film Corner, Cannes, France 2015
Suction. 2014. Writer, Director, Editor

Short Fiction
Philadelphia Independent Film Festival, Philadelphia, PA – Honorable Mention 2015
New Orleans Film Festival, New Orleans, LA 2015
Ivy Film Festival, Providence, RI 2015
Student Art Festival, Orlando, FL 2015
University Film and Video Association Conference, Washington, DC 2015
Palm Springs International ShortFest (Film Market), Palm Springs, CA 2015
SCREENPLAYS – Juried Competitions

My Florida Home. 2018. Writer
Feature Screenplay
ScreenCraft Production Fund – Quarterfinalist 2018
ScreenCraft Production Fund – Semifinalist 2018
AWARDS
My Florida Home. 2018. Writer
Feature Fiction Screenplay
Quarterfinalist – ScreenCraft Production Fund (2018)
Semifinalist – ScreenCraft Production Fund (2018)
A Peculiar Thud. 2016. Director of Photography/ Producer

Short Fiction
Winner, Best Actor - Liberty Massacre Horror Short Film Fest (2017)
Winner, Best Short Horror Film – SENE Film Festival (2017)
Audience Award – SENE Film Festival (2017)
Honorable Mention – International Horror Hotel Film Festival (2017)
Doll. 2016. Director of Photography

Short Fiction
Winner, Best Midnight Short – Nightmares Film Festival (2017)
A Man of God. 2015. Writer, Director.

Short Fiction
Distinguished Filmmaking Award – Wild Rose Film Festival (2016)
Distinguished Cinematography Award – Wild Rose Film Festival (2016)
2nd Place Best Narrative Short – Moving Media Film Festival (2016)
Award Nominee – Fort Worth Indie Film Showcase (2016)
A Wheel Out of Kilter. 2015. Director of Photography, Assistant Editor, Actor.

Best Feature Film – Macabre Faire Film Festival (2017)
3rd Place Feature Films – International Horror Hotel (2016)
2nd Place Short Film – North by Midwest Film Festival (2016)
Indie Spirit Award – Princeton Film Festival (2015)
Sir. Edmund Hillary Award – Mountain Film Festival (2016)
Honorable Mention – Santa Monica Independent Film Festival (2015)
Unprincipled. 2015. Director of Photography.

Short Fiction
Best Narrative – Reality Bytes Independent Film Festival (2016)
Suction. 2014. Writer, Director, Editor.

Short Fiction
Honorable Mention – Philadelphia Independent Film Festival (2015)
GRANTS
Faculty/Student Collaborative Research Grant (2018) Florida Southern College
Student Enhancement Award Grant (2015) Ohio University
CONFERENCE PRESENTATIONS
Herbertz, M. (2019) Sexism in the Classroom: A Straight White Male Perspective.
University Film and Video Association Conference, Minneapolis, MN
Herbertz, M. (2018) Universal Cinematic Language in Myroslav Slaboshpytskyi’s ‘The Tribe’.

FCA Conference, Orlando, FL.
Herbertz, M. (2018) Sex, Violence, Pornography, and the Culture of Offense.

University Film and Video Association Conference, Las Cruces, NM.
Herbertz, M. (2016) Modern Rural Horror and Male Anxiety: The Fear of Losing Power.
University Film and Video Association Conference, Las Vegas, NV.
Herbertz, M. (2015) Imperial Patriarchy: Terrorism, The Fear of the “other”, and the Struggle for Masculinity in ‘Taken’.
University Film and Video Association Conference, Washington, DC.
Herbertz, M. (2013) The Struggle to Grow Up: Male Representation in Hollywood Comedies.
Social Research Social Justice Conference at Muhlenberg College, Allentown, PA.
VISITING ARTIST/INVITED LECTURES/GUEST LECTURES

Visiting Artist, Ohio University, Film Division
Herbertz, M. (2017) Art of Steadicam. Workshop and Lecture.
Visiting Artist, Geneva-on-the-Lake, OH

Herbertz, M. (2017) A Man of God. Screening and Q and A.
Visiting Artist, Connecticut College, Film Studies

Herbertz, M. (2016) Cinematography and True Independent Cinema. Workshop and Lecture.
Guest Lecture, Florida Southern College

Herbertz, M. (2017) Feminist Film. Lecture in ‘Feminist Humor’ English Course.
Guest Lecture, Florida Southern College

Herbertz, M. (2019) Representation in Film. Lecture in ‘Modern and Contemporary Poetry’ English Course.
ACADEMIC SERVICE
Development of new BFA in Film Major. (2017-2019)
Program developer and contact. Florida Southern College.
Film Equipment Management and Inventory. (2017 – present)

Equipment management, proposals, repairs, organization, checkout procedures. Florida Southern College.
‘Art of Film’ Screening Series (February 2018 – present)

Co-Organizer, Curator, Presenter. The Polk Museum of Art at Florida Southern College.
Cinematheque. (2017 – present)

Head of Film Studies Weekly Film Screenings/Discussion, Florida Southern College.
‘Southern Reel Film Showcase’. (2018 – present)

Co-organizer and curator. Student Film Showcase, Florida Southern College.
Philadelphia and Newark Florida Southern College Admissions Reception. (2019)

Faculty Representation at Admissions Reception, Florida Southern College.
Hartford and Boston Florida Southern College Admissions Reception. (2018)

Faculty Representation at Admissions Reception, Florida Southern College.
Gender Roles in Dystopian Film. (2016)

Featured Lecture, ArtsFest, DePauw University
Cinematheque. (2016)
Head of Film Weekly Film Screenings/Discussion, DePauw University
Hyper-Masculinity in “Everybody Want’s Some”. (2016)

Featured Lecture, Film Studies Film Series, DePauw University
SERVICE TO THE PROFESSION

Pre-Screener. (2019 – present)
Portland Film Festival
Grant Judge. (2019 – present)

Carole Fielding Grant. University Film and Video Association.
Screener/Voter. (2017 – present)

Indie Spirit Awards
Senior Programmer. (2017 – 2018)

Los Angeles Chines Film Festival
Formal Response. MPS. Dir. David Tarleton. (2018)

University Film and Video Association Conference
Formal Response. Everything’s Fine. Dir. Michael Mulcahy. (2016)

Formal Response. You Try Living Here. Dir. Karen Dee Carpenter. (2015)
ORGANIZATIONS AND MEMBERSHIPS

University Film and Video Association, Member (2014 – present)
Film Florida, Member (2018 – present)
Film Independent, Member (2016 – present)
Kiltered Productions, Co-Founder (2014 – present)
ADMINISTRATIVE EXPERIENCE/COMMITTEES
Technology Committee, Florida Southern College (2018 – present)
Library Committee, Florida Southern College (2017 – 2018)
Head of Film Production, DePauw University (Fall 2016)
RELEVANT PROFESSIONAL EXPERIENCE

ESPN, Freelance Production Assistant (2016 – 2017)
Indiana University, Videographer and Media Producer (February 2017 – July 2017)
Indiana University, Freelance Web Content Manager (2016 – 2017)
PRODUCTION SKILLS
Camera: Arri ALEXA Cinema Camera series, RED Scarlet/Epic Cinema Camera series, Canon Digital Cinema Camera series,
Black Magic Cinema Camera series, Canon DSLR series, Canon XF series, GoPro Hero series, Panasonic Digital Camera
series, Sony HVR series, Sony FS series, Arri S/SR 16mm Film Cameras, Bolex film Cameras.
Post Production: Adobe Premiere Pro, Avid, Final Cut Pro X, Final Cut Pro 7, Quantel, Pro Tools, DaVinci Resolve,
Lighting/Grip: Steadicam Operation, Cinema Generator Operation, Butterfly Operation, Car Mount Operation, Lowel Open
Face, Mole Richardson, Various Fluorescents, LED’s, Various HMI’s, Various Kino Flo lights, Various LED lights.
Pre-Production: Studio Binder Production Management, Movie Magic Budgeting, Movie Magic Scheduling.
Miscellaneous: Adobe Photoshop, Adobe Illustrator, Adobe InDesign, Adobe XD

Course Evals Spring Day 2018-19 Survey Florida Southern College
2018 DS (2019) FSC
Course: COM 1101 001 - MEDIA FOUNDATIONS Department: Com

Responsible Faculty: Matthew Herbertz Responses / Expected: 10 / 20 (50%)
Focus: Overall Results
COM 1101 - 001
Course Evaluations
Responses Course
M F N
Q1 Gender 4 6 10
Responses: [M] Male=1 [F] Female=2
COM 1101 - 001

Course Evaluations
Responses Course
F S J S O N
Q2 Class Standing 1 6 2 1 0 10
Responses: [F] Freshman=1 [S] Sophomore=2 [J] Junior=3 [S] Senior=4 [O] Other=5
COM 1101 - 001

Course Evaluations
Responses Course
MR MR GER BR SC EI GR N
Q3 Reasons for enrollment: (Select most appropriate) 7 0 2 0 0 1 0 10
Responses: [MR] Major Requirement=1 [MR] Minor Requirement=2 [GER] General Ed Requirement=3 [BR] BA/BS Requirement=4 [SC] Schedule Convenience=5 [EI] Elective/ Interest=6
[GR] Grade Redemption=7
COM 1101 - 001

Course Evaluations
Responses Course
A B C D F N
Q4 Expected Grade 8 2 0 0 0 10
Responses: [A] A=5 [B] B=4 [C] C=3 [D] D=2 [F] F=1
COM 1101 - 001

Course Evaluations
Responses Course
LT2 2HA 3HA 4HA 5HA 6HA O7H N
Q5 I would describe my level of effort/preparation outside this course (e.g., papers, laboratory preparation, study time, project 1 0 1 2 3 3 0 10
development, etc.) as:
Responses: [LT2] Less than 2 hours a week=1 [2HA] 2-3 hours a week=2 [3HA] 3-4 hours a week=3 [4HA] 4-5 hours a week=4 [5HA] 5-6 hours a week=5 [6HA] 6-7 hours a week=6 [O7H] Over 7
hours a week=7
COM 1101 - 001

Course Evaluations
Responses Course
0 1 2 3 4 5 6 7 8OM N
Q6 How many times have you been absent? 5 5 0 0 0 0 0 0 0 10
Responses: [0] 0=1 [1] 1=2 [2] 2=3 [3] 3=4 [4] 4=5 [5] 5=6 [6] 6=7 [7] 7=8 [8OM] 8 or More=9
2018 DS (2019) FSC
Course: COM 1101 001 - MEDIA FOUNDATIONS Department: Com

Matthew Herbertz
Course Evaluations - The Professor Responses Individual
AA MA SA N SD MD AD N Mean Med. Mode Std

Dev
Q1 The professor demonstrated clear understanding of the subject matter. 8 1 1 0 0 0 0 10 6.70 7 7 .64
Q2 The professor was well prepared for class. 7 2 1 0 0 0 0 10 6.60 7 7 .66
Q3 The professor effectively facilitated engaged learning in the course. 6 3 0 1 0 0 0 10 6.40 7 7 .92
Q4 The professor clearly communicated student learning outcomes or course objectives (as seen in my syllabus) 8 1 0 0 1 0 0 10 6.50 7 7 1.20
that were expected of me.
Q5 The professor’s standards for evaluating my work were clearly communicated. 4 4 1 0 0 0 1 10 5.80 6 6,7 1.72
Q6 The professor’s standards for evaluating my work were consistently applied. 5 3 0 0 2 0 0 10 5.90 6.5 7 1.51
Q7 The professor provided feedback on course assignments and other evaluations (e.g., exams) in a timely 8 2 0 0 0 0 0 10 6.80 7 7 .40
manner.
Q8 The professor challenged me to think critically and/or creatively about material in the course. 8 0 1 0 0 1 0 10 6.30 7 7 1.55
Q9 The professor enabled my understanding of applying material Beyond the classroom. 8 1 0 1 0 0 0 10 6.60 7 7 .92
Q10 The professor encouraged me to improve throughout the course. 9 0 0 1 0 0 0 10 6.70 7 7 .90
Q11 The professor was receptive to student opinions (outside his/her own) throughout the course. 5 3 2 0 0 0 0 10 6.30 6.5 7 .78
Q12 The professor made an effort to be available outside of class. 9 1 0 0 0 0 0 10 6.90 7 7 .30
Q13 Based on the course experience, I would take another course with this professor. 6 1 1 0 1 0 0 9 6.22 7 7 1.31
Q14 Based on the quality of teaching, I would recommend this professor to other students. 7 1 1 1 0 0 0 10 6.40 7 7 1.02
Responses: [AA] Absolutely Agree=7 [MA] Mostly Agree=6 [SA] Slightly Agree=5 [N] Neutral=4 [SD] Slightly Disagree=3 [MD] Mostly Disagree=2 [AD] Absolutely Disagree=1
Matthew Herbertz
Course Evaluations - Other Responses Individual

Dev
Q15 Based on available technology for this course, the professor effectively applied technology to the course 10 0 0 0 0 0 0 10 7.00 7 7 0
material.
Q16 The course significantly increased my knowledge of the subject. 8 1 0 1 0 0 0 10 6.60 7 7 .92
Faculty: Matthew Herbertz

Question: Is there anything you would like to add?
Response Rate: 60.00% (6 of 10)
1 Projects should be spread out long enough for students to make time to work on them. Maybe a week or so. 
Professor Herbertz demands a high standard of excellence from his students and requires a lot of work. However! He is extremely knowledgeable and willing to put in
2 the extra effort and time to ensure his students' success and understanding. I was intimidated in the beginning of the semester, but I am finishing with a wealth of
knowledge and am very thankful to Professor Herbertz for that! 
3 Needs to grade off of work and not off of what they likes. 
I had the pleasure of taking COM 1101: Media Foundations, this Spring semester. I did learn a bit about the Adobe programs: Photoshop, In-Design, Illustrator, and
Premiere, in addition to photography. I didn't learn as much to be dubbed "fluent", let alone "proficient", but that's a "me" responsibility. I'd like to learn more in the future,
as I think that they would be useful skills to have, especially in a national and global economy and market that is powered by the pervasiveness, quantity, and quality of
media content.
I enjoyed the class overall. What made it enjoyable? Prof. Herbertz has a desirably-balanced personality of being "chill" with his students, which give the class and
conversations with him a more conversational, relaxed feel; yet "professional", in terms of his teaching, manner of address, and performance expectations of his
students.
He is dedicated to educating students in Film-making. How so? He frequently hosts film-related workshops outside of cl****time, participates in the "Art of Film"
program at the Polk Museum of Art (which I have attended, twice), and he even took some students to the 14th annual Sunscreen Film Festival (of which I was one of
4 those students. Hopefully this becomes a recurring event). His dedication is embodied in the events and activities that he hosts for students.
Furthermore, he is one of (probably) a few professors who give feedback both pre- and post- assignment submission on design projects, which is appreciative. Again,
this is an embodiment of his desire to see his students improve the quality of their work.
For the purpose of this class (which I'm unsure if he will be re-teaching in the future, since he is being relocated to the Art Department), I would recommend that design
projects were to be on Fridays, rather than Mondays. Why? On the weekends (Friday and Saturday particularly), Tutu's, Roux Library, and Rinker open much later and
close much later. By assigning project-work (which can take hours to complete) on a Friday, I contend that students can use the limited time over the weekend to do
planning/research for design projects, and then students can avail themselves of Tutu, Rinker, and Roux Library's late-night hours (Sunday-Thursday) to complete design
projects. Personally, I have availed myself of those late-night hours to complete the design projects assigned in this class.
* Inappropriate words were found and removed from this response. 

Coming into this class, I was definitely nervous since I had never touched an adobe program or really worked with design in general. Seeing how I finished the class, I'm
really proud of all I've learned and how much I apply my newfound skills in and out of this course. Herbertz is definitely very passionate about the subject which made
5 the course all the more beneficial. I really liked how the class wasn't necessarily just learning how to use the programs, but instead more directed towards applying
different design principles and the applications to our work. As someone who is a hands-on learner, I found this to be very beneficial because while I was learning the
skills necessary to complete these projects, I was challenging my creative abilities and really expanding my skillset. 
At the beginning of the semester, I was unsure about the class and Professor Herbertz teaching style. I still did not love his lecture style, but I do know that lectures are
necessary for learning. However, as the semester continued and I got acclimated to his teaching style I realized that he is a good teacher. I learned so much about
6 media and digital design in this course and I really appreciated that he was always focused on our future careers and not just our success in the course. I had never had
a professor like that before so that's where the uneasiness came from at first. This was definitely the most challenging course I have taken at FSC so I think that's why
I struggled at first, but I really learned a lot and enjoyed the course by the end! I am actually adding an Advertising Design minor because of it! 
2018 DS (2019) FSC
Course: COM 2240 001 - FILM HISTORY Department: Com

Responsible Faculty: Matthew Herbertz Responses / Expected: 11 / 21 (52.38%)
COM 2240 - 001
Course Evaluations
Responses Course
M F N
Q1 Gender 6 5 11
COM 2240 - 001

Course Evaluations
Responses Course
F S J S O N
COM 2240 - 001

Course Evaluations
Responses Course
COM 2240 - 001

Course Evaluations
Responses Course
A B C D F N
COM 2240 - 001

Course Evaluations
Responses Course
hours a week=7
COM 2240 - 001

Course Evaluations
Responses Course
0 1 2 3 4 5 6 7 8OM N
2018 DS (2019) FSC
Course: COM 2240 001 - FILM HISTORY Department: Com

Responsible Faculty: Matthew Herbertz Responses / Expected: 11 / 21 (52.38%)
Matthew Herbertz

Dev
Q1 The professor demonstrated clear understanding of the subject matter. 11 0 0 0 0 0 0 11 7.00 7 7 0
Q3 The professor effectively facilitated engaged learning in the course. 9 0 2 0 0 0 0 11 6.64 7 7 .77
Q4 The professor clearly communicated student learning outcomes or course objectives (as seen in my syllabus) 9 1 1 0 0 0 0 11 6.73 7 7 .62
Q5 The professor’s standards for evaluating my work were clearly communicated. 7 3 0 1 0 0 0 11 6.45 7 7 .89
Q6 The professor’s standards for evaluating my work were consistently applied. 7 3 0 1 0 0 0 11 6.45 7 7 .89
manner.
Q8 The professor challenged me to think critically and/or creatively about material in the course. 6 5 0 0 0 0 0 11 6.55 7 7 .50
Q11 The professor was receptive to student opinions (outside his/her own) throughout the course. 10 0 0 0 1 0 0 11 6.64 7 7 1.15
Q12 The professor made an effort to be available outside of class. 10 1 0 0 0 0 0 11 6.91 7 7 .29
Q13 Based on the course experience, I would take another course with this professor. 8 1 1 1 0 0 0 11 6.45 7 7 .99
Q14 Based on the quality of teaching, I would recommend this professor to other students. 10 0 0 0 1 0 0 11 6.64 7 7 1.15
Matthew Herbertz

Dev
Q15 Based on available technology for this course, the professor effectively applied technology to the course 9 1 1 0 0 0 0 11 6.73 7 7 .62
material.

1 The way the course was handled was a lot of work but very rewarding. I learned a lot and was able to apply my knowledge through film watching and in-class
discussions. 
Professor Herbertz is one of the best professors I have ever had. He would constantly impress by the amount of knowledge he had in both film history and other subject
2 areas to give students one of the most well rounded classes I have had. With the knowledge he has, was able to articulate large concepts about not only film history
directly but also how film and culture are refelctive of one another. He did so with ease and clarity. This class had a lot of information and I am happy to say I had fun
learning everyday I walked in. 
3 Maybe more group assignments where they discuss the content. Lecture based courses can feel become exhausting after an hour of sitting and listening. 
4 I loved this course and the teaching as well! If I ever have room in my schedule I will be taking another class with this professor. 
5 For essay assignments I would get feed back saying that it was not exactly what he was looking for, so I would suggest being more specific for what it is you want. 
2018 DS (2019) FSC
Course: COM 2240 01H - FILM HISTORY Department: Com

COM 2240 - 01H
Course Evaluations
Responses Course
M F N
Q1 Gender 1 2 3
COM 2240 - 01H

Course Evaluations
Responses Course
F S J S O N
COM 2240 - 01H

Course Evaluations
Responses Course
COM 2240 - 01H

Course Evaluations
Responses Course
A B C D F N
COM 2240 - 01H

Course Evaluations
Responses Course
hours a week=7
COM 2240 - 01H

Course Evaluations
Responses Course
0 1 2 3 4 5 6 7 8OM N
2018 DS (2019) FSC
Course: COM 2240 01H - FILM HISTORY Department: Com

Matthew Herbertz

Dev
Q1 The professor demonstrated clear understanding of the subject matter. 2 1 0 0 0 0 0 3 6.67 7 7 .47
Q2 The professor was well prepared for class. 3 0 0 0 0 0 0 3 7.00 7 7 0
Q3 The professor effectively facilitated engaged learning in the course. 1 1 1 0 0 0 0 3 6.00 6 5,6,7 .82
Q4 The professor clearly communicated student learning outcomes or course objectives (as seen in my syllabus) 1 1 1 0 0 0 0 3 6.00 6 5,6,7 .82
Q5 The professor’s standards for evaluating my work were clearly communicated. 1 1 0 1 0 0 0 3 5.67 6 4,6,7 1.25
Q6 The professor’s standards for evaluating my work were consistently applied. 1 1 1 0 0 0 0 3 6.00 6 5,6,7 .82
manner.
Q8 The professor challenged me to think critically and/or creatively about material in the course. 2 0 1 0 0 0 0 3 6.33 7 7 .94
Q11 The professor was receptive to student opinions (outside his/her own) throughout the course. 1 2 0 0 0 0 0 3 6.33 6 6 .47
Q12 The professor made an effort to be available outside of class. 3 0 0 0 0 0 0 3 7.00 7 7 0
Q13 Based on the course experience, I would take another course with this professor. 3 0 0 0 0 0 0 3 7.00 7 7 0
Q14 Based on the quality of teaching, I would recommend this professor to other students. 3 0 0 0 0 0 0 3 7.00 7 7 0
Matthew Herbertz

Dev
material.
Q16 The course significantly increased my knowledge of the subject. 3 0 0 0 0 0 0 3 7.00 7 7 0

I did not enjoy this class strictly because I thought the coursework for a film class was too extensive. However, Prof. Herbertz did an exceptional job working with
1 students and pushing them to their best ability. He was always engaging in class and kept the class interested in what was being taught. History is not a very
interesting course but Herbertz was able to make the class as interesting and engaging as possible. 
2018 DS (2019) FSC
Course: COM 3367 001 - VIDEO SHORT FORM Department: Com

COM 3367 - 001
Course Evaluations
Responses Course
M F N
Q1 Gender 2 4 6
COM 3367 - 001

Course Evaluations
Responses Course
F S J S O N
COM 3367 - 001

Course Evaluations
Responses Course
COM 3367 - 001

Course Evaluations
Responses Course
A B C D F N
COM 3367 - 001

Course Evaluations
Responses Course
hours a week=7
COM 3367 - 001

Course Evaluations
Responses Course
0 1 2 3 4 5 6 7 8OM N
2018 DS (2019) FSC
Course: COM 3367 001 - VIDEO SHORT FORM Department: Com

Matthew Herbertz

Dev
Q3 The professor effectively facilitated engaged learning in the course. 6 0 0 0 0 0 0 6 7.00 7 7 0
Q4 The professor clearly communicated student learning outcomes or course objectives (as seen in my syllabus) 5 1 0 0 0 0 0 6 6.83 7 7 .37
Q5 The professor’s standards for evaluating my work were clearly communicated. 5 1 0 0 0 0 0 6 6.83 7 7 .37
Q6 The professor’s standards for evaluating my work were consistently applied. 5 1 0 0 0 0 0 6 6.83 7 7 .37
Q7 The professor provided feedback on course assignments and other evaluations (e.g., exams) in a timely manner. 4 2 0 0 0 0 0 6 6.67 7 7 .47
Q8 The professor challenged me to think critically and/or creatively about material in the course. 6 0 0 0 0 0 0 6 7.00 7 7 0
Q10 The professor encouraged me to improve throughout the course. 6 0 0 0 0 0 0 6 7.00 7 7 0
Q11 The professor was receptive to student opinions (outside his/her own) throughout the course. 5 1 0 0 0 0 0 6 6.83 7 7 .37
Matthew Herbertz

Dev
material.

1 You are an amazing teacher and an amazing person. I enjoy having you as a teacher and mentor! 
2 I ticked a lot of "absolutely agree" boxes, but it's all true and I've had a great experience with this professor. 
3 I like how Professor Herbertz felt like a real person. He didn’t put up this “professional” persona. He felt like himself, and in a way, that made him feel MORE authentic
than this “professional film professor.” Super chill guy, fun class. 
4 He could definitely swear more often. 
2018 DS (2019) FSC
Course: COM 3367 01H - VIDEO SHORT FORM Department: Com

COM 3367 - 01H
Course Evaluations
Responses Course
M F N
Q1 Gender 0 1 1
COM 3367 - 01H

Course Evaluations
Responses Course
F S J S O N
COM 3367 - 01H

Course Evaluations
Responses Course
COM 3367 - 01H

Course Evaluations
Responses Course
A B C D F N
COM 3367 - 01H

Course Evaluations
Responses Course
hours a week=7
COM 3367 - 01H

Course Evaluations
Responses Course
0 1 2 3 4 5 6 7 8OM N
2018 DS (2019) FSC
Course: COM 3367 01H - VIDEO SHORT FORM Department: Com

Matthew Herbertz

Dev
Q2 The professor was well prepared for class. 1 0 0 0 0 0 0 1 7.00 7 7 0
Q4 The professor clearly communicated student learning outcomes or course objectives (as seen in my syllabus) 1 0 0 0 0 0 0 1 7.00 7 7 0
Q5 The professor’s standards for evaluating my work were clearly communicated. 1 0 0 0 0 0 0 1 7.00 7 7 0
Q6 The professor’s standards for evaluating my work were consistently applied. 1 0 0 0 0 0 0 1 7.00 7 7 0
Q7 The professor provided feedback on course assignments and other evaluations (e.g., exams) in a timely manner. 1 0 0 0 0 0 0 1 7.00 7 7 0
Q9 The professor enabled my understanding of applying material Beyond the classroom. 1 0 0 0 0 0 0 1 7.00 7 7 0
Q11 The professor was receptive to student opinions (outside his/her own) throughout the course. 1 0 0 0 0 0 0 1 7.00 7 7 0
Matthew Herbertz

Dev
material.

As someone with no background whatsoever in film, I was a bit nervous and intimidated coming into a class full of people who already kind of understood this topic
1 already. However, it was great. While I did feel like I may have dragged the groups I was in down a bit with my lack of experience, Prof. Herbertz was always willing to
make time to help me if I needed it. He was very understanding and always made sure to include everyone in every class. He is extremely passionate about teaching and
it makes everyone else excited to be there. Thanks for a great semester! 
2018 DS (2019) FSC
Course: COM 4100 001 - FILM AESTHETICS: CINEMATOGRAPHY Department: Com

Responsible Matthew Herbertz Responses / Expected: 2 / 6 (33.33%)
Faculty:
COM 4100 - 001
Course Evaluations
Responses Course
M F N
Q1 Gender 0 2 2
COM 4100 - 001

Course Evaluations
Responses Course
F S J S O N
COM 4100 - 001

Course Evaluations
Responses Course
COM 4100 - 001

Course Evaluations
Responses Course
A B C D F N
COM 4100 - 001

Course Evaluations
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hours a week=7
COM 4100 - 001

Course Evaluations
Responses Course
0 1 2 3 4 5 6 7 8OM N
2018 DS (2019) FSC
Course: COM 4100 001 - FILM AESTHETICS: CINEMATOGRAPHY Department: Com

Responsible Matthew Herbertz Responses / Expected: 2 / 6 (33.33%)
Faculty:
Matthew Herbertz

Dev
Q1 The professor demonstrated clear understanding of the subject matter. 1 1 0 0 0 0 0 2 6.50 6.5 6,7 .50
Q2 The professor was well prepared for class. 1 1 0 0 0 0 0 2 6.50 6.5 6,7 .50
Q4 The professor clearly communicated student learning outcomes or course objectives (as seen in my syllabus) 2 0 0 0 0 0 0 2 7.00 7 7 0
Q5 The professor’s standards for evaluating my work were clearly communicated. 2 0 0 0 0 0 0 2 7.00 7 7 0
Q6 The professor’s standards for evaluating my work were consistently applied. 2 0 0 0 0 0 0 2 7.00 7 7 0
Q7 The professor provided feedback on course assignments and other evaluations (e.g., exams) in a timely manner. 2 0 0 0 0 0 0 2 7.00 7 7 0
Q9 The professor enabled my understanding of applying material Beyond the classroom. 1 1 0 0 0 0 0 2 6.50 6.5 6,7 .50
Q11 The professor was receptive to student opinions (outside his/her own) throughout the course. 2 0 0 0 0 0 0 2 7.00 7 7 0

Q13 Based on the course experience, I would take another course with this professor. 1 1 0 0 0 0 0 2 6.50 6.5 6,7 .50
Q14 Based on the quality of teaching, I would recommend this professor to other students. 1 1 0 0 0 0 0 2 6.50 6.5 6,7 .50
Matthew Herbertz
Dev
material.

1 You're amazing, thank you for everything 

The Evaluation of Faculty in Creative Specialties for Promotion and
Tenure
An official policy statement of the University Film and Video Association
Consideration for academic promotion and tenure traditionally involves an evaluation of a faculty
member’s contribution in each of three areas: teaching, research/creative activity, and service. Since
procedures and standards for evaluation of teaching and service are generally well-established at
most institutions, the focus of this statement is on the procedures and standards for evaluation of
research/creative activity.
Introduction
Creative work should be fully accepted as part of the faculty evaluation process when such work is
appropriate to both faculty specialization and teaching load. Just as the primary professional
contributions of a faculty member teaching media history should be expected to be in the form of
published scholarship, so the primary professional contributions of a faculty member specializing in a
creative area should be expected to be in one or more of the areas of creative production.
The fine arts have clearly established a precedent for the consideration of creative work as a part of
the evaluation process for promotion and tenure. Exhibitions of paintings, drawings, sculptures,
photographs, etc. are accepted as evidence of professional contributions in the visual arts. Musical
compositions and reviews of recitals and solo performances are accepted in the field of music.
Creative writing, direction and design of plays, choreography, and dance performances are likewise
accepted as evidence of faculty contributions in other creative fields. The same should be true of
creative work by a film or video faculty member.
Comparison between Criteria for Evaluating Creative Work and Criteria for
Evaluating Traditional Scholarship
In order for traditional scholarship to be acceptable evidence in support of promotion and tenure, that
scholarship must be disseminated and evaluated by experts in the field. The same is true of creative
work in film and video.
Dissemination and evaluation of traditional scholarship is usually accomplished by means of

publication. Over the years a fairly clear set of criteria have evolved for the evaluation of
publications, which are ordinarily books or articles. The value and importance of a particular book
can be determined by the prestige of the publisher, the prepublication comments of peer reviewers,
and post-publication reviews in scholarly journals.
Articles are often judged on the basis of the reputation of the journal in which they appear. Articles in
refereed journals are given more weight than articles in non-refereed journals. Journals, refereed or
not, are rated on the basis of their reputations, the reputations of their editors and peer evaluators,
and their acceptance rate. Invitations to a faculty member to write particular pieces for a journal can
be viewed as recognition of that faculty member’s status within a specialization.
Creative work in film and video can be disseminated and evaluated in a similar way, although the
process of dissemination and evaluation is less well-developed and less well-understood by some
within the academic community.
Review of Film and Video: Initial Considerations

Dissemination of scholarly work typically is accomplished by means of publication in articles, books,
and, less frequently, monographs. Completed creative work in film and video consists of products
whose forms have a greater variety in length than is found in printed materials. A faculty member
might be involved in the production of a feature-length dramatic film, a half-hour documentary, a
three-minute animated work, or a work of some other type and length; many possibilities exist. The
length of a finished work is significant but not indicative of the effort required to complete it. A short
experimental video piece or a multi-media production might require even more time and effort to
create than a relatively straightforward hour-long documentary. When peers evaluate film or video
work, it is important that they determine the probable difficulty of particular projects. Their task is
analogous to that of judging the importance of a multi-year horizontal study in the social sciences;
such a study might require many years of effort, yet result in an article of only modest length.
Instances of joint authorship occur in traditional scholarship. In such cases it is necessary to

establish the contribution made by each author, if the work is included in a promotion or tenure
dossier. Film and video works are frequently, although not always, collaborative endeavors. Thus, it
is extremely important to know what role a faculty member played on a particular production. In
many cases, the faculty member will have had total responsibility for the production. In other cases,
his/her role might have been that of writer, editor, etc. It is appropriate to give varying levels of credit
for varying levels of responsibility. In cases of shared responsibility, it is best to rely on experts in the
field to determine the relative importance of each individual’s contribution.
Dissemination of Film and Video Works

Public showings of a film or video work to informed audiences should be considered dissemination
of the work, equivalent to that of scholarly publication. This is similar to the traditional acceptance of
a music recital performed for a knowledgeable audience as the equivalent of publication.
Certain forms of film and video can be adjudicated in festival competitions. Many festivals have
rigorous selection procedures for inclusion of films and tapes within their programs. Selection of a
faculty member’s creative work for showing at a festival that has a good reputation can be
considered indicative of the quality of the work. Festivals can be of local, regional, national, or
international importance. Because the reputation of festivals is not static, it is important for the
current reputation of a pertinent festival to be specified in any promotion and tenure dossier.
The quality of a film or video work may be partially indicated by any festival awards or prizes that
have been bestowed upon it. Festival awards and prizes are evidence of a positive competitive
judgment about the quality of the work. In evaluating the importance of a festival award or prize, it is
important to consider the current reputation of a festival at which it was received.
Some academic associations schedule screenings based on a preconvention evaluation of

submitted works. Selection for screening can be considered an indicator of quality, provided the
current reputation and procedures of the association are known.
The merit of a film or video work may be indicated by its having been televised. It might be shown on
commercial and/or public television, and might be aired on cable systems. Greater weight is often
given to works selected for network presentation than to those carried only locally. In all cases, it is
important to consider the level at which the work has had public exposure. It must be acknowledged
that television showings are not equally accessible to all types of work.
Sometimes museums, media arts centers, and universities schedule invited presentations, often
including oral presentations by the filmmakers or videomakers. The prestige of such invitational
showings varies, of course, depending upon the importance of the institution and the rigor of the
selection process.
It should be noted that multiple showings of the same film are not the equivalent of reprints of a
scholarly work. In the case of reprints of books or articles, the original printing is often still available
through libraries. Reprinting of an article is primarily for the convenience of the readers of a
particular periodical. There is generally no such easy access to media works; thus, in most
circumstances each showing of a media work makes the production available to a new, previously
inaccessible audience.
Film and video works may be disseminated through distribution agencies and companies, although
this system is considerably less comprehensive than the equivalent dissemination of published
scholarly works. Some distributors are highly selective, and the inclusion of a faculty member’s work
within their inventories can be considered an indication of quality. However, most film and video
distributors are commercial, and the exclusion of a faculty member’s work from such distribution is
not necessarily an indication that it has little or no artistic or social value. It must be remembered that
faculty works must compete for distribution with works produced by individuals whose careers are
exclusively dedicated to creative film and video production.
Sources of Written Evaluations of Film and Video Works

Meaningful reviews of faculty creative work appear in scholarly and professional publications, library
media publications, and even, in some cases, newspapers. In evaluating such reviews, the status of
the reviewer and the reputation of the periodical are important.
Some professional associations, including the University Film and Video Association, regularly
provide written evaluations of works selected for showing at their conventions. The judges of some
festivals also will provide written critiques, if requested.
Letters evaluating a faculty member’s work can be requested from responsible individuals at
museums, media centers, colleges and universities, and other institutions at which the work has
been shown. As in the case of scholarly reviews, it is important to consider the reputation of the
individual or institution contributing the evaluation.
The Evaluation of Professors of Screenwriting (1)

At the outset, it must be recognized that screenwriting is a worthy artistic and academic endeavor in
and of itself, and that scripts have intrinsic value whether or not they are produced as films, for
television, or for other media form. Scripts selected for production might be chosen for their own
merit, but it is equally possible for a script to be chosen based on its perceived target audience,
availability of funding, or support of a well-known celebrity, among many possible factors. A script
might be re-written by someone other than the original writer before it is produced. Or an optioned
script may not ever get made. Thus, the fate of a screenplay is not necessarily a reflection of its
quality or the skill with which it is written.
Further, the timelines of commercial productions are seldom aligned with schedules of the academic
world. There are famous anecdotes about scripts being made into successful films ten, fifteen, and
even twenty years after they were originally written. This is far in excess of the length of time
professors of screenwriting have available in order to prove the value of their work before being
subjected to the tenure and promotion process.
As with all creative projects, scripts must be disseminated and evaluated as part of the promotion
and tenure process.
Though less visible in the world of commercial film, short film scripts also merit inclusion here,
provided they are disseminated and evaluated as described below.
Dissemination of Screenwriting
The possibilities for the dissemination of faculty screenwriting projects include the following:
• Distribution of scripts to peer screenwriting professors at other universities for reading and
evaluation
• Distribution of scripts to professional organizations that include script evaluation sessions and/or
partial or complete script readings among their activities
• Distribution of scripts to organizations for possible production
• Readings by local and regional groups, provided selection of material is based on a jury or panel
decision rather than mere proximity to the writer
• Publication of scripts in whole or in part. Publication possibilities might include the following:
o Selection for existing or future print publications of the University Film and Video Association
o Selection for other print publications
o Selection for media publications of professional organizations
o Internet publication where allowed by institutional regulations
It must be noted that the possibilities for publication of scripts are extremely limited relative to the
number of scripts completed each year. In no case should a college or university require that a script
be published in order to validate its use as an accomplishment in promotion and tenure cases.
Evaluation of Screenwriting
Sources for the evaluation of the work of screenwriting professors include the following:
• Peer reviews written by screenwriting professors at other colleges and universities: This might be
completed for individual works or a body of writing.
• Peer review of scripts by the University Film and Video Association: The Association uses a blind
selection process to select the scripts chosen for review at each annual conference. A peer reviewer
produces a written review, and, in addition, the public discussion that follows the formal review can
be recorded and/or transcribed.
• Screenwriting awards of merit by professional organizations: Using a blind review process, expert
judges would normally select a limited number of scripts for recognition
• Reviews by industry professionals in situations in which institutions allow such reviews, and in the
event that the industry professionals are sufficiently aware of the goals of the promotion and tenure
process in academe.
• Optioning or actual production of scripts by recognized professional production companies; optioning
indicates sufficient merit in a script to warrant a commitment.
• Published reviews in print or media format: These might include but would not be limited to print
reviews that appear in the Journal of Film and Video, and reviews that appear in the DVD issues of
the same periodical.
• Screenplay competitions that screenwriting professors are eligible to enter: In many instances,
individuals who have already earned income as a professional writer may be ineligible to compete.
• Selection for competitive writing residencies, writing fellowships, and/or screenwriting awards or
grants.
Quality vs. Quantity in Screenwriting

The number of scripts a professor produces may be an irrelevant consideration. The number of
scripts often is not indicative of the effort, care, and talent needed to produce them. Of far greater
importance is the challenge posed to the writer by the project, the degree of originality
demonstrated, the depth of the work, and the skill with which it is executed. As with any artistic
creative endeavor, a scriptwriter produces multiple drafts before arriving at a manuscript ready for
submission and dissemination; thus "one” screenplay is the result of numerous versions.
Screenwriting Conclusions
Because of the complexities of the process of dissemination and evaluation of screenwriting, the
University Film and Video Association recommends that a panel of three to five faculty experts be
used in all cases involving the promotion or tenure of screenwriting professors. In some cases, an
industry professional might also be included on such a panel.
Additional Considerations
Media production is inherently expensive. Thus it is not infrequent for a faculty member to be
involved in seeking in support for creative work. This can be a time-consuming process, which
requires clear written articulation of creative goals and methods. Credit should be given in the
promotion and tenure process for the seeking of grants as well as for any grants received.
When a faculty member’s creative work is presented at a university, a festival, or an association

conference, it is usual for the faculty member to introduce the work and to respond to any
subsequent questions, comments, and criticisms. Although such a presentation is difficult to
document, it should be considered the equivalent of the presentation of scholarly papers for peer
critique in academic settings.
It must be noted that there are certain types of creative works for which appropriate means of
dissemination and evaluation have not yet been devised. Multi-image pieces and some types of
experimental work fall into this category. In such cases, it is necessary to rely on peer evaluations to
establish the value and importance of faculty creative work.
Peer Evaluations
It is fairly usual for faculty members within a department to evaluate the creative output of their
colleagues as part of the promotion and tenure process. It is increasingly common, and indeed
essential in a relatively new field such as film and video, for a panel of outside evaluators to be
established for the purpose of examining creative work. It is important that the evaluators should be
knowledgeable about, and sympathetic toward the type of creative work completed by the faculty
member who is being considered for promotion and tenure. For instance, an evaluator whose sole
interest is narrative film should not be asked to evaluate an experimental video work. In some cases
an institution might wish to include professionals from the media industry on an outside evaluation
panel. It must be remembered, however, that media professionals may not be attuned to the
requirements of the promotion and tenure process.

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Faculty Activity Report 18-19

Name: Matthew Herbertz

Courses: Fall 2018

COM 2500 Visual Communication 4 4 20

COM 2240 Film History (independent Study 4 4 1

COM 2210 Storytelling for the Screen 4 4 20

COM 3370 Photojournalism 4 4 15

COM 3960 Communication Field Experience 1 1 1

COM 3997 Dance on Camera 4 4 15

COM 4900 Senior Project 4 4 1

HON 3955 Honors Directed Study 1 1 1

COM 1101 001 Media Foundations 4 4 20

COM 3367 Video Short Form 4 4 11

COM 2240 Film History 4 4 25

COM 4100 Film Aesthetics 4 4 6

HON 3956 Honors Directed Study 2 2 1

Section II: Service:

Maintaining a community of teaching and learning requires the existence of a significant

You may wish to divide your activities into:

A. Service to the department

-Attending and contributing to departmental and college wide faculty meetings.

-Reorganized maintained Film/Digital Media equipment room. Probably spent about 15

On the college level I:

-Attended Move in Day and helped.

Section III: Scholarly and Creative Activity

Section IV: Goals for the upcoming calendar year

SECTION VI: SUPPLEMENTAL IMAGES/MATERIALS

W James Thesis Film

Crew of My Florida Home production

Student Filmmakers at the Southern Reel Showcase

Students at Sunscreen Film Festival

COMPLETED FILMS – Juried Exhibitions and Screenings

Relax. 2018. Writer, Director, Editor

Shed. 2018. Producer (Dir. Matt Burch and Andy McEntire)

Doll. 2017. Director of Photography (Dir. Cory Pratt)

Deadpoint. 2016. Co-Writer, Director

A Peculiar Thud. 2016. Producer, Director of Photography (Dir. Ross Morin)

A Man of God. 2015. Writer, Director

A Wheel out of Kilter. 2015. Director of Photography (Dir. Ross Morin)

Unprincipled. 2015. Director of Photography (Dir. John Kerfoot)

Mother. 2014. Producer (Dir. Iryna Zhygaliuk)

Suction. 2014. Writer, Director, Editor

SCREENPLAYS – Juried Competitions

A Peculiar Thud. 2016. Director of Photography/ Producer

Doll. 2016. Director of Photography

A Man of God. 2015. Writer, Director.

A Wheel Out of Kilter. 2015. Director of Photography, Assistant Editor, Actor.

Unprincipled. 2015. Director of Photography.

Suction. 2014. Writer, Director, Editor.

Herbertz, M. (2018) Universal Cinematic Language in Myroslav Slaboshpytskyi’s ‘The Tribe’.

Herbertz, M. (2018) Sex, Violence, Pornography, and the Culture of Offense.

VISITING ARTIST/INVITED LECTURES/GUEST LECTURES

Visiting Artist, Geneva-on-the-Lake, OH

Visiting Artist, Connecticut College, Film Studies

Guest Lecture, Florida Southern College

Guest Lecture, Florida Southern College

Film Equipment Management and Inventory. (2017 – present)

‘Art of Film’ Screening Series (February 2018 – present)

Cinematheque. (2017 – present)

‘Southern Reel Film Showcase’. (2018 – present)

Philadelphia and Newark Florida Southern College Admissions Reception. (2019)

Hartford and Boston Florida Southern College Admissions Reception. (2018)

Gender Roles in Dystopian Film. (2016)

Hyper-Masculinity in “Everybody Want’s Some”. (2016)