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Notes on Contributors

 


Chantal Akerman (1950-2015) was a celebrated and influential director who, from the late 1960s, made many features, shorts, and art pieces, and also wrote several books. Her final feature was No Home Movie (2015), and her last installation NOW (2015) was exhibited at Ambika P3 in London.

Cristina Álvarez López was co-founder of the Spanish online film journal Transit. Her articles and audiovisual essays have been published in sites including Fandor, MUBI, Trafic, CaimánLOLAScreening the Past, and Sight and Sound. She has appeared in the anthologies Schrader: El cineasta frente a los tiempos (2013), Max Ophüls: Carné de baile (2013), Philippe Garrel (2013), Bong Joon Ho. La reinvención de los géneros (2014), and Chantal Akerman (2014).

Brecht Andersch is a filmmaker and film writer based in San Francisco. He co-founded the Austin Film Society in 1985; since 2000, he's worked at SFMOMA as a projectionist, and writes about film as a columnist for the SFMOMA blog, Open Space.

Shinji Aoyama was a film critic in Japan before embarking on his career as a director and novelist. His major films include Eureka (2000), Sad Vacation (2007) and The Backwater (2013).

Paula Arantzazu Ruiz is a film critic who writes for Ahora and other Spanish publications. She recently finished her PhD in Social Communication at University of Pomepu Fabra.

Louis Armand is a Sydney-born writer and visual artist who has lived in Prague since 1994. He has worked as an editor, publisher, art consultant and curator, and as a subtitles technician at the Karlovy Vary Film Festival. He has published six novels, including Cairo (Equus, 2014).

Canan Balan is an assistant professor in the Department of Cinema and Television at Istanbul Şehir University. She received her PhD from the University of St Andrews with a dissertation on the early cinema spectatorship in Istanbul. She has published articles on shadow-play and the cinematic representations of Istanbul. Her interests include spectatorship, gender and religious minorities and heretics in cinema. 

Erika Balsom is Assistant Professor of Film Studies at Carleton University, Canada. Her essays have appeared in Screen, Hitchcock Annual and Moving Image Review and Art Journal where she also serves as a features editor.

Julie Banks is a PhD candidate in cinema at Monash University. She has written for Undercurrent and Screening the Past.

Alain Bergala is Professor of Film at La Femis and at Sorbonne-Nouvelle University (Paris III), a filmmaker, and the author of many essays and books including L'hypothèse cinéma: petit traité de transmission du cinéma à l'école et ailleurs (2006) and Nul mieux que Godard (1999).

Pierre Berthomieu teaches cinema at Université Paris Diderot (Paris 7). Besides contributing regularly to Positif, he is author of the books Hollywood classique. Les temps du géants (2009) and Hollywood moderne. Les temps du voyants (2010), both published by Rouge profond.

Yvette Bíró is a renowned critic, teacher and screenwriter (scripts for Miklós Jancsó, Károly Makk, Kornel Mundruczó …). Her many books on film include Profane Mythology: The Savage Mind of the Cinema (Indiana University Press, 1982), To Dress a Nude: Exercises in Imagination (co-author Marie-Geneviève Ripeau, Kendall/Hunt, 1998) and Turbulence and Flow in Film: The Rhythmic Design (Indiana, 2008).

Lauren Bliss received her PhD from University of Melbourne, researching the figure of the pregnant body in the cinema. She has both creative and academic essays published by BAFICI press, Metro and Screening the Past.

Lisa Bode lectures in Film and Television Studies at the University of Queensland, Brisbane, Australia. Her book, Making Believe: Screen Performance and Special Effects in Popular Cinema will be published by Rutgers University Press in 2017.

Annabel Brady-Brown is a founding editor of Fireflies and co-editor of The Lifted Brow. Her writing has appeared in MUBI Notebook, Indiewire, Variety, 4:3, The Big Issue and Kill Your Darlings.

Nicole Brenez works at Université Paris 3 Sorbonne nouvelle, and programs experimental cinema for the Cinémathèque française. Her many writings include a book on Abel Ferrara (French and English editions) and a collection of essays, De la figure en général et du corps en particulier (Brussels: De Boeck, 1998).

Philip Brophy is a prolific artist, critic, composer and filmmaker. His career, in all its facets, has recently been documented in the indispensable Hyper Material for Our Very Brain (Brisbane: Institute of Modern Art).

Anke Brouwers teaches film history at the University of Antwerp and KASK School of Arts in Ghent. She is a regular contributor to Photogenie.be.

Victor Bruno is the editor of Ornitorrinco Cinefilo, a collective blog created in 2010, and has published a large number of film essays online. He is the translator of the upcoming Brazilian Portuguese edition of Adrian Martin’s Last Day Every Day (New York: punctum books, 2013).

Janine Burke is the author of The Gods of Freud: Sigmund Freud’s Art Collection (2006). She curated ‘Sigmund Freud’s Art Collection: An Archaeology of the Mind’ for Monash University Museum of Art and Nicholson Museum, University of Sydney. Currently, she is a research fellow of Monash University.

Alison Butler is an Associate Professor in Film at the University of Reading, UK.  She writes about artists' film and moving image work, and women's cinema.  She is an editor of the journal Screen.

Rex Butler reaches Art History at Monash Art Design and Architecture. He has recently co-edited a book, Lars von Trier's Women, with David Denny.

Zachary Campbell is a film scholar based in Chicago. He has been published in Framework, Rouge, Cineaste and World Picture.

Lorena Cancela is author of the books Mirada de Mosca, Adulterios de la Escucha and Estado Transitorio. She has participated in different radio and TV programs and many cinema publications. Juror at the film festivals of Lima, Quito and Valdivia, among others She wrote and directed the short film Días de Perra (2016).

Felicity Chaplin is a writer, translator, and teacher of French and Cinema Studies based in Melbourne, Australia. She has contributed to Screening the Past, and is the author of La Parisienne in Cinema: Between Art and Life (Manchester UP, 2017).

Edward Colless is Senior Lecturer and Head of Visual Art History and Theory in the School of Art at Victorian College of the Arts (University of Melbourne). His work has appeared in many magazines, and his book The Error of My Ways (Brisbane: Institute of Modern Art) appeared in 1995. He is chief editor of the relaunched Art + Australia magazine.

John Conomos is a video artist, critic and writer, and Research Fellow at the Victoran College of Arts. His books include Mutant Media: Essays on Cinema, Video Art and New Media (Artspace, 2008), and his most recent exhibition (with Steven Ball) is Deep Water Web at Furtherfield Gallery, London.

Pedro Costa is the Portuguese director of acclaimed feature and short films including Ossos (1997), In Vanda’s Room (2000), Colossal Youth (2006) and Horse Money (2014). A book on his work edited by Ricardo Matos Cabo, cem mil cigarros, appeared in 2009.

Corey Creekmur is an Associate Professor of Film Studies at the University of Iowa; his research interests include American film genres, popular Hindi cinema, and comics.

Lucio Crispino is currently completing his Honours year at the University Melbourne, from which he gained a BA with majors in both Cinema Studies and Art History. He is a sessional tutor in Screen Studies at the University of South Australia and recently began a Diploma of Languages (French) at the University of Adelaide.

Fergus Daly is a critic, teacher and filmmaker (Abbas Kiarostami: The Art of Living, 2003) based in Ireland. His writing has appeared in Rouge, Undercurrent and Experimental Conversations, and he is the author (with Garin Dowd) of Leos Carax (Manchester University Press, 2003).

David Davidson is a graduate student who is completing his Masters in Cinema and Media Studies at York University, and will then be joining the Cinema Studies Institute at the University of Toronto. He also maintains a blog at torontofilmreview.blogspot.com.

Miriam De Rosa is Senior Lecturer and Course Director of the BA (Hons) in Media and Communication at Coventry University. She’s the author of the monograph Cinema e Postmedia (2013) and the co-editor (with Vinzenz Hediger) of a forthcoming in 2017 special issue of Cinéma & Cie devoted to post-cinema.

Alexander García Düttmann is Professor of Philosophy and Visual Culture at Goldsmiths, University of London. His books include Derrida and I: The Problem of Deconstruction (Bielefeld, 2008), Visconti: Insights into Flesh and Blood (Stanford University Press, 2008) and Participation: Consciousness of Semblance (Konstanz University Press, 2011).

Anna Dzenis teaches Cinema Studies at LaTrobe University (Melbourne), and is Co-Editor of Screening the Past. She has written for Metro, Realtime and Cinema Papers, and is currently preparing a book on Michael Mann.

Hossein Eidizadeh is a film critic and translator based in Tehran, Iran. He regularly contributes to different film magazines in Iran such as 24, Filmkhaneh and Filmnegar. His writings has appeared in Fandor Keyframe, MUBI Notebook, Indiewire and Sight & Sound. His movie blog is framative.com.

Veronika Ferdman has an MA in Cinema and Media Studies from UCLA. Her work has appeared in the LA WeeklyThe House Next Door, Not Coming to a Theater Near You and other publications.

Hamish Ford is a senior lecturer in film, media, and cultural studies at the University of Newcastle, Australia. Author of Post-War Modernist Cinema and Philosophy: Confronting Negativity and Time (Palgrave Macmillan, 2012), his work has appeared in edited collections as well as diverse Australia and international journals.

Sara Freeman is a writer, editor and ESL Teacher. Her first book, Hard to Get: The Women and Films of Howard Hawks, is due for release in 2017.

Chris Fujiwara is a writer, film critic, journalist, editor, academic and translator. He has written books on Jacques Tourneur, Otto Preminger and Jerry Lewis.  He is a former director of the Edinburgh Film Festival.

Geoff Gardner is an Australian critic and cinephile who runs the popular blog Film Alert 101. In the early 1980s he directed the Melbourne International Film Festival.

Aaron Gerow is Professor of Film Studies and East Asian Languages and Literatures at Yale University, USA. His book Visions of Japanese Modernity: Articulations of Cinema, Nation, and Spectatorship, 1895-1925, was published in 2010 by the University of California Press.

Dr. Stephen Goddard lectured at Deakin University in the School of Communication and Creative Arts (Melbourne).

Elena Gorfinkel is Assistant Professor of Art History & Film Studies at the University of Wisconsin - Milwaukee. She is editor, with John David Rhodes, of Taking Place: Location & the Moving Image. Her writing on film has appeared in Framework, Cineaste, World Picture, Electric Sheep, and several edited collections. 

Helen Grace is a lecturer, writer, and award winning filmmaker and new media producer. Her work is in the collections of the National Gallery of Australia, the Art Gallery of New South Wales, the Art Gallery of South Australia and the Art Gallery of Western Australia as well as private collections internationally. She has written frequently for Screening the Past.

Justine Grace received her PhD in the School of Culture and Communications at the University of Melbourne. Besides her work in art history, she has undertaken research into contemporary exhibitions of art cinema and video art. She recently received a degree in Law.

Catherine Grant is an academic researcher and audiovisual essayist based in East Sussex, UK.  She runs Film Studies For Free, and other online publishing/editing projects with which she is involved include The Audiovisual Essay, REFRAME and [in]Transition.

James Guida is the author of Marbles, a book of aphorisms. He grew up in Australia and is a 2011 fellow in Nonfiction Literature from the New York Foundation for the Arts.

Fredrik Gustafsson is a film historian, teacher (at Örebro University) and writer with a PhD in cinema studies. He blogs at fredrikonfilm.blogspot.com.

Ian Haig is an artist and senior lecturer in the School of Art at RMIT University in Melbourne. His practice refuses to accept that the low and the base level are devoid of value and cultural meaning.

Paul Hammond is a writer, painter and translator. He edited the celebrated anthology of Surrealist writings on cinema, The Shadow and its Shadow (2nd augmented edition, City Lights, 2001). His most recent book, co-authored with Román Gubern, is Luis Buñuel: The Red Years, 1929-1939 (University of Wisconsin Press).

James Harvey-Davitt is an Associate Lecturer in Film Studies at Anglia Ruskin University and University of Greenwich. His recently completed PhD thesis focuses on the political aesthetics of Jacques Rancière and contemporary global art cinema. He is currently researching the relationship between 'the human' and ‘the face in close-up’ in film history and theory.

Amelie Hastie is Professor and Chair of Film and Media Studies at Amherst College. The author of Cupboards of Curiosity: Women, Recollection and Film History (Duke UP) and the BFI Film Classics volume on The Bigamist, her most recent work has included a short essay on television and time in Cabinet and another on "Senseless Eating" in Parallax's "Bon Appétit" issue.

Shigehiko Hasumi is former President of the University of Tokyo. His many books include studies of Ozu, Ford and Renoir.

Alexandra Heller-Nicholas is an award-winning Australian film critic. She is an editor of Senses of Cinema and the author of four books on gender, genre and violence. Her website is www.thebluelenses.com.

Burke Hilsabeck is Visiting Assistant Professor of Cinema Studies at Oberlin College. He is currently preparing a book on slapstick cinema and modernism. 

Nienke Huitenga writes about and experiments with narratives on the edge of film and interactive media. Her playground is her own Hackastory initiative, and the School for Communication and Multimedia Design at Avans University of Applied Sciences. Mixing her background in film studies and new media, she brings designers, filmmakers, webdeveloppers and journalists together to explore the untouched possibilities of the web as a narrative device.

Dina Iordanova is Professor of Global Cinema and Creative Cultures at the University of St Andrews in Scotland. She has published numerous books on matters of transnational cinema, film circulation around the globe, as well as on Eastern European and Balkan film.

Sam Ishii-Gonzales, Ph.D., teaches courses in aesthetics and film history at Brooklyn College and Hunter College, CUNY. He is the co-editor of two books on Alfred Hitchcock and has published essays on a variety of artists and philosophers, including Francis Bacon, Henri Bergson, Claire Denis, Gilles Deleuze, David Lynch and Apichatpong Weerasethakul. He is currently working on a book manuscript entitled Towards a Cinema of the Non-Actor, as well as several short film and video projects.

Azadeh Jafari is an Iranian film writer, film critic, blogger, and translator. She writes and translates for Filmkhaneh and Cinema and Adabiat magazines.

David T. Johnson is Associate Professor in the Department of English at Salisbury University, where he teaches courses in cinema studies. He is the author of Richard Linklater for the University of Illinois Press Contemporary Film Directors series, and the Co-Editor of Literature/Film Quarterly, a long-standing journal devoted to the study of adaptation.

Murielle Joudet is the film critic for Chronic’art in France. Her filmed interviews with critics and filmmakers appear at Dans le film, and her blog is The Lost Weekend.

Alexia Kannas teaches Cinema Studies at RMIT University. She is author of the forthcoming books Genre, Modernity and the Italian Giallo Film (SUNY) and Deep Red (Wallflower/CUP). Her writing has appeared in Screening the Past, Senses of Cinema and the Journal of Italian Cinema and Media Studies.

Sarah Keller is Assistant Professor of English and Cinema Studies at Colby College. She co-edited Jean Epstein: Critical Essays and New Translations (Amsterdam University Press, 2012), and her forthcoming book, Maya Deren: Incomplete Control (Columbia University Press, 2014), examines the role of unfinished work through the oeuvre of Maya Deren.

Andrew Klevan is University Lecturer in Film Studies and a Fellow of St Anne's College at the University of Oxford where he convenes the Master's Degree in Film Aesthetic. He has recently co-edited a collection entitled The Language and Style of Film Criticism (Routledge 2011) and is currently working on a book exploring the film performances of Barbara Stanwyck.

Covadonga G. Lahera is Co-Editor of Transit magazine. She has contributed to Blogs & Docs, Contrapicado and SalonKritik.

Dirk Lauwaert (1944-2013) was a Belgian film critic whose writing also covered art, photography and fashion. His collected essays on film (1971-2001) appear as Dromen van een expeditie (2006).

Tim Lucas is a novelist, critic, audio commentator, screenwriter and publisher best-known for Video Watchdog magazine and the critical biography, Mario Bava: All the Colors of the Dark.

Hoi Lun Law is currently a research student in Film Studies at the University of Bristol, UK. He is one of the co-editors of The Audiovisual Essay website.

Sylvia Lawson writes history, critical journalism and fiction; her most recent books are The Outside Story, a novel on the early history of the Sydney Opera House, and How Simone de Beauvoir Died in Australia, a collection of stories and essays.  From the Verandah, a sequence on resistance, is due out in early 2012 from Melbourne University Publishing.

Dana Linssen is a film critic, philosopher and poet from the Netherlands. She is editor in chief and co-publisher of the independent film monthly de Filmkrant, is a long term film critic for daily newspaper NRC Handelsblad, a regular contributor to national Radio 1 Journaal and the cultural radio magazine Opium Radio, and a teacher in cinema history and analysis at the ArtEZ Academy of Theatre in Arnhem.

Carlos Losilla teaches film at Universitat Pompeu Fabre in Barcelona. He has edited many collections and contributed to magazines including Caiman, Nosferatu and Transit. His latest book is La invención de la modernidad o cómo acabar de una vez por todas con la historia del cine (2012).

Patricia MacCormack is Professor of Continental Philosophy at Anglia Ruskin University Cambridge. She is the author of Cinesexuality (2008) and Posthuman Ethics (2012), the editor of The Animal Catalyst (2014), and co-editor of Deleuze and the Schizoanalysis of Cinema (2008), Deleuze and the Animal (2017) and Ecosophical Aesthetics (2017). She is currently writing The Ahuman Manifesto.

Adrian Martin is Adjunct Associate Professor of Film and Screen Studies at Monash University (Australia), and lives in Vilassar de Mar as a freelance writer/audiovisual artist. He is the author of seven books. His regular columns appear in Caiman and De Filmkrant, and he is Co-Editor of LOLA.

Cloe Masotta Lijtmaer is a teacher and film critic. She contributes to La Furia Umana, Transit, Blog & Docs and Contrapicado. She is currently finishing a Master’s degree in Contemporary Film and Audiovisual Studies at the Pompeu Fabra University, on Figural Variations: The Plastic Thought of Jean Epstein, Stephen Dwoskin and Philippe Grandrieux.

Joseph Mai is an Associate Professor of French and teaches in the World Cinemas program at Clemson University. He is the author of Jean-Pierre and Luc Dardenne (University of Illinois), the forthcoming Robert Guédiguian (Manchester), and a wide range of essays.

Miguel Marías has written film criticism since 1966. From 1986 to 1988 he was director of the Spanish Film Archive. From 1988 to 1990 he was general director of the Spanish Film Institute ICAA. He is the author of books on Manuel Mur Oti and Leo McCarey, and recently contributed a chapter to Raúl Ruiz (Cátedra/Filmoteca española, 2012).

Sarinah Masukor is an artist and PhD candidate at Monash University, Melbourne, writing on the films of Nuri Bilge Ceylan. She has contributed to Transit, Metro, Discipline, Das Platforms and Screening the Past.

Carles Matamoros is Co-Editor of Transit magazine, and a frequent contributor to publications including Miradas de cine, Dirigido por …, Cinearchivo and Go Mag.

Joe McElhaney is Professor of Film Studies at Hunter College/City University of New York.  His books include The Death of Classical Cinema: Hitchcock, Lang, Minnelli; Albert Maysles; and Vincente Minnelli: The Art of Entertainment.

Tim McQueen is a Bachelor of Film and Television graduate of Bond University. He is an emerging filmmaker, cinephile and award winning sound designer based in Hobart, Tasmania. His latest short film is To Have and To Hold.

Luís Mendonça is a film critic at À pala de Walsh (www.apaladewalsh.com) and has a PhD in cinema. 

Camilla Møhring Reestorff is Associate Professor at Aarhus University and editor-in-chief of Conjunctions: Transdisciplinary Journal of Cultural Participation.  

Meaghan Morris, Australia’s greatest public intellectual, divides her time between the University of Sydney and Lingnan University, Hong Kong, where she has been Chair Professor of Cultural Studies since 2000. Her books include The Pirate's Fiancée: Feminism, Reading, Postmodernism (Verso, 1988), Too Soon Too Late: History in Popular Culture (Indiana University Press, 1998) and Identity Anecdotes: Translation and Media Culture (Sage, 2006).

Luc Moullet is a director, actor and critic. His most recent films are Toujours moin (2011) and Chef-d'œuvre (2010). His writings have been gathered in Piges choisies (de Griffith à Ellroy) (Capricci, 2009).

Bill Mousoulis is a filmmaker based between Australia and Greece, with over 100 films to his name, including 10 features, the latest of which is Songs of Revolution (2017). He founded the Melbourne Super 8 Film Group in 1985 and Senses of Cinema in 1999. He is Webmaster of LOLA.

Nagy V. Gergő is a critic and screenwriter. He is a doctoral candidate in cinema at the University of Theatre and Film Arts in Budapest.

Tim O’Farrell teaches cinema at the Victorian College of the Arts, programs films for the Melbourne International Film Festival, has a PhD in Cinema Studies from La Trobe University and works as a lawyer. He was a recent editor of Senses of Cinema.

Tom O’Regan is Professor of Cultural and Media Studies at the University of Queensland. He is the author of Australian Television Culture (1993), Australian National Cinema (1996), and co-author (with Ben Goldsmith) of The Film Studio (2005). He was founding editor of Continuum journal 1987-1995.

Tom Paulus teaches film history and film aesthetics at the University of Antwerp. He is the editor of Photogenie.be, an online platform for (the history of) cinephilia.

Artavazd Pelechian is a celebrated Armenian film director and theorist. His (to date) twelve cinematic works include The Beginning (1967), The Seasons of the Year (1975), Life (1993) and The End (1994).

Claire Perkins is Lecturer in Film & Television Studies at Monash University. She is the author of American Smart Cinema (Edinburgh UP, 2012), and her essays have appeared in Screening the Past, The Velvet Light Trap, Studies in Documentary Film and Rhizomes, and in the edited collection Second Takes: Critical Approaches to the Film Sequel (SUNY, 2010).

Lara Perski has a Bachelor degree in English and Art History from the University of Düsseldorf and a Masters in Film Aesthetics from the University of Oxford. Today she is a freelance Editor and Art Manager based in Düsseldorf, Germany.

David Phelps is a writer, translator and programmer.

Richard Porton is one of Cineaste's editors as well as an occasional contributor to Cinema Scope, The Daily Beast, and Moving Image Source.

Davina Quinlivan is a Senior Lecturer in Performance and Screen Studies at Kingston University. Her essays have appeared in Screen, Studies in French Cinema, Studies in European Cinema. Her first book was The Place of Breath in Cinema (Edinburgh University Press, 2012). She is currently working on a new project which explores the concept of the healing body in contemporary moving image media, forthcoming with Palgrave (2015).

Judith Revault D’Allonnes is a programmer in the cinema department of the Centre Pompidou. She has written for Trafic, and her renowned blog Poto et Cabengo is at http://potoetcabengo.tumblr.com

Sam Roggen is a Research and Teaching Assistant, and PhD candidate at University of Antwerp. His writing appears in Photogenie.be.

Jonathan Rosenbaum maintains a web site at www.jonathanrosenbaum.net, and his most recent books, all of them collections, are Goodbye Cinema, Hello Cinephilia (2010), The Unquiet American: Transgressive Comedies from the U.S. (2009), and Discovering Orson Welles (2007). 

Eloise Ross is a writer and teacher living in Melbourne, Australia. She has been published in several academic and cultural journals, is editorial assistant at Screening the Past, and President of the Melbourne Cinémathèque.

Julian Ross is a programmer at International Film Festival Rotterdam and a Leverhulme Postdoctoral Research Fellow at the University of Westminster.

Miriam Ross is Senior Lecturer in the Film Programme at Victoria University of Wellington. She is the author of South American Cinematic Culture: Policy, Production, Distribution and Exhibition (2010) and 3D Cinema: Optical Illusions and Tactile Experiences (2015) as well as publications on film industries, new cinema technologies, stereoscopic media and film festivals. She is also co-founder and administrator of stereoscopicmedia.org.

William D. Routt does more or less what he wants in Melbourne.

Ronald Rovers is a staff critic for the monthly film magazine Filmkrant and the daily newspaper Trouw.

Raúl Ruiz (1941-2011) was among the most prolific of the world’s great film directors, tirelessly and playfully inventing shorts, features, theatre and art pieces in situations ranging from classrooms to large-budget international co-productions. His final film, La noche de enfrente, was premiered in Cannes 2012, and his script The Lines of Wellington was recently realised by his wife and collaborator, Valeria Sarmiento. Ruiz was also an essayist and fiction writer; his novel L’espirt d’escalier was published posthumously by Fayard in 2012. Its opening line: ‘Is there death after death?’

Rowena Santos Aquino is a lecturer in Film and Electronic Arts at California State University, Long Beach. She writes primarily for Next Projection as a senior staff film critic. She has also contributed to Transnational Cinemas, Asian Cinema, CINEJ Cinema Journal, Modern Korean Cinema, and Scope.

Jessie Scott is a video artist, programmer, writer and producer working across the spectrum of screen culture in Melbourne, Australia. She is a founding member of audiovisual art collective Tape Projects, and was co-director of the inaugural Channels Video Art Festival in 2013.

Girish Shambu teaches at Canisius College in Buffalo, New York, and runs a community-oriented film-blog at girish. His writings have appeared in Framework, Cineaste, Artforum.com, and the collection Cinephilia in the Age of Digital Reproduction (Wallflower Press, 2009). He is Co-Editor of LOLA.

Emmanuel Siety is a Master of Conferences in Film Aesthetics at the Sorbonne. His books are Le Plan, au commencement du cinéma (Cahiers du cinéma, 2001), La Peur au cinéma (Actes Sud Junior, 2006) and Fictions d'images (Presses Universitaires de Rennes, 2009).

Lesley Stern is the author of many articles in publications including Screen, The Cine-Files, Art & Text and Critical Inquiry; and the books The Scorsese Connection (1995), The Smoking Book (1999) and Dead and Alive: The Body as Cinematic Thing (2012).

Brad Stevens is the author of Abel Ferrara: The Moral Vision (FAB Press, 2004) and Monte Hellman: His Life and Films (McFarland, 2003). His “Bradlands” column appears regularly on Sight & Sound's website.

Dorian Stuber teaches at Hendrix College and blogs about literature at www.eigermonchjungfrau.wordpress.com.

Richard I. Suchenski is Associate Professor of Film and Electronic Arts and Director of the Center for Moving Image Arts at Bard College. Suchenski has a joint PhD in History of Art and Film Studies from Yale University, and is a film curator. He is the editor of the book Hou Hsiao-hsien (Austrian Filmmuseum).

Marianne Tettlebaum is the Executive Director of the Jewish Federation of Arkansas.  Prior to that she taught aesthetics, German and literature at Haverford and Hendrix Colleges.

Darren Tofts is a Professor of Media and Communications at Swinburne University of Technology, Melbourne. He is the author of Interzone: Media Arts in Australia (Thames & Hudson, 2005).

Donatella Valente teaches film and media at Birkbeck College, University of London. Her research focuses on experimental work with the moving image, world art cinema and the archive.

Stephanie Van Schilt has written for Cineaste, Screening the Past, Screen Machine, Transit and Kill Your Darlings.

Julia Vassilieva teaches cinema, TV and new media at Monash University, Melbourne. She has contributed articles to Rouge and Screening the Past, and currently holds a Discovery Early Career Research Award to study contemporary film theory’s intersection with the integrative science of mind and brain.

Belén Vidal lectures in Film Studies at King's College, London. Her areas of interest are historical genres in contemporary European cinema; modern Spanish cinema; film aesthetics and cinephilia. Her most recent book is The Biopic in Contemporary Film Culture (co-edited with Tom Brown, 2014).

Peter von Bagh (1943-2014) was an influential, prolific and beloved Finnish critic, programmer, historian, and film/TV maker. He is best remembered, in recent decades, for his work at the helm of the Midnight Sun Film Festival and Il Cinema Ritrovato in Bologna.

Andrey Walkling completed his Masters in Fine Art at RMIT University, Australia. He is an artist, writer, educator and screen media consultant. His research is focused on the relationship between cinema and photography and the emerging genre of Photo/Cinema.

Huw Walmsley-Evans is a film critic, teacher, researcher and curator. His writing has appeared in Screen Machine and Screening The Past. He is the author of the forthcoming book Film Criticism as a Cultural Institution (Routledge, 2016).  

Saige Walton is Lecturer in Screen Studies at the University of South Australia. She is currently working on a book that develops a sensuous account of the historic and cinematic baroque, as well as a forthcoming project on grace.

Gabbi Werner is an Austrian/Dutch filmmaker, DJ and writer. She has made many documentaries and some fiction films, writes about anything her mind will allow her to wander to, and supplies the soundtrack to it as well.

Deane Williams is Associate Professor in Film and Television Studies, Monash University. He is Editor of Studies in Documentary Film journal, author of Australian Post-War Documentary Film: An Arc of Mirrors (2008) and co-author of Michael Winterbottom (2009).

Tami Williams is Associate Professor of English and Film Studies at University of Wisconsin-Milwaukee. Her most recent book is Germaine Dulac: A Cinema of Sensations (2014). She is currently President of Domitor.

   


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