Jon Dieringer

Jon Dieringer maps the moving-image landscape at the level of screenings, scenes, and communities, with an emphasis on repertory and artist film that sits outside mainstream entertainment coverage. He is the founder and editor-in-chief of Screen Slate, where he maintains a daily listings and editorial platform dedicated to film, video, and media art. His work connects programming, preservation, criticism, and conversation, treating cinema as a network of venues, curators, and audiences rather than a simple pipeline of new releases.

Repertory film and moving-image listings

Dieringer’s defining project is Screen Slate’s daily listings resource for film and video. He builds a comprehensive calendar of repertory, independent, arthouse, and gallery screenings, along with DIY venues and artist-run spaces, focused on moving-image work in all formats. The listings are curated to capture screenings and events that fall outside the coverage of mainstream entertainment guides and alt-weeklies, making space for programs that would otherwise go unnoticed. His approach foregrounds formats such as 16mm, video art, and experimental film series alongside more conventional repertory programming, so the site functions simultaneously as a guide, archive, and barometer of what is happening on the margins and in niche circuits. This listings work informs his perspective as a writer and interviewer, grounding his coverage in the reality of what is actually playing and where.

Writing on film culture and experimental media

Alongside the listings, Dieringer writes criticism and feature pieces for Screen Slate that engage directly with films, critics, and venues. Articles under headings such as “Cold Steel” and “Certified Fresh: A.S. Hamrah on Algorithm of the Night and Last Week End Times Cinema” show him moving between specific titles, the work of fellow critics, and the micro-cinemas that host them, treating film culture as an interconnected ecosystem rather than a series of isolated releases. His coverage often tracks how particular films circulate through repertory houses, small theaters, and underground spaces, emphasizing programming contexts and curatorial choices.

Beyond Screen Slate, he contributes writing on film and media to outlets including TIME, n+1, The Village Voice, BOMB, INCITE Journal of Experimental Media, and Canyon Cinemazine, extending his focus on experimental, independent, and archival work into broader cultural and literary publications. He also works on preservation and editorial projects with film and media organizations, overseeing and advising on the care of moving-image works.

His preservation work has involved pieces by artists such as Nam June Paik, Barbara Hammer, Joan Jonas, Vito Acconci, and Tony Oursler, which reinforces his attention to media art and the histories of experimental practice.

Podcast interviews and festival scene reports

Dieringer hosts the Screen Slate podcast, a bi-weekly audio series covering the film scene in New York and beyond through conversations with guests. Episodes such as “Episode 29 – Killers of the Flower Moon with Bilge Ebiri” and “Episode 10 – Festival Scene Report: Cannes, Nitrate Picture Show, BAMcinemaFest” show him using long-form dialogue to explore major films and festival circuits with critics and archivists.

In these conversations he digs into aspects like restoration, projection formats, programming decisions, and the relationship between large international festivals and smaller archival or repertory events. Other episodes, including “Between the Temples with Nathan Silver and C. Mason Wells,” place filmmakers at the center of the discussion, giving space to writers and directors to talk through process, reception, and the life of their films on the festival and repertory circuits.

Across the podcast series, he keeps the focus on how films move through institutions, curators, and audiences, rather than only on box office or red-carpet narratives.

Media art preservation, screenings, and live conversations

Dieringer’s role extends into live events and media art preservation. He appears regularly for Q&As and public discussions around screenings, such as post-screening conversations for the documentary “Time Bomb Y2K” and events that pair artists like Frank Heath with moderated discussions and audience questions.

Screenings like Screen Slate’s “LA Detox 16mm Mystery Screening” reflect his interest in format-specific programming and in framing film viewing as a communal, exploratory experience. In these contexts he is described as both founder of Screen Slate and a media art conservator, aligning his public-facing work with the technical and historical demands of preserving video and film.

His programming and event work is closely tied to the concerns that show up in his writing and podcasting - archival access, the survival of small venues, the care of artist films, and the importance of connecting audiences with moving-image work that exists outside commercial distribution.