The University of Michigan’s Department of Film, Television, and Media (FTVM) heralds acclaimed writer, director, and performer John Cameron Mitchell, the creative force behind “Hedwig and the Angry Inch,” as the Fall 2025 John H. Mitchell Visiting Professor in Media Entertainment.
The “Problemagic Cinema” Experience
Mitchell’s undergraduate course, FTVM 304.002, or “Problemagic Cinema,” includes a lecture and a more immersive workshop on creating compelling art outside the commercial studio system.
The name itself, “Problemagic,” was Mitchell’s term for tackling complex, often “problematic” subjects, encouraging open dialogue rather than immediate judgment.
Reflecting on the philosophy behind the course, Mitchell noted that contemporary audiences sometimes feel pressure to immediately judge or categorize art. He encourages students to instead explore the emotional and thematic layers of a film, even when it contains uncomfortable elements. According to Mitchell, many films once labeled as “problematic” can reveal valuable insights about the social issues they depict.
Some important films shown in his course include “Dr. Strangelove” (1964) directed by Stanley Kubrick, “Fanny and Alexander” (1982) directed by Ingmar Bergman, “A Woman Under the Influence” (1974) directed by John Cassavetes, “Network” (1976) directed by Sidney Lumet, and “Nashville” (1975) directed by Robert Altman. The last film in his course will be shown on December 1 at 10 a.m. at the State Theater, and they will also show the students’ films, which have been in production all semester.
The class has nine students registered, but the films are also open to the public. On occasion, the theater may be full, such as with the showing of “Nashville.”
Curation and creative agency
Mitchell’s primary goal is to inspire “creative agency” in his students. He framed his role not just as a professor, but as a “spiritual godfather,” guiding students through “the chaos of early creation” and encouraging them to trust their instincts. He emphasized that great art often stems from sincerity and necessity—a “punk” approach in an age dominated by large streaming platforms and studio demands.
The practical culmination of this philosophy was the requirement for each student to write, direct and edit their own short film by the end of the semester.
“But when you’re dealing with today, we’re also in a situation where independent film and a lot of art have been abandoned by capitalism,” Mitchell said. “Independent film has been abandoned by Hollywood. You know, they’re just like—as you notice—Netflix not necessarily taking risks anymore.”
Discussing the selection of films, Mitchell noted the impact of powerful, resource-limited productions: “We watched A Woman Under the Influence. It’s intense, right? Yes, Gena Rowlands is one of the greatest in Cassavetes.”
Director John Cassavetes is considered the godfather of independent American film. Cassavetes was putting out films around the same time as the French New Wave, and he is said to have influenced greats like Martin Scorsese.
Gena Rowlands plays a wife and mother in the film, struggling with the expectations her husband and others place on her, and her performance earned an Academy Award nomination. Rowlands was also married to Cassavetes.
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This focus on impactful, often challenging cinema was core to the “problemagic” theme.
Mitchell also recounted his own history with the artists whose films he screened, mentioning that he wrote fan letters in his life: “One was to a science fiction writer when I was a kid. One was to Gus Van Sant. After I saw the film ‘Mala Noche,’ he became a friend, and then Joan Tewkesbury—I sent my first screenplay and a cassette with all the songs I thought should be, and I got a very courteous reply. The script was returned, but she was going to keep the tape.”
Joan Tewkesbury wrote “Nashville” (1975); however, director Robert Altman and the cast also heavily improvised dialogue.
This personal connection to the history of independent film was a recurring theme in the course. Mitchell, whose most famous film is “Hedwig and the Angry Inch,” said he was influenced in his filmmaking by “Nashville” and “All That Jazz” (1979).
“Punk Strikes Back” symposium
In addition to his teaching duties, Mitchell curated and moderated the annual John H. Mitchell Critical Conversation Symposium, held on November 12, 2025, at the Rackham Amphitheater. Titled “Punk Strikes Back: Artistic Strategies in Times of Crisis,” the event was a public-facing extension of his classroom ethos.
Attended by approximately 70 members of the U-M community, the symposium featured a panel discussion that explored the origins of punk in music and film and its enduring power as a strategy for activism and disruption.
The power of disruption
Mitchell and his guests, including legendary artist manager Danny Fields and film directors Stephen Winter and Howard Gertler, discussed the core philosophy of punk: achieving goals like harmony and justice through unconventional, unfiltered tactics. Mitchell tied the movement’s history to social activism, specifically mentioning AIDS activism in the 1980s and 1990s.
Punk was described as a necessary “wake-up call” in a modern society with short attention spans and increasing political divisions. The conversation highlighted how independent art can serve as a disruptor, particularly when larger Hollywood studios overlook smaller, more meaningful stories for the sake of profitability. The message to the student audience was clear: community involvement and retraining one’s mind to be less judgmental and more active are crucial in creating meaningful change and impactful art.
Danny Fields, sometimes credited with starting the punk movement in America, emotionally recalled the signing of the Stooges and MC5 in Ann Arbor in 1968.
One question from the audience asked whether, in a world that seems callous and uncaring today, it could be punk to promote kindness. Mitchell thought and answered, “Yes.” He added that he had recently written an article in The New York Times about how empathy is the new punk rock, titled: “Today’s Young People Need to Learn How to Be Punk.”
Mitchell suggests that today genuine “punk” is not about empty disruption or “canceling,” but about D.I.Y. (Do It Yourself) collective action, community building, and an open, “problemagic” dialogue that prioritizes human connection and understanding.
A legacy of inspiration
Mitchell’s time at the University of Michigan, facilitated by the FTVM department’s Mitchell Endowment, leaves a lasting impression. By blending theory with hands-on practice and fostering an environment of creative risk-taking, he empowers students to embrace authenticity over commercialism.
The course and symposium served as a powerful reminder that “the good stuff can come from limited resources—from sincerity; from making something because you have to.”
Students absorb not just technical skills, but newfound confidence to pursue their artistic visions, understanding that their independent voices are vital in a complex media landscape.
Donna Marie Iadipaolo is a writer, journalist, and State of Michigan certified teacher, since 1990. She has written for national publications like The Village Voice, Ear Magazine of New Music, Insurance & Technology, and TheStreet.
She is now writing locally for many publications, including Current Magazine, Ann Arbor Family, and the Ann Arbor Independent. Her undergraduate degree is from the University of Michigan, Ann Arbor, where she graduated with an honors bachelor’s degree and three teacher certificate majors: mathematics, social sciences, English. She also earned three graduate degrees in Master of Science, Master of Arts, and Education Specialist Degree.
