Dr. Peter B. Gregg
Lecturer
Department of Communication Studies
225 Ford Hall, University of Minnesota
Minneapolis MN 55455-0427
(612) 920-7349
Education
Ph. D.University of Minnesota, Summer 2005
Program: Communication Studies
Emphasis: Media Studies
GPA: 4.00/4.00
Dissertation: “Parasocial Relationships’ Similarities to Interpersonal Relationships: Factor
Analyses of the Dimensions of Parasocial Interaction”
Advisor: Edward Schiappa
M.A.University of Minnesota, Spring 2002
Program: Communication Studies
Emphasis: Media Studies
GPA: 3.96/4.00
Thesis: “My Teacher the TV: The Creation of a Critical Media Literacy Video.”
Advisor: Edward Schiappa
B.A.MoorheadStateUniversity, August 1999
Major: Speech-Communication and Theatre Arts
Focus: Television, Film, and Radio
GPA: 3.92/4.00
Advisor: Theodore M. Larson
Academic Appointments
Lecturer, 2005-present
Graduate Teaching Assistant, University of Minnesota, 2000 – 2005
Television Production Lab Assistant, MoorheadStateUniversity, 1999 – 2000
Teaching Assistant, MoorheadStateUniversity, 1999
Undergraduate Teaching Assistant, MoorheadStateUniversity, 1997 – 1999
In addition to my teaching appointments, I supervise and train all production instructors and courses taught in the department, and I am the departmental liaison for all college-wide users of the production studios, editing suites, and field production equipment. I also oversee, manage, and maintain the departmental audio/video equipment used in coursework and day-to-day use.
Additionally, from January 2008 to the present, I am the lead researcher on the University of Minnesota’s Course Transformation Project for more than 25 sections of the COMM 1101, Introduction to Public Speaking course. The primary aims of this project are to find a way to efficiently record, deliver, and analyze students’ speeches to increase the quality of review, analysis, and application of course goals to the speeches students give. This project also includes training and coaching the course instructors on the use and application of the technology.
Production Interests
Now that I have acquired my doctorate, I hope to continue the practice of media production. I find it a fulfilling form of creative expression that ties together my teaching, my research, and my daily life. I have long felt the need to tell stories, and the feeling of sitting with an audience who are pulled into a world you have pulled from inside yourself is unlike any other.
Media content gives people a frame of reference to understand and explain the world. It is through the stories that we tell and are told that we help make sense out of a world seemly rife with contradiction and randomness. Storytellers attempt to reconcile needs and expectations; they reveal the inconsistencies between goals and consequences. Stories can be metaphors; they can be analogies; they can be arguments; they present a perspective on the world that can say: “This is how it is, right?” If narrative is about giving a character a need and putting them on a journey to attain that need, then what stories have to say about those needs also contribute to our understanding of our own needs. It is my belief that I have stories in me that do exactly that.
Given its constantly changing technologies, it requires diligence to stay afloat in the media production world, and I believe technological innovation is an important contributor to my development as an artist and instructor. Production is a passion of mine that I believe is important to share with students, because it leads to better critical media literacy, higher expectations regarding the work of media producers, and an effective way to demystify media content. I currently have two feature-length screenplays in the works and a number of short films written. Additionally, my work has begun to explore the fusion of improvisational theatre and cinematic expression in interesting, intriguing, and exciting ways.
Creative Projects
Web Series
“Forsythia.” Fourteen 6 minute episodes. In production.
Feature Films
Story consultant. “What are We Doing Here? Cairo to Cape Town.” Documentary shot in widescreen digital video. Runtime: 82 minutes. 2008. Dir: The Klein Brothers.
Script consultant. “Dawning.” Shot in high definition. Tapeless production. Approximate runtime: 80 minutes. 2008. Dir: Gregg Holtgrewe. Currently being edited.
Script consultant. “Yielding.” Shot on widescreen digital video, edited with non-linear system. Approximate runtime: 75 minutes. 2006. Dir: Gregg Holtgrewe.
Script consultant. “Prick.” Shot on digital video, edited with a non-linear system. Approximate runtime: 120 minutes. 2005. Dir: Justin Hawkins.
Script consultant/Lighting director. “Dawning.” Shot on widescreen digital video, edited with non-linear system. Approximate runtime: 60 minutes. 2005. Dir: Gregg Holtgrewe.
Writer/Director/Editor. “This is a Student Film.” Shot on widescreen digital video, edited with non-linear system. Runtime: 80 minutes. 1999. Debuted at the Historic Fargo Theatre.
Short Films
Director/Writer/Editor. “Forsythia of Tamworth.” Shot in high definition video, edited with Final Cut Pro. Shown as a part of the Minneapolis 48 Hour Film Project.
Edit consultant. “Unhinged.” Shot on high definition video, edited with Final Cut Pro. Runtime: 15 minutes. 2007. Dir: Gregg Holtgrewe. Official selection of the Chicago REEL Shorts International FilmFest.
Writer/Director/Editor. “The Table.” Shot on widescreen DV, edited with non-linear system. Runtime: 10 minutes. 2005. Debuted at Riverview Theatre.
Writer/Director/Editor. “Great Moments in Risk.” Shot on DV, edited with non-linear system. Runtime: 3 minutes. 2004.
Writer/Director/Editor. “Ride-Engineered Redux.” Shot on widescreen DV, edited with non-linear system. Runtime: 3 minutes. 2003.
Writer/Director/Editor. “Ride-Engineered.” Shot on widescreen DV, edited with non-linear system. Runtime: 6 minutes. 2003.
Writer/Director/Editor. “Columbia Tribute.” Shot on DV and with archival footage and stills, edited on non-linear system. Runtime: 7 minutes. 2003.
Writer/Editor. “Not Enough All Here.” Shot on digital video, edited with non-linear system. Runtime: 10 minutes. 2000.
Writer/Editor. “Montag’s Line.” Shot on digital video, edited with non-linear system. Runtime: 20 minutes. 2000.
Writer/Director/Editor. “The Evil Doll.” Shot on Super-VHS, edited with linear system. Runtime: 15 minutes. 1999.
Writer/Director. “Trivial Pursuit.” Shot on Super-VHS, edited with linear system. Runtime: 15 minutes. 1999.
Writer/Director/Editor. “The Magic Number.” Shot on Super-8 film, edited by hand. Runtime: 9 minutes. 1998.
Writer/Director/Editor. “It’s Evolution, Baby!” Shot on color Super-8 film, edited by hand. Runtime: 7 minutes. 1998.
Writer/Director/Editor. “Omelet.” Shot on color Super-8 film, edited by hand. Runtime: 5 minutes. 1998.
Writer/Director/Editor. “The Roommate.” Shot on color Super-8 film, edited by hand. Runtime: 3 minutes. 1998.
Instructional Videos
Writer/Director/Editor. “FCP Tutorial – Placing Transitions.” Created in ScreenFlow. 3 minutes. 2009.
Writer/Director/Editor. “FCP Tutorial – Filters and Keyframing.” Created in ScreenFlow. 3 minutes. 2009.
Writer/Director/Editor. “FCP Tutorial – Adding Text to Video.” Created in ScreenFlow. 3 minutes. 2009.
Writer/Director/Editor. “Soundtrack Pro Tutorial – Opening Files.” Created in ScreenFlow. 3 minutes. 2009.
Writer/Director/Editor. “Soundtrack Pro Tutorial – Multitrack Use.” Created in ScreenFlow. 3 minutes. 2009.
Writer/Director/Editor. “Soundtrack Pro Tutorial – Previewing and Trimming Files.” Created in ScreenFlow. 3 minutes. 2009.
Writer/Director/Editor. “Soundtrack Pro Tutorial – Basic Filters and Effects.” Created in ScreenFlow. 3 minutes. 2009.
Writer/Director/Editor. “Soundtrack Pro Tutorial – Normalizing Audio.” Created in ScreenFlow. 3 minutes. 2009.
Writer/Director/Editor. “Soundtrack Pro Tutorial – Recording Audio in the Studio.” Created in ScreenFlow. 3 minutes. 2009.
Director. “Let’s Talk About It.” A short film for the Science Museum of Minnesota. Shot tapeless. Runtime: 10 minutes. 2007.
Writer/Director/Editor. “The Video Equipment Room.” Shot on digital video, edited with non-linear system. Runtime: 15 minutes. 2006.
Writer/Director/Editor. “Video Yeah!” Shot on digital video, edited with non-linear system. Runtime: 8 minutes, 2004.
Writer/Director/Editor. “The Elaboration Likelihood Model and Critical Media Literacy.” Shot on digital video, edited with non-linear system. Runtime: 30 minutes. 2002.
Writer/Director/Editor. “Das Filum Der Rhetorik.” Shot on Super-VHS, edited with linear system. Runtime: 20 minutes. 1999.
Television Programs
Producer. “Video K.” Shot live-on-tape and in the field. 2005-2007.
Executive Producer. “The No-Spoiler Zone.” Shot live-on-tape. Aired February to May 2005.
Executive Producer. “Live From Studio B.” Shot live-on-tape and single camera. Aired December 2004.
Executive Producer. “Juke Joint.” Shot single camera and live on tape. Aired December 2003.
Producer. “Critical Response.” Shot live-on tape. Aired October 2001 to January 2002.
Moderator/Guest. “A Leash Called Love.” Shot live-on-tape. Aired March 1998 to April 1999.
Production Technology Used
Media Used
Super-8 Film
Super-VHS
Digital (480i and 480p) Video
Anamorphic Digital Video
High Definition (HDV and HDTV) Video
Post-Production Equipment Used
Adobe After Effects
Adobe Encore
Adobe Audition
Adobe Premiere
Adobe Premiere Pro
Avid Xpress DV
Cool Edit Pro
DVD Studo Pro
Final Cut Pro HD
iMovie
iDVD
Motion
Sonic DVD Studio
Sound Forge 6.0
Soundtrack
Compressor
Awards and Honors
Special Merit Raise, University of MN - 2007
Frizelle-Reid Award for Media Studies Students in Comm. Studies, University of MN – 2004
Old Buffalo Award for Graduate Students in the Dept. of Comm. Studies, U. of MN - 2003
Haeberle Award for Media Studies Students in Communication Studies, University of MN -2002
Communication Studies Graduate Student Research Scholarship, University of Minnesota - 2001
Excellent Merit Scholarship, MoorheadStateUniversity– 1999
Colleen Moore Scholarship, MoorheadStateUniversity - 1998
Debate Team Scholarship, North DakotaStateUniversity - 1996, 1997
Grant Applications and Awards
U of MN, Information Technology, Video Production Courses – Fall 2008 $14,996
U of MN, Course Transformation Project – Spring 2008 - $10,000
U of MN, Information Technology, Video Production Courses – Fall 2007$20,537
U of MN, Information Technology, Video Production Courses – Spring 2007 $4,757
U of MN, Information Technology, Video Production Courses – Fall 2006 $5,350
U of MN, Information Technology, Video Production Courses – Spring 2006 $21,227
U of MN, Information Technology, Public Speaking Courses – Spring 2006 $3,324
U of MN, Information Technology, Video Production Courses - Fall 2005 $12,678
U of MN, Task Force on Civic Engagement Program – 2002
U of MN, Graduate Research Partnership Program - 2002
Teaching Experience
Introduction to Electronic Media Production (U of MN: COMM 3201)
Course explores fundamentals of writing and producing for television, in-studio live-on-tape video production, the communicative aspects of television and film, and critical analyses of visual media. Responsible for creating lectures, in-class exercises, training students with all production equipment, examinations, and evaluation of student performance. Taught 24 times.
Advanced Electronic Media Production (U of MN: COMM 3204)
Course develops ideas established in the introductory course. Actual production plans, schedules, and methods are employed to give students a somewhat realistic idea of what it means to produce a live-on-tape television program. Involves non-linear editing and post production technologies, in addition to standard pre-production and production processes. Responsible for creating lectures, equipment training, in-class viewing and listening exercises, examinations, and student evaluations. Taught 14 times.
Sound Production and Media Literacy (U of MN: COMM 3110/COMM 3202)
Course examines sound aesthetics and production techniques in both studio and field settings. Students design and produce foley sound effects, short scenes, and radio plays. Involves live and post-production manipulation of sound. Responsible for creating lectures, equipment training, in-class viewing and listening exercises, examinations, and student evaluations. Taught twice.
Film Studies: Film, Communication, and Aesthetics (U of MN: COMM 5110)
Examined and applied the basic grammar of cinematics and narrative film making. Applied those rules to criticism and analysis of feature films. Explored the potential of film to communicate ideas to people about the world they live in. Class watched one film a session, including The Wizard of Oz, Casablanca, Adaptation, and Fargo. Responsible for creating lectures, in-class viewings, examinations, paper evaluation, lead post-viewing discussions. Taught once.
Film Studies: The Rhetoric of the Documentary Film (U of MN: COMM 3110)
Focused on the documentary film as a unique genre with particular expectations and interactions with and around audiences. Class examined the ethics of documentary filmmaking, the role of the filmmaker in the documentary process, the transformation from actual event to filmed event, audience reactions to documentaries, and the history and creation of the documentary film genre. Class watched one film a session, including old newsreels, Nanook of the North, Gimme Shelter, Mr. Death, Salesman, This is Spinal Tap, and Roger and Me. Responsible for creating lectures, in-class viewings, examinations, student evaluations, and media relations. Taught three times.
Film Studies: Comedy and Film (U of MN: COMM 5110)
Examined rules of filmic techniques and application of criticism to film viewing. Class learned and applied rules of the grammar of cinema to film viewing. Students explored the potential of comedy to reveal the world, comment on the human condition, entertain us, and reflect on society and culture. Class recognized major modes of comedic films and understand how they have changed over the course of cinematic history. Responsible for creating lectures, in-class viewings, examinations, student evaluations, and media relations. Taught twice.
Film Studies: The Films of Woody Allen (U of MN: COMM 3110, COMM 5110)
Examined ideas concerning the intentional fallacy, the rhetoric of comedy, alienation, and intertextuality in the films of Woody Allen. Explored the points where Allen's private life and public persona seemed to overlap or blur, and how that affected people's understandings of him as a person and his films. Looked at Allen's feelings toward and understanding of audience and his interpretations of filmic narrative, examining how the creator of a filmic text and the text's viewers creates a world together, where belief is willingly suspended. Examined some of the highlights and lowlights of his career, paying particular attention to what his films say about the world and how that can help to shape how we see the world. Responsible for creating lectures, in-class viewings, examinations, student evaluations, and media relations. Taught three times.
Television Studies: Doctor Who as Cultural Forum (U of MN: COMM 3110)
Course charts the relationships between a television show and its audience. It explores how Doctor Who changed over time in response to audience feedback information taken by the BBC and by how the popular press incorporated the television show as its “newsworthiness” increased over time. Responsible for creating lectures, in-class viewings, examinations, student evaluations, and media relations. Taught once.
Introduction to Public Speaking (U of MN: COMM 1101)
Course offers instruction in basic oral communication skills, including structure, evidence, clarity of purpose, style, and delivery. Students are expected to do research and speak before the class. Emphasizes audience adaptation and analytical skills. Teaching methodology includes discussion, lecture, evaluations of student and peers. Responsible for creating lectures, in-class exercises, all examinations, and evaluation of student performance. Taught once.
Undergraduate Teaching InterestsGraduate Teaching Interests
Television, Film, and Radio ProductionTelevision, Film, & Radio Prod.
Media StudiesMedia Studies
Rhetorical Theory
Additionally, by the end of fall 2008I will have overseen more than 35 internships, about 60 directed study projects, and 250 senior projects.
Mean Class Evaluation Scores(rated on a 1-7 scale)
Comm 3201 – Introduction to Electronic Media Production
- Instructor’s Overall Teaching Ability6.5
- Instructor’s Knowledge of the Subject Matter6.9
- Instructor’s Respect and Concern for Students6.6
- Amount Learned in the Course6.4
Comm 3204 – Advanced Electronic Media Production
- Instructor’s Overall Teaching Ability6.2
- Instructor’s Knowledge of the Subject Matter6.8
- Instructor’s Respect and Concern for Students6.3
- Amount Learned in the Course6.2
Comm 3110/5110 – Special Topics: Documentary Film and Persuasion
- Instructor’s Overall Teaching Ability6.8
- Instructor’s Knowledge of the Subject Matter6.9
- Instructor’s Respect and Concern for Students6.6
- Amount Learned in the Course6.5
Comm 3110/5110 – Special Topics: The Films of Woody Allen
- Instructor’s Overall Teaching Ability6.2
- Instructor’s Knowledge of the Subject Matter6.8
- Instructor’s Respect and Concern for Students6.2
- Amount Learned in the Course6.0
Publications
Peter B. Gregg and Edward Schiappa. "Reconceptualizing Parasocial Interaction as Parasocial Response" a work in progress to be submitted for publication.
Edward Schiappa, Peter B. Gregg, & Dean E. Hewes. (2006). Can one TV show make a difference? Will & Grace and the parasocial contact hypothesis. Journal of Homosexuality. 51, 15-37.
Schiappa, Edward, Allen, Mike, & Gregg, Peter. (2006). Parasocial Relationships and Television: A Meta-analysis of the Effects." In Mass Media Effects: Advances Through Meta-analysis, edited by Ray Preiss, Barbara Gayle, Nancy Burrell, Mike Allen, and Jennings Bryant. Mahwah, NJ: Lawrence Erlbaum.
Edward Schiappa, Peter B. Gregg, Martin J. Lang, "Influencing Student Attitudes about Men and Masculinity in a Film Class," a revise and resubmit at Communication Education.
Schiappa, Edward, Gregg, Peter B., & Hewes, Dean E. (2005) The parasocial contact hypothesis. Communication Monographs. 72, 95-118.
Schiappa, Edward, Gregg, Peter B., & Hewes, Dean E. (2004). Can a television series change attitudes about death? A study of college students and Six Feet Under. Death Studies. 28, 459-474.
Gregg, Peter B. (2004).England looks to the future: The cultural forum model and Doctor Who. Journal of Popular Culture. 37, 648-661.
Convention Participation and Guest Lectures
Peter Gregg. “Student Produced Public Service Announcements As Civic Engagement” Competitive paper selected for presentation at the William A. Kern Conference on “Visual Communication: Rhetorics and Technology,” Rochester, NY, April 2008.
Peter Gregg. “Parasocial Interaction and Parasocial Responses to Favorite Television Characters.” Competitive paper selected by the Mass Communication Division, National Communication Association, San Antonio, November 2006.
Peter Gregg. “Media Production as Civic Engagement.” Presentation selected by the Mass Communication Division, National Communication Association, San Antonio, November 2006.
Peter Gregg. “Parasocial Responses to Presidential Candidates.” Competitive paper selected by the Mass Communication Division, National Communication Association, Boston, November 2005.
Edward Schiappa, Mike Allen, & Peter Gregg. “Parasocial Relationships and Television: A Meta-Analysis of the Effects.” Competitive paper selected by the Mass Communication Division, National Communication Association Convention, Chicago, November 2004.