Matthew Hundley grew up on a diet of black and white movies—mostly old horror films and comedies: Laurel & Hardy, Charlie Chaplin, Buster Keaton, Abbot & Costello and the Marx Brothers; along with Dracula, Frankenstein, The Mummy, The Wolfman and Vincent Price.

Whether viewed on late night TV, at the public library or on their family’s 8mm projector Hundley kept a steady diet of silents and old films flowing.

Two childhood viewings impacted him most:

  1. his dad took him to see Hitchcock’s Rear Window at a local movie theater;
  2. one day when home sick from school, PBS presented Eisenstein’s Potemkin. The Odessa steps sequence was forever more etched on his brain. “It was like nothing else I’d ever seen on a screen,” Hundley recalls, “and the way I saw the world changed forever.”As a kid Hundley and his friend Mike would make stop action super 8 films and show them at block parties.

    Films remained a heavy part of his media diet through high school and into college.

    After taking Marian Keane’s course on Hitchcock at the University of Colorado he made Critical Film Studies his second major. He had the privilege to study under the great filmmaker Stan Brakhage; and the fantastic film historian Bruce Kawin.

    While in college Hundley shot on Super 8, Super 16 and video creating his own avant gard and documentary films. He also hosted viewings of art films in his living room.

    Hundley turned from film to television working at CBS, ABC and NBC affiliates where he created promotional and image spots in video and film. He also worked as a video producer at ME&V and JAM Multimedia where he produced short and long for videos and a couple full length TV programs to boot.

    Later, while living in Iowa, he spearheaded the “Why Am I Here?” Film Festival and hosted a film discussion group at a local coffeehouse.

    In 2007 he consulted on the short films “Cache on Cash” and “Joe’s Place.”

    He was a regular speaker at Luke Bobo’s Film & Theology course at Lindenwood University from 2010-2015.

    Hundley has written about film for the CVEA, Critique Magazine, The Kinetic Eye and