Notes on Contributors
Chantal Akerman is a celebrated and influential director who has, since the late 1960s, made many features, shorts, and art installations. Her most recent feature is Almayer’s Folly (2011). The M HKA (Museum van Hedendaagse Kunst) in Antwerp, Belgium, ran a major retrospective of her work from February to June 2012.
Cristina Álvarez López lives in Barcelona. She is the Co-Editor and Co-Founder of the Spanish online film journal Transit: Cine y otros desvíos. Her critical writing and audiovisual essays have also appeared in Shangri-la, Frames, Contrapicado, Lumière, Blogs & Docs, La Fuga, De Filmkrant and La Furia Umana.
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).
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).
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 is a PhD candidate at 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.
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).
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.
Zach Campbell is a PhD candidate in the Screen Cultures program at Northwestern University. His work has appeared in Rouge, Cineaste, and Framework.
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. His forthcoming project is a new art magazine, Extinction.
John Conomos is an artist, critic and writer, and Associate Professor in film and media studies at Sydney College of the Arts, University of Sydney. His books include Mutant Media: Essays on Cinema, Video Art and New Media (Artspace, 2008).
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.
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.
Veronika Ferdman has an MA in Cinema and Media Studies from UCLA. Her work has appeared in the LA Weekly, The House Next Door, Not Coming to a Theater Near You and other publications.
Dr. Stephen Goddard lectures 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 is currently completing her PhD in the School of Culture and Communications at the University of Melbourne. Besides her work in art history, she has been undertaking research and observing trends in contemporary exhibitions of art cinema and video art.
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.
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).
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.
Burke Hilsabeck is Visiting Assistant Professor of Cinema Studies at Oberlin College. He is currently preparing a book on slapstick cinema and modernism.
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.
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.
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).
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.
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.
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 an Australian filmmaker now based in Greece, with over 100 films to his name, including nine features, the latest of which is Wild and Precious (2012). He founded the Melbourne Super 8 Film Group in 1985 and Senses of Cinema in 1999. He is Webmaster of LOLA.
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.
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).
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 Photogénie (http://www.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 doctoral candidate in Media: Screen + Sound at La Trobe University in Melbourne. She has written for Screening the Past.
William D. Routt does more or less what he wants in Melbourne.
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.
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).
Dorian Stuber teaches at Hendrix College and blogs about literature at www.eigermonchjungfrau.wordpress.com.
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).
Stephanie Van Schilt has written for Cineaste, Screening the Past, Screen Machine, Transit and Kill Your Darlings.
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.
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).
© LOLA, 2011-2015.
Cannot be reprinted without permission of the editors.