Film School Boys and Girls
Part Five: NE, KS, OK, TX, NM

Ginny Good, A Mostly True Story:

Read and/or Watch

After you write your book, get an agent and get it published, then (if your agent didn't sell it to some big, bullshit publisher with a heavy-duty hype department, in which case you do whatever dumb-ass thing they tell you to do), you have to somehow get someone to read the sucker...and review it. That's close to impossible. The pages with this notification have thousands of media boys and girls listed, one of whom may hype your book. They have to justify their existence somehow, right? G.

July 3, 2023

"On or before July 14, 2023" the host of my website is bagging it for lots of exquisite reasons. So am I. You can see the last 20 years or so here: (stick in the box).

They're getting rid of my email address, too. Use this:

If you want to read my written stuff, click this:

If you want to see or listen to my video/audio books, click these or this and look around:

If you want to know how to write, click this:

Thanks. G.

Gerard Jones


University of Nebraska, Lincoln
Emerging Media Arts

Megan Elliott

Richard Endacott

Jesse Fleming

Anna Henson

Jinku Kim

Steve Kolbe

Dan Novy

Ash Smith

Robert Twomey

Christopher Irvin

Tom Larson

Film Studies

James Lowell Brunton

Marco Abel

Kwakiutl Dreher

Michael Page

Union College
Film Studies

Michelle Chilcoat

James A. de Seve

Andrew Feffer

Jenelle Troxell


University of Kansas
Film & Media Studies

I hitchhiked back to San Francisco as fast as I could hitchhike. I had visions of the love of my life up on the sunroof with Jim Moss—his shiny black hands rubbing squirts of Coppertone down the small of her back and up the sides of her sturdy rib cage.

"Oh, yeah, and Bud."

Bud's goatee tickling the tips of her pretty nipples got me through Kansas.

Ginny Good, Chapter Thirteen, Stockton Street, Summer, 1964

Anna Neill, Chair

Joshua Miner, Director

Michael Baskett

Bob Hurst

Matthew Jacobson

Laura Kirk

Olga Kyrylova

Madison Davis Lacy

David Mai

Kevin Willmott

Ron Wilson

Wichita State University
Media Arts

Bret Jones

Justin Rorabaugh

Timothy Paul Babb


The University of Tulsa
Film & Media Studies


Jennifer Jones

Justin Rawlins

Joseph Rivers

Alex Smith

Jeff Van Hanken


Mark Brewin, Chair

Mary Anne Andrei

Emily Contois

John Coward

Ted Genoways

Joli Jensen

Zenia Kish

Ben Peters

Mikayla Pevac

Steve Turnbo

Oklahoma City Community College
Digital Cinema Production

Gray Frederickson

Greg Mellott

Sean Lynch

Angela Cotner

Callie Craig

Greg Daubenspeck

University of Oklahoma
Film and Media Studies

Man Fung Yip, Chair

Christopher Bingham

Katrina Boyd

Carolina Rueda

Victoria Sturtevant

Sunrise Tippeconnic

Andrew Horton

Belinda Q. He


University of Texas, Austin

Noah Isenberg, Chair

Miguel Alvarez

Micah Barber

Ben Bays

Mary Beltran

Charles Ramírez Berg

Wenhong Chen

Deepak Chetty

Katherine Craft

Caroline Frick

Andrew Garrison

Mikala Gibson

Lalitha Gopalan

Don Howard

Stuart Kelban

Karen Kocher

Shanti Kumar

Matt Lennon

Richard Lewis

Anne Lewis

Deborah Eve Lewis

Cindy McCreery

Curran Nault

Sarah Seulki Oh

Nathan Patton

Korey Pereira

Maya Perez

Alisa Perren

PJ Raval

Tom Schatz

Nancy Schiesari

David Schneider

Suzanne Scott

Adriana Serrano

Andrew Shea

Ya'Ke Smith

Iliana Sosa

Janet Staiger

Paul Stekler

Daniel Stuyck

Vanessa Uhlig

Tom Willett

Southern Methodist University
Film & Media Arts

Amber Bemak

Sean Griffin

Tearlach Hutcheson

Mark Kerins

James Hart

New Mexico

University of New Mexico
Film & Digital Arts

James Stone, Chair

Susan Dever

Nina Fonoroff

Deborah Fort

Bryan Konefsky

Peter Lisignoli

Matthew McDuffie

Marie Alarcon

Teresa Cutler-Broyles

Diahndra Grill

Nicole Kesel

Barry Kirk

Nathan Kosub

Kirk Mitchell

Jonathan Whetzel

Ira Jaffe

Jacob Kader

New Mexico State University
Creative Media

Amy Lanasa, Department Head

Mitch Fowler

Ross Marks

Ilana Lapid

Kevin Mannens

Rajeev Nirmalakhandan

Sherwin Lau


University of Colorado, Boulder
Cinema Studies & Moving Image Arts

The day after we almost froze to death, some of Ginny's New Age buddies started showing up. They had some kind of loose affiliation with Elizabeth Clare Prophet. I never really got to the bottom of it all. They talked about St. Germaine, the Archangel Michael and some bunch of glowing guys they called "Ascended Masters." They all wore pastel clothes and had faraway looks in their eyes, and every two-bit thing that ever happened to any of them had some big cosmic purpose. They adored Ginny. She fit right in. Every two-bit thing she ever did her whole life always had some big cosmic purpose. I understood practically nothing of any of it. We had grown apart. She had leaped a few rungs ahead of me up the spiritual ladder. We all go at our own pace. Or maybe all her New Age claptrap was just too much of a pain in the ass, even for me. I still liked her. I couldn't help but like her. I'll always like her—but her New Age buddies and me didn't hit it off at all. I left before the week was up.

Ginny Good, Chapter Thirty, Manitou Springs, Summer, 1973

Ernesto Acevedo-Munoz, Chair

Melinda Barlow

Laura Conway

Erin Espelie

David Gatten

Jeanne Liotta

Angelica Lawson

Tiel Lundy

Skinner Myers

Sabrina Negri

Kelly Sears

Hanna Rose Shell

Emilie Upczak

Clark Farmer

Suranjan Ganguly

Don Yannacito

University of Colorado, Denver
College of Arts & Media

David Liban, Chair

Andrew Bateman

Vidblain Balvas

Chris Beeson

Cynthia Cazanas Garin

Eric Jewett

Anais Ornelas Ramirez

James Phelan

Edward Tyndal

Diego Zavala

Colorado Film School

Galina Boulgakova

Geoffrey Chadwick

Will Hicks

Grant Hughes

Justin Jones

Dirk Olson

Brian Steward

Jim Tharp

Kent Youngblood


Montana State University
School of Film

Dennis Aig, Director

Christina Z. Anderson

Bob Arnold

Jennifer Boles

Nancy Cornwell

Cat Dale

Theo Lipfert

Alexis Pike

Lucia Ricciardelli

Cindy Stillwell

Ian van Coller

Tom Watson

Tonya Andrews

Jessica Portuondo

Ariel Savage

Paul Heitt-Rennie

John H. Heminway

Drew Xanthopoulos

Heather McKenney

Alexa Alberda

Zach Begler

Vandana Sood-Giddings

Ryan Parker

Matthew Macoy

University of Montana
Visual and Media Arts

Michael Musick, Director

Valerie Hedquist

Mark Shogren

Michael R. Murphy

Greg Twigg

Tobin Addington

Jordan Costello

Jason Gutzmer

Stephens College
Digital Filmmaking

Kate Berneking Kogut, Dean

Lizzie Germann

Ann Breidenbach

Kristine Somerville

Rosanne Welch


The University of Utah
Film & Media Arts

Andrew Patrick Nelson, Chair

Max Adams

Sonia Albert-Sobrino

Craig Caldwell

Michael Edwards

Kevin Hanson

Trent Harris

Gretchen Jude

Chris Lippard

Emelie Mahdavian

Hubbel Palmer

Brian Patrick

Steven Pecchia-Bekkum

Sarah Projansky

Lien Fan Shen

Sarah E. S. Sinwell

Alex Smith

Brigham Young University
Media Arts

Six months later, around Christmas of 1962, Elliot came home on leave. He'd just finished basic training and some other hush-hush CIA sponsored school at Ft. Bragg and was going to be on his way to Vietnam the morning of New Year's Day. His head was shaved. His ears stuck out. The leather band around the edge of his green beret made a red, painful-looking groove in his scalp. His face was tan. His nails were clipped. He had a few crisp, new ribbons above his shirt pocket and had already earned himself something of a reputation. The guys he'd been in boot camp with called him "Deacon Felton" or "The Deacon" or "Deak." He was the only Mormon in the elite, newly created branch of the military they called "Special Forces." None of the big Bible belt Baptist bruisers who were his comrades in arms had ever known anyone who belonged to the Church of Jesus Christ of Latter-Day Saints, and Elliot talked to them fearlessly about The Book of Mormon. He told them the whole story of how this Moroni guy, this sort of angelic fellow who glowed and walked a foot or two off the floor, told some New England dirt farmer by the name of Joseph Smith where to find some gold tablets hidden under a rock, along with a secret magic decoder device, and that the tablets explained how, shortly after the resurrection, Jesus came to North America and turned a bunch of naked savages into Christians. Elliot's army buddies took kindly to him the way people take kindly to the incurably insane.

Ginny Good, Chapter Seven, North Beach, 1962-1963

Brad Barber

Benjamin Thevenin

Dean Duncan

Kimball Jensen

Darl Larsen

Jonathan Ventura

Jeff Parkin

Todd Bowen

Scott Christopherson

Wynn Hougaard

Kelly Loosli

Courtney Russell

Thomas Russell

Lindsay Kampenhout

Jacob Duerden


University of Nevada, Las Vegas
Film School

Heather Addison, Chair

Thomas Bjelic

Roudi Boroumand

Charles Burmeister

Sean Clark

Warren D. Cobb

Laurene Debord-Foulk

Kynan Dias

Diana Eden

Jason R. Edmiston

Clarence Gilyard

Thomas Gresham

Andi Isaacs

Brett Caroline Levner

May May Luong

West McDowell

Dale Melgaard

Francisco Menendez

Adam Paul

Haley Posukonis

Victoria Skarupski

Karl Ulrich

Hart Wegner

Nevada State College
Visual Media

Adam Davis

AnnaSheila Paul

Jo Meuris


University of Arizona
Film and Television

Brant Law Pope, Director

Jessica Maerz

Yuri Makino

David Yarnelle

Anna Cooper

Shane Riches

Bradley Schauer

Barbara Selznick

Charles C. Young

Orquidea Morales

Jacob Paul Bricca

Michael Mulcahy

Beverly Seckinger

Lisanne Skyler

Sheldon M. Ham

Darious Jamal Britt

Mia A. Farrell

Northern Arizona University
Creative Media and Film

Bill Carter

Rachel Cox

Paul Helford

Chris Johnson

Jannna Jones

Kurt Lancaster

Ethan Carter McCormick

Patricia Aline Murphey

Brian Rackham

Jon Leon Torn

Xin Yi

See also:

Film School Boys and Girls, Part One:

Film School Boys and Girls, Part Two:

Film School Boys and Girls, Part Three:

Film School Boys and Girls, Part Four:

Film School Boys and Girls, Part Six:


Copyright 2002-2022
Gerard Jones
All Rights Reserved