Institutions & Mentors ⋆ Film Matters MagazineFilm Matters Magazine

Institutions

Film Matters is proud to have published the work of undergraduate students from the following institutions as a result of a double-blind peer review process:

American University, USA | Department of Literature [FM 7.2]
Bond University, Australia | Film & Television Department [FM 9.2]
Brown University, USA | Department of Africana Studies [FM 8.1]
Carleton College, USA | Cinema and Media Studies [FM 3.2; FM 4.3; FM 6.3; FM 7.3; FM 9.3]
Chapman University, USA | Film Studies [FM 10.1]
City College of New York, USA | Film & Video Program [FM 5.2]
City University of New York/Queens College, USA | Department of Media Studies [FM 10.1]
College of Staten Island, City University of New York, USA | Department of Media Culture [FM 1.3]
Concordia University, Canada | Mel Hoppenheim School of Cinema (MHSOC) [FM 1.4; FM 5.1; FM 7.1]
Cornell University, USA | Department of Performing and Media Arts [FM 5.1]
Denison University, USA | Department of Cinema [FM 1.1]
Durham University, UK | School of Modern Languages and Cultures [FM 8.3]
Edge Hill University, UK | Faculty of Education [FM 6.3]
Edinburgh Napier University, UK | English and Film [FM 4.1]
Falmouth University, UK | School of Film and Television [FM 9.1]
Flinders University, Australia | Department of History [FM 1.1]
Florida Atlantic University, USA | School of Communication and Multimedia Studies [FM 3.4]
George Washington University, USA | The Writing Program [FM 8.3]
Grinnell College, USA | Film Studies Program [FM 2.4; FM 5.2]
Harvard University, USA | Department of Visual and Environmental Studies [FM 6.2]
Hendrix College, USA | English-Film [FM 2.2]
Institute of Art, Design + Technology, Ireland | National Film School [FM 6.2; FM 9.3]
Ithaca College, USA | Screen Studies [FM 9.1]
Johns Hopkins University, USA | Political Science Department [FM 9.2]
Keene State College, USA | Film Studies Department [FM 9.2]
King’s College London, UK | Film Studies [FM 6.3; FM 7.1; FM 7.3]
Liverpool Hope University, UK | Film Studies [FM 2.1]
Martin Methodist College, USA [FM 9.1]
Miami University, USA | Film Studies [FM 9.3]
Monash University, Australia | School of Media, Film and Journalism [FM 9.2]
Muhlenberg College, USA | Film Studies Program [FM 7.3]
Nanyang Technological University, Singapore | Film Studies [FM 5.2]
New York University, USA | Center for the Humanities’ Undergraduate Summer Research Program [FM 7.3; FM 9.2]
New York University, USA | Cinema Studies [FM 2.2]
New York University, USA | Spanish Department [FM 1.2]
Northumbria University, UK | Department of Social Sciences [FM 9.3]
Nottingham Trent University, UK | Film and Television Department [FM 4.1; FM 5.1]
The Ohio State University, USA | Film Studies Department [FM 9.1]
Portland State University, USA | Film Studies Program [FM 7.1]
Queen Mary, University of London, UK | Film Studies [FM 2.2; FM 2.3; FM 3.1; FM 6.3]
Rhode Island College, USA | Film Studies Program [FM 4.3]
Salisbury University, USA | Department of English [FM 1.2]
Sidi Mohamed Ben Abdellah University, Morocco | Department of English [FM 1.3]
Simon Fraser University, Canada | English Department & Humanities Department [FM 7.2]
Simmons College, USA | English Department [FM 8.3]
Southampton Solent University, UK | Film and Television Program [FM 3.1; FM 7.2; FM 7.3]
Spring Hill College, USA | Communication Arts Department [FM 3.4]
SUNY Oswego, USA | Cinema and Screen Studies, Departments of English and Broadcasting [FM 2.1, FM 2.3, FM 3.1]
SUNY Oswego, USA | Departments of History and Sociology [FM 3.1]
Swarthmore College, USA | Film and Media Studies Department [FM 3.2; FM 10.1]
University College Falmouth, UK | Film Studies [FM 2.1]
University of Alberta, Canada | Film Studies Program [FM 5.3; FM 10.1]
University of Bristol, UK | School of Modern Languages [FM 6.2]
University of Calgary, Canada | Department of Communications, Media and Film [FM 6.3]
University of California, Berkeley, USA | Department of Gender and Women’s Studies [FM 8.3; FM 9.1]
University of California, Los Angeles, USA | Gender Studies Department [FM 6.1]
University of California Santa Barbara, USA | Department of Film and Media Studies [FM 2.2; FM 3.2; FM 6.1]
University of Chicago, USA | Department of Cinema and Media Studies [FM 3.1]
University of East Anglia, UK | Department of Film, Television and Media Studies [FM 4.3]
University of Essex, UK | Department of Literature, Film and Theatre Studies [FM 1.2]
University of Exeter, UK | Department of English and Film Studies [FM 6.2]
University of Florida, USA | Center for Film and Media Studies [FM 3.4; FM 7.3]
University of Florida, USA | Center for Film and Media Studies & Italian Studies Department [FM 8.1]
University of Georgia, USA | Department of Theatre and Film Studies [FM 2.3]
University of Hartford, USA | Cinema Program [FM 5.3]
University of Hong Kong, Hong Kong | Department of Comparative Literature [FM 5.2; FM 5.3]
University of Illinois at Urbana-Champaign, USA | College of Media [FM 3.2]
University of Illinois at Urbana-Champaign, USA | Gender and Women’s Studies [FM 2.3]
University of Kent, UK | Film Studies [FM 1.3]
University of KwaZulu-Natal, South Africa | Centre for Communication, Media and Society (CCMS) [FM 4.1]
University of Maryland, USA | English Department [FM 9.1]
University of Michigan, USA | Department of Screen Arts and Cultures [FM 1.1; FM 4.3]
University of Nebraska-Lincoln, USA | Department of English [FM 7.1]
University of North Carolina at Chapel Hill, USA | Department of History [FM 3.2]
University of North Carolina Wilmington, USA | Department of Film Studies [FM 1.4; FM 2.2; FM 2.3; FM 3.2; FM 3.4; FM 4.2; FM 4.3; FM 5.1; FM 5.3; FM 7.1; FM 9.1; FM 9.3; FM 10.1]
University of Notre Dame, USA | Department of Film, Television, and Theatre [FM 1.2; FM 1.4; FM 3.1; FM 3.4; FM 4.1; FM 4.2; FM 7.1]
University of Oklahoma, USA | Film and Media Studies (FMS) [FM 4.1]
University of Passau, Germany | American Studies [FM 9.3]
University of Passau, Germany | English Cultural and Media Studies [FM 7.3]
University of Pennsylvania, USA | Comparative Literature & Literary Theory Program [FM 9.3]
University of Pennsylvania, USA | Visual Studies Program [FM 6.1]
University of Portsmouth, UK | The School of Creative Arts, Film and Media [FM 2.2]
University of Rochester, USA | Film & Media Studies (FMS) [FM 6.3]
University of South Florida, USA | Film and New Media Studies [FM 6.1]
University of Southern California, USA | Cinema and Media Studies, School of Cinematic Arts [FM 6.1; FM 7.1]
University of Texas at Austin, USA | Department of Radio-Television-Film [FM 4.2]
University of Texas at El Paso, USA | Religious Studies Program [FM 5.3]
University of the West of England, UK | Department of Arts and Cultural Industries [FM 5.1]
University of the West of England, UK | Department of Screen Media and Journalism [FM 2.4]
University of Toronto, Canada | Cinema Studies Institute [FM 2.4; FM 3.2]
University of Victoria, Canada | Slavic Studies Program [FM 3.4]
University of Warwick, UK | Department of Film and Television Studies [FM 1.3; FM 2.1; FM 7.1; FM 9.2; FM 10.1]
Vassar College, USA | Film Department [FM 5.3]
Virginia Commonwealth University, USA | International Studies Department [FM 7.2]
Washington and Lee University, USA | Film & Visual Culture Studies Program [FM 7.2]
Washington University in St. Louis, USA | Program in Film and Media Studies [FM 3.4; FM 5.2; FM 8.1; FM 8.3]
Wesleyan University, USA | Film Studies Department [FM 2.1]
Western Kentucky University, USA | Film Studies [FM 1.4]
Western Michigan University, USA | Department of English [FM 4.2]
Western University, Canada | Film Studies [FM 4.1; FM 4.3]
Wilfrid Laurier University, Canada | Film Studies Program [FM 3.4; FM 4.1; FM 4.3; FM 5.1; FM 5.2; FM 6.1; FM 8.3]
Yale University, USA | Department of Literature [FM 1.2]
Yale University, USA | South Asian Studies [FM 6.2]
York University, Canada | Department of Film [FM 1.3]

Mentors

Film Matters celebrates the inspirational work — both in the classroom and during the publication process — of the mentors on behalf of our student authors.

Jiwon Ahn is an Associate Professor in Film Studies at Keene State College, New Hampshire. She has been writing and publishing on cultures of globalization both in English and Korean. Her current research interests lie in lifestyle media, timeslip movies, costume dramas in East Asia, and the character industry. [Katelyn Terry, FM 9.2, 2018]

Thomas Andriello is a Social Studies Teacher at Byram Hills High School. He also created and teaches an elective entitled Popular Culture and Media Studies. Over the past six years the course has provided students with the opportunity to develop their critical-thinking skills and apply them to today’s media world. [Katherine Kossoy, FM 6.3, 2015]

Sandra Annett is Assistant Professor specializing in digital and new media studies in the Department of English and Film Studies at Wilfrid Laurier University, Canada. In 2011, she was awarded her PhD in English and Film Studies from the University of Manitoba, where she completed her dissertation “Animating Transcultural Communities: Animation Fandom in North America and East Asia from 1906–2010.” Along with teaching at Laurier, she researches and delivers occasional lectures in Japan, most recently at Wakō University. Her current research interests include media studies, globalization and postcolonial theory, East Asian popular cultures, animation, and fan studies. [Keevan Robertson, FM 6.1, 2015]

Jose Arroyo is an associate professor at the University of Warwick. Formerly a founding member of The Montreal Mirror, associate editor of Cinema Canada, regular contributor to Sight & Sound, and editor of Action/Spectacle: A Sight and Sound Reader, he is currently working on contemporary film aesthetics. [Stephen Leach, FM 2.1, 2011]

Sanja Bahun is assistant professor of Literature and Film in the Department of Literature, Film, and Theatre Studies, University of Essex. She is the author of Modernism and Melancholia and the editor of The Avant-Garde and the Margin, Violence and Gender in the Globalized World, From Word to Canvas, and Myth and Violence in the Contemporary Female Text. [Emma Webb, FM 1.2, 2010]

Kass Banning’s research focuses on minoritarian cinema and screen alterity, from indigenous to diasporic to queer. She has also published in the areas of documentary and Canadian cinema, has co-edited an anthology on Canadian women’s cinema with University of Toronto Press, and co-founded CineAction and Borderlines. [Stephanie Wong, FM 2.4, 2011; Jennifer Sider, FM 3.2, 2012]

Fiona Barclay is Lecturer in French at the University of Stirling. Her research interests lie in the aspects of postcolonial France, which have emerged from France’s history in North Africa, and how these have been represented in literature and film. She is the author of Writing Postcolonial France: Haunting, Literature and the Maghreb (Lexington 2011). [Ralitsa Shentova, FM 8.1, 2017]

Rita Barnard received her PhD from Duke University and is currently Professor of English and Director of the Undergraduate Program in Comparative Literature at Penn. Her scholarly interests lie in modernism and global modernities, South African literature and cultural studies, modern American literature (especially of the 1930s), contemporary cinema, and the novel as genre. [Zachary Goldstein, FM 9.3, 2018]

Jaimie Baron is Associate Professor of Film Studies at the University of Alberta. She is the author of The Archive Effect: Found Footage and the Audiovisual Experience of History and numerous journal articles and book chapters. She is the director of the Festival of (In)appropriation, and a co-editor of www.docalogue.com. [Jordan Cox, FM 5.3, 2014; Anne Billingsley, FM 10.1, 2019]

Michael Baskett is an Associate Professor of Film Studies and the current Director of Graduate Studies for the department of Film and Media Studies at the University of Kansas. Baskett specializes in Japanese and East Asian Cinema and also teaches courses in Film and Media history and Transnational Media. [Joshua Richardson, FM 3.3, 2012]

Bill Beard has been teaching Film Studies at the University of Alberta since 1978. His teaching has extended over a broad field: national cinemas, genres, many individual filmmakers. He has written books about the cinemas of David Cronenberg, Guy Maddin, and Clint Eastwood. [Sean Carson, FM 10.1, 2019]

Jay Beck was the content advisor for this project. He is currently an Associate Professor at Carleton College. Jay teaches a course on Spanish cinema as well as several other courses that examine the concept of global, transnational cinema. For this project he was the primary advisor for all matters pertaining to the project’s research, writing, and thesis. [Henry Rownd, FM 3.2, 2012; Robert Yeagle, FM 7.3, 2016]

Khalid Bekkaoui is Professor of English and Cultural Studies in the Department of English at Sidi Mohamed Ben Abdellah University, Fez. He is the director of the Moroccan Cultural Studies Center, author of Signs of a Spectacular Resistance: The Spanish Moor and British Orientalism (1998) and editor of Lust‘s Dominion (1999), The Battle of Alcasar (2001), The Female Captive (2003), In Morocco (2005), The Riffian (2006), Imagining Morocco (2008) and other British and American narratives on Morocco. His forthcoming book under publication by Palgrave Macmillan is entitled White Women Captives in North Africa. [Lhoussain Simour, FM 1.3, 2010]

Brian Bergen-Aurand teaches film, ethics, and embodiment at Nanyang Technological University. He earned his PhD in Comparative Literature from the University of Maryland. His current projects include Transnational Chinese Cinema: Corporeality, Desire, and Ethics (edited with Mary Mazzilli and Hee Wai Siam) and Film/Ethics: 1. Proper Names. He also serves as the editor of the journal Screen Bodies. [Chia Soon Hann Justin Ian, FM 5.2, 2014]

Todd Berliner, Professor of Film Studies at the University of North Carolina Wilmington, teaches film aesthetics, narration, and style and American film history. He is the author of Hollywood Aesthetic: Pleasure in American Cinema (Oxford University Press, 2017) and Hollywood Incoherent: Narration in Seventies Cinema (University of Texas Press, 2010). [Jacob Mertens, FM 3.2, 2012; Kyle Stanley & Jacob Laham, FM 9.1, 2018]

Peter Bloom is Associate Professor of Film and Media Studies at University of California, Santa Barbara. He is author of French Colonial Documentary: Mythologies of Humanitarianism (University of Minnesota, 2008), and co-editor of Frenchness and the African Diaspora: Identity and Uprising in Contemporary France (Indiana University Press, 2009). Most recently he co-edited (with Stephan Miescher and Takyiwaa Manuh) Spectacles of Modernization in Africa (Indiana, 2014). He has served as co-director of the University of California African Studies Multi-Campus Research Group, and co-organized two conferences on the African continent which have resulted in a series of publications incorporating a wide range of international contributors and approaches. His current research focuses on the Ghanaian and Malaysian context for English-language film, radio, and television from the post-war era. [Adam Dziesinski, FM 6.1, 2015]

Vincent Bohlinger is Associate Professor of English, Director of the Film Studies Program, and faculty advisor to the Ocean State Film Society at Rhode Island College. His principal research area is Russian/Soviet cinema, and he is currently working on a book examining Soviet film style from the late 1920s through mid-1930s. [Erica Tortolani, FM 4.3, 2013]

Amy Borden is Assistant Professor of Film at Portland State University. She specializes in silent film history, gender, and classical film theory. She is currently writing about modernity and the theorization of motion pictures in gilded age American magazines. Her work appears or is forthcoming in Multiplicities: Cycles, Sequels, Remakes and Reboots in Film & Television, Jump Cut, and Beyond the Screen: Institutions, Networks and Publics of Early Cinema. [Basil Swartzfager, FM 7.1, 2016]

Dr. Nandana Bose is Associate Professor of Film Studies at the University of North Carolina Wilmington. She has published on Indian cinema in such journals as Cinema Journal, Celebrity Studies, Velvet Light Trap, Studies in South Asian Film and Media, Feminist Media Studies and Journal of the Moving Image, and anthologies as Figurations in Indian Film (Palgrave Macmillan, 2013) and Silencing Cinema: Censorship around the World (Palgrave Macmillan, 2013). She is currently working on a monograph commissioned by the British Film Institute (BFI). [Mekiya Walters, FM 7.1, 2016]

Dr. Martin Brady teaches in the German and Film Studies Departments at King’s College London. He has published on documentary, Brechtian and GDR film, music (Arnold Schönberg, Paul Dessau), philosophy (Adorno), literature, Jewish exile architects, the visual arts (Kiefer, Beuys), disability, and foraging. He also works as a translator. [Nace Zavrl, FM 7.3, 2016]

“Analyzing the Puzzle that is Amores Perros” is the product of a UCSB puzzle films class taught by one of the most highly acknowledged film theorists in the film studies world Edward Branigan. Professor Branigan’s areas of specialty include classical and contemporary film theory, film analysis, and film narratology. [Allison Stubbmann, FM 2.2, 2011]

Lecturer Vincent Brook has worked as a film editor and screenwriter. As an educator, he has written numerous articles, anthology essays, and encyclopedia entries. His published books include Something Ain’t Kosher Here: The Rise of the “Jewish” Sitcom (Rutgers, 2003); Driven to Darkness: Jewish Èmigrè Directors and the Rise of Film Noir (Rutgers, 2009); and Land of Smoke and Mirrors: A Cultural History of Los Angeles (Rutgers, 2013). Additionally, he edited the book You Should See Yourself: Jewish Identity in Postmodern American Culture (Rutgers, 2006) and co-edited Woody on Rye: Jewishness in the Films and Plays of Woody Allen (Brandeis, 2013). Brook teaches media and cultural studies at the University of California, Los Angeles, the University of Southern California, Los Angeles, California State University, Los Angeles, and Pierce College, Los Angeles. He received his Master’s degree in 1997 and his PhD in 2001 in Film and Television from the UCLA School of Theater, Film and Television. [Isadora Kosofsky, FM 6.1, 2015]

Dr. Ruth Nicole Brown is an assistant professor in the Gender and Women’s Studies and Educational Policy Studies Departments at the University of Illinois at Urbana-Champaign. Her research documents, analyzes, and interrogates black girls’ lived experiences as it intersects with cultural constructions of black girlhood. She is developing her second book project, The Black Girl Community Handbook: Creating Accountable Truths, an ethnographic account of the creative processes black girls rely on to make intelligible the ways power, spirituality, memory, and performativity structure meanings of belonging. As an agent of change, she values the leadership development of her students and as a professor, she is committed to making the “classroom” a transformative public space that relates to and resonates with students’ experiences by incorporating their intellect, interests, and talents into the course content. [Lena Foote, FM 2.3, 2011]

Colin Browne is a filmmaker, poet, and professor emeritus of Film at Simon Fraser University School for the Contemporary Arts. He is co-founder of the Praxis Centre for Screenwriters, serves on the boards of B.C. Film, the Vancouver International Film Festival, the Kootenay School of Writing, and The Capilano Review. [Vi Vo, FM 7.2, 2016]

Eric Bulson is an assistant professor in the Department of English at Hobart and William Smith Colleges. He is the author of The Cambridge Introduction to James Joyce and Novels, Maps, Modernity: The Spatial Imagination, 1850-2000. [Lucas O’Connor, FM 1.2, 2010]

Colin Burnett is assistant professor of Film and Media Studies at Washington University in St. Louis. His book, The Invention of Robert Bresson: The Auteur and his Market, will be published in Spring 2017. His second book, on James Bond, is titled Serial Bonds: The Multimedia Life of 007. [Jennifer Goldberger, FM 3.4, 2012; Eugene Kwon, FM 5.2, 2014; Lauren Spungen, FM 8.1, 2017; Anastasia Sorokina, FM 8.3, 2017]

Dr. Jon Burrows is an assistant professor in the Department of Film and Television Studies, University of Warwick, UK. He is the author of Legitimate Cinema: Theatre Stars in Silent British Films, 1908-1918 (Exeter: University of Exeter Press, 2003) and numerous articles on different aspects of British film culture in the silent era. [Matthew Hepburn, FM 1.3, 2010]

Carolyn Butcher, PhD, lectures in English at UCSB and SBCC on topics of modernism and postmodernism, and has presented at conferences in Europe and the United States. She has published personal essays, has a memoir in progress, The Posterity Box, and has completed a monograph, Wakeing the Reader: Reading Finnegans Wake. [Derek Bockman, FM 3.2, 2012]

Lee Carruthers is Assistant Professor of Film Studies at the University of Calgary (AB, Canada). Her book, Doing Time: Engaging the Timeliness of Contemporary Cinema (SUNY Press, forthcoming 2015), theorizes temporal experience in recent cinema via phenomenology and philosophical hermeneutics. Carruthers’s current research is focused on the films of Terrence Malick. [Dillan Newman, FM 6.3, 2015]

Greg Chan is on faculty in the Department of English at Kwantlen Polytechnic University, where he teaches rhetoric, literature, digital humanities, and film studies and serves on the board of KDocs, the University’s official documentary film festival. He is the founder and editor-in-chief of Mise-en-scène: The Journal of Film and Visual Narration, a peer-reviewed, open-access publication dedicated to the analysis of the frame narrative set for a fall 2016 release. Greg’s research has appeared in The Journal of Literature and Art and Interdisciplinary Humanities. Mentoring his film studies students — especially towards publishing their research — has become a focal point of his teaching practice. [Guest Editor, FM 7.2, 2016]

Dr. Jing Jing Chang is an assistant professor in Film Studies at Wilfrid Laurier University (Ontario, Canada). She has taught classes on film history, East Asian film, World Cinemas, and Cold War in Film. Her articles have appeared in Film History and Quarterly Review of Film and Video. [Niko Pajkovic, FM 8.3, 2017]

Ka Yan Nichol Chau is an MPhil candidate and teaching assistant in the Department of Comparative Literature at the University of Hong Kong, where she teaches courses on film and globalization. She is currently working on a thesis regarding Hong Kong nostalgia cinema made after the city’s return to China. [Viveca Tallgren, FM 5.3, 2014]

Fabrizio Cilento is Associate Professor of Film & Digital Media at Messiah College (PA). He is the author of An Investigative Cinema: Politics and Modernization in Italian, French, and American Film (Palgrave Macmillan, 2018) and of numerous essays that have appeared in various journals, anthologies, and edited volumes. His scholarship explores the intersection between politics, recent history, and the aesthetics of moving images. [Contemporary Science Fiction dossier, FM 8.3, 2017; Contemporary Science Fiction II dossier, FM 9.1, 2018]

Paul Coates is a professor in Film Studies at Western University, Canada. Previously he taught at Georgia, McGill, and Aberdeen, has written twelve books, including The Story of the Lost Reflection, The Gorgon’s Gaze and Cinema and Colour, and in 1997 gave a series of Gauss seminars at Princeton University. [Erin Nunoda, FM 4.3, 2013]

Jim Collins is a professor of film and television and a concurrent professor in English. He specializes in media theory, contemporary narrative, and digital culture. His most recent book is Bring on the Books for Everybody: How Literary Culture Became Popular Culture (2010). [Brenna Claire Williams, FM 3.4, 2012]

Amy Corbin is Associate Professor of Film Studies and Media & Communication at Muhlenberg College, where she teaches courses in film history, genre, and theory. Her research focuses on American racial and cultural geography in film and on the intersection of film spectatorship and senses of place. [John Bennett, FM 7.3, 2016]

Professor Ann Davies is Chair of Spanish and Latin American Studies at the University of Stirling. She has published widely on contemporary Spanish cinema, with an emphasis on landscape, genre, on Basque cinema, and on horror and the Gothic. [Floriana Guerra, FM 8.1, 2017]

Alex Davis is a PhD Candidate in the Cinema Studies department at New York University. His dissertation looks at the functions and roles of art institutions in New York during the 1960s as a way of understanding the intersections between overlapping developments of film and art. [Matthew Cohen, FM 9.2, 2018]

Dr. Rayna Denison is a lecturer in Film, Television and Media Studies at the University of East Anglia. Denison’s central research and teaching focus is based around the international circulation of film and television texts and cultures, specifically in the fields of Japanese cinema and animation. [Kayleigh Bonner, FM 4.3, 2013]

Carol Donelan is Professor of Cinema and Media Studies at Carleton College, where she teaches courses in film history, theory, and analysis. Her interests include melodrama and film noir as modes of visual storytelling for popular audiences and the cultural history of moviegoing and film exhibition. [Theresa Heitz, FM 6.3, 2015; Emma Hughes, FM 9.3, 2018]

Mark Douglas is a senior lecturer in the School of Film and Television at Falmouth University. Mark’s research interests and teaching foci are in documentary studies, ecofilm and environmentalism, film and social activism, and contemporary British filmmaking. He is currently working on a project exploring the uses and treatments of space and ecology in the films of Andrea Arnold and Clio Barnard. [Michael Daye, FM 2.1, 2011; Jake Martin Graves, FM 9.1, 2018]

Erik Dussere teaches literature and cinema at American University in Washington, D.C. He is the author of Balancing the Books: Faulkner, Morrison, and the Economies of Slavery (2003) and America Is Elsewhere: The Noir Tradition in the Age of Consumer Culture (2014). [Brandon Latham, FM 7.2, 2016]

Anani Dzidzienyo is an Associate Professor of Africana Studies and Portuguese and Brazilian Studies at Brown University. He specializes in the study of race in Latin America and the encounters between Latina Americans and Africans, as well as on the life and work of George Padmore and Kwame Nkrumah. [G. Maris Jones, FM 8.1, 2017]

Leila Estes is an Instructor and PhD student in Film and Media Studies at the English Department of University of Florida. Her areas of interest focus on the study of Film Noir and Classical Hollywood Cinema. She has recently begun preliminary research for her prospective dissertation on “passing” films, particularly focusing on narratives where characters are “passing” from black to white. [Jeremy Zhen, FM 8.1, 2017]

Christine Etherington-Wright is a Senior Lecturer in Film at the University of Portsmouth where she specializes in film theory, British film and adaptation studies. Her published writing includes material on autobiography and subjectivity in cultural texts. Gender, Professions, Discourse was published in 2008 and Understanding Film Theory in 2011. Her current research is on film adaptation and “new heritage” in British cinema. [Martin Storhaug Gran, FM 2.2, 2011]

Elizabeth Ezra is Professor of Cinema and Culture at the University of Stirling. She has written and edited books in the fields of European cinema, transnational cinema, early French cinema, and French cultural studies. Her next book is The Cinema of Things: Globalization and the Posthuman Object, forthcoming from Bloomsbury in 2017. [Lewis Urquhart, FM 8.1, 2017]

Victor Fan is Lecturer at Film Studies, King’s College London. His articles appeared in journals including Camera Obscura, Journal of Chinese Cinemas, Screen, and Film History. His book Cinema Approaching Reality: Locating Chinese Film Theory (2015) was published by the University of Minnesota Press. [Archie Wolfman, FM 7.1, 2016]

Scott Ferguson (PhD, University of California, Berkeley) is Assistant Professor of Film and New Media Studies in the Department of Humanities and Cultural Studies at the University of South Florida. His research and pedagogy focus on contemporary American moving-image culture, digital effects and animation, critiques of neoliberal capitalism, and the multimedia essay. [Jon Hendricks, FM 6.1, 2015]

Margaret C. Flinn is associate professor of French and Film Studies at The Ohio State University. She is the author of The Social Architecture of French Cinema, 1929–1939 (Liverpool University Press, 2014), as well as articles on various periods of French and francophone cinema, new media art, and comics, in journals such as SubStance, Yale French Studies, Esprit Créateur, the International Journal of Francophone Studies, and European Comic Art. She is currently working on two book projects: one is on director Olivier Assayas, for the University of Illinois Press; the other, New Limits of the Real: Arts of the Moving Image and the Politics of the Contemporary Everyday, addresses the rising value of documentary film/media and of commodified heritage or history as indices of national cinemas in transition, under pressure from the political fact of the European Union, and anxieties about globalization and technological change. [Guest Editor, FM 6.2, 2015; Guest Editor, FM 10.1, 2019]

Gwendolyn Audrey Foster is a scholar and teacher of film studies at the University of Nebraska-Lincoln. Her areas of expertise include cultural studies, film theory, race, class and gender theory. She has published several books, including A Short History of Film, co-authored with Dr. Wheeler Winston Dixon. [Jack Forey, FM 7.1, 2016]

Laura Frahm is Assistant Professor of Visual and Environmental Studies at Harvard University. Frahm’s work explores cinema through architecture, music, process philosophy, and the history of science. Her recent publications include Beyond Space: Cinematic Topologies of the Urban (Majuskel Medienproduktion GmbH, 2010) and Moving Spaces: Spatial Configurations in Music Videos by Jonathan Glazer, Chris Cunningham, Mark Romanek, and Michel Gondry (Peter Lang, 2007). [Roxanna Haghighat, FM 6.2, 2015]

Don Fredericksen is a professor of film and a faculty fellow of the Atkinson Center for a Sustainable Future at Cornell University. He offers a seminar titled “Jung: Film, and the Process of Self Knowledge” and has published two books and a series of essays on Jung and film. [Ryan Larkin, FM 5.1, 2014]

Dr. Kelli Fuery is an Assistant Professor in Film Studies at Chapman University. She is the author of Visual Cultures and Critical Theory (co-authored), New Media: Culture and Image, and The Gift in Visual Culture: Doubles, Disruptions and Exchange. Her fourth book, Wilfred Bion, Thinking and Emotional Experience with Moving Images: Being Embedded is forthcoming with Routledge (2018). [Screened violence dossier, FM 8.1, 2017; Guest Editor, FM 9.2, 2018; Safwat Nazzal, FM 10.1, 2019]

Daniel García teaches in the Communication Art Department at Spring Hill College in Mobile, Alabama. He is an associate professor of film studies, video production, and photography. He earned his MA in Communications at Wheaton College, Illinois and an MFA in Filmmaking at Ohio University. [Katherine Springer, FM 3.4, 2012]

Philippa Gates is a Professor in Film Studies at Wilfrid Laurier University. Her research focuses on gender, race, and age in Hollywood film and her publications include Transnational Asian Identities in Pan-Pacific Cinemas (2011) and Detecting Women: Gender and the Hollywood Detective Film (2011). Her current book project explores the evolution of the representation of Chinese Americans in Classical Hollywood Film. [Mynt Marsellus, FM 8.3, 2017]

Terri Geller is the EKI Assistant Professor of English at Grinnell College. She teaches courses on film studies, literary and critical theory, and feminist and queer theory. Her book on The X-Files for TV Milestones is forthcoming. Professor Geller has also published research on Maya Deren, Dorothy Arzner, Jean-François Lyotard, and Kaizo Hayashi. [Paul Dampier, FM 2.4, 2011; Kramer McLuckie, FM 2.4, 2011; Vilma Castaneda, FM 5.2, 2014]

Kathrina Glitre is Senior Lecturer at the University of the West of England, teaching modules on Film Genres and Hollywood. She is the author of Hollywood Romantic Comedy: States of the Union, 1934–65, co-editor of Neo-Noir, and a member of the Editorial Board for Movie: A Journal of Film Criticism. [Shirley Welton, FM 2.4, 2011; Joanna Scholefield, FM 5.1, 2014]

Brian Gogan is an Assistant Professor in Rhetoric and Writing Studies at Western Michigan University, where he teaches classes in rhetorical criticism and theory, as well as professional and public writing. Dr. Gogan has published essays in Rhetoric Review, College Composition and Communication, and the International Journal of Baudrillard Studies. [Craig Manning, FM 4.2, 2013]

Rebecca M. Gordon is an Assistant Professor of English, Humanities, and Film Studies at Reed College. Her research is in affective responses to genre film, and in structures of feeling in Chicano/Latino film and television. She is always happy to see Reedies take horror seriously. [Stephanie Bastek, Isabel Lockhart Smith, and Kerstin Rosero, FM 2.4, 2011]

Dr. Stuart Gray is an Assistant Professor of Politics at Washington and Lee University and he previously served as a lecturer at Johns Hopkins. He specializes in Greek and Indian political theory. His first book is titled A Defense of Rule: Origins of Political Thought in Greece and India (Oxford University Press, 2017). [Stephen n. Borunda, FM 9.2, 2018]

Karen Hagemann is the James G. Kenan Distinguished Professor of History at the University of North Carolina at Chapel Hill. She has published widely on the history of welfare states, labor culture and women’s movements, as well as the history of the nation, the military, and war. Email: hagemann@unc.edu. [Lewis Adam Lawrence, FM 3.2, 2012]

Germaine Halegoua is an Assistant Professor in the KU Department of Film and Media Studies. Her research focuses on the relationships between urban environments and networked technologies, cultural geography of media, and the meaning of physical place within digital environments. She teaches classes on new media theory and media convergence. [Emma Catherine Farrell, FM 3.3, 2012]

Dr. Helen Hanson is Senior Lecturer in Film Studies at the University of Exeter, she teaches widely across the Film Studies programmes, and her research expertise covers film history (particularly the history of film sound and sonic creativity), adaptation, feminist film theory, gender, genre and histories of creativity within classical Hollywood cinema. Her publications include Hollywood Heroines: Women in Film Noir and the Female Gothic Film (2007) The Femme Fatale: Images, Histories, Contexts (2010) and (with Andrew Spicer) A Companion to Film Noir. [Anna Varadi, FM 6.2, 2015]

Adam Charles Hart is a PhD candidate at the University of Chicago, where he has taught courses on horror films and avant-garde cinema. He expects to finish his dissertation, “‘Something to Be Scared Of’: Placing the Horrific in the Cinema,” in June 2012. [Zulma Terrones, FM 3.1, 2012]

Sophia Harvey holds a PhD from the University of Southern California School of Cinematic Arts. Her research interests include Singapore cultural studies and representations of trauma and memory in Cambodian, Indonesian, and Thai cinema. Ms. Harvey has published in the Singapore Journal of Tropical Geography, Inter-Asia Cultural Studies, and the Journal of Chinese Cinemas. [Henry Carroll, FM 5.3, 2014]

Dr. Daniel Herbert is an assistant professor in Screen Arts and Cultures, where he teaches classes on adaptations, apocalyptic film and television, the contemporary film industry, film history and film theory. He earned his doctorate in Critical Studies from the University of Southern California. [Brian Ford, FM 1.1, 2010]

Dr. Santiago Fouz Hernández’s main area of study to date has been masculinities and male bodies in contemporary film and popular culture. He is an editorial board member of the journal Studies in Spanish and Latin American Cinemas, and an advisory board member for the International Journal of Iberian Studies. [Lucy Sabin, FM 8.3, 2017]

Jeremy Hicks is a Reader in Russian Culture and Film at Queen Mary University of London. He is the author of Dziga Vertov: Defining Documentary Film (2007) and First Films of the Holocaust: Soviet Cinema and the Genocide of the Jews, 1938-1946 (2012). [Maria Cristina Garcia, FM 8.1, 2017]

Matthew Holtmeier is an Assistant Professor of Screen Studies at Ithaca College. His forthcoming book, Contemporary Political Cinema, addresses the production of political subjectivity in post-1990 global cinema. He has published in journals including Screen, Film-Philosophy, The Journal of Chinese Cinemas, and The Middle East Journal of Culture and Communication. [Grant Brighter, FM 9.1, 2018]

Dr. Ann Branan Horak is the Director of Religious Studies at the University of Texas at El Paso where she teaches classes on major world religions, gender and religion, and religion and sacred space. Dr. Horak’s research interests are in gender and religion and the religious culture of the border region. [Oscar Garza, FM 5.3, 2014]

Elizabeth King Humphrey earned her Bachelor’s from Columbia University and a Master’s in Creative Writing from the University of North Carolina Wilmington. Her writing has appeared in The Writer, Scientific American Mind, AOL.com, Women on Writing.com, Greater Wilmington Business Journal, and the Wilmington Star News. Her book credits include Idiot’s Guide: Gluten-free Eating (2014), the award-winning The Feminist Movement Today (2013), and Reader’s Digest Know It All, as a contributor (2008). She teaches online editing courses for the University of California San Diego Extension and works in communications for a global company. [Guest Editor, FM 8.1, 2017]

Dr. Philip Jacobi is lecturer in English Literature and British Cultural Studies at the University of Passau, Germany. He has published on post-postmodern theory, SF and contemporary TV comedy. His main research interests are contemporary theory, visual culture, genre cinema and popular culture. [Sarah E. Beyvers, FM 7.3, 2016]

Matt Jacobsen lectures in the School of History, Queen Mary University of London, teaching courses on the British horror film and Japanese film and anime. His research interests include transmedia approaches to the representation of adolescence, technology, and gender in contemporary Japanese popular culture, including video games, cinema, and anime TV (on which he completed his doctoral thesis). [Ekaterina Kormilitsyna, FM 6.3, 2015]

Cristina Johnston is Senior Lecturer in French at the University of Stirling and has published widely on questions of gender and sexuality in contemporary France and on French cinema. Her current research interests include the films of Céline Sciamma. [Film and childhood dossier, FM 8.1, 2017]

David T. Johnson is an assistant professor of English at Salisbury University, where he teaches courses in film studies. His work has appeared in Film Criticism and Adpatation, and he is currently the co-editor of Literature/Film Quarterly, the long-running journal devoted to the study of adaptation. [Matthew Cohen, FM 1.2, 2010]

Katie Johnson is Professor of English at Miami University. She received her PhD in Drama History, Theory, and Criticism from the University of Washington. Dr. Johnson is working on a project called Racing the Great White Way: A Performative Geography of Early Broadway, a book project of theatrical criticism that rereads (or, queers) traditional histories of Broadway to allow for previously overlooked intersections of race, ethnicity, class, gender, and sexuality. She is also assisting with a forthcoming documentary film called Re-Discovering Kate Carew with Jaffa Films. [Alexandria R. Moore, FM 9.3, 2018]

Mariana Johnson, Professor of Film Studies at the University of North Carolina Wilmington, teaches courses in Latin American cinema, world cinema, and the history of documentary. She received her PhD in Cinema Studies from New York University, where she also earned a graduate certificate in ethnographic filmmaking from the Program for Media, Culture and History. A Film Society of Lincoln Center Fellowship recipient, she has been published in Film Comment, The Oxford American, Film International, Television and New Media, and Studies in Hispanic Cinemas. Her book chapters have appeared in the Oxford Handbook of Film and Media Studies (Oxford University Press) and Contemporary Spanish Cinema and Genre (Manchester University Press). She is currently editing the Directory of World Cinema: Cuba (Intellect Press) and working on a project about film preservation in Latin America. [Brandon Konecny, FM 4.3, 2013]

Nick Jones is a British Academy Postdoctoral Fellow at Queen Mary University of London, working on the aesthetics of digital 3D. He is the author of Hollywood Action Films and Spatial Theory (2015) and has been published in Cinema Journal, New Review of Film and Television Studies and Animation: An Interdisciplinary Journal. [Shanshan Chen, FM 2.2, 2011; Daniel Robson, FM 3.4, 2012; Sophie Livesey, FM 5.1, 2014; Raphael Uribe Ruiz, FM 5.2, 2014; Ben Skyrme, FM 6.3, 2015; Emily Eyre, FM 7.1, 2016]

Juan Carlos Kase has published in Discourse: Journal for Theoretical Studies in Media and Culture, Millennium Film Journal, The Moving Image, and October. His ongoing research concerns the overlapping aesthetic, historical, and political registers of experimental cinema, documentary, art history, performance, and popular music within American culture. He is Associate Professor of Film Studies at the University of North Carolina Wilmington. [Alexander R. Serban, FM 3.4, 2012; Brandon Konecny, FM 5.1, 2014; Chamberlain Staub, FM 10.1, 2019]

B. J. Keeton is a freelance web developer and writer who lives in Florence, Alabama. After a decade of teaching college English, he decided to write and code full time. He is also a huge fitness geek, losing 150 pounds and becoming a dedicated runner. [Hayley Wilson, FM 9.1, 2018]

Jess Keiser is an assistant professor of English at Tufts University. He graduated from Tufts University in 2006 before receiving his PhD from Cornell University in 2013. Professor Keiser’s research includes eighteenth-century literature and aesthetics, Enlightenment political thought, and film and visual studies. [Shaun Soman, FM 7.2, 2016]

Darren Kerr is a senior lecturer in Film and Television at Southampton Solent University and the Solent’s screen research leader. Darren has published on matters of violence, horror, and sex on screen and is the co-editor of Hard to Swallow: Hard Core Pornography On Screen (Columbia University Press, 2012) and Tainted Love: Screening Sexual Perversities (I.B. Tauris, 2013). [Laura Anne Stephens, FM 3.1, 2012]

Catherine Kevin lectures in Australian history, body politics and memory at Flinders University. She has previously held positions at King’s College London and SBS Television. Catherine has recently edited Feminism and the Body: Interdisciplinary Perspectives (2009) and is currently working on a monograph entitled Great Expectations: A Political History of Pregnancy in Australia since 1945. [Carolyn Lake, FM 1.1, 2010]

Dr. Russell Kilbourn is Associate Professor in English and Film Studies at Wilfrid Laurier University, specializing in film theory and memory studies. Dr. Kilbourn’s book, Cinema, Memory, Modernity: The Representation of Memory from the Art Film to Transnational Cinema, appeared with Routledge in 2010. He is also co-editor, with Eleanor Ty, of The Memory Effect: The Remediation of Memory in Literature and Film. [Kevin Hatch, FM 4.1, 2013; Zachary Klaver, FM 4.3, 2013]

Alasdair King is Chair of Arts DEB at Queen Mary. His research, which has been funded externally by UEA (1988-91), DAAD (1991-92), AHRB (2003-04), and AHRC (2007-08), is broadly interdisciplinary, drawing on philosophy, German and film studies. [Johannes Aschim, FM 8.3, 2017]

Anthony Kinik is Assistant Professor of Film Studies with the Department of Communication, Popular Culture, and Film at Brock University. He has taught at a number of universities across Canada, including the University of British Columbia, McGill University, Carleton University, and Concordia University. His areas of specialization include documentary studies, avant-garde and experimental film, and cinema and the city. His most recent publication is an essay entitled “Celluloid City: Montreal and Multiscreen at Expo 67,” which appears in the book Reimagining Cinema: Film At Expo 67 (McGill-Queen’s 2014). [Katerina Korola, FM 5.1, 2014; Kristi Kouchakji, FM 7.1, 2016]

Amanda Ann Klein is Associate Professor of Film Studies at East Carolina University. She is the author of American Film Cycles: Reframing Genres, Screening Social Problems, & Defining Subcultures (University of Texas Press, 2011) and co-editor of Multiplicities: Cycles, Sequels, Remakes and Reboots in Film & Television (University of Texas Press). Her book project about MTV reality programming, Identity Killed the Video Star, is under contract with Duke University Press. Her writing has appeared in Quarterly Review of Film and Video, Jump Cut, Flow, Antenna, Salon, Film Criticism, The Atlantic, Chronicle of Higher Education, Inside Higher Ed, and The New Yorker. [Console-ing Passions Undergraduate Conference dossier, FM 9.3, 2018; Fake News dossier, FM 10.1, 2019]

James Kreul earned his PhD from the University of Wisconsin Madison in 2004. His dissertation explored the commercial crossover of Andy Warhol and other experimental filmmakers in New York City in the late 1960s. His articles and interviews have appeared in Indiewire, Millennium Film Journal, and Senses of Cinema. Kreul’s interests also include film curating, and in 1999 he was a founding programmer of the Wisconsin Film Festival in Madison Art Center’s Wisconsin Triennial. Kreul’s ongoing research project explores the institutional histories of independent and experimental filmmaking in the United States. [Jacob Mertens, FM 2.3, 2011]

Kedar A. Kulkarni provided mentorship for this article while a postdoctoral fellow at Yale University; this piece was originally written for his seminar on Bollywood. He is now a postdoctoral fellow at the Max Planck Institute for Human Development, Berlin, where he writes about emotions in Indian drama and cinema. [Nooreen Reza, FM 6.2, 2015]

Jill Lane is an assistant professor in the Department of Spanish and Portuguese at New York University. In 2005, University of Pennsylvania Press published her book Blackface Cuba. She is the deputy director of the Hemispheric Institute of Performance and Politics and the editor of its online scholarly journal, e-misférica. [Kate Richardson, FM 1.2, 2010]

Robert Lang is Professor of Cinema at the University of Hartford. He is the author of Masculine Interests: Homoerotics in Hollywood Film (Columbia University Press, 2002), and editor of “The Birth of a Nation”: D. W. Griffith, Director (Rutgers University Press, 1994). His Le Mélodrame américain (L’Harmattan) appeared in 2008, and New Tunisian Cinema: Allegories of Resistance (Columbia) was published in 2014. [Kyle Turner, FM 5.3, 2014]

Leo Lensing is Professor of Film Studies and German Studies at Wesleyan University, where he teaches courses on the New German Cinema and on the films of the Weimar Republic. He is the editor of The Anarchy of the Imagination, a collection of Rainer Werner Fassbinder’s essays and interviews. [Zoë Beyer, FM 2.1, 2011]

Suzanne Leonard is Associate Professor of English at Simmons College, and co-coordinator of the college’s interdisciplinary minor in Cinema and Media Studies. She is the author of Fatal Attraction (Wiley-Blackwell, 2009) and co-editor of Fifty Hollywood Directors (Routledge, 2015). Her monograph, Wife, Inc.: The Business of Marriage in Twenty-First Century American Culture, is forthcoming from New York University Press. [Nicole Veneto, FM 8.3, 2017]

Dr. Aaron Han Joon Magnan-Park is Assistant Professor in the Department of Comparative Literature at the University of Hong Kong. He received his PhD in Film Studies from the University of Iowa. He has previously taught at the University of Notre Dame, Victoria University of Wellington, Illinois State University, Illinois Wesleyan University, the University of Iowa, Université de Paris IV, and the American University of Paris. He specializes in pan-Asian cinema with a focus on Hong Kong action cinema and contemporary Korean cinema. He has published in The Journal of Korean Studies and Post Script as well as the anthologies Korean Wave, New Korean Cinema, Chinese Connections, The Politics of Community, and Hong Kong Film, Hollywood, and the New Global Cinema. [Javi Aitor Zubizarreta, FM 1.2, 2010; Eleanor Huntington, FM 1.4, 2010; Kathleen Bracke, FM 3.1, 2012; Eric Hinrichsen, FM 3.2, 2012; Grayson Nowak, FM 4.1, 2013; Rona Vaselaar, FM 4.2, 2013; Jee Hee Lim, FM 5.2, 2014; Alexander Espeland, FM 5.2, 2014; Viveca Tallgren, FM 5.3, 2014]

Amielle Major is a Bahamian-born writer, a film and food enthusiast, and a recent graduate of the University of Michigan MFA Fiction Program. Her work has appeared in Subtropics and Vice. [Guy Madjar, FM 4.3, 2013]

Bill Marshall is Professor of Comparative Cultural Studies at the University of Stirling. His research interests lie in the interface of culture and politics in the French-speaking world since 1900. His current writings are on parkour and photography, film and ethics, and the French theorist Jacques Rancière. [H.J. Burrell, FM 8.1, 2017]

Dr. Kenneth Marshall is an associate professor of history at SUNY Oswego. His areas of specialization are in slavery, emancipation, race, and manhood. Last year, Dr. Marshall inaugurated a course on Blaxploitation Cinema. Recently he published his first book, Manhood Enslaved: Bondmen in Eighteenth- and Early Nineteenth-Century New Jersey. [Ashley Sauers, FM 3.1, 2012]

Rosanna Maule is Associate Professor of Film Studies at the MHSOC, Concordia University. She is the author of Beyond Auteurism: New Directions in Authorial Film Practices in France, Italy, and Spain since the 1980s (2008) and several articles, and the editor of In the Dark Room: Marguerite Duras and Cinema (2009). [Sonya Mladenova, FM 1.4, 2010]

Kristi McKim is an Associate Professor of English and Chair of Film Studies at Hendrix College, where she was awarded the Charles S. and Lucile Esmon Shivley Odyssey Professorship, honored as the 2014-15 United Methodist Exemplary Professor, and nominated for the CASE U.S. Professors of the Year Award. Her publications include the books Love in the Time of Cinema (2011) and Cinema as Weather: Stylistic Screens and Atmospheric Change (2013), in addition to pieces in Camera Obscura, Studies in French Cinema, Senses of Cinema, Film International, The Cine-Files, and Film-Philosophy. [Caufield Schnug, FM 2.2, 2011; New Directors/New Films dossier, FM 4.3, 2013; New York Film Festival dossier, FM 7.3, 2016; New Directors/New Films dossier, FM 9.1, 2018]

Dr. Terence McSweeney is a senior lecturer in Film and Television Studies at Southampton Solent University and currently a visiting research fellow at the Rothermere American Institute at the University of Oxford. He is the author of The “War on Terror” and American Film: 9/11 Frames Per Second (Edinburgh University Press, 2014), “Beyond the Frame”: The Films and Film Theory of Andrei Tarkovsky (Aporetic Press, 2015) and the co-editor of Millennial Cinema: Memory in Global Film (Wallflower, 2012). He has written and published on a diverse range of topics connected to film, literature and history. [Myrto Nika, FM 7.3, 2016]

Jason Middleton is the director of the Film & Media Studies (FMS) program at the University of Rochester. His research interests include documentary film and cinematic affect and embodiment, both of which are explored in his recent book, Documentary’s Awkward Turn: Cringe Comedy and Media Spectatorship (Routledge, 2014). [Jonah Jeng, FM 6.3, 2015]

Dr. Jacqui Miller is Senior Lecturer in Film Studies at Liverpool Hope University. Her most recent publications are “The French New Wave and the New Hollywood: Le Samourai and its American legacy” in Film and Media Studies and “An American in Europe: US Colonialism in The Talented Mr Ripley and Ripley’s Game” in the Journal of European Popular Culture. [Patrick McMahon, FM 2.1, 2011]

Dr. Judith Graves Miller is a Professor of French at New York University. She is a specialist of French and Francophone theatre, text, and production. In summer 2015, Dr. Miller served as a faculty mentor for Ouma Amadou at NYU’s Center for the Humanities’ undergraduate summer research program. [Ouma Amadou, FM 7.3, 2016]

Linda Mizejewski, Professor of Women’s Studies, specializes in feminist film theory and cultural studies. She has been the recipient of two Fulbright teaching awards, an ACLS Fellowship, the Harlan Hatcher Distinguished Faculty Award, and the OSU Alumni Award for Distinguished Teaching. [Elizabeth E. Riggs, FM 9.1, 2018]

Andrew Moisey is currently a postdoctoral associate at the Center for Cultural Analysis at Rutgers University, specializing in the correspondences between photographic form and philosophical discourse. He received his PhD in Film and Media Studies from the University of California, Berkeley in 2014. He has taught art history, film studies, visual studies, and studio art at UC Berkeley, University of Pennsylvania, Swarthmore, and Indiana University. [Gary Kafer, FM 6.1, 2015]

Melissa Molloy is an assistant professor of Literature and Film Analysis in the English department at the University of Florida. Her published writing includes materials on Danish and Latin American cinema, as well as female body politics in film. [Daniela Mejia, FM 3.4, 2012]

Stephen Morgan is an AHRC-funded PhD candidate and Graduate Teaching Assistant in the Film Studies department of King’s College London. His research interests include Australian cinema and culture, pre-1930 cinema, audiovisual archiving, and transnational film histories. [Nace Zavrl, FM 6.3, 2015]

Roopali Mukherjee is Associate Professor of Media Studies at the City University of New York/ Queens College. She is the author of The Racial Order of Things (2006) and The Blacking Factory (forthcoming), and co-editor of Commodity Activism (2012) and Racism Postrace (2019). [Thomas Cruz, FM 10.1, 2019]

Gary Needham is Senior Lecturer of Film and Media Studies at Nottingham Trent University. His research interests are in film and television studies, and gay, lesbian, and queer studies. His key areas of interest are American television, Andy Warhol, queer theory and culture, and East Asian cinemas. His most recent book, Warhol in Ten Takes (2013), has been released with the BFI, and he is the Book Series Editor for Edinburgh University Press American Indies. [Christina Marie Newland, FM 4.1, 2013; Christina Marie Newland, FM 5.1, 2014]

Glen W. Norton teaches in the Department of English and Film Studies at Wilfrid Laurier University. His research interests lie primarily in European film history, phenomenological film theory, and Continental philosophy. He is currently working on a manuscript charting the link between the phenomenological notion of lived temporality and the embodiment of existential ethics in Italian neorealist, post-neorealist, and French New Wave cinema. [Matthew Grant, FM 5.1, 2014; Rob Davies, FM 5.2, 2014]

Taylor Nygaard is a postdoctoral scholar and instructor at the University of Denver in the department of Media, Film, and Journalism Studies. She received a PhD from the School of Cinematic Arts at the University of Southern California. Her work on gender and the media industries has been presented at conferences such as SCMS and Console-ing Passions and has been published in Feminist Media Studies and Spectator. [Allegra Tepper, FM 6.1, 2015]

Tim Ormond has taught Russian cinema, literature, and language at the University of Victoria and the University of Toronto and at Grand Valley State University in Michigan. He continues to work in nineteenth and twentieth century Russian and Soviet visual culture. He will conduct post-doctoral research on Aleksandr Samokhvalov. [Robert Catherall, FM 3.4, 2012]

Lindsay Palmer is Assistant Professor in the School of Journalism and Mass Communication at University of Wisconsin–Madison. She studies global media ethics from a humanist perspective, especially focusing on the cultural labor of conflict correspondents in the digital age. [Julia Petuhova, FM 6.1, 2015]

Liza Palmer is managing editor of The Moving Image (AMIA/University of Minnesota Press), co-editor-in-chief of Film Matters (Intellect), and contributing editor of Film International (Intellect). She works as a librarian at Brunswick Community College. [K. M. Wise, FM 10.1, 2019]

Tim Palmer is Professor of Film Studies at the University of North Carolina Wilmington, whose research has been supported by the National Endowment for the Humanities. He is the author of Irreversible (Palgrave Macmillan, 2015), Brutal Intimacy: Analyzing Contemporary French Cinema (Wesleyan University Press, 2011), and co-editor of Directory of World Cinema: France (University of Chicago Press/Intellect, 2013). His work has been published in Cinema Journal, Journal of Film and Video, Studies in French Cinema, The French Review, Modern & Contemporary France, New Review of Film and Television Studies, Film International, and many book anthologies. [Emily Caulfield, FM 1.4, 2010; Royce Marcus, FM 2.2, 2011; Zoë VanDerPloeg, FM 4.2, 2013; Dallis Frie Covey, FM 5.3, 2014; Gabrielle W. Despaigne, FM 10.1, 2019; Grace Wallace, FM 10.1, 2019]

Dr. Donna Peberdy is a Senior Lecturer at Southampton Solent University, Course Leader of the BA (Honors) Film and Television Studies degree, and the founder and Editor-in-Chief of Diegesis magazine. Donna’s areas of research and publications focus on acting, performance, masculinity, and sexuality in American film. [Acting and performance dossier, FM 4.2, 2013; Myrto Nika, FM 7.2, 2016]

Alastair Phillips is a Reader in Film Studies in the Department of Film and Television Studies at the University of Warwick. His research interests lie in the fields of international film history, culture, and aesthetics with special emphasis on French and Japanese filmmaking; histories of exile and emigration within Europe and between Europe and Hollywood; and the representation of place and landscape in historical and contemporary world cinemas. [Nashuyuan Serenity Wang, FM 10.1, 2019]

Paige Piper is a Doctoral Candidate in the Department of French and Italian at The Ohio State University, where she was a 2012–13 University Fellow. Her research interests include genre, seriality, and the French polar. She is currently working on her dissertation, which considers the changing landscapes of contemporary French crime narratives in film, literature, bande dessinée, and television. [Associate Guest Editor, FM 6.2, 2015]

Dana Polan has written eight books on film and media including the forthcoming Julia Child’s The French Chef and done eight DVD commentaries. He was president of the Society for Cinema Studies. In 2003, he won a Foundation Scholar fellowship from the Academy of Motion Picture Arts and Sciences. [Daniel Langford, FM 2.2, 2011]

Theresia Pratiwi considers herself a language worker and devotee. She graduated with a degree in Applied Linguistics and Creative Writing and is now working on her first short story collection in English. [Linnea Warburton, FM 9.1, 2018]

Elizabeth Rawitsch received her PhD in Film, Television, and Media Studies from the University of East Anglia and is now a lecturer in Film Studies at the University of North Carolina Wilmington. She is the author of Frank Capra’s Eastern Horizons: National Identity and the Cinema of International Relations, 1922–1961 (I.B. Tauris, 2015), and her research on popular culture and national identity has appeared in Intensities: The Journal of Cult Media, Journal of American Studies, and Journal of Popular Film and Television. [Chamberlain Staub, FM 9.3, 2018]

Nick Rees-Roberts is Senior Lecturer in Film in the Department of French at the University of Bristol. His research focuses on French cinema, fashion cultures, and queer theory. In addition to his first monograph French Queer Cinema (EUP, 2008/14) recent publications include a co-edited volume, Alain Delon: Style, Stardom and Masculinity (Bloomsbury, 2015) and a forthcoming study entitled Fashion Film (Bloomsbury, 2016). [Jules O’Dwyer, FM 6.2, 2015]

Assistant Professor of Film and Media Studies Bob Rehak teaches popular courses in animation and cinema, video games, and television and new media. He serves on the editorial boards of Animation: An Interdisciplinary Journal and Transformative Works and Cultures and is the author of a forthcoming book on special effects and transmedia franchises. [Eduard Saakashvili; FM 10.1, 2019]

T. L. Reid, MA, Department of Film and Media Studies at the University of Kansas. [Associate Guest Editor, FM 3.3, 2012]

Sue Richardson is a Senior Lecturer in Film Studies who teaches and mentors students in areas such as American, Women, and African American Studies; Rhetoric and Composition; Popular Culture; and Film Studies. She has written about film rhetoric, edited for books and journals, and presently works on a conduct book. [Jessie Hagen, FM 4.2, 2013]

Julie Ripley has taught histories and theories of visual culture at London College of Fashion and Middlesex University, among many others. Her research interests include ethnography, taste communities, and cult film. She currently teaches Film and Cultural Studies at Falmouth University. [Jake Martin Graves, FM 9.1, 2018]

Matthew Roesch is a Doctoral candidate in the Department of French and Italian at The Ohio State University, specializing in contemporary French film and aesthetics. His dissertation focuses on the development of the French action film, its reception and narrative content, and its standing under the rubric of French national cinema as well as in comparison to global action film aesthetics. [Associate Guest Editor, FM 6.2, 2015]

Judith Schatzl has been working as a research and teaching assistant of American Studies at the University of Passau, Germany, since 2011. She currently works on her dissertation on politics and poetics of mobility in the works of independent filmmaker Jim Jarmusch. Her research focuses on the significance of mobility and transnationality, the journey and the road in American literature and culture. [Florian Zitzelsberger, FM 9.3, 2018]

Karen Schneider received her PhD from Indiana University and has taught in the English Department at Western Kentucky University since 1992. Currently Head of the Department of English, Dr. Schneider teaches classes on Film Genre, Film Adaptation, and Special Topics in Film. [Brandon Colvin, FM 1.4, 2010]

John Schott was the visual advisor for this project. He recently retired as the James Woodward Strong Professor of the Liberal Arts. John Schott taught media production, history, and theory at Carleton for 38 years. For this project he was the chief advisor for all design and data visualization. [Diana Fraser, FM 4.3, 2013; Robert Yeagle, FM 7.3, 2016]

C. Paul Sellors is lecturer in photography and film at Edinburgh Napier University. His essays on film theory and philosophy have appeared in Screen, Film and Philosophy and The Journal of Aesthetics and Art Criticism. He is the author of Film Authorship: Auteurs and Other Myths. [Hanna Karolina Kubicka, FM 4.1, 2013]

Stefan Sereda teaches courses in American cinema and film genres at Wilfrid Laurier University, where his doctoral dissertation, “Cinema in Scare Quotes: Postmodern Aesthetics and Economics in the American Art Cinema” earned the Graduate Gold Medal from the Faculty of Arts in 2012. His publications on American and African film have appeared in academic monographs and the peer-reviewed journal, ARIEL. [Katie Jane Parkes, FM 5.1, 2014]

Laura Isabel Serna is Associate Professor of Cinema and Media Studies in the School of Cinematic Arts at the University of Southern California. She is the author of Making Cinelandia: Mexican Film Culture before the Golden Age (Duke University Press, 2014). A historian of silent film in Mexico and the Mexican immigrant community in the U.S., she regularly offers courses in the history of international cinema, Latin American cinema and approaches to film history. [Madeleine M. Rodriguez, FM 7.1, 2016]

Dr. Amy Shore is the chair of the Cinema & Screen Studies Program at SUNY Oswego. She has encouraged students to write on creative topics while applying traditional film scholarship to create fun and interesting criticism. She received her PhD from New York University. [Michael Potterton, FM 2.1, 2011; Kimberly Behzadi, FM 2.3, 2011; Kimberly Behzadi, FM 3.1, 2012]

Dr. Damien Shortt is a member of the Faculty of Education at Edge Hill University, working with trainee teachers as the English Subject Study Coordinator. He has a PhD in Contemporary Literature, a first-class MA in Modern Literature, and a first-class BA (Hons) in Media Theory and Production. [Andrew Deacon, FM 6.3, 2015]

Christopher Sieving is an associate professor in the Department of Theatre and Film Studies at the University of Georgia, where he teaches courses in film history, analysis, and genre. He is the author of Soul Searching: Black-Themed Cinema from the March on Washington to the Rise of Blaxploitation (Wesleyan University Press, 2011), winner of the 2012 Richard Wall Memorial Award from the Theatre Library Association. He is currently researching the career of writer-director Bill Gunn for a monograph on Ganja & Hess (1973). [Lauren Berg, FM 2.3, 2011; Will Stephenson, FM 2.3, 2011; Guest Editor, FM 4.4, 2013]

Gerald Sim is Assistant Professor of film studies at Florida Atlantic University, specializing in American cinema, national cinema, and critical theory. He published recent essays on digital cinematography in Projections, and about CNBC personality Jim Cramer in Rethinking Marxism. His current book-length historical materialist manuscript examines film studies’ engagement with race. [Olympia Kiriakou, FM 3.4, 2012]

Elaine Sisson is a Senior Lecturer in Visual Culture and Co-Chair of the BA Design for Stage and Screen at the National Film School, IADT, Dublin. She has published widely in the areas of Irish modernism, theater history, costume design, and cultural history, including as co-editor (with Linda King) of the first comprehensive study of twentieth-century Irish design history: Ireland, Design and Visual Culture: Negotiating Modernity 1922-1992 (Cork University Press, 2011). She was one of the founders of the Graduate School of Creative Arts and Media, offering taught doctorates for creative practitioners. [Alice Vignoles-Russell, FM 6.2, 2015; James Doyle, FM 9.3, 2018]

Caroline J. Smith is an associate professor in the University Writing Program at The George Washington University where she teaches first-year writing seminars themed around visual culture. Her research interests include women’s fiction and popular culture productions. She is the author of Cosmopolitan Culture and Consumerism in Chick Lit (2007). [Isabella Luizzi, FM 8.3, 2017]

Matthew Solomon, PhD, is an associate professor of cinema studies in the Department of Media Culture at the College of Staten Island, City University of New York. He is the author of Disappearing Tricks: Silent Film, Houdini, and the New Magic of the Twentieth Century (Urbana: University of Illinois Press, 2010) and the editor of Méliès’s Trip to the Moon: Fantastic Voyages of the Cinematic Imagination (Albany: State University of New York Press, forthcoming). [Stephen Waldow, FM 1.3, 2010]

Dr. Katherine Spring is an assistant professor and Film Studies Program Coordinator & Undergrad Officer at Wilfrid Laurier University. She has earned a PhD and MA in Film Studies (minors: Music; Media and Cultural Studies) at the University of Wisconsin-Madison and a Hon BSc in Cinema Studies and Physics at the University of Toronto. She has published multiple works in her fields of study and serves on the advisory board of Film Matters. Dr. Spring continues to educate and inspire her many students. [Robyn Burley, FM 3.4, 2012]

Victoria Sturtevant (PhD, Emory 2002), is Director of Film and Media Studies and Associate Dean for Academic Programs at the University of Oklahoma. A specialist in the areas of race, class, and gender in American film, Professor Sturtevant teaches courses on film history, theory, and criticism, including Women and Film, the Hollywood Musical, and the Films of Alfred Hitchcock. Her first book, A Great Big Girl Like Me: The Films of Marie Dressler was published by the University of Illinois Press in spring 2009. She is currently working on her next book manuscript, a treatment of the issue of social class in American film comedy. [Amanda Stonebarger, FM 4.1, 2013; Guest Editor, FM 6.1, 2015]

Alison Taylor is the current lecturer at Bond University in Film Aesthetics and Film History. She previously completed her PhD at the University of Queensland, and has published a book with Edinburgh University Press entitled Troubled Everyday: The Aesthetics of Violence and the Everyday in European Art Cinema (Edinburgh University Press, 2017). [Shaye Guillory, FM 9.2, 2018]

Dr. Lauren Jade Thompson works in the Department of Film and Television Studies at the University of Warwick, with a particular research interest in gender and domesticity in film and television. She has had work published in Critical Studies in Television and in edited collections on postfeminist Hollywood cinema and fashion cultures. [Emma Mary Blauciak, FM 7.1, 2016]

John C. Tibbetts, Associate Professor of Film and Media Studies, Department of Film and Media Studies at the University of Kansas. [Guest Editor, FM 3.3, 2012]

World-renowned academic and professor Keyan Tomaselli is the director of The Centre for Communication, Media and Society at University of KwaZulu-Natal. He has worked in higher education for over 25 years, and has published a number of books and chapters on development and film. [Christopher G. da Canha, FM 4.1, 2013]

Frank P. Tomasulo (“Dr. T”) currently teaches cinema history and theory courses at the City College of New York, City University of New York, and Pace University, as well as online graduate seminars for National University. Prior to that, he was chair of the film programs at Georgia State University, Southern Methodist University, and Florida State University, and a professor at Sarah Lawrence College, Ithaca College, St. John’s University, and the University of California, Santa Cruz. He has been the recipient of several university and national awards for his teaching. The author of over 100 scholarly articles and essays and almost 200 academic papers, Dr. T has published extensively on the films of Michelangelo Antonioni and Steven Spielberg, among many other film- and media-related subjects. His co-edited book, More Than a Method: Trends and Traditions in Contemporary Film Performance, was published by Wayne State University Press in 2004. Tomasulo has also won several awards for his scholarship. [Corrine Quirk, FM 5.2, 2014]

Dr. Mia E. M. Treacey works at Monash University teaching in a variety of units connected with Film and Screen Studies, as well Historical Studies. She is the author of Reframing the Past: History, Film and Television (Routledge, 2016). For more information, visit: https://screenedhistory.com. [Nick Bugeja, FM 9.2, 2018]

Temenuga Trifonova is Assistant Professor of Film Studies in the Department of Film, York University. She is the author of The Image in French Philosophy (2007) and European film Theory (2008). Her academic interests include film theory, screenwriting, European cinema, film remakes, film criticism, contemporary American cinema, and philosophy of film. [David Hollands, FM 1.3, 2010]

Maureen Turim, professor of Film and Media Studies, has published three books: The Films of Oshima Nagisa, Images of a Japanese Iconoclast, 1998; Flashbacks in Film: Memory and History, 1989; and Abstraction in Avant-Garde Films, 1985. She is currently finishing Desire and its Renewal in the Cinema. She has published over 100 essays in journals and books. [Christopher LeMaire, FM 7.3, 2016]

Kathleen Tyner is an Associate Professor in the Department of Radio-Television-Film at the University of Texas at Austin. She publishes and works internationally with programs related to youth media, the media arts, media and information literacy, and the uses of games and virtual worlds for learning. [Megan Jackson, FM 4.2, 2013]

J.M. Tyree is an associate editor of New England Review, he has written a book on Salesman as well as The Big Lebowski for BFI’s Film Classics series, and recently published a novel titled Our Secret Life in the Movies with Michael McGriff. He is also a professor at Virginia Commonwealth University and has taught on documentary and film criticism. [John Winn, FM 7.2, 2016]

Tom Ue researches and teaches courses on nineteenth-century British literature, intellectual history, and cultural studies at Dalhousie University. He is the author of Gissing, Shakespeare, and the Life of Writing (Edinburgh University Press, forthcoming) and George Gissing (Liverpool University Press, forthcoming), and the editor of George Gissing, The Private Papers of Henry Ryecroft (Edinburgh University Press, forthcoming). Ue has held the prestigious Frederick Banting Postdoctoral Fellowship and he is an honorary research associate at University College London. [Self and Other dossier, FM 9.3, 2018]

Michael Valk is a professor of English at the University of Kansas. When he is not enlightening students on the nuances of Bill the bard or reading academic papers on Batman, he enjoys the works of Robert Mitchum and anything to do with gunslinger Doc Holiday. [Louis Schumaker, FM 3.3, 2012]

Jasper van Holsteijn is a PhD candidate in the Department of Comparative Literature at the University of Hong Kong. He completed his undergraduate studies in Comparative Literature and Chinese Studies at Leiden University (the Netherlands). His doctoral project focuses on Chinese-language gangster films in relation to Triad historiography and classical Chinese martial fiction. [Viveca Tallgren, FM 5.3, 2014]

Johnny Walker is Senior Lecturer in Media at Northumbria University. His books include, as author, Contemporary British Horror Cinema: Industry, Genre and Society (2015), and, as coeditor, Snuff: Real Death and Screen Media (2016) and Grindhouse: Cultural Exchange on 42nd Street, and Beyond (2016). With Austin Fisher, he is founding co-editor of the Global Exploitation Cinemas book series. [Adam Herron, FM 9.3, 2018]

Jonathan Walley is an assistant professor of Cinema at Denison University. He specializes in avant-garde film and has written extensively on paracinema, works that reference cinema without using film. Dr. Walley has published essays in October, The Journal of Aesthetics and Art Criticism, Senses of Cinema and several major essay collections. [Jamie Marie Wagner, FM 1.1, 2010]

Guy Westwell is Senior Lecturer and Chair of Department in Film Studies at QMUL. He has recently published Parallel Lines: Post-9/11 American Cinema and is co-author of The Oxford Dictionary of Film Studies. [Harry Ryan, FM 2.3, 2011; Caterina Lotti, FM 3.1, 2012; Simon Dickson, FM 3.2, 2012; Amy Lewis, FM 4.1, 2013; Sophie Engel, FM 4.3, 2013; Rosemary Koper, FM 6.3, 2015; Donya Maguire, FM 7.3, 2016]

Patricia White is Professor and Chair of Film and Media Studies at Swarthmore. She is author of Uninvited: Classical Hollywood Cinema and Lesbian Representability and of a forthcoming book on global women’s filmmaking. With Timothy Corrigan, she is co-author of The Film Experience, and co-editor of Critical Visions in Film Theory. [Brian Huser, FM 3.2, 2012]

Dr. Joseph Wlodarz is an associate professor of film studies at Western University. His research interests include American film history, queer cinema, African American cinema, television studies, and theories of gender and sexuality. He teaches courses on New Hollywood Cinema, blaxploitation film, cinema and the Vietnam War, quality television and film/media in the era of AIDS. His work has appeared in camera obscura, The Velvet Light Trap, Masculinity: Bodies, Movies, Culture (ed. Peter Lehman; Routledge, 2001), Queer TV (eds. Glyn Davis and Gary Needham; Routledge, 2009) and Hollywood Reborn (ed. James Morrison; Rutgers University Press, 2010). His study of masculinity in Seventies cinema and culture, American Macho, is forthcoming from the University of Minnesota Press. [Erin Nunoda, FM 4.1, 2013]

Charles Wolfe’s research and teaching interests include international film history and theory; American cinema and cultural history; documentary film and photography; historiography; archival studies; comedy performance; voice in cinema; and film sound. He is the author of two books on the films of director Frank Capra and has published widely on various aspects of the history of commercial, independent, and documentary filmmaking in the United States. With Edward Branigan, he co-edits the American Film Institute’s Film Reader series, which to date has published 30 volumes of new critical essays on topics of contemporary concern in film, television, and new media studies. [Carlos Sanchez, FM 6.1, 2015]

Dr. Aylish Wood has a background in the humanities and sciences. Her current teaching reflects her research interests in contemporary digital media in film, animation, computer games, and Internet art. Her approach is interdisciplinary in nature, drawing on cinema and media studies, and also science and technology studies. [Reuben Ross, FM 1.3, 2010]

Julie Lobalzo Wright is a Teaching Fellow in the Film and Television Studies department at the University of Warwick. She holds a PhD in Film Studies from King’s College London. Her research is mainly concerned with crossover stardom, particularly male popular-music stars in British and American cinema. [Lauren Ekene Nwenwu, FM 9.2, 2018]

Man-Fung Yip is Assistant Professor of Film and Media Studies at the University of Oklahoma. He is the co-editor of American and Chinese-Language Cinemas: Examining Cultural Flows (Routledge, 2014) and has published in Cinema Journal and Chinese Literature Today, among other places. He has recently completed a book manuscript entitled Martial Arts Cinema and Hong Kong Modernity: Aesthetics, Representation, Circulation. His research and teaching interests focus on Chinese-language and East Asian film studies, theories of national and transnational cinema, as well as the juncture of cinema, mass culture, and modernity. [Amanda Stonebarger, FM 4.1, 2013; Guest Editor, FM 6.1, 2015]

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