who's who in research FILM STUDIES - Intellect

who’s who in research 

film 

studies


film studies 

proof pleAse do not circulAte


film studies 

intellect Bristol, UK / Chicago, USA

First published in the UK in 2011 by 

Intellect, The Mill, Parnall Road, Fishponds, Bristol, BS16 3JG, UK 

First published in the USA in 2011 by 

Intellect, The University of Chicago Press, 1427 E. 

60th Street, Chicago, IL 60637, USA 

Copyright © 2011 Intellect Ltd 

All rights reserved. No part of this publication may be reproduced, 

stored in a retrieval system, or transmitted, in any form or by 

any means, electronic, mechanical, photocopying, recording, 

or otherwise, without written permission. 

A catalogue record for this book is available 

from the British Library. 

ISBN 9781841504964w

Richard Abel 

University of Michigan, Department 

of Screen Arts & Cultures, 6419 

North Quad, 105 S. State Street, Ann 

Arbor, MI, 48109-1285, United States 

of America 

Keywords early American cinema, 

Americanization, French silent 

cinema 

Anders Wilhelm Aberg 

Institutionen för språk och litteratur, 

Linnéuniversitetet, 351 95 Växjö, 

Sweden 

Keywords Swedish cinema, Vilgot 

Sjöman, televised fiction, Swedish 

children’s films 

May Adadol Ingawanij 

University of Westminster, Centre for 

Research and Education in Arts and 

Media (CREAM), London, United 

Kingdom 

Keywords Thai cinema, 

cosmopolitanism, world cinema, 

cinephilia, ultra-modern 

Richard Abel is Robert Altman Collegiate Professor of Film Studies in 

the Department of Screen Arts & Cultures at the University of 

Michigan. His latest book, Americanizing the Movies and 'Movie-Mad' 

Audiences, 1910-1914 (California), was published in 2006. 

Forthcoming books include Early Cinema and the 'National', co-edited 

with Giorgio Bertellini and Rob King (John Libbey), and Menus for 

Movie Land: Newspapers and the Movies, 1911-1915. 

› Frame Stories for Writing the History of French Silent Cinema, Studies in 

French Cinema, 2.1, 5-13. 

Anders Wilhelm Åberg is an Associate Professor in Film Studies at 

Linnaeus University of Kalmar/Växjö. He has published a book on the 

Swedish film-maker Vilgot Sjöman and articles on televised fiction, 

film criticism and, more recently, on Swedish children’s films. 

› Art is born on the border of taboo: Vilgot Sjöman in Hollywood, Journal of 

Scandinavian Cinema, 1.2, 159-162. 

May Adadol Ingawanij joined CREAM after completing her Ph.D. at 

the London Consortium, University of London (with Prof. Laura 

Mulvey). Her thesis, Hyperbolic Heritage: Bourgeois Spectatorship 

and Contemporary Thai Cinema, traces the relationship between 

cinematic spectacle, royalism, and the Thai bourgeois fantasy of 

attaining global prestige by displaying ‘world-class Thainess’. The 

research has been published in Inter-Asia Cultural Studies (2007), 

South East Asia Research (2006), and Representing the Rural (2006). 

May is one of the organisers of the Annual Southeast Asian Cinemas 

conference, the main forum of intellectual exchange concerning the 

region’s cinemas held on a rotating basis in each of its countries. With 

Benjamin McKay she is editing the first volume of critical writings on 

the independent cinemas of the region. 

› Blissfully whose? Jungle pleasures, ultra-modernist cinema and the 

cosmopolitan Thai auteur, New Cinemas: Journal of Contemporary Film, 

4.1, 37-54.

John Adams 

University of Bristol, Department of 

Drama (Theatre, Film, Television), 

Cantocks Close, Bristol, BS8 1UP, 

United Kingdom 

Keywords screen media, practice 

research, creative industries, 

documentation 

Adewole Adejayan 

University of Ibadan, UI, Oyo State, 

Ibadan, Oyo State, P O Box 21156, 

Nigeria 

Keywords soccer, fandom, 

Nollywood, cultural passage, Nigeria, 

Thierry Henry 

Mara Adelman 

Seattle University, Department of 

Communication, 901 12th Ave, 

Seattle, WA 98122, United States of 

America 

Keywords social support systems, 

AIDS, communication, community 

development 

John Adams is Emeritus Professor of Film & Screen Media Practice in 

the School of Arts (Drama) at the University of Bristol, where he 

taught for many years. He has produced and/or directed over 30 

broadcast films and theatre productions, and co-founded and chaired 

the Watershed Media Centre (Bristol) and the production company 

Watershed Television Ltd. He was the founding editor of the Journal of 

Media Practice, a member of the Higher Education Funding Council 

media and communications panel for the RAE 2008. He writes and 

lectures on practice-based approaches to screen media teaching and 

research. His current interests include film and creative industries 

policy, space and place in film, and screen acting and performance. 

› Book Reviews, Film International, 3.13, 50-51. 

Adewole Adejayan is a postgraduate student of the Institute of African 

Studies, University of Ibadan, Ibadan, Nigeria. His current research 

explores the intersection between religion and African politics. 

› Thierry Henry as Igwe: Soccer fandom, christening and cultural passage in 

Nollywood, Journal of African Cinemas, 3.1, 25-42. 

Mara Adelman (Ph.D., University of Washington) is an Associate 

Professor in the Department of Communication at Seattle University. 

Her research is on social support systems and AIDS; communication 

and community development; intercultural communication; crosscultural 

adaptation/expatriation; service industry and interpersonal 

communication; communication networks and restorative solitude. Dr. 

Adelman is a co-author on four books and her research has been 

published in Critical Studies in Mass Communication, Journal of 

Health Communication and Journal of Marriage and the Family, 

among others. 

› Looking for Love in All the White Places: A Study of Skin Color Preferences 

on Indian Matrimonial and Mate-Seeking Websites, Studies in South Asian 

Film & Media, 1.1, 65-83.

Gbemisola Adeoti 

Obafemi Awolowo University, 

Department of English, Ile-Ife, 

Nigeria 

Keywords governance, Nigeria, 

theatre, video, Yoruba 

Gunhild Agger 

Aalborg Universitet, Department of 

Culture and Global Studies, 

Kroghstraede 3, 9220 Aalborg, 

Denmark 

Keywords Swedish and Danish TV 

crime fiction, best-seller, blockbuster, 

The Killing, emotion, gender and 

genre 

Wisdom Agorde 

University of Alberta, Department of 

English and Film Studies, 3-89 

Humanities Centre, Edmonton, 

Alberta, T6G 2E5, Canada 

Gbemisola Adeoti (Ph.D.) is lecturer in the English Department of 

Obafemi Awolowo University, Ile-Ife, Nigeria. His areas of teaching 

and research include Dramatic Literature, Poetry, Literary 

History/Theory and Popular Culture. He is the author of Naked Soles, 

co-editor (with Bjorn Beckman) of Intellectuals and African 

Development and editor of Muse and Mimesis: Critical Perspectives on 

Ahmed Yerima’s Drama. He was a British Academy Visiting Fellow at 

the School of English, University of Leeds, United Kingdom, from 

October to December 2008. He is a Postdoctoral Fellow of the African 

Humanities Program organized by the American Council of Learned 

Societies (ACLS). 

› Home video films and the democratic imperative in contemporary Nigeria, 

Journal of African Cinemas, 1.1, 35-56. 

Gunhild Agger, D Phil, is Professor at Department of Culture and 

Global Studies, Aalborg University, Denmark. Agger has been the 

director of a cross-disciplinary research programme ‘Crime Fiction and 

Crime Journalism in Scandinavia’, funded by the Danish Research 

Council for Culture and Communication (cf. www.krimiforsk.aau.dk). 

Her current research areas include history of the media, national film, 

television drama, theory of genre and style. She is co-editor of Medie- 

og Kommunikationsleksikon (2009). She has published a number of 

books and articles in Danish and co-edited Den skandinaviske krimi – 

bestseller og blockbuster (2010). Among her publications in English 

and French are Approaches to Scandinavian Crime Fiction (2010) 

http://www.krimiforsk. aau.dk/uk/awpape 

/Agger_ApproachesToScandinavienCrimeFiction.w15.pdf; ‘Histoire et 

culture médiatique: le roman policier historique en Scandinavie’ 2010; 

‘The element of childhood. From children’s television to Dogme 95’. 

› Emotion, gender and genre: Investigating The Killing, Northern Lights: Film 

& Media Studies Yearbook, 9., 111-125. 

› Media and crime: Fiction and journalism, Northern Lights: Film & Media 

Studies Yearbook, 9., 3-7. 

Wisdom Agorde teaches at the Department of English and Film 

Studies, University of Alberta, Edmonton. He specializes in Ghanaian 

dance, theatre and music. He has an MA in Drama from the University 

of Alberta and is currently working towards his Ph.D. in English and 

Film Studies in the Department of English. Wisdom teaches,

Keywords evangelical Pentecostal 

churches, ‘charismatic churches’, The 

Broken Wall, masculinity, hallelujah 

video films 

Talat Ahmed 

Goldsmiths, University of London, 

Department of History, New Cross, 

London, SE14 6NW, United 


Keywords art house, Bollywood, All- 

India Progressive Writers' Association 

(AIPWA), Indian People's Theatre 

Association (IPTA), Satyajit Ray 

Soo Jeong Ahn 

Pusan National University, Ga-102, 

474-5, Gwangjin-gu, Seoul, 143-858, 

Korea Sout 

Keywords South Korean cinema, 

Kim Ki-Young, Shin Sang-Ok, 

auteur, Asian cinema 

Ian Aitken 

Singtao Communication Centre, 224 

Waterloo Rd, Rm.STC801, Kowloon 

Tong, Hong Kong 

Keywords Bazin, Grierson, Kracauer, 

Lukács, realism 

choreographs and coordinates all the dances and the movements within 

the West African Music Ensemble course. 

› Creating the balance: hallelujah masculinities in a Ghanaian video film, Film 

International, 5.4, 51-63. 

Talat Ahmed is a Teaching Fellow in Modern South Asian History at 

SOAS (School of Oriental and African Studies) University of London. 

She has recently completed a Ph.D. on the Progressive Writers’ 

Movement in South Asia: 1932–56. 

› Realism in South Asian cinema, Film International, 4.24, 40-49. 

Soo Jeong Ahn is the author of the chapter ‘Bibliography of Works on 

Korean Cinema’ in New Korean Cinema (Edinburgh University Press, 

2005). Her essays on film festivals and Asian cinema have been 

published in the anthologies What a Difference a Region Makes: 

Cultural Studies and Cultural Industries in North-East Asia (Hong 

Kong University Press) and in Cinemas, Identities and Beyond 

(Cambridge Scholars Publishing). She currently teaches at the Pusan 

National University in South Korea. 

› Re-imagining the Past: Programming South Korean retrospectives at the 

Pusan International Film Festival, Film International, 6.4, 24-33. 

Ian Aitken is the author of Film and Reform (Routledge, 1990), The 

Documentary Film Movement: An Anthology (EUP, 1998), Alberto 

Cavalcanti (Flicks, 2001), European Film Theory and Cinema (EUP, 

2001), Realist Film Theory and Cinema (MUP, 2006), and The 

Encyclopedia of the Documentary Film (ed.) (Routledge, 2006). He is 

Associate Professor in Film Studies at Hong Kong Baptist University, 

and Senior Research Fellow in Film Studies at De Montfort University.

José Alaniz 

University of Washington, Slavic 

Languages and Literatures, Seattle, 

United States of America 

Keywords Sokurov, death, excess, 

nature, C.D. Friedrich 

Julián Daniel Gutiérrez 

Albilla 

Keywords corporeality, dance, 

gesture, silence, subjectivity 

Dominic Alessio 

The American International 

University in London, Queens Road, 

Richmond-Upon-Thames, London, 

TW10 6JP, United Kingdom 

Keywords science fiction, modernity, 

postcolonialism, extreme nationalism, 

› The European realist tradition, Studies in European Cinema, 3.3, 175-188. 

› Physical reality: the role of the empirical in the film theory of Siegfried 

Kracauer, John Grierson, André Bazin and Georg Lukács, Studies in 

Documentary Film, 1.2, 105-122. 

José Alaniz is an assistant professor in the Departments of Slavic 

Languages and Literatures, and Comparative Literatures at the 

University of Washington, Seattle. His research interests include 

late/post-Soviet Russian literature and culture, cinema, death and 

dying, disability, eco-criticism and comics. He is currently writing a 

book on comics in Russia. 

› ‘Nature’, illusion and excess in Sokurov's Mother and Son, Studies in Russian 

and Soviet Cinema, 2.2, 183-204. 

Julián Daniel Gutiérrez-Albilla completed his Ph.D. dissertation in 

2004 on questions of gender, sexuality and subjectivity in the Spanish 

and Mexican cinema of Luis Buñuel at the University of Cambridge. 

His research interests are in modern Spanish cultural studies and film 

studies, critical theory, and psychoanalytic criticism. His publications 

include articles on gender, visual arts and Buñuel. He spent the summer 

of 2005 in Paris researching the theme of Spanish economic emigration 

to France during the late Francoist period, and how this theme might be 

inscribed in Buñuel’s French films. 

› Body, silence and movement: Pina Bausch's Café Müller in Almodóvar's 

Hable con ella, Studies in Hispanic Cinemas, 2.1, 47-. 

Dominic Alessio is Professor of History and Director of the Study 

Abroad Programme at Richmond, The American International 

University in London. He was also a Visiting Research Fellow in the 

English and Media Department of the University of Northampton, UK, 

and formerly Vice Chair of the New Zealand Studies Association. His 

research interests relate to empire history, the far right, science fiction 

and New Zealand.

India 

Tabea Alexa Linhard 

Washington University in St. Louis, 

Romance Languages and Literatures, 

Campus Box 1077, St. Louis, MO, 

63105, United States of America 

Keywords confession, cultural 

memory, gender 

Samirah Alkassim 

Independent 

Keywords alterity, media signifier, 

accented cinema, installations 

Blaine Allan 

Queen’s University, Film and Media, 

› Nationalism and postcolonialism in Indian science fiction: Bollywood's Koi 

… Mil Gaya (2003), New Cinemas: Journal of Contemporary Film, 5.3, 217- 

230. 

Tabea Alexa Linhard is Assistant Professor of Spanish and 

Comparative Literature at Washington University in St. Louis. She is 

the author of Fearless Women in the Mexican Revolution and the 

Spanish Civil War (University of Missouri Press 2005). Recent 

publications include ‘In the Precarious Exilic Realm: Edward Said’s 

Andalusian Journeys’, Humanism and the Global Hybrid: 

Reconstellating Edward Said and Jacques Derrida (eds. Assimina 

Karavanta and Nina Morgan, Cambridge Scholars P, 2009). ‘The Maps 

of Nostalgia: Juana Salabert’s Velódromo de invierno’, Revista 

Hispánica Moderna, 60.1 (June 2007): 72–93 and ‘Between Hospitality 

and Hostility: Immigration in Contemporary Spanish Culture’, MLN. 

122.2 (March 2007): 400–22. She is currently working on a booklength 

manuscript on Jewishexile in Spain during Word War II. 

› Unheard confessions and transatlantic connections: Y tu mamá también and 

Nadie hablará de nosotras cuando hayamos muerto, Studies in Hispanic 

Cinemas, 5.1&2, 43-56. 

Samirah Alkassim is an independent researcher and filmmaker with 

several years experience living in Egypt and Jordan. Formerly head of 

the Film Program at the American University in Cairo, and Film 

Production Workshops Coordinator at the Royal Film Commission of 

Amman, Samirah currently resides in the US. Current projects include 

research on Ramadan television serials, and a documentary in progress 

about Palestinian artists in Jordan. 

› Cracking the monolith, New Cinemas: Journal of Contemporary Film, 1.3, 5- 

136. 

Blaine Allan teaches film at Queen’s University, Kingston, Ontario, 

Canada. He is working on a book about the Australia-born Canadian 

film-maker, Phillip Borsos. His research interests include historical

160 Stuart Street, Kingston, Ontario, 

K7L 3N6, Canada 

Keywords Phillip Borsos, historical 

approaches to film, Canadian cinema, 

Canadian television, film authorship 

Sigurd Allern 

Stockholm University, Department of 

Media and Communication, POB 

27861, Stockholm, SE-11593, 

Sweden 

Keywords political commentators, 

Norway, media history, journalism, 

elections 

Mark Allinson 

University of Leicester, United 


Keywords thriller, auteur, authorship, 

Bajo Ulloa 

approaches to film, Canadian film and television and film authorship. 

› Matters of life and debt, Studies in Documentary Film, 2.3, 257-277. 

Sigurd Allern, D.Polit., is Professor of Journalism Studies at the 

Department of Media and Communication, University of Oslo, 

Norway, and guest professor at the Department of Journalism, Media 

and Communication, Stockholm University, Sweden. He is project 

leader of the Nordic Research Network in Journalism Studies. His 

present research focuses on political communication and the relations 

between news organizations and professional sources. He has 

published several books and articles on news values, the relations 

between PR and journalism, political scandals and the political 

economy of news production. 

› From party agitators to independent pundits The changed historical roles of 

newspaper and television journalists in Norwegian election campaigns, 

Northern Lights: Film & Media Studies Yearbook, 8.1, 49-67. 

Mark Allinson is Professor of Spanish at the University of Leicester, 

UK. His research interests are in modern and contemporary Spanish 

culture, particularly cinema, drama and subcultures. He has published 

three books, A Spanish Labyrinth: The Films of Pedro Almodóvar 

(London & NY, 2001), ¡Te toca! A New Communicative Spanish 

Course (London, 2002), and Spanish Cinema: A Student Guide (coauthored 

with Barry Jordan). Other publications include chapters on 

Spanish youth cultures and punk, articles on films of Juanma Bajo 

Ulloa and Juan Antonio Bardem, and another on the use of simulations 

in the language classroom. His book on Almodóvar has been updated 

and translated into Spanish and is also available as an e-book. 

› Editorial, Studies in Hispanic Cinemas, 1.1, 3-4. 

Deborah Allison Deborah Allison is a London-based cinema programmer. She holds a 

doctorate in Film Studies from the University of East Anglia, and her

City Screen, Cinema Programming 

Keywords Magnum Force, The 

Enforcer, Sudden Impact, The Dead 

Pool, Clint Eastwood 

Michihiro Ama 

University of Alaska Anchorage, 

Department of Languages, ADM 287, 

3211 Providence Drive, Anchorage, 

AK 99508, United States of America 

Keywords funerary Buddhism, death 

rituals, Coffinman (Nkanfu Nikki), 

Okuribito/Departures 

Hector Amaya 

University of Virginia, Media Studies, 


Keywords race, gender, sexuality, 

Bildungsroman, psychoanalysis, 

Mexican cinema 

writing has appeared in an international range of books and journals, 

including Film Criticism, Film Quarterly, Senses of Cinema, Screen, 

and The Schirmer Encyclopaedia of Film. 

› Courting the critics/assuring the audiences: The modulation of Dirty Harry in 

a changing cultural climate, Film International, 5.5, 17-31. 

› Stephen Frears Master of hi-lo culture, Film International, 5.3, 35-53. 

› Odeon Cinemas 2: From J. Arthur Rank to the Multiplex Allen Eyles (2005), 

Film International, 5.2, 79-80. 



Michihiro Ama is currently an assistant professor of Japanese at the 

University of Alaska Anchorage. He has a forthcoming monograph 

entitled Immigrants to the Pure Land: Modernization, Acculturation, 

and Globalization of Shin 1898–1941 (University of Hawaii Press, 

2011). 

› Transcending death in Departures (Okuribito): A case study of film, literature 

and Buddhism in modern Japan, Journal of Japanese & Korean Cinema, 2.1, 

35-50. 

Hector Amaya is an Assistant Professor of Media Studies at the 

University of Virginia. Previously, he taught in the Communication 

Studies Department at Southwestern University in Georgetown, Texas. 

His research, writing, and teaching engages with the areas of global 

media, Latin American film, comparative media studies, and Latinas/os 

media studies. His first book, Screening Cuba: Film Criticism as 

Political Performance During the Cold War (Urbana: University of 

Illinois Press, 2010) is a comparative study of film reception of Cuban 

film, cultural criticism, and citizenship in Cuba and the United States 

from the 1960s to 1985. His second book, currently under review, is 

titled Citizenship Excess: Latinas/os, Transnationalism, Media, and the 

Ethics of Nation. This book analyses Bush-era nativisms targeting 

Latinas/os and the way nativism shapes current political and media 

cultures. 

› Bridges between the divide: The female body in Y tu Mamá también and 

Machuca, Studies in Hispanic Cinemas, 4.1, 47-62. 

› Amores perros and racialised masculinities in contemporary Mexico, New

Serena Anderlini- 

D'Onofrio 

University of Puerto Rico, Mayaguez, 

Department of Humanities, 

Mayaguez, PR 00681-9264, Puerto 

Rico 

Keywords bisexuality, queer theory, 

ludic structures 

Lars Pynt Andersen 

University of Southern Denmark, 

Department of Marketing and 

Management, Denmark 

Keywords rhetorical analysis, 

advertising, modality, lyricism, 

retrospective revaluation 

Gillian B. Anderson 

Keywords film music, The Birth of a 

Nation, D.W. Griffith, Joseph Carl 

Breil, Douglas Fairbanks, Mortimer 

Wilson, The Thief of Baghdad 

Cinemas: Journal of Contemporary Film, 5.3, 201-216. 

Serena Anderlini-D’Onofrio is the author of the memoir, Eros: A 

Transcultural Journeyandthe guest editor of two issuesofThe Journal 

of Bisexuality, Women and Bisexuality Plural Desireson women and 

polyamory respectively, which are available as books from Haworth 

Press. She has published in numerous professional journals, including 

VIA, DisClosure, and Women and Language. Her study of women’s 

playwriting in the twentieth century The ‘Weak’ Subject (1998), has 

been translated into Italian as Due in una(2003). She is the translator of 

her father’s collection of poems A Lake for the Heart/Il lago del 

cuorepublished in 2005 

› Bisexual games and emotional sustainability in Ferzan Özpetek's queer films, 

New Cinemas: Journal of Contemporary Film, 2.3, 163-174. 

Lars Pynt Andersen is Associate Professor at the Department of 

Marketing and Management, University of Southern Denmark. His 

Ph.D., from the Copenhagen Business School, was on the subject of 

genres and rhetorical strategies of Danish TV advertising. Current 

research themes are radio advertising, the construction of the Tween 

consumer culture, and the idea of an attention economy. 

› A rhetorical analysis of Village, Short Film Studies, 1.1, 127-130. 

Gillian B. Anderson is an orchestral conductor and musicologist. She 

has reconstructed and performed with orchestras in the US, South 

America and Europe the original scores for 33 films made between 

1898 and 1929. Her recording of Nosferatu is avaliable from BMG 

classics. A CD and video of Carmen (DeMille, 1915) is avaliable from 

VAI, and a DVD of (Christiansen, 1923) from Criterioin Films. Most 

recently in collaboration with Thomas L. Riis and Ronald H. Sadoff 

she summarized the state of research and practice in an issue of 

American Music devoted to film music. (Vol. 22, No.1, Spring 2004, 

p.1-13).

Kevin Anderson 

Deakin University, Melbourne, 

Victoria, Australia 

Keywords short film scriptwriting, 

trans-generational grief, World War I 

Lars Gustaf Andersson 

Lund University, Centre for 

Languages and Literature, Box 201, 

Lund, S-221 00, Sweden 

Keywords experimental film, 

amateurism, Swedish cinema, film 

historiography, Peter Weiss 

› Editorial, Film International, 3.13, 3-3. 

› A Consummation and a Harbinger of the Future: Mortimer Wilson, Film 


Kevin Anderson has worked as a writer, director and cinematographer 

for many years in the Australian film and television industry. A multiaward 

winning cinematographer, he currently teaches Film and Video 

Production, Screenwriting and Cinematography at Deakin University in 

Melbourne, Australia. 

› The way home:concealment and revelation in The War Is Over, Short Film 

Studies, 1.1, 43-46. 

› Subjective and objective point of view as metaphor in Mitko Panov’s With 

Raised Hands, Short Film Studies, 2.1, 33-36. 

Lars Gustaf Andersson is Senior Lecturer and Reader in Film Studies, 

Lund University. He is co-editor of Journal of Aesthetics and Culture 

and co-writer (with John Sundholm and Astrid Söderbergh Widding) of 

A History of Swedish Experimental Film Culture: From Early 

Animation to Video Art (2010). He is currently researching the Swedish 

Film Workshop in Stockholm together with John Sundholm. 

› Amateur and avant-garde: minor cinemas and public sphere in 1950s 

Sweden, Studies in European Cinema, 5.3, 207-218. 

› Women & Experimental Filmmaking Jean Petrolle and Virginia Wright 

Wexman (eds) (2005), Film International, 5.2, 62-63. 

› DVD Reviews, Film International, 6.2, 60-66. 





Joe Andrew Joe Andrew is Professor of Literature and Culture at Keele University, 

where he has worked since 1972. His main research interests are 

nineteenth-century Russian literature, feminist approaches to

Keele University, School of 

Humanities, Staffordshire, ST5 5BG, 


Keywords narrative, gender, identity, 

Bakhtin, Lotman, cinema, Russia 

Anita Angelone 

College of William & Mary, 

Department of Modern Languages 

and Literatures, P.O. Box 8795, 

Williamsburg, VA 23187–8795, 


Keywords Italian cinema, fiction and 

non-fiction, environmental criticism, 

theories of place and space, Pier Paolo 

Pasolini 

William Anselmi 

University of Alberta, MLCS, Canada 

Keywords Irshad Manji, postpolitics, 

optical personage, 

performative radicalism, resistant 

ethnicity 

literature, women writers, and cinema. He has published numerous 

articles in these fields, as well as several monographs, including 

Narrative & Desire in Russian Literature, 1822–1849: The Feminine & 

the Masculine (Macmillan, 1993), Russian Women’s Shorter Fiction: 

An Anthology, 1835–1860 (Oxford University Press, 1996) and 

Narrative, Space and Gender in Russian Fiction1846-1903. He has 

published a number of studies on Russian film. He is also Chair of the 

Neo-Formalist Circle, and was co-editor of its journal, Essays in 

Poetics. Over the last decade the Neo-Formalist Circle has organized a 

number of special conferences, on Pushkin, Platonov, Gogol, Chekhov, 

Turgenev, Dostoevsky and Tolstoy. 

› Birth equals rebirth?Space, narrative, and gender in the Commisar, Studies in 

Russian and Soviet Cinema, 1.1, 27-44. 

Anita Angelone is assistant professor of Italian Studies at the College 

of William & Mary. Her research interests include both fiction and 

non-fiction cinema in Italy, Italian literary figurations of the city, 

environmental criticism, and theories of place and space. She has 

published a book chapter on Pier Paolo Pasolini, as well as articles on 

topics ranging from the cinema of the economic boom to 19th-century 

serial novelist Carolina Invernizio in two leading journals in the field, 

Italian Culture and Italian Studies. 

› Other visions: Contemporary Italian documentary cinema as counterdiscourse, 

Studies in Documentary Film, 5.2-3, 83-89. 

› Talking trash: Documentaries and Italy’s ‘garbage emergency’, Studies in 

Documentary Film, 5.2-3, 145-156. 

William Anselmi, Professor of Italian and Italian Canadian 

studies, teaches at the University of Alberta in the department of 

Modern Languages and Cultural Studies. He has co-authored several 

books on ethnicity, multiculturalism/biculturalism, representation, the 

media, and social changes resultant from new technologies of 

communication in the age of the image. He was a long-standing 

collaborator with the Montreal-based ViceVersa, the first example of a 

transcultural magazine in Canada. He is a co-founding and comanaging 

editor of the online open-access journal Imaginations: 

Journal of Cross-Cultural Image Studies. 

› Performative Radicalism in contemporary Canadian documentary film, Film

Kay Armatage 

University of Toronto, Cinema 

Studies Institute, Innis College, 2 

Sussex Avenue, Toronto, ON, M5S 

1J5, United States of America 

Keywords open-air screenings, 

community, FESPACO, Film Festival 

Jakmel 

Richard Armstrong 

Keywords film journalism, banned 

words, F. Scott Fitzgerald, Pat Hobby 

stories, Lost Generation, Hollywood, 

1930s 

Robert Arnett 

Old Dominion University, 

Department of Communication and 


Kay Armatage is a Professor at the University of Toronto, crossappointed 

to Cinema Studies Institute, Innis College and The Women 

and Gender Studies Institute. She is a member of the Graduate Centre 

for the Study of Drama. Author of The Girl from God's Country: Nell 

Shipman and the Silent Cinema (University of Toronto Press, 2003), 

Co-editor of Gendering the Nation: Canadian Women's 

Cinema (Toronto: University of Toronto Press, 1999), Editor of Equity 

and How to Get It (Toronto: Inanna Press, 1999) and author of articles 

on women filmmakers, feminist theory and Canadian cinema in books, 

magazines and journals. 

› Screenings by Moonlight, Film International, 6.4, 34-40. 

› Sidebar: Travelling Projectionist Films, Film International, 6.4, 41-42. 

Richard Armstrong writes on film for publications on three continents, 

including Film Quarterly, Cineaste and . His second book - 

Understanding Realism - appeared from the British Film Institute in 

2005. He is a major contributor to the Rough Guide to Film (2007), and 

is currently researching a Ph.D. on grief in modern cinema at 

Cambridge University. 

› Bad Language: Some offensive words in contemporary film criticism, Film 


› A Pocketful of Angles: F. Scott Fitzgerald's Pat Hobby Stories, Film 


› Deadline at Dawn: The film criticism of Judith Williamson, Film 


› The Best Years of Our Lives: Planes of innocence and experience, Film 


Robert Arnett has published in Creative Screenwriting, Film Criticism, 

Quarterly Review of Film and Video and The Journal of Popular Film 

and Television. He has written numerous screenplays and his work is 

represented by Leslie Rabb at RPM International. He teaches

Theatre Arts, Norfolk, VA 23529, 


Keywords screenplays, film 

criticism, Leslie Rabb, RPM 

International 

Anna Arnman 

Film Studies, Lund University, 

Sweden 

Keywords monster fiction, Clive 

Barker 

Andrew Asibong 

Birkbeck University of London, 

Department of European Cultures and 

Languages, 43 Gordon Square, 

London, WC1H 0PD, United 


Keywords kinship, community, 

fantasy, stigma, normality, psychosocial 

metamorphosis, reconfiguration 

James Aston 

The Univerity of Hull, Department of 

Humanities, Lecturer in Film, 

Cottingham Road, Hull, HU6 7RX, 


Keywords spectator, reflexivity, 

apocalypse, cinematic reality, Time of 

the Wolf 

screenwriting and film history at Old Dominion University, Norfolk, 

VA. 

› REVIEWS, Journal of Screenwriting, 3.1, 119-128. 

Anna Arnman, Ph.D. in Film Studies at Lund University, Sweden. She 

has written essays and reviews to several anthologies, including The 

Man with the Movie Camera (Lund: Absalon, 1999) and Popular 

Fictions (Stockholm/Stenhag: Symposion 2000). She published her 

dissertation (in Swedish) Hellraiser: On Clive Barkers Film at 

Ellerstroms publishing company in 2005. She is also a writer, editor 

and senior lecturer in film studies. Arnman is for the moment working 

on a project on monster fiction together with Anna Höglund. 


› Unrecognizable bonds: Bleeding kinship in Pedro Almodóvar and Gregg 

Araki, New Cinemas: Journal of Contemporary Film, 7.3, 185-196. 

James Aston is a lecturer at the University of Hull. He teaches 

extensively on the undergraduate film studies course and is also a 

member of the Millenniumism Centre at Liverpool Hope University. 

Recent work includes the apocalyptic film pre-and-post millennium 

and cinematic representations of the past. He is also co-editing a book 

on sex and television. 

› The (Un) spectacle of the real: Forwarding an active spectator in Michael 

Haneke's Le temps du loup/Time of the Wolf (2003), Studies in European

Peter Atkinson 

University of Central Lancashire, 

Department of Journalism, Media and 

Commun ication, Preston, PR1 2HE, 


Keywords popular music, 

broadcasting, Liverpool, cultural 

representations 

Sarah Atkinson 

University of Brighton, Faculty of 

Arts, Havelock Road, Hastings, TN34 

1BE, United Kingdom 

Keywords audiovisual arts, dramatic 

storytelling, Broadcast Media, sonic 

media 

Michael Audette-Longo 

Carleton University, 554 King 

Edward, Ottawa, ON, K1N 6N5, 

Canada 

Keywords representation, ideology, 

discourse, South African cinema 

Cinema, 7.2, 109-122. 

Peter Atkinson is senior lecturer in Film and Media at University of 

Central Lancashire, UK, specializing in popular music and 

broadcasting. With a Ph.D. on the subject of cultural representations of 

Liverpool in broadcasting, Peter has several publications on this subject 

and has given numerous international conference papers on a variety of 

topics. 

› Poetic licence: Issues of signification and authorship in British television 

versedocumentary,1986–96, Studies in Documentary Film, 5.1, 61-74. 

Dr. Sarah Atkinson is Principal Lecturer in Broadcast Media at the 

University of Brighton, UK. She is also an audiovisual arts practitioner, 

undertaking practice-based explorations into new forms of fictional and 

dramatic storytelling in visual and sonic media. She is particularly 

interested in multi-linear and multi-channel aesthetics. Her own multiscreen 

interactive cinema installation Crossed Lines has been exhibited 

internationally. 

› Surrounded by sound: The aesthetics of multichannel and hypersonic 

soundscapes and aural architectures, The Soundtrack, 4.1, 5-21. 

Michael Audette-Longo holds the 2007/2009 Research Fellowship 

from the Audiovisual Media Lab for the study of Cultures and 

Societies (www.lamacs.uOttawa.ca). His research interests include the 

representation of the subjective and objective self in motion pictures. 

He is currently completing a Ph.D. in Cultural Mediations at Carleton 

University (Canada). 

› Revis(it)ing personal, theoretical and national histories: A critical reviewessay 

of Encountering Modernity: Twentieth Century South African Cinemas 

with an interview with Keyan G. Tomaselli, Journal of African Cinemas, 2.2, 

151-165.

Patricia Aufderheide 

School of Communication, American 

University, Washington D.C., United 

States of America 

Keywords family, body, 

documentary, film history, mother 

Guy Austin 

Newcastle University, School of 

Modern Languages, Old Library 

Building, Newcastle upon Tyne, NE1 

7RU, United Kingdom 

Keywords comedy, genre, folk 

humour, Bakhtin, Les Visiteurs, 

trauma 

Thomas Austin 

University of Sussex, Silverstone 

EDB 329, Falmer, Brighton, BN1 

9RG, United Kingdom 

Keywords Black Sun, masculinity, 

disability, documentary 

Patricia Aufderheide is a professor in the School of Communication at 

the American University in Washington DC and founder-director of the 

Center for Social Media there. She is the author of, among others, 

Documentary: A Very Short Introduction (Oxford University Press, 

2007) and The Daily Planet (University of Minnesota Press, 2000). She 

has received numerous journalism and scholarly awards, including 

career achievement awards in 2006 from the International 

Documentary Association and in 2008 from the International Digital 

Media and Arts Association. 

› Characters structuring narrative: Undressing My Mother within personal 

memoir film history, Short Film Studies, 1.1, 71-75. 

Guy Austin is currently Professor of French Studies at Newcastle 

University; he specializes in French and Algerian cinema. Austin began 

his career in 1992 at Sheffield, where he worked on modern French 

cinema, French film stars and the films of Claude Chabrol, each area 

resulting in a book. A revised and expanded edition of his first book, 

Contemporary French Cinema, was published in 2008. Since around 

2006 he has been interested in Algerian cinema, and in related issues 

such as postcolonialism, trauma, national identity and the 

representation of space. Austin’s major project at present is a 

monograph on Algerian National Cinema for Manchester University 

Press, due for publication in 2012 to coincide with the 50th anniversary 

of Algerian independence. 

› Body comedy and French cinema: notes on Les Visiteurs, Studies in French 


› Against amnesia: representations of memory in Algerian cinema, Journal of 

African Cinemas, 2.1, 27-35. 

Thomas Austin is Senior Lecturer in Media and Film at the University 

of Sussex, UK. He is the author of Hollywood, Hype and Audiences 

(2002) and Watching the World: Screen Documentary and Audiences 

(2007) and co-editor of Contemporary Hollywood Stardom (2003) and 

Rethinking Documentary: New Perspectives, New Practices (2008). 

› Damaged bodies in documentary: Black Sun and Murderball, Studies in 

Documentary Film, 4.1, 51-64.

Karina Aveyard 

Keywords DCI Specification, 3D, 

independent cinema, Australian 


Tony Ayres 

Big and Little Films, PO Box 1271, St 

Kilda South, Victoria 3182, Australia 

Keywords diaspora, Asian Australian 

cinema, The Home Song Stories, 

film-making 

Kees Bakker 

Institut Jean Vigo, Arsenal, 1 rue Jean 

Vielledent, Perpignan, 66000, France 

Keywords documentary, Joris Ivens, 

Johan van der Keuken, history, 

theory, hermeneutics, ethics 

Karina Aveyard is a Ph.D. candidate in the School of Humanities at 

Griffith University. Her doctoral research examines contemporary 

cinema exhibition in regional and rural locations. This research is 

funded by an Australian Research Council Linkage Grant in 

partnership with the Australian government film agencies the National 

Film and Sound Archive and Screen Australia. Karina's essays have 

been published in Studies in Australasian Cinema and Media 

International Australia. Work in progress includes a co-edited 

collection Watching Films: New Perspectives on Movie-Going, 

Exhibition and Reception for Intellect Books. 

› Introduction Going Digital: implications and opportunities for cinema in 

Australia and New Zealand, Studies in Australasian Cinema, 3.2, 151-154. 

› ‘Coming to a cinema near you?’: digitized exhibition and independent 

cinemas in Australia, Studies in Australasian Cinema, 3.2, 191-203. 

› VaultAge: Digitizing and contextualizing Australian audio-visual content: 

Australianscreen online (aso.gov.au), Studies in Australasian Cinema, 3.2, 

205-222. 

› More than making do : Rethinking cinema attendance in regional and rural 

Australia, Studies in Australasian Cinema, 5.1, 7-17. 

Tony Ayres is a writer and director of feature films and documentaries. 

His most recent feature film is The Home Song Stories. 

› Interview with Tony Ayres: on The Home Song Stories and Asian Australian 

film-making, Studies in Australasian Cinema, 2.3, 245-254. 

Kees Bakker is Director of the Institut Jean Vigo in Perpignan, France. 

He studied Philosophy and Film and Performing Arts at the University 

of Nijmegen, the Netherlands. He worked for the European Foundation 

Joris Ivens and has been teaching Film Theory and Film History at the 

Universities of Nijmegen and Utrecht and Documentary at the Dutch 

Film Acadamy. Before arriving at the Jean Vigo Film Institute he 

worked as Analyst at the European Audiovisual Observatory (Council 

of Europe, Strasbourg). Currently, next to the film archival activities, 

the Confrontation film festival and regular film programming for the 

Institut Jean Vigo, he is also programmer of the Doc History section of 

the Lussas Documentary Film Festival in France.

Bakur Bakuradze 

Keywords Russian cinema, 

documentary film, scriptwriting 

Cesar Ballester 

Arts University College at 

Bournemouth, Wallisdown, Poole, 

Dorset, BH12 5HH, United Kingdom 

Keywords Kieślowski, individuality, 

Polish cinema, 1980s, optimism 

within defeat 

› ‘THEY ARE LIKE HORSES WITH BLINDERS ON’ One war, two views: 

Joris Ivens and Fumio Kamei, China, 1938, Studies in Documentary Film, 

3.1, 19-33. 

Bakur Bakuradze is a film-maker (fiction and documentary films) and 

scriptwriter. Born on 16 March 1969 in Tbilisi, he graduated from the 

Moscow Road Institute (MADI) in 1993, and then attended the Faculty 

of Directing at the Film Institute VGIK, graduating in 1998 from the 

class of Marlen Khutsiev. His films include Without Money (Bez deneg, 

short, 1997); Displaced (Sdvinutyi, TV, co-directed by Aleksandr 

Basov, 2001); Aleksandr Volkotrubov (with Aleksandr Basov, 

documentary, 2001); For the Price of One’s Life (Tsenoi svoei zhizni, 

documentary, 2001); The Time of the Ministry of Finance: 200 Years of 

Service to the Fatherland (Vremia Minfina, documentary, 2002); and 

Viacheslav Pilipenko (with Aleksandr Basov, documentary, 2003). 

› Film Script, Studies in Russian and Soviet Cinema, 3.1, 91-129. 

After his first degree in Latin and Hispanic Studies at King’s College, 

London, and spending some time in Prague, Dr Cesar Ballester went on 

to complete an MA in Russian and East European Literature and 

Culture, and later a Ph.D. on Czech and Slovak cinema of the 1960s, 

both at the School of Slavonic and East European Studies, University 

College London. He has written two monographs so far: El Cine de 

Andrzej Munk, El Caracter Nacional y el Individuo (Madrid: Semana 

de Cine Experimental de Madrid, Fundacion Autor, 2008) and Milosˇ 

Forman (Madrid: Ediciones Catedra, S.A., 2007). Senior Lecturer at 

the Arts University College Bournemouth, he is still currently 

researching ideas of individuality in Czech, Polish and Slovak cinema. 

› Individuality in Kieślowski's Bez Końca, Studies in European Cinema, 6.1, 

77-89. 

› Subjectivism, uncertainty and individuality: Munk’s Człowiek na torze/Man 

on the Tracks (1956) and its influence on the Czechoslovak New Wave, 

Studies in Eastern European Cinema, 2.1, 61-73.

Isolina Ballesteros 

Baruch College, Department of 

Modern Languages and Comparative 

Liturature, 17 Lexington Avenue, 

New York, NY 10010, United States 

of America 

Keywords Spanish cinema, 

immigration, female, otherness, 

diaspora 

Bidisha Banerjee 

Department of English, Hong Kong 

Institute of Education, 10 Lo Ping 

Road, Tai Po, New Territories, Hong 

Kong 

Keywords patriarchy, homosexuality, 

queer studies, feminism, Deepa Mehta 

Henrik Paul Bang 

Keywords public, governance, 

rhetoric, policy-politics, legitimacy 

Isolina Ballesteros is Associate Professor at the Department of Modern 

Languages and Comparative Literature of Baruch College, CUNY. Her 

field of specialty is contemporary Spanish cultural studies. She has 

published extensively about Spanish and Latin American women 

writers, the image of women in the post-Franco literature, and Spanish 

and European film. She is the author of two books: Escritura femenina 

y discurso autobiográfico en la nueva novela española (1994), and 

Cine (Ins)urgente: textos fílmicos y contextos culturales de la España 

postfranquista (2001). She is currently working on a book called: 

'Undesirable’ Otherness and ‘Immigration Cinema’ in the European 

Union. 

› Embracing the other: the feminization of Spanish ‘immigration cinema’, 

Studies in Hispanic Cinemas, 2.1, 3-14. 

› Foreign and racial masculinities in contemporary Spanish film, Studies in 

Hispanic Cinemas, 3.3, 169-186. 

Dr Bidisha Banerjee is Assistant Professor of English at the Hong 

Kong Institute of Education. She has an MA in English from 

Claremont Graduate University and a Ph.D. from the University of 

Iowa. Bidisha’s research and teaching interests include postcolonial 

studies; globality and transnationalism; diaspora and exile; postcolonial 

feminist fictions and theory; cultural studies; film studies; and gay and 

lesbian literature. She has presented her work widely at conferences in 

Europe, Asia and the United States. Some of her work on the South 

Asian diaspora has been published. 

› Identity at the Margins: Queer Diasporic Film and the Exploration of Same- 

Sex Desire in Deepa Mehta's Fire, Studies in South Asian Film & Media, 2.1, 

19-39. 

Henrik Paul Bang is an associate professor at Department for Political 

Science, University of Copenhagen. His primary interests are 

comparative politics, governance, new modes of citizenship, publics, 

power, authority and participation. He has published numerous articles 

in international journals and anthologies. His most recent publications 

are: The Everyday Maker (co-author, 2001), Democracy from below 

(co-editor, 2000), Governance as social and political communication 

(ed., 2003) and New Publics with/out Democracy (co-editor, 2007). 

› Political authority as genuineness – how to transgress new public spheres,

Axel Bangert 

University of Cambridge, Department 

of German and Dutch, United 


Keywords Holocaust, cultural 

memory, Sonder, kommando, Primo 

Levi, body 

Weihong Bao 

Ohio State University, Department of 

East Asian Languages and Literatures, 

398 Hagerty Hall, 1775 College Rd., 

Columbus, United States of America 

Keywords modern Taiwan theatre, 

pornography, musical, paratheatre, 

biomechanics, Chongqing cinema 

Alice Bardan 

University of Southern California 

Keywords Pawel, British cinema, 

Last Resort, asylum seekers, 

whiteness 


Axel Bangert is a Junior Research Fellow at Homerton College, 

Cambridge. He holds an MA in Modern History from Humboldt 

University, Berlin, with a thesis on representations of the Holocaust in 

contemporary feature film. His Ph.D., which he completed at the 

University of Cambridge in 2010, examines television and cinema 

productions about the Third Reich since German reunification. In his 

post-doctoral research project, he develops transnational perspectives 

on contemporary European cinema. 

› Changing narratives and images of the Holocaust: Tim Blake Nelson, New 


Weihong Bao is Assistant Professor of Chinese cinema in the 

Department of East Asian Languages and Literatures at the Ohio State 

University. She focuses on Chinese cinema in the silent and early 

sound period, with a broad interest in nineteenth- and twentieth-century 

film and media culture. She has published in such journals as Camera 

Obscura, Nineteenth Century Theatre and Film, and The Journal of 

Modern Chinese Literature. 

› Biomechanics of love: reinventing the avant-garde in Tsai Ming-liang's 

wayward ‘pornographic musical’, Journal of Chinese Cinemas, 1.2, 139-160. 

› In search of a ‘cinematic Esperanto’: exhibiting wartime Chongqing cinema 

in global context, Journal of Chinese Cinemas, 3.2, 135-147. 

Alice Bardan is a doctoral candidate in English at the University of 

Southern California, Los Angeles. She received a BA in English and 

French and an MA in American Cultural Studies from the Al. I. Cuza 

University in Romania. She also received an MA in English from 

Emporia State University, Kansas. Her research focuses on 

contemporary European cinema, the construction of European 

identities, media globalization, and post-communist transformations. 

› ‘Welcome to Dreamland’: The realist impulse in Pawel Pawlikowski's Last

Martin Barker 

University of Aberystwyth, 

Department of Theatre, Film and TV, 

Penglais Campus, Aberystwyth, 

Ceredigion, SY23 3AJ, United 


Keywords teaching film, media 

literacy, vernacular concepts, moral 

controversies 

Justin L. Barrett 

University of Oxford, Centre for 

Anthropology and Mind, United 


Keywords virtual, cognition, religion, 

Second Life, touch 

Resort, New Cinemas: Journal of Contemporary Film, 6.1, 47-63. 

Martin Barker is Professor of Film and Television Studies at the 

University of Wales, Aberystwyth. He is the author of a number of 

books, of which probably best-known is Ill Effects: the Media-Violence 

Debate (co-edited with Julian Petley). He was director of the major 

international audience research project into the reception of The Lord 

of the Rings (2003-4) whose results were published (Watching The 

Lord of the Rings) by Peter Lang in 2007. In 2007 he also directed a 

research project for the British Board of Film Classification into 

audience responses to sexual violence on screen, whose outcomes can 

be found on their website. 

› Menstrual Monsters, Film International, 4.21, 68-77. 

Dr. Justin L Barrett is senior researcher at University of Oxford's 

Centre for Anthropology and Mind and the Institute for Cognitive and 

Evolutionary Anthropology. Barrett received his BA in psychology 

from Calvin College, and his Ph.D. in experimental psychology 

(cognitive and developmental focus) from Cornell University. He has 

served on the faculties of Calvin College and the University of 

Michigan (Ann Arbor) before joining Oxford. Barrett's career has been 

characterized by work in the cognitive study of culture with a particular 

emphasis on CSR. He is a founding editor of the Journal of Cognition 

and Culture (Brill). His book Why Would Anyone Believe in God? 

(2004, AltaMira) represented the field's first relatively comprehensive 

introduction intended for a general audience. 

› Virtual reality as a ‘spiritual’ experience: a perspective from the cognitive 

science of religion, Northern Lights: Film & Media Studies Yearbook, 6.1, 

75-90. 

Sandra Barriales-Bouche Sandra Barriales-Bouche is Assistant Professor of Spanish at Suffolk 

University where she teaches Spanish language, culture, literature and 

film. Her research interests include the literature of the exiles of the 

Spanish Civil War, and the literature and film of Democratic Spain. 

She has published articles on the poetry of Luis Cernuda and Pedro

Keywords Post-Franco Spain, 

Spanish Civil War, Spanish cinema 

Sarah Barrow 

University of Lincoln, School of 

Media, Brayford Campus, Lincoln, 

Lincolnshire, LN6 7TS, United 


Keywords transnational cinema, 

Latin American cinema, identity 

Stefano Baschiera 

Keywords European cinema, popular 

cinema, genre, co-production, Italian 


Garfias and the autobiographical texts of Federica Montseny. She is the 

editor of España: ¿laberinto de exilios? (2005) and the co-editor of 

Zoom in, Zoom out: Crossing Borders in Contemporary European 

Cinema (2007). 

› Filming ghosts: Entre el dictador y yo (2005), an awakening to a silenced 

past, Studies in Hispanic Cinemas, 4.3, 139-150. 

Dr Sarah Barrow is Head of the School of Media at the University of 

Lincoln. Her research explores the vital relationship between the 

‘national’ and the ‘transnational’ in cinema, in particular Latin 

American cinemas. This includes an address to questions of identity/ies 

and the framing of those by and for cinema. It also interrogates the 

connections and tensions between policies of film funding (national 

and transnational) and systems of representation, in particular at 

moments of politically motivated conflict. Her interest in the industrial 

aspects of cinema, particularly distribution and exhibition, have been 

informed by working for the Cambridge Arts Cinema and Cambridge 

Film Festival in the 1990s as manager of the education programme, 

which included collaborations with European funding programmes and 

festivals. From 2000-2010, Sarah was one of the founding members of 

the Cambridgeshire Film Consortium. 

› REVIEWS - TRANSNATIONAL FINANCIAL STRUCTURES IN THE 

CINEMA OF LATIN AMERICA: PROGRAMA IBERMEDIA IN STUDY, 

LIBIA VILLAZANA (2009), Transnational Cinemas, 1.1, 101-102. 

Stefano Baschiera is Lecturer in Film Studies at Queen’s University 

Belfast. His research interests include the representation of domestic 

and urban spaces in European cinema. He has published on 

transnational cinema, cinema and space, and the European New Waves 

in journals and edited collections. 

› Once Upon a Time in Italy: Transnational Features of Genre Production 

1960s1970s, Film International, 8.6, 30-39. 

Raphaël Bassan Raphaël Bassan is a film journalist who has written on experimental

Metra 

Keywords avant-garde, festivals, 

cooperatives, history, transmission of 

knowledge 

Gautam Basu Thakur 

University of Mississippi, English, C 

134 Bondurant Hall, PO Box 1848, 

Mississippi, MS 38677, United States 

of America 

Keywords psychosis, Lacan, 

psychoanalysis, consumerism, auteur, 

‘Cinema of Disturbance’ 

Richard Bates 


Keywords actuality television, music, 

hearing-impaired viewers 

cinema (amongst other forms of cinema) in specialist journals such as 

and La Revue du Cinéma, in national dailies such as Libération, and in 

dictionaries and encyclopaedias, for example L’Encyclopaedia 

Universalis (since 1996), Une encyclopédie du court métrage français 

(2004). He is the co-founder of the Collectif Jeune Cinéma in 1971, 

and has made three short films: Le Départ d’Eurydice (1969), Prétextes 

(1971), and Lucy en miroir (2004). 

› French experimental cinema: the richness of the 1970s, Studies in French 


Gautam Basu Thakur holds a Ph.D. in Comparative Literature from 

University of Illinois at Urbana-Champaign (2010). He is a Visiting 

Assistant Professor of World Literature and Literary Theory at the 

University of Mississippi, where he teaches world literature, literary 

and critical theory, and postcolonial studies. His research interests 

include nineteenth- and twentieth-century British and South Asian 

literature, world literature, postcolonial theory, Lacanian 

psychoanalysis, and culture studies. His articles have been published in 

Psychoanalysis, Culture, & Society, New Cinemas: Journal of 

Contemporary Film, and in a collection of essays titled Bollywood and 

Globalization: Indian Popular Cinema, Nation, and Diaspora. He is 

currently working on a book-length comparative study on the effective 

impact of the 1857 Mutiny on British and Indian cultural 

consciousness. 

› Re-reading Michael Haneke's La Pianiste: schizo-politics and the critique of 

consumer culture, New Cinemas: Journal of Contemporary Film, 5.2, 139- 

152. 

Richard Bates is the Chair of the Media Access Group of the Royal 

National Institute of the Deaf. The Group’s twin concerns are the 

quantity and quality of subtitles, and the clarity of soundtracks in 

television and radio programmes. 

› The problem of music in actuality television, The Soundtrack, 1.3, 183-191.

Craig Batty 

RMIT University, School of Media 

and Communication, RMIT 

University, GPO Box 2476, 

Melbourne, VIC 3001, Australia 

Keywords emotional journey, 

narrative, physical journey, story, 

structure 

Tilman Baumgärtel 

Royal University of Phnom Penh, 

Department of Media and 

Communication, IFL Campus, 

Russian Boulevard, Phnom Penh, 

Cambodia 

Keywords independent cinema, 

South East Asia, globalization, 

mediascape, Arjun Appadurai, 

transnational cinema 

Peter Baxter 

Queens University, Film and Media, 

Kingston, ON K7L 3N6, Canada 

Keywords French cinema, Sternberg 

Dr Craig Batty is Senior Lecturer in Creative and Professional Writing 

at RMIT University in Melbourne. He is a writer and script consultant, 

and has worked on various short film, feature film and television 

projects. He has written numerous articles and book chapters about 

screenwriting and media writing. He is co-author of the books Writing 

for the Screen: Creative and Critical Approaches and Media Writing: A 

Practical Introduction, and author of the book Movies That Move Us: 

Screenwriting and the Power of the Protagonist's Journey. 

› The physical and emotional threads of the archetypal hero's journey: 

proposing common terminology and re-examining the narrative model, 

Journal of Screenwriting, 1.2, 291-308. 

› An interview with Christopher Vogler, Journal of Screenwriting, 2.1, 117- 

127. 

› An interview by Craig Batty with Linda Seger, Journal of Screenwriting, 3.2, 

239-246. 

Tilman Baumgärtel taught at the Universität Paderborn, Technische 

Universität Berlin, Mozarteum in Salzburg, Austria, and for five years 

at the University of the Philippines in Manila, before he joined the 

Royal University of Phnom Penh in 2009. He has published books on 

Independent Cinema in South East Asia, Internet Art, Computer Games 

and the German director Harun Farocki. He runs the blog ‘The Institute 

of South East Asian Film Studies’ at 

http://southeastasiancinema.wordpress.com/. 

› Imagined communities, imagined worlds: Independent film from South East 

Asia in the global mediascape, Transnational Cinemas, 2.1, 57-71. 

Peter Baxter teaches in the Department of Film Studies, Queen's 

University, Kingston, Ontario, Canada. At present he is working on a 

study of the relations between men and women as portrayed in 

contemporary French Cinema. He has also edited a book of essays 

about Sternberg, and wrote another, Just Watch! Sternberg, Paramount 

and America, on their film Blonde Venus. 

› Putting Characters in Place: From Le Bonheur to La Vie de Jésus and 

Western, Studies in French Cinema, 2.2, 65-73.

John Baxter 

Keywords Paris, book collection, 

biography 

Gerd Bayer 

University of Erlangen, Department 

of English, Bismarckstr. 1, Erlangen, 

91054, Germany 

Keywords popular culture, holocaust 

studies, early modern fiction, 

postcolonial studies, postmodern 

fiction, ecocriticism, fake 

documentary film 

Nicoleta Bazgan 

University of Maryland, Department 

of Modern Languages, Linguistics 

and Intercultural Communication, 

Baltimore County, 1000 Hilltop 

Circle, Baltimore, MD 21250, United 


Keywords Parisian female stars, 

Rachida Brakni, Audrey Tautou, 

Jeanne Moreau, Brigitte Bardot 

John Baxter is a freelance author who lives in Paris. Since moving to 

France, he has published biographies of Federico Fellini, Luis Buñuel, 

Steven Spielberg, Woody Allen, Stanley Kubrick, George Lucas, and 

Robert de Niro, as well as three books of autobiography: A Pound of 

Paper: Confessions of a Book Addict, dealing mainly with his 

fascination for collecting books; We'll Always Have Paris: Sex and 

Love in the City of Light, a 'romantic memoir' of his love affair with 

Paris and Immoveable Feast: A Paris Christmas and Carnal 

Knowledge: Baxter's Concise Encyclopedia of Modern Sex 

› William Gibson and the 'Garage Kubrick', Film International, 1.3, 32-35. 

Gerd Bayer is a tenured faculty member (Akademischer Rat) in the 

English department at Erlangen University, Germany, having 

previously taught at the University of Toronto, Case Western Reserve 

University, and the University of Wisconson-Whitewater. He has 

published a monograph on John Fowles and nature, ‘Greener, More 

Mysterious Processes of Mind’: Natur als Dichtungsprinzip bei John 

Fowles (Nature as a Poetological Principle in John Fowles’s Works) 

(Münster: LIT, 2004), edited or co-edited four books on pop culture, 

holocaust studies, and early modern fiction, as well as written essays 

and book chapters on postcolonial studies, postmodern fiction, 

ecocriticism, and on fake documentary film. He is currently working on 

a monograph on Restoration prose fiction and genre making, funded by 

the German Research Foundation (DFG). 

› REVIEW, Journal of African Cinemas, 3.1, 125-129. 

Nicoleta Bazgan is Assistant Professor of French Cinema at the 

University of Maryland, Baltimore County. Her research interests 

include French contemporary cinema, cinema and the city, French 

female stardom, and national cinemas.She is currently working on a 

book manuscript focusing on the female star system in France titled 

Irresistibly French: Female Stardom and Frenchness. 

› Female bodies in Paris: iconic urban femininity and Parisian journeys, 

Studies in French Cinema, 10.2, 95-109.

Laura Beadling 

Keywords media studies, trauma 

theory, visual culture, women’s 

literature, multicultural media and 

literature, contemporary American 

literature, ethnic studies, women’s 

studies 

Jordan Bear 

University of Toronto, Department of 

Art, 100 St. George Street, Room 

6036, Toronto, ON, M4Y1R9, 

Canada 

Keywords photography, film, 

illusion, belief, evidence 

Debra Beattie 

Griffith University, Humanities, 

Australia 

Keywords virtual reality, QTVR, 

interactive, mise-en-scène, 

verisimilitude 

Laura L. Beadling is Assistant Professor in the English Faculty at the 

University of Wisconsin-Platteville . Her specializations include race 

and sexuality in American film, media studies, trauma theory and 

visual culture, women’s literature, multicultural media and literature, 

contemporary American literature, ethnic studies, and women’s studies. 


› Subject of/to the camera: embodied subjectivity and the mind/body split in 

Undressing My Mother, Short Film Studies, 1.1, 103-106. 

Jordan Bear is Assistant Professor of art history at the University of 

Toronto. He was previously lecturer in art history and archaeology at 

Columbia University in New York, where he completed his doctorate 

on an ACLS/Andrew W. Mellon Fellowship. He previously served as 

the Chester Dale Fellow in the Department of Photographs at New 

York City’s Metropolitan Museum of Art. His scholarship, published 

in History of Photography, Cabinet, Bookforum, Photography and 

Culture, and Visual Resources, among other venues, has focused on the 

historical intersection of photography, knowledge, and belief. He is 

currently revising his dissertation, titled 'Without a Trace: Photography 

and the History of Visual Objectivity, 1848–1875', for publication. 

› From magician to metal brain: the embodiment of illusion in early European 

film theory, Studies in European Cinema, 5.1, 17-29. 

Dr. Debra Beattie trained at the Victorian College of Arts and has had a 

long career as a producer, writer and director of broadcast television 

documentary. She is a lecturer in the School of Humanities at Griffith 

University in Australia and also a research member at the Sustainable 

Environment and Culture in the Asia Pacific SECAP Research Centre. 

Her research interests are: film production and new technologies, 

documentary making, Queensland history, docu-drama and broadband 

television, documentary installations and documentary theatre. 

› Documentary expression online: The Wrong Crowd, a history documentary 

for an ‘electrate’ audience, Studies in Documentary Film, 2.1, 61-78.

Keith Beattie 

Deakin University, Faculty of Arts 

and Education, Burwood Highway, 

Burwood, Victoria, 3151, Australia 

Keywords television, video, new 

media, documentary, aesthetics, 

transnational, Humphrey Jennings, 

British Documentary Film Movement, 

D.A. Pennebaker, direct cinema 

Mark Bedford 

Amersham and Wycombe College 

(Amersham Campus), Stanley Hill, 

Amersham, Bucks, HP7 9HN, United 


Keywords sociology, history, music 

David Beer 

Keywords popular culture, new 

media, sound 

Keith Beattie is the author of a book on the films of D.A. Pennebaker, 

forthcoming from the University of Illinois Press in 2011. He is a past 

editor of the Australasian Journal of American Studies and was 

Foundation Director of the Contemporary Studies Program at the 

University of Queensland. He has taught film studies at universities in 

Australia and New Zealand and has published numerous articles on 

documentary theory and aesthetics and critical theory. His current 

research focuses on the aesthetics of documentary film and video, 

styles of individual documentary filmmakers, and transnational 

documentary movements. He is an associate editor of Metro: Film, 

Television, Radio, Multimedia and a member of the editorial board of 

Comparative American Studies. He is a member of the Faculty of Arts 

of Deakin University, Melbourne. 

› The evidentiary strategies of Two Laws, Studies in Documentary Film, 2.2, 

175-183. 

› An ambiguous national iconography: Humphrey Jennings' Family Portrait, 

Studies in Documentary Film, 3.2, 147-158. 

Since completing his MA in History in 2007, Mark Bedford has 

lectured at a variety of Further Education institutions. He currently 

lectures in sociology and history at Amersham and Wycombe College. 

He has also written on film and music for a number of publications. 

› Smells like 1990s spirit: The dazzling deception of Fight Club's grungeaesthetic, 


David Beer is Lecturer in Sociology in the Department of Sociology at 

the University of York, UK. He researches and writes in the areas of 

popular culture, new media and sound. His publications include the coauthored 

book New Media: The Key Concepts (2008, Berg). 


Paul Begin Paul Begin is Assistant Professor of Hispanic Studies and Seaver 

Fellow in the department of International Studies and Languages at 

Pepperdine University in Malibu, California. He has authored several

Pepperdine University, Hispanic 

Studies, 24255 Pacific Coast 

Highway, Malibu, CA, 90263-7446, 


Keywords Spanish cinema, social 

issue cinema, gender, domestic abuse, 

realism 

Melis Behlil 

Keywords European cinema, state 

industry relations, Eurimage, film 

policy, Turkish cinema 

Wolfgang Beilenhoff 

University of Bochum, Ruhr- 

Universitat Bochum, Universitatssr 

150, Bochum, D-44801, Germany 

Keywords Stalinism, totalitarian 

culture, compilation film, voice of 

documentary, Mikhail Romm 

Maria Belodubrovskaya 

University of Wisconsin-Madison, 

Film Studies, 6160 Vilas Hall, 821 

University Avenue, Madison, WI 


Keywords Soviet cinema, Abram 

Room, Ladislas Starewitch 

articles on the early films of Luis Buñuel, which have appeared in 

journals such as the Bulletin of Spanish Studies and Screen. He is 

currently undertaking research on social issue cinema in the Iberian 

Peninsula. 

› Regarding the pain of others: The art of realism in Icíar Bollaín's Te doy mis 

ojos, Studies in Hispanic Cinemas, 6.1, 31-44. 

Melis Behlil is an Assistant Professor at Kadir Has University, 

Istanbul. She has written and commented extensively on contemporary 

Turkish cinema. 

› Better Late than Never? The Role of Policy in the Turkish Cinematic 

Revival, Film International, 8.6, 21-29. 

Wolfgang Beilenhoff is Professor of Film Studies at the Ruhr- 

Universitat Bochum and head of research group 'Face-Politics' at the 

University of Cologne. He has been Visiting Professor at the Russian 

State University for the Humanities in Moscow, the Centre for Literary 

and Cultural Studies in Berlin, and European Humanities University, 

Vilnius. He is a senior fellow at the International Research Centre for 

the Study of Cultural Technologies and Media Philosophy. His recent 

articles focus on problems of intermediality and the avant-garde. 

› Speaking about images: the voice of the author in Ordinary Fascism, Studies 

in Russian and Soviet Cinema, 2.2, 141-153. 

Maria Belodubrovskaya is a Ph.D. candidate in Film Studies at the 

University of Wisconsin-Madison. Maria is completing a dissertation 

on Soviet cinema under Stalin. She has published work on Abram 

Room’s A Strict Young Man/Strogii iunosha (1936) in Tynianovskii 

sbornik (2006) and on the early animation of Ladislas Starewitch in 

KinoKultura (2009). Her Starewitch essay received a best-paper award 

at Le Giornate del Cinema Muto in Pordenone, Italy in 2008. 

› The jockey and the horse:Joseph Stalin and the biopicgenre in Soviet cinema,

Sophie Bélot 

University of Sheffield, Department 

of French, Western Bank, Sheffield, 

South Yorkshire, S10 2TN, United 


Keywords Despentes, Trinh Thi, 

female violence, feminism, female 

friendship 

Nitzan Ben-Shaul 

Tel Aviv University, Faculty of the 

Arts, Film and TV, Ramat Aviv, Tel 

Aviv, 69978, Israel 

Keywords interactive cinema, split 

attention, constructivist narrative 

theory, cognitive load theory, dual 

coding theory, critique of 

postmodernism 

Coste Bénédicte 

Université Paul Valéry, Anglais, 

Montpellier, 34199 cedex 5, France 

Keywords aesthetics, Victorian 

studies 

Studies in Russian and Soviet Cinema, 5.1, 29-53. 

Sophie Bélot teaches French and French civilization and co-ordinates 

the part-time degree in French Studies at the University of Sheffield. 

She recently completed a Ph.D. on gender representation in French 

advertising. Current research projects focus on the representation of 

sexuality and the issue of female friendship by contemporary French 

women film directors. 

› Baise-Moi: from a political to a social female friendship film, Studies in 

European Cinema, 1.1, 7-18. 

Nitzan Ben Shaul is Associate Professor of Film and Television Studies 

and former acting chair of the Film and Television Department at Tel 

Aviv University. He received his Ph.D. from the Cinema Studies 

Department at New York University. He has authored several scholarly 

books among them Mythical Expressions of Siege in Israeli Films 

(Edwin Mellen, 1997), A Violent World: TV News Images of Middle 

Eastern Terror and War (Rowman and Littlefield, 2006), Film: The 

Key Concepts (Berg, 2007), and Hyper-narrative Interactive Cinema: 

Problems and Solutions (Rodopi, 2008). Lately he received two major 

grants to carry out research projects related to the effects of 

computerization on film and television, including the production of 

Turbulence, a hyper-narrative interactive movie based on a novel and 

revolutionary model he developed. He is currentlyWhat If: Optional 

Thinking and Narrative Movies 

› Can narrative films go interactive?, New Cinemas: Journal of Contemporary 

Film, 2.3, 149-162. 

Bénédicte Coste taught English at the Université Stendhal in Grenoble 

(France). Now an independent scholar, she has published articles on 

women’s writing and popular culture. 

› The soul of woman under liberalism: Lætitia Masson's À vendre, Studies in 

French Cinema, 5.3, 185-194.

Delphine Bénézet 

Keywords Benoît Mariage, poetics, 

politics, realism, regionalism 

Bruce Bennett 

Lancaster University, Lancaster 

Institute for the Contemporary Arts, 

Bailrigg, Lancaster, LA1 4YW, 


Keywords Guantánamo, 

transnational, terror, docudrama, 

heterogeneity 

Daniela Berghahn 

Royal Holloway - University of 

London, Department of Media Arts, 

Egham, Surrey, TW20 0EX, United 


Keywords German-Turkish cinema, 

diaspora, accented cinema, 

Heimatfilm, coming-of-age film 

Delphine Bénézet was a Ph.D. student in Comparative Literature at the 

University of Montreal. Her research interests include contemporary 

American literature and contemporary francophone cinema. She is one 

of the founders of www.post-scriptum.org, an electronic 

interdisciplinary journal, and was guest editor of its fourth issue. 

› Contrasting visions in le jeune cinéma: poetics, politics and the rural, Studies 

in French Cinema, 5.3, 163-174. 

Bruce Bennett is Lecturer in Film Studies at Lancaster University. He 

is the co-editor of Cinema and Technology: Cultures, Theories, 

Practices (Palgrave Macmillan 2008), and has published work on 

economic theory and cinema, film and politics, and celebrity culture. 

He is currently completing a monograph on Michael Winterbottom. 

› Cinematic perspectives on the ‘war on terror’: The Road to Guantánamo 

(2006) and activist cinema, New Cinemas: Journal of Contemporary Film, 

6.2, 111-126. 

› Framing terror: Cinema, docudrama and the War on Terror, Studies in 


Daniela Berghahn is a Reader in Film Studies in the Media Arts 

Department at Royal Holloway, University of London. She has widely 

published on East and West German cinema; her recent monograph, 

Hollywood behind the Wall: The Cinema of East Germany (Manchester 

University Press, 2005), is the first representative history of East 

German film culture from 1946 to the present. She is currently leading 

an international AHRC-funded Research Network investigating 

Migrant and Diasporic Cinema in Contemporary Europe 

(www.migrantcinema.net). 

› No place like home? Or impossible homecomings in the films of Fatih Akin, 


› Introduction: Turkish–German dialogues on screen, New Cinemas: Journal 

of Contemporary Film, 7.1, 3-9. 

› From Turkish greengrocer to drag queen: reassessing patriarchy in recent 

Turkish–German coming-of-age films, New Cinemas: Journal of 

Contemporary Film, 7.1, 55-69.

Maura Bergonzoni 

‘Manfredo Fanti’ Liceo Scientifico- 

Linguistico, via Peruzzi 7, Carpi, 

Modena, 41012, Italy 

Keywords teaching language, Second 

Language, Pier Paolo Pasolini 

Annika Bergstrom 

University of Gothenburg, 


Communication, POB 710, 

Gothenburg, SE 405 30, Sweden 

Keywords free dailies, young readers, 

readership, newspapers 

John Berra 

Nanjing University, School of Liberal 

Arts 

Keywords modern cinema, auteur 

theory, contemporary international 

filmmakers 

Maura Bergonzoni holds a degree in English Literature from the 

University of Bologna and an MA in Comparative Literature from 

Purdue University. She has taught Italian and English as a Second 

Language at college level, and English language and literature in Italian 

public schools. Presently she is teaching English literature at ‘Manfredo 

Fanti’ Liceo Scientifico-Linguistico in Carpi (Modena). She co-edited, 

with Professor Ben Lawton, Pasolini: In Living Memory, New 

Academia Publishing, 2009. 

› Alina Marazzi’s Un’ora sola ti vorrei and Vogliamo anche le rose: The 

personal stands for the political, Studies in Documentary Film, 5.2-3, 247- 

253. 

Annika Bergström, Ph.D., is Senior Lecturer at the Department of 

Journalism, Media and Communication at the University of 

Gothenburg, Sweden. For more than ten years her research has focused 

on use of the internet and internet services, including online 

participation and the use of web 2. 0 applications with special emphasis 

on political use and user-generated content in a journalistic context. 

She is also connected to the Newspaper Research Programme 

conducting long-term research about the development of Swedish 

newspapers. 

› The contribution of free dailies and news on the web: implications of media 

structural changes for the Swedish newspaper readership market, Northern 

Lights: Film & Media Studies Yearbook, 8.1, 139-155. 

John Berra teaches Film, is a writer and researcher specializing in 

Media Studies, and is the author of Declarations of Independence: 

American Cinema and the Partiality of Independent Production 

(Intellect Books). John has written academic articles about modern 

cinema and its cultural significance, and he is currently working on a 

book concerning auteur theory with reference to contemporary 

international filmmakers. 



› Book Reviews, Film International, 8.5, 82-90.

Sarah Berry 

Portland State University, Liberal 

Arts & Sciences, PO Box 751, 

Portland, Oregon, 97207, United 


Keywords media, technology, 

culture, Hollywood style 

Chris Berry 

Goldsmiths, University of London, 


Keywords national, co-production, 

globalization, Chinese cinema, 

transnational 

C. David Bertolini 

Keywords Greenaway, Paris, Gilles 

Deleuze, Žižek, death 

Sarah Berry teaches film studies at Portland State University and writes 

about media, technology and culture. She is the author of Screen Style: 

Fashion and Femininity in 1930s Hollywood (Minnesota University 

Press, 2000). 

› Hank Williams will never die: I'm Your Man and Heart of Gold, Studies in 


Chris Berry is Professor of Film and Television Studies at Goldsmiths, 

University of London. His primary publications include (with Mary 

Farquhar) Cinema and the National: China on Screen (Columbia 

University Press and Hong Kong University Press, 2006); Postsocialist 

Cinema in Post-Mao China: the Cultural Revolution after the Cultural 

Revolution (New York: Routledge, 2004); (edited with Kim Soyoung 

and Lynn Spigel), Electronic Elsewheres: Media, Technology, and 

Social Space (Minneapolis: University of Minnesota Press, 2010); 

(edited with Nicola Liscutin and Jonathan D. Mackintosh), Cultural 

Studies and Cultural Industries in Northeast Asia: What a Difference a 

Region Makes (Hong Kong: Hong Kong University Press, 2009); and 

(edited with Ying Zhu) TV China (Indiana University Press, 2008). 

› Introduction, or, What's in an ‘s’?, Journal of Chinese Cinemas, 2.1, 3-8. 

› What is transnational cinema? Thinking from the Chinese situation, 

Transnational Cinemas, 1.2, 111-127. 

C. David Bertolini is an assistant professor at Louisuana State 

University where he teaches courses in film in the Honors College and 

the School of Architecture. His current research is on documentary and 

fictional film representations of the Holocaust, in particular Auschwitz- 

Birkenau. 

› The post-mortem image: Peter Greenaway's documentary Death in the Seine 

and writing the history of a corpse, Studies in Documentary Film, 1.3, 279- 

296. 

Marco Bertozzi Marco Bertozzi is associate professor in the Faculty of Arts and Design

University IUAV of Venice, Faculty 

of Arts and Design, Terese, 

Dorsoduro 2206, Venice, 30123, Italy 

Keywords experimental documentary 

cinema, Video Documentary Lab, 

Italian documentary, BiblioFellini 

Gary Bettinson 

Lancaster University, Film Studies / 

LICA, Room B161, County Main, 

Lancashire, LA1 4YD, United 


Keywords Soi Cheang, Hong Kong 

cinema, Dog Bite Dog, Milkyway 

Image 

Martine Beugnet 

University of Edinburgh, Film 

Studies, Room G3, 19 George Square, 

Edinburgh, EH8 9JX, United 


Keywords aesthetics, philosophy, 

at the University IUAV of Venice where he teaches experimental 

documentary cinema and directs the Video Documentary Lab. He is a 

leading Italian documentary scholar, theorist and director. His 

numerous publications include L’immaginario urbano nel cinema delle 

origini. La veduta Lumière (Bologna: Clueb, 2001), L’occhio e la 

pietra. Il cinema, una cultura urbana (Turin: Lindau, 2003), L’idea 

documentaria (Turin: Lindau, 2003) and Storia del documentario 

italiano (Venice: Marsilio, 2008). He is also the editor of BiblioFellini, 

a three-volume project sponsored by the Fondazione Fellini and the 

Scuola Nazionale di Cinema (2002–04). Among his documentary films 

are Appunti romani (2004), Il senso degli altri (2007) and Predappio in 

luce (2008). He is currently working on a documentary entitled 

Displaced in Cinecittà. His works in film and criticism have won 

several awards. 

› The poetics of reuse: Festivals, archives and cinematic recycling in Italian 

documentary, Studies in Documentary Film, 5.2-3, 91-106. 

Gary Bettinson is Lecturer in Film Studies at Lancaster University, 

UK. He is co-author (with Richard Rushton) of What is Film Theory? 

An Introduction to Contemporary Debates (McGraw-Hill, 2010) and 

editor of Intellect's Directory of World Cinema: China. His essays have 

appeared in Puzzle Films: Complex Storytelling in Contemporary 

Cinema (ed. Warren Buckland, Blackwell, 2009), David Lynch/In 

Theory (ed. Francois-Xavier Gleyzon, Charles University Press, 

2010), Asian Cinema, Film Studies: An International Review, New 

Review of Film and Television Studies, and Journal of Chinese 

Cinemas. His research interests include Hong Kong and Chinese 

cinema, American independent and mainstream cinema, film authors, 

and approaches to film aesthetics. 

› New blood: an interview with Soi Cheang, Journal of Chinese Cinemas, 2.3, 

211-224. 

Martine Beugnet is professor in Film Studies at the University of 

Edinburgh. She has published the following books: Sexualité, 

marginalité, contrôle: cinéma français contemporain (L'Harmattan, 

2000), Claire Denis (MUP, 2004), and, together with Dr Marion 

Schmid, Proust at the Movies (Ashgate, 2005). Her fourth book, 

entitled Cinema and Sensation: French Film and the Art of 

Transgression was published by Edinburgh University Press in

Bataille, Gilles Deleuze, 

contemporary art, postcolonial 

Birgit Beumers 

University of Bristol, Russian 

Department, 17 Woodland Road, 

Bristol, BS8 1TE, United Kingdom 

Keywords Fascism, Soviet–German 

cultural relations, Mikhail Romm, 

Leipzig Documentary Film Festival, 

Soiuzdetfil'm, Margarita Barskaia 

September 2007. She has written articles and essays on a wide range of 

contemporary cinema topics. Main research interests: film aesthetics, 

film and philosophy and the exploration of film form in relation to 

counter-culture and marginality (focusing in particular, but not 

exclusively, on French cinema). 

› Beau travail: time, space and myths of identity, Studies in French Cinema, 

1.3, 166-173. 

› Filming jealousy: Chantal Akerman's La Captive (2000), Studies in French 


› Evil and the senses: Philippe Grandrieux's Sombre and La Vie nouvelle, 

Studies in French Cinema, 5.3, 175-184. 

› Traces of the modern: an alternative history of French cinema, Studies in 


› John Orr, Studies in French Cinema, 11.1, 3-3. 

Birgit Beumersis a Reader in Russian at the University of Bristol, 

specializing in contemporary Russian culture. She is co-author (with 

Mark Lipovetsky) of Performing Violence, and editor of the Studies in 

Russian and Soviet Cinema Journal, both published by Intellect. 

› Editorial, Studies in Russian and Soviet Cinema, 1.3, 237-238. 





› Some documents from the life of a documentary film, Studies in Russian and 

Soviet Cinema, 2.2, 155-165. 




› Margarita Barskaia and the emergence of Soviet children's cinema, Studies in 




› EDITORIAL, Studies in Russian and Soviet Cinema, 5.1, 3-. 

Jake Bevan Jake Bevan received his BA in European and World Cinemas at the

King’s College London, Film Studies 

Department, Strand, London, WC2R 

2LS, United Kingdom 

Keywords South Korean Cinema, 

Sunshine policy, Korean War, 

reunification movies, division movies 

Charlotte Beyer 

University of Gloucestershire, 

Department of Humanities, Francis 

Close Hall Campus, Swindon Road, 

Chelenham, GL50 4NZ, United 


Keywords contemporary literature, 

Margaret Atwood, crime fiction, 

poetry 

Zoë Beyer 

Keywords design, commercial 

production, 'All The Little Live 

Things' 

University of Exeter. He is currently studying for an MA at King’s 

College London with a dissertation focusing on Korean films produced 

during the period of Japanese occupation. 

› Welcome to Panmunjeom: encounters with the north in contemporary South 

Korean cinema, New Cinemas: Journal of Contemporary Film, 8.1, 45-57. 

Dr. Charlotte Beyer is Senior Lecturer in English Literature at the 

University of Gloucestershire. A contemporary literature specialist, she 

has published a number of articles on Margaret Atwood’s fiction and 

poetry, and an article and a book chapter on Willa Cather’s journalism. 

Her recent publications include a book chapter on crime fiction and the 

‘boy detective’; and articles on black British women’s writing and 

maternal identities, and using feminist and postcolonial theoretical 

perspectives in teaching and learning. Her forthcoming articles and 

book chapters explore issues in contemporary crime fiction. Dr. Beyer 

writes reviews for academic journals, and serves as a peer reviewer. 

She is also a published poet, and her poetry has appeared in several 

journals and anthologies. 

› Mediatization and mothers accused of murder in Sophie Hannah’s crime 

novel A Room Swept White, Northern Lights: Film & Media Studies 

Yearbook, 9., 79-93. 

Zoë Beyer currently resides in New York City where she works as the 

production coordinator at a design and commercial production studio. 

In her free time, she maintains her blog All The Little Live Things. Zoe 

graduated from Wesleyan University in May 2010 with a dual degree 

in Film Studies and US History. 

› Fassbinder’s BRD Trilogy: A Lesson in Postwar German History, Film 

Matters, 2.1, 3-8. 

Emilie Bickerton Emilie Bickerton is a graduate from the Faculty of English, University 

of Cambridge. She reviews French film for Sight and Sound as well as 

fiction and books in anthropology and film for a variety of 

publications. She has written on Jean Rouch for the New Left Review

Keywords Daney, cinephilia, 

criticism, history 

Jonathan Bignell 

University of Reading, Department of 

Film, Theatre & Television, 

Bulmershe Court, Reading, RG6 

1HY, United Kingdom 

Keywords genre, documentary, 

drama, hybridity, regulation 

Daniel Biltereyst 

University of Gent, Department of 

Communication Studies, 

Universteitstraat 8, Gent, 9000, 

Belgium 

Keywords media controversy, media 

panic, audience, risks 

and is currently working on the history of Cahiers du cinéma. 

› A message in a bottle: Serge Daney's ‘itinéraire d'un ciné-fils’, Studies in 


Jonathan Bignell is Professor of Television and Film at the University 

of Reading and Co-Investigator on the ‘Acting with Facts’ project. His 

books include Beckett on Screen, Postmodern Media Culture and Big 

Brother: Reality TV in the Twenty-first Century, and the edited 

collections A European Television History, Writing and Cinema, 

Popular Television Drama: Critical Perspectives and British 

Television Drama: Past, Present and Future. He serves on the editorial 

boards of the journals New Review of Film Television Studies, 

Symbolism: An International Annual of Critical Aesthetics and the 

Journal of Science Fiction Film and Television. 

› Docudramatizing the real: Developments in British TV docudrama since 

1990, Studies in Documentary Film, 4.3, 195-208. 

Daniel Biltereyst is Professor in Film, Television and Cultural Media 

Studies and International Communication at the Department of 

Communication Sciences, Gent University (Belgium). Previously he 

has been an associate professor at the Brussels University. He has 

published in academic journals (e.g. Media, Culture & Society, 

European Journal of Communication) and readers (including The 

Media Book, News in a Globalized Society) on issues dealing with the 

role of the media as a central forum for public debate and 

(dis)information. He is the editor of Explorations in New Cinema 

History: Approaches and Case Studies (2011 Wiley-Blackwell) and 

Cinema, Audiences and Modernity (in press, Routledge), both edited 

with Richard Maltby and Philippe Meers. 

› ‘Down with French vaudevilles!’ The Catholic film movement's resistance 

and boycott of French cinema in the 1930s, Studies in French Cinema, 6.1, 

29-42. 

› ‘Will we ever see Potemkin?’: The historical reception and censorship of 

Eisenstein's Battleship Potemkin in Belgium (1926–32), Studies in Russian 

and Soviet Cinema, 2.1, 5-20.

Bridget Birchall 

University of Plymouth, Drake 

Circus, Plymouth, PL4 8AA, United 


Keywords nude, metteuse-en-scène, 

image, boundary, desire 

Robert Bird 

University of Chicago 

Keywords Russian modernism, 

Viacheslav Ivanov, Andrei 

Tarkovsky, narrative theory 

Søren Birkvad 

Keywords cinematic modernism, art 

cinema, New Hollywood, sex in 

cinema, Swedish sin, negative 

didactics 

Bridget Birchall is a doctoral student at the University of Exeter. Her 

thesis looks at the actor Patrick Dewaere and the configuration of 

gender during the Giscardien period (1974–1981). Her research 

interests include star studies and 1970s French cinema. 

› From Nude to Metteuse-en-Scène: Isabelle Huppert, Image and Desire in La 

Dentellière (Goretta, 1977) and La Pianiste (Haneke, 2001), Studies in 


› Reviews, Studies in European Cinema, 4.1, 73-. 

Robert is Associate Professor in the Department of Slavic Languages 

and Literatures at The University of Chicago. Robert Bird’s main area 

of interest is the aesthetic practice and theory of Russian modernism. 

His first full-length book Russian Prospero (2006) is a comprehensive 

study of the poetry and thought of Viacheslav Ivanov. He is also the 

author of two books on the film-maker Andrei Tarkovsky, Andrei 

Rublev (2004) and Andrei Tarkovsky: Elements of Cinema (2008). His 

translations of Russian religious thought include On Spiritual Unity: A 

Slavophile Reader (1998) and Viacheslav Ivanov’s Selected Essays 

(2001). His works in progress include The Soviet Imaginary and a book 

on Dostoevsky and narrative theory, provisionally entitled In Suspense. 

› Book Reviews, Studies in Russian and Soviet Cinema, 4.3, 355-377. 

Søren Birkvad, Ph.D., is an Associate Professor in Film and Television 

Studies at the Lillehammer University College, Norway, where he also 

occasionally teaches at the National Film School of Norway. He has for 

many years been a specialist in documentary film history, Danish 

cinema and Scandinavian film history. He is the author of Verden er 

leth: En bog om Jørgen Leths film og forfatterskab (1992) and 

Autentiske inntrykk: Møte med skandinaviske filmskaparar (1994) and 

a contributor to, among others, Dansk film 1972–97 (1997, Bondebjerg, 

Andersen og Schepelern, eds) and Filmanalytiske tradisjoner (2008, 

Bakøy og Moseng, eds). 

› Hollywood Sin, Scandinavian Virtue: The 1967 Revolt of I Am Curious and 

The Graduate, Film International, 9.2, 42-54.

Lizelle Bisschoff 

University of Edinburgh, Centre of 

African Studies, Edinburgh, United 


Keywords Belgium, Iceland, Iran, 

Slovenia, Australia 

Margot Black 

Keywords borders, identities, 

European Cinema, depictions of 

Germany, Cold War period 

Laura Senio Blair 

Southwestern University - 

Georgetown, United States of 

America 

Keywords race, gender, sexuality, 

Bildungsroman, psychoanalysis 

Michelle Bloom 

Department of Comparative Literature 

and Foriegn Languages, University of 

California, Riverside, CA, 92521- 


Keywords Tsai Ming-liang, François 

Truffaut, Sinofrench, intertextuality, 

French New Wave, Taiwan Cinema 

Lizelle Bisschoff recently earned a Ph.D. in the role of women in 

African cinema from the University of Stirling. She is the founder and 

director of ‘Africa in Motion’, the largest African film festival in the 

UK, based in Edinburgh, Scotland and now in its fifth year. 

› Festivals, Film International, 7.3, 85-97. 

› Visions of female emancipation: three recent films from West Africa, 


Margot Black and Ciara Haley are both students, studying for degrees 

in French & Italian and Spanish & Italian respectively at Cardiff 

University, Wales. They are currently in their second year and doing a 

module on Borders and Identities in European Cinema. It is through 

this module, and the guidance of their lecturer Ryan Prout, that they 

came to be interested in depictions of Germany in film throughout the 

Cold War period. 

› Counterculture in the GDR: Remembering the GDR through Film, Film 

Matters, 2.1, 30-32. 

Dr. Senio Blair is Associate Professor of Spanish at Southwestern 

University in Georgetown, Texas. Recent articles of Dr. Senio Blair's 

focus on contemporary Chilean narrative and film. 

› Bridges between the divide: The female body in Y tu Mamá también and 

Machuca, Studies in Hispanic Cinemas, 4.1, 47-62. 

Michelle Bloom is Associate Professor of French and Comparative 

Literature in the Department of Comparative Literature at the 

University of California, Riverside. The author of Waxworks: A 

Cultural Obsession (University ofMinnesota, 2003), she is currently 

writing a book on contemporary Sinofrench cinemas. She has 

published work on Chinese language films by Jia Zhangke and Emily 

Tang (Xiaobai) in Modern Chinese Literature and Culture and on Dai 

Sijie and Tsai Ming-liang in Quarterly Review of Film and Video.

Michael J. Blouin 

Michigan State University, 116 

Morrill Hall, American Studies 

Program, Michigan State University, 

East Lansing, MI, MI 48824, United 


Keywords cultural studies, American 

Gothic, US–Japan cultural relations, 

globalization 

Sergei Bodrov 

Keywords scriptwriting, satire, 

Russian cinema 

Vincent Bohlinger 

Rhode Island College, Department of 

English, 355 Craig-Lee, 600 Mount 

Pleasant Avenue, Providence, 02908- 


Keywords socialist realist film, 

› The intertextuality of Tsai Ming-liang’s Sinofrench film, Face, Journal of 

Chinese Cinemas, 5.2, 103-121. 

Michael J. Blouin is a third-year Ph.D. candidate in American Studies 

at Michigan State University. His research interests include cultural 

studies, the American Gothic, US–Japan cultural relations and 

globalization. His dissertation, ‘Specters of Modernity: “Supernatural 

Japan” in American Discourse’, examines the recurrent use of ‘Japan’ 

as a fantastic entity in twentieth-century American thought. Recent 

essays by Blouin that also focus on representations of ‘Japan’ in horror 

fiction/film have been published in Japan Studies Review and The 

Journal of American Studies. 

› A Communal Haunt: “Synchronicity” and “Betweeness” in the Atemporal 

Films of Shimizu Takashi, Asian Cinema, 22.2, 178-195. 

Sergei Bodrov was born in Khabarovsk in 1948. He graduated from the 

Scriptwriting Department at VGIK in 1974 and worked as special 

correspondent for the satirical weekly Crocodile from 1975 to 1980. 

He has written stories and satirical sketches, as well as the scripts for 

over twenty films. His debut film was The Sweet Juice in the Grass 

(Sladkii sok vnutri travy, Kazakhstan, co-directed with Amanbek 

Alpiev, 1984), which featured Gulshat Omarova, whose film Schizo (, 

Kazakhstan, Russia, France, Germany, 2004) Bodrov produced twenty 

years later. Freedom is Paradise (S.E.R: Svoboda – eto rai, 1989) 

established Bodrov’s reputation internationally. 

› Cross-Eyed Sasha, Studies in Russian and Soviet Cinema, 1.1, 69-. 

Vincent Bohlinger is Assistant Professor of Film Studies in the 

Department of English at Rhode Island College. He is currently 

working on a book on the development of socialist realist film style in 

the Soviet Union. 

› Reviews, Studies in Russian and Soviet Cinema, 3.3, 353-385. 

› Engrossing? Exciting!Incomprehensible? Boring!Audience survey

Soviet cinema, Russian cinema 

Eugenio Bolongaro 

McGill University, Canada 

Keywords Palookaville, Alan Taylor, 

Italo Calvino, neorealism, 

intertextuality 

Jay David Bolter 

Georgia Institute of Technology, 

Graphics, Visualization and Usability 

Center, Technology Square Research 

Building, 85 5th St, NW, Atlanta, 

Georgia, GA 30332-0760, United 


Keywords intermediality, 

essentialism, avant-garde, modernist 

aesthetics, new-media theory 

responsesto Eisenstein’s October, Studies in Russian and Soviet Cinema, 5.1, 

5-27. 

Professor Eugenio Bolongaro teaches contemporary Italian literature 

and film at McGill University. His research has focused on the work of 

Italo Calvino, a central figure in twentieth-century Italian literature and 

culture. In his book Italo Calvino and the Compass of Literature, 

Bolongaro examines the fictional works published by Calvino during 

the 1950s and early 1960s and relates them to the intellectual debates 

that took place in Italy at the time, such as the debate surrounding 

neorealism and the commitment of intellectuals. More recent work on 

Calvino has focused on ethics and in particular on the ‘question of the 

animal’ as it emerges in the Italian author's later work. A growing 

interest in the ethical function of literature has led to an ongoing, wideranging 

study of post-1995 Italian writers that attempts to situate 

contemporary Italian prose fiction within a post-structuralist ethical 

questioning originating in the 

› Representing the un(re)presentable: Homosexuality in Luchino Visconti's 

Rocco and His Brothers, Studies in European Cinema, 7.3, 221-234. 

› Playful robberies in Palookaville (1995): Alan Taylor, Italo Calvino and a 

new paradigm for adaptation, New Cinemas: Journal of Contemporary Film, 

4.1, 3-20. 

Jay David Bolter is Professor of Language, Communication, and 

Culture at the Georgia Institute of Technology and Acting Director of 

the Institute's Graphics, Visualization, and Usability Center. With 

Michael Joyce and John B. Smith, he is the co-creator of Storyspace. 

Jay is also the author of two internationally acclaimed books on 

computers, literacy, and culture: Turing's Man (1986), which has been 

translated into eight languages, and Writing Space, which exists both in 

print and as a hypertext. Bolter is a major figure in Georgia Tech's 

graduate program in Information Design and Technology. 

› Remediation and the language of new media, Northern Lights: Film & Media 

Studies Yearbook, 5.1, 25-37.

Ib Bondebjerg 

University of Copenhagen, Film And 

Media Studies Section, Department of 

Media, Cognition and 

Communication, Njalsgade 80, 

Copenhagen S, DK-2300, Denmark 

Keywords documentary, television, 

history, European cinema, 

Scandinavian cinema, daily life, 

media, globalization, democracy, 

Internet, politics 

Nandana Bose 

University of Nottingham, Institute of 

Film & Television Studies, School of 

American & Canadian Studies, 

University Park, Nottingham, NG7 

2RD, United Kingdom 

Keywords Hindi Cinema, cultural 

politics 

Ursula Böser 

Heriot-Watt University Edinburgh, 

Edinburgh, EH14 4AS, United 


Ib Bondebjerg is Professor of film and media studies, Department of 

Media, Cognition and Communication, University of Copenhagen, and 

is also the director of the Centre for Modern European Studies. From 

2000 to 2009 he was the editor of Northern Lights: Film and Media 

Studies Yearbook. His main research area is European film and media 

culture and documentary genres. His most recent publications are 

Media, Democracy and European Culture (2008, editor and 

contributor) and Narratives of Reality. The History of the Danish 

Television Documentary (2008, in Danish). He has also contributed to 

A European Television History (2008, edited by Fickers and Bignell). 

He is presently working on a book called Engaging with Reality. 

Documentary and Politics. 

› Behind the headlines: documentaries, the War on Terror and everyday life, 


› Power and personality: politicians on the World Wide Web, Northern Lights: 

Film & Media Studies Yearbook, 5.1, 119-140. 

› Introduction, Northern Lights: Film & Media Studies Yearbook, 7.1, 3-7. 

› War on Terror – war on democracy? The post 9/11 investigative 

documentary, Northern Lights: Film & Media Studies Yearbook, 7.1, 29-50. 

› Coming to terms with the past: post-1989 strategies in German film culture, 

Studies in Eastern European Cinema, 1.1, 29-42. 

Nandana Bose has recently been awarded the doctorate by the 

University of Nottingham for her dissertation entitled ‘The Cultural 

Politics of the Hindu Right in Hindi Cinema (1992–2002).’ She is the 

recipient of the 2008 Society for Cinema and Media Studies (SCMS) 

Student Writing Award and has forthcoming publications in Cinema 

Journal and the Velvet Light Trap. 


› Between the Godfather and the Mafia: Situating Right-Wing Interventions in 

the Bombay Film Industry (1992–2002), Studies in South Asian Film & 

Media, 1.1, 23-43. 

Ursula Böser lectures in the Department of Languages and Intercultural 

Studies at Heriot-Watt University, Edinburgh. Her research interests 

are documentary films, found footage film and alternative film modes. 

She has written a book on the work of the avant-garde film-makers 

Jean-Marie Straub and Danièle Huillet.

Keywords language, open voice, 

archive, Berlin Wall › Preserving the Wall's Ambivalence Language, Structure and History in 

Jürgen Böttcher's Die Mauer, Studies in Documentary Film, 4.1, 79-89. 

Thorsten Botz-Bornstein 

Gulf University, Assistant Professor 

of Philosophy, Gult University, PO 

Box 7207, Hawally, 32093, Kuwait 

Keywords Eastern philosophy, 

dreams, Korean cinema, Kim Kiduk 

Enric Bou 

Brown University, 84 Prospect St, 

Providence, RI 02906, United States 

of America 

Keywords Catalan literature, Spanish 

Peninsular literature, Spanish cinema, 

autobiography, city and literature 

Mark Bould 

University of the West of England, 

School of Cultural Studies, St 

Matthias Campus, Oldbury Court 

Road, Fishponds, Bristol, United 


Keywords Flash Gordon, origins 

versus originals, Buck Rogers, 

readings/misreadings, production 

context 

Thorsten Botz-Bornstein was born in Germany, studied philosophy in 

Paris, and received his Ph.D. from Oxford University. He received his 

‘habilitation’ from the EHESS of Paris. He has also been researching in 

Japan and worked for the Center of Cognition of Hangzhou University 

(China) as well as a at Tuskegee University in Alabama. He is now 

Assistant Professor of philosophy at Gulf University for Science and 

Technology in Kuwait. 

› Anti-Freudianism Korean Style: Kim Ki-duk's Dream, Journal of Japanese 

& Korean Cinema, 2.1, 51-62. 

Enric Bou is professor and Chair of Hispanic Studies at Brown 

University. His teaching and research interests cover a broad range of 

twentieth-century Spanish Peninsular and Catalan literature but 

particularly involving poetry, autobiography, city and literature, and 

Spanish film. 

› Overcoming darkness: Alumbramiento's journey towards illumination, Short 

Film Studies, 1.2, 215-218. 

Mark Bould is Senior Lecturer in Film Studies at the University of the 

West of England, and founding co-editor of the journal Science Fiction 

Film and Television. The author of Film Noir: From Berlin to Sin City 

(2005) and the co-editor of Parietal Games: Critical Writings by and 

on M. John Harrison (2005), he has just completed The Cinema of 

John Sayles (2007) and embarked upon co-editing The Routledge 

Companion to Science Fiction and Fifty Key Figures in Science Fiction 

and co-writing The Routledge Concise History of Science Fiction. 

› Fantasizing the real: The Secret of Roan Inish, Film International, 4.24, 28- 

39. 

› DVD Reviews, Film International, 5.3, 70-76.

Edward Bowen 

Indiana University, Department of 

French and Italian, Ballantine Hall 

Rm 642, Bloomington, IN 47405- 


Keywords Italian short films and 

documentaries, young talent, up-andcoming 

directors, urban social issues, 

independent film production 

Alexia Bowler 

University of Swansea, English 

Department, Singleton Park, Swansea, 

SA2 8PP, United Kingdom 

Keywords cyberspace, virtual reality, 

gender, science-fiction cinema, 

computer-gaming 

Kate Bowles 

University of Wollongong, School of 

Social Sciences, Media & 

Communications, Woollongong, 

NSW, 2522, Australia 

Keywords rural, oral history, 

curriculum, public sphere, cinemagoing 

› Adapting Flash Gordon, Film International, 5.2, 18-26. 

› Mike Hodges, Film International, 5.2, 27-29. 


Edward Bowen is a Ph.D. student in Italian at Indiana University, 

Bloomington, with a minor in Communication and Culture. He has 

directed several short films and documentaries in Italian. He is the 

founder and curator of ‘Italy’s Young Talent: A Showcase of Short 

Films’ which has featured over 80 short films by up-and-coming 

directors and has been hosted by over twenty institutions since 2008. 

This summer, he taught a course titled ‘Today’s youth and urban social 

issues in contemporary Italian cinema’ for Middlebury College’s 

Intensive Language Program. His latest research has been on 

independent film production. 

› REVIEW, Studies in Documentary Film, 5.2-3, 263-268. 

Alexia Bowler is a teaching assistant in both the Media Department 

and the English Department at the University of Wales, Swansea and 

has recently submitted her Ph.D. on science fiction cinema. Her 

research interests are in genre cinema, gender in film and theoretical 

approaches to media, film and literature. 

› eXistenZ and the spectre of gender in the cyber-generation, New Cinemas: 

Journal of Contemporary Film, 5.2, 99-114. 

Kate Bowles is a Senior Lecturer at the University of Wollongong, 

researching regional and rural oral histories of Australian cinemagoing. 

Her primary research and research supervision focuses on the 

connections between emerging social media cultures and earlier social 

histories of media practice; the histories of rural cinema-going in New 

South Wales; cinema segregation practices; and the use of cultural 

mapping tools to help analyse consistencies in media experiences at 

specific locations over time. In teaching, she is interested in the future 

prospects for Australian media content in the context of Australia’s free 

trade agreements and the global protection of cultural diversity; the

Brett Bowles 

State University of New York, 

Department of Languages, 

Literatures, Cultures, 1400 

Washington Avenue, Albany, New 

York, 12222, United States of 

America 

Keywords European cinema, French 

cinema, World War II, propaganda, 

documentary 

Deirdre Boyle 

The New School, New York, United 


Keywords Irish Venus, motherland, 

mourning, nakedness, nudity 

Maryse Bray 

University of Westminster, 

Department of Modern Languages, 

309 Regent Street, London, W1B 

2UW, United Kingdom 

Keywords Jacques Doillon, film 

funding, Imbert, No Pasaràn!, album 

souvenir, exile, memory 

impact of locality on media practices, including media-multitasking; 

and the cultural life of everyday objects. 

› ‘Three miles of rough dirt road’: towards an audience-centred approach to 

cinema studies in Australia, Studies in Australasian Cinema, 1.3, 245-260. 

Brett Bowles is Associate Professor of French Studies at the State 

University of New York, Albany, and North American Editor of 

Modern & Contemporary France. His research focuses on French 

cinema, society and politics during the 1930s and 1940s. He has a book 

on Marcel Pagnol forthcoming from Manchester University Press and 

is currently writing a manuscript on Marcel Ophüls for the University 

of Illinois Press. 

› Becoming a Franco-American: Jean Renoir, the Second World War, and A 

Salute to France, Studies in French Cinema, 10.2, 111-124. 

Deirdre Boyle, author of Subject to Change: Guerrilla Television 

Revisited (Oxford University Press, 1997), is Associate Professor and 

Director of the Graduate Certificate in Documentary Media Studies at 

The New School in New York City. She is trained as a psychotherapist 

and the author of recent essays on trauma, loss and suffering in the 

documentary. She is currently working on a book on the films of Errol 

Morris. 

› Undressing My Mother and love and death in rural Ireland, Short Film 

Studies, 1.1, 107-109. 

Maryse Bray is a Senior Lecturer in French in the Department of 

Modern Languages at the University of Westminster, London, UK. Her 

current research interest is focused on representations of France’s 

colonial past in contemporary popular culture. She has published in 

French and in English on various productions such as French colonial 

songs and post-colonial cinema. 

› The French film industry's current financial crisis and its impact on creation:

Bernadette Brennan 

University of Sydney, Department of 

English, Sydney, NSW, 2006, 

Australia 

Keywords asylum seekers, ethics, 

politics of fear, social justice, 

mandatory detention 

Pat Brereton 

Dublin City University, School of 

Communication, Glasnevin, Dublin, 

Ireland 

Keywords auteur, national cinema, 

race, genre, Hollywood 

Haim Bresheeth 

University of East London, School of 

Social Sciences, Media & Cultural 

Studies, Docklands Campus, 4-6 

University Way, London, E16 2RD, 


the example of Jacques Doillon's (2003), Studies in European Cinema, 2.3, 

199-212. 

› Images of exile: Tracing the past within the present in Henri-François 

Imbert's No Pasaràn! Album souvenir, Studies in European Cinema, 4.1, 61- 

72. 

Bernadette Brennan is a Senior Lecturer in Australian Literature at the 

University of Sydney. Her research interest is in the field of literature 

and ethics. Bernadette’s edited collection, Just Words?: Australian 

Authors Writing for Justice, was published by the University of 

Queensland Press in 2008. Her book, Brian Castro’s Fiction: The 

Seductive Play of Language was published by Cambria Press in 2008. 

She is currently researching and writing on contemporary Australian 

memoir. 

› Travelling towards ourselves: rights and recognition in Clara Law's Letters to 

Ali, Studies in Australasian Cinema, 3.1, 15-28. 

Pat Brereton is a Senior Lecturer in the School of Communications at 

Dublin City University, having worked for almost a decade in the UK 

before coming back to Ireland. In 2007 he was appointed Associate 

Dean of Research for the Faculty of Humanities and Social Sciences 

and is committed to cross-disciplinary research. He has published three 

books alongside a growing number of academic articles on all aspects 

of film and new media and continues to enjoy teaching at 

undergraduate and postgraduate level. 

› Ireland’s America: a case study of Sheridan’s In America (2002) and Get 

Rich or Die Tryin (2005), Studies in European Cinema, 5.1, 45-53. 

Haim Bresheeth was educated in Israel and in Britain. He is a filmmaker 

and a film studies scholar. Since 2002 he is Professor of Media 

and Cultural Studies at University of East London. His films include A 

State of Danger, (1988) 30 min., a BBC documentary about the first 

Intifada, and his publications include The Gulf War and the New World 

Order (1992) and Introducing the Holocaust (1992 and 2001).

Keywords film, cultural studies, 

media studies, Palestine, Israel, 

Zionism, Israeli-Palestinian conflict 

Rob Bridgett 

Radical Entertainment, Sound, 8th 

Floor, 369 Terminal Avenue, 

Vancouver, British Columbia, V6 

4C4, Canada 

Keywords video game sound, postproduction, 

interactive media, 

interactive mixing, next-generation 

sound design 

Daniel Brodén 

Gothenburg University, Department 

of Literature, History of Ideas, and 

Religion, Box 200, 405 30 

Gothenburg, Sweden 

Keywords crime cinema, crime 

fiction, film and television, Sweden, 

welfare state, modernity 

› Telling the Stories of Heim and Heimat, Home and Exile: Recent Palestinian 

Films and the Iconic Parable of the Invisible Palestine, New Cinemas: 


Rob was one of the first to complete the Master's degree in Sound 

Design for the Moving Image at Bournemouth University in 1999. 

Work for games includes sound design for Dreamcast title Vanishing 

Point (2001), followed by a two-year in-house stint at Climax in the 

United Kingdom providing audio for Sudeki (2004), Serious Sam: Next 

Encounter (2003). In 2003 he began work as Sound Director at Radical 

Entertainment in Vancouver, Canada where he directed the audio for 

Scarface: The World is Yours (2006) (PS2/Xbox/PC/Wii). More recent 

sound design work includes Crash of the Titans (2007), Timeshift 

(2007), World in Conflict (2007) and Prototype (2008). 

› Post-production sound: a new production model for interactive media, The 

Soundtrack, 1.1, 29-39. 

Daniel Brodén has a Ph.D. in Film Studies and he currently holds a 

postdoctoral position at the Department of Literature, History of Ideas 

and Religion at Göteborg University, Sweden. His dissertation, 

'Folkhemmets skuggbilder: En kulturanalytisk genrestudie av 

kriminalfiktion i film och tv'/'Dark Shadows of the Welfare State: A 

Cultural Genre History of Crime Fiction in Swedish Cinema and 

Television' (2008), was awarded the non-fiction book of the year by 

The Swedish Crime Writers Academy. Brodén is currently writing a 

study on the filmmaking of Roy Andersson – on the theme of the 

critical understanding of the existential conditions of Swedish welfare 

state society –within the interdisciplinary research programme 

Religion, Culture and Health. His research interests include theory of 

aesthetics and fiction, media culture and history, modernism and 

modernity. In English he has also published The Criminal and the 

Society in Bo Widerberg’s The Man on the Roof 

› The dark ambivalences of the welfare state: Investigating the transformations 

of the Swedish crime film, Northern Lights: Film & Media Studies 

Yearbook, 9., 95-109.

Scott Brook 

Univeristy of Canberra, Faculty of Art 

and Design, Australia 

Keywords cultural policy, screen 

studies, creative writing, diaspora, 

Vietnam 

Anke Brouwers 

Universiteit Antwerpen, Belgium 

Keywords silent cinema, inter-titles, 

women in cinema, cinema acting, 

cinema and affect, adaptation theories 

William Brown 

Roehampton University, Department 

of Media, Culture and Language, 

London, SW15 5PU, United Kingdom 

Keywords film theory, cognitive film 

theory, Gilles Deleuze, transnational 

cinema, world cinema, European 

cinema, French cinema, digital 

cinema, special effects 

Scott Brook is Assistant Professor of Writing at the University of 

Canberra. His research is focused on cultural policy studies, 

contemporary and historical formations of aesthetic education, and 

diasporic Vietnamese Australian cultural production. He has published 

widely in Australian and international journals, including Cultural 

Studies Review, , Journal of Culture and Local Governance, Amerasia 

Journal, Artwork, Studies in Australasian Cinema, Journal of 

Australian Studies and Journal of Intercultural Studies, and the edited 

collections Locating Asian Australian Cultures (Routledge, 2008), 

Australian Made (USyd Press 2011) and Reading Down Under (SSS 

Publications 2009). 

› The art of government: Khoa Do's The Finished People and the policy reform 

of Community Cultural Development, Studies in Australasian Cinema, 2.3, 

177-193. 

Anke Brouwers is a fellow with the Research Foundation Flanders and 

is preparing her Ph.D. dissertation on the films of Mary Pickford and 

Frances Marion, entitled 'Making a Scene. Sentimentalism in the Silent 

Cinema of Mary Pickford and Frances Marion'. Her research interests 

include: silent cinema, inter-titles, women in cinema, cinema acting, 

cinema and affect, and adaptation theories. 

› The Mortgage the Merrier: Hollywood comedies of remarriage in the age of 

domesticity, Film International, 4.22, 21-34. 

William Brown is a Lecturer in Film at Roehampton University. He 

has published relatively widely, including on contemporary American, 

European, and French cinema. His research interests include digital 

technology and film, cognitive film theory and film theory - and 

considering these across a variety of national and transnational 

contexts. 

› Sabotage or espionage? Transvergence in the works of Luc Besson, Studies 


› Contemporary mainstream cinema is good for you: connections between 

surrealism and today's digital blockbusters, Studies in European Cinema, 6.1, 

17-30. 

› Reviews, New Cinemas: Journal of Contemporary Film, 6.2, 153-160.

Peter Brown 

Australian National University, 

School of Languages, Canberra, ACT, 

200, Australia 

Keywords New Caledonia, tradition, 

modernity, cultural centre, Kanak 

Niels Brügger 

University of Aarhus, Department of 

Information and Media, Studies, 

Centre for Internet Research, ITparken, 

Helsingforsgade 14, Arhus N, 

8200, Denmark 

Keywords Manovich, Internet, 

website, textual, paratext 

Klaus Bruhn Jensen 

University of Copenhagen, 

Department of Media, Cognition and 



Keywords communication theory, 

digital media, mobile media, Internet 

Peter Brown is Reader in French in the School of Language Studies at 

the Australian National University. His principal interest is in la 

francophonie and concerns the Pacific (Living Heritage: Kanak 

Culture Today (ed.), Centre Culturel Tjibaou, 2000; Déwé Gorodé: 

The Kanak Apple Season, Pandanus Press, 2004). He is the general 

editor for a series of critical editions in English of works of New 

Caledonian literature (Pandanus Press/University of Hawaii Press). He 

is a regular contributor to the International Journal of Francophone 

Studies on the sommets de la francophonie and matters relating to New 

Caledonia. 

› Does art imitate life or life art? Hungarian director István Szabó's latest film 

Rokonok/Relations gives a new slant to an old question, Film International, 

4.21, 84-. 

Niels Brügger is associate professor, MA, Ph.D. at the Centre for 

Internet Research, Institute of Information and Media Studies, 

University of Aarhus, Denmark. Primary research interests are media 

theory, the Internet and website history. He has published a number of 

articles, monographs, and edited books, including Archiving Websites: 

General Considerations and Strategies (2005) and Media History: 

Theories, Methods, Analysis (co-editor, 2002). 

› The website as unit of analysis? Bolter and Manovich revisited, Northern 


Klaus Bruhn Jensen is professor, Dr.Phil., in the Department of Media, 

Cognition, and Communication, Section of Film and Media Studies, 

University of Copenhagen, Denmark. Among his authored and edited 

volumes are A Handbook of Qualitative Methodologies for Mass 

Communication Research (1991), the UNESCO project News of the 

World (1998) and A Handbook of Media and Communication 

Research: Qualitative and Quantitative Methodologies (2002) (a 

second edition is forthcoming). He is also the chief editor of a fourvolume 

Danish media history (1996–2003) and Area Editor for 

Communication Theory and Philosophy for the International 

Encyclopedia of Communication (2008). 

› Mixed media: from digital aesthetics towards general communication theory, 

Northern Lights: Film & Media Studies Yearbook, 5.1, 7-24.

Anne-Marie Brumm 

St Peter's College, Modern & 

Classical Languages & Literature, 

Room 201, Hilsdorf Hall, Glenwood 

Av, Jersey City, New Jersey, United 


Keywords heroin chic, drug films, 

drug culture, European cinema 

Dagmar Brunow 

Halmstad University/Hamburg 

University, Humaniora (Film 

Studies), Sweden 


Scandinavian cinema, British cinema, 

documentary, essay film 

Jeremy Bubb 

Roehampton University, School of 

Arts, Roehampton Lane, London, 

SW15 5PH, United Kingdom 

Keywords practice-as-research, 

DVD, dissemination, film festival 

Dr. Brumm received a BA degree from Columbia University in New 

York and a Ph.D. in Comparative Literature and Cultural Studies from 

the University of Michigan. She has published numerous scholarly 

articles on literature and film in journals here and abroad as well as two 

novels and two volumes of poetry. She has taught at the Hebrew 

University of Jerusalem and at Ben Gurion University, both in Israel, 

and was a guest professor at the University of Freiburg in Germany. 

Her interests in cinema lie mainly in social, political and cultural 

issues. 

› Heroin as hero: the ‘heroin chic’ film in European cinema (1995–2000), 

Studies in European Cinema, 2.1, 65-. 

Dagmar Brunow has been a lecturer in film studies at Halmstad 

University (Sweden) since 1999 and has also taught at the universities 

of Lund, Växjö (both Sweden) and Hamburg (Germany). She is a 

board member of filmvet.se, the Swedish national association of film 

studies. Additionally she works as a literary translator and as a host at 

the radio station FSK 93.0 in Hamburg, and as a contributor to the 

journal testcard, Beiträge zur Popgeschichte. She is a member of the 

editorial board of Journal of Scandinavian Cinema and a contributor to 

the Directory of World Cinema: Sweden. 

› The language of the complex image: Roy Andersson’s political aesthetics, 

Journal of Scandinavian Cinema, 1.1, 83-86. 

Jeremy Bubb is a senior lecturer in film and digital video production on 

the BA Film and MA Documentary Screen Practices course at 

Roehampton University, London. He is an award-winning film-maker, 

writer and director and completed Writ in Water in 2009, a drama made 

for three screens about a family in crisis. 

› From three acts to three screens: the significance of the role of writing in a 

new media film project, Journal of Screenwriting, 1.2, 357-374. 

Paul Buhle Paul Buhle published Radical America Komiks in 1969 and 

edited Wobblies! in 2005. Since then he has edited nine additional non-

Brown University, American 

Civilization Department, Box 1892, 

Providence, Rhode Island, RI, 2912, 


Keywords Thunder in Guyana, 

Suzanne Wasserman, Janet Rosenberg 

Jagan, Cheddi Jagan, British Guyana, 

Guyana, People’s Progressive Party 

(PPP), Forbes Burnham, Walter 

Rodney, Working People’s Alliance, 

Cold War 

Sofia Bull 

Stockholm University, Cinema 

Studies, Sweden 

Keywords TV series, sexual 

subcultures, forensic science, Las 

Vegas, TV censorship 

Emily Bullock 

University of Tasmania, Journalism 

and European Languages, Private Bag 

82, Sandy Bay, Tasmania, 7001, 

Australia 

Keywords Tasmania, Gothic, 

cannibalism, landscape, island, 

colonialism 

Alice Burgin 

University of Melbourne/Université 

Paris X, School of Languages & 

fiction comic books; he is also winner of the Will Eisner Award and 

the Harvey Award (with Denis Kitchen) for The Art of Harvey 

Kurtzman. He has served as Senior Lecturer at Brown University. 

› Thunder in Guyana, Film International, 3.18, 26-28. 

› Film Reviews, Film International, 8.1, 90-91. 


Sofia Bull is a Ph.D. candidate at the Department of Cinema Studies, 

Stockholm University, Sweden. Her research project focuses on 

representations of the body and forensic science in contemporary 

television crime dramas. She participates in the Video Active project, 

providing articles on television history for the project website. She is 

also part of The Women Film Pioneers Project, as organizer of The 

Fifth International Women and the Silent Screen Conference and 

contributor to the forthcoming Women Film Pioneers Sourcebook 

(Volume II). 

› ‘What Happens in Vegas Stays in Vegas’: Sexual Subcultures and Forensic 

Science in CSI: Crime Scene Investigation, Film International, 6.6, 40-50. 

Dr Emily Bullock teaches in the School of English, Journalism and 

European Languages at the University of Tasmania. Her Ph.D. 

considered the cultural poetics of Tasmanian Gothic. 

› Rumblings from Australia s deep south: Tasmanian Gothic on-screen, 

Studies in Australasian Cinema, 5.1, 71-80. 

Alice Burgin is a Ph.D. cotutelle candidate in the French Studies 

Department at The University of Melbourne and the Ecole Doctorale 

Lettres, Langues, Spectacles at Université Paris X Nanterre. Her thesis 

is focused on the role of France and francophonie in contemporary

Linguistics, The University of 

Melbourne, VIC, Parkville, VIC, 


Keywords imagination, acculturation, 

mediation, migration, globalization, 

transculturalism 

Robert Burgoyne 

University of St Andrews, Fife, 

Scotland, Department of Film Studies 

at the University of St Andrews, Fife, 


Keywords body, war film, history, 

violence, covenant 

Andrew Burke 

University of Winnipeg, Department 

of English, 515 Portage Avenue, 

Winnipeg, Manitoba, R3B 2E9, 

Canada 

Keywords British cinema, film 

theory, visual culture 

Colin Burnett 


Communication Arts-Film, Vilas 

Hall, Madison, Wisconsin, WI 53706, 


Keywords cinematography, Bresson, 

Burel, Agostini 

West African cultural production and reception. 

› Acculturation and imagination as social practice in Heremakono, Journal of 


Robert Burgoyne is Professor and Chair of the Department of Film 

Studies at the University of St Andrews. His work is centred on 

historiography and film, with a current focus on the war film. He is the 

author, most recently, of Film Nation: Hollywood Looks at US History: 

Revised Edition (2010); The Hollywood Historical Film (2008); and 

The Epic Film in World Culture (2010). 

› War/Homecoming: the social covenant and the body at risk in The War Is 

Over, Short Film Studies, 1.1, 47-49. 

Andrew Burke is Assistant Professor in the Department of English at 

the University of Winnipeg where he specializes in Victorian literature, 

critical theory and film studies. He has recently published articles in 

Historical Materialism and English Studies in Canada and is currently 

working on a book-length project that examines representations of 

modernity and modernization in contemporary British cinema. 

› Concrete universality: Tower blocks, architectural modernism, and realism in 

contemporary British cinema, New Cinemas: Journal of Contemporary Film, 

5.3, 177-188. 

Colin Burnett is a Ph.D. candidate in Film at the University of 

Wisconsin-Madison. He is the co-editor (along with Dudley Andrew) 

of a forthcoming special issue of Post Script: Essays in Film and the 

Humanities devoted to the film and photography writings of Susan 

Sontag. 

› Muting the image: lighting and photochemical techniques of Bresson's 

cinematographers, Studies in French Cinema, 6.3, 219-.

Rob Burns 

University of Warwick, German 

Studies, United Kingdom 

Keywords cinema of the affected, 

third space, transnationalism, road 

movie, Fatih Akin 

Jennifer Burris 

Whitney Museum of American Art, 

Independent Study Program, 100 

Lafayette St., 5th floor, NY, New 

York, 10013, United States of 

America 

Keywords Haneke, Nauman, 

surveillance art, CCTV, Algeria, 

postcolonialism 

Peter Buse 

University of Salford, School of 

ESPACH, Salford, Manchester, 

Greater Manchester, M5 4WT, United 


Keywords auteur, Spanish cinema 

Rob Burns is Professor of German Studies at the University of 

Warwick. His publications include Arbeiterkulturbewegung in der 

Weimarer Republic (2 vols., 1982); Protest and Democracy in West 

Germany (1988); German Cultural Studies (1995); and numerous 

articles on migrant writing and migrant cinema in Germany. He is 

currently working on a study of diasporic literature, culture and cinema 

in the Federal Republic. 

› On the streets and on the road: identity in transit in Turkish–German 

travelogues on screen, New Cinemas: Journal of Contemporary Film, 7.1, 

11-26. 

Jennifer Burris is a 2010–2011 Curatorial Fellow at the Whitney 

Museum of American Art Independent Study Program. She holds a BA 

from Princeton University and a Ph.D. from the University of 

Cambridge, King’s College. Her recent publications include an article 

in The Journal of Aesthetics and Art Criticism entitled ‘The “Urban 

Photogénie” of Architainment’ as well as a monographic essay on the 

artist Godfried Donkor. 

› Surveillance and the indifferent gaze in Michael Haneke's Caché (2005), 


Dr Peter Buse is a member of the European Studies Research Institute 

at the University of Salford. He is the author of Drama + Theory 

(Manchester University Press, 2001) and editor of Ghosts: 

Deconstruction, Psychoanalysis, History (Macmillan, 1999). He has 

published articles in Textual Practice, Cultural Critique, European 

Journal of Cultural Studies and Journal of Dramatic Theory and 

Criticism. 

› The Spanish ‘popular auteur’, New Cinemas: Journal of Contemporary Film, 

2.3, 139-148. 

Anna Cabak Rédei Anna Cabak Rédei is studying for a Ph.D. in Semiotics at the 

University of Lund and is currently writing a thesis on Cultural 

Semiotics, focusing theoretically on the elaboration of the notions of

Lund University, Department of Arts 

and Music, Box 201, Lund, S-221 00, 

Sweden 

Keywords rhetoric, Greta Garbo, 

Ninotchka, the new Soviet woman, 

femininity, 1930s 

James Leo Cahill 

Keywords Jean Painlevé, avant-garde 

film, culture 

Agnès Calatayud 

Birkbeck College, University of 

London, School of European Cultures 

and Languages, 43 Gordon Square, 

London, WC1H 0PD, United 


Keywords Le Premier du Nom, 

Sabine Franel, 2000 Cannes Film 

Festival, Sam Garbarski, Moïse Blin, 

French cinema 

ego and alter in the contexts of encounters between cultures. She has 

recently written an essay, ‘The Body as a Sign’, on the topic of rhetoric 

in pictures, analysing how perceptions of gender come into play in our 

way of looking at bodies. 

› Rhetoric in film: a cultural semiotical study of Greta Garbo in Ninotchka, 


James Leo Cahill is a Ph.D. candidate in Critical Studies at the 

University of Southern California. His dissertation is on Jean Painlevé 

and the impact of the scientific film in 1920s and 1930s documentary 

and avant-garde film practice, theory and culture. 


Agnès Calatayud is a Lecturer in French in the School of European 

Cultures and Languages at Birkbeck College, University of London, 

UK. Her research interest is focused on contemporary World cinema. 

She has published on Agnès Varda and Dominique Cabrera amongst 

others. She is currently researching on Kiyoshi Kurosawa's latest films. 

› An ordinary woman but a film-maker: Demain et encore demain (1997) – 

Dominique Cabrera's self-portrait, Studies in French Cinema, 1.1, 22-28. 

› Cinema in the first person: Sabine Franel's Le Premier du Nom, Studies in 


› The French film industry's current financial crisis and its impact on creation: 

the example of Jacques Doillon's (2003), Studies in European Cinema, 2.3, 

199-212. 

› Images of exile: Tracing the past within the present in Henri-François 

Imbert's No Pasaràn! Album souvenir, Studies in European Cinema, 4.1, 61- 

72. 

Leon Saunders Calvert Leon Saunders Calvert works as a Research Manager in a media 

company in London. He has a bachelor’s degree in Philosophy, 

Literature and Film Studies from the University of Essex and a Masters 

degree in business.

Keywords historical epics, 9/11 

Allan Cameron 

The University of Auckland, 

Department of Film, Television and 

Media Studies, Private Bag 92019, 

Auckland, 1142, New Zealand 

Keywords postcolonial, Gothic, 

transnational, New Zealand cinema 

Luca Caminati 

Concordia University, Mel 

Hoppenheim School of Cinema, FB 

421-7, 1455 De Maisonneuve Blvd. 

West, Montreal, H3G 1M8, Canada 

Keywords Rossellini, non-fiction, 

Mercedes Camino 

Lancaster University, History 

Department, DELC, Lancaster, 

Lancashire, LA1 4YW, United 

› Ideology & the Modern Historical Epic: How the Political Concerns of the 

Genre have Changed Since 9-11, Film International, 3.18, 4-13. 

Allan Cameron is a Lecturer in Film, Television and Media Studies at 

the University of Auckland. He is the author of Modular Narratives in 

Contemporary Cinema (Palgrave Macmillan, 2008), and has also 

published work in The Velvet Light Trap and Jump Cut. He is currently 

engaged in a collaborative research project with Dr Richard Misek 

(University of Bristol) exploring the development of slow and fast 

motion imagery from early cinema to contemporary digital media. He 

has also been at work on a number of individual articles covering such 

topics as: transnational currents in contemporary New Zealand horror, 

the centrality of mediation in zombie films, and the use of ‘real time’ 

cinematic narratives to represent historical events. 

› The Locals and the global: transnational currents in contemporary New 

Zealand horror, Studies in Australasian Cinema, 4.1, 55-72. 

Luca Caminati is associate professor of Film Studies in the Mel 

Hoppenheim School of Cinema at Concordia University in Montreal. 

He is currently completing a new volume on Rossellini’s non-fiction 

films provisionally titled Una cultura della realtà: Rossellini e il 

cinema documentario (Rome: Edizioni del Centro Sperimentale di 

Cinematografia, forthcoming 2011). In 2009–2010 he was the recipient 

of the Paul Mellon/NEH ‘Rome Prize’, a residential fellowship awarded 

by the American Academy in Rome. 

› Narrative non-fictions in contemporary Italian cinema: Roberto Munzi’s 

Saimir (2002), Giorgio Diritti’s Il vento fa il suo giro (2005) and Pietro 

Marcello’s La bocca del lupo (2009), Studies in Documentary Film, 5.2-3, 

121-131. 

Dr. Mercedes M. Camino is a Reader in Hispanic Studies at Lancaster 

University. She has published four books and numerous articles on 

early modern exploration, Spanish and European film, Baroque 

women’s writing and history of cartography. Her fifth and most recent 

book is Film, Memory and the Legacy of the Spanish Civil War


Keywords Spanish Civil War, El 

Espíritu de la Colmena, Soldados de 

Salamina 

Valeria Camporesi 

Universidad Autonoma de Madrid, 

Departamento de Historia y Teoría del 

Arte, c/o Raimundo Fernandez 

Villaverde, 57, 5 izq., Madrid, 28003, 

Spain 

Keywords Spanish comedy, Second 

Republic, Francoism, modernity, 

Benito Perojo, José Luis Sáenz de 

Heredia, Edgar Neville, Rafael Gil, 

Luis Marquina 

Elaine Canning 

University of Swansea, School of Arts 

Hispanic Studies, Singleton Park, 

Swansea, SA2 8PP, United Kingdom 

Keywords The Dog in the Manger, 

Lope de Vega, adaptation, Carmelo 

Gómez, Emma Suárez, theatricality 

Resistance and Guerrilla 1936-2010, published in 2011. 

› Blood of an innocent: Montxo Armendáriz's Silencio Roto (2001) and 

Guillermo del Toro's El laberinto del fauno (2006), Studies in Hispanic 

Cinemas, 6.1, 45-64. 

› ‘The war is so young’: masculinity and war correspondence in Welcome to 

Sarajevo and Territorio Comanche, Studies in European Cinema, 2.2, 115- 

124. 

› Good Luck with the Strike: Mining, Dancing and Stephen Daldry's Billy 

Elliot, Film International, 8.5, 29-39. 

Valeria Camporesi (Bologna, Italy, 1957) is Associate Professor of 

Film and Audiovisual Media History in the Art History and Theory 

Department of the Universidad Autónoma de Madrid. She is also 

coordinator of the Ph.D. Program in Film History of the same 

University. Her current research interests range from extensive and 

intensive analyses of representations of Spanish cultural identity in film 

history (an overall approach can be found in her book Para grandes y 

chicos. Un cine para los españoles, 1940-1990, Turfán, 1994); 

transnational aspects of Spanish cinema; historical approaches to 

intertextuality in European film history; analysis of changing patterns 

of verisimilitude in production and reception of audiovisual media; 

contemporary cinema and film theory; film, video and television in 

European cinema since the 1960s. Since July 2009 she is Deputy 

Vicechancellor for Culture of the Universidad Autónoma de Madrid. 

› Desireable Futures: Modernity and Tradition, Film International, 2.8, 34-39. 

Elaine Canning is a lecturer in the Department of Hispanic Studies at 

Swansea University. She is author of Lope de Vega’s Comedias de 

tema religioso: Re-creations and Re-presentations (Tamesis, 2004) and 

is currently co-writing a book entitled: Altared Images: The Subversion 

of Catholic Iconography in Iberian Theatre and Film. She is also codirector 

of CRISS – Centre for Research into Iberian Stage and Screen 

at Swansea. 

› ‘Not I, my shadow’: Pilar Miró's adaptation of Lope de Vega's The Dog in the 

Manger (1996), Studies in European Cinema, 2.2, 81-92. 

› Introduction: ‘Films without Frontiers’, Studies in European Cinema, 4.3, 

163-166.

Davide Caputo 

University of Exeter, United 


Keywords film festival, Switzerland, 

Swiss, interview, Zurich, Savage 

Grace 

Bert Cardullo 

Izmir University of Economics, 

Turkey 

Keywords The Silence of Lorna/Le 

Silence de Lorna, class, the working 

class, Rosetta 

Michael Carklin 

University of Glamorgan, Cardiff 

School of Creative and Cultural 

Industries, Atrium, Adam Street, 

Cardiff, CF24 2FN, United Kingdom 

Keywords space and place, lived 

geographies, cinema, South Africa, 

childhood 

› Destiny, theatricality and identity in contemporary European cinema, New 


Davide Caputo studied psychology and film at the University of 

Manitoba and completed his Ph.D. at the University of Exeter. His 

primary research interest is the examination of the cognitive experience 

of cinematic spectatorship, and how this has, and continues to be, 

affected by evolving technology. 

› Zurich finds its place in the festival circuit: Zurich Film Festival, 27 

September–7 October 2007, Film International, 5.6, 97-98. 


Bert Cardullo is Professor of Media and Communication at the Izmir 

University of Economics in Izmir, Turkey, where he teaches courses in 

film history, theory and criticism. His essays and reviews have 

appeared in such journals as the Yale Review, Cambridge Quarterly, 

Film Quarterly, Cinema Journal and the Quarterly Review of Film and 

Video, and he is the author, editor or translator of a number of books, 

among them Soundings on Cinema: Speaking to Film and Film Artists 

and The Films of Robert Bresson: A Casebook. 

› The cinema of resistance: An interview with Jean-Pierre and Luc Dardenne, 

Studies in European Cinema, 7.3, 177-192. 

› The cinema of resistance: an interview with Jean-Pierre and Luc Dardenne, 


Based at the University of Glamorgan, Michael Carklin is Head of 

Academic Programmes. His previous work includes co-directing King 

Oedipus, where Rob Smith was Musical Director. 

› Images of childhood in Southern Africa: A study of three films, Journal of 

African Cinemas, 2.2, 137-149.

Gregory Carleton 


Keywords Afghanistan, sex, rape, 

Ninth Company, Cargo 200 

Jessica Carniel 

University of Melbourne, Australian 

Centre, 137 Barry Street, Carlton, 

Victoria 3053, Australia 

Keywords ethnicity, race, memory, 

multiculturalism, Italian-Australian 

culture 

Mia Carter 

University of Texas, Department of 

English, 1 University Station, B5000, 

Austin, Texas, TX 78712, United 


Keywords postcolonialism, urban 

space, metropolitan film, aesthetics, 

politics 

Carl Cassegard 

University of Gothenburg, Sociology, 

Sweden 

Gregory Carleton is an associate professor of Russian at Tufts 

University and associate at the Davis Center for Russian and Eurasian 

Studies, Harvard University. He is the author of two books, The 

Politics of Reception: Critical Constructions of Mikhail Zoshchenko 

(1998) and Sexual Revolution in Bolshevik Russia (2005). He is 

currently working on the representation of war in contemporary Russia. 

› A tale of two wars: sex and death in Ninth Company and Cargo 200, Studies 


Jessica Carniel has a Ph.D. in Australian Studies from the University of 

Melbourne. Her thesis examined the development of ethnic identities in 

Italian Australian literature and film. She is currently a tutor at the 

Australian Centre, University of Melbourne. 

› A cultural affair to remember: nostalgia, whiteness and migration in Love's 

Brother, Studies in Australasian Cinema, 3.1, 93-105. 

Mia Carter is an Associate Professor of English and University 

Distinguished Teaching Associate Professor at the University of Texas 

at Austin. Her fields of specialization are Modern and Imperial 

Studies, European and World Cinema, and Cultural Studies. Carter is 

the co-editor of Orientalism and Imperialism: A Documentary 

Sourcebook (Basil Blackwell, 1999), Archives of Empire: From the 

East India Company to the Suez Canal, Vol. I, and The Scramble for 

Africa, Vol. II (Duke U. P., 2003), and Routledge Press's forthcoming 

Modernism and Literature: An Introduction and Reader. 

› Acknowledged absences: Claire Denis' cinema of longing, Studies in 

European Cinema, 3.1, 67-. 

Carl Cassegard is assistant professor at the Department of Sociology, 

University of Gothenburg University (Sweden), and the author of 

Shock and Naturalization in Contemporary Japanese Literature 

(Folkestone: Global Oriental, 2007). He wrote the article 'From

Keywords Wong Kar-wai, 

modernity, Hong Kong, Chungking 

Express, ‘natural history’, Walter 

Benjamin, Charles Baudelaire, 

Murakami Haruki, William Gibson, 

Fallen Angels 

Valeria G. Castelli 

New York University, Department of 

Italian Studies, Casa Italiana Zerilli- 

Marimò, 24 West 12th Street, New 

York, NY 10011-8604, United States 

of America 

Keywords modern and contemporary 

Italian literature, Italian cinema, 

cultural studies, political 

documentaries 

Kirsten Cather 

University of Texas at Austin, 

Department of Asian Studies, 1 

University Station, G9300 Austin, TX 


Keywords Japanese literature, 

censorship, obscenity trials, manga 

Patrick Cattrysse 

Raamlolaan 3, B-3120 Tremelo, 

Belgium 

Keywords adaptation, narrative 

Withdrawal to Resistance. The Rhetoric of Exit in Yoshimoto Takaaki 

and Karatani Kojin' for Japan Focus. 

› Ghosts, Angels, and Repetition in the Films of Wong Kar-wai, Film 


Valeria G. Castelli is a Ph.D. Candidate in Italian Studies at New York 

University. She received her Laurea/B.A. in Modern Italian Literature 

from Università Cattolica del Sacro Cuore di Milano and her M.A. in 

Italian Studies from the University College of London. Her research 

interests include Modern and Contemporary Italian Literature, Italian 

Cultural Studies and Cinema, and Documentary Film Theory and 

History. She is currently writing her dissertation on political 

documentary films produced in Italy in the 1970s. She is an assistant 

editor of the journal Quaderni del ‘900 on contemporary Italian 

literature and culture. 

› Is Citizen Berlusconi good for democracy? A ‘global documentary’ about 

Italy’s anomalies, Studies in Documentary Film, 5.2-3, 223-234. 

Kirsten Cather teaches Japanese literature and film at the University of 

Texas at Austin. She earned her B.A. from Connecticut College, and 

her M.A. and Ph.D. from University of California, Berkeley, in 

Japanese literature with a secondary specialization in film. Her book, 

The Art of Censorship in Postwar Japan, on the landmark obscenity 

trials of literature, film and manga in Japan from 1950 to 2007 is 

forthcoming from the University of Hawai’i Press in 2012. 

› Perverting Ozu: Suō Masayuki’s Abnormal Family, Journal of Japanese & 

Korean Cinema, 2.2, 131-145. 

Patrick Cattrysse currently teaches 'Film narratology' at the University 

of Antwerp (Belgium) and 'Screenplay analysis' at the Université Libre 

de Bruxelles (Belgium). He also teaches 'Media Criticism & Theory' 

and 'Intercultural Communication' at Boston's Emerson College 

European Centre (Netherlands).His main fields of research cover 

adaptation studies and narrative studies.

studies, screenplay studies 

Daniela Cavallaro 

University of Auckland, Italian, 

School of European Languages and 

Lituratures, Private bag 92019, 

Auckland, New Zealand 

Keywords adaptation, feminism, allwomen 

crew, Maraini, Scandurra 

Francesco Caviglia 

Keywords literacy, storytelling 

analysis, discourse analysis, 

contemporary Italian culture 

Reni Celeste 

Yale University, United States of 

America 

Keywords Hiroshima mon amour, 

Emmanuel Levinas, narrative film 

theory, Polish cinema, tragedy, 

Kieślowski 

› The protagonist’s dramatic goals, wants and needs, Journal of Screenwriting, 

1.1, 83-97. 

Daniela Cavallaro is a senior lecturer in Italian at the University of 

Auckland. Her research interests are women’s theatre and film, 

contemporary Italian fiction and drama, rewriting of classical literature 

and South Pacific literature. 

› The making of a feminist film: Sofia Scandurra's Io sono mia, Studies in 


Born 1961 in Genoa (Italy). Studied for a Ph.D. at the Faculty of Arts 

and is Associate Professor at the Department for Language, Literature 

and Culture, Aarhus University. Research interests in literacy, 

storytelling and discourse analysis, seen from an educational 

perspective and with a focus on contemporary Italian culture. 

› An interview with Nina Mimica on The War Is Over, Short Film Studies, 1.1, 

21-25. 

Reni Celeste has recently completed her first book, The Tragic Screen: 

Cinema at the Limits of Philosophy. Her work seeks to forge 

connections between continental philosophy, new media and 

contemporary culture. She is currently a Research Affiliate at Yale 

University, where she is working on her second book, and a Visiting 

Assistant Professor of Film Studies at Connecticut College. 

› Love and catastrophe: filming the sublime in Hiroshima mon amour, Studies 


› Decalogue: Poland’s cinema of collision, Studies in European Cinema, 1.3, 

175-184.

N. Buket Cengiz 

Kadir Has Universitesi, Fen-Edebiyat 

Fak, Kadir Has Kampusu, Cibali, 

Istanbul, 34230, Turkey 

Keywords Golden Tulip, FACE, 

Turkish cinema, Istanbul, human 

rights 

Maxime Cervulle 

University of Paris 1 – Panthéon 

Sorbonne, 4 rue neuve de la 

chardonnière, 75018 Paris, France 

Keywords racial identity, screen 

reception 

Queenie Monica Chan 

The University of Melbourne, School 

of Culture and Communication, 

Melbourne, Victoria, 3010, Australia 

Keywords Asian-Australian culture, 

cultural diversity, indigenous, 

Australia, Rabbit-Proof Fence, 

Christopher Doyle 

Felicia Chan 

The University of Manchester, School 

N. Buket Cengiz received her BA in Russian Language and Literature 

from Istanbul University. Her translations from Russian, from poets 

such as K. Simonov and Y. Yevtushenko, as well as from English, 

from writers such as Edward Said and John Berger have been 

published in various newspapers and journals. She received her MA in 

American Culture & Literature, from Kadir Has University in Istanbul, 

with her thesis on a comparison of selected Romantic heroes and 

modern anti-heroes in literature and popular culture. 

› Festival Reviews, Film International, 6.4, 86-93. 

Maxime Cervulle is a research assistant and doctoral student in 

Cultural Studies at the University of Paris 1 – Panthéon Sorbonne, 

where he is working on the processes of racial identity formation 

through screen reception and audience practices. He has edited the first 

collection of essays by Stuart Hall translated into French (Identités et 

cultures: Politique des Cultural Studies, 2007) and has translated both 

Judith Butler’s Undoing Gender (Défaire le genre, 2006) and Eve 

Sedgwick’s Epistemology of the Closet (Epistémologie du placard, 

2008) into French. 

› Queering the Orientalist porn package: Arab men in French gay 

pornography, New Cinemas: Journal of Contemporary Film, 6.3, 197-208. 

Queenie Chan has completed her MA (Cultural Studies) thesis at the 

University of Melbourne. Her thesis examines multiculturalism as 

cultural policy and hybridity as creative practice in the Australian 

cinema, in relation to the works of Clara Law, Christopher Doyle and 

Tony Ayres. 

› Reconstructing images of history: Christopher Doyle, Rabbit-Proof Fence 

and postcolonial collage, Studies in Australasian Cinema, 2.2, 121-140. 

Felicia Chan is RCUK Fellow in Film, Media and Transnational 

Cultures at the Research Institute for Cosmopolitan Cultures (RICC) 

and the Centre for Screen Studies, University of Manchester. Her

of Arts, Histories and Cultures, 

Oxford Road, Manchester, M13 9PL, 


Keywords legal space, realism, 

sensationalism, mode of address, 

pleasure 

Brenda Chan 

Nanyang Technological University, 

Wee Kim Wee School of 

Communication & Information, 31 

Nanyang Link, 637718, Singapore 

Keywords genre, Hong Kong cinema, 

gambling 

Kenneth Chan 

University of Northern Colorado, 

Department of English, United States 

of America 

Keywords nostalgia, lingering, gay 

cruising, Tsai Ming-liang, King Hu 

research interests lie in issues of cultural translation, intertextuality and 

modernity in film, literature and other cultural texts. She has published 

in Critical Studies in Television, EnterText, Inter-Asia Cultural Studies, 

Refractory, , and Chinese Films in Focus II (ed. Chris Berry, Palgrave 

Macmillan 2008). 

› Revisiting the ‘realism’ of the cosmetics of hunger: Cidade de Deus and 

Ônibus 174, New Cinemas: Journal of Contemporary Film, 8.1, 15-30. 

› Reviews, Transnational Cinemas, 1.2, 181-191. 

Brenda Chan is assistant professor at the Wee Kim Wee School of 

Communication and Information in Nanyang Technological 

University, Singapore. She teaches courses on cultural studies and 

qualitative research methods. Her research interests are in Hong Kong 

cinema, East Asian television drama and Chinese popular music. 

› Identity and politics in Hong Kong gambling films of the 1990s: God of 

Gamblers III and God of Gambler's Return, New Cinemas: Journal of 

Contemporary Film, 9.1, 35-48. 

› Gamblers and tricksters: the forgotten gambling films of the 1970s, Journal 

of Chinese Cinemas, 4.2, 89-104. 

Kenneth Chan is Assistant Professor of Film Studies at the University 

of Northern Colorado. His book Remade in Hollywood: The Global 

Chinese Presence in Transnational Cinemas is published by Hong 

Kong University Press (2009). His essays have also appeared in 

academic journals such as Cinema Journal, Tulsa Studies in Women's 

Literature, Asian Cinema, Journal of Chinese Cinemas, Discourse, 

Mediascape, and Camera Obscura. Dr. Chan is also a member of the 

editorial board of the Journal of Chinese Cinemas published by 

Intellect Books. 

› Goodbye, Dragon Inn: Tsai Ming-liang's political aesthetics of nostalgia, 

place, and lingering, Journal of Chinese Cinemas, 1.2, 89-104. 

Kim-mui Elaine E. Chan Kim-mui Elaine E. Chan develops and co-teaches General Education 

courses at the University of Hong Kong. She received her Ph.D. at the

The University of Hong Kong, 

General Education Unit, Rm. G19, 

Ground Floor, Hong Kong 

Keywords cultural theory, cinema 

studies, Hong Kong popular culture, 

postmodern flâneur, massively 

multiplayer online role-playing game 

(MMORG) 

Evans Chan 

Keywords hero, Zhang Yimou, 

fascism, Chinese cinema, fifth 

generation film-makers, Gong Li, 

censorship, China’s Film Bureau, The 

Story of Qiu Ju, Not One Less, 

primitive accumulation, empire 

David Chapman 


Humanities and Social Sciences, 4–6 

University Way, London, E16 2RD, 


Keywords Jean Cocteau, chance, 

automatism, serendipity, film music, 

sound art 

University of Kent, UK. Her areas of research include cinema studies, 

cultural theories, gender politics and popular culture. She taught postgraduate 

and undergraduate credit bearing courses at Chinese 

University of Hong Kong, Lingnan University, and Hong Kong 

Polytechnic University in the areas of film and cinema studies, cultural 

theory, and Hong Kong popular culture. She published recently with 

Journal of Chinese Cinemas. Her articles also appeared in Ming Pao, 

Crossover, Film Bi-weekly, and Hong Kong Economic Times. She was 

also director and producer of television commercials and 

documentaries. 

› Transformation of visual culture in relation to the spatial experience of 

postmodern flâneurs: the impact of MMORGs on contemporary Chinese 

cinema, Journal of Chinese Cinemas, 3.1, 33-48. 

Evans Chan, New York-based critic and filmmaker, won a Golden 

Plaque at the 2005 Chicago International Television Competition for 

his TV short Subway, New York. Chan’s filmography includes four 

narrative features (To Liv(e), Crossings, Bauhinia, and The Map of Sex 

and Love) and five documentaries, including Journey to Beijing, Adeus 

Macau, and The Life and Times of Wu Zhong Xian. His latest 

documentary is Sorceress of the New Piano – The Artistry of Margaret 

Leng Tan. His filming of Tan’s performance of George Crumb’s 

Makrokosmos I & II was released on DVD by Mode Records. 

› War and Images, Film International, 1.5, 10-23. 

› Zhang Yimou’s Hero, Film International, 2.8, 14-23. 


David Chapman is a video-maker, musician and sound artist. He is 

currently a senior lecturer in media production at the University of East 

London. He is involved in the development of various arts projects, 

working with a number of artists in the area of video, new media and 

performance. David is also a practicing musician with a long history of 

recording and performance and an exhibiting sound artist. His current 

research interests involve the relationship between digitalization and 

the documentary and the role of sound in fine art practice. 

› Chance Encounters: Serendipity and the Use of Music in the Films of Jean 

Cocteau and Harry Smith, The Soundtrack, 2.1, 5-18.

James Chapman 

University of Leicester, Department 

of History of Art and Film, University 

Road, Leicester, Leicestershire, LE1 

7RH, United Kingdom 

Keywords Ashes to Ashes, BBC, 

television series, police, science 

fiction 

Romain Chareyron 

University of Alberta, Canada 

Keywords provocation, image, 

horror, pornography, Haneke 

Sushmita Chatterjee 

Augustana College, Room 639, 38th 

Street, Rock Island, IL, 61201, United 


Keywords political cartoon, terrorism 

James Chapman is Professor of Film at the University of Leicester, 

UK. He has wide-ranging research interests in the history of British 

cinema and popular culture. He is currently writing, with Nick Cull, 

Projecting the Future: Science Fiction and Popular Cinema, and is 

researching books on Contemporary British Televisin Drama and 

A New History of British Documentary. He is a Council member of the 

International Association of Media and History (IAMHIST) and editor 

of the Historical Journal of Film, Radio and Television. 

› Editorial Issue 26, Film International, 5.2, 4-5. 

› Not ‘another bloody cop show’: Life on Mars and British television drama, 


Romain Chareyron has recently completed his Ph.D. at the University 

of Alberta, on the transgressive representation of the human body in 

contemporary French cinema. He specialized in cinematic semiotics 

during his graduate studies at the University of Toulouse-Le Mirail 

with a thesis on Hollywood film of the 1950s that focused on the 

representation of space in Sunset Boulevard and A Streetcar Named 

Desire. He has published an article entitled ‘La Petite Lili ou la fracture 

du réel’ in a special issue of Excavatio dedicated to realism and 

naturalism in Film Studies. 

› The ghost image of horror and pornography in Michael Haneke's La Pianiste 

(2001), Studies in French Cinema, 11.1, 57-69. 

Having completed a dual-degree Ph.D. from the Departments of 

Political Science and Women’s Studies at the Pennsylvania State 

University, Sushmita Chatterjee is currently teaching at Augustana 

College, Illinois. Her Ph.D. dissertation studied post-9/11 identity 

politics through an examination of Art Spiegelman’s visual politics. 

She enjoys teaching, learning and writing about democratic theory, 

visual politics, feminist theory and postcolonial politics. 

› Cartooning Mumbai’s 9/11: an exploration of image decolonization, Studies 

in South Asian Film & Media, 1.2, 249-264.

Saayan Chattopadhyay 

Calcutta University, India, Journalism 

and Mass Communication 

Keywords Bengali male, Uttam 

Kumar, performativity, masculinity, 

Bengali cinema 

Shohini Chaudhuri 

University of Essex, Department of 

Literature, Department of Literature, 

Film and Theatre Studies, University 

of Essex, Colchester, CO4 3SQ 

Keywords 

Delphine Chedaleux 

Université de Caen, 57 Boulevard de 

la Duchesse Anne, Rennes, 35000, 

France 

Keywords gender, masculinity, 

occupation, jeune premier, Jean 

Marais 

Tina Mai Chen 

University of Manitoba, Department 

Saayan Chattopadhyay is an Assistant Professor in the Department of 

Journalism and Mass Communication at Baruipur College, Calcutta 

University, India. After a stint as a journalist in Kolkata, he is currently 

engaged in research and academics. He has published articles and book 

chapters in Sarai Reader, Senses of Cinema, Gyanpratha, and Sussex 

Academic Press, among others. He is currently working on a book 

project on Bengali cinema, ethnicity and masculinity. His research 

interests include performative theory, local popular films and 

masculinity studies. 

› Performative Bengali Masculinity: The Rhetoric of Becoming in Bengali 

Popular Cinema of the 1950s, Studies in South Asian Film & Media, 2.1, 3- 

17. 

Shohini Chaudhuri is Senior Lecturer in Contemporary Writing and 

Film at the University of Essex. She has published two books, 

Contemporary World Cinema: Europe, the Middle East, East Asia and 

South Asia (2005) and Feminist Film Theorists (2006), articles in 

journals such as Screen, Camera Obscura and South Asian Popular 

Culture, and essays in the edited collections Film Analysis (2005), New 

Punk Cinema (2005) and Postcolonial Cinema Studies (2011). 

› Storytelling in Bhutanese cinema: Research context and case study of a film 

in development, Journal of Screenwriting, 3.2, 197-214. 

Delphine Chedaleux teaches cinema at the Université de Caen. She is 

preparing a thesis on 'Les jeunes premiers et les jeunes premières du 

cinéma français sous l’Occupation, 1940–1944'. 

› Un jeune premier sous l'Occupation: Jean Marais ou l'loge d'une masculinit 

passive, Studies in French Cinema, 10.3, 205-218. 

Tina Mai Chen is Associate Professor of Modern Chinese History at 

the University of Manitoba. Her recent publications include Film, 

History, and Cultural Citizenship: Sites of Production (Routledge, 

2007) co-edited with David S Churchill, and various articles on the

of History, Winnipeg, Manitoba, R3T 

5V5, Canada 

Keywords socialist culture, Chinese 

cinema, cultural politics, Maoism, 

Sino-Soviet relations 

Robert Chen 

National Chengchi University, 

Department of Radio-TV, No. 64, 

Sec. 2 Chi-Nan Road, Wen-Shan 

District, Taipei, 116, Taiwan 

Keywords realism, Hou Hsiao-Hsien, 

Tsai Ming-Liang, Chen Kaige, Zhang 

Yimou 

Ken Chen 

Keywords science fiction, war, 

horror, tragic idealism, escapism 

Vitaly Chernetsky 

Miami University, German, Russian 

& East Asian Languages, GREAL, 

172 Irvin Hall, Oxford, OH, 45056, 


Keywords Ukrainian cinema, Soviet 

cinema, poetic cinema, displacement, 

identity crisis, Leonid Osyka, Vasyl' 

meaning of film in the People’s Republic of China and Sino-Soviet film 

exchange published in the Journal of the Canadian Historical 

Association, Cultural Critique and Modern Chinese Literature and 

Culture. 

› International film circuits and global imaginaries in the People's Republic of 

China, 1949–57, Journal of Chinese Cinemas, 3.2, 149-161. 

› Film in the People's Republic of China, 19491979: The missing years, 

Journal of Chinese Cinemas, 5.1, 5-12. 

Robert Chen co-edited Cinema Taiwan: Politics, Popularity, and State 

of the Arts (Routledge, 2007) with Darrell Davis. His publication 

includes The Cultural-Historical Experiences of Taiwan Cinema and 

Cinema Empire (both in Chinese). 

› Bazin at work: the concept of realism in Chinese-language films, Journal of 


Ken Chen is Executive Director of the Asian American Writers' 

Workshop. He is graduate of Yale Law School and recently worked on 

an asylum case involving post-September 11 civil liberties and FGM 

(Female Genital Mutilation). 

› The Lovely Smallness of Doctor Who, Film International, 6.2, 52-59. 


Vitaly Chernetsky is an assistant professor in the Department of 

German, Russian, and East Asian Languages at Miami University, 

where he is also affiliated with the Film Studies and Women’s Studies 

programmes. His book Mapping Postcommunist Cultures: Russia and 

Ukraine in the Context of Globalization was published by the McGill- 

Queen’s University Press in 2007. He is currently guest-editing the 

forthcoming special issue of the online journal KinoKultura on 

Ukrainian cinema. Besides Russian and Ukrainian literature and film, 

Chernetsky’s areas of interest also include the work by East European

Stefanyk and Central Asian authors, as well as diasporic cultures, studies of 

gender and sexuality, and the theory and practice of translation. 

Brigid Cherry 

St Mary’s University College, Culture 

and Creative Arts, Waldegrave 

Road,Twickenham, Middlesex, TW1 

1LA, United Kingdom 

Keywords horror, cult, fan culture, 

Gothic aesthetic 

Francesco Di Chiara 

Keywords European cinema, popular 

cinema, genre, co-production, Italian 


› Visual language and identity performance in Leonid Osyka’s A Stone Cross: 

The roots and the uprooting, Studies in Russian and Soviet Cinema, 2.3, 269- 

280. 



Brigid Cherry is a senior lecturer in Communication, Culture and 

Creative Arts at St Mary’s University College, Twickenham, UK, 

where she teaches modules on horror cinema, cult film and television, 

youth culture and film aesthetics. Her research has focussed on horror 

and science fiction fandoms, particularly the female horror film 

audience, and online science fiction fan cultures. She has recently 

published work on fan responses to the return of Doctor Who, the 

feminine aesthetic of horror cinema, cultural borrowings in alternative 

music video and fan canons. Her Film Guidebook on Horror was 

published by Routledge in 2009. She is currently working on a 

monograph on trans-media storytelling in and is editing a collection on 

True Blood for I.B. Tauris’s Cult Television series. Her current 

research projects include feminine handicrafts as forms of 

femaleDoctor Who 

› Broken Homes, Tortured Flesh: Hellraiser and the Feminine Aesthetic of 

Horror Cinema, Film International, 3.17, 10-21. 

Francesco Di Chiara holds a Ph.D. in Film Studies at the University of 

Ferrara. His research interests include genre film theory, Italian popular 

genres, Italian cinema of the 1950s and cinema economics. He is the 

author of I tre volti della paura: il cinema horror italiano, 1957–1965 

(Ferrara: Unifepress, 2009). 

› Once Upon a Time in Italy: Transnational Features of Genre Production 

1960s1970s, Film International, 8.6, 30-39.

Michel Chion 

University of Paris III - Sorbonne 

Nouvelle, 5, Rue Barbette, Paris, 

75003, France 

Keywords Jacques Doillon, Catherine 

Breillat, Claire Vass, Jacques Tati, 

language 

David Chirico 

Broome Community College, 

Department of English, State 

University of New York, 

Binghamton, NY, NY, 13903, United 


Keywords borders, autopoiesis, 

systems theory, Fassbinder 

Marie-Magdeleine Chirol 

Whittier College, Department of 

Modern Languages & Literatures, 

13406 Philadelphia Street, PO BOX 

634-20, Whittier, CA, 90608, United 


Keywords Yaaba, children, echo, 

renew, ruin 

Michel Chion born in 1947 in Creil, France, is a composer of 

experimental music. He teaches at several institutions within France 

and currently holds the post of Associate Professor at the University of 

Paris III: Sorbonne Nouvelle where he is a theoretician and teacher of 

audio-visual relationships.After studying literature and music he began 

to work for the ORTF (French Radio and Television Organization) 

Service de La recherche as assistant to Pierre Schaeffer in 1970. He 

was a member of the Groupe de Recherches Musicales (GRM) 

between 1971 - 1976. His compositional pieces elaborate on 

schaeffarian theories and methodologies which Schaeffer referred to as 

musique concrète. He has also written a number of books as well as 

essays expounding his theories of the interaction between sound and 

image within the medium of film. 

› No man's France, Studies in French Cinema, 10.3, 251-256. 

› What a time it was! An essay on Antonioni's L'eclisse, The Soundtrack, 3.1, 

5-9. 

David Chirico teaches in the English Department of Broome 

Community College, where he also serves as coordinator for the 

composition programme. His areas of specialization include 

postmodern poetry, American avant-garde film and critical theory. 

› In a month of thirteen films: A Fassbinder diary, Studies in European 


Marie-Magdeleine Chirol is Professor of French at Whittier College, 

California, where she teaches French and African cinema and literature. 

Her research interests include the study of ruins and African cinema. 

She is the author of L’imaginaire de la Ruine dans ‘A la recherche du 

temps perdu’ (Summa 2001). Her articles have appeared in Research in 

African Literatures, CinémAction, The French Review, French Forum, 

Etudes Francophones and Revue de Littérature Comparée among 

others. Her expertise includes the cinema of Gaston Kaboré. 

› Ruin and renewal in Idrissa Ouédraogo's Yaaba, Journal of African Cinemas, 

1.2, 159-171.

Paolo Chirumbolo 

Louisiana State University, Dept. of 

Foreign Languages, 328 Hodges Hall, 

Baton Rouge, LA 70803, United 


Keywords Italian cinema, semiotics, 

popular culture 

Rey Chow 

Duke University, Anne Firor Scott 

Professor of Literature, Campus Box 

90670, Durham, NC, 27708, United 


Keywords commodification, 

fetishism, defetishization, 

particularism, visuality 

Yiu Fai Chow 

University of Amsterdam, Amsterdam 

School of Communication Research, 

Kloveniersburgwal 48, Amsterdam, 

1012 CX, Netherlands 

Keywords materiality, tangibility, 

sociability, convergence, digitization 

Paolo Chirumbolo holds a Laurea in Lingue Straniere (Università La 

Sapienza, Rome) and an M.A. and a Ph.D. in Italian Studies 

(University of Toronto). He has taught Italian language, literature and 

cinema at the University of Toronto, Louisiana State University and 

McMaster University. His main areas of research are contemporary 

Italian fiction, cinema, semiotics and popular culture. He has published 

articles on Eco, Calvino, Macchiavelli and Guccini, Pirandello, 

Palazzeschi, Ammaniti, Kerbaker and Soldini. He is the author of Tra 

coscienza e autocoscienza (Soveria Mannelli: Rubbettino, 2009) and 

co-editor of Neoavanguardia. Italian Experimental Literature and Arts 

in the 1960s (Toronto: University of Toronto Press, 2010). He is 

assistant professor at Louisiana State University where he is also the 

director of the Italian Program. 

› From heaven to hell: The representation of the ThyssenKrupp tragedy in 

contemporary Italian documentary film-making, Studies in Documentary 

Film, 5.2-3, 157-167. 

Rey Chow is Andrew W. Mellon Professor of the Humanities at Brown 

University. The books she has authored include, most recently, The 

Age of the World Target (2006) and Sentimental Fabulations: 

Contemporary Chinese Films (2007). 

› ‘Woman’, fetish, particularism: Articulating Chinese cinema with a crosscultural 

problematic, Journal of Chinese Cinemas, 1.3, 209-222. 

Yiu Fai Chow is Ph.D. candidate at the Amsterdam School of 

Communication Research. His project concerns young Chinese 

diaspora in the Netherlands and their use of popular culture, in 

particular martial arts films, beauty pageants and popular music. 

› All that has melted into bits and bytes becomes solid, Journal of Chinese 


Christian Christensen Christian Christensen is Associate Professor in the Department of

Uppsala University, Department of 

Informatics and Media, Ekonomikum, 

Kyrkogårdsg. 10, Box 513, Uppsala, 

Sweden, 751 20, United Kingdom 

Keywords Iraq, politics, grassroots, 

distribution 

Johannes H. Christensen 

Keywords theology, literature, 

philosophy 

Ian Christie 

Birkbeck, University of London, 

School of History of Art, Film and 

Visual Media, Malet Street, 

Bloomsbury, London, WC1E 7HX, 


Keywords practice-based research, 

scholarship, AVPhD, beyond text 

Informatics and Media at Uppsala University in Sweden. Recent 

research includes studies on documentary film after 9/11, and the 

representation of war on YouTube. His work has been published in 

journals such as Studies in Documentary Film, the International 

Journal of Press/Politics, Global Media and Communication, Media, 

War & Conflict, Studies in Documentary Film, Popular 

Communication: International Journal of Media and Culture and the 

British Journalism Review. 

› Political documentary, online organization and activist synergies, Studies in 


› Guest Editor's Note: Documentary films after 9/11, Studies in Documentary 

Film, 3.3, 197-198. 

› The everyday after 9/11: cycles and details, Studies in Documentary Film, 

3.3, 233-244. 

Johannes H. Christensen is a former lecturer in film and television, 

religion and philosophy at the Danish Library College (1972–81) and a 

parish priest in Skovhoved (1981–2009). From 1982 he has also been a 

film and literature reviewer at three daily papers, including since 1996 

at Jyllands-Posten. He has written extensively about theology, 

literature and film and helped edit the journals Levende Billeder (1976– 

82) and KRITIK (1976–88). 

› Apple pie from the tree of knowledge, Journal of Scandinavian Cinema, 1.1, 

123-125. 

Ian Christie is a film historian, curator and broadcaster. He has written 

and edited books on Powell and Pressburger, Russian cinema, Scorsese 

and Gilliam; worked on many exhibitions, including Spellbound: Art 

and Film (2006) and Modernism: Designing a New World (2006); and 

co-produced the 1994 BBC television series on early cinema The Last 

Machine. He is currently Professor of Film and Media History at 

Birkbeck College and Vice-President of Europa Cinemas. 

› Reviews, The Soundtrack, 3.1, 67-76.

Piotr A. Cieplak 

University of Cambridge, St John's 

College, Department of French, 

Faculty of Modern and Medieval 

Languages, Sidgwick Avenue, 

Cambridge, CB3 9DA, United 


Keywords African cinema, genocide, 

Hillywood, documentary, short film 

Lynn Schofield Clark 

University of Denver, School of 

Communication, 2490 South Gaylord 

Street, Denver , CO 80208, United 


Keywords television, popular culture, 

religion, philosophy, mediatization 

Sue Clayton 

Royal Holloway University of 

London, Department of Media Arts, 

Department of Media Arts, Royal 

Holloway, University of London, 

Egham, Surrey, TW20 OEX, Surrey 

Keywords adaptation, British cinema, 

independent cinema 

Piotr A. Cieplak is currently the recipient of the Harper-Wood 

Studentship for English Poetry and Literature at St John's College, 

Cambridge. His doctoral thesis investigated the representation of the 

Rwandan genocide and its aftermath in photography and documentary 

film. Piotr has an interest in and has written about cultural memory, 

commemorative practices, documentary film, photography, African 

film festivals, Rwandan and East African cinema, and representations 

of Africa, especially African conflict and its aftermath, outside the 

continent. 

› The Rwandan genocide and the bestiality of representation in 100 Days 

(2001) and Shooting Dogs (2005), Journal of African Cinemas, 2.1, 49-63. 

Lynn Schofield Clark is Associate Professor and Director of the Estlow 

International Center for Journalism and New Media at the University of 

Denver . She currently oversees three research projects: the Teens & 

The New Media @ Home Project, which explores the introduction of 

digital and mobile media into US family life; the Young Media Makers 

Project, which is studying how the process of media making 

contributes to citizenship and civic engagement; and the Global 

Students Online Project, which is studying the possibilities for 

enhanced intercultural understanding through online interactions. She 

is interested in sociology of culture and of the media, sociology of the 

family, and sociology of religion, as well as in issues related to the 

internationalization of journalism and communication in higher 

education. 

› Religion, philosophy, and convergence culture online: ABC’s Lost as a study 

of the processes of mediatization, Northern Lights: Film & Media Studies 

Yearbook, 6.1, 143-163. 

Sue Clayton is a UK independent feature film writer and director (see 

her website www.sueclaytonfilm.com). She is currently co-writing and 

directing Jumolhari, a feature film set in Bhutan. She has also just 

released Hamedullah: The Road Home (2011), a film about child 

refugees set in the United Kingdom and Afghanistan, and is developing 

a feature film, Nowhere to Hide, and a documentary for BBC3 on the 

same subject. She is also Director of Graduate Studies and Programme 

Director of MASTFiR, an M.A. in Screenwriting for Film and 

Television (Retreat Programme) at Royal Holloway, University of 

London, and has published several book chapters and in journals such 

as New Writing, New Cinemas and The Journal of Media Practice.

Clarissa Clò 

San Diego State University, 

Department of European Studies, 

5500 Campanile Drive, San Diego, 

CA 92182-7704, United States of 

America 

Keywords feminist and queer theory, 

migration, postcolonialism, Italian 

documentary and cinema, music 

subcultures, women-writers, youth 

cultures 

Paul Cobley 

London Metropolitan University, 


Keywords BBC, television series, spy 

drama, terrorism, suspense 

› Film-making in Bhutan: The view from Shangri-La, New Cinemas: Journal 


› Storytelling in Bhutanese cinema: Research context and case study of a film 

in development, Journal of Screenwriting, 3.2, 197-214. 

Clarissa Clò is associate professor and director of the Italian 

Programme in the Department of European Studies at San Diego State 

University. She specializes in Italian Cultural Studies and her research 

interests include feminist and queer theory, migration and postcolonial 

studies, film, music and popular culture. She has written on The Battle 

of Algiers and Lion of the Desert, Italian documentary film-making, 

music subcultures, circum-Atlantic performances, Italian American 

women writers, Mediterranean Studies, youth cultures and postcolonial 

literature in Italy. Her work has appeared in several publications in 

Italy and the United States, including Annali d’Italianistica, 

Diacritics,Diaspora, Forum Italicum, Il lettore di provincia, Italian 

Culture, Italica, Research in African Literatures, and Transformations. 

She 

› Other visions: Contemporary Italian documentary cinema as counterdiscourse, 

Studies in Documentary Film, 5.2-3, 83-89. 

› Improvvisamente l’inverno scorso/Suddenly, Last Winter: Queer Sex in 

Public, Studies in Documentary Film, 5.2-3, 255-261. 

› Orchestrating reality through a cinema of relation: Interview with Agostino 

Ferrente, Studies in Documentary Film, 5.2-3, 211-221. 

Paul Cobley is Reader in Communications, London Metropolitan 

University. He is the author of The American Thriller (Palgrave, 2000) 

and is currently working on a new book, titled The Semiotics of 

Paranoia: Re-contextualizingthe Subject of the Thriller. 

› ‘It's a fine line between safety and terror’: crime and anxiety redrawn in 

Spooks, Film International, 7.2, 36-45. 

Laurence Coderre Laurence Coderre is a doctoral student in Chinese Language at the 

University of California, Berkeley. She has an AM in Regional Studies

University of California, Berkeley, 


Keywords contextualization, Chi 

Qun, counterattack, Gang of Four, 

propaganda 

Anna Cole 

Goldsmiths College, Anthropology 

Department, 36 Lewisham Way, New 

Cross, London, SE14 6NW, United 


Keywords debutante, assimilation, 

identity, cross-cultural, mimesis 

Shaun Cole 

London College of Fashion, 

University of the Arts, 20 John 

Princes's Street, London W1G 0BJ, 

UK 

Keywords 

Jacky Collins 

University of Northumbria, MFL - 

SASS, Lipman Building, Sandyford 

Road, Newcastle Upon Tyne, Tyne 

and Wear, NE1 8ST, United Kingdom 

Keywords same-sex relationships, 

alternative families, lesbian identities, 

sexuality, hetero-normativity 

– East Asia and an AB in Music and East Asian Studies from Harvard 

University. Her current research interests include popular culture, the 

Cultural Revolution and the reemergence of works from that period in 

the post-Mao era. 

› Counterattack: (Re)contextualizing propaganda, Journal of Chinese 


Anna Cole is a writer, sometime film-maker and post-doctoral research 

fellow at the Centre for Public Culture and Ideas, Griffith University, 

Queensland. She iscurrently based in London as a Visiting Fellow in 

the Anthropology Department at Goldsmiths College, University of 

London. Anna researches and publishes in the area of historicalanthropology, 

cross-cultural exchange, kinship and the sexual politics 

of colonialism. 

› Dancing with the Prime Minister, Studies in Australasian Cinema, 2.1, 5-13. 

Shaun Cole is a Principal Lecturer in the History and Culture of 

Fashion and Fashion Curation at London College of Fashion. His 

research expertise lies in masculinity and gay men's style and dress. He 

is the author of Don We Now Our Gay Apparel: Gay Men's Dress in 

the Twentieth Century (2000) and The Story of Men's Underwear 

(2010). 

› Television's fashion gay teens: Justin Suarez and Kurt Hummel, Film, 

Fashion & Consumption, 1.2, 159-167. 

Jacky Collins is Senior Lecturer in Spanish Studies at Northumbria 

University. Her main area of research is lesbian cultures in 

contemporary Spain. She is co-editor of Crime Scene Spain. Essays on 

Post-Franco Crime Fiction (Jefferson, NC: McFarland, 2009). Her 

research interests include Contemporary Spanish film, web-based 

language acquisition, Hispanic detective fiction, representations of 

lesbian identity in contemporary Spanish film and literature, women in 

the Spanish Civil War.

Karen Collins 

University of Windsor, Department of 

Music, United Kingdom 

Keywords video games music, 

marketing, soundtracks, Pong, Space 

Invaders, arcade games, Pacman, 

Programmable Sound Generators 

(PSG), Commodore, Atari VCS, 

Nintendo, MIDI, Sega, Playstation, 

orchestral games concerts 

Leo Collis 

Keywords media, journalism 

Brandon Colvin 

Keywords screenwriting, film critic 

› Introduction, Studies in European Cinema, 2.3, 155-158. 

› Challenging the rhetorical oxymoron: Lesbian motherhood in contemporary 

European cinema, Studies in European Cinema, 4.2, 149-. 

Karen Collins is a Lecturer in Music at the University of Windsor and 

Film Studies at Brock University. Her book, A Bang, A Whimper and A 

Beat: Industrial Music and the End of the World (Wesleyan University 

Press) examines issues of popular music, genre and semiotics. Her 

current reserch deals with video games music from historical, 

technological and semiotic perspectives. 

› From Bits to Hits: Video Games Music Changes its Tune, Film 


Leo Collis is a Film, Media and Journalism student, from 

Nottinghamshire in the United Kingdom. He has been studying at the 

University of Stirling since 2008, but took a year out to study at the 

University of North Carolina Wilmington, USA, in 2010. 

› Reviews DVDs, Film Matters, 2.1, 33-39. 

Brandon Colvin graduated summa cum laude from Western Kentucky 

University in May 2010 with a BA in English, minoring in Film 

Studies. Experienced as a screenwriter and film critic, he is currently 

beginning his graduate work in Film Studies at the University of 

Wisconsin-Madison. 

› A Reasonable Alternative: The Role of Midge in Hitchcock's Vertigo, Film 

Matters, 1.4, 21-25.

Nancy Condee 

University of Pittsburgh, Cathedral of 

Learning 1301, Pittsburgh, PA 15260, 


Keywords Sergei Urusevskii, The 

Cranes are Flying, Thaw, Cold War, 

modernism 

Liz Conor 

208 Park Street, North Fitzroy. 3068, 

Victoria, Australia 

Keywords nationalism, 

reconciliation, assimilation, 

colonialism, Baz Luhrmann 

Bridget Conor 

Goldsmiths College, 17C Heyworth 

Rd, Clapton, London, E5 8DR, 


Keywords critical sociology, creative 

labour, screenwriting, 

industrialization, marginalization, 

collaboration 

Nancy Condee is associate professor of Slavic and Film Studies at the 

University of Pittsburgh. She is the author of The Imperial Trace: 

Recent Russian Cinema (Oxford University Press, 2009) and co-editor 

(with Terry Smith and Okwui Enwezor) of Antinomies of Art and 

Culture: Modernity, Postmodernity, Contemporaneity (Duke 

University Press, 2009). Her work has appeared in such Russian 

journals as Iskusstvo kino, Novoe literaturnoe obozrenie and . 

› Veronika fuses out: Rape and medium specificity in The Cranes are Flying, 


Dr Liz Conor is a research fellow in the Department of Culture and 

Communication at the University of Melbourne. She is author of The 

Spectacular Modern Woman (Indiana University Press, 2004) and 

White Lies and Aboriginal Women (Fremantle Art Centre Press, 2011). 

› A nation so ill-begotten: racialized childhood and conceptions of national 

belonging in Xavier Herbert's Poor Fellow My Country and Baz Luhrmann's 


Dr Bridget Conor is affiliated with the media and communication 

studies department of Goldsmiths College, University of London. Her 

dissertation is a critical analysis of screenwriting as creative labour in 

the British and North American film industries. She has lectured in 

media and film theory at various institutions in the United Kingdom. 

Previously, Bridget taught and studied in Auckland, New Zealand, her 

research focusing on the globalization of the New Zealand film 

industry. Research interests include: screenwriting theory, creative 

labour, production studies, runaway production, New Zealand film and 

gender theory. 

› ‘Everybody’s a Writer’ Theorizing screenwriting as creative labour, Journal 

of Screenwriting, 1.1, 27-43. 

› Book Reviews, Journal of Screenwriting, 2.2, 291-302. 

Kelley Conway Kelley Conway is Associate Professor in the Department of 

Communication Arts at the University of Wisconsin Madison. She is


Department of Communication Arts, 

Vilas Hall, 821 University Avenue, 

Madison, Wisconsin, 53706-1412, 


Keywords installations, documentary, 

autobiography, Agnès Varda, Les 

Plages d'Agnes 

Ann-Marie Cook 

Queensland University of 

Technology,, ARC Centre of 

Excellence for Creative Industries & 

Innovation, Brisbane,, 4059, Australia 

Keywords Skins, queer studies, 

Australasian cinema 

John R. Cook 

Glasgow Caledonian University, 

Department of Cultural Business, 

Caledonian Business School, 70 

Cowcaddens Road, Glasgow, 

Scotland, G4 0BA, United Kingdom 

Keywords television, film, media, tv 

drama, tv history 

Pam Cook 

University of Southampton, Film, 

School of Humanities, 6A Market 

Place, East Finchley, London, Greater 

London, N2 8BB, United Kingdom 

the author of Chanteuse in the City: The Realist Singer in 1930s 

French Film (University of California Press, 2004) and essays on the 

work of Agnès Varda, music in French cinema and Brigitte Bardot. 

› Varda at work: Les Plages d'Agns, Studies in French Cinema, 10.2, 125-139. 

Dr Ann-Marie Cook is a Visiting Fellow at the ARC Centre of 

Excellence in Creative Industries and Innovation, Queensland 

University of Technology. She is currently writing a book that explores 

the treatment of lesbian schoolgirl romance in the British teen drama 

series, . 

› Cleaning up the queer: Sex, love and ideology in Stephen Wallace s For 

Love Alone, Studies in Australasian Cinema, 5.1, 59-70. 

John R. Cook is Reader in Media at Glasgow Caledonian University, 

Scotland. He has researched and published extensively on the work of 

Peter Watkins including journal articles, book chapters plus 

contributions to voice-over commentaries and other special features on 

the DVD releases of Watkins’ films Culloden (1964) and Privilege 

(1967). He is also the author of Dennis Potter: A Life on Screen (1995; 

revised 1998) and co-editor of The Passion of Dennis Potter: 

International Collected Essays (2000) and British Science Fiction 

Television: A Hitchhiker’s Guide (2006). 

› Don't forget to look into the camera !: Peter Watkins' approach to acting with 

facts, Studies in Documentary Film, 4.3, 227-240. 

Pam Cook is Professor Emerita in Film at Southampton University. 

She is editor of The Cinema Book (2007) and author of several 

publications on British national cinema. Her most recent book is a 

monograph about Baz Luhrmann (BFI/Palgrave Macmillan, 2010). Her 

research interests cover women and film; visual design; fashion and 

film; history and memory; nostalgia; transnational cultural exchange; 

contemporary independent cinema. She is currently working on a study

Keywords Baz Luhrmann, Australian 

cinema, transnational utopias, art 

cinema, new technologies, global 

production, local production 

Paul Cooke 

University of Leeds, Centre for World 

Cinemas, Leeds, LS2 9JT, United 


Keywords European identity, Europe, 

Germany, Hollywood 

Sarah Cooper 


Department, School of Arts and 

Humanities, Strand, London, WC2R 


Keywords ethics, mortality, loss, 

temporality, emotional geography 

of Sofia Coppola's Marie Antoinette and a monograph about Nicole 

Kidman. 

› Transnational utopias: Baz Luhrmann and Australian cinema, Transnational 


Paul Cooke is Professor of German Cultural Studies at the University 

of Leeds. He is the author of Speaking the Taboo: a study of the work 

of Wolfgang Hilbig (Amsterdam/Atlanta, Rodopi, 2000), The Pocket 

Essential to German Expressionist Film (London, Pocket Essential 

Press, 2002), Representing East Germany: From Colonization to 

Nostalgia (Oxford, Berg, 2005). He has edited a number of film-related 

books, most recently World Cinema's 'Dialogues' With Hollywood 

(Basingstoke, Palgrave, 2007), Screening War: Perspectives on 

German Suffering (Rochester, Camden House, 2010), with Marc 

Silberman, and New Directions in German Cinema (London, I. B. 

Tauris, 2011). He is currently completing a monograph for MUP on 

contemporary German Cinema. 

› Editorial, Studies in European Cinema, 1.2, 73-76. 

› Introduction: Realism in European cinema and beyond, Studies in European 


› Screening identities at and beyond Europe's borders, New Cinemas: Journal 


Sarah Cooper is Reader in Film Theory and Aesthetics at King’s 

College London. Her most recent books include Selfless Cinema? 

Ethics and French Documentary (Oxford: Legenda, 2006) and Chris 

Marker (Manchester: Manchester University Press, 2008). She is 

currently writing a book on film and the soul. 

› Je sais bien, mais quand même…: Fetishism, Envy, and the Queer Pleasures 

of Beau travail, Studies in French Cinema, 1.3, 174-182. 

› Looking back, looking onwards: selflessness, ethics, and French 

documentary, Studies in French Cinema, 10.1, 57-68.

Roderick Coover 

Temple University, Department of 

Film & Media Arts, 131 Annenber 

Hall, 2020 N 13th St, Philadelphia, 

Pennsylvania, PA 19122, United 


Keywords Filip Remunda, Vit 

Klusak, Petr Lorenc, the European 

Union, advertising 

David Corkill 

Manchester Metropolitan University, 

Department of Languages, Mabel 

Tylecote Building, Cavendish Street, 

Manchester, Greater Manchester, 

M15 6BG, United Kingdom 

Keywords labour market, migrants, 

Ley de Extranjería, regional economy, 

immigration, Spain 

Chantal Cornut-Gentille 

D'Arcy 

Ciudad Universitaria, Inglesa y 

alemana, Departamento de Filolog’a, 

Facultad de Letras, 50009 Zaragoza, 


Keywords politics, unemployment, 

masculinity, The Full Monty, 

Mondays in the Sun 

Roderick Coover is a mediamaker and theorist whose works concern 

the representation of identity, culture and place. His works traverse 

questions of anthropology, geography, visual culture, and digital arts. 

His works include digital scholarship such as the CD-ROM, Cultures 

In Webs , films and videos, such as The Language of Wine and 

Something That Happened Only Once, and museum installations, as 

well as essays in books and journals. 

› Czech Dream in a capitalist republic: an interview with Czech film-maker 

Filip Remunda, Film International, 5.3, 63-69. 

David Corkill is Professor of Iberian Studies at Manchester 

Metropolitan University. His research centres on Spain and Portugal 

with particular reference to immigration and the labour market and 

representations of the immigrant in film. He has published extensively 

on contemporary Spain and Portugal, including (with R.J. Harrison) 

Spain: A Modern European Economy (Ashgate, 2004). 


Chantal Cornut-Gentille D’Arcy is a senior lecturer in the Department 

of English Philology at the University of Zaragoza, Spain. She has 

researched on women’s studies and cultural studies and has also 

published several articles on British cinema. She co-edited Culture and 

Power (Barcelona, 1995), Gender, I-deology: Essays on Theory, 

Fiction and Film (Rodolpi, 1996), Culture and Power: Business 

(Zaragoza, 1999) and has edited Culture and Power: Confrontations 

(Zaragoza, 1999). She is also the author of the forthcoming book, La 

era Thatcher en pantalla: cine nacional o ‘nacionalista’? 

› Globalization from down below: unemployment and damaged masculinities 

in The Full Monty (1997) and Mondays in the Sun (2002), Studies in 


Elisa Costa-Villaverde Elisa Costa Villaverde, Ph.D. (Hull, UK), MA in Women and 

Literature (Hull), BA Hons. (Santiago de Compostela) is currently

University of Las Palmas de Gran 

Canaria, Modern Languages, Apdo 

35, Moana (Pontevedra), 36080, 


Keywords European cinema, 

women's cinema, immigration, 

national/cultural identities, adaptation 

Gustavo Costantini 

Keywords Youth Without Youth, 

The Conversation, Apocalypse Now, 

Chion, musique concrète 

Lisa Coulthard 

University of British Columbia, 

Department of Theatre and Film, 

University of British Columbia, 6354 

Crescent Road, Vancouver, BC, V6T 

1Z2, Canada 

Keywords philosophy, ethics, 

Badiou, Haneke 

lecturing at the Department of Modern Languages of the University of 

Las Palmas de Gran Canaria (Spain). She lectured on Spanish 

Contemporary Cinema at The University of Hull and is a former 

researcher of the SIMIC research team (Seminaire Images dans le 

Monde Ibérique Contemporain) within the Centre de Recherches 

Interdisciplinaires sur les Mondes Ibériques et Contemporains at the 

Institut d'Etudes Hispaniques, Paris-IV, La Sorbonne University. She 

has read papers at numerous international conferences, Forums, 

Colloquiums, the European Cinema Research Forum, and has been a 

guest speaker at a number of International Film Festivals and 

Universities across the United Kingdom, France, Spain, United States 

and New Zealand. She has published in four languages, in the United 

Kingdom, Spain, France and Italy. 

› Yoyes and Extranjeras by Helena Taberna, stories of women, displacement 

and belonging, Studies in European Cinema, 4.2, 85-98. 

Gustavo Costantini is Professor of Sound Design and Film Editing at 

the University of Buenos Aires, where he was also a director of 

research projects. He has published many articles and essays on sound 

design and cinema in Argentina, England, Mexico, Germany and 

Brazil. 

› No hay banda!, The Soundtrack, 1.1, 71-72. 

› Walter Murch interviewed by Gustavo Costantini, The Soundtrack, 3.1, 33- 

46. 

Lisa Coulthard is associate professor of film studies in the Department 

of Theatre and Film at the University of British Columbia. Her research 

focuses on film theory, philosophy, sound and violence. She has 

published widely on European and American cinemas, visual arts and 

television. She is currently a regular columnist for FlowTV journal, is 

completing a book on Tarantino and film sound (titled The Super 

Sounds of Quentin Tarantino) and is on the editorial boards for The 

Soundtrack and The International Journal of Zizek Studies. 

› Negative ethics: The missed event in the French films of Michael Haneke, 


Gérard Courant 



knowledge 

Jennie Cousins 

University of Exeter, Centre for Film 

Studies, Queen’s Drive, Exeter, EX4 

4QJ, United Kingdom 

Keywords Besson, Le Cinquième 

élément, rag-picking, fabric and 

sexuality, showpiece, Annenkov 

Michael Cowan 

McGill University, German Studies, 

World Cinemas, Montreal, Canada 

Keywords moving image media, 

history of the body, European film 

Geoffrey Cox 

The University of Huddersfield, 4 

Gérard Courant is a film critic and film-maker. Since 1978 he has been 

making Cinématons, the longest film in the world (2100 portraits of 

personalities from the performing arts, 150 hours), 15 linked series (, 

Portrait de groupe, Couple, De ma chambre d’hôtel, etc.), and 17 

features, amongst them Coeur bleu (1981), Les Aventures d’Eddie 

Turley (1989), and 24 Passions (2003), and has received many awards 

in film festivals. He has published several books on cinema, as well as 

collections of poems. 



Jennie Cousins recently completed her Ph.D. at the University of 

Exeter. Her research looks at the politics of costume in the work of four 

costume designers working in French costume dramas of the 1950s. 

› Flesh and fabric: the five elements of Jean-Paul Gaultier's costume design in 

Luc Besson's Le Cinquième élément (1997), Studies in French Cinema, 8.1, 

75-88. 

› Mechanised corsetry: Annenkov, Ophüls and La Ronde (1950), Studies in 


Michael Cowan is associate professor of German Studies and World 

Cinemas at McGill University. He works broadly in film and visual 

media studies, with particular emphasis on the role of moving image 

media in modernity, the history of the body, and European film and 

film theory. His work on film has been published in journals such 

as Screen, October, Studies in European Cinema, Intermédialités, 

Cinema & Cie and Modernism/modernity. 

› Between the street and the apartment:disturbing the space of fortress Europe 

in Michael Haneke, Studies in European Cinema, 5.2, 117-129. 

Geoffrey Cox studied Music at Liverpool Community College, and 

then at Huddersfield, graduating with a first degree in Music in 1999 

and a Ph.D. in Composition in 2007, which explores the use of

Mount Pleasant, Golcar, 

Huddersfield, West Yorkshire, HD7 

4AG, United Kingdom 

Keywords music, avant-garde, 

popular musicology, visual 

Linda Craig 


Humanities and Social Sciences, 

University of East London, 

Docklands Campus, 4-6 University 

Way, London, E16 2RD, United 


Keywords intertextuality, film music, 

Spanish film, transnationalism 

Ian Craven 

University of Glasgow, Theatre, Film 

& Television Studies, Glasgow, 

Scotland, G12 8QQ, United Kingdom 

Keywords David Williamson, 

Australian cinema, film policy, 

commercial cinema 

contemporary musical borrowing practices. He is a composer of both 

acoustic and electronic music in a variety of genres from avant-garde to 

more popular styles. Other specialisms include Popular Musicology 

(the history and effect of technological developments on popular 

music) and working with visual images in a musical context, work that 

has become increasingly important to his output. 

› ‘Connecting hearing to viewing and knowing to feeling’: Sound as evocation 

in non-fiction film with particular reference to No Escape (Cox, 2009), The 


Dr Linda Craig is Senior Lecturer in Film and Literature at the 

University of East London. A specialist in Latin American literature 

and Spanish and Latin American film, her research interests include all 

of these fields, with a particular focus on both gender and 

transnationalism. Her publications include a monograph on Latin 

American literature, Juan Carlos Onetti, Manuel Puig and Luisa 

Valenzuela: Marginality and Gender (Woodbridge: Tamesis, 2005), 

and numerous articles on Latin American literature and film. 

› From national to transnational in Pedro Almodvar's All About My Mother, 


Ian Craven teaches Film and Television Studies at the University of 

Glasgow, Scotland. He is editor of Australian Popular Culture 

(Cambridge University Press, 1994), Australian Cinema in the 1990s 

(Frank Cass, 2001), and Movies on Home Ground: Explorations in 

Amateur Cinema (Cambridge Scholars, 2009). He is currently coediting 

Small-Gauge Storytelling: The Amateur Fiction Film, and 

preparing a monograph study of British amateur filmmaking in the 

1930s. 

› Historicizing transition in Australian cinema: the moment of Emerald City, 


Allison Craven Allison Craven is a Senior Lecturer in Screen Studies, in the School of 

Arts and Social Sciences, James Cook University, in Townsville. Her

James Cook University, School of 

Arts and Social Sciences, Townsville 

Queensland, 4811, Australia 

Keywords Australian cinema, 

international cinema 

Robert Crawford 


Keywords advertising, globalization, 

ocker, radio, television 

Roger Crittenden 

Station Road, National Film and TV 

School, Beaconsfield, Bucks, HP9 

1LG, United Kingdom 

Keywords sound editing, non-linear, 

track-lay, silence 

Ruth Cruickshank 


London, Egham, Surrey, TW20 0EX, 


Keywords colonialism, 

postcolonialism, consumption, 

research project, ‘Paradise Post-National’ concerns Australian and 

international films. 

› Period features, heritage cinema: Region, gender and race in The Irishman, 


Dr Robert Crawford is a Research Fellow at both the Menzies Centre 

for Australian Studies, King’s College London and Monash University, 

Melbourne. He is the author of But Wait, There’s More: A History of 

Australian Advertising 1900–2000 (Melbourne University Press 2008). 

He is currently examining images of identity in the migrant press. 

› Old debts: the unsung relationship between Australia’s film and advertising 

industries, Studies in Australasian Cinema, 2.1, 33-45. 

After graduating from Exeter University with a degree in Sociology, 

Roger was chosen by the BBC to train as a film editor. After ten years 

in the BBC cutting rooms, during which time he received a special 

award for ‘sustained excellence as a film editor’, Roger was appointed 

as Head of Editing when the National Film School opened in 1971. He 

has been associated with the NFTS ever since, eventually becoming 

Director of the Full-time Programme, a post he held until three years 

ago. He is now a consultant and senior visiting tutor. He has taught 

around the world and in other British institutions. He has published 

several books, most recently Fine Cuts- the Art of European Film 

Editing. Roger is a Fellow of the Royal Society of Arts. 

› Conceiving the rhythms of silence, The Soundtrack, 1.2, 87-94. 

Ruth Cruickshank is Lecturer in French at The Queen’s College, 

Oxford. Her research examines the impact of consumer society on 

cultural identity in post-war France through an investigation of 

narratives of consumption in French film and prose fiction. She 

explores how representations of comestibles and consumer culture in 

cinema and literature not only reflect the development of consumerism 

in France, but also operate as means of negotiating change and 

developing critical discourses. She is also the author of a forthcoming

European cinema, global economy monograph on the aesthetics of crisis in fin de millénaire French 

fiction. 

Denis Cryle 

Central Queensland University, 

Faculty of Arts, Humanities and 

Education, Communication School, 

Rockhampton, Queensland, 4072, 

Australia 

Keywords audience, rural, cinemagoing, 

Queensland, exhibition 

Sean Cubitt 

University of Southampton, 

Winchester School of Art, Park 

Avenue, Winchester SO23 8DL, 


Keywords transnational, cinema, 

technology, globalization, public 

sphere 

Nicholas J. Cull 

University of Southern California, 

› Colonial, postcolonial and global economies: Questions of consumption in 

Claire Denis's Chocolat, Studies in European Cinema, 3.1, 55-66. 

Denis Cryle lectures in Communication and Media Studies at Central 

Queensland University and has published widely on Queensland 

culture and on the history of media. He is the co-author of The 

Rockhampton Wintergarden Theatre: A Heritage Study (2001) and has 

since co-authored a number of articles on the Queensland-based Birch, 

Carroll and Coyle film theatre consortium, including a piece in 

Intellect. Since 2001, Denis has also been researching the press, and 

published on the Murdoch national newspaper, The Australian (MUP, 

2008), and is presently co-authoring a history of the 

Empire/Commonwealth Press Union, with special emphasis on 

Australia, New Zealand and India. 

› Exploiting the regional Queensland audience: Birch Carroll and Coyle's 

Wintergarden theatres, 1925–35, Studies in Australasian Cinema, 1.3, 333- 

352. 

Professor Sean Cubitt is Professor of Global Media and 

Communication at Winchester School of Art, University of 

Southampton. He is Professorial Fellow in Media and Communications 

at the University of Melbourne, and an Honorary Professor of the 

University of Dundee. His publications include Timeshift (1991), 

Videography (1993), Digital Aesthetics (1998), Simulation and Social 

Theory (2001), The Cinema Effect (2004) and EcoMedia (2005). He is 

series editor for Leonardo Books at The MIT Press. 

› Database economy and transnational cinema, Studies in Australasian 


Professor Nicholas J. Cull is a historian and the director of the Master's 

in Public Diplomacy programme at the University of Southern 

California. From 1997 to 2005 Cull was based at the University of

USC Center on Public Diplomacy, 

3502 Watt Way, USC Annenberg 

School, Los Angeles, CA 90089, 


Keywords propaganda, public 

diplomacy, film as evidence, history, 

war, imperialism, science fiction, 

Culloden, British television, 1960s, 

BBC, Britain, ‘Bonnie Prince Charlie’ 

Marco Cupolo 

University of Hartford, Department of 

Modern Languages and Cultures, 200 

Bloomfield Avenue, West Hartford, 

CT, 6117, United States of America 

Keywords Giordana, The Best of 

Youth, Petraglia, Rulli, Italian culture 

Klemens Czyzydlo 

University of Leeds, Department of 

German, Department of German, 

University of Leeds, Leeds, LS2 9JT, 



auteurism, engaged film-making, 

Romantic anti-capitalism, Tom 

Tykwer, Krzysztof Kieslowski 

Marvin D'Lugo 

Clark University, Department of 

Leicester in the United Kingdom, where he held the chair in American 

Studies and served as Director of the Centre for American Studies. He 

has also worked on film, television and radio history and the role of the 

mass media as a source for historical study. He is president of the 

International Association for Media and History. Cull was born in the 

United Kingdom and earned both his BA and Ph.D. at the University of 

Leeds. While a graduate student he studied at Princeton University as a 

Harkness Fellow of the Commonwealth Fund of New York. From 1992 

to 1997 he was lecturer in American History at the University of 

Birmingham. 

› Peter Watkins' Culloden x 2, Film International, 1.1, 48-56. 

› Kennedy on Film, Film International, 1.6, 16-19. 

Marco Cupolo studied and worked in Italy, Mexico, United States and 

Venezuela. Now he is Associate Professor of Hispanic Studies at the 

Department of Modern Languages & Cultures of the University of 

Hartford (Connecticut). His research interests include Latin American 

and European cultures and politics. 

› Other youths: Italian cultural changes through Pasolini, Giordana, Petraglia 

and Rulli, Studies in European Cinema, 6.2&3, 127-140. 

Klemens Czyzydlo is a Ph.D. candidate at the Department of German, 

University of Leeds, and the Centre for World Cinemas. He has been 

teaching film at the University of Leeds, Royal Holloway University of 

London, University of Southampton and the Northern Film School in 

Leeds. 

› Transnational auteurism: Tom Tykwer’s and Krzysztof Kieślowski’s Heaven 

(2002) between political engagement and Romantic anti-capitalism, 


Marvin D'Lugo is Professor of Spanish and Screen Studies at Clark 

University (Worcester, Massachusetts, USA), where he teaches courses 

on Spanish and Latin American film. He is author of various

Foreign Languages, Clark University, 

Worcester, Massachusetts, 01610- 


Keywords Carlos Gardel, Libertad 

Lamarque, national cinema, 

melodrama, tango 

Nevena Daković 

Keywords Serbian cinema, European 

Union, cultural identity 

Tanya Dalziell 

University of Western Australia, 

English and Cultural Studies, 

Australia 

Keywords The Proposition, settler 

society, white women, gardens, 

sexual violence 

Debbie Danielpour 

Boston University, Department of 

Film and Television, 640 

Commonwealth Avenue, Boston, MA 

monographic studies on Spanish and Latin American cinemas, 

including books on the cinema of Carlos Saura and Pedro Almodóvar. 

Editor of Studies in Hispanic Cinemas, he is currently completing a 

book on auditory culture in Hispanic cinemas. 

› Across the Hispanic Atlantic: cinema and its symbolic relocations, Studies in 

Hispanic Cinemas, 5.1&2, 3-7. 

› Early cinematic tangos: audiovisual culture and transnational film aesthetics, 

Studies in Hispanic Cinemas, 5.1&2, 9-23. 

› Report from San Sebastián: Historical Memories, Studies in Hispanic 


Nevena Dakovic is professor of Film Theory. She is the author of a 

number of books and articles, and publishes widely in the issues of 

identity (mainly national, multicultural) representations in cinema. She 

participates at conferences and is a frequent visiting professor at many 

universities. 

› Europe lost and found: Serbian cinema and EU integration, New Cinemas: 


Tanya Dalziell is Associate Professor in English and Cultural Studies at 

the University of Western Australia. She is the author of Settler 

Romances and the Australian Girl (University of Western Australia 

Press, 2004) and co-editor of Cultural Seeds: Essays on the Work of 

Nick Cave (Ashgate Press, 2009). 

› Compulsory Screening: border protection, migration and the Australian 

screen, Studies in Australasian Cinema, 3.1, 7-14. 

› Gunpowder and gardens: reading women in The Proposition, Studies in 

Australasian Cinema, 3.1, 121-131. 

Debbie Danielpour writes screenplays, fiction, libretti and essays. She 

has been a professor of fiction and film writing for over twenty years – 

at San Francisco State University, Emerson College, Harvard 

University Extension and now at Boston University, where she


Keywords fiction, libretti, 

screenwriting, adaptation 

Adrian Danks 

RMIT University, Blg 9, Level 4, 124 

La Trobe St, Melbourne, Victoria, 


Keywords film-making, community, 

place, Jacques Demy, Agnès Varda 

Gerard Dapena 

New York University, 232 East 26 St, 

New York, 10010, United States of 

America 

Keywords Spanish cinema, Francoist 

cinema, surrealism in Spain, Latin 

American filmmakers, María Félix 

received the 2011 Becker Family Teacher of the Year award. Her 

recent adaptation is slated for production in late 2011. 

› Imitation and adaptation: A screenwriting pedagogy, Journal of 

Screenwriting, 3.1, 103-118. 

Adrian Danks is Senior Lecturer and Head of Cinema Studies in the 

School of Media and Communication, Royal Melbourne Institute of 

Technology (University). He is Co-curator of the Melbourne 

Cinémathèque, and Co-editor of Senses of Cinema. He has published 

widely in a range of books and journals including: Senses of Cinema, , 

Screening the Past, Real-Time, Screen Education, 1001 Movies You 

Must See Before You Die, Traditions in World Cinema, Melbourne in 

the 60s, 24 Frames: Australia and New Zealand, Cultural Seeds: 

Essays on the Work of Nick Cave and Twin Peeks: Australian and New 

Zealand Feature Films. 

› Australian International Pictures, Studies in Australasian Cinema, 4.3, 195- 

198. 

› Living cinema: The Demy Films of Agns Varda, Studies in Documentary 

Film, 4.2, 159-172. 

Gerard Dapena is a scholar of Hispanic Cinemas and Visual Culture. 

He received his Ph.D. in Art History at the Graduate Center, CUNY 

with a dissertation that examined the interface of film and painting in 

post-Civil War Spanish cinema. He has published and lectured on 

different aspects of Spanish and Latin American film and art history. 

He has taught courses in art history and film studies at Bard College, 

Macalester College, The New School and The School of Visual Arts, 

among other institutions. Currently, he is working on a book-length 

study of early Francoist cinema. For the academic year 2010–11, Dr. 

Dapena is a Visiting Scholar in the department of Spanish and 

Portuguese at New York University. 

› La corona negra: the international face of Francoist cinema, Studies in 

Hispanic Cinemas, 1.2, 119-. 

› Reviews, Studies in Hispanic Cinemas, 6.1, 77-96. 

› Rumbas, Tangos, Boleros and Cupls: Performing and crossing musical 

borders in Una cubana en Espaa (1951), Studies in Hispanic Cinemas, 7.1, 9- 

21.

Susan Daruvala 

University of Cambridge, Faculty of 

Asian and Middle Eastern Studies, 

Sidgwick Avenue, Cambridge, 

Cambridgeshire, CB3 9DA, United 


Keywords Spring in a Small Town, 

aesthetics, emotion, Confucian 

morality, Brief Encounter 

Paul Dave 

University of East London 

Keywords Britain, class, Jubilee, 

Derek Jarman, punk, apocalypse, 

politics, 1980s, The Last of England, 

London Orbital 

John E. Davidson 

Ohio State University, Germanic 

Languages and Literatures, United 


Keywords Wenders, Kracauer, 

Frontier thesis, aesthetics 

Ann Davies 

University of Newcastle, School of 

Susan Daruvala teaches modern Chinese literature and film at the 

University of Cambridge. She is the author of Zhou Zuoren and an 

Alternative Chinese Response to Modernity (Harvard University Press, 

2000). Her current research and teaching interests include the modern 

Chinese essay and its precursors, the literary scene in Republican 

China, and film. 

› The aesthetics and moral politics of Fei Mu's Spring in a Small Town, 


Paul Dave is a Senior Lecturer in Film and Video at the University of 

East London. He has lectured at a variety of institutions in Film 

Production, Television, Media, Editing, Cinematography and Film 

Theory. Paul is also a writer and director of his own projects. 

› Apocalypse, Millennium, Jubilee: Images of Class and Capitalism in 

Contemporary English Cinema, Film International, 2.10, 14-25. 

John E. Davidson is Associate Professor of Germanic Languages and 

Literatures at the Ohio State University, where he teaches film, 

literature, and cultural theory. He is author of Deterritorializing the 

New German Cinema (University of Minnesota Press, 1999) and is 

currently working on a book entitled Crossing Over: GermanCinema 

from 1924 to 1954. He is also co-editor of the forthcoming German 

Cinema of the 1950s (with Sabine Hake), (Berghahn, 2004). 

› ‘Against Rushing through Places that Ought To Be Dwelt in’. Kracauer, 

Wenders, and the post- Turnerian impulse, Studies in European Cinema, 1.2, 

91-104. 

› Introduction: The Limits of Collection, Studies in European Cinema, 5.2, 85- 

89. 

Ann Davies is a lecturer in Spanish at the University of Newcastle. She 

has published widely on aspects of Spanish film, including the recent 

study (with Chris Perriam) Carmen: from Silent Film to MTV (Rodopi,

Modern Languages, Old Library 

Building, Newcastle upon Tyne, NE1 

7RU, United Kingdom 

Keywords Spanish cinema, femme 

fatale, Spanishness, Carmen, 

Almodóvar 

Rosamund Davies 

School of Humanities and Social 

Sciences, Old Royal Naval College, 

Park Row, London, SE10 9LS, United 


Keywords screenwriting, Marguerite 

Duras, Hiroshima, Mon Amour, 

script, memory, narrative 

Therese Davis 

University of Newcastle, Convenor 

for Film and Television Studies, 

School of Language and Media, 

Callaghan, NSW, 2308, Australia 

Keywords cross-cultural, 

collaboration, cultural memory, 

Aboriginal, authorship 

2005). She is presently working on the Basque/Spanish film director 

Daniel Calparsoro. 

› The Spanish femme fatale and the cinematic negotiation of Spanishness, 


› The Beautiful and the Monstrous Masculine: The Male Body and Horror in 

El espinazo del diablo (Guillermo del Toro 2001), Studies in Hispanic 




› Can the contemporary crime thriller be Spanish?, Studies in European 



Rosamund Davies has a background of professional practice in the film 

and television industries. As script and story editor for Film London, 

she oversaw the development and production of over 50 short feature 

films. Her specialist area of practice is screen narrative and, as senior 

lecturer in media writing and creative industries, she lectures in 

screenwriting and visual narrative at the University of Greenwich. 

Rosamund’s research interests include screenwriting practices and 

methods and cross art-form practice in the context of media 

convergence. Her recent visual media work explores the intersection 

between narrative and archive as cultural forms. Rosamund has 

published in academic journals and worked with independent 

production companies, writers and producers. 

› Screenwriting strategies in Marguerite Duras’s script for Hiroshima, Mon 

Amour (1960), Journal of Screenwriting, 1.1, 149-173. 

Therese Davis is Senior Lecturer in Film and Cultural Studies at the 

University of Newcastle (Australia). She is the author of The Face on 

the Screen: Death Recognition and Spectatorship (Intellect, 2004) and 

co-author with Felicity Collins of Australian Cinema After Mabo 

(Cambridge University Press, 2004). She is currently working with 

Nancy Wright and Brooke Collins-Gearing on a cultural history of 

collaborations between Indigenous and non-Indigenous film-makers 

and writers in Australia since 1960, funded by an Australia Research 

Council Discovery Grant 2005–08.

Colin Davis 

Royal Holloway, University of 

London, School of Modern 

Languages, Literatures and Cultures, 



Keywords Algeria, Third Republic, 

Boulanger, colonialism, Renoir 

Darrell William Davis 

University of New South Wales, 

English, Media and Performing Arts, 

Australia 

Keywords film marketization, China 

Film Group Corporation, market 

reforms, CEPA, re-nationalization 

Charles H. Davis 

Ryerson University, School of Radio 

and Television Arts, Rogers 

Communications Centre, 350 Victoria 

Street, Toronto, ON, M5B 2K3, 

› Remembering our ancestors: cross-cultural collaboration and the mediation 

of Aboriginal culture and history in Ten Canoes (Rolf de Heer, 2006), 


› Surrendering control: Two Laws as collaborative community film-making: 

an interview with Carolyn Strachan and Alessandro Cavadini, Studies in 


› Book Review, Studies in Documentary Film, 2.2, 219-221. 

Colin Davis is Professor of French at Royal Holloway, University of 

London. His research falls principally in the area of post-war French 

fiction and thought, with a particular interest in the connections 

between philosophy, literature and film. His most recent books are 

Scenes of Love and Murder: Renoir, Film and Philosophy (2009) and 

Critical Excess: Overreading in Derrida, Deleuze, Levinas, Žižek and 

Cavell (2010). 

› Jean Renoir's Elena et les hommes (1956) and the shadow of imperialism, 


Darrell William Davis is Senior Lecturer in the School of English, 

Media & Performing Arts at the University of New South Wales, 

Sydney. He is author of Picturing Japaneseness: Monumental Style, 

National Identity, Japanese Film (Columbia University Press), coauthor 

of Taiwan Film Directors: A Treasure Island (Columbia 

University Press, 2005), East Asian Screen Industries (British Film 

Institute, 2008) and co-editor of Cinema Taiwan: Politics, Popularity 

and State of the Arts (Routledge, 2007). 

› Re-nationalizing China's film industry: case study on the China Film Group 

and film marketization, Journal of Chinese Cinemas, 2.1, 37-51. 

Charles H. Davis, Ph.D., is a Professor at the School of Radio and 

Television Arts (Faculty of Communication & Design) and in the 

Entrepreneurship and Strategy Department of the Ted Rogers School of 

Management at Ryerson University in Toronto, where he holds the 

Edward S. Rogers Sr. Chair in Media Management and 

Entrepreneurship. He teaches graduate courses in media management

Canada 

Keywords Canadian identity, national 

cinema, Canadian cinema, 

screenwriting 

Annette Davison 

University of Edinburgh 

Keywords film music, musicology 

Ludmila Moreira Macedo 

de Carvalho 

University of Montreal, Comparative 

Literature Department, Pavillon 

Lionel-Groulx, 3150 Jean-Brillant, 

Montreal, Canada 

Keywords Wong Kar-wai, Gilles 

Deleuze, Chinese cinema, history, 

melodrama 

and political economy, and his current research interests concern new 

product development and organizational innovation in the media and 

other experience industries. Dr. Davis holds an MA from the 

University of Notre Dame (Indiana) and a Ph.D. from the Université de 

Montréal. He is the author or co-author of approximately 100 scholarly 

papers or book chapters. 

› If it ain't on the page, it ain't on the stage: screenwriting, national specificity 

and the English-Canadian feature film, Journal of Screenwriting, 2.1, 61-83. 

Annette Davison first studied Music at City University, then spent a 

year at Exeter University focusing on twentieth-century music and 

aesthetics, receiving an MA in Historical Musicology. She studied for 

her Ph.D. on film music theory and analysis at the University of 

Sheffield. Her first full-time post was as a lecturer of Media and 

Cultural Studies at University College, Warrington. This was followed 

by four years as a lecturer in music at the University of Leeds where 

she gained a PGCLTHE (Post-Graduate Certification in Learning and 

Teaching in Higher Education) and was also programme manager of 

the MA in Film Music Studies. She joined the University of Edinburgh 

in September 2004. 


Ludmila Moreira Macedo de Carvalho has a Masters Degree in 

Communication and Contemporary Cultures from the Federal 

University of Bahia, Brazil, and a Ph.D. in Comparative Literature 

from the University of Montreal, Canada, where she developed a thesis 

on Wong Kar-wai's cinema. Her research focuses on chinese language 

cinemas, film history, melodrama and narrative. She is currently a 

fellow reseacher at the Federal University of Bahia, Brazil. 

› Memories of sound and light: musical discourse in the films of Wong Karwai, 


Jeroen de Kloet Jeroen de Kloet is Assistant Professor of Media Studies at the 

University of Amsterdam and is affiliated to the International Institute

University of Amsterdam, Faculty of 

Humanities, Dept. of Media Studies, 

Turfdraagsterpad 9, Amsterdam, 1012 

XT, Netherlands 

Keywords cosmopolitanism, cultural 

production, reception, vernacular 

cinema, materiality, tangibility 

Yuna De Lannoy 

Antwerp University, Belgium 

Keywords Eisenstein, Post-war 

Japanese society, The Idiot, 

Dostoevsky 

Jason De Santolo 

University of Technology Sydney, 

Jumbunna Research Unit, Level 17, 

Tower Building, Ultimo, NSW, PO 

Box 123, Australia 

Keywords collaboration, Aboriginal, 

colonialism, injustice, Borroloola 

story 

Pascale De Souza 

George Mason University, Modern 

and Classical Languages, MCL Aquia 

Building Room 334, 4400 University 

Drive, Fairfax, Virginia, 22030, 


Keywords mornes, volcanoes, 

for Asian Studies (IIAS) as well as to the Amsterdam School for 

Cultural Analysis (ASCA). His research interests include the 

globalization of contemporary popular culture; in particular, music and 

cinema, and the emergence of new digital subcultures. 

› Issues and Debates Crossing the threshold: Chinese cinema studies in the 

twenty-first century, Journal of Chinese Cinemas, 1.1, 63-70. 

› All that has melted into bits and bytes becomes solid, Journal of Chinese 


Yuna received her Ph.D. in Film Studies from Birkbeck College, 

University of London, in 2009. She taught Japanese cinema and manga 

at Oxford Brookes University between 2006 and 2009. She is currently 

an associate research member of Antwerp University and a member of 

Russian Cinema Research Group at University College, London. 

› Revisiting Kurosawa Akira's The Idiot: A comparison with Sergei Eisenstein, 

Journal of Japanese & Korean Cinema, 2.1, 3-20. 

Jason is a Garrwa and Barunggam descendent. He has a background in 

Law, a Research Masters in Social Science and is currently based at 

Jumbunna Research Unit, UTS. Jason continues to pursue collaborative 

potential for enhancement of research and project outcomes within 

communities. 

› Two Laws still: notes on resonance, Studies in Documentary Film, 2.2, 185- 

189. 

Pascale De Souza holds a Ph.D. in Francophone Studies, a DEA in 

Commonwealth Literature and an Agrégation d’anglais. She currently 

leads the French Program at SAIS- Johns Hopkins University. The 

focus of her research is Island studies. She has published essays in 

journals such as Comparative Literature Studies, French Studies (UK), 

Oeuvres et Critiques, Studies in Twentieth-Century Literature, Studies 

in Australasian Cinema. She has co-edited three special series for the 

Journal of Caribbean Literatures, focusing on comparative and French

esistance, plains, opposition Caribbean literatures and two issues of the International Journal of 

Francophone Studies focusing respectively on the Black Atlantic in 

French overseas literatures and on migration in South Pacific 

literatures. 

Marijke de Valck 

University of Amsterdam, 

Department of Media Studies, 



Keywords Exploding Cinema, 

digitization, film distribution, film 

exhibition, ‘The Long Tail’ 

Alyssa DeBlasio 

University of Pittsburgh, Department 

of Slavic Languages and Literatures, 

702 Old Engineering Hall, Pittsburgh, 



Keywords genre, New-Year film, 

fairy tale, post-Soviet cinema, 

television films 

Greg DeCuir, Jr. 

Faculty of Dramatic Arts, Dramatic 

› Maoritanga in Whale Rider and Once Were Warriors: a problematic rebirth 

through female leaders, Studies in Australasian Cinema, 1.1, 15-28. 

Marijke de Valck studied Theatre, Film and Television Studies at 

Utrecht University. She graduated cum laude with a thesis on 

transmedial storytelling in film, television and new media. After having 

worked two years for an internet company, she joined the University of 

Amsterdam to conduct her Ph.D. on international film festivals, which 

she completed cum laude in 2006. Afterwards she taught courses in the 

film programme and the MA programme Preservation and Presentation 

of the Moving Image at UvA, while working on a CMI-studies 

(communication, media and information) project for the Royal 

Netherlands Academy of Arts and Sciences. Marijke now works as an 

assistant professor in the department of Media Studies. 

› ‘Screening’ the Future of Film Festivals? A long tale of convergence and 

digitization, Film International, 6.4, 15-23. 

Alyssa DeBlasio is a Ph.D. student in the Department of Slavic 

Languages and Literatures at the University of Pittsburgh. Her research 

interests include perestroika and post-Soviet-era philosophy in Russia, 

as well as the work of filmmaker Evgenii Bauer. 

› The New-Year film as a genre of post-war Russian cinema, Studies in 


Greg DeCuir, Jr. is a doctoral candidate at the Faculty of Dramatic 

Arts, Belgrade. His writing has appeared in the journals Cineaste, 

KinoKultura, Prelom, Kultura and his most recent book Yugoslav 

Black Wave: Polemical Cinema from 1963-72 in the Socialist Federal

Art, Media and Cultural Theory, 

Bulevar umetnosti 20, Beograd, 

11070, Republic of Serbia 

Keywords Yugoslav cinema, early 

cine-club culture, film festival, hiphop 

culture 

Jeannette Delamoir 

CQ University, Faculty of Arts, 

Business, Informatics and Education, 

Rockhampton Campus, Bruce 

Highway, North Rockhampton, QLD 


Keywords modernity, audiences, 

exhibition, distribution, regional 

Queensland, Royal Commission 

Daniel Deshays 


Keywords theatre, fixed sounds, 

voices, silence 

Shekhar Deshpande 

Communications, 450 S. Easton 

Road, Glenside, PA, 19038, United 


Keywords governance, European 

identity, cosmopolitanism, omnibus 

film, anthology 

Republic of Yugoslavia was published by Film Center Serbia in 2011. 

Current research interests include the history of Yugoslav cinema, early 

cine-club culture, film festival culture and hip-hop culture. Mr DeCuir 

works as a freelance writer and independent documentary film-maker. 

› Black Wave polemics: rhetoric as aesthetic, Studies in Eastern European 


Jeannette Delamoir has a Ph.D. in Media Studies from La Trobe 

University, and is currently embarking on a Ph.D in creative writing 

through CQUniversity. She completed a one-month fellowship during 

May 2011 at the National Filmand Sound Archive, Canberra. 

› Sweet dreams: Queensland, sugar and the 1927 Royal Commission into the 

Moving Picture Industry, Studies in Australasian Cinema, 5.2, 107-119. 

Daniel Deshays is a sound recordist and sound director with numerous 

stage and dance credits. He has also worked in film and produced over 

250 recordings, as well as being involved in the creation of various 

museographic sound spaces. 

› Staging Sound: A Matter of Dissociation, The Soundtrack, 2.1, 57-62. 

Shekhar Deshpande is Associate Professor and the Director of the 

Communication Program at Arcadia University, where he held Frank 

and Evelyn Steinbrucker Endowed Chair from 2005 to 2008. His main 

interests are world cinema, visual culture and cultural/media studies. 

He writes regularly on issues of cultural encounters, diversity and 

diasporic experience for Little India magazine. He is currently working 

on a project on anthology films. 

› Anthology films in European cinema: New frontiers of collective identities, 

Studies in European Cinema, 7.1, 77-88.

Stephen Deutsch 

Bournemouth Media School, 

Bournemouth University, Talbot 

Campus, Fern Barrow, Poole, Dorset, 

BH12 5BB, United Kingdom 

Keywords music, animation, 

synchrony, narrative, actuality 

television, hearing-impaired viewers 

Marina Díaz López 

Instituto Cervantes, Cultural 

Department, Spain 

Keywords Spanish music, popular 

culture, Hispanicity, Jorge Negrete, 

Carmen Sevilla 

Stephanie Dickison 

Writerscramp, Writing/Editing 

Stephen Deutsch has had his concert music performed by eminent 

artists, including the Medici Quartet, David Campbell, The Gaudier 

Ensemble, Andrew Ball, The London Mozart Players and many others. 

He has composed over 30 scores for film, theatre, radio & television. 

His many collaborations with the playwright Peter Barnes include 

Jubilee (2001), the Olivier Award-winning play, Red Noses (1985) and 

the feature film Hard Times (1994). He has significant expertise in the 

fields of Electronic Music (incl. sampling and synthesis), twentiethcentury 

music techniques; the composer in the marketplace; and issues 

having to do with film, TV, broadcasting and related subjects. 

› Editorial, The Soundtrack, 1.1, 3-13. 

› Aspects of synchrony in animation, The Soundtrack, 1.2, 95-105. 


› The problem of music in actuality television, The Soundtrack, 1.3, 183-191. 

› A Concise History of Western Music for Film-makers, The Soundtrack, 2.1, 

23-38. 

› Reviews:Three collections, The Soundtrack, 2.2, 153-157. 

› Psycho and the orchestration of anxiety, The Soundtrack, 3.1, 53-66. 

› Review, The Soundtrack, 3.2, 151-154. 

Marina Díaz López holds a doctorate in Film History from the 

Universidad Autónoma de Madrid. She was a member of the editorial 

board of Secuencias: Revista de Historia del cine from 1996 to 2010. 

She is in charge of the film and audiovisual office of the Instituto 

Cervantes (Madrid). In collaboration with Alberto Elena, she had 

edited two collections of essays on Latin American cinema: Tierra en 

trance. Elcine latinoamericano en 100 películas/Latin-American 

Cinema in 100 Films (Alianza Editorial, 1999) and The Cinema of 

Latin America (Wallflower Press, 2000). She has also authored various 

articles on Mexican musical cinema. She is currently in the initial 

stages of developing a history of ‘Cinema in Spanish’. 

› Connecting Spain and the Americas in the cold war: the transnational careers 

of Jorge Negrete and Carmen Sevilla, Studies in Hispanic Cinemas, 5.1&2, 

25-42. 

Journalist, essayist and cultural critic Stephanie Dickison has 

contributed to several non-fiction books and encyclopaedias and 

hundreds of articles for national and international magazines and

Keywords author, journalist, blogger, 

writer 

David Scott Diffrient 

Colorado State University, 

Department of Communication 

Studies, 213-D Eddy Hall, Fort 

Collins, CO, 80523-1783, United 


Keywords William Fox, Tokyo 

Story, Over the Hill, Korean golden 

age cinema, cross-cultural, adaptation 

Mike Dillon 


School of Cinematic Arts, 900 West 

34th Street, Los Angeles, CA 90089- 


Keywords terrorism, suicide 

bombers, Foucault, necropolitics, art 


newspapers. A book on her career as pop culture, book and restaurant 

critic was released in 2009 from ECW Press - The 30-Second 

Commute: A Non-Fiction Comedy About Writing & Working From 

Home. 

› Book Reviews, Film International, 5.3, 77-. 

› Anita Loos Rediscovered: Full Treatments and Fiction, Film International, 

5.2, 67-69. 


David Scott Diffrient is Assistant Professor of Film and Media Studies 

at Colorado State University. He has published articles in Cinema 

Journal, Film & History,Historical Journal of Film, Radio, and 

Television, Journal of Popular Film and Television, and Post Script, 

and has recently written a book on the television series M*A*S*H 

(Wayne State University Press). 

› Over That Hill: Cinematic adaptations and cross-cultural remakes, from 

Depression-era America to post-war Korea, Journal of Japanese & Korean 


Mike Dillon is a Ph.D. candidate in Critical Studies at the University of 

Southern California School of Cinematic Arts. His research interests 

include concepts of sovereign power and trends of transnational 

violence that emerge in neo-liberal polities. His dissertation explores 

representations of violence in the American ‘torture porn’ and Japanese 

yakuza genres that allegorize xenophobic anxieties and intersecting 

policies of militarism and neo-liberalism in their respective cultural 

contexts. 


› ‘Patriotism and valor are in your blood’: necropolitical subjectivities in The 

Terrorist (1999), Studies in South Asian Film & Media, 1.2, 209-226. 

Samba Diop Samba Diop teaches African literatures in French and English as well 

as African cinema. His special research interest is African epics in

Universite de Paris, 61 Avenue du 

General de Gaulle, Creteil, 94010, 

France 

Keywords Sembène, music, sound, 

environment, narrative 

Dominica Dipio 

Makerere University, Department of 

Literature, P. O. Box 7062, Makerere 

University, Kampala, Uganda 

Keywords conflict, culture, religion, 

gender, Sembene 

Robert Dixon 

Chair of Australian Literature, 

University of Sydney, Woolley 

Building, A20, Sydney, NSW, 2006, 

Australia 

Keywords commodity culture, 

consumerism, cultural politics, Bliss, 

Peter Carey 

Senegal and Gambia. He has edited and translated versions of the epics 

of Ndiadiane Ndiaye and of El Hadj Omar Tall. He has also edited two 

books on postcolonial studies (Fictions africaines et postcolonialisme; 

L’Écrivain peut-il créer une civilisation?). He is the author of two 

books on African studies (Discours nationaliste et identité ethnique à 

travers le roman sénégalais and African Francophone Cinema) and of 

one volume of short stories (À Bondowé, les lueurs de l’aube). 

› Music and narrative in five films by Ousmane Sembène, Journal of African 


Dominica Dipio is Senior Lecturer and Head of Literature Department 

at Makerere University and has a Ph.D. in film criticism from the 

Gregorian University, Rome. She coordinates collaborative Uganda 

Folklore research funded by the Norwegian Programme for Research 

and Education (NUFU), (2007–2011) that involves the training of 

graduate students; and she has co-authored two books, Performing 

Community (2008) and Performing Change (2009), out of this project. 

She has published several articles on gender, film and folklore. Gender 

and Religion in Nigerian Popular Films (2009), Faces of Masculinity 

in African Cinema (2010), A Historical Overview of Ugandan “Film 

Industry" (2010) and Gender Positioning and Roles in Madi Folktales 

(2008) are among her recent publications. 

› Gender wars around religion and tradition in Sembene Ousmane's Moolaade, 


Robert Dixon is Professor of Australian Literature at The University of 

Sydney. He is a past-President of the Association for the Study of 

Australian Literature (ASAL) and a Fellow of the Australian Academy 

of the Humanities. His research interests include colonialism and its 

culture, Australian literature and literary criticism, Australian cultural 

studies, postcolonial studies and Australian art history. His current 

research includes an illustrated edition of Frank Hurley's diaries, and 

the book Travelling Mass-Media Circus: Frank Hurley and Colonial 

Modernity. 

› Peter Carey's and Ray Lawrence's Bliss (1985): fiction, film and power, 

Studies in Australasian Cinema, 3.3, 279-294.

Evgeny Dobrenko 


of Russian & Slavonic Studies, 

Western Bank, Sheffield, South 

Yorkshire, S10 2TN, United Kingdom 

Keywords history, bio-pic, Civil 

War, Chapaev, Dovzhenko 

Julia Dobson 

University of Sheffield, School of 

Modern Languages and Linguistics, 1 

Upper Hanover Street, Sheffield, S3 

7RA, United Kingdom 

Keywords Audiard, De battre mon 

cœur s'est arrêté, filiation, puppet, 

alterity, theatre 

Jonathan Dockney 

University of Kwazulu-Natal, Proto 

Centre for Communication, Media 

and Society, Howard College 

Campus, Durban, 4041, South Africa 

Keywords audience, ethics, 

aesthetics, circuit of culture, 

participatory film-making, 

representation, media freedom, civil 

society, activism, social media 

Evgeny Dobrenko is professor in the Department of Russian and 

Slavonic Studies at the University of Sheffield. He is author, editor or 

co-editor of fifteen books, including Political Economy of Socialist 

Realism (2007), Aesthetics of Alienation: Reassessment of Early Soviet 

Cultural Theories (2005), The Making of the State Writer: Social and 

Aesthetic Origins of Soviet Literary Culture (2001), The Making of the 

State Reader: Social and Aesthetic Contexts of the Reception of Soviet 

Literature (1997). 

› Creation myth and myth creation in Stalinist cinema, Studies in Russian and 


Julia Dobson is Senior Lecturer in French at the University of 

Sheffield, UK. She has published widely on contemporary French 

cinema including articles on Kieslowski, the remake, first person 

documentary and Jacques Audiard. She is currently completing a book 

on Cabrera, Lvovsky, Masson and Vernoux. Her other area of research 

is contemporary French theatre - particularly the theatre of Cixous and 

performing objects. 

› Jacques Audiard and the filial challenge, Studies in French Cinema, 7.3, 179- 

190. 

› Retrospectives and projections: celebrating ten years of Studies in French 

Cinema, Studies in French Cinema, 10.1, 3-9. 

Jonathan Dockney is a Masters student at the Centre for Culture, Media 

and Society. He has published widely on the impact of the cellphone on 

the film and television industry, and has presented on the topic at 

conferences in the United Kingdom, Zanzibar and South Africa. His 

latest publication is Cellphilms, mobile platforms and prodsumers: 

hyper-individuality and film (Dockney et al. 2010). His research 

interests are media, communication, economics, politics, satire and 

development communication. 

› Reviews, Journal of African Cinemas, 1.1, 113-134. 

› Bumping into Reality, Brutal Realism and Bafundi 2009: Some Thoughts on 

a Student Film Festival, Journal of African Cinemas, 1.2, 225-234. 

› Festival Reviews, Journal of African Cinemas, 2.2, 167-193.

Greg Dolgopolov 

The University of South Wales, 

School of English, Media and 

Performing Arts, Sydney, NSW 2052, 

Australia 

Keywords Petrov Affair, migration, 

modernity, ambivalence, miniseries, 

multiculturalism, television 

Kieran Dolin 


English and Cultural Studies, 

Australia 


indigenous people, property, Border 

theory, law 

Ruth Doughty 

University of Portsmouth, School of 

Creative Arts, Film and Media, St 

George's Building, 141 High Street, 

Portsmouth, Hampshire, PO1 2HY, 



borrowing, origin, mirrors, Mathieu 

Kassovitz, Spike Lee, Lars von Trier 

Greg Dolgopolov teaches Film Studies at the University of New South 

Wales. Greg’s analysis of the representation of Russians in Australian 

cinema appeared in Diasporas of Australian Cinema (Intellect Press, 

2009). He is the curator of the Russian Resurrection Film Festival. 

Greg is currently working on a book (with Mark Ryan) about 

Australian crime representations in film and television. 

› The Petrov Affair: An ambivalent migrant narrative, Studies in Australasian 


› Cinema, modernity, modernism: Selected papers from the XVth Biennial 

Conference of the Film and History Association of Australia and New 

Zealand (FHAANZ), University of New South Wales, Sydney, Australia, 


Kieran Dolin is a Senior Lecturer in English and Cultural Studies at the 

University of Western Australia. He is the author of Fiction and the 

Law: Legal Discourse in Victorian and Modernist Literature 

(Cambridge University Press, 1999) and A Critical Introduction to Law 

and Literature (Cambridge University Press, 2007). He co-edited, with 

Tanya Dalziell and Tony Hughes-d'Aeth, the special issue of Studies in 

Australasian Cinema on 'Compulsory Screening: Border Protection, 

Migration and the Australian Screen' (2009). He is currently 

researching the representation of Indigenous land rights and native title 

in Australian Literature. 



› Law and identity at the fence, Studies in Australasian Cinema, 3.1, 133-146. 

Ruth Doughty is Senior Lecturer in Film at Portsmouth University 

specializing in Black American cinema, contemporary European 

directors and film music. She is presently involved in co-editing the 

Continuum Companion to Sound in Film and the Visual Media. Her 

thesis considered the political and cultural implications of the music 

used by Spike Lee with close musical analysis of both orchestral scores 

and popular music. 

› Racial reflection: La Haine and the art of borrowing, Studies in European 


› Manderlay (2005): Lars von Trier's narrative of passing, New Cinemas: 

Journal of Contemporary Film, 5.2, 153-162.

Peter Doyle 

Macquarie University, Department of 

Media, Balaclava Road, North Ryde, 

Sydney, New South Wales, 2109, 

Australia 

Keywords Bob Dylan: Chronicles, 

cinematic time, documentary 

Jonathan Driskell 

King’s College London, Film Studies, 

Strand, London, WC2R 2LS, United 


Keywords poetic realism, body, 

stardom, performance, metaphysical 

Natascha Drubek-Meyer 

Universität Regensburg, Institut für 

Slavistik, Universitätsstr. 27, 

Regensburg, 93040, Germany 

Keywords Hyperkino, methodology, 

DVD, digital technology, reference 

Peter Doyle is Lecturer in the Department of Media, Macquarie 

University, Sydney. He is an author of three prize-winning historicallybased 

Australian crime novels (Get Rich Quick, Amaze Your Friends, 

The Devilʹ′s Jump) and has worked as a guest curator at the Justice and 

Police Museum in Sydney, where he produced the Crimes of Passion 

exhibition (2002–2003). He is author of City of Shadows, which 

examines inner-Sydney in the first half of the twentieth century mainly 

via police crime and accident scene photographs. His book Echo and 

Reverb: Fabricating Space in Popular Music recording 1900–1960 

appeared in 2005 from Wesleyan Press. 

› Citizen Dylan, Studies in Documentary Film, 1.1, 67-76. 

Jonathan Driskell has recently completed a Ph.D. at King’s College 

London on female stardom in 1930s French cinema. He is now writing 

a monograph on the films of Marcel Carné, which is to be published by 

Manchester University Press as part of their French Film Directors 

series. He is currently teaching part-time at King’s College London. 

› The female ‘metaphysical’ body in poetic realist film, Studies in French 


Natascha Drubek-Meyer works in the research area of Film and 

Slavonic Studies. After graduating from the Ludwig-Maximilians- 

Universität, Munich, she held teaching positions at the universities of 

Munich, Potsdam and Charles University, Prague. From 2006-08 she 

was Marie Curie Scholar at FAMU, Prague. Currently she is 

Heisenberg Fellow at the University of Regensburg. She is editor of the 

Film & Screen Media section of the online journal ArtMargins.com, 

and co-editor of the series osteuropa medial (Böhlau Verlag), for 

which she has co-edited, with Jurij Murašov, the first volume Das Zeit- 

Bild im osteuropäischen Film nach 1945 (2010). Her book Russisches 

Licht: Von der Ikone zum vorrevolutionären Kino will be published 

in 2012. 

› Critical editions of films in digital formats, Studies in Russian and Soviet 


› Annotations for the Hyperkino edition of Lev Kuleshov's Engineer Prite's 

Project (1918), Academia series, RUSCICO, 2010, Studies in Russian and

Zoë Druick 

Simon Fraser University, School of 

Communication, 8888 University 

Drive, Burnaby, British Columbia, 

V5A 1S6, Canada 

Keywords non-fiction film-making, 

media and citizenship, media 

historiography, radical media 

Rajinder Dudrah 

University of Manchester, Drama, 

Martin Harris Building, Oxford Road, 

Manchester, M13 9PL, United 


Keywords Bollywood, Black British, 

popular music, Bhangra, diasporic 

media, television, film theory, 

cultural theory, research methods 

Derek Duncan 


Italian, 19 Woodland Road, Bristol, 

BS8 1TE, United Kingdom 

Keywords national cinema, Queer 


Zoë Druick is Associate Professor in the School of Communication, 

Simon Fraser University. She has published widely on the history of 

documentary film and educational media. Her resesarch addresses the 

interrelationship of documentary film and educational media with 

discourses and practices of democracy. Her books include Projecting 

Canada: Government Policy and Documentary Film at the National 

Film Board (2007), Programming Reality: Perspectives on English- 

Canadian Television (with Aspa Kotsopoulos) (2008), and Allan 

King's A Married Couple (2010). 

› Documenting false history: Errol Morris and Mr. Death, Studies in 


Dr. Rajinder Dudrah is Senior Lecturer in Screen Studies and Director 

of the Centre for Screen Studies at the University of Manchester, UK, 

where he also served as Head of Department of Drama, 2007-10 . He 

has researched and published widely in film, media, and cultural 

studies. His books include Bollywood: Sociology Goes to the Movies 

(Sage Publications, 2006); Bhangra: Birmingham and Beyond 

(Birmingham City Council and Punch Records, 2007); The Bollywood 

Reader (Open University Press, 2008); and Theorising World Cinema 

(with Lucia Nagib and Chris Perriam, IB Tauris, 2011). He is also the 

founding co-editor of the journal South Asian Popular Culture 

(Routledge). 

› The haptic codes of Bollywood cinema in New York City, New Cinemas: 


Derek Duncan is Senior Lecturer in Italian at the University of Bristol. 

He has published widely on sexuality and gender in twentieth-century 

Italian literature and film, and is author of Reading and Writing Italian 

Homosexuality (Ashgate, 2005). 

› Stairway to heaven: Ferzan Özpetek and the revision of Italy, New Cinemas:

Theory, Özpetek, accented cinema, 

sexuality Journal of Contemporary Film, 3.2, 101-114. 

Carolyn A. Durham 

The College of Wooster, Department 

of French, Wooster, OH, 44691, 


Keywords French cinema, American 

cinema, women's studies, gender 

John Edmond 

University of Queensland, Media 

Studies and Art History, St. Lucia, 

Brisbane, QLD 4702, Australia 

Keywords landscape, space, vehicle, 

movement, Phantom Ride, travelling 

shot 

Richard Edwards 

Indiana University, New Media, 


Keywords activism, antiglobalization, 

anti-capitalism, Seattle, 

World Trade Organization (WTO), 

Independent Media Center (IMC), 

› Introduction, New Cinemas: Journal of Contemporary Film, 6.3, 163-166. 

› ‘Loving Geographies’: queering straight migration to Italy, New Cinemas: 


Carolyn A. Durham is the Inez Kinney Gaylord Professor of French at 

the College of Wooster, where she also teaches Film Studies and 

Comparative Literature. Her books include Double Takes: Culture and 

Gender in French Films and their American Remakes and Literary 

Globalism: Anglo-American Fiction Set in France. Her articles on film 

have appeared in a number of journals, including Studies in French 

Cinema, PostScript, Jump Cut, Quarterly Review of Film and Video, 

French Review and French Cultural Studies. 

› Strategies of subversion in colonial nostalgia film: militarism and marriage in 

Brigitte Roüan's Outremer, Studies in French Cinema, 1.2, 89-97. 

› Bridging the gaps: The construction of Paris in Luc Besson's Angel-A 


John Edmond is a Rh.D. student at the University of Queensland. His 

current research is focused on the intersection between vehicle, 

landscape and film. 

› Moving landscapes: Film, vehicles and the travelling shot, Studies in 


Richard Edwards earned his Ph.D. in Critical Studies from University 

of Southern California's School of Cinema-Television. He has taught 

film and digital media production courses at USC, Loyola Marymount 

and Saint Mary's College of California. He is currently an Assistant 

Professor of Media Arts and Sciences at Indiana University's School of 

Informatics in the Division of New Media. 

› Torrents of Resistance: Online Video Activism in the Anti-globalization

P2P file sharing, OneWorld TV, The 

Globalisation Tapes movement, Film International, 2.10, 38-47. 

Robert Efird 

Virginia Tech, Department of Foreign 

Languages and Literatures, 331 Major 

Williams Hall, Blacksburg, VA 


Keywords Ivan's Childhood, Andrei 

Tarkovsky, Soviet cinema, dreams, 

narration 

Martin Eide 

Department of Information Science 

and Media Studies, POB 7800, N- 

5020, Bergen, Norway 

Keywords professionalism, 

journalism, democracy, conversation, 

audience, participation 

Daniel Eisenberg 


School of Cultural Inquiry, Level 1, 

A.D. Hope Building, Canberra, ACT 


Keywords national identity, frontier 

outlaws, Ned Kelly, Jesse James, 

Australian cinema, American cinema 

Robert Efird is Assistant Professor of Russian at Virginia Tech. He is 

currently writing a book-length study of Ivan’s Childhood and an 

article examining narration in Alexander Sokurov’s Russian Ark. 

› Dreams, mirrors and subjective filtration in Ivan's Childhood, Studies in 


Martin Eide, Ph.D., is Professor at Department of Information Science 

and Media Studies, University of Bergen, Norway. Eide’s main area of 

research has been on the role and power media and journalists have in 

society. He has also done extensive work on political communication 

and the political role of media as well as on sociological aspects of 

news-production. Eide has written several books and articles about 

Norwegian popular journalism. He has also conducted several research 

projects focusing on journalism and media history, e.g. on the 

popularization of Norway's largest newspaper and on the history of an 

editorial role in a Norwegian context. 

› Dialogical ambiguities: journalism, professionalism and flattery, Northern 


Daniel Eisenberg is currently a Ph.D. candidate at the School of 

Cultural Inquiry, the Australian National University. His thesis is a 

comparative study of American outlaws and Australian bushrangers on 

film. He is interrogating the contrasting issues of history, identity and 

legend that arise from these cinematic frontier outlaws. 

› Shooting cinematic outlaws: Ned Kelly and Jesse James as viewed through 

film, Studies in Australasian Cinema, 5.2, 145-154.

Hyginus Ekwuazi 

University of Ibadan, Department of 

Theatre Arts, Ibadan, Nigeria 

Keywords Kano State, Islam, Hausa 

film culture, India 

Alberto Elena Díaz 

Universidad Carlos III de Madrid, 

Departamento de Periodismo y 

Comunicacion Audiovisual, Getafe, 

Madrid, 28903, Spain 

Keywords The Spirit of the 

Beehive/El esptitu de la colmena, 

Antonio López, Abbas Kiarostami, 

films of childhood, Victor Erice 

Jonathan Ellis 

Sheffield University, School of 

English Literature, Language and 

Linguistics, Jessop West, 1 Upper 

Hanover Street, Sheffield, S3 7RA, 


Keywords Disney, representations of 

family, Studio Ghibli, anime 

Dr. Hyginus Ekwuazi teaches Film and Media Studies at the 

Department of Theatre Arts, University of Ibadan, Nigeria. Until 

recently, he was the Managing Director of the Nigerian Film 

Corporation, Jos, Nigeria. He was instrumental in the setting up of the 

Film School as part of the Nigerian Film Corporation. A scholar and 

film historian, Dr. Ekwuazi has published widely in the area of African 

cinema. 

› The Hausa video film: the call of the muezzin, Film International, 5.4, 64-70. 

Alberto Elena Díaz is Professor of Film Studies in the Department of 

Audiovisual Communication at the Universidad Carlos III de Madrid. 

One of the leading Spanish specialists in cinemas of the periphery, he 

is also founding editor of the journal Secuencia: Revista de Historia del 

Cine. Among his published books are The Cinema of Abbas 

Kiarostami, El cine del Tercer Mundo: diccionario de realizadores, 

Cine e Islam; Los cines periféricos: África, Oriente Medio, India o La 

invención del subdesarrollo: cine, tecnología y modernidad. He has 

also coedited with Marina Díaz López two anthologies of essays on 

Latin–American Cinema Tierra en trance: el cine latinoamericano en 

100 películas (1999) and The Cinema of Latin America. 

› Dream of Light: Erice, Kiarostami and the history of cinema, Studies in 


Jonathan Ellis is Senior Lecturer in American Literature at the 

University of Sheffield. He is the author of Art and Memory in the 

Work of Elizabeth Bishop (2006), as well as articles and essays on 

Woody Allen, Paul Muldoon, Sylvia Plath and Anne Stevenson. In 

2005 his interview with the Japanese writer Murakami Haruki appeared 

in The Georgia Review. His next book is on twentieth-century letter 

writing. He has been the recipient of a Leverhulme Early Career 

Fellowship and, more recently, a British Academy Research 

Development Award. 

› The art of anime: Freeze-frames and moving pictures in Miyazaki Hayao's 

Kiki's Delivery Service, Journal of Japanese & Korean Cinema, 2.1, 21-34.

Thomas Elsaesser 


Netherlands 

Keywords Aki Kaurismäki, Mies 

vailla menneisyyttä/The Man without 

a Past, double occupancy, European 

cinema, transnational cinema 

community 

Leen Engelen 

Catholic University of Leuven, 

Belgium 

Keywords television, film funding, 

regional cinema, Flanders, Belgium 

Audun Engelstad 

Faculty of television production and 

film studies (TVF), Lillehammer 

University College, 2604 

Lillehammer, Norway 

Keywords Norwegian neo-noir, 

criminal investigator, cyclic changes 

Nezih Erdoğan 

Santralistanbul, Eski Silahtarag˘a 

Elektrik Santralı, Silahtarag˘a Mah, 

Kazım Karabekir Cad. No: 1 34060 

Eyüp, Istanbul, Turkey 

Keywords reception, Turkish media, 

national identity, cultural identity, 

identity 

Thomas Elsaesser is Professor Emeritus at the University of 

Amsterdam. His research and publications cover a great number of 

areas, ranging from New German Cinema: A History (1989) to 

European Cinema: Face to Face with Hollywood (2005). Elsaesser was 

appointed the first Ingmar Bergman Professor (Stockholm) in 2005. 

› Hitting bottom: Aki Kaurismäki and the abject subject, Journal of 


Leen Engelen is a lecturer at the Media and Design Academy (KHLim) 

and researcher at the Catholic University of Leuven. The research 

presented here was carried out in the framework of ‘Optique belge’, a 

joint research project supported by Sint Lukas Brussels and by the 

Media and Design Academy. 

› Made in Flanders (Redux): Film Production, Government Funding and 

Television Participation in Flanders, Belgium, Film International, 8.6, 50-59. 

Associate professor of film and television studies at Lillehammer 

University College. 

› Dealing with crime: cyclic changes in Norwegian crime films, Journal of 


Nezih Erdoğan is Professor of Film Studies and Dean of the Faculty of 

Communication at Istanbul Bilgi University. He has widely published 

on Turkish popular cinema, Hollywood in Turkey, censorship and 

Turkish Trash, and his book-length studies include Sinema Kitabi/Book 

of Cinema (1992), Seyirci ve Sinema/Film and Spectator (1994). He is 

currently working on a number of projects in digital resources on early 

years of cinema in Istanbul and film censorship reports in Turkey. 

› Star director as symptom: reflections on the reception of Fatih Akın in the

Susan Ericsson 

Concordia University, 7400 Augusta 

St, River Forest, IL, 60305, United 


Keywords adolescent sexuality, 

female youth, confession, sexually 

transmitted disease, female adolescent 

desire 

Claudia Esposito 

University of Massachusetts-Boston, 


100 Morrissey Blvd, Boston, MA 


Keywords Kechiche, quotidian, 

space, language, contemporary 

France, Beur and banlieue 

Alexander Etkind 

Cambridge University, King’s 

College, Cambridge, CB2 1ST, 


Keywords Aleksei Iu. German, 

Stalinism, mourning, memory, post- 

Soviet film 

Turkish media, New Cinemas: Journal of Contemporary Film, 7.1, 27-38. 

Susan Ericsson is an assistant professor in the Art, Communication, 

and Theatre Department at Concordia University, Chicago. Dr. 

Ericsson teaches digital video production, film history and mass media 

communication courses. Among Dr. Ericsson's research interests are 

cinema in the United States, international film, documentary film and 

video, media product placements and cultural criticism. 

› Raw Exposure: Portrayals of Youth Sexuality in Contemporary US 

Documentary, Film International, 6.6, 51-61. 

Claudia Esposito is Assistant Professor of French at the University of 

Massachusetts-Boston. She has published articles on Francophone 

literature and film from France and the Maghreb, which include essays 

on Abdellatif Kechiche and Karim Dridi, Tahar Ben Jelloun, Amin 

Maalouf and Albert Memmi. She is currently completing a monograph 

on the postcolonial Mediterranean. 

› Ronsard in the metro: Abdellatif Kechiche and the poetics of space, Studies 


Alexander Etkind is Reader in Russian Literature and Cultural History 

at the University of Cambridge and a Fellow of King’s College, 

Cambridge. He is also the head of a large European project, Memory at 

War: Cultural Dynamics in Russia, Poland, and Ukraine, which is 

financed by the HERA Foundation (2010–13). Before coming to 

Cambridge, he taught at the European University at St Petersburg and 

was a visiting scholar or professor at Helsinki, Harvard, Georgetown 

and New York Universities, as well as at the Wissenschaftskolleg in 

Berlin and the Woodrow Wilson Center in Washington DC. His books 

include Eros of the Impossible: The History of Psychoanalysis in 

Russia (1993), Khlyst. Sekty, literatura i revolitsiia (1998) and Nonfiction 

po-russki pravda (2007). 

› The tale of two turns: Khrustalev, My Car! and the cinematic memory of the

Jo Evans 

University College London - 

University of London, Department of 

Spanish, Gower Street, London, 

WC1E 6BT, United Kingdom 

Keywords Lacan, femme fatale, 

homme fatal, heterosexual gaze, 

homosexual gaze, Basque 

Claude Evans 

University of Toronto Mississauga, 

Language Studies, 29 Oriole Gardens, 

Toronto, Ontario, M4V 1V8, Canada 

Keywords Patrice Leconte, Le Mari 

de la coiffeuse, La Fille sur le pont, 

gender, fantasy 

Georgina Evans 

St John’s College, University of 

Cambridge, United Kingdom 

Soviet past, Studies in Russian and Soviet Cinema, 4.1, 45-63. 

Dr. Evans is the author of Moving Reflections: Gender, Faith and 

Aesthetics in the work Ángela Figuera Aymerich (London: Tamesis, 

1996). Her research is in the area of contemporary Spanish literature 

and film, gender studies, and psychoanalysis. She has published work 

on Spanish and Latin American poetry and narrative, as well as on 

Spanish directors Ramón Salazar, Víctor Erice, Imanol Uribe, Juanma 

Bajo Ulloa, Julio Medem, and Juan Antonio Bardem: she is currently 

working on intertextuality and transnationality in Amenábar and 

completing a second monograph on Julio Medem. 

› Piedras and the fetish: ‘Don't look now’, Studies in Hispanic Cinemas, 2.2, 

69-82. 

› La madre muerta (The Dead Mother, 1993) and Tierra (Earth, 1995): Basque 

identity, or just the other?, New Cinemas: Journal of Contemporary Film, 

4.3, 173-184. 

Claude Lucette Evans is Senior Lecturer in French at the University of 

Toronto at Mississauga (Canada), where she teaches courses on 

francophone culture and cinema. Her degrees include a Licence-ès- 

Lettres from the University of Rennes (France), an MA in Linguistics 

from the University of Rochester, NY (USA) and a Ph.D. in Medieval 

Studies from the University of Toronto (Canada). She has published in 

the area of Breton onomastics and popular religion, the Celtic church 

and society, Celtic mythology and its representations in literature, art 

and Robert Flaherty’s Man of Aran. Her current research interests 

include the films of Patrice Leconte and Claude Chabrol. 

› Fantasies and ambiguous sexuality in Patrice Leconte’s Le Mari de la 

coiffeuse and La Fille sur le pont, Studies in French Cinema, 4.2, 135-146. 

Georgina Evans is a Ph.D. student at St John’s College, Cambridge. 

Her work examines interactions between the senses in contemporary 

French cinema, with special attention to Kieslowski’s French-language 

films. She is the winner of the 2004 Studies in French Cinema

Keywords synaesthesia, Trois 

couleurs: Bleu/Three Colours: Blue, 

senses, perception 

Owen Evans 

Edge Hill University, Department of 

Media, St Helens Road, Ormskirk, 

L39 4QP, United Kingdom 

Keywords Lola, Franka Potente, 

post-modernism, German cinema, 

fairy tale 

Wendy Everett 

University of Bath, European Studies 

and Modern Languages, Claverton 

Down, Bath, BA2 7AY, United 


postgraduate essay prize. 

› Synaesthesia in Kieslowski’s Trois couleurs: Bleu, Studies in French 


Dr. Owen Evans is Senior Lecturer in the School of Arts. His main 

research interests are currently centred on German and European 

cinema, but he has published widely on East German society and 

culture, as well as contemporary German society and culture. His most 

recent book is entitled Mapping the Contours of Oppression: 

Subjectivity, Truth and Fiction in Recent German Autobiographical 

Treatments of Totalitarianism (Rodopi, 2006). 


› Tom Tykwer’s Run Lola Run: Postmodern, posthuman or ‘post-theory’?, 






› Introduction: ‘Films without Frontiers’, Studies in European Cinema, 4.3, 

163-166. 



› Editorial: A European imaginary, Studies in European Cinema, 6.1, 3-6. 

› Editorial, Studies in European Cinema, 6.2&3, 93-96. 




› Editorial: The Death of the Auteur?, Studies in European Cinema, 8.1, 3-6. 

Wendy Everett graduated from the University of Wales, Cardiff and 

did postgraduate research at King's College, University of London, and 

in Paris. Here, she also lectured before moving to the University of 

Bath where she teaches Film at both undergraduate and postgraduate 

levels. She has given several lectures and conference papers in both the 

United Kingdom and the United States, and has recently been 

appointed to the Editorial Board of Literature/Film Quarterly.

Keywords space, fractal film, chaos, 

networks, autobiography, women's 

voices 

Elizabeth Ezra 

University of Stirling, School of 

Languages, Cultures and Religions, 

Stirling, FK9 4LA, United Kingdom 

Keywords dismemberment, extreme 

cinema, restraint, transnational 

Europe 

Aminu Fagge 

Mohammad 

Bayero University, Chair of the 

Department of Sociology, Kano, 

Nigeria 

Keywords Kano State, Islam, gender, 

family, feminism 

› Fractal films and the architecture of complexity, Studies in European 


› Through the I of the camera: Women and autobiography in contemporary 

European film, Studies in European Cinema, 4.2, 125-136. 

› Image, Music, Film, Studies in European Cinema, 5.1, 7-16. 

Elizabeth Ezra teaches in the French section of the School of Modern 

Languages and Cultures at the University of Stirling. She is the author 

of The Colonial Unconscious (Cornell University Press, 2000) and 

Georges Melies (Manchester University Press, 2000); editor of 

European Cinema (Oxford University Press, 2003); and co-editor of 

France in Focus: Film and National Identity (Berg, 2000) and 

Transnational Cinema: The Film Reader. 

› Apocalypse Then: French Disaster Films of the 1920s, Studies in French 


› Traces of the modern: an alternative history of French cinema, Studies in 


› L'Auberge espagnole (2002): transnational departure or domestic crash 

landing?, Studies in European Cinema, 2.2, 137-. 

› Resurrecting the Alien Director: Jean-Pierre Jeunet in Hollywood, New 

Cinemas: Journal of Contemporary Film, 1.1, 54-. 

Professor Aminu Fagge Mohammad teaches Sociology at the Bayero 

University Kano. He is currently Chair of the Department of Sociology. 

His main research interest is gender and the transformation of the 

Hausa Muslim community of Northern Nigeria. He is currently 

conducting research on the transformation of agricultural labour in 

Kano State. His major publications are: Economy and Society in Hausa 

Home Video and Cooperative Society in Nigeria: genesis and current 

trends. 

› Women, religion and guilt in Hausa home video: an assessment, Film 

International, 5.4, 98-105.

Janina Falkowska 

University College 75, 1138 

Richmond Street, London, Ontario, 

N6A 3K7, Canada 

Keywords Michael Haneke, Andrzej 

Wajda, European cinema, fatherhood, 

Melancholia 

Brett Farmer 

Chulalongkorn University, BALAC, 

Faculty of Arts, Boromrajakumari 

Bldg, Pathumwan, BKK 10330, 

Thailand 

Keywords celebrity, moral panic, 

Internet, transnational stardom, 

Edison Chen 

Mary Farquhar 

Griffith University, Department of 

International Business and Asian 

Studies, Nathan, Queensland, 4111, 

Australia 

Keywords martial arts, stardom, 

adolescence, opera, comedy 

Professor Janina Falkowska teaches East-Central European and 

Western European cinemas at the Department of Film Studies, the 

University of Western Ontario in London, Canada. She is the author of 

two books on Andrzej Wajda, The Political Films of Andrzej Wajda. 

Dialogism in Man of Marble, Man of Iron and Danton and Andrzej 

Wajda: History, Politics and Nostalgia in Polish Cinema. At present, 

Professor Falkowska is working on two new projects, melancholia in 

European cinemas and the interpretations of European cinemas in the 

context of Mikhail Bakhtin's notions of carnivalesque. 

› The myth of the father: Melancholia in the films of Andrzej Wajda from 

Poland, Michael Haneke from Austria and Aleksandr Sokurov from Russia, 


Brett Farmer is Lecturer in the Faculty of Arts at Chulalongkorn 

University, Thailand. He is the author of Spectacular Passions: Film, 

Fantasy, Gay Male Spectatorships (Duke University Press, 2000) and 

numerous essays in film, media, cultural and queer studies. 

› Crossing the line: Reading the Edison Chen scandal, Journal of Chinese 


Mary Farquhar is a professor at Griffith University, Australia. She 

specializes in China studies and studied at Beijing University. Her 

publications include Children’s Literature in China: From Lu Xun to 

Mao Zedong (New York: M.E. Sharpe, 1999), which won the annual 

International Children’s Literature Association Award for the most 

distinguished, scholarly book published in the field. Her recent work on 

Chinese cinemas includes a book with Chris Berry, China Onscreen: 

Cinema and Nation (New York: Columbia University Press, 2006), an 

edited book with Yingjin Zhang, Chinese Film Stars (Milton Park and 

New York: Routledge, 2010), and numerous book chapters and journal 

articles. She is also working as a writer with Rolex on the Rolex 

Mentor and Protege Arts Initiative (film cycle 2010-2011). The mentor 

is Chinese filmmaker Zhang Yimou and the protege is Palestinian film 

director Annemarie Jacir. 

› Jackie Chan: a new dragon for a new generation, Journal of Chinese 

Cinemas, 2.2, 137-146.

Monika Farukuoye 

University of Fine Arts, Fine Arts 

Film Department, Hamburg, Germany 

Keywords dramaturgy, existential 

phenomenology, embodiment, 

visuality, valuation 

Sally Faulkner 

University of Exeter, Hispanic 

Studies, Modern Languages, Exeter, 



adaptation, New Spanish Cinema, 

history, cultural memory, Mario 

Camus, Vicente Aranda, Ricardo 

Franco, Montxo Armendariz, Ventura 

Pons, Angelino Fons, Gonzalo 

Suarez, Fernando Mendez Leite, Luis 

Bunuel, Fernando Palacios, Pedro 

Lazaga, Miguel Picazo, Basilio 

Martin Patino, Carlos Saura 

Maryse Fauvel 

College of William and Mary, 

Williamsburg, Virginia, VA 23185, 


Keywords Maghrebi cinema, 

multiculturalism, hybridity, 

modernity, France, digital technology 

Monika Farukuoye was born in Vienna and earned a Masters degree in 

Computer Science at the Technical University of Vienna in 2002. In 

2005, she completed the programme ‘Film-craft in Four Semesters’ in 

Vienna, and enrolled in the Masters programme in Film Directing at 

Hamburg Media School in 2008. In 2009 she started her present studies 

in the Masters programme at the Hamburg University of Fine Arts Film 

Department with Professor Wim Wenders. 

› Portrayed beyond exposure, Short Film Studies, 1.1, 99-102. 

Dr Sally Faulkner is a Senior Lecturer in Hispanic Studies and Film 

Studies at the University of Exeter, and author of Literary Adaptations 

in Spanish Cinema (London: Támesis, 2004) and A Cinema of 

Contradiction: Spanish Film in the 1960s (Edinburgh: Edinburgh 

University Press, 2006). She is currently completing a history of 

Spanish Cinema for Continuum. 

› The question of authenticity: Camus’s film adaptation of Cela’s La colmena, 


› New Spanish Cinema in the 1960s: Interviews with Antxón Eceiza and Julio 

Diamante, Studies in Hispanic Cinemas, 2.3, 205-. 

› Reviews, Studies in Hispanic Cinemas, 3.1, 65-. 


› Reviews, Studies in European Cinema, 7.2, 163-169. 

› Catalan city cinema, New Cinemas: Journal of Contemporary Film, 1.3, 141- 

148. 

Maryse Fauvel is Professor of French/Francophone Studies at the 

College of William and Mary (Virginia, USA). Her book on 

contemporary Francophone novels Scenes d'interieur. Six romanciers 

des annees 80-90 came out in 2007 (Birmingham,AL:Summa) and the 

first volume of her co-written book A vous de voir ! (Paris : Casteilla) – 

with a DVD – came out in 2010, and a second volume forthcoming. 

She has published articles on contemporary French/Francophone 

literature, culture and cinema in The French Review, The Romanic 

Review, Studies in Twentieth-Century French Literature, Romance 

Notes, Sites: The Journal of Twentieth Century/Contemporary French 

Studies, Studies in French Cinema and Contemporary French 

Civilization.

Rossella Ferrari 

SOAS, University of London, 

Department of China & Inner Asia, 

Thornhaugh Street, Russell Square, 

London, WC1H 0XG, United 


Keywords Chinese cinema, Chinese 

theatre, experimental performance, 

avant-garde, transnationalism, 

transmediality 

Carolin Overhoff 

Ferreira 

Universidade Catolica Portuguesa, 

Rua Nova do Rochio, 125, Sao Fylix 

da Marinha, 4410-113, Portugal 

Keywords war, trauma, 

postcolonialism, double 

consciousness, Portuguese cinema, 

Africa, immigration 

Arild Fetveit 


› Yamina Benguigui’s Inch’Allah dimanche: unveiling hybrid identities, 

Studies in French Cinema, 4.2, 147-. 

› Nostalgia and digital technology: The Gleaners and I (Varda, 2000) and The 

Triplets of Belleville (Chomet, 2003) as reflective genres, Studies in French 

Cinema, 5.3, 219-. 

Rossella Ferrari is Lecturer in Modern Chinese Culture and Language 

at the School of Oriental and African Studies, University of London. 

Her research interests focus on Chinese-language theatre and film, 

cross-cultural performance, and avant-garde theory. She has recently 

completed a book-length manuscript entitled Pop Goes The Avant- 

Garde: Experimental Theatre in Contemporary China. 

› Transnation/transmedia/transtext: border-crossing from screen to stage in 

Greater China, Journal of Chinese Cinemas, 2.1, 53-65. 

Carolin Overhoff Ferreira is Assistant Professor and teaches film, script 

analysis and scriptwriting at the Portuguese Catholic University in 

Porto and Brazilian film at the University of Coimbra. She studied film 

and theatre studies in Vienna, Bristol and Berlin and wrote her doctoral 

thesis on contemporary Latin American drama. She has taught 

dramaturgy, film and theatre history at the Applied University of Art 

and Design in Hanover, and contemporary Latin American drama at 

the Free University of Berlin. Current key interests of investigation are 

questions of identity, postcolonialism, migration, the representation of 

women and literary adaptation in Portuguese-speaking films. 

› Decolonizing the mind? The representation of the African Colonial War in 

Portuguese cinema, Studies in European Cinema, 2.3, 227-. 

› No future – The Luso-African generation in Portuguese Cinema, Studies in 


Arild Fetveit is associate professor in the Department for Media, 

Cognition and Communication, University of Copenhagen. He has 

published in the field of reception studies, reality TV, convergence,




Keywords remediation, digitalization, 

post-medium condition, new media, 

media aesthetics 

Allyson Fiddler 

Lancaster University, Department of 

European Languages and Cultures, 

Lancaster, Lancashire, LA1 4YN, 


Keywords identity politics, Austria, 

Yugoslavia, memory, nostalgia, 

nationalism, drama, novels, European 

cinema, Elfriede Jelinek 

Joshua First 

University of Mississippi, Department 

of History, Oxford, Mississippi, 


Keywords women's film, genre, post- 

Thaw, Brezhnev era, 1970s 

Jaimey Fisher 

University of California, Davis, 

Department of German, 209 Sproul 

Hall, Davis, CA 95616, United States 

of America 

medial noise, music video and digitalization of film and photography 

as well as written a dissertation on the discursive possibilities between 

documentary and fiction film. 


› Convergence by means of globalized remediation, Northern Lights: Film & 

Media Studies Yearbook, 5.1, 57-74. 

› Online debate on digital aesthetics and communication, Northern Lights: 


Allyson Fiddler is a Professor of German and Austrian Studies at 

Lancaster University. Her recent publications include articles on 

Carinthia and interculturalism, sport and national identity in 

contemporary Austria drama, and on Elfriede Jelinek’s plays Das 

Lebewohl and . Allyson is a member of the international advisory 

boards of Austrian Studies, Modern Austrian Literature and the 

Elfriede Jelinek-Forschungszentrum at the University of Vienna. 

› ‘Remember me, but ah! forget my fate’: Goran Rebić's picture of ‘Balkan 

Vienna’ in Jugofilm (1997), Studies in European Cinema, 3.3, 201-210. 

Joshua First is Croft Assistant Professor of History and International 

Studies at the University of Mississippi in Oxford, MS. Dr. First is 

interested in Soviet cinema and visual culture during the Brezhnev era. 

He is working on a book on Ukrainian 'poetic cinema' and its 

engagement with nationalist discourses during the 1960s and 1970s. 

› Making Soviet melodrama contemporary: conveying ‘emotional information’ 

in the era of Stagnation, Studies in Russian and Soviet Cinema, 2.1, 21-42. 

Jaimey Fisher is currently Assistant Professor of German at the 

University of California, Davis. He has co-edited the volume Critical 

Theory: Current State and Future Prospects, and has published essays 

on German cinema, on German literature, and on the Frankfurt School. 

His current project re-examines and refigures some of the recurring 

themes of German Studies scholarship via a critical examination of

Keywords Munich Film Festival 

2004, Regie-Förderpreis der 

HypoVereinsbank, German cinema, 

Schlöndorff, The Ninth Day/Der 

neunte Tag 

Alexander Fisher 

Queen’s University, Lecturer in Film 

Studies, School of Languages, 

Literatures, and Performing Art, 

Queen’s University Belfast, Belfast, 

BT7 1NN, United Kingdom 

Keywords hybridity, culture, 

development, Africa, cinema 

Michael Fitzhenry 

Zhongshan University, 

Communication and Design, China 

Keywords Gus Van Sant, Elephant, 

Jia Zhang Ke, Platform, independent 

cinema, Chinese cinema, Beijing Film 

Academy, ‘Sixth Generation’, digital 

technology 

Lorna Fitzsimmons 

Calfornia State University, 

Dominguez Hills, Department of 

Interdisciplinary Studies, United 


Keywords Faust, literature, music 

post-1989 cinema. 

› Report on the Munich Film Festival 2004, New Cinemas: Journal of 

Contemporary Film, 2.3, 199-. 

Alexander Fisher is Lecturer in Film Studies at Queens University 

Belfast, where he teaches modules on world cinemas and film music. 

› Funding, ideology and the aesthetics of the development film in postcolonial 

Zimbabwe, Journal of African Cinemas, 2.2, 111-120. 

Michael Fitzhenry teaches in the School of Communication and Design 

at Zhongshan University. He is interested in what is loosely referred to 

as film and ethics; however, his recent research concentrates on the 

impact of digital technology on the film industry, and he is interested in 

East Asian cinemas in particular. 

› nternal Screening: the new independent cinema between Hollywood and 

China, Film International, 5.1, 45-57. 

Lorna Fitzsimmons is Associate Professor in the Department of 

Interdisciplinary Studies at Calfornia State University, Dominguez 

Hills. Her publications include International Faust Studies: 

Adaptation, Reception, Translation (London & New York: Continuum) 

(ed) and Lives of Faust: The Faust Theme in Literature and Music. A 

Reader (Berlin and New York: De Gruyter) (ed). 

› Hermes and the jeu feminine: L'Herbier's Don Juan et Faust, Studies in 

French Cinema, 2.2, 98-108.

Trish FitzSimons 

Griffith Film School, Queensland 

College of Art, Griffith University, 

PO Box 3370, South Brisbane, 4101, 

Australia 

Keywords voice, choric, dialogic, 

ventriloquic, Bill Nichols 

Daniela Flesler 

SUNY Stony Brook, Melville Library 

N-3017, Department. of Hispanic 

Languages and Literature, N3014 

Melville Library, Stony Brook, New 


of America 

Keywords romance, racism, 

Europeanization, Tomándote, 

Susanna 

Margaret C. Flinn 

University of Illinois, Department of 

French, 2090 Foreign Languages 

Building MC-158, 707 S. Mathews 

Avenue, Urbana, Illinois, United 


Keywords adaptation, document, new 

media art, interactive cinema, Boissier 

Trish FitzSimons is Associate Professor at the Griffith Film School, 

Brisbane. She is a documentary filmmaker who also has research 

interests in documentary theory, policy and history. She teaches screen 

producing and screen distribution and is interested in the impact of 

digital cinema exhibition on national cinemas and the integration of 

screen media and museums. She has recently completed Australian 

Documentary: History, Practice, Genres (Cambridge University Press, 

forthcoming) with Dugald Williamson and Pat Laughren. 

› Braided Channels: A Genealogy of the Voice of Documentary, Studies in 


Daniela Flesler is Assistant Professor of Spanish at the State University 

of New York, Stony Brook with a specialization in contemporary 

peninsular studies. She has published essays in Revista de Estudios 

Hispánicos, Arizona Journal of Hispanic Cultural Studies, Journal of 

Spanish Cultural Studies, Dieciocho and Crítica Hispánica, and is 

currently completing a book manuscript entitled The Return of the 

Moor: Spanish Responses to Contemporary Moroccan Immigration. 

› New racism, intercultural romance, and the immigration question in 

contemporary Spanish cinema, Studies in Hispanic Cinemas, 1.2, 103-118. 

Margaret C. Flinn is Assistant Professor in the Departments of French 

and of Media and Cinema Studies at the University of Illinois at 

Urbana-Champaign. She has authored articles on Chris Marker, 

Nicolas Philibert, the film theory of Elie Faure, women in North 

African cinema and the documentaire romancé for journals such as 

SubStance and Yale French Studies. She is currently completing a book 

entitled Bodies in Space: The Social Architecture of French Cinema, 

1929–1939. The above article comes from a book project tentatively 

titled New Limits of the Real: Arts of the Moving Image and the 

Politics of the Contemporary Everyday. 

› Jean-Louis's Moments of Jean-Jacques, Studies in French Cinema, 10.2, 141- 

154.

Stephen Forcer 

University of Birmingham, 

Department of French Studies, 

Birmingham, B15 2TT, United 


Keywords Miéville, Numéro deux, 

game, form, philosophy, Buñuel 

Hamish Ford 

The University of Newcastle, School 

of Humanities and Social Science, 

Room MC127, McMullin Building, 

Callaghan Campus, Newcastle, New 

South Wales, 2308 NSW, Australia 

Keywords post-war modernism, 

1960s, return, past, temporality, 

aesthetic form 

Serena Formica 

The University of Derby, Faculty of 

Arts, Design and Technology, 

Department of Film and Media 

Studies, Kedleston Road, Derby, 

DE22 1GB, United Kingdom 

Keywords Australian national 

cinema, policy, film industry, 

production, revival 

Stephen Forcer wrote his D.Phil. on the poetry of Tristan Tzara at 

Wadham College, Oxford. He is a lecturer in French at Birmingham 

University. His primary research interests include Dada and Surrealism 

in French film and literature. He has written on Luis Buñuel’s Belle de 

jour (1967), and contributed translations of six essays to Christina 

Howells (ed.), French Women Philosophers: A Contemporary Reader 

(London: Routledge, 2003). 

› Word games and space invaders: play, form and philosophy in Jean-Luc 

Godard and Anne-Marie Miéville’s Numéro deux (1975), Studies in French 


› Trust me, I'm a director: sex, sadomasochism and institutionalization in Luis 

Buñuel's Belle de Jour (1967), Studies in European Cinema, 1.1, 19-30. 

Hamish Ford lectures in Film, Media and Cultural Studies at the School 

of Humanities and Social Science, University of Newcastle. 

› The return of 1960s modernist cinema, Studies in Australasian Cinema, 5.2, 

155-170. 

Serena Formica is Associate Lecturer in Film Studies at the University 

of Derby, UK. She is author of the book Peter Weir: A Creative 

Journey from Australia to Hollywood. 

› When it all started: Politics and policies of the Australian film industry from 

the revival to the international breakthrough, Studies in Australasian Cinema, 

5.1, 43-57. 

David Forrest David Forrest is Faculty Project Officer and Honorary Research 

Associate at the School of English Literature, Language and

The University of Sheffield, The 

School of English Literature, 

Language and Linguistics, Jessop 

West, Sheffield, South Yorkshire, S3 

7RA, United Kingdom 

Keywords British New Wave, Shane 

Meadows, art cinema, Bordwell, 

Poetic realism, British Social 

Realism 

Till Förster 

Universitet Basel, Institute of Social 

Anthropology, Ethnologisches 

Seminar, Munsterplatz 19, Basel, CH- 

4051, Switzerland 

Keywords visual perception, 

practices of seeing, practices of 

looking, Senufo marriage ceremonies, 

‘Ivorian wedding’ 

David Foster 

University of Manitoba, Department 

of English, Film and Theatre 

Linguistics at the University of Sheffield. His Ph.D. (2009) was 

entitled ‘Social realism: A British art cinema’ and constituted a 

formalist analysis of British realist cinema, in line with theories of Art 

Cinema. He has produced articles and presented conference papers on 

various aspects of British film and television, including contemporary 

British realism; the work of Shane Meadows; the British New Wave; 

the relationship between text and screen treatments of working-class 

themes and subjects; realist television drama; and the documentary 

movement. 

› Shane Meadows and the British New Wave: Britain's hidden art cinema, 

Studies in European Cinema, 6.2&3, 191-201. 

› Better Things (Duane Hopkins, 2008) and new British realism, New 


› Straight Outta Uttoxeter: Studying Shane Meadows University of East 

Anglia, 1516 April 2010, New Cinemas: Journal of Contemporary Film, 8.2, 

137-140. 


Till Förster has been a Professor for Social Anthropology at the 

University of Basel since 2001. Previously, he has been Professor and 

Director of the Africa Center of the University of Beyreuth and 

Associate Professor for Social Anthropology at the University of 

Cologne. Prior to pursuing his academic career, Till Förster gathered 

extensive experience in development work through his involvement in 

a variety of projects in Côte d'Ivoire, Burkina Faso, or Niger. These 

dealt with such diverse issues as the implementation of biogas plants, 

irrigated rice cultivation, land use and land ownership, or integrated 

rural and urban development. His particular research interests lie in the 

analysis of statehood, the risks of the failing states, and the growing 

importance of non-state actors, as well as questions of cultural identity 

and new forms of cultural interaction, participation and representation 

in African societies. 

› The act and art of seeing visual media in West Africa: TV and video in 

northern Côte d'Ivoire, Film International, 5.4, 44-50. 

David Foster teaches English and Film Studies at the University of 

Manitoba. He recently completed his Ph.D. at the University of 

Alberta. His dissertation ‘Kino-Poiêsis: Towards a Poetics of Poetic 

Film’ theorized the possibility of poetic film by examining the work of

University of Manitoba, 641 Fletcher 

Argue, Winnipeg, Manitoba, R3T 

5V5, Canada 

Keywords reflexivity, poetic film, 

space, Stalker, Andrei Tarkovsky 

Santiago Fouz-Hernández 

Durham University, School of 

Modern Languages and Cultures, 


Keywords gender, stereotypes, queer 

politics, male, body, GLBT, Spanish 

cinema, British cinema, Javier 

Bardem 

Babak Fozooni 

Open University, United Kingdom 

Keywords Iran, capitalism, cinema, 

politics, philosophy 

Chris Marker, Andrei Tarkovsky, Stan Brakhage and Guy Maddin. His 

research interests include poetic and essayistic film, the work of Chris 

Marker and film adaptation. His work has appeared in Scope: An 

Online Journal of Film and TV Studies and Image [&] Narrative. 

› Where flowers bloom but have no scent: the cinematic space of the Zone in 

Andrei Tarkovsky's Stalker, Studies in Russian and Soviet Cinema, 4.3, 307- 

320. 



Santiago Fouz-Hernández is reviews editor of Studies in Hispanic 

Cinemas. He is senior lecturer in Spanish cinema at Durham University 

and is the author of various articles on issues of masculinity, sexuality 

and the body in contemporary Spanish and British cinema. He is the 

co-author of Live Flesh: The Male Body in Contemporary Spanish 

Cinema (I.B. Tauris, 2007), editor of Mysterious Skin Male Bodies in 

Contemporary Cinema (I.B. Tauris, 2009) and co-editor of Madonna’s 

Drowned Worlds: New Approaches to Her Cultural Transformations 

1983–2003 (Ashgate 2004). He is currently completing a manuscript 

entitled Cuerpos de cine about men and masculinities in contemporary 

cinema and popular culture. 



› School is out, New Cinemas: Journal of Contemporary Film, 1.3, 149-164. 

Babak Fozooni is an associate lecturer at the Open University. He 

obtained his BSc in psychology (University of Keele). He completed 

his MSc in research methods in psychology (University of Reading), 

followed by an MSc in critical psychology (University of Bolton) and 

an MA in film and television studies (University of Westminster). He 

received his Ph.D. in psychology (Manchester Metropolitan 

University). He has taught at Manchester Metropolitan University, the 

University of East London, the University of Westminster, Birkbeck 

College and the Open University. 

› Kiarostami debunked!, New Cinemas: Journal of Contemporary Film, 2.2, 

73-90.

Benjamin Fraser 

The College of Charleston, 

Department of Hispanic Studies, 66 

George St., Charleston, SC 29424, 


Keywords Madrid, Retiro Park, 

Lefebvre, selling place, filmspace 

Carl Freedman 

Louisiana State University, 

Department of English, Department 

of English, LSU, Baton Rouge, 

Louisiana, LA 70803, United States 

of America 

Keywords Oliver Stone, Richard 

Nixon, American politics, tragedy, 

Death of a Salesman 

Lisa French 

RMIT University, Cinema Studies, 

School of Media and Communication, 

Bld 9, Level 4, 124 La Trobe St., 

Melbourne, Vic 3000, Australia 

Keywords Australian cinema, gender, 

amateurism 

Benjamin Fraser (Ph.D.; University of Arizona, 2006) is Assistant 

Professor of Spanish at the College of Charleston and the current 

Managing Editor of the Arizona Journal of Hispanic Cultural Studies. 

He is the author of Encounters with Bergson(ism) in Spain (University 

of North Carolina Press, 2010) and Henri Lefebvre and the Spanish 

Urban Experience (Bucknell University Press, 2011), and the 

editor/translator of Deaf History and Culture in Spain (Gallaudet 

University Press, 2009). He has also published over 30 peer-reviewed 

articles, many of which focus on topics related to urban studies. 

› The space in film and the film in space: Madrid's Retiro Park and Carlos 

Saura's Taxi, Studies in Hispanic Cinemas, 3.1, 15-32. 

Carl Freedman is Professor of English at Louisiana State University. 

He is the author of several books, including Critical Theory and 

Science Fiction (2000), The Incomplete Projects: Marxism, Modernity, 

and the Politics of Culture (2002), and The Age of Nixon: A Study in 

Cultural Power (forthcoming), and of dozens of articles. His work in 

film and media studies is devoted mainly to science-fiction films, 

Westerns, crime films, and television. 

› Versions of the American Imperium in Three Westerns by John Ford, Film 


› An American Tragedy: On Oliver Stone's… Nixon, Film International, 4.19, 

14-23. 

› Post-Hetero Sexuality: John Wayne and the construction of American, Film 


› The Supplement of Coppola: Primitive Accumulation and the Godfather 

Trilogy, Film International, 9.1, 8-41. 

› Hobbes After Marx, Scorsese after Coppola: on GoodFellas, Film 


Lisa French is Associate Professor in Cinema Studies, Media and 

Communication at RMIT. She is the co-author of the books Shining a 

Light: 50 Years of the Australian Film Institute (2009) and 

Womenvision: Women andthe Moving Image in Australia (2003), and 

producer of Birth of a Film Festival (2003), a film about the first 

Melbourne International Film Festival. She is currently undertaking a 

major research project examining women’s participationin Australia’s 

film, television, video and multimedia industries.

Paloma Fresno-Calleja 

Griffith University, School of 

Humanities, Nathan Campus, 170 

Kessels Road, Nathan, QLD 4111, 

Australia 

Keywords New Zealand cinema, 

multiculturalism, Chinese New 

Zealanders, Asian stereotypes, 

Roseanne Liang 

Mattias Frey 

University of Kent, School of Arts - 

Film Studies, Canterbury, Kent, CT2 

7UG, United Kingdom 

Keywords national history in German 

film, German cinema, Austrian 

cinema, media reception, movie 

criticism, cinephilia 

Bert Fridlund 

Keywords Sabata, Gianfranco 

Parolini, Frank Kramer, Giuliano 

› Passionate amateurs: The xperimental film and television fund and modernist 

film practice in Australia, Studies in Australasian Cinema, 5.2, 171-183. 

Karina Aveyard is a Ph.D. candidate in the School of Humanities at 

Griffith University. Her doctoral research examines contemporary 

cinema exhibition in rural locations. This research is funded by an 

Australian Research Council Linkage Grant in partnership with the 

Australian government film agencies, the National Film and Sound 

Archive and Screen Australia. 

› Reel New Zealanders: Contesting tokenism and ethnic stereotyping in 

Roseanne Liang s Take 3, Studies in Australasian Cinema, 5.1, 19-29. 

Mattias Frey is Lecturer in Film Studies at the University of Kent. His 

book on the new understanding of national history in German film, to 

be entitled Goodbye Hitler: Postwall German Cinema and History, will 

appear with Berghahn Books. His numerous articles have appeared in a 

host of edited anthologies, reference works and journals such as 

Cinema Journal, Screen, Quarterly Review of Film and Video, 

Framework, Jump Cut and Senses of Cinema. Previously, he reviewed 

movies for the Boston Phoenix. His ongoing research concentrates on 

European cinema (with particular emphasis on German and Austrian 

film), historiography, matters of media reception and consumption, the 

history of ‘classical’ and contemporary film theory, movie criticism and 

cinephilia. 


› The New European Cinema: Redrawing the Map Rosalind Galt (2006), Film 


Bert Fridlund was born in the backwoods of Sweden in 1947 and 

currently lives in the city of Uppsala. He graduated in the Department 

of Cinema Studies at Stockholm University, with a doctoral 

dissertation on the spaghetti western. He has had a book published on 

the same subject.

Carmineo, Anthony Ascot 

Unni From 

Aarhus University, Department of 

Information and Media Studies, 

Helsingforsgade 14, Århus N, 8200, 

Denmark 

Keywords readership, newspapers, 

qualitative audience studies, lifestyle 

journalism, cultural journalism 

Yelena Furman 

University of California, Russian 

Studies, United States of America 

Keywords female sexuality, violence, 

Ukrainian cinema, Natal'ia 

Andreichenko, Svetlana Vasilenko 

Yuriko Furuhata 

McGill University in Montréal, 

Department of East Asian Studies, 

Canada 

Keywords Japanese cinema, avantgarde, 

independent cinema, film 

theory, media, continental philosophy, 

political activism 

› ‘A First Class Pall-bearer!’: The Sartana/Sabata Cycle in Spaghetti Westerns, 


Unni From, Ph.D., is Associate Professor and Head of Studies at 

Department of Information and Media Studies, Aarhus University, 

Denmark. Her ongoing research on cultural journalism is conducted in 

collaboration with Associate Professor Nete Nørgaard Kristensen, 

University of Copenhagen and was published as a monograph in 2010. 

She has also published articles on lifestyle journalism, consumer 

journalism, audiences and television fiction. 

› The reading of cultural and lifestyle journalism, Northern Lights: Film & 


Yelena Furman is currently a lecturer in the Program in Russian 

Studies at the University of California. Her dissertation was titled 

'Writing the Body in New Women's Prose: Sexuality and Textuality in 

Contemporary Russian Fiction'. Her areas of interest include Russian 

literature from glasnost to the present, feminist theory, and Chekhov. 

Currently, she is working on Virginia Woolf's collaboration with 

Koteliansky on the translation of Dostoevsky's Stavrogin's Confession. 

› Shamara: writing and screening the female body, Studies in Russian and 


Yuriko Furuhata is Assistant Professor of film and visual culture in the 

Department of East Asian Studies at McGill University in Montréal, 

Canada. Her work explores theories of the image, the avant-garde, 

politics, and film-making practice with an emphasis on Japan. She has 

published on Japanese film theory and the cinematic experiments of the 

1960s, the work of pink filmmaker Wakamatsu Kôji, the theory of 

fûkeiron, the discourse of indexicality and photography, and the trope 

of resistance. Current projects include analyses of the relation between 

plasticity and political activism; the image economies of cinema and 

the news media; and the emergence of eizô as a film theoretical 

concept. Her research also aims to foreground the intermedial 

connections among writers, filmmakers, and photographers, such as

Ehab Galal 


Department of Cross-Cultural and 

Regional Studies, Snorresgade 17-19, 

DK-2300 Copenhagen S, Denmark 

Keywords Islamic media, Qur'an, 

healing, magic, Qur'an recitation 

Jérôme Game 

American Universiy of Paris, Film 

Studies, France 

Keywords philosophy, subjectivity, 

French culture 

Hanada Kiyoteru, Matsumoto Toshio, Oshima Nagisa, Adachi Masao, 

and Nakahira Takuma. 

› Desiring resistance in the age of globalization, New Cinemas: Journal of 


Ehab Galal is Assistant Professor in Modern Islam and Middle East 

Studies and Education Coordinator in the Department of Cross-Cultural 

and Regional Studies, University of Copenhagen. He has published 

several articles on Arab media in both English and Danish and is the 

author of Media in global conflict zones, with Mette Thunø 

(Copenhagen: Museum Tusculanum Press, 2009). 

› Magic spells and recitation contests: the Quran as entertainment on Arab 

satellite television, Northern Lights: Film & Media Studies Yearbook, 6.1, 

165-179. 

Jérôme Game joined the American University of Paris in 2004. After 

receiving his Ph.D. in French literature and philosophy from 

Cambridge University. In 2002 he was appointed Andrew W. Mellon 

Post-Doctoral Fellow in the Humanities at University College London, 

where he carried out research for two years. He teaches courses in 

Philosophy and Film Studies, notably History of Modern Philosophy, 

Philosophy of Aesthetics, Modern Critical Theory, History of Narrative 

Cinema, Film and the Body, and Asian Cinema. His research interests 

focus on a theoretical and critical examination of modern culture 

(cinema, literature, visual arts) around a philosophical reworking of 

subjectivity and time. These concerns are addressed in numerous 

publications, often within an interdisciplinary context, and 

problematized around issues such as the body, desire and power. He 

has recently edited volumes on text/image relations in twentiethcentury 

French culture and on the work of Jacques Rancière. 

› Cinematic Bodies: The blind spot in Contemporary French Theory on 

Corporeal Cinema, Studies in French Cinema, 1.1, 47-53. 

Susanne Gannon Dr Susanne Gannon is an Associate Professor in the School of

University of Western Sydney, 

School of Education, Locked Bag 

1797, Penrith South, NSW, 2751, 

Australia 

Keywords refugee films, narrative, 

the other, Australia 

Adam Ganz 


London, Department of Media Art, 



Keywords commissioning process, 

Channel 4, reality television, practice, 

writing for television, digital cinema, 

screenwriting, narrative 

Clara Garavelli 

Universidad Autónoma de Madrid, 

Departamento de Educación artística, 

plástica y visual, Universidad 

Autónoma de Madrid, Calle Carlos 

IV 2A, 3ro E, 28037, Spain 

Keywords Jorge Gaggero, social 

class displacements, crisis, New 

Argentine cinema 

Education at the University of Western Sydney, Australia. She is 

interested in representations of gender and race in media and popular 

culture texts; in writing pedagogy and narrative, and in how aesthetic 

and affective literary texts operate in political spheres. 

› Doing ‘the other’ over: narrative conservatism in radical popular films, 


Adam Ganz is a lecturer at Royal Holloway University of London. He 

studied at Cambridge and Bristol and the National Film and Television 

School. He has written a number of screenplays for different 

production companies including the BBC, Redwave Films, Kismet 

Films, APT Films, and IWC Media for Channel 4. He has directed a 

number of short films, which have been shown at festivals around the 

world. Threesome, which he wrote and directed, starring Lesley 

Vickerage and Stuart Laing was shown at Telluride, Newport Rhode 

Island, Foyle and on Sky television. He directed Pillow Talk written by 

William Sutcliffe and starring Daisy Donovan and Cavan Clerkin for 

Channel 4’s 'Coming Up' strand. 

› Digital cinema: The transformation of film practice and aesthetics, New 


› Reviews: Screenwriting: History Theory and Practice, Steven Maras (2009), 


› Time, space and movement: screenplay as oral narrative, Journal of 


Clara Garavelli is a lecturer and Ph.D. candidate at the Universidad 

Autónoma de Madrid (Spain). She has been working on subjects 

related to cultural studies, Latin American studies, visual culture, 

Argentine cinema and literature and is currently writing her thesis on 

experimental video in contemporary Argentina. 

› Post-crisis Argentine films: De-localizing daily life through the lens of Jorge 

Gaggero, Studies in Hispanic Cinemas, 7.1, 35-46.

Jared Gardner 

The Ohio State University, 

Department of English, 164 W 17th 

Avenue, Columbus, Ohio, 43210, 


Keywords seriality, American 

literature, identity, citizenship 

Verónica Garibotto 

University of Kansas, Department of 

Spanish and Portuguese, 2650 

Wescoe Hall, Lawrence, KS, 66045, 


Keywords documentary, Third 

Cinema, Social Genocide, The Hour 

of the Furnaces, Fernando Solanas 

Daniel Garrett 

Freelance writer 

Keywords community music, Wales, 

disaffected youth 

Jared Gardner is Associate Professor of English and Film at The Ohio 

State University. He is currently working on a study of seriality in film 

and popular culture. He is author of Master Plots: Race and the 

Founding of an American Literature, 1787-1845 and articles and 

reviews on identity, citizenship and media in American literature and 

culture. He is currently working on studies of early American 

magazines, myths of origins in popular culture of the 1920s and 1930s, 

and the intersections between film and comics at the turn of the 

twentieth century. He also serves as director of the Popular Culture 

Studies program at OSU. 

› Greenaway’s suitcase cinema and new media archaeology, Studies in 


Verónica Garibotto is Assistant Professor in the Department of Spanish 

and Italian at Queen’s University. Her research focuses primarily in the 

link between narrative (literature and film), history and politics in Latin 

America. She has recently been working on the contemporary 

representation of the nineteenth century in Argentina, Chile and 

Uruguay; and on the relation between aesthetics and politics in postdictatorial 

literature, film and testimonio. 

› Historical stasis: Solanas and the restoration of political film after the 2001 

Argentine crisis, Studies in Hispanic Cinemas, 6.2, 125-138. 

Daniel Garrett is a writer of journalism, fiction, poetry and drama; and 

his work has appeared in The African, AIM/America’s Intercultural 

Magazine, AltRap.com, American Book Review, Black American 

Literature Forum, Changing Men, The City Sun, 

Frictionmagazine.com, The Humanist, Hyphen, Illuminations, Muse- 

Apprentice-Guild.com, Offscreen.com, Option, The Quarterly Black 

Review of Books, Rain Taxi, Red River Review, The Review of 

Contemporary Fiction, The St Mark’s Poetry Project Newsletter, 

24FramesPerSecond.com, UnlikelyStories.org, WaxPoetics.com, and 

World Literature Today. 

› Brokeback Mountain, Film International, 4.21, 48-67.

Roberta Garrett 

University of East London, 

Department of Arts and Digital 

Industries at the University of East 

London, The school of Arts and 

Digital Industries, University of East 

London, Docklands Campus, London 

E16 2RD, UK 

Keywords 

John P. Garry III 


Keywords Kathryn Bigelow, 

American politics, revisionist films, 

post-revisionist films, 1990s 

Ian Garwood 

University of Glasgow, Theatre, Film 

and Television Studies, Room 332, 

Gilmorehill Centre, 9 University 

Avenue, Glasgow, G12 BQQ, United 


Keywords I'm Not There, the 

Romantic voice of the artist, Bob 

Dylan, popular music in film, ‘Visions 

of Johanna’ 

Lisa Gaughan 

University of Lincoln, Department of 

Drama, Lincoln School of Performing 

Arts, Brayford Pool, Lincoln, LN6 

7TS, United Kingdom 

Dr Roberta Garrett is a senior lecturer in the department of Arts and 

Digital Industries at the University of East London. She is currently 

teaching on the literature programme at UEL and has published articles 

on literature, film and gender studies. She is the author of PostModern 

Chick-Flicks: The Return of the Woman's Film (Palgrave, 2005) and is 

currently researching literary culture and the politicization of parenting 

in the twenty-first century. 

› Female fantasy and post-feminist politics in Nora Ephron's screenplays, 


John P. Garry III is a film editor living in Los Angeles, California. He 

has been published in Jump Cut and Bright Lights Film Journal. He 

has contributed an essay to the collection Gerry-Elephant-Last Days by 

Les Editions de La Transparence (forthcoming). 

› Strange Days and the post-revisionist era: The possibility of redemption, 


Ian Garwood is a lecturer in film and television studies at University of 

Glasgow. He has written a number of articles on the film soundtrack, 

including ‘The Pop Song in Film’ contained in Close-Up 01 (2005, 

Wallflower). He is currently writing a book for Edinburgh University 

Press on the sensuous qualities of storytelling in film. 

› Great art on a jukebox: the Romantic(ized) voice of Bob Dylan in I'm Not 

There, Film International, 7.6, 6-22. 

Lisa Gaughan is a Lecturer in the Department of Drama at the 

University of Lincoln and a Ph.D. candidate in the Department of 

Drama at the University of Hull. She is currently working on her Ph.D., 

which is an examination of the study of travesty via the work of 

Alistair Beaton.

Keywords politics, imitation, 

transformation, travesty, satire › It's no time for sound bites: The praxis of travesty via the New Labour of 

political comedy, Studies in Documentary Film, 4.3, 241-252. 

Stephen Gaunson 

RMIT University, School of Media 

and Communication, Building 

36.4.10, Melbourne, Victoria, GPO 

Box 2476, Australia 

Keywords Ned Kelly films, 

Australian cinema 

Kathe Geist 

Showa Boston Institute, 551 

Brookline Av, Brookline, MA 02445, 


Keywords Ozu Yasujiro, Nihonga, 

Japanese modernity, A Story of 

Floating Weeds, What Did the Lady 

Forget?, Passing Fancy, Tokyo 

Chorus 

David George 

Bates College, Romance Languages 

& Literatures 

Keywords silent cinema, literary 

adaptation, celebrity, TV, Spain 

Dr Stephen Gaunson is an Early Career Research Fellow in the School 

of Media and Communication at RMIT University. His thesis studied 

the Ned Kelly films, made in Australia between 1906 and 2003. In 

2008, Stephen was the recipient of the AGL Shaw Research Fellowship 

at the State Library of Victoria. Stephen has also taught courses on film 

and communication at a number of universities including the 

University of Melbourne, RMIT University and Victoria University. 

› International outlaws: Tony Richardson, Mick Jagger and Ned Kelly, Studies 

in Australasian Cinema, 4.3, 255-265. 

Kathe Geist is an art and film historian, who lives and writes in 

Brookline, Massachusetts. She is the author of The Cinema of Wim 

Wenders: From Paris France to Paris, Texas and numerous articles on 

Japanese cinema. 

› Seeking a Japanese modernity: Ozu and Nihonga painters in the pre-war era, 

Journal of Japanese & Korean Cinema, 2.2, 97-108. 

David R. George has been a lecturer in Spanish at Bates College since 

2000 and received his Ph.D. from the University of Minnesota in 2003. 

His research and teaching interests include Spanish realism, travel 

writing, historical fiction and film studies. He has read and published 

papers on various aspects of nineteenth-century Peninsular literature, as 

well as on film and popular culture in the early twentieth century. He 

recently finished an annotated edition of Leopoldo Alas's Dona Berta, 

and is currently co-editing a volume titles Historias de la pequena 

pantalla. 

› Disintegrating pictures: Studies in early Spanish film, Studies in Hispanic 


Gabor Gergely 

University of Exeter, Modern 

Languages, United Kingdom 

Keywords Godard, Bazin, Kracauer, 

realism, exile, émigré, Hollywood 

cinema, Chabrol, bourgeois, 

melodrama, space 

Ilana Gershon 


Communication and Culture, 800 East 

Third Street, Bloomington, Indiana, 


Keywords truth, indexicality, 

circulation, actor network theory, 

science studies 

Germán Gil Curiel 

University of Nottingham Ningbo, 

International Communications, 199 

Taikang East Road, Ningbo, 

Zhejiang, 315100, China 

Keywords music in film, supernatural 

› Cinematising the crowd: V. Blasco Ibañez's Silent Sangre y arena (1916), 


Gabor Gergely is an MA student at the University of Exeter. In 

addition to the Studies in French Cinema Prize, he won the Gapper 

Undergraduate Prize with the same essay. He is currently working on a 

paper on the Child in Neo-Realism, which he will present at the 

upcoming 'Child in Italian Film' conference at the University of Exeter. 

His planned doctoral research project is an investigation of the 

representation of the exilic/diasporic experience in Hollywood films 

from 1930-1950. 

› Jean-Luc Godard's film essays of the 1960s: the virtues and limitations of 

realism theories, Studies in French Cinema, 8.2, 111-121. 

Ilana Gershon is Assistant Professor in the Department of 

Communication and Culture at Indiana University. She is a cultural 

anthropologist who studies how people’s media ideologies affect their 

use of new media. She writes and teaches about anthropology of 

democracy, multiculturalism and ethnographies of new media in the 

United States, Oceania, and New Zealand. In her book The Break-Up 

2.0 she analyses an ethically charged practice: how people use new 

media in romantic break-ups. She also researches how Māori 

politicians have contributed to the current legal structures affecting 

Māori, the indigenous population in New Zealand. 

› Actor-network theory and documentary studies, Studies in Documentary 

Film, 4.1, 65-78. 

Germán Gil Curiel is a Lecturer in International Communication at the 

University of Nottingham in its Ningbo campus, where he teaches 

modules entitled ‘Film Narratives and Cultures’ and ‘Cinema and 

National Identity in Latin America’. His research interests include film 

music and the supernatural in film and literature. 

› Reviews - World Cinemas, transnational perspectives, Edited by Natasa

literature, adaptation, total cinema, 

film and fashion, hybridity in cinema, 

mixed cinema, cinema and the arts 

Nikica Gilic 

Filozofski fakultet-komparativna 

književnost, Ivana Lucicaa 3, 10000 

Zagreb, Croatia 

Keywords Tomislav Gotovac, 

experimental cinema, editing, 

conceptual art, images, genre 

David Gillespie 

University of Bath, Modern Language 

Department, Claverton Down, Bath, 

Bath and North East Somerset, BA2 

7AY, United Kingdom 

Keywords Russian Ark, Russian 

history, Russian art, Hermitage, St 

Petersburg 

Durovicova and Kathleen Newman (2010), Transnational Cinemas, 1.1, 103- 

104. 

Nikica Gilic received his Ph.D. in Film Studies at the Faculty of 

Humanities and Social Sciences, University of Zagreb where he is 

currently Assistant Professor in the Department of Comparative 

Literature and the Chair of Film Studies. He teaches various courses in 

film theory and film history as well as courses at the Academy of 

dramatic arts. He co-edited Filmski leksikon/Film Lexicon (2003) with 

Bruno Kragic’. His interests include the history of Croatian and South- 

East European (post-Yugoslav) cinema, theory of cinema genres, 

methodology of cinema studies and the problems of cinematic 

postmodernism. He is editor-in-chief of Hrvatski filmski ljetopis 

(Croatian cinema chronicle), a film journal published in Zagreb. 

› Revolution, cinema, painting: creative recycling of images in the films of 

Tom Gotovac (Antonio Lauer), Studies in Eastern European Cinema, 1.1, 

71-84. 

David Gillespie has recently been appointed Professor in Russian at the 

University of Bath, where he has taught since 1985. He has published 

critical studies of the writers Valentin Rasputin, Iurii Trifonov and 

Fedor Abramov, and his book Russian Cinema was published by 

Longman in 2002. Recent and ongoing research includes: Russian 

science fiction movies; Russian film adaptations of Shakespeare; 

surrealist motifs in Russian film; postmodernist irony in the prose of 

Evgenii Popov; masculinity in the films of Sergei Eisenstein; the 

transformation of landscape in Russian film and art; Renata Litvinova 

and femininity in post-Soviet film. 

› Alexander Sokurov and the Russian soul, Studies in European Cinema, 1.1, 

57-. 

› Reconfiguring the Past: The Return of History in Recent Russian Film, New 


Frédéric Gimello- Dr Frédéric Gimello-Mesplomb is Associate Professor (Senior 

lecturer) of Film Studies at the University of Metz (France) and

Mesplomb 

Universite de Metz, Departement Arts 

et Culture, UFR Sciences Humaines 

et Arts, Ile du Saul'y, Metz, lorraine, 

57000, France 

Keywords 1950s, popular cinema, 

film support policy 

Faye Ginsburg 

New York University, Center for 

Media, Culture and History, Rufus D. 

Smith Hall, Room 501, 25 Waverly 

Place, New York, NY 10003, United 


Keywords documentary, Two Laws, 

indigenous, Australia 

Elisabetta Girelli 

University of St Andrews, 

Department of Film Studies, 99 North 

Street, St Andrews, Fife, KY16 9AD, 


Keywords Britain, identity, British 

cinema, heritage, stereotypes, 

transnationality 

Associate Professor of Political Science and contemporary French 

Cultural Studies at the Paris Institute of Political Studies (Sciences-Po). 

He is also researcher for the French National Centre for Scientific 

Research and works since 2003 as an expert commissioned for the 

European Commission (Research Directorate General, Brussels) and 

the Luxembourg Ministry of national Education (Leonardo da Vinci 

European programme). Former Visiting Scholar, University of 

California, Berkeley (1999). Professor Gimello's publications include 

numerous articles and academic papers in his specialized area: 

Economic history of French cinema, European Film policies, cultural 

policies. 

› The economy of 1950s popular French cinema, Studies in French Cinema, 

6.2, 141-. 

Faye Ginsburg is David B. Kriser Professor of Anthropology; Director 

of Graduate Program in Culture and Media; Director, Center for Media, 

Culture & History; Co-Director, Center for Religion and Media; 

Director, Graduate Program in Culture and Media Director, Center for 

Media, Culture & History Co-Director, Center for Religion and Media, 

New York University. She holds a Ph.D. from CUNY (1986) and a BA 

from Barnard (1976). Her research interests include social 

anthropology; ethnographic film; indigenous media; social movements 

in the United States; gender and reproduction. 

› Breaking the law with Two Laws: reflections on a paradigm shift, Studies in 


Elisabetta Girelli is a Lecturer in Film Studies at the University of St 

Andrews. She has published articles on British and European cinema, 

and is currently working on a monograph on Montgomery Clift. Her 

research focuses on the representation of identity on screen, 

specifically in terms of sexuality, gender, and nationality. She is very 

interested in cultural analysis, particularly in queer theory and in 

theories of representation; in the study of individual stars and auteurs; 

and in theories of space applied to spatial relationships in film texts. 

› Beauty and the Beast: The construction of Italianness in A Room With A View 

and Where Angels Fear To Tread, Studies in European Cinema, 3.1, 25-36. 

› Transnational Orientalism: Ferzan Özpetek's Turkish dream in Hamam 

(1997), New Cinemas: Journal of Contemporary Film, 5.1, 23-38.

Cecilie Givskov 




Copenhagen S, 2300, Denmark 

Keywords modern Danish fiction 

film, European film policies, Nordic 

cultural politics, film policies, media, 

globalization 

Michael Goddard 

University of Salford, Greater 

Manchester, United Kingdom 

Keywords cross-cultural, 

transvergence, East-West, 

superposition, outside 

Jill Godmilow 

University of Notre Dame, 

Deptartment of Film, Television, and 

Theatre, Notre Dame, IN 46556, 


Keywords documentary cinema, Two 

› Subverting space: Private, public and power in three Czechoslovak films 

from the 1960s and ‘70s, Studies in Eastern European Cinema, 2.1, 49-59. 

Cecilie Givskov, MA(ed.) from the Danish Pedagogical University 

(2004), since 2008 Ph.D. scholar at the Department of Media, 

Cognition and Communication, Section of Film and Media Studies, 

University of Copenhagen. Her current research concerns the 

globalization of Danish film culture and film policies. She is the leader 

of the research group of young researchers (CYS) under the Centre for 

Modern European Studies (CEMES). 

› Genre on time. Fiction film framings of scandalous politics in Denmark since 

2001, Northern Lights: Film & Media Studies Yearbook, 7.1, 153-172. 

Michael Goddard is Professor of English, Cultural and Media Studies 

at the University of Lódz, Poland. He has published on Polish and 

international cinema, Deleuze’s aesthetic theories and radical Italian 

thought. He is currently preparing a book on the cinema of Raul Ruiz 

and conducting research into East European postmodern audio-visual 

cultures. 

› East-West European superpositions as transvergent cinema: Greg Zglinski's 

Tout un hiver sans feu (2005), Studies in French Cinema, 7.2, 107-118. 

› Plus Camerimage leaves Łódź, Studies in Eastern European Cinema, 1.2, 

247-250. 

› Editorial, Studies in Eastern European Cinema, 2.1, 3-5. 

› REVIEWS, Studies in Eastern European Cinema, 2.2, 227-246. 

Jill Godmilow is a working independent film and video-maker and a 

Professor in the Department of Film, Television, and Theatre at the 

University of Notre Dame, where she teaches courses in film-making 

and cinema studies. Her films include: Antonia: A Portrait of the 

Woman (1974), Far From Poland (1984), Roy Cohn/Jack Smith 

(1995), What Farocki Taught (1997). For about twelve years she has 

been teaching a course called ‘Deconstructing the Documentary’, in 

which she discusses the film Two Laws.

Laws, indigenous, Australia 

Antonio Gómez 

Tulane University, 302 Newcomb 

Hall, New Orleans, LA, 70118, 


Keywords documentary, Third 

Cinema, Social Genocide, The Hour 

of the Furnaces, Fernando Solanas 

Haomin Gong 

St. Mary’s College of Maryland, 

Department of International 

Languages and Cultures, St. Mary’s 

City, MD, 20686, United States of 

America 

Keywords postsocialist condition, 

commercial cinema, cultural 

intervention, critical edge, negotiation 

Robert S.C. Gordon 

University of Cambridge, Gonville 

and Caius College, Cambridge, 

Cambridgeshire, CB2 1TA, United 


Keywords Holocaust cinema, fable, 

game, father-son narratives, Pinocchio 

› Two Laws: DVD release film commentary, Studies in Documentary Film, 

2.2, 191-217. 

Antonio Gómez is Assistant Professor of Latin American literature and 

film at Tulane University. His research interests include the discourse 

of exile in Latin American culture, especially in Cuba and Argentina, 

cinematic representations of trauma in Argentine cinema, and the 

writing of recent history in a postnational context. 

› Historical stasis: Solanas and the restoration of political film after the 2001 

Argentine crisis, Studies in Hispanic Cinemas, 6.2, 125-138. 

Haomin Gong is assistant professor of Chinese and Asian Studies at St. 

Mary’s College of Maryland. His article on Wang Xiaoshuai’s 

filmmaking appears in Quarterly Review of Film and Video. He has a 

Ph.D. in Comparative Literature from the University of California at 

Davis, July 2008. His major field of study was Modern and 

Contemporary Chinese Literature and Film. He also has an MA in 

English Language Literature from Beijing Foreign Studies University, 

March 2001. 

› Commerce and the critical edge: negotiating the politics of postsocialist film, 

the case of Feng Xiaogang, Journal of Chinese Cinemas, 3.3, 193-214. 

› New horizons of transnational Chinese-language film studies: An interview 

with Sheldon H. Lu, Journal of Chinese Cinemas, 4.3, 245-260. 

Robert S.C. Gordon is Reader in Modern Italian Culture at Cambridge 

University. His work on cinema includes Pasolini: Forms of 

Subjectivity (Oxford University Press, 1996), Bicycle Thieves (BFI 

FIlm Classics, 2008), Theorem (audio commentary, BFI DVD, 2007), 

and articles on Holocaust cinema, silent cinema and intellectuals, and 

'postcard' movies. 

› Real tanks and toy tanks: playing games with history in Roberto Benigni's La 

vita è bella/Life is Beautiful, Studies in European Cinema, 2.1, 31-44.

Andrew Gordon 

University of Florida, Department of 

English, United States of America 

Keywords THX 1138, George Lucas, 

dystopia, science fiction, robotics, the 

machine state, 1960s, dehumanization 

Kristyn Gorton 

University of York, Department of 

Theatre, Film & Television, 

Heslington, York, North Yorkshire, 

YO10 5DD, United Kingdom 

Keywords shame, affect, feminism, 

French cinema, Catherine Breillat 

Helena Goscilo 

The Ohio State University, Slavic 

Department, 400 Hagerty Hall, 1775 

College Road, Columbus, Columbus 

OH, 43210-1340, United States of 

America 

Keywords reason, vigilante justice, 

Biblical/juridical injunctions, 

mimesis/nemesi 

Andrew Gordon taught at University of Florida from 1975-2010, 

specializing in contemporary American Fiction, Jewish-American 

Fiction, and Science Fiction Literature and Film. He is now Professor 

Emeritus of English. He organizes the annual International Conference 

on Psychology and the Arts, co-edits Studies in American Jewish 

Literature, and is on the Editorial Board of Journal of American 

Culture. His publications include An American Dreamer: A 

Psychoanalytic Study of the Fiction of Norman Mailer, Empire of 

Dreams: The Science Fiction and Fantasy Films of Steven Spielberg, 

and, with Hernan Vera, Screen Saviors: Hollywood Fictions of 

Whiteness. 

› THX 1138: Portrait of the Artist as an Angry Young Man, Film 


Kristyn Gorton is Lecturer in the Department of Theatre, Film and 

Television at the University of York. She has published articles on 

feminist theory, television studies and cinema in a number of journals 

including the Journal of Popular British Cinema and Television, 

Diegesis, and Feminist Theory. She has just completed a monograph 

titled Theorising Desire: From Freud to Feminism to Film (Palgrave) 

and is currently working on Media Audiences: Television, Meaning and 

Emotion (Edinburgh University Press). 

› ‘“The Point of View of Shame”: Re-viewing female desire in Catherine 

Breillat's Romance (1999) and Anatomy of Hell (2004)’, Studies in European 


Professor and Chair of the Slavic Department at the Ohio State 

University, Helena Goscilo specializes primarily in gender and culture, 

having written on art, film, folklore, literature, media, music, popular 

culture and the politics of cultural production and reception. Her latest 

publications include Preserving Petersburg: History, Memory, 

Nostalgia (2008) (co-edited with Stephen M. Norris), Cinepaternity: 

Fathers and Sons in Soviet and Post-Soviet Film (2009) (co-edited with 

Yana Hashamova) and Celebrity and Culture in Contemporary Russia: 

Shocking Chic (2010) (co-edited with Vlad Strukov). 

› Between the sword and the scales, or celluloid justice, Studies in Russian and 

Soviet Cinema, 4.2, 137-145.

Brian Michael Goss 

Saint Louis University-Madrid Spain 

Campus, Avenida del valle, 34, 28003 

Madrid, Spain 

Keywords politics and media, 

popular culture, theory of ideology, 

critique of journalism 

Isabelle Gourdin- 

Sangouard 

The University of Stirling, 

Deptartment of Film, Media & 

Journalism, Office J12, Pathfoot 

Building, Stirling, FK9 4LA, United 


Keywords authorship, collaboration, 

David Sherwin, Lindsay Anderson, 

sequence 5, script to screen transition, 

process of equivalence, François 

Truffaut, ‘une certaine tendance du 

cinéma français’ 

Charlotte Govaert 

Keywords reflexivity, reception 

study, representation 

Brian Michael Goss is appointed as Professor in the Department of 

Business and Social Sciences at Saint Louis University – Madrid, 

Spain Campus. Since earning his doctorate in 2000 (Institute of 

Communications Research, University of Illinois at Urbana- 

Champaign), his teaching and research have investigated mass media in 

a wide array of channels. Beyond examinations of film, his published 

scholarship has addressed issues with respect to journalism, flak, 

cartoons, blogs, pundits and women’s magazines. His first book, 

Global Auteurs: Politics in the Films of Almodóvar, von Trier and 

Winterbottom, was published in 2009 (New York: Peter Lang). 

› Te doy mis ojos (2003) and Hable con ella (2002): gender in context in two 

recent Spanish films, Studies in European Cinema, 5.1, 31-44. 

› REBEL YELL: The politics of The Celebration/Festen (1998), Studies in 

European Cinema, 6.2&3, 215-227. 

Isabelle Gourdin-Sangouard, MPhil., is a doctoral candidate at Stirling 

University and part of the AHRC-funded project ‘The Cinema 

Authorship of Lindsay Anderson’. She taught film, media and French 

language and culture, as a lecturer at Aberdeen Business School, The 

Robert Gordon University, Aberdeen (2004-07) and as a teaching 

assistant at the University of Aberdeen (2000-06). Her main research 

area is the work of Lindsay Anderson as a film critic and film, TV and 

theatre director (1946-1994). Her research interests also lie in 

Authorship in Film, the British, French, Polish and Czechoslovak New 

Waves of the 1960s, Freudian and Lacanian psychoanalysis applied to 

screen analysis, screenwriting for film and television, media and 

education, with presentations and a workshop at IAMCR 2006 and 

ECREA (2007 European Media and Communication Doctoral Summer 

School). 

› Creating Authorship? Lindsay Anderson and David Sherwin’s collaboration 

on If.... (1968), Journal of Screenwriting, 1.1, 131-148. 

For ten years Charlotte Govaert worked as a director and producer for 

factual programming on public television in The Netherlands. She is 

currently undertaking her Ph.D. research at the University of Aberdeen. 

› How reflexive documentaries engage audiences in issues of representation:

Helen Grace 

Keywords Asian Australian cinema, 

Little Fish, The Finished People, 

Lucky Miles, inaction cinema 

Julian Graffy 

University College London, School of 

Slavonic and East European, 16 

Taviton Street, London, WC1H 0BW, 


Keywords Georgian culture, Black 

Sea, memory, swimming, Stalin 

Seth Graham 

University College London, School of 

Slavonic and Eastern European 

apologia for a reception study, Studies in Documentary Film, 1.3, 245-264. 

Helen Grace is a film-maker, photographer and multi-media producer. 

Before joining the Chinese University of Hong Kong as Associate 

Professor in the Department of Cultural and Religious Studies, she 

established the Theoretical Studies Department and the Postgraduate 

Studies Unit in the (then) Faculty of Visual and Performing Arts at the 

University of Western Sydney (Nepean). She is the author of the CD- 

Rom, Before Utopia: A Non-Official Prehistory of the Present (Pluto 

Press, 2000). She edited Aesthesia and the Economy of the Senses 

(UWS, 1996) and co-edited Planet Diana: Cultural Studies and Global 

Mourning (Research Centre in Intercommunal Studies, 1997). 

› ‘Small-fry’: suburban decline and the global outback in recent Asian 

Australian cinema, Studies in Australasian Cinema, 2.3, 195-212. 

› Introduction, Studies in Documentary Film, 2.2, 101-102. 

Julian Graffy is Professor of Russian Literature and Cinema at the 

School of Slavonic and East European Studies, University College 

London, where he has worked since 1976. He is the author of Gogol's 

The Overcoat (2000), Bed and Sofa: The Film Companion (2001), and 

several articles on Russian literature and film. He is currently 

researching a study of the representation of foreign characters in 

Russian film. 

› History, memory, water: the reclamation of Georgian identity in Irakli 

Kvirikadze's The Swimmer, Studies in Russian and Soviet Cinema, 1.3, 299- 

328. 

› Special Feature: Russian Cinema Centenary, Studies in Russian and Soviet 


› DVD Reviews, Studies in Russian and Soviet Cinema, 4.3, 345-354. 

Seth Graham, lecturer in the School of Slavonic and Eastern European 

Studies (SSEES) at University College London, author of articles on 

Russian cinema and author of Resonant Dissonance, The Russian Joke 

in Cultural Context (2009). He completed his Ph.D. in Russian

Studies, 16 Taviton Street, London, 

WC1H 0BW, United Kingdom 

Keywords Russian cinema, Russian 

and Soviet culture, gender studies, 

humour theory, Central Asian cinema, 

language pedagogy 

Florian Grandena 

University of Ottawa, Department of 

Communication, 554 King Edward, 

Ottawa, ON K1N 6N5, Canada 

Keywords Y aura-t-il de la neige à 

Noël?, Provence, Rhônes-Alpes 

Cinema, French provinces, folklore, 

Ma vraie vie à Rouen, French gay 


Barry Keith Grant 

Brock University, Communications, 

Popular Culture/Film, 500 Glenridge 

Avenue, St. Catharines, Ontario, L2S 

3A1, Canada 

Keywords genre, science fiction, 

horror, documentary, authorship, 

Hollywood 

literature at the University of Pittsburgh in 2003. The title of his thesis 

is 'A Cultural Analysis of the Russo-Soviet Anekdot'. He subsequently 

taught at the University of Washington, Seattle (2003-2004) and held a 

post-doctoral Humanities Fellowship at Stanford University (2004- 

2006) before joining SSEES as a Lecturer in Russian in September 

2006. His current interests are contemporary Russian and Soviet 

culture (especially film), cultural studies, gender studies, humour 

theory, Central Asian film, and language pedagogy. 

› Contemporary Uzbek Cinema: The Case of Yusup Razykov, Studies in 


Florian Grandena is Assistant Professor in the Department of 

Communication at the University of Ottawa (Canada), where he 

teaches Film Studies. He researches gay-themed French-speaking 

films, particularly the films of Olivier Ducastel and Jacques Martineau 

on which he is currently writing a book. He is the author of Showing 

the World to the World: Political Fictions in French Cinema of the 

1980s and the early 2000s (2008). He has also published articles on 

French contemporary cinema in Studies in French Cinema and 

Contemporary French Civilization. He is the initiator of the 

‘Hypervisibility’ cycle of conferences that concentrate on the 

representation of homosexualities in contemporary Francophone visual 

cultures. 

› The provinces in contemporary French cinema: the case of Y aura-t-il de la 

neige à Noël?, Studies in French Cinema, 4.2, 113-120. 

› Zooming In, Coming Out: Languages in Olivier Ducastel and Jacques 

Martineau's Ma vraie vie à Rouen/The True Story of My Life in Rouen 


Barry Keith Grant is Professor of Film Studies and Popular Culture at 

Brock University in St. Catharines, Ontario, Canada. He is the author, 

co-author, or editor of more than twenty books, including Invasion of 

the Body Snatchers (BFI), Shadows of Doubt: Negotiations of 

Masculinity in American Genre Films (Wayne State UP), Film Genre: 

From Iconography to Ideology (Wallflower Press), The Dread Of 

Difference: Gender And The Horror Film (U Texas Press), Film Genre 

Reader (U Texas Press), Documenting The Documentary: Close 

Readings Of Documentary Film And Video (Wayne State UP), 

Auteurism And Authorship: A Film Reader (Blackwell), and The Film 

Studies Dictionary (Arnold).

Liz Greene 

Queen's University Belfast, Belfast, 


Keywords voice, singing, female 

voice, Singin' in the Rain, Mulholland 

Drive 

Erika Gregor 

Keywords Ulrich Gregor, Berlinale 

Forum, Arsenal, Freunde der 

Deutschen Kinemathek 

› Genre Films and Cultural Myth, Film International, 1.1, 27-35. 

› Film Festivals, Film International, 4.19, 95-. 

› Toronto International Film Festival; Take Two, Film International, 5.1, 91- 

94. 

› Toronto International Film Festival 2007, Film International, 5.6, 92-96. 

› New Zealand Film and Questions of Genre, Film International, 6.2, 14-22. 

› Around the Circuit: Toronto International Film Festival 2009, Film 




Liz Greene studied sound design for film as an undergraduate at the 

National Film School, Dun Laoghaire (Ireland) in 2001. Since then she 

has worked as a boom operator in the Irish film and television industry. 

Her work on the television series Pure Mule won an Irish Film and 

Television Award (IFTA) for best sound in 2005. She studied for an 

MA in Film Studies at University College Dublin in 2003. She 

completed a Ph.D. at the University of Ulster in 2008. Her thesis was 

entitled Alan Splet and Sound Design: an archival study, which 

investigates the sound effects library Sound Mountain. in 2008-09 she 

worked as a Lecturer in Film and Television Production at York St 

John University, but took up a new post as Lecturer in Film Studies in 

September 2009 at Queen’s University Belfast. 

› Speaking, Singing, Screaming: Controlling the Female Voice in American 

Cinema, The Soundtrack, 2.1, 63-76. 

Erika Gregor studied German and English literature, history and 

philosophy in Göttingen, London, Munich and Berlin. In 1963 she cofounded 

and since then has been an active member of the association 

Freunde der Deutschen Kinemathek (‘Friends of the German 

Cinematheque’). She has been the programmer and organizer for the 

Arsenal cinema since its launch in 1970, and from 1971 to 2004 a 

member of the selection committee of the International Forum of New 

Cinema of the Berlin Film Festival. Erika also curated retrospectives 

and thematic film programmes (‘Stations of Modernism’, ‘Jewish 

Lifestyles’, ‘Japan and Europe’, ‘Moscow–Berlin’, ‘German Images’) in 

the 1980s and 1990s. She has published books and catalogues and 

(together with Ulrich Gregor) the ongoing series Kinemathek (99 

volumes, latest issues on Satyajit Ray, Yasujiro Ozu and Im Kwon-

Ulrich Gregor 

Keywords Berlinale Forum, Arsenal, 

Freunde der Deutschen Kinemathek 

Kate Griffiths 

University of Cardiff, School of 

European Studies, 55-58 Park Place, 

Cardiff, CF24 0DE, United Kingdom 

Keywords borrowing, La Curée, The 

Game is Over, Zola, authorship 

taek). 

› Every Time the Curtain is Going Up, We are Hoping and Longing…, Film 


Ulrich Gregor was born in Hamburg and studied film and literature in 

Hamburg and Berlin. In 1954–56 he undertook a film studies course at 

Cinémathèque Française, Paris. He has been an active film critic since 

1955. In 1963 the co-founded and became chair of the Freunde der 

Deutschen Kinemathek (until 2005). From 1966 to 1972 and again 

since 2006 he teaches film history at the German Film and TV 

Academy in Berlin. He is the author of History of Cinema (with Enno 

Patalas, 1962, new edition 1982), and History of Cinema since 1960 

(1978, new edition 1982, translated into Chinese). From 1971 to 2001 

he was the director of the International Forum of New Cinema at the 

Berlin Film Festival, a showcase of independent and experimental 

cinema. He is a curator of retrospectives and festival catalogues, editor 

of the monograph series Kinemathek (with Erika 



Kate Griffiths is a Lecturer in French at the University of Wales, 

Bangor. She has published a variety of articles on nineteenth-century 

French Naturalism, cinematic adaptation, authorship and citation. 

Thanks to an AHRC research leave grant, she is currently working on a 

monograph entitled Emile Zola: Authorship, Imitation and Adaptation. 

› Hunt the author: Zola, Vadim and La Curée, Studies in European Cinema, 

2.1, 7-18. 

› Racial reflection: La Haine and the art of borrowing, Studies in European 


› Borrowed identities: Mathieu Kassovitz and Djamel Bensalah, New 


Torben Grodal Torben Kragh Grodal is Professor in the Department of Film and


Department of Film and Media 

Studies, Njalsgade 76, Copenhagen S, 

2300, Denmark 

Keywords supernatural, enchantment, 

horror, fantasy, melodrama 

Asbjørn Grønstad 

University of Bergen, Department of 

English, Sydnesplassen 7, N-5007 

Bergen, Norway 

Keywords Anatomie de l'enfer, 

transgression, sexuality, repulsion, 

decommodification 

Emanuela Guano 

Georgia State University, Department 

of Anthropology, Sparks Hall 339A, 

Atlanta, GA 30303, United States of 

America 

Keywords anthropology, Urban 

studies, visual culture, Italy 

Media Studies, University of Copenhagen. His primary research 

interests are currently located in the fields of cognitive film theory with 

special focus on the relation between cognition and emotions in the 

viewer’s processing of films, as well as media in an evolutionary 

perspective. He is the author of Moving Pictures: A New Theory of 

Film Genres, Feelings and Cognition (1997, 1999) Oxford: 

OUP/Clarendon, ‘Emotions, Cognition and Narrative Patterns in Film’ 

(1999) and ‘Subjectivity, Realism and Narrative Structures in Film.’ 

› Born again heathenism – enchanted worlds on film, Northern Lights: Film & 


› Crime fiction and moral emotions: How context lures the moral attitudes of 

viewers and readers, Northern Lights: Film & Media Studies Yearbook, 9., 

143-157. 

› Tales from the Crypt: A debate between Torben Grodal and Christer 

Mattsson, Film International, 1.4, 36-41. 

Asbjørn Grønstad is a professor of Visual Culture in the Department of 

Information Science and Media Studies, University of Bergen. He is 

also director of Nomadikon and the research project 'New Ecologies of 

the Image.' The author of numerous articles and essays on film theory 

and on American and European cinema, Grønstad's most recent books 

are ransfigurations: Violence, Death and Masculinity in American 

Cinema (Amsterdam University Press 2008) and Coverscaping: 

Discovering Album Aesthetics (co-edited with Øyvind Vågnes, 

Museum Tusculanum Press 2010). He is currently completing a book 

on contemporary transgressive art cinema for Palgrave. Grønstad is 

also a founding editor of the peer-reviewed (and Scandinavian 

language only) journal Ekphrasis: Nordic Journal of Visual Culture. 

› Abject desire: Anatomie de l'enfer and the unwatchable, Studies in French 


Emanuela Guano is associate professor of sociocultural anthropology at 

Georgia State University. She is currently working on a book on public 

culture and political discourse in contemporary Italy. Her previous 

research spanned issues of visual and public culture, ideology and the 

social production of space, and public performances of class and 

gender identities in Argentina and Italy. 

› Social immobility and the poetics of contentment in Paolo Virz's Caterina in

Renate Günther 


of French, Jessop West, Upper 

Hanover Street, Sheffield, S3 7RA, 


Keywords Duras, Wittig, feminism, 

gender, sexuality, twentieth-century 

French literature, psychoanalysis, 

Jung, Klein, identity, alterity 

Anna Gural-Migdal 


Modern Languages and Cultural 

Studies, 200 Arts Building, 

Edmonton, T6G 2E6, Canada 

Keywords provocation, image, 

horror, pornography, Haneke 

Oliver Haag 

University of Vienna, Austrian 

Research Center for Transcultural 

Studies, Mariahilfer Strasse 119/13, 

Vienna, A-1060, Austria 


German cinema, national socialism 

the Big City, Studies in European Cinema, 7.2, 149-161. 

Renate Günther lectures in French at the University of Sheffield. Her 

research interests are the work of Marguerite Duras, Monique Wittig, 

feminist theory, studies in gender and sexuality, twentieth-century 

French literature and psychoanalysis. She has published two books on 

Duras, the first on two of her novels and the second on her cinema. She 

has also published articles on Duras and on feminist studies (Wittig, 

Irigaray and Beauvoir). 

› Archetypal figures in Marguerite Duras’s India Song: a Jungian perspective, 


Anna Gural-Migdal is Professor of French Literature and Film in the 

Department of Modern Languages and Cultural Studies at the 

University of Alberta. She has published extensively in the field of 

French and Italian cinema, and served as the Editor-in-chief of the 

Canadian film magazine 24 Images. Her main works are Zola et le 

texte naturaliste en Europe et aux Amériques: Généricité, 

intertextualité et influences (with Carolyn Snipes-Hoyt, Edwin Mellen 

Press, 2006), Zola and Film: Essays in the Art of adaptation (with 

Robert Singer, McFarland, 2005), Writing the Feminine in Zola and 

Naturalist Fiction (Peter Lang, 2004, 2nd ed.) and Le Cinéma de Paul 

Tana: parcours critiques (with Filippo Salvatore Balzac, 1997). 

› The ghost image of horror and pornography in Michael Haneke's La Pianiste 


Oliver Haag is a Research Fellow at the Austrian Research Center for 

Transcultural Studies, Vienna. Oliver studied History and Political 

Science at the University of Vienna, Austria. His research interests are 

in the areas of German reception of Indigenous cultures, politics of 

diversity, and theories of nation-building, with particular interest in 

Australia, the South Pacific and Germany. Oliver is the author of 

academic writings on published Indigenous Australian autobiographies 

and (Indigenous) Australian literature translated into German.

Christine Haase 

University of Georgia, Department of 

German and Slavic Languages, 110 

Joseph Brown Hall, Athens, Georgia, 

GA 30602, United States of America 

Keywords Third Reich, Hitler, 

German cinema, Holocaust, comedy, 

internationalism, German-American 


Helle Kannik Haastrup 

University of Roskilde, Department 

of Culture and Identity, Building 3, 

Roskilde, DK-4000, Denmark 

Keywords celebrity, star, media 

event, mediated ritual, religion 

Markos Hadjioannou 

King's College London, Film Studies 

Department, Strand, London, WC2R 


Keywords new media, digital arts, 

ontology, intermediality, 

spectatorship, Nietzschean ethics, 

› Tasteless, romantic and full of history: The German reception of Australia 

and Rabbit-Proof Fence, Studies in Australasian Cinema, 4.2, 115-129. 

Dr. Haase is an assistant professor of German in the Department of 

Germanic and Slavic Languages at the University of Georgia, Athens, 

US. Her primary research interests are German cinema, especially in its 

relationship to US film and Hollywood, and Holocaust studies, in 

particular cinematic representations of the Holocaust and the Third 

Reich. Dr. Haase is the author of When Heimat Meets Hollywood: 

German Filmmakers and America 1985-2005 (Rochester/NY: Camden 

House, 2007), a book on German directors working in Hollywood and 

the United States. 

› Ready for his close-up? Representing Hitler in Der Untergang (Downfall, 

2004), Studies in European Cinema, 3.3, 189-200. 

Helle Kannik Haastrup is Associate Professor in the Department of 

Culture and Identity, University of Roskilde. Areas of expertise include 

the European art film after 1990, film aesthetics and film culture. 

Research interests cover film aesthetics and culture, with a special 

focus on the analysis of the European and American art film and film 

culture. 

› One re-enchanted evening – the Academy Awards as a mediated ritual within 

celebrity culture, Northern Lights: Film & Media Studies Yearbook, 6.1, 127- 

142. 


Markos Hadjioannou is a part-time lecturer in Film Studies at King's 

College London. His research interests include cinema technologies, 

especially the relationship between celluloid and digital cinema; 

contemporary film theory; and continental philosophy, especially poststructuralism 

and Nietzschean ethics. 

› How does the digital matter? Envisioning corporeality through Christian 

Volckman's Renaissance, Studies in French Cinema, 8.2, 123-136.

contemporary arts, cinema, film 

theory 

Berber Hagedoorn 

Utrecht University, Media and 

Culture Studies, Faculty of 

Humanities, Muntstraat 2A, Utrecht, 

3512 EV, Netherlands 

Keywords found footage, 

documentary, public/private history, 

shared textual authority, voice 

Kevin Hagopian 

Penn State University, Cultural 

Studies, Cinema Studies, United 


Keywords Caché (2005), mentorship, 

McNair Scholar, Penn State, Frank 

Capra 

Greg Hainge 

University of Queensland, School of 

Languages and Comparative Cultural 

Studies, Brisbane, Queensland, 4072, 

Australia 

Berber Hagedoorn, MA is a junior lecturer and Ph.D. student in Media 

and Culture Studies at Utrecht University, the Netherlands. She studied 

Media Studies at Utrecht University and the University of California, 

Santa Barbara, and graduated cum laude in 2007. Her thesis 'Shared 

Textual Authority in the Found Footage Documentary: A Historical 

and Theoretical Analysis of The Maelstrom, Grizzly Man and My 

Architect' was shortlisted for the 2007–8 UU Faculty of Humanities 

Master Thesis Prize. She is currently working with the project 

'EUscreen: Exploring Europe's Television Heritage in Changing 

Contexts' and researches the topic of 'Repurposing Television's Past: 

Re-Screening, History and Memory in the Multi-Platform Era.' Her 

research interests include the topics of the re-use of archival and 

historical footage in a variety of media platforms, television in 

transition, public/private history, memory, and the auto/biographical 

documentary. 

› ‘Look what I found!’: (Re-)crossing boundaries between public/private 

history and biography/autobiography in Péter Forgács' The Maelstrom, 


Kevin Hagopian teaches Cinema Studies and Cultural Studies at Penn 

State University, where he is on the Graduate and Honors faculties. He 

is completing a manuscript entitled ‘Hollywood Restoration: Genre, 

Ideology and the Film Industry in the Age of American Affirmation, 

1936–1945’. 

› (Introduction to Capra Award Winner) Faculty Perspective, Film 


Greg Hainge is Reader in French at the University of Queensland. He 

has published extensively in the fields of film studies, twentiethcentury 

French literature, continental philosophy, cultural studies and 

experimental music. He is president of the Australian Society for 

French Studies and serves on the editorial boards of Culture, Theory 

and Critique, Contemporary French Civilization, Études Céliniennes

Keywords French cinema, David 

Lynch, Coen Brothers, Grandrieux, 

new extremism, spectatorship, cinema 

sound 

Sabine Hake 


Department of Germanic Studies, 

C3300, Austin, TX, 78712-0304, 


Keywords Fascism, aesthetics, 

Nazism, Italian film, 1970s, 

exploitation cinema 

Judith Halberstam 


Department of English, United States 

of America 

Keywords Bride of Chucky, Ronnie 

Yu, neo-splatter film, horror film, The 

Final Girl, gender, sexual politics, 

Child’s Play series, heteronormativity 

Ciara Haley 

Keywords borders, identities, 

European Cinema, depictions of 

Germany, Cold War period 

and the editorial advisory board of Altitudes. In addition he is the 

Australasian Officer for Studies in French Cinema. 

› Airport music: Muzak, ‘Non-lieux’ and film sound in Stéphanik's Stand-by 

and Lioret's Tombés du ciel, Studies in French Cinema, 9.3, 201-214. 

Sabine Hake is the Texas Chair of German Literature and Culture in 

the Department of Germanic Studies at the University of Texas at 

Austin. She is the author of five books, including German National 

Cinema (2008, second revised edition) and Topographies of Class: 

Modern Architecture and Mass Society in Weimar Berlin (2008). Her 

new book project deals with the fascist imaginary in post-fascist 


› Art and exploitation: On the fascist imaginary in 1970s Italian cinema, 


Judith Halberstam is a Professor of English and Director of the Centre 

for Feminist Research at the University of Southern California. She 

teaches courses in queer studies, gender theory, art, literature and film. 

She has written books such as Skin Shows: Gothic Horror and the 

Technology of Monsters (Durham N.C: Duke University Press, 1995), 

Female Masculinity (Durham N.C: Duke University Press, 1998) and 

In A Queer Time and Place: Transgender Bodies, Subcultural Lives 

(New York University Press, 2005). 

› NeoSplatter: Bride of Chucky and the Horror of Heteronormativity, Film 


Margot Black and Ciara Haley are both students, studying for degrees 

in French & Italian and Spanish & Italian respectively at Cardiff 

University, Wales. They are currently in their second year and doing a 

module on Borders and Identities in European Cinema. It is through 

this module, and the guidance of their lecturer Ryan Prout, that they 

came to be interested in depictions of Germany in film throughout the 

Cold War period.

Randall Halle 

University of Pittsburgh, German 

Department, 1409 Cathedral of 

Learning, Pittsburgh, PA 15206, 


Keywords migrant cinema, Ayse 

Polat, Neco Çelik, Kutluğ Ataman, 

Kanak-TV 

Benjamin Halligan 


Media, Music and Performance, 

Adelphi Building, Peru Street, 

Salford, M5 4WT, United Kingdom 

Keywords John Travolta, Mike 

Nichols, bio-pic, Democratic Party, 

politics 

› Counterculture in the GDR: Remembering the GDR through Film, Film 

Matters, 2.1, 30-32. 

Randall Halle is the Klaus W. Jonas Professor of German Film Studies 

at the University of Pittsburgh. In addition to numerous articles, he is 

the author of German Film after Germany: Toward a Transnational 

Aesthetic and co-editor of After the Avant-Garde. 

› Experiments in Turkish–German film-making: Ayşe Polat, Kutluğ Ataman, 

Neco Çelik, Aysun Bademsoy and Kanak Attak, New Cinemas: Journal of 


Benjamin Halligan completed his MPhil and Ph.D. in the Department 

of Theatre, Film and Television Studies at Aberystwyth University and 

is Director of the Graduate School of Media, Music and Performance at 

the University of Salford. His critical biography Michael Reeves 

(Manchester University Press, 2003) is currently in development for a 

biopic. Other publications include considerations of Andrei 

Tarkovsky’s aesthetics, disco and 1970s’ television sci-fi, and Mark E. 

Smith and The Fall: Art, Music and Politics (Ashgate, 2010), co-edited 

with Michael Goddard. 

› Conference Report, New Cinemas: Journal of Contemporary Film, 6.2, 145- 

151. 

› Sloths of Office: The Mid-life Crisis of Hollywood's Democrats, Part 1, Film 


› Sloths of Office: The Midlife Crisis of Hollywood's Democrats, Part 2, Film 


› Idylls of socialism: The Sarajevo Documentary School and the problem of 

the Bosnian sub-proletariat, Studies in Eastern European Cinema, 1.2, 197- 

216. 

› Reviews, Studies in Eastern European Cinema, 2.1, 91-111. 

Louise Hamby Louise Hamby is a Research Fellow at the Research School of 

Humanities and the Arts, Australian National University. Her current 

Australian Research Council Discovery Grant is Contexts of Collection


Research School of Humanities, 37 

WEH Stanner Building, Lennox 

Crossing, Canberra, Acton, 200, 

Australia 

Keywords Ten Canoes, Arnhem 

Land, Aboriginal, Rolf de Heer, 

interpretation 

Petra Hanakova 

Charles University, Katedra 

filmových studií FF UK, nám J. 

Palacha 2, Praha 1, Prague, 118 36, 

Czech Republic 

Keywords Czech visual culture, 

Eastern European cinema 

Czechoslovak New Wave, Socialist 

realism, images of women, feminism 

Amy R Handler 

Keywords Cinmathque Franaise, 

Italian cinema, Tinto Brass 

- a dialogic approach to understanding the making of the material 

record of Yolngu cultures (2008-2011). Louise has a strong interest in 

historic and contemporary material culture from Arnhem Land. Her 

involvement with eastern Arnhem Land women lead to the 

development of the exhibition that she co-curated with Diana Young, 

Art on a String. Research in western Arnhem Land fibre resulted in the 

exhibition and book called Twined Together: Kunmadj Njalehnjaleken. 

› Thomson Times and Ten Canoes (de Heer and Djigirr, 2006), Studies in 


Petra Hanáková is assistant professor at the Film Studies Department 

of the Charles University in Prague. Her research focuses on the theory 

of film and visual culture, gender analysis and the representation of 

national identity in film. She is the author of Pandořina skřínka aneb 

Co feministky provedly filmu?/ Pandora’s Box or What Have Feminists 

Done to Cinema?, 2007], editor of Výzva perspektivy. Obraz a jeho 

divák od malby quattrocenta k filmu a zpět/The Challenge of 

Perspective. Image and its Spectator from Quattrocento Panting to 

Film and Back, 2008, and the co-editor of Visegrad Cinema: Points of 

Contact from the New Waves to the Present (2010, with Kevin 

Johnson). She is currently working on a book on national imaging in 

Czech visual culture. 

› From Mařka the Bricklayer to Black and White Sylva: Images of women in 

Czech visual culture and the Eastern European visual paradox, Studies in 

Eastern European Cinema, 2.2, 145-160. 

Amy R Handler, MFA, is a Boston-based filmmaker, film scholar, 

writer and critic. Her work is speculative – examining time, fate, 

coincidence and our capacity for good and evil. Aside from Film 

International, her work appears at Cineaste, Film Threat, Moving 

Pictures Magazine and other magazines throughout the world. She is 

presently writing several chapters in the books: German Cinema: A 

Critical Filmography to 1945, and World Cinema France. 

› If History Runs, Cinema Can't Keep Walking: An Interview with Tinto 

Brass, Film International, 8.2, 30-36. 

› Waiting for Armageddon: An Interview with Film-maker Kate Davis, Film 


Fiona Handyside 

Queen's University of Belfast, School 

Of Languages, Literatures and Arts, 

Belfast, Northern Ireland, BT7 1NN, 


Keywords genre, Gouttes d'eau sur 

pierres brûlantes, melodrama, Ozon, 

Sirkbeach 

Jane Hanley 

Macquarie University, New South 

Wales, NSW2019, Australia 

Keywords fantasy, violence, Del 

Toro, childhood, Civil War 

Kim Toft Hansen 

Aalborg University, Department of 

Culture and Global Studies, 

Kroghstraede 3, 9220 Aalborg Øst, 

Denmark 

Keywords Chinese crime fiction, 

history of detective fiction, revision of 

genre history, sinology, genre 

reception, supernaturalism 

Fiona Handyside is Lecturer in Film Studies at Queen’s University of 

Belfast. Her research interests include cinema and female stardom; 

cross-cultural readings of French and Hollywood cinema; and the 

relations between cinema and tourism. She has published articles on all 

of these topics. 

› Stardom and nationality: the strange case of Jean Seberg, Studies in French 


› Melodrama and ethics in François Ozon's Gouttes d'eau sur pierres 

brûlantes/Water Drops on Burning Rocks (2000), Studies in French Cinema, 

7.3, 207-218. 

› Rohmer à la plage: The role of the beach in three films by Eric Rohmer, 


› Beyond Hollywood, into Europe: The tourist gaze in Gentlemen Prefer 

Blondes (Hawks, 1953) and Funny Face (Donen, 1957), Studies in European 


Jane Hanley is pursuing a Ph.D. in the Department of International 

Studies at Macquarie University. Her thesis examines travel writing 

between Spain and Mexico. Other research interests include 

transatlantic Spanish-Mexican relations more generally and gender and 

representation in literature, and sexuality and popular culture. 

› The walls fall down: Fantasy and power in El laberinto del fauno, Studies in 


Kim Toft Hansen is Teaching Assistant Professor and Ph.D. student at 

Department of Culture and Global Studies, Aalborg University. Hansen 

has in connection with the cross-disciplinary research programme 

Crime Fiction and Crime Journalism in Scandinavia published 

extensively about crime fiction. He has co-edited the two anthologies 

Fingeraftryk – studier i krimi og det kriminelle and Kulturtrafik – 

Æstetiske udtryk i en global verden as well as the first issue of the 

academic journal Academic Quarter about Flesh. He is theco-editor in 

chief of Academic Quarter and the editor in chief of the online review 

journal Kulturkapellet. Recent publications range from articles about 

Chinese crime fiction as well as religion and metaphysics in crime 

fiction to specific articles about authors such as Henning Mortensen 

and Philip Kerr. Hansen has published many reviews of

Frances Harding 


African Languages and Cultures, 




Keywords public morality, soap 

opera, representations of sexuality, 

scopophilia, supernatural 

Joe Hardwick 


Languages and Comparative Cultural 

Studies, Queensland, 4072, Australia 

Keywords identity, le jeune cinéma, 

marginality, parasitism, wandering 

› Chinese court case fiction: A corrective for the history of crime fiction, 

Northern Lights: Film & Media Studies Yearbook, 9., 63-77. 

Dr Frances Harding is Lecturer in African Drama in the Department of 

African Languages and Cultures at the School of Oriental and African 

Studies, University of London. She has written on several aspects of 

the performance arts and the media in Africa. Amongst her specialist 

research and practice interests is the use and application of theatre and 

media to development contexts. She has worked in several countries of 

Africa and recently returned from central Nigeria where she was 

continuing her work on the village theatre of the Tiv people of Benue 

State. Amongst her publications are The Performance Arts in Africa 

(ed) Routledge 2002, and a special issue of The Journal of African 

Cultural Studies: Media and Africa, 16:1, June 2003 Taylor & Francis. 

› Appearing fabu-lous: from tender romance to horrifying sex, Film 


Joe Hardwick is a French lecturer at the University of Queensland, 

Brisbane, Australia. He has published articles on French ‘existentialist’ 

literature, le jeune cinéma français and the French critical reception of 

Australian cinema. He is the co-editor with Barbara Hanna and Juliana 

de Nooy of Writing the Self in French (Delaware: University of 

Delaware Press, 2005) and Soi-Disant: Writing, Screening, Theorizing 

the Self in French, a special edition of the Australian Journal of French 

Studies (41: 3, 2004). He was also guest editor for an edition of the 

Australian Journal of French Studies entitled '(Rétro)projections: 

French cinema in the Twenty-First Century' (45: 3, 2008). He is 

currently preparing a monograph on wandering protagonists in le jeune 

cinéma. 

› Fallen angels and flawed saviours: marginality and exclusion in La Vie de 

Jésus and La Vie rêvée des anges, Studies in French Cinema, 7.3, 219-230. 

Graeme Harper Professor Graeme Harper is Associate Editor of the Creative Industries 

Journal. Now Director of the Honors College at Oakland University, 

Michigan, he has worked at universities in the United States, Australia

Oakland University, Director, The 

Honors College, Vandenberg Hall, 

Oakland University, MI 48309, USA 

Keywords Welsh culture, 

nationalism, performance, Wales, 

Australia, ontology 

Sue Harper 


Creative Arts, Film and Media, Park 

Building, King Henry 1 Street, 

Portsmouth, Hampshire, PO1 2DZ, 


Keywords Transylvania, hammer 

films, horror, Europe, costume 


Stephen Harper 

University of Portsmouth, UK, School 

of Creative Arts, Film and Media, 

University of Portsmouth, St George’s 

and the United Kingdom, where he established the National Institute 

for Excellence in the Creative Industries. He remains an Honorary 

Professor in the UK. Also a Professor of Creative Writing, he has 

published creative and critical work, including On Creative Writing 

(MLM, 2010), Moon Dance (Parlor, 2010) and Sound and Music in 

Film and the Visual Media: A Critical Overview (Continuum, 2009). 







› Editorial: A European imaginary, Studies in European Cinema, 6.1, 3-6. 

› Editorial, Studies in European Cinema, 6.2&3, 93-96. 




› Editorial: The Death of the Auteur?, Studies in European Cinema, 8.1, 3-6. 

Sue Harper is Emeritus Professor of Film History at the University of 

Portsmouth. She has published widely on British cinema. Her books 

include Picturing the Past: the Rise and Fall of the British Costume 

Film (1994), Women in British Cinema: Mad, Bad and Dangerous to 

Know (2000) and, with Vincent Porter, British Cinema of the 1950s: 

the Decline of Deference (2003). She has published on Portsmouth film 

taste in the 1930s and 1940s, and led a major AHRC research project 

on British cinema in the 1970s. She edited The New Film History with 

Professor James Chapman and Dr Mark Glancy, and British Culture 

and Society in the 1970s: the Lost Decade with Dr Laurel Forster. 

› Beyond the forest: Terence Fisher and Transylvania, Studies in European 


Stephen Harper is Senior Lecturer in Media Studies at the University of 

Portsmouth. His research interests include the politics of British 

television drama, Marxism and critical theory, media images of war 

and media representations of mental distress. He is the author of 

Beyond the Left: The Communist Critique of the Media (Zero Books,

Building, 141 High Street, 

Portsmouth PO1 2HY 

Keywords 

Sophie Harper 

European Film College, Carl Th 

Dreyers vej, 8400 Ebeltoft, Denmark 

Keywords ethics, documentary, 

power balance, film-maker integrity 

Scott Jordan Harris 

Keywords The Big Picture, The 

Spectator, The Spectator Arts Blog, 

criticism, Film International 

2012) and Madness, Power and the Media: Class, Gender and Race in 

Popular Representations of Mental Distress (Palgrave, 2009). 


Sophie Harper worked as a video producer, director and editor after 

graduating with a Bachelor of Arts (Film History) degree from the 

Australian National University. She spent five years as Research 

Coordinator at the Australian Film Commission and was Governance 

Manager at Screen Australia for the agency’s first year of operation, 

assisting with the transition process. In 2008 she produced a 

documentary entitled Projecting the Body (director Walter McIntosh), 

which screened at film festivals in Australia, America and Europe. She 

is now a faculty member of the European Film College, teaching 

Documentary and Production Management. 

› Balancing responsibilities in Undressing My Mother, Short Film Studies, 1.1, 

67-70. 

Scott Jordan Harris writes for The Spectator and co-edits its arts blog. 

He is also the editor of The Big Picture magazine and the book World 

Film Locations: New York. He has contributed to several books on 

cinema and has written for numerous other publications, including 

Fangoria, , PopMatters and Rugby World. His blog – 

http://apetrifiedfountain.blogspot.com/ – was named by Running in 

Heels as one of the world’s 12 ‘best movie blogs’. 






Nicholas Harrison Nick Harrison studied at the University of Cambridge, worked as a 

lecturer in Tunis, Quebec and Paris, and taught at Cambridge and UCL

Keywords modern literature, film, 

post-colonial literature, francophone 

literature, Maghreb, literary theory, 

comparative literature, cultural 

history, censorship, freedom of 

expression 

Daisy Hasan 

University of Leeds, School of 

English, Leeds, LS2 9JT, United 


Keywords Doordarshan, civil society, 

media, insurgency, indigenous 

Yana Hashamova 

Ohio State University, 400 Hagerty 

Hall, 1775 College Road, Columbus, 

OH 43210, United States of America 

Keywords Russia cinema, gender, 

national identities, Muslims, Bulgarin 

minorities, Other, Bulgarian cinema 

before moving to King’s in 2005. He has carried out and supervised 

research in diverse areas including modern literature, film and thought 

in French; postcolonial and francophone literature, especially of and 

about the Maghreb; literary theory; comparative literature; and 

intellectual and cultural history, particularly in relation to censorship 

and freedom of expression. Authors on whose work he has written 

include Djebar, Chraïbi, Camus, Conrad, Fanon, Said, Sade, Breton, 

Cixous and Freud.Current interests include Djebar, and notions of the 

literary; cultural memory and the ‘dark continent’; representations and 

‘echoes’ of the Algerian war of independence; and a larger project on 

colonial education, with particular emphasis on issues around 

secularism and literary education. 

› Readers as résistants: Fahrenheit 451, censorship, and identification, Studies 

in French Cinema, 1.1, 54-. 

Dr Daisy Hasan completed her Ph.D. in Media Studies from Swansea 

University in 2007. She is currently a post-doctoral research assistant 

on an AHRC funded knowledge transfer project looking at South Asian 

women artists and conflict in the School of English, University of 

Leeds. Her research is in areas related to international communication, 

media globalization, public service broadcasting, film studies, media 

and identity, and folklore and ethnicity with particular emphasis on the 

contemporary and traditional cultures of North-East India. 

› ‘Guns and guys in the jungle; news and terrorism in north-east India’, Studies 

in South Asian Film & Media, 1.2, 265-284. 

Yana Hashamova, Associate Professor of Slavic Studies, is Director of 

the Center for Slavic and East European Studies at the Ohio State 

University. She is also Associate Faculty member of the Departments 

of Comparative Studies, Film Studies, Women’s Studies, and the 

Mershon Center for International Security. Her co-edited (with Helena 

Goscilo) volume Cinepaternity: Fathers and Sons in Soviet and Post- 

Soviet Film came out from Indiana University Press (March 2010). She 

has also co-edited (wiith Helena Goscilo) a special section 'Women in 

War: Mobilisation, Manipulation, and Marginalisation on the Eastern 

Front', ASPASIA: International Yearbook of Central, Eastern, and 

South Easterneuropean Gender and Women's History (April 2010). In 

addition, she has published numerous articles in the areas of Russian 

and East European film, drama, comperative literature and the arts, 

critical theory and gender studies.

Omar Hassan 

Keywords Egyptian cinema, 

censorship, colonialism, Midaq 

Alley/Zouqaq al-Midaq, Yousef 

Chahine 

Brian Hauser 

Union College, Shenectady, New 

York, United States of America 


detectives, supernatural, The X Files 


› (Re)negotiating Identities: Representations of Muslim Minorities in 

Bulgarian Film, Film International, 8.3, 49-61. 

Omar is a writer and film programmer. Born in Cairo, Egypt, he has 

lived in the United States and Saudi Arabia and currently resides in the 

United Kingdom. He is an Inspire fellow at FACT (The Foundation for 

Art and Creative Technology), and the Royal College of Art, London. 

He is a graduate of the University of Glasgow, and Screen Academy 

Scotland. His dramatic writing has been performed professionally, and 

developed with the support of the UK Film Council. Omar also 

contributes to the Document film festival in Glasgow, and his writing 

has appeared in The Guardian, What’s On Stage, Scope, The Advocate, 

and Pink News, to name but a few. 

› Real Queer Arabs: The Tension between Colonialism and Homosexuality in 

Egyptian Cinema, Film International, 8.1, 18-24. 

Brian R. Hauser is an assistant professor of film studies in the English 

Department at Union College in Schenectady, New York. He is also 

one of the co-editors of the quarterly DVD, The Journal of Short Film. 

He won the H.P. Lovecraft Film Festival Screenwriting Competition 

(2010) for his feature-length screenplay Cult Flick and his short 

screenplay The Curfew has also garnered attention at multiple festivals, 

including 2011 Slamdance (semi-finalist), 2010 Creative World 

Awards (honorable mention/second place), 2010 SoCal Film Festival 

(semi-finalist) and the 2010 Golden Brad Awards (top 75 shorts). Brian 

Hauser has published on The X-Files, and he has co-edited a journal 

special issue devoted to the aesthetics of European cinema. His 

research focuses on film and television narratives in which detectives 

encounter the supernatural. 

› Introduction: The Limits of Collection, Studies in European Cinema, 5.2, 85- 

89. 

Iben Have Iben Have’s main research interest is music and sound as aesthetic and

Aarhus University, Department of 

Information and Media Studies 

Keywords sound, music, aesthetics, 

emotion, narration 

Jimmy Hay 

Keywords melodrama, European 

independent cinema, American 


Graeme Hayes 

Aston University, French Studies, 

Birmingham, United Kingdom 

Keywords French cinema, politics of 

protest, civil disobedience campaigns 

communicative devices in public media. She addresses questions about 

how reality, knowledge and emotions are realized, mediated and 

experienced through sound and music in audio-visual media. Among 

her publications are Lyt til tv/Listening to Television (2008), 

‘Aestheticizing Politics. Non-verbal Political Communication in Danish 

Television Documentaries’ (2008), ‘Background Music and 

Background Feelings – background music in audio-visual media’ 

(2008) and ‘Underlægningsmusik i dokumentariske 

politikerportrætter’/‘Underscore Music in Documentary Portraits of 

Politicians’ (2009). 

› Communicative and narrative sound in Village, Short Film Studies, 1.1, 131- 

134. 

› A soundtrack between allurement and repulsion: Gentle and threatening 

tones, Short Film Studies, 2.1, 87-90. 

Jimmy Hay is a second year Ph.D. research student at Swansea 

University, where he attained a first class Screen Studies degree before 

attaining a Masters distinction in Film Studies at Queen Mary’s 

University, London. He has three forthcoming publications on the 

subject of melodrama in contemporary European and American 

independent cinema. 

› Suffering in silence: Alumbramiento as a melodramatic text, Short Film 

Studies, 1.2, 199-202. 

Graeme Hayes studied Modern European Studies as an undergraduate 

at Loughborough University, before spending a couple of years as an 

English language assistant (lecteur) at Nancy University in France. In 

1992, He got a job lecturing in French at the University of 

Wolverhampton, and started a part-time Ph.D. at the University of 

Manchester on French environmental protests. He was awarded a Ph.D. 

in 2000, and the following year the Political Studies Association 

awarded him the Walter Bagehot prize for best dissertation in 

Government and Public Administration. In 2001 Graeme moved from 

Wolverhampton to Nottingham Trent University, where he became 

French subject leader in 2003. Graeme moved to Aston University in 

2007. 

› Resistancialism revisited: masculinity and national identity in Claude Berri's 

Lucie Aubrac (1997), Studies in French Cinema, 1.2, 108-117.

Kevin J. Hayes 

University of Central Oklahoma, 


Keywords Godard, graffiti, 

magazines, One Plus One, 

pornography 

Jonathan Haynes 

Long Island University, English 

Department, One University Plaza, 

Brooklyn, New York, NY 11201- 


Keywords Nollywood, Nigerian 

video films, African cinema, African 

literature 

Susan Hayward 

University of Exeter 

Keywords Simone Signoret, 

adaptation, lesbian text, star body, 

Zola, French cinema 

Kevin J. Hayes is Professor of English at the University of Central 

Oklahoma, where he teaches courses in film and literature. He has 

published essays on film in Cinema Journal, Film Criticism, 

Interdisciplinary Literary Studies, Literature/Film Quarterly, 

Quarterly Review of Film and Video, Studies in French Cinema, and 

Visible Language. He is currently working on a book about Charlie 

Chaplin. 

› The Newspaper and the Novel in À bout de souffle, Studies in French 


› The book as motif in One Plus One, Studies in French Cinema, 4.3, 219-228. 

› The body and the book in Contempt, Studies in European Cinema, 1.1, 31- 

42. 

Jonathan Haynes was educated at McGill University (BA with honors, 

1974) and Yale (MA, 1976; Ph.D., 1980). He has taught at the 

American University in Cairo (Egypt), Tufts University, Albion 

College, Bennington College, the University of Nigeria-Nsukka, 

Ahmadu Bello University (Nigeria), Columbia University, New York 

University and the University of Ibadan (Nigeria). Since 1998 Dr. 

Haynes has been at Long Island University, first at Southampton 

College and then, since 2004, in the English Department at the 

Brooklyn Campus. In 2001-2002 he was director of the Friends World 

Program’s West African Center in Kumasi, Ghana. 

› Nnebue: the anatomy of power, Film International, 5.4, 30-43. 

› ‘NOLLYWOOD’: what's in a name?, Film International, 5.4, 106-108. 

Susan Hayward is Chair of Cinema Studies and Director of Film 

Studies at the University of Exeter. She is the author of numerous 

books on French Cinema including Les Diaboliques (2006), French 

National Cinema (2005); Simone Signoret: The Star as Cultural Sign 

(2004), Luc Besson (1998). She is also the author of the successful 

Cinema Studies: The Key Concepts (2005 – now in its third edition). 

› Claire Denis' Films and the Post-colonial Body - with special reference to 

Beau travail (1999), Studies in French Cinema, 1.3, 159-165. 

› Editorial, Studies in French Cinema, 3.1, 4-4.

Erik Hedling 

Lund University, Department of 

Comparative Literature, Box 201, 

Lund, 221 00, Sweden 

Keywords Sweden, welfare state, 

utopian landscapes, post-utopian 

landscapes, faith, knowledge, auteur, 

culture 

› Literary adaptations of the 1950s Thérèse Raquin (1953) and Les 

Diaboliques (1955), Studies in French Cinema, 3.1, 5-14. 

› Editorial, Studies in French Cinema, 3.2, 70-70. 



› Signoret’s star persona and redressing the costume cinema, Studies in French 















› Reviewing quality cinema: French costume drama of the 1950s, Studies in 





› A fond farewell from Susan, Studies in French Cinema, 10.3, 199-200. 

› Reading masculinities in Claire Denis's Chocolat, New Cinemas: Journal of 

Contemporary Film, 1.2, 120-. 

Erik Hedling is Professor of Comparative Literature at Lund 

University, Sweden, where he teaches film and literature. He is, among 

other things, the author of Lindsay Anderson: Maverick Film-Maker 

(London: Cassell, 1998) and British Fictions: Intermedial Studies in 

Film, Television, Drama, Prose and Poetry (Stockholm: 2001). He is 

the co-editor of Interart Poetics: Essays on the Interrelations of the 

Arts and Media (Amsterdam: Rodopi, 1997), Cultural Functions of 

Intermedial Exploration (Amsterdam: 2002) and Regional Aesthetics: 

Locating Swedish Media (Stockholm: Royal Library, 2010). He is also 

the editor of several anthologies in Swedish. He has published 

numerous essays on film in English and the Scandinavian languages. 

His major research interest is film and society.

Olof Hedling 

Lund university, SOL-Centrum, Box 

201, Lund, 211 00, Sweden 


Swedish cinema, production, runaway 

production, regional production, 

contemporary film 

Wai Siam Hee 


Sciences, Nanyang Technological 

University, 14 Nanyang Drive, HSS- 

03-11, Singapore, 637332, Singapore 

Keywords Tsai Ming-liang, gender, 

sexuality, Chinese cinema 

› Bergman and the welfare state, Film International, 4.19, 50-59. 


› The Arn Franchise: Launching a Small Country Blockbuster, Film 


› Breaking the Swedish Sex Barrier: Painful Lustfulness in Ingmar Bergman's 

The Silence, Film International, 6.6, 17-27. 

Olof Hedling teaches Film Studies at Växjö University and at Lund 

University, in Sweden. Currently he is involved in a research project 

that concerns European regional film production. He also co-ordinates 

Lund University's Master's Program in Film and Media Production 

which is located in Ystad. He has written a book on film critic Robin 

Wood and edited several special issues of Film International as well as 

a collection called Regional Aesthetics: Locating Swedish Media. 

› A New Deal in European Film? Notes on the Swedish Regional Production 

Turn, Film International, 6.5, 8-17. 


› A Film-friendly Town? Assessing a Decade at a Small Swedish Production 

Centre, Film International, 8.6, 70-78. 

› Editorial Issue 48: Making Movies in Europe: An Opening Note, Film 


Wai Siam Hee is Assistant Professor in the Division of Chinese, 

Nanyang Technological University, Singapore. His research interests 

include gender and sexuality in Chinese culture, Chinese film studies 

and modern Chinese printculture. He is currently working on a project 

on the independent Chinese film culture in Singapore and Malaysia, 

including its relation to Tsai Ming-liang. 

› ‘You must believe there is an author behind every film’: An interview with 

Tsai Ming-liang, Journal of Chinese Cinemas, 5.2, 181-191. 

Nick Heffernan Nick Heffernan is Senior Lecturer in American Studies at University 

College Northampton. He has published on literature, cultural history

University of Nottingham, School of 

American and Canadian Studies, 

Nottingham, United Kingdom 

Keywords cultural history, American 

culture 

Kerry Hegarty 

Miami University, Department of 

Spanish and Portuguese, Irvin Hall, 

Oxford, OH, 45056, United States of 

America 

Keywords youth culture, La Onda, 

mod film, Tlaltelolco, Canoa 

Maike Helmers 

Bournemouth University, Media 

School, Talbot Campus, Fern Barrow, 

Poole, Dorset, United Kingdom 

Keywords sound design, German 

cinema, film sound, film editing 

Ian Henderson 

Keywords Australian literature, 

Australian cinema, Aboriginal 

Australians, indigenous modernity 

and critical theory, including the book Capital, Class and Technology 

in Contemporary American Culture (Pluto, 2000). 

› The Last Movie and the critique of imperialism, Film International, 4.21, 12- 

22. 

Kerry Hegarty is assistant professor of Latin American Film, Theatre 

and Culture at Miami University of Ohio. Her current research is 

focused on the Mexican film industry, and she has published articles on 

youth culture cinema, the ranchera genre and cinematographers Gabriel 

Figueroa and Gregg Toland. She is also working on a book-length 

project about Mexican film in the 1960s and 1970s. 

› Youth culture on film: an analysis of post-1968 Mexican cinema, Studies in 


Maike Helmers joined Bournemouth University in 1997, where she is 

now Senior Lecturer in Sound Design. Prior to this she worked in the 

film cutting rooms at BBC Television for ten years, where she was 

involved with a number of award-winning programmes. She is a 

Fellow of the Higher Education Academy and of the Royal Society of 

Arts. 

› ‘Kol Nidre’ to ‘Toot, Toot, Tootsie,’ (The Jazz Singer on DVD), The 

Soundtrack, 1.2, 135-145. 

Dr. Ian Henderson was foundation editor of Studies in Australasian 

Cinema (2007-2010) and lectures in Australian literature and film at 

King's College London. His current film-studies research focuses on 

the representation of Aboriginal Australians and concepts of 

Indigenous modernity. 

› Editorial, Studies in Australasian Cinema, 1.2, 125-126. 

› Review, Studies in Australasian Cinema, 1.2, 235-. 

› Editorial, Studies in Australasian Cinema, 1.1, 3-4.

Daniel Herbert 

University of Michigan, Screen Arts 

and Cultures, 1145 Pomona Rd., Ann 

Arbor, MI 48103, United States of 

America 

Keywords contemporary 

transnational remakes, transnational 


Ute Hermanns 

Freie Universitaet Berlin, 

Lateinamerika-Institut, Ruedesheimer 

Str. 54 56, Berlin, 14197, Germany 

Keywords Copacabana, urban 

history, violence, old-age love affairs, 

Marcos Bernstein 

Carmen Herrero 



Tylecote Building, Cavendish Street, 

Manchester, M15 6BG, United 


Keywords transnational, genre, 

auteur cinema, thriller, Spanish 





Daniel Herbert is currently a visiting lecturer in Screen Arts and 

Cultures at the University of Michigan. He is Ph.D. candidate in 

Critical Studies at the University of Southern California, working on 

contemporary transnational remakes. 



Ute Hermanns was born in Detmold on 21 December, 1957. She 

studied Brazilian literature and film in Gießen, Berlin and Rio de 

Janeiro. She completed her MA with a thesis on Ignacio de Loyola 

Brandão's novel and specialized in the relationship between film and 

literature at the Freie Universität Berlin, where she acquired her Ph.D. 

and currently teaches Latin American Film (Argentina, Chile, Brazil, 

Uruguay). 

› Copacabana's other side: Marcos Bernstein and The Other Side of the Street 

at the Berlin Film Festival 2004, New Cinemas: Journal of Contemporary 

Film, 2.3, 189-198. 

Dr Carmen Herrero is a principal lecturer in Spanish studies at the 

Manchester Metropolitan University. Her more recent articles deal with 

genre, particularly thriller, and representations of motherhood, city and 

nostalgia in contemporary Spanish cinema. 

› Edgy art cinema: cinephilia and genre negotiations in recent Spanish rural 

thrillers, Studies in European Cinema, 7.2, 123-134.

Nicholas Hewitt 

University of Nottingham, 

Department of French, University 

Park, Nottingham, Nottinghamshire, 

NG7 2RD 

Keywords adaptation, Montmartre, 

French popular culture, mass media 

Melvyn P. Heyes 

Ph.D., MSW, 1444 Shore Drive, 

Edgewater, MD 21037, USA 

Keywords 

Miriam Heywood 

University College London, French 

Department, 59A Barrett's Grove, 

London, N16 8AP, United Kingdom 

Keywords Holocaust, image, archive, 

resurrection, redemption 

Nicholas Hewitt is Professor of French at the University of 

Nottingham. He is the author of books on Henri Troyat, intellectual 

malaise in the interwar years, Céline, and the ‘Hussards’, and the editor 

of volumes on European post-war reconstruction, the rise of the mass 

media in France, access and control in broadcasting, European and 

French popular culture, the culture of the Liberation and France and 

Eastern Europe. His latest book is the Cambridge Companion to 

Modern Culture and he has recently completed a cultural history of 

Montmartre. 

› Gabin, Grisbi and 1950s France, Studies in French Cinema, 4.1, 65-76. 

Melvyn P. Heyes is a biomedical research scientist and psychotherapist 

with 26 years of laboratory and consulting experience at the National 

Institute of Mental Health, the biotechnology industry and patient 

advocacy organizations. His work focuses on the recognition of 

patterns of disturbances in psychological and neurological disorders. 

He is also a graduate of Columbia University School of Social Work 

with internships in the Employee Development Center and the Institute 

of Contemporary Psychotherapy in New York City. Currently, he is a 

clinical psychotherapist for children, adolescents, adults and families at 

the Center for Children and Second Genesis in Maryland. 

› Development of a fundamental '19-Sequence Model' of screenplay and 

narrative film structure, Journal of Screenwriting, 3.2, 215-238. 

Miriam Heywood is working on a Ph.D. at University College London. 

Her article, ‘World literature as video: Literary quotation in Jean-Luc 

Godard’s Histoire(s) du cinéma' was published in an edited volume, 

World Literature, World Culture: History, Theory, Analysis (Aarhus 

University Press, 2008). 

› Holocaust and image: Debates surrounding Jean-Luc Godard's Histoire(s) du 

cinéma (1988–98), Studies in French Cinema, 9.3, 273-283.

Jochen Hick 

Galeria Alaska Productions, D-20206 

Hamburg, P.O. Box 201620, 

Germany 

Keywords low-budget, coproduction, 

film funding, Germany 

Jeremy Hicks 

Queen Mary University of London, 

School of Languages, Linguistics and 

Film, QMUL, Mile End Road, 

London, E1 4NS, United Kingdom 

Keywords Donskoi, Soviet cinema, 

Babii Iar, war films, reconstruction, 

Soviet and Russian documentary film 

Will Higbee 

University of Exeter, Department of 

Modern Languages, Streatham 

Campus, Room BG31, Queen's 

Building, Queen's Drive, Exeter, 

Devon, EX4 4QJ, United Kingdom 

Keywords diaspora, digital cinema, 

new media, criticism, representation 

Jochen Hick studied visual communications at the Academy Of Fine 

Arts Hamburg, Germany, where he did his MA in film in 1997. As an 

addition he studied various topics at University of Hamburg, Germany, 

University of Florence, University of Perugia and University of 

Bologna (DAMS). He is a German film director and producer of 

mainly independent feature and documentary films. In 1994 he founded 

the film and TV production company GALERIA ALASKA 

PRODUCTIONS. He worked and produced for several production 

companies and TV channels and contributed to documentary 

programmes such as ARD–Exclusiv or SPIEGEL TV Reportage. From 

2007 till now he is editor–in–chief, head of program acquisitions and 

co-programming director of TIMM, the first TV channel for gay male 

audiences in German-speaking countries. 

› The influence of TV and film funding on current European (low budget) art 

house film, Studies in European Cinema, 7.1, 31-36. 

Jeremy Hicks is a senior lecturer in Russian at Queen Mary University 

of London, where he teaches courses in film and in Russian studies. 

His research interests centre on questions of documentary and 

Soviet/Russian film representations of the Holocaust. He is the author 

of Dziga Vertov: Defining Documentary Film (2007) and is currently 

completing a book for Pittsburgh University Press on Soviet wartime 

representations of the Holocaust, provisionally entitled Cinema's Black 

Book: Soviet Film and the Holocaust, 1938-46. 

› Confronting the Holocaust: Mark Donskoi’s The Unvanquished, Studies in 



Will Higbee is Senior Lecturer and Assistant Director of CRIFS 

(Centre for Research into Film Studies) at the University of Exeter. He 

has published a number of articles on contemporary French cinema (in 

particular Beur and banlieue filmmaking). He has published a 

monograph with Manchester University Press on actor and director 

Mathieu Kassovitz (2006) and is currently working on research related 

to national, transnational and ‘transvergent’ cinemas, using as a case 

study the films of Algerian émigré directors in France. He is also 

general editor of the international refereed journal Studies in French 

Cinema (Intellect) and a member of the Centre for Interdisciplinary 

Reasearch in Film (CIFR) at the University of Exeter.

Craig Hight 

Screen and Media Studies, University 

of Waikato, Hamilton Campus, Gate 

1 Knighton Road Private Bag 3105, 

Hamilton, New Zealand 

Keywords documentary, animation, 

computer-mediated imaging, 

photorealism, evidentiary layering 

Andrew Higson 

University of York, Department of 

Theatre, Film and Television, 

Heslington, York, YO10 5DD, United 


Keywords European cinema, Film 

Europe, British cinema, 1920s, 

› Yves Boisset's Dupont Lajoie (1974): racism, civic cinema and the 

'immigrant question', Studies in French Cinema, 2.3, 147-156. 

› The return of the political, or designer visions of exclusion? The case for 

Mathieu Kassovitz’s ‘ fracture sociale’ trilogy, Studies in French Cinema, 

5.2, 123-136. 

› Beyond the (trans)national: towards a cinema of transvergence in 

postcolonial and diasporic francophone cinema(s), Studies in French 


› Displaced audio: Exploring soundscapes in Maghrebi-French film-making, 


› Celebrating the first decade of Studies in French Cinema, Studies in French 


› Concepts of transnational cinema: towards a critical transnationalism in film 

studies, Transnational Cinemas, 1.1, 7-21. 

Dr Craig Hight is a senior lecturer with the Screen and Media Studies 

Department at the University of Waikato. His research interests focus 

on documentary theory, including aspects of the production, 

construction and reception of documentary hybrids and the relationship 

of digital media technologies to documentary practice. With Dr Jane 

Roscoe he has co-written a book on mockumentary entitled Faking It: 

mock-documentary and the subversion of factuality (Manchester 

University Press, 2001). He is currently writing a book on television 

mockumentary series. 

› Reviews, Studies in Documentary Film, 1.2, 189-. 

› The field of digital documentary: a challenge to documentary theorists, 


› Primetime digital documentary animation: the photographic and graphic 

within play, Studies in Documentary Film, 2.1, 9-31. 

› BOOK REVIEWS, Studies in Documentary Film, 5.1, 75-77. 

Andrew Higson is the Greg Dyke Professor of Film and Television in 

the recently established Department of Theatre, Film and Television at 

the University of York, UK. He previously taught for 22 years at the 

University of East Anglia. He has published widely on the history of 

British cinema, from the silent period to the present, and on the 

concepts of national and transnational cinema. 

› Transnational developments in European cinema in the 1920s, Transnational

Michael Kertész/Curtiz 

Roger Hillman 


School of Cultural Inquiry, Bldg 014, 

Canberra, ACT 0200, Australia 

Keywords European film, history, 

narrative, music, Turkish-German 

cinema, Spanish Civil War, amnesia, 

transnational, Trueba, Riefenstahl 

Danielle Hipkins 


Italian, School of Modern Languages, 

The Queens Building, Queens Drive, 

Exeter, Devon, EX4 4QH, United 


Keywords postwar Italian cinema, 

melodrama, representations of 

prostitution, post-feminism, audience 

Marin Hirschfeld 

University of Oxford, Modern 

Languages, Merton College, Merton 

Street, Oxford, Oxon, OX1 4JD, 


Keywords intimacy, amateur filmmaking, 

contemporary digital cinema 


Roger Hillman teaches in the areas of Film Studies (School of 

Humanities) and German Studies (School of Languages) at the 

Australian National University, Canberra. His research ranges across 

European Cinema movements, film and music, and film and history 

issues. He is the author of Unsettling Scores: German Film, Music, 

Ideology (Indiana UP, 2005) and co-editor of Fields of Vision 

(University of California Press, 1995). 

› Trueba’s La niña de tus ojos (The Girl of Your Dreams) (1998): the German 

connection, Studies in European Cinema, 5.1, 67-76. 

Danielle Hipkins is Lecturer in Italian at the University of Exeter. She 

has research interests in gender and postwar Italian fiction and cinema. 

She is currently working on a study of the representation of prostitution 

in Italian cinema. 

› Francesca's salvation or damnation?: Resisting recognition of the prostitute 

in Roberto Rossellini's Paisà (1946), Studies in European Cinema, 3.2, 153-. 

› Introduction: Realism in European cinema and beyond, Studies in European 


› Reviews, New Cinemas: Journal of Contemporary Film, 5.2, 163-. 

Marin Hirschfeld is a final year DPhil candidate and teaches film at the 

Modern Languages Faculty at the University of Oxford. His doctoral 

thesis focuses on intimacy and the influence of amateur film-making 

practices on contemporary digital cinema. He studied English, Russian 

and Croatian at the University of Cologne; holds a BA from the 

University of York in English, Writing & Performance; and an MSt 

from the University of Oxford in Film Aesthetics. 

› Croatian cinematic identity: A Balkan entity or a European individual?, 

Studies in Eastern European Cinema, 2.1, 21-36.

Stig Hjarvard 


Deptartment of Media, Cognition and 


Copenhagen, 2300, Denmark 

Keywords journalism, media history, 

news, popular culture, survey, 

mediatization, media, religion 

Mette Hjort 

Lingnan University, Visual Studies, 

General Education Building, 8 Castle 

Peak Road, Tuen Mun, Hong Kong, 

SAR, China 

Keywords globalization, 

multiculturalism, cultural policy, 

Danish cinema 

Stig Hjarvard, Ph.D., is Professor and vice-chair at Department of 

Media, Cognition and Communication at University of Copenhagen, 

Denmark. He has published books and articles on media history, 

journalism, globalization, ratings analysis, media and religion, and 

mediatization theory. He is editor of Northern Lights and head of the 

research programme Newspapers and Journalism in Transition (2007– 

10) financed by the Danish Research Council for Culture and 

Communication. Books in English include News in a Globalized 

Society (editor, Nordicom 2001) and Media in a Globalized Society 

(editor, MTP 2003). 

› Introduction: The mediatization of religion: enchantment, media and popular 

culture, Northern Lights: Film & Media Studies Yearbook, 6.1, 3-8. 

› The mediatization of religion: A theory of the media as agents of religious 

change, Northern Lights: Film & Media Studies Yearbook, 6.1, 9-26. 

› Introduction: newspapers and journalism in transition, Northern Lights: Film 

& Media Studies Yearbook, 8.1, 3-7. 

› The views of the news: The role of political newspapers in a changing media 

landscape, Northern Lights: Film & Media Studies Yearbook, 8.1, 25-48. 

Mette Hjort is Chair Professor of Visual Studies at Lingnan University 

in Hong Kong and Affiliate Professor of Scandinavian Studies at the 

University of Washington, Seattle. Previous appointments include 

Head of Comparative Literature at the University of Hong Kong, 

Director of Cultural Studies/Film and Communications at McGill 

University in Montreal, Canada, and Professor of Intercultural Studies 

at Aalborg University in Denmark. Mette was a Visiting Researcher at 

Kyoto University in 1996, a Visiting Professor of Scandinavian Studies 

at University College London in the Spring of 2007 and a Leverhulme 

Visiting Professor of Film Studies at St Andrews University in 

Scotland during the Fall of 2007. She regularly contributes to the 

University of Washington, Seattle’s Scan-Design-funded summer 

school in Copenhagen, where she introduces students to the Zentropainitiated 

film town in Avedøre, the film school, key cultural policy 

figures, and various filmmakers, scriptwriters, editors, and producers. 


› Living with diversity: what difference can film-making make?, Northern 


Laura Pontieri Hlavacek Laura Pontieri Hlavacek’s research interests include Russian cinema,

Keywords animation, Khrushchev, 

Thaw, Khitruk, collective individual 

Tobias Hochscherf 

University of Applied Sciences Kiel, 

Fachbereich Medien, Grenzstr. 3, 

Kiel, 24149, Germany 

Keywords Cold War, genre, film 

history, television, Amber Films, 

German Democratic Republic (GDR), 

workshop movement 

Stella Hockenhull 

University of Wolverhampton, School 

of Law, Social Sciences and 

Communications, Millennium City 

Building, Wolverhampton, WV1 

1LY, United Kingdom 

Keywords Emeric Pressburger, I 

Know Where I'm Going!, Black 

Narcissus, Neo-Romantic landscape 

painting, Britain, World War II 

animation and theatre. Her Ph.D. dissertation, Russian Animation of the 

1960s and the Khrushchev Thaw (Yale, 2006), examined the evolving 

functions and styles of Soviet animation during the Thaw period, 

providing a case study of the dynamics of interaction between art and 

power. She is currently writing a book on Russian animation. 

› Russian animated films of the 1960s as a reflection of the Thaw: ambiguities 

and violation of boundaries in Story of a Crime, Studies in Russian and 


› From Marks and Spencer to Marx and Engels: a transnational DEFA and 

Amber Film documentary project across the Iron Curtain, Studies in 


› Working Title Films: From Mid-Atlantic to the Heart of Europe?, Film 


Dr. Stella Hockenhull is Senior Lecturer in Film Studies at the 

University of Wolverhampton, in the United Kingdom. With a 

background in art history, her areas of interest lie in an interdisciplinary 

approach to cinema, particularly in the correlation between 

film and painting. Neo-Romantic Landscapes: An Aesthetic Approach 

to the Films of Powell and Pressburger was published in 2008, and 

draws comparisons between wartime cinema and World War II 

painting. Since then Stella has published widely in various journals on 

the subject. 

› Neo-Romantic landscapes: aesthetic approaches to the wartime films of 

Michael Powell and Emeric Pressburger, Film International, 4.23, 38-47. 

› An aesthetic approach to contemporary British social realism: London to 

Brighton, Film International, 7.6, 65-74. 

Jens Hoff Jens Hoff is professor at the Department for Political Science, 

University of Copenhagen and an expert in media, governance, internet 

and democracy. He is the editor in chief of the journal Politik. He was


Department of Political Science, Øster 

Farimagsgade 5, Copenhagen K, 

1353, Denmark 

Keywords media, governance, 

internet, democracy 

Bert Hogenkamp 

Nederlands Instituut voor Beeld en 

Geluid, Mediapark - Sumatralaan 45, 

Postbus 1060- Postvak B49, 

Hilversum, 1200 BB, Netherlands 

Keywords film history, working 

class, labour movement 

Helen Hok-sze Leung 

Simon Fraser University, Department 

of Womens Studies, British 

Columbia, Canada 

Keywords criticism, collaboration, 

post-cinema, Chinese cinema, new 

media, special effects 

David Hollands 

York University, Toronto, Canada 

Keywords connoisseur, sequel, 

cinephilia, auteur, reboot, horror, 

science fiction, semiotics 

the chairman of the COST-program. Government and Democracy in 

the recent books in English are: Democratic Governance and New 

Technology (2000), Citizenship and Democracy in Scandinavia (2001). 


Bert Hogenkamp is Head of Research at the Nederlands Instituut voor 

Beeld en Geluid and also teaches at the University of Utrecht. He is a 

film historian and has written extensively on the relationship between 

film, the working class and the labour movement. 

› Léon Moussinac and the Spectators’ Criticism, Film International, 1.2, 4-13. 

Helen Hok-Sze Leung is currently Assistant Professor of Women’s 

Studies at Simon Fraser University, Canada. She has published 

numerous articles on queer issues in cinema, literature and culture. Her 

book Undercurrents: Queer Culture and Postcolonial Hong Kong is 

under review with UBC Press. 

› Issues and Debates Unthinking: Chinese • Cinema • Criticism, Journal of 


› Introduction: Chinese cinemas as new media, Journal of Chinese Cinemas, 

3.1, 0-14. 

David Hollands was born and raised in Ottawa, Ontario, Canada. He 

developed an interest in films at a young age, which eventually led him 

to York University’s undergraduate Film/Cinema Studies BA program. 

David’s interests include the horror and science fiction genres, 

semiotics, psychoanalytic film theory, anthropology, and screenwriting. 

› Toward a New Category of Remake: A First Analysis of the Reboot, Film 

Matters, 1.3, 9-13.

Jerod Ra’Del Hollyfield 

Louisiana State University, Baton 

Rouge, Louisiana, United States of 

America 

Keywords Hollywood, studio, 

interstate highway system, labour, 

trucker, Raoul Walsh 

Nancy Graham Holm 

Professor Emeritus Danish School of 

Media and Journalism, Head of 

Department for Television Journalism 

at the Danish School of Media, 

Denmark 

Keywords motivation, credibility, 

sensing-intuitive, thinking, feeling 

Conn Holohan 

NUI Galway, Huston School of Film 

& Digital Media, NUI Galway, 

Galway, Ireland 

Keywords art cinema, temporality, 

narrative structure, exhibition, 

documentary 

Matthew Holtmeier 

University of St Andrews, Film 

Studies, 99 North Street, St Andrews, 

Fife, KY16 9AD, United Kingdom 

Jerod Ra’Del Hollyfield is a Ph.D. candidate in English at Louisiana 

State University in Baton Rouge, Louisiana. His research interests are 

film theory, film adaptation, postcolonial studies and Victorian novels. 

› Driving Deadhead off the Big Road: Pre-interstate Representations of the 

American Trucker in Raoul Walsh's They Drive By Night and Jules Dassin's 

Thieves' Highway, Film International, 8.3, 21-35. 

From 1972–91 Nancy Graham Holmwas television journalist in San 

Francisco, California and is recipient of four regional Emmy awards. 

From 1991–2007 she was Head of Department for Television 

Journalism at the Danish School of Media and Journalism, Aarhus. She 

is the author of Fascination: Viewer Friendly TV Journalism (2007, 

Ajour; 2010, Elsevier). 

› Village, a case study in effective communication, Short Film Studies, 1.1, 

139-142. 

Conn Holohan is a Lecturer in film at the Huston School of Film and 

Digital Media NUI Galway. His research focuses on the relationship 

between space and desire in migrant cinema. His previous publications 

include Cinema on the Periphery: Contemporary Irish and Spanish 

Cinema. 

› Wrong turns: Radical spaces in the road movies of Tony Gatlif, 


› Aesthetics of intimacy, Short Film Studies, 1.1, 87-90. 

› Disturbing types: gender stereotypes and the short film, Short Film Studies, 

1.2, 287-290. 

Matthew Holtmeier is a Ph.D. candidate at the University of St 

Andrews. He has previously published on film and the philosophies of 

Gilles Deleuze and Felix Guattari. His other interests include film 

philosophy, film ecologies, and media censorship.

Keywords Gilles Deleuze, Felix 

Guattari, film philosophy, film 

ecologies, media censorship 

Chris Homewood 


German, Russian and Slavonic 

Studies, School of Modern Languages 

and Cultures, Leeds, West Yorkshire, 

LS2 9JT, United Kingdom 

Keywords Von Trotta, Petzold, Die 

innere Sicherheit, Die bleierne Zeit, 

Mythos-RAF, Red Army Faction 

Annabelle Honess Roe 

University of Surrey, Department of 

Dance, Film and Theatre, Guildford, 

Surrey, United Kingdom 

Keywords animation and 

documentary, screenwriting, 


› The Sunday religious revival and a horse named Desire, Short Film Studies, 

1.2, 303-306. 

Chris Homewood was educated at the University of Wales, Bangor 

(BA) and the University of Nottingham (MA), and is currently working 

towards the completion of his doctoral thesis at the University of Leeds 

where he was recently appointed as Lecturer in German. His research 

focuses on the representation of terrorism in German cinema since 

unification. 

› Von Trotta's The German Sisters and Petzold's The State I Am In: discursive 

boundaries in the films of the New German Cinema to the present day, 


› Challenging the taboo: the memory of West Germany's terrorist past in 

Andres Veiel's Black Box BRD (2001), New Cinemas: Journal of 


Bella has both an MA and a Ph.D. in Critical Studies from the 

University of Southern California (2005, 2009). She received her BA in 

Philosophy from the University of Cambridge in 1997. She now 

lectures in Film Studies at the University of Surrey. Her Ph.D. thesis, 

entitled 'Animating Documentary', is on the epistemological and 

phenomenological implications of the convergence of animation and 

documentary. Between her BA and MA, she spent six years working in 

the film industry in Los Angeles and London, including roles in the 

development departments at Lakeshore Entertainment (Los Angeles), 

MGM (Los Angeles), and Granada Film (London). Subsequently, she 

tutored writers and script editors on screenwriting workshops in Italy, 

Australia and New Zealand. More recently, she worked with the nonprofit 

London-based DocHouse, an organization devoted to the 

promotion and exhibition of independent UK and international 

documentary film. 

› Realer Than Reel: Global Directions in Documentary David Hogarth (2006), 



Guo-Juin Hong 

Duke University, Department of 

Asian and Middle Eastern Studies, 

2204 Erwin Road, Room 220, Box 

90414, Durham, North Carolina, 


Keywords 1930s, China, melodrama, 

space, film historiography, 

colonialism, realism, Taiwanese 

dialect 

Sun Hongyun 

Beijing Union University, College of 

Arts and Science, China 

Keywords Michelangelo Antonioni, 

Yukong, China, the Cultural 

Revolution, documentary 

Dong Hoon Kim 


School of Cinematic Arts 

Keywords history, Japan, Korea, 

motion pictures, motion picture 

industry 

Guo-Juin Hong is Andrew W. Mellon Assistant Professor of Chinese 

Cultural Studies at Duke University. His forthcoming book focuses on 

the question of national cinema in the case of post-1945 Taiwan. Hong 

has published on 1930s Shanghai cinema, New Taiwan Cinema, and 

queer documentary in Taiwan. 

› Meet me in Shanghai: melodrama and the cinematic production of space in 

1930s Shanghai leftist films, Journal of Chinese Cinemas, 3.3, 215-230. 

› Historiography of absence: Taiwan cinema before New Cinema 1982, 


Dr Sun Hongyun is a senior lecturer in the college of Arts and Science 

of Beijing Union University. Her main research interests focus on 

documentary theory and production. She has published a number of 

articles on Joris Ivens and on contemporary documentary study and is 

leading the project: ‘Documenting Reform and Opening in China for 

Social Science Research and Ideological Work Department of the 

Ministry of Education’. She also directed cooperatively China in the 

eyes of Ivens and Joris Ivens for CCTV. 

› Editorial, Studies in Documentary Film, 3.1, 5-6. 

› Two China? Joris Ivens' Yukong and Antonioni's China, Studies in 


Dong Hoon Kim is a post-doctoral fellow in the Critical Studies 

Division of the School of Cinematic Arts at the University of Southern 

California. His research interests include early cinema, visual culture, 

media spectatorship and East Asian film and popular culture. He is 

currently working on a book manuscript that examines colonial 

modernity and film cultures in Korea under Japanese colonial rule. 

› Segregated cinemas, intertwined histories: the ethnically segregated film 

cultures in 1920s Korea under Japanese colonial rule, Journal of Japanese & 


William Hope William Hope is a lecturer in Italian language and film at the 

University of Salford. He authored Giuseppe Tornatore: Emotion,

University of Salford, Centre for 

Languages and Culture, Salford, 

Manchester, M5 4WT, United 


Keywords Puerto Escondido, 

Nirvana, Marxism, class, 

commodification 

Ryan G. Hornbeck 

University of Oxford, Centre for 

Anthropology and Mind, Oxford, 


Keywords virtual, cognition, religion, 

Second Life, touch 

Menghsin C. Horng 

University of California, Berkeley, 

Department of East Asian Languages 

& Cultures, 3413 Dwinelle, Berkeley, 

CA, 94720–2230, United States of 

America 

Keywords Tang Pao-yun, domestic 

space, film star, Lee Hsing, Bai 

Jingrui, Chinese popular music, 

Taiwanese popular music, film 

festival, Chinese theatre, Chinese 

cinema, film circulation, film 

magazines, Taiwan, documentary, 

realism, Taipei Film Festivals, Golden 

Horse Film Festival, silent cinema 

Cognition, Cinema (2006), and edited and contributed to the volume 

Italian Cinema – New Directions (2005). 

› The cinema of Gabriele Salvatores: the discreet alienation of the bourgeoisie, 


Ryan G. Hornbeck is a D.Phil. student at the University of Oxford’s 

Centre for Anthropology and Mind. He earned an undergraduate degree 

in social anthropology (BA) from Washington University in St. Louis 

and a MSc in social anthropology from the University of Oxford. His 

research interests include social relationships in Second Life. 

› Virtual reality as a ‘spiritual’ experience: a perspective from the cognitive 

science of religion, Northern Lights: Film & Media Studies Yearbook, 6.1, 

75-90. 

Menghsin C. Horng is a graduate student in Chinese in the Department 

of East Asian Languages & Cultures at the University of California, 

Berkeley, where she is also pursuing a Designated Emphasis in Film 

Studies. Her research interests, aside from Taiwanese cinema, include 

documentary filmmaking within the broader scope of historiographic 

practices, the role of film festivals in circulating Sinophone cinemas, 

and the intertextual relationships between cinema stars, popular music, 

and other contemporary media. 

› Domestic Dislocations: Healthy Realism, stardom, and the cinematic 

projection of home in postwar Taiwan, Journal of Chinese Cinemas, 4.1, 27- 

43. 

Adrian Horrocks Adrian Horrocks is about to begin a Ph.D. at Anglia Ruskin University, 

Cambridge. He has a BA in Scriptwriting for Film and TV from 

Bournemouth University, and an MA in Film Studies from the 

University of Exeter. He has contributed a chapter on Argento’s 

Suspiria for Necronomicon Book Four and a chapter on Buffy the

Keywords Sturm und Drang, the 

outsider, acting, stardom, Germany 

Brian Hoyle 

University of Dundee, English and 

Film Studies Programme, Dundee, 

DD1 4HN, United Kingdom 

Keywords queer cinema, British 

cinema, biopic, documentary, Isaac 

Julien 

Brian Hu 

University of California, Department 

of Film, Television, and Digital 

Media, 11372 Bunche Hall, Los 

Angeles, California, 90095-1487, 


Keywords genre, cycle, imitation, 

star discourse, martial arts film 

Chua Beng Huat 

National University of Singapore, 

Asia Research Institute, 469A Tower 

Block, #09-05 Bukit Timah Rd, 

259770, Singapore 

Keywords cultural studies, Asian 

cinema, Asian culture 

Vampire Slayer for Book Five. 

› Klaus Kinski (192691): The Outsider, Decadent and Libertine Reduced to 

the Status of Playing Genre Villains, Film International, 8.2, 37-48. 

Brian Hoyle is a Lecturer in Film Studies and English Literature at the 

University of Dundee, Scotland. He is the author of articles and 

chapters on the works of Derek Jarman, Ken Russell, Sally Potter, 

Chris Petit, Joseph H. Lewis, Orson Welles and Belà Tarr. He is 

currently preparing a monograph on the films of John Boorman. 

› Derek: Portrait of a saint, Studies in Documentary Film, 4.2, 137-147. 

Brian Hu is a Ph.D. candidate in the Department of Film, Television, 

and Digital Media at the University of California, Los Angeles. His 

research interests include Chinese cinema, global media industries, and 

diasporic film networks. His writings have appeared in Screen, 

Continuum, Senses of Cinema, and Post Script. 

› ‘Bruce Lee’ after Bruce Lee: A life in conjectures, Journal of Chinese 


› Star discourse and the cosmopolitan Chinese: Linda Lin Dai takes on the 

world, Journal of Chinese Cinemas, 4.3, 183-209. 

Chua Beng Huat is Provost Professor and Chair of the Department of 

Sociology at the National University of Singapore. He is concurrently 

the leader of the Cultural Studies Research Cluster at the National 

University of Singapore's Asia Research Institute. He is a founding coexecutive 

editor of the Inter-Asia Cultural Studies journal. 

› Introduction: Violence in contemporary Asian cinema, New Cinemas: 

Journal of Contemporary Film, 8.3, 147-153.

Laura Hubner 

University of Winchester, Media and 

Film Studies, Sparkford Road, 

Winchester, Hampshire, SO22 4NR, 


Keywords Summer with Monika, 

gender, dreams, Swedish cinema, star 

Dale Hudson 

New York University Abu Dhabi, 

Film and New Media, PO Box 903, 

New York, NY, 10276-0903, United 


Keywords transnational cinemas, 

globalization, new media, 

immigration histories, postcolonial 

film theory 

Nancy Huggett 

University of Wollongong, Social 

Science, Media and Communications, 

Wollongong, New South Wales, 


Keywords audience, reception, oral 

history, segregation 

John Hughes 

Keywords documentary, Australian 

cinema, Australian culture, Australian 

Laura Hubner is a Senior Lecturer in Film Studies and Director of Film 

Studies at the University of Winchester, UK. She is the author of The 

Films of Ingmar Bergman: Illusions of Light and Darkness (Palgrave 

Macmillian, 2007), the editor of Valuing Films: Shifting Perceptions of 

Worth (Palgrave Macmillan, 2011) and co-editor (with Steven Allen) 

of Framing Film: Cinema and the Visual Arts (Intellect, forthcoming 

2012). 

› Her defiant stare: dreams of another world in Summer with Monika, Studies 

in European Cinema, 2.2, 103-114. 

Dale Hudson is presently a Faculty Fellow at New York University 

Abu Dhabi (NYUAD) and a Digital Curator for the Finger Lakes 

Environmental Film Festival (FLEFF). His work on transnational, 

postcolonial, and global cinema and new media appears in journals, 

such as AfterImage,inema Journal, French Cultural Studies, Journal of 

Film and Videoand Screen, and in anthologies. His book-in-progress is 

entitled Blood, Bodies, and Borders. 

› Undisclosed Recipients, Studies in Documentary Film, 2.1, 79-98. 

Nancy Huggett is Manager of Corporate Governance at the University 

of Wollongong where she also lectures on cinema studies. Nancy is an 

oral historian and is currently a research fellow on the ARC project, 

‘Regional Markets and Local Audiences: Case Studies in Australian 

Cinema Consumption, 1928–1980’. 

› Everyone was watching! Strategies of self-presentation in oral histories of 

cinema-going, Studies in Australasian Cinema, 1.3, 261-274. 

Writer, director and producer in creative documentary, John Hughes’ 

work is usually Australian in orientation, examining art, cultural 

politics and history. Driven by creative exploration and engagement in 

the social world, his documentary work involves film-making, 

teaching, commissioning (SBS Independent 1998–2001), and 

advocacy. Recent awards: Australian Writer’s Guild, Best broadcast

history documentary 2010 (Indonesia Calling […] ), Finalist Australian 

Directors Guild, Feature Documentary 2010 (Indonesia Calling […] ) 

NSW Premier’s History Prize (audio-visual) 2007, Critics Circle, ‘Best 

FeatureDocumentary’ 2006 (The Archive Project), ‘Joan Long Award, 

Australian film history’, 2006 ‘Stanley Hawes Award commitment to 

Australian documentary’. His most recent film Indonesia Calling: Joris 

Ivens in Australia, completes an accidental trilogy on Australian 

documentary film culture and the Cold War (see Film-Work, and The 

Archive Project). 

John Hughes 

Keywords folk, prophet, music, 

visions, God 

Tony Hughes-d'Aeth 


English and Cultural M202, 335 

Stirling Highway, Perth, Crawley, 

Western Australia, 6009, Australia 

Keywords migration, psychoanalysis, 

citizenship, masculinity, 

multiculturalism 

› The (heterogeneous) voice of Indonesia Calling, Studies in Australasian 


John Hughes’ first book, The Idea of Home, was published by 

Giramondo in 2004 and won the 2005 NSW Premier’s Award for Non- 

Fiction and the 2006 National Biography Award. His second book, 

Someone Else: Fictional Essays, was published by Giramondo in 2007 

and won the Adelaide 2008 Festival Award for Innovation and the 

2008 Queensland Premier’s Award for Short Stories. It was also 

shortlisted for the inaugural 2009 Warwick International Prize for 

Writing. 

› Blues, Studies in Documentary Film, 1.1, 61-66. 

› Everybody knows this is nowhere: adventures in the back row of the cinema 

of the mind, Studies in Documentary Film, 2.3, 279-286. 

Tony Hughes-d’Aeth is a Lecturer in English and Cultural Studies at 

the University of Western Australia, where he teaches courses on 

comparative media and cultural theory. He researches in the area of 

Australian literary and cultural history and maintains an interest in 

psychoanalysis. His book Paper Nation: The Story of the Picturesque 

Atlas of Australasia, 1886–1888 (Melbourne University Press, 2001) 

won the Ernest Scott and Keith Hancock prizes for history. Currently, 

he is writing a literary history of the Western Australian wheatbelt. 



› Stowaways on their father's ships: European immigration and Australian 

film, Studies in Australasian Cinema, 3.1, 75-92.

Brigitte E. Humbert 

Middlebury College, French 

Department, Middlebury, Vermont, 


Keywords Laclos, liaisons 

dangereuses, Patrice Leconte, Three 

Men and a Cradle, Coline Serreau, 

Martin Guerre, Queen Margot, Patrice 

Chéreau, Cédric Klapisch, remake, 

adaptation 

Leon Hunt 

Brunel University, Film & Television 

Studies, Brunel University, Uxbridge, 

Uxbridge, Middlesex, UB8 3PH, 


Keywords Thai cinema, martial arts, 

real 

Ian Q. Hunter 

DeMontfort University, Department 

of Media, Film and Journaliasm, 

Leicester, United Kingdom 

Keywords King Kong, censorship, 

copyright laws, 1970s, British 

cinema, low-budget film, low-brow 

humour, pastiche, feminism, race 

politics 

Brigitte E. Humbert is an Associate Professor of French at Middlebury 

College in Vermont. Her publications include a book on the film 

adaptations of Les Liaisons dangereuses and various articles on French 

films or about the relationship between French cinema and literature, 

history and/or American remakes. 

› Patrice Leconte's Ridicule - Women in the political sphere: transforming 

memory into modernity?, Studies in French Cinema, 3.3, 137-148. 

Leon Hunt is a senior lecturer in Film and Television Studies at Brunel 

University. He is the author of British Low Culture: From Safari Suits 

to Sexploitation (Routledge 1998), Kung Fu Cult Masters: From Bruce 

Lee to Crouching Tiger (Wallflower Press 2003/Peking University 

Press 2010), and the BFI TV Classics volume on The League of 

Gentlemen (BFI/Palgrave Macmillan 2008), and co-editor of East 

Asian Cinemas: Exploring Transnational Connections on Film (I.B. 

Tauris 2008). He is currently writing a book on cult British comedy for 

Manchester University Press. 

› Ong-Bak: New Thai Cinema, Hong Kong and the cult of the ‘real’, New 


Dr Ian Hunter teaches and researches popular British and American 

genre cinema, especially cult, exploitation, horror and science fiction 

films. He also writes on literary adaptations, most recently on The Lord 

of the Rings, A Clockwork Orange, and . As I.Q. Hunter, he edited 

British Science Fiction Cinema (Routledge, 1999) and co-edited 

Pulping Fictions (1996), Trash Aesthetics (1997), Sisterhoods (1998), 

Alien Identities (1999), Classics (2000), Retrovisions (2001) and Brit- 

Invaders! (2005). Ian co-edits two book series, British Popular Cinema 

(Routledge) and Screen Adaptations (A & C Black / Methuen) and is 

also on the steering committee of the Association of Adaptation 

Studies. 

› The Irrational Enlargement of Queen Kong, Film International, 3.15, 42-49.

Eleanor Huntington 

Keywords gender, race, 

displacement, development. 

Andrew W Hurley 

Sydney University of Technology, 

Faculty of Arts and Social Sciences, 

PO BOX 123, Broadway, New South 

Wales, 2007, Australia 

Keywords Aboriginal, authorship, 

cross-cultural, collaboration, 

docufiction 

Martine Huvenne 

Keywords sound, auditory 

experience, Michel Chion, audiovisual, 

auditory field, poetics of 

space, Gaston Bachelard 

Eleanor Huntington graduated from the University of Notre Dame in 

2010 having earned a BA in History and Film. Eleanor studied in 

Uganda and Ghana as an undergraduate and is currently teaching 

English at Assumption University in Bangkok, Thailand. She hopes to 

pursue graduate studies in film, focusing on issues of gender, race, 

displacement, and development. 

› Individual vs. Collective Resistance: Portrayal of Women in Ousmane 

Sembene's La Noire de and Emitai, Film Matters, 1.4, 11-14. 

Andrew W. Hurley holds a degree in Law and a Ph.D. in German 

Cultural Studies (University of Melbourne). He is a lecturer in German 

Studies, within the Cultural Studies academic group at the University 

of Technology, Sydney. He is the author of The Return of Jazz: 

Joachim-Ernst Berendt and his Role in West German Cultural Change 

(Berghahn Books, 2009), and has published various articles on music 

and film in Germany, Australia and elsewhere. He is currently working 

on an ARC-funded project on representations of music in recent 

German literature and film. 

› Whose Dreaming? Intercultural appropriation, representations of 

Aboriginality, and the process of film-making in Werner Herzog's Where the 

Green Ants Dream (1983), Studies in Australasian Cinema, 1.2, 175-190. 

› Three takes on intercultural film: Michael Edols’ trilogy of Aboriginal films: 

Lalai Dreamtime; Floating, Like Wind Blow ’em About – This Time; and 

When the Snake Bites the Sun, Studies in Australasian Cinema, 2.1, 73-93. 

› From Aboriginal Australia to German autumn: on the West German 

reception of thirteen films from Black Australia, Studies in Australasian 


Martine Huvenne is lecturer of Sound and Music for Film and 

Animation and a researcher at University College Ghent. Having a 

background in musicology and dance, Martine Huvenne is currently 

working on a Ph.D. about a phenomenological approach of sound in 

film as an audio visual composition at the University of Amsterdam. 

Her research is funded by the Research Fund University College Ghent 

and she is an affiliated researcher at the University of Ghent. The 

practice based research project, Surrounded, is funded by the 

University College Ghent and University Art College Sint-Lukas 

Brussels.

Timothy Iles 

University of Victoria, Department of 

Pacific and Asian Studies, Victoria, 

British Columbia, Canada 

Keywords Kenji Mizoguchi, Sansho 

the Bailiff, political allegory, national 

identity, collective memory, Japan, 

revisionism, avant-garde, humanism 

Kate Ince 


Department of French, Edgbaston, 

Birmingham, B15 2TT, United 


Keywords French cinema, auteur, 

women's cinema, philosophy, 

phenomenology, psychoanalysis 

› Towards a radically different understanding of experience: Looking for an 

heautonomous auditory field in film, The Soundtrack, 3.2, 139-149. 

Timothy Iles is Assistant Professor in the Department of Pacific and 

Asian Studies at the University of Victoria, Canada. Timothy Iles has 

both a BA and an MA from the University of British Columbia, where 

he focused on the Japanese language and modern Japanese literature, 

writing his thesis on Akutagawa Ryūnosuke. He holds a Ph.D. from the 

University of Toronto, writing his dissertation on the avant-garde 

novelist, Abe Kōbō. He later published his dissertation as 'Abe Kōbō: 

An Exploration of his Prose, Drama, and Theatre' (Fucheccio: 

European Press Academic Publishers, 2000). He has taught Japanese 

literature, culture, theatre, cinema, and language in both Canada and 

the United States, at both the undergraduate and graduate levels. 

› Political Allegory in Kenji Mizoguchi’s Sansho the Bailiff, Film 


Kate Ince is Reader in French Film and Gender Studies at the 

University of Birmingham. She has co-edited books on women’s erotic 

writing, Samuel Beckett, and Marguerite Duras, written a study of the 

performance artist Orlan, published a monograph on filmmaker 

Georges Franju, and edited a collection of essays on 

contemporary European filmmakers to which her own contribution is 

on Francois Ozon. She has also published numerous essays on other 

contemporary filmmakers such as Catherine Breillat and Michael 

Haneke and Sally Potter. 

› Queering the Family? Fantasy and the performance of sexuality and gay 

relations in French cinema 1995–2000, Studies in French Cinema, 2.2, 90- 

97. 

› Surviving the reign of the father: the family and the law in Georges Franju’s 

feature films, Studies in French Cinema, 4.3, 209-218. 

› ‘Disunited Nations’: cinema beyond the nation-state, New Cinemas: Journal 

of Contemporary Film, 6.2, 71-73.

Mike Ingham 

University of Lingnan, Department of 

English, Tuen Mun,, Hong Kong 

Keywords Evans Chan, essay film, 

Hong Kong, transnational, Tiananmen 

Square 

Susan Ingram 

York University, Department of 

Humanities, European Studies, York 

University, 262 Vanier College, 4700 

Keele Street, Toronto, Ontario, M3J 

1P3, Canada 

Keywords fashion, urban studies, 

Berlin, European imaginaries, new 

Europe 

Charles Shir Inouye 

Tufts University, Department of 

German, Russian & Asian Languags 

and Literatures, Olin 306, Medford, 

Massachusetts, 2155, United States of 

America 

Keywords The Hidden Blade, 

Twilight Samurai, giri/ninj, Yamada 

Yji, samurai 

Mike Ingham has a Modern Languages tertiary background in the 

United Kingdom. He now teaches in the English Studies programme at 

the Department of English in Lingnan University, Hong Kong. He is 

interested in many aspects of performing, particularly drama, poetry 

and music, and is a founder member of Theatre Action, a Hong Kongbased 

theatre group that specializes in action research on more literary 

drama texts. As well as doing scholarly work on theatre in performance 

and cinema, he directs theatre in Hong Kong and writes performing arts 

criticism for local media. His books include Staging Fictions (Edwin 

Mellen Press, 2004) and Hong Kong: A Cultural and Literary History 

(Signal/HKU Press/OUP, 2007). 

› ‘Crossings’: Documentary elements and essayistic devices in the fiction and 

non-fiction films of Evans Chan, Studies in Documentary Film, 1.1, 21-34. 

Susan Ingram is Associate Professor at York University, where she is 

affiliated with the Canadian Centre for German and European Studies 

and the Research Group on Translation and Transcultural Contact. 

Before moving to York, she was a Lecturer in the Department of 

Comparative Literature at the University of Hong Kong, and she has 

also taught in Germany and Poland. Publications such as Zarathustra’s 

Sisters: Women’s Autobiography and the Shaping of Cultural History 

and a series of co-edited volumes on the mutually constitutive 

crosscultural constructions of Central Europe and North America 

reflect her interest in the institutions of European cultural modernity. 

› Polarizing Avalon: The European virtuosity and global virtuality of Mamoru 

Oshii's filmic imaginary, New Cinemas: Journal of Contemporary Film, 4.2, 

129-. 

Charles Shiro Inouye is a translator of Izumi Kyo ka’s stories and 

novellas. He is also the author of Evanescence and Form, An 

Introduction to Japanese Culture (Palgrave, 2008), and co-founder and 

director of the International Letters and Visual Studies programme at 

Tufts University. He has written on Itami Juzo’s Tanpopo, and Quentin 

Tarantino’s Kill Bill. 

› Yamada Yji, and the kinder, gentler samurai: The Twilight Samurai, The 

Hidden Blade, and Love and Honor, Journal of Japanese & Korean Cinema, 

1.2, 157-165.

Dina Iordanova 

University of St. Andrews, School of 

Modern Languages, Department of 

Film Studies, 99 North Street, Fife, 

Scotland, KY16 9AJ, United 


Keywords Ulrich Gregor, Berlinale 

Forum, Arsenal, Freunde der 

Deutschen Kinemathek, Friends of 

the German Film Archive, cinephiles 

Volha Isakava 


Modern Languages and Cultural 

Studies, Edmondon, Alberta, Canada 

Keywords perestroika cinema, 

trauma, body, sexuality, affect 

Nikolai Izvolov 

Research Institute for 

Cinematography (NII Kinoiskusstva), 

Moscow, Russia 

Keywords methodology, DVD, 

digital technology, reference, 

Soiuzdetfil'm, Margarita Barskaia 

Dina Iordanova (born 1960) is Professor of Film Studies at the 

University of St. Andrews. A specialist in world cinema, her special 

expertise is in the cinema of the Balkans, Eastern Europe, and Europe 

in general. Her research approaches cinema on a meta-national level 

and focuses on the dynamics of transnational film; she has special 

interest in issues related to cinema at the periphery and in alternative 

historiography. She has published extensively on international and 

transnational film art and film industry, and convenes research 

networks on film festivals and on the dynamics of World Cinema, with 

funding from the Leverhulme Trust. 

› Showdown of the festivals: clashing entrepreneurships and post-communist 

management of culture, Film International, 4.23, 25-37. 



› Around the Circuit Paris Cinéma: added value through repackaging and 

subsidies, Film International, 7.5, 92-95. 

› Around the Circuit: From the Source Cinemas of the South, Film 


Volha Isakava is a doctoral student in the Department of Modern 

Languages and Cultural Studies at the University of Alberta, 

Edmonton, Canada. Her research interests include contemporary and 

perestroika Russian cinema and culture, specifically the ‘dark’ films, 

otherwise known as chernukha, which explore transgressive topics and 

impose an extremely bleak world-view. Her research investigates the 

grounds for comparison of the ‘dark’ cinema of Russia and American 

film noir through the lens of trauma theory and problematization of 

ethics in cinema. 

› The body in the dark: body, sexuality and trauma in perestroika cinema, 


Nikolai Izvolov graduated in Film Studies at the Moscow Film Institute 

VGIK, where he also received his Ph.D. In the early 1990s he worked 

at the Museum of Cinema (Moscow) as deputy director of research; 

from 1996-97 he was deputy head of research at the Film Institute 

VGIK. Since 1997 he has been in charge of the historico-theoretical 

section of the Research Institute for Cinematography (NII 

Kinoiskusstva) in Moscow. He is the author of Fenomen kino: istoriia i 

teoriia, and engages in the reconstruction and restoration of films of the

Helen Jacey 

University of the Arts London, 

London, United Kingdom 

Keywords journey paradigm, 

archetype, Vogler, Murdock, Pinkola 

Estes 

Jacob U. U. Jacob 

University of Leeds, Institute of 


Clothworkers North Building, Leeds, 


Keywords global change, 

communications, early British 

screenplays 

Brian R. Jacobson 


Division of Critical Studies, School of 

1920s and 1930s. 

› Critical editions of films in digital formats, Studies in Russian and Soviet 




› Annotations for the Hyperkino edition of Lev Kuleshov's Engineer Prite's 

Project (1918), Academia series, RUSCICO, 2010, Studies in Russian and 


Helen Jacey is a screenwriter, story consultant and screenwriting 

teacher. She gained her MA in Screenwriting from the London Institute 

(London College of Printing) and is currently completing her doctorate 

at University of the Arts London. As a writer she has written numerous 

screenplays for UK and European production companies. Her first 

book on screenwriting, The Woman in the Story: Writing Memorable 

Female Characters was published by Michael Wiese Productions in 

2010. 

› The hero and heroine's journey and the writing of Loy, Journal of 


Jacob Udo-Udo Jacob teaches ‘Communications and Global Change’ 

and ‘Communications and Conflict’ at the Institute of Communications 

Studies, University of Leeds. His Ph.D. thesis, completed in August 

2010, investigated the nature and impacts of the UN’s Public 

Information Operations in the Democratic Republic of Congo. Jacob 

worked on the Early British Screenplays project as a Research 

Assistant while studying for his Ph.D. 

› Lost and gone for ever?The search for early Britishscreenplays, Journal of 


Brian R. Jacobson is a Ph.D. Candidate in Critical Studies at the 

University of Southern California School of Cinematic Arts and a 

member of the Visual Studies Graduate Certificate programme. He is a 

graduate of the masters programme in Comparative Media Studies at

Cinematic Arts, 9309 Smoke Glen 

Rd., Kernersville, North Carolina, 


Keywords cinema, architecture, 

technology, early cinema 

Ira Jaffe 

University of New Mexico, 

Department of Media Arts, New 

Mexico, United States of America 

Keywords Errol Morris, The Fog of 

War, Mr. Death, Fast, Cheap and Out 

of Control, film as art, documentary, 

Robert S. McNamara, Cold War 

Debbie James 

Wayne State University, Deptartment 

of Communication, 585 Manoogian 

Hall, Detroit, Michigan, 48201, 


Keywords documentary, filmmaking, 

social justice media, children 

the Massachusetts Institute of Technology. During the 2009-2010 

academic year, Brian was a Fulbright Advanced Student Fellow to 

France. During summer and autumn 2010, he is a Fellow of the Social 

Science Research Council's 2009 International Dissertation Research 

Fellowship (IDRF). While in France, he is affiliated with the Institut 

d'histoire du temps présent (IHTP). Brian is currently completing 

research for his dissertation, 'Studios Before the System: Architecture, 

Technology and Early Cinema', which examines the origins of the 

relationship between cinema, architecture, and technology in the 

world's first film studios. 

› An Amorous History of the Silver Screen: Shanghai Cinema, 1896–1937, 

Zhang Zhen (2005), Film International, 5.2, 81-82. 

Ira Jaffe is professor emeritus and former chair of the Department of 

Media Arts at the University of New Mexico. He is also a former 

presidential lecturer and associate dean in UNM's College of Fine Arts, 

which he joined after teaching at the University of Southern California 

School of Cinema. He is co-editor of Redirecting the Gaze: Gender, 

Theory, and Cinema in the Third World, and author of essays about 

Robert Altman, Charlie Chaplin, Errol Morris, and Orson Welles. His 

writing appears in Perspectives on Citizen Kane and Hollywood as 

Historian: American Film in a Cultural Context, as well as in 

periodicals including ARTSPACE, Film International and Film 

Quarterly. 

› Errol Morris, Film International, 3.14, 4-19. 

Debbie is a doctoral candidate in the Department of Communication at 

Wayne State University. Debbie’s research interests include feminist 

perspectives on transnational documentary, and community digital 

media practices that challenge our ideas of gender, civil discourse and 

political action. Her dissertation is the study of the institutional 

influence of UNESCO’s online media and content development 

activities on locally produced documentary media and production 

practice. Her future research interests include a proposed investigation 

into the role of grassroots-driven community media, digital storytelling, 

and community cohesion at the Container Project 2 in Jamaica. 

› Big-eyed, wide-eyed, sad-eyed children: Constructing the humanitarian space 

in social justice documentaries, Studies in Documentary Film, 3.2, 159-175.

Mark Jancovich 

University of East Anglia, School of 

Film and Television Studies, 

Norwich, uu, United Kingdom 

Keywords genre, horror, film noir, 

femme fatale, World War II 

Laleen Jayamanne 


Art History and Film Studies, New 

South Wales, 2006, Australia 

Keywords preposterous, texture, epic, 

burlesque, strobe acting 

Henrik Jensen 

Keywords mediated crime, CSI 

effect, television, newspapers, web 

media, content analysis, journalism 

studies 

Mark Jancovich is Professor of Film Studies at the School of Film and 

Television Studies, University of East Anglia, Norwich (UK). He is the 

co-editor of two book series and a founding member of Scope: An 

Online Journal of Film Studies. 

› ‘Master of Concentrated Suspense’: horror, gender and fantasy in the critical 

reception of Fritz Lang during the 1940s, Studies in European Cinema, 5.3, 

171-183. 

› The Meaning of Mystery: Genre, Marketing and the Universal Sherlock 

Holmes Series of the 1940s, Film International, 3.17, 34-45. 

› ‘The English Master of Movie Melodrama’: Hitchcock, Horror and the 

Woman’s Film, Film International, 9.3, 51-67. 

Laleen Jayamanne teaches Cinema Studies at the University of Sydney. 

She directed the film A Song of Ceylon (1985); edited Kiss Me Deadly: 

Feminism and Cinema for the Moment (Power Publications, 1995); and 

is the author of Towards Cinema and Its Double: Crosscultural 

Mimesis, (Indiana University Press, 2001). She is currently writing a 

book on the Indian avant-garde director Kumar Shahani and epic 

cinema for Indiana University Press. 

› The drover's wives and camp couture: Baz Luhrmann's preposterous national 

epic, Studies in Australasian Cinema, 4.2, 131-143. 

Henrik Jensen, Master-student of Science (MSc) in Business 

Administration and Philosophy, is research assistant at Copenhagen 

Business School, Department of Business and Politics. He has done the 

content analysis and statistics of cross media analysis of crime content 

in press, television and web media, based on comparative data from the 

research project One Week of News in 2003, and 2008 

(www.fbc/nyhedsugen), managed by professor Anker Brink Lund, 

Copenhagen Business School, Department of Business and Politics. 

› Continuity and change in mass-mediated crime coverage: Content analyses 

of newspapers, television and web media, Northern Lights: Film & Media 

Studies Yearbook, 9., 159-177.

Joyce Jesionowski 

Binghamton University, Box 6000, 

Binghamton, New York, 13902, 


Keywords spectatorial experience, 

counter-discourse, female voice 

Carolyn Jess-Cooke 

University of Sunderland, Faculty of 

Arts, Design and Media, Sunderland, 


Keywords sequel, Dogme 95, auteur, 

new wave 

Sonora Jha 

Seattle University, Department of 

Communication & Journalism, 901 

12th Ave., Seattle, Washington, 


Keywords Internet, match-making, 

colourism, Indian marriage market, 

technology, women, skin colour 

Joyce Jesionowski is a Lecturer in Cinema at Binghamton University in 

New York. She received her Ph.D. from Columbia University and is 

the author of Thinking in Pictures: Dramatic Structure in D.W. 

Griffiths' Biographic Films (University of California Press). She is also 

a member of The Griffith Project, an international group of scholars 

whose twelve volumes of essays covering the span of D.W. Griffith's 

career have been published by the British Film Institute in connection 

with the Giornate del Cinema Muto in Pordenone, Italy. 

› Speaking Bach: Strategies of alienation and intimacy in StraubHuillet's 

Chronik der Anna Magadelena Bach/Chronicle of Anna Magdalena Bach 

(1968), Studies in European Cinema, 7.1, 61-65. 

Carolyn Jess-Cooke is a Lecturer in Film Studies at the University of 

Sunderland. Her recent research is devoted to operations of sequel 

theory in twenty-first-century cinema culture. 

› New-ness, Sequelization, and Dogme logic in Kristian Levring’s The King is 

Alive, New Cinemas: Journal of Contemporary Film, 3.1, 3-16. 

Sonora Jha, Ph.D., is Associate Professor in the Department of 

Communication at Seattle University. Dr. Jha’s research is on the 

intersection of journalism, social movements, and the Internet as well 

as on issues of communication justice. Her research has been published 

in Journalism & Mass Communication Quarterly, Journalism: Theory, 

Practice & Criticism, Electronic Journal of Communication, The 

Journal of Networks & Civil Society and The Seattle Journal of Social 

Justice, among others. Prior to her academic career, Dr. Jha was a 

journalist for over a decade in India and Singapore, covering politics, 

crime and issues of social justice. Her last assignment was as special 

correspondent and a chief of bureau with The Times of India. 

› Looking for Love in All the White Places: A Study of Skin Color Preferences 

on Indian Matrimonial and Mate-Seeking Websites, Studies in South Asian 

Film & Media, 1.1, 65-83.

Rebecca Johinke 


English, Sydney, Australia 

Keywords masculinity, car culture, 

Dead End Drive-In, Ozploitation, 


Mariana Johnson 

University of North Carolina at 

Wilmington, Department of Film 

Studies, 601 South College Road, 

Wilmington, North Carolina, 28403, 


Keywords performance, homeland, 

transnationalism, exile, Cuba 

Matthew D Johnson 

Grinnell College, Department of 

History, 1213 Sixth Avenue, Grinnell, 

Iowa, IA 50112, United States of 

America 

Keywords Chinatowns, colonialism, 

early cinema, mass media 

Rebecca Johinke is a Lecturer in the Department of English at the 

University of Sydney. She has a long-standing interest in 

representations of masculinity in Australian films and a particular 

interest in car crash films. She is currently working on a number of 

articles in that area and one essay about Nick Cave and Ghosts … of the 

Civil Dead. She also teaches and writes about street culture, writing 

and rhetoric. 

› Not quite Mad Max: Brian Trenchard-Smith's Dead End Drive-In, Studies in 


Mariana Johnson is Assistant Professor of film studies at the University 

of North Carolina at Wilmington. She holds a Ph.D. in Cinema Studies 

from New York University, 2006 entitled 'Imperfect Distance: 

Contemporary Cuban Film and Media Across the Florida Straitt'. Her 

teaching and research interests include Latin American cinema, film 

theory, third world and post-colonial cinemas, documentary, 

transnationalism in film and media studies, cultural theory, film and 

activism. 

› Documenting Cuban transnationalism: Our House in Havana, Cuban 

Roots/Bronx Stories and 90 Miles, Studies in Hispanic Cinemas, 6.2, 153- 

166. 

Matthew D. Johnson (Ph.D., University of California, San Diego) is an 

assistant professor of history at Grinnell College, and an affiliated 

researcher with the Leverhulme China’s War with Japan Programme, 

University of Oxford. He has written articles, chapters, reviews and 

encyclopaedia entries on the history of film and propaganda, and is 

completing a dissertation-based monograph titled 'Propaganda: The 

Origins and Organization of Mass Politics in Revolutionary China', 

based on interviews and archival visits conducted while he was a U.S. 

Fulbright student fellow in 2004–2005. Other current scholarly projects 

include a forthcoming co-edited volume on local history and statesociety 

relations in the PRC during the Mao years, an article on the 

Office of War Information in 1940s China (appearing in Modern Asian 

Studies), and a history of engagement between the CCP and American 

public figures during the Cold War. 

› ‘Journey to the seat of war’: the international exhibition of China in early 

cinema, Journal of Chinese Cinemas, 3.2, 109-122.

Meg Johnston 

Monash University, Department of 

Film and Television, Australia 

Keywords nationhood, refugees, 

Clara Law, Letters to Ali, 

transcultural vision 

Cristina Johnston 



Pathfoot Building, Stirling, FK9 4LA, 


Keywords French cinema, banlieue 

cinema, gay cinema, transnationalism, 

transculturalism, language, sexualities 

Julie Jones 

University of New Orleans, 

Department of Foreign, New Orleans, 

Louisiana, 70148, United States of 

America 

Keywords Bible films, pilgrimage, 

French cinema, national identity, 

Francoism 

› The science education film: Cinematizing technocracy and internationalizing 

development, Journal of Chinese Cinemas, 5.1, 31-53. 

Meg Johnston is a Ph.D. candidate in the Film and Television 

Department at Monash University. Her dissertation focuses on 

representations of nationhood and otherness through the proliferation 

of refugee-focused documentary films in the Howard years. 

› Unsettling whiteness: the slippage of race and nation in Clara Law’s Letters 

to Ali, Studies in Australasian Cinema, 2.2, 103-119. 

Cristina Johnston is a lecturer in the School of Languages, Cultures and 

Religions at the University of Stirling. Cristina has published on 

contemporary French cinema (particularly minority cinemas, with a 

monograph on French Minority Cinema to be published by Rodopi in 

late 2010), transatlantic cinema, and sexuality and citizenship in 

Republican France. She has also co-edited two bilingual volumes of 

essays on the ‘hypervisibility’ of homosexualities in French and 

francophone visual cultures with Dr Florian Grandena (University of 

Ottawa) which will be published by Peter Lang. 

› Representations of homosexuality in 1990s mainstream French cinema, 


› Saving Robert de Niro: Jean Reno as Francophone all-American action hero, 


Julie Jones is Professor of Spanish at the University of New Orleans, 

where she teaches courses in twentieth-century narrative and film and 

on which she has published numerous articles (specifically on the work 

of Luis Buñuel) in journals such as Cinéaste, Cinema Journal, The 

Journal of Film and Video, Romanic Review and Comparative 

Literature. She is currently working on a study of Buñuel’s 

manipulations of interviews, press releases and other forms of publicity 

in order to shape public perceptions of his films and his career. 

› The saint and the general: Buñuel cocks a snook at authority on the Road to

Helen Jones 

University of Wales, Aberystwyth, 


Keywords gender, Basque cinema, 

ETA, separatism, identity 

Steve Jones 

Northumbria University, Department 

of Media, Squires Building, 

Sandyford Road, Newcastle-Upon- 

Tyne, Tyne and Wear, NE1 8ST, 


Keywords horror, pornography, 

torture porn, gender studies, identity 

Barry Jordan 

De Montfort University, Media & 

Cultural Production, Clephan Bldg - 

The Gateway, Leicester, LE1 9BH, 



commercial cinema, 'comedia sexy 

ibérica', 'landismo' 

Santiago, Studies in Hispanic Cinemas, 6.1, 19-30. 

Helen Jones is in the process of completing her doctoral thesis on the 

Basque author Bernardo Atxaga at the University of Wales, 

Aberystwyth, where she lectures on Basque and Spanish literature and 

film. She has also lectured on contemporary Basque studies at the 

University of the Basque Country and has acted as correspondent for 

BBC Radio Cymru on Basque Affairs. 

› Mapping the gendered space of the Basque Country, Studies in European 


Dr. Steve Jones is a lecturer in Media with Northumbria University, 

UK. His research interests are focused primarily around the topics of 

representation and gender, particularly in relation to portrayals of sex 

and violence. His recent work has focused on zombie pornography, 

torture porn and Japanese horror. 

› Death of the image/the image of death: Temporality, torture and transience in 

Sunohara Yuuri and Akita Masami’s Harakiri Cycle, Journal of Japanese & 


Barry Jordan teaches Film Studies within the Department of Media, 

Film and Journalism at De Montfort University, Leicester. His specific 

areas of academic interest are Hispanic Cinemas. On the Spanish side, 

his interests include film history, contemporary peninsular Spanish 

cinema, the politics of the contemporary Spanish film industry, popular 

Francoist cinema, art cinema, the period blockbuster and the works of 

Pedro Almodóvar, Alejandro Aménabar, Fernando Trueba, Santiago 

Segura, Agustin Díaz Yanes, Jaume Balagueró, Paco Plaza and Juan 

Antonio Bayona. On the Latin American side, he has both research and 

teaching interests in Third Cinema, Uruguayan and Mexican Cinema, 

with a more specific focus on Luis Buñuel, Alfonso Cuarón, Alejandro 

González Iñárritu and Guillermo del Toro. His wider academic 

interests also include classical and modern French Cinema (1920s 

avant-gardes, Surrealism, Bazin, Godard), European Cinema (German 

Fantastic and Expressionism, Italian Neo-realism and 1970s/80s Italian

Nebojša Jovanović 

Central European University, Azize 

Šaćirbegović 106, Sarajevo, 71000, 

Bosnia & Herzegovina 

Keywords Bosnia and Herzegovina 

cinema, psychoanalysis, gender 

theory 

Hester Joyce 

La Trobe University, Cinema Studies, 

Bundoora, Victoria, 3068, Australia 

Keywords Maori, Pakeha, 

postcolonial culture, New Zealand 

cinema, indigenous cinema 

horror) and Film Theory. 


› Late-Francoist popular comedy and the ‘reactionary’ film text, Studies in 


› Review, Studies in Hispanic Cinemas, 4.3, 199-212. 

› Editorial, New Cinemas: Journal of Contemporary Film, 1.3, 137-140. 

› Spain’s ‘new cinema’ of the 1990s, New Cinemas: Journal of Contemporary 

Film, 1.3, 191-. 

Nebojša Jovanović is a doctoral student at Central European University 

in Budapest (Department of Gender Studies), where he is writing a 

thesis on the cinema of Bosnia and Herzegovina. He holds a B.A. in 

Psychology from the University of Sarajevo and an M.A. in Gender 

Theory from Central European University. He works as an adjunct 

lecturer in psychoanalysis and film theory at the University of 

Sarajevo’s Centre for Interdisciplinary Postgraduate Studies. 

› Breaking the wave: A commentary on ‘Black Wave polemics: Rhetoric as 

aesthetic’ by Greg DeCuir, Jr, Studies in Eastern European Cinema, 2.2, 161- 

171. 

Dr. Hester Joyce is a senior lecturer in Cinema Studies at La Trobe 

University, Melbourne. She has professional credits in acting, writing 

and directing in theatre and in acting, script editing and consulting in 

film and television. Her research interests include National 

cinemas/indigenous cinema; New Zealand cinema; scriptwriting 

theory, policy and practice; scriptwriting; screenplay narrative, 

aesthetics and formal analysis; and creative project assessment. 

› Out from nowhere: Pakeha anxieties in Ngati (Barclay, 1987), Once Were 

Warriors (Tamahori, 1994) and Whale Rider (Caro, 2002), Studies in 


Myriam Juan Myriam Juan is preparing a doctorate on the star-system in France 

during the inter-war period at Paris 1 University (Panthéon-Sorbonne).

Université Paris 1 (Panthéon- 

Sorbonne), École doctorale d’Histoire, 

17 rue de la Sorbonne, Paris, 75005, 

France 

Keywords star, twenties, crisis, 

critics, model, Hollywood 

Laurent Jullier 

Institut de Recherches sur le Cinéma 

et l’Audiovisuel Université Sorbonne 

Nouvelle – Paris 3/ Institut Européen 

de Cinéma et d’Audiovisuel 

Université de Nancy II, IRCAV, 

Ecole doctorale Arts et Médias, 

Centre Bièvre, 1 rue Censier, Paris, 

75005, France 

Keywords film reading, ideology, 

post-modernity, irony, parody 

Kristine Jørgensen 

University of Bergen, Department of 

Information Science and Media 

Studies, Bergen, Norway 

Keywords computer game, 

transdiegetic, diegetic, extradiegetic, 

meta-communication 

Pietari Kääpä 

University of Helsinki, Leiviskätie 2 

A D 52, Helsinki, 440, Finland 

She is a teaching assistant in History at the University of Versailles 

Saint-Quentin-en-Yvelines. She belongs to the French Association for 

Research into the History of Cinema (AFRHC). 

› Étoiles en manque de lumière: les difficultés du vedettariat français dans les 

années vingt, Studies in French Cinema, 11.3, 181-193. 

Laurent Jullier is Director of Research at the Institut de Recherches sur 

le Cinéma et l’Audiovisuel (IRCAV) at the Université Sorbonne 

Nouvelle – Paris 3, and Professor of Film Studies at the Institut 

Européen de Cinéma et d’Audiovisuel (IECA) at the Université de 

Nancy 2. He has published widely on cinema. 

› Politiquement (in)correct: OSS 117 dans les forums de discussion d'AlloCin, 


Kristine Jørgensen is a researcher at the Department of Information 

Science and Media Studies at the University of Bergen, and focuses on 

computer games research. She is particularly interested in questions 

about audio, spatiality, and player actions, in addition to comparative 

perspectives between computer games and the film medium. Kristine 

Jørgensen’s Ph.D. dissertation from Copenhagen University is an 

investigation of the functionality of computer game audio, and focuses 

on the relationship between game audio and player actions. 

› On transdiegetic sounds in computer games, Northern Lights: Film & Media 

Studies Yearbook, 5.1, 105-117. 

Pietari Kääpä completed his Ph.D. focusing on the globalization of 

Finnish cinema in the films of Aki and Mika Kaurismäki at University 

of East Anglia in 2008. He was then based at Institute for Comparative 

Cultural Studies at University of Nottingham Ningbo in China. In 

addition to multiple articles, he has published two monographs, the first

Keywords transnationalism, 

transnational cinema, ecophilosophy, 

ecocinema, environmental media 

Daria Kabanova 

University of Illinois at Urbana- 

Champaign, Comparative and World 

Literature, 707 S. Mathews Ave, 

Urbana, Illinois, 61801, United States 

of America 

Keywords post-Soviet Russian 

fiction, post-Soviet Russian film, 

national history 

Ananya Jahanara Kabir 


English, Leeds, LS2 9JT, United 


Keywords political conflict, cultural 

belonging, the Kashmir conflict, 

South Asia 

The National and Beyond: the Globalisation of Finnish Cinema in the 

Films of Aki and Mika Kaurismäki (Oxford: Peter Lang Ltd, 2010), 

reworks his doctoral thesis. The second, The Cinema of Mika 

Kaurismäki: Transvergent Cinescapes, Emergent Identities (Bristol: 

Intellect, 2011), explores Mika Kaurismäki’s films in a range of 

thematic frameworks, incorporating theoretical advances from 

transnationalism to ecophilosophy. He is currently a postdoctoral 

fellow at the University of Helsinki. 

› REVIEWS - CRIME AND FANTASY IN SCANDINAVIA: FICTION, 

FILM AND SOCIAL CHANGE, ANDREW NESTINGEN (2008), 


Daria Kabanova is a Ph.D. candidate in Comparative Literature at the 

University of Illinois, Urbana-Champaign. Her current research focuses 

on the ways post-Soviet Russian fiction and film reimagine continuities 

and discontinuities of national history through appealing to a variety of 

nostalgic cultural myths and aesthetic conventions. 


Ananya Jahanara Kabir is the author of Paradise, Death and 

Doomsday in Anglo-Saxon England (Cambridge: Cambridge 

University Press, 2002). She is a Senior Lecturer in Commonwealth 

and Postcolonial Literatures at the University of Leeds and her research 

and teaching interests include: Political conflict and cultural belonging 

in South Asia; The Kashmir conflict; The memorial repercussions of 

the Partition of India; The postcolonial metropolis/South Asian 

vernacular modernities; The cultures of global and local Islam, 

including Sufi music and performance; Cultural and identity politics in 

South Asian diasporas; Medievalism and (post)colonial modernity. 

› Book Reviews, Studies in South Asian Film & Media, 1.1, 189-191.

Lilya Kaganovsky 

University of Illinois, Urbana- 

Champaign, Urbana, Illinois, United 


Keywords Eikhenbaum, Althusser, 

sound film, avant-garde, gender, late 

socialism 

Nick Kaldis 

State University of New York, 

Binghamton, 305 Burd Drive, Vestal, 

New York, NY, 13850-3201, United 


Keywords authoritarianism, binarism, 

ideology, aesthetics, globalization 

Jasmina Kallay 

National Film School, Dublin, Ireland 

Keywords interactive cinema, 

screenwriting, poetics, Aristotle, 

narrative, architecture, cyber drama, 

new media, digital media 

Lilya Kaganovsky is Associate Professor of Slavic, Comparative 

Literature, and Cinema Studies at the University of Illinois. She is the 

author of How the Soviet Man Was Unmade (2008), and articles on 

gender and masculinity in Soviet and post- Soviet film. Her current 

project focuses on Soviet cinema’s transition to sound. 

› The voice of technology and the end of Soviet silent film: Grigorii Kozintsev 

and Leonid Trauberg's Alone, Studies in Russian and Soviet Cinema, 1.3, 

265-282. 

› The cultural logic of late socialism, Studies in Russian and Soviet Cinema, 

3.2, 185-199. 


Nick Kaldis is Director of Chinese Studies and Associate Professor of 

Chinese Studies in the Department of Asian & Asian-American Studies 

at Binghamton University (S.U.N.Y.). He received his BA in English 

from Ohio University, an MA in English from Purdue University, and 

an MA and Ph.D. in East Asian Languages and Literatures from The 

Ohio State University. He serves on the editorial boards of Journal of 

Chinese Cinemas and Modern Chinese Literature & Culture, and is 

Literature Book Review Editor for the latter. His teaching and 

scholarship focus on the areas of Chinese cinema, literature, and 

language. He has published essays on modern Chinese literature, 

contemporary Chinese-language film, and numerous translations. 

› A Brief Response to Wendy Larson's ‘Zhang Yimou's Hero: dismantling the 

myth of cultural power’, Journal of Chinese Cinemas, 3.1, 83-88. 

Jasmina Kallay is a Lecturer at the National Film School (IADT), 

Dublin, and is in the final stages of completing her Ph.D. in Interactive 

Screenwriting at University College Dublin. Jasmina regularly 

contributes to film and digital media publications and conferences. 

Apart from her academic output, Jasmina also works as a freelance 

script consultant and editor for a number of broadcasting and 

production companies in Ireland and the United Kingdom. 

› Cyber-Aristotle: towards a poetics for interactive screenwriting, Journal of 

Screenwriting, 1.1, 99-112.

Amar Kanwar 

Keywords contemporary art, South 

Asian film 

Sergei Kapterev 

Moscow Research Insitute of Film 

Art, (NII Kinoiskusstva), Degtiarnyi 

per. 8, Moscow, 103050, Russia 

Keywords Soviet cinema, 

propaganda, Cold War, Russian 


Jyotsna Kapur 

Southern Illinois University, 

Department of Cinema and 

Photography, Carbondale, Illinois, 

62901-6610, United States of 

America 

Keywords children as consumers, 

documentary film, ethnographic film, 

Japanese new wave, German new 

wave, Marxism, socialist-feminism, 

race 

Amar Kanwar lives and works in New Delhi. His films have been 

screened in several film festivals and museums including Documenta 

11 and Documenta 1, Germany. His awards include: the 1st Edvard 

Munch Award for Contemporary Art, Norway; the Golden Gate 

Award, San Francisco International Film Festival; and the Golden 

Conch, Mumbai International Film Festival. 

› The invisible image A photo essay by Amar Kanwar, Studies in South Asian 

Film & Media, 1.2, 203-208. 

Sergei Kapterev is Senior Researcher at Moscow’s Research Institute 

of Film Art (NIIK). He received his Ph.D. in Cinema Studies from 

New York University in 2005. He specializes in the intellectual and 

political aspects of the interaction between Soviet and American 

cinemas. Other interests include Soviet film propaganda; cinema of the 

late Stalin period, the Thaw and the Cold War; Russian and Soviet 

films about the Far East; practice and theory of film editing and sound; 

unattributed and 'lost' Russian and Soviet films held in world archives. 

› Sergei Eisenstein's letters to Hollywood film-makers, Studies in Russian and 


Jyotsna Kapur teaches in the department of Cinema and Photography, 

Southern Illinois University. She is currently finishing a book, Out of 

Control: Children’s Consumer Culture, American Cinema, and the 

Transformation of Childhood in Late Capitalism (Wayne State 

University Press) which examines the invention of children as 

consumers in Hollywood films produced for children in the 1990s and 

in children’s marketing literature. Her research and teaching interests 

are documentary and ethnographic film, the Japanese and German New 

Wave, postmodernity and globalization of media industry, and critical 

theory based on Marxism, socialist-feminism, and race. 

› Editorial, Studies in South Asian Film & Media, 1.1, 5-8. 

› Editorial, Studies in South Asian Film & Media, 1.2, 199-202.

Selmin Kara 

Wayne State University, English 

Department, Film and Media Studies, 

Detroit, Michigan, 48202, United 


Keywords assemblages, reassembly, 

sound, fragmentation, Iraq 

Sanna Karkulehto 

University of Jyväskylä, Raivaajantie 

13, FIN-90140 Oulu, Finland 

Keywords animation, Finland, 

Mannerheim, media reception, 

sexuality, queer, nationality, Michel 

Foucault 

Suvir Kaul 

University of Pennsylvania, 

Department of English, Fisher- 

Bennett Hall, Room 127, 3340 

Walnut St., Philadelphia, 

Pennsylvania, 19104-6273, United 


Keywords eighteenth-century 

literature, postcolonial studies 

Selmin Kara is an Assistant Professor at OCAD University in Toronto. 

She received her BA and MA in Istanbul, Turkey, where she worked as 

an assistant producer in an independent documentary film production 

agency for four years, and completed her Ph.D. in Film and Media 

Studies at Wayne State University in Detroit, Michigan. Her academic 

areas of interest include modes of assembly, technics, and sound in 

documentary film and media. 

› Reassembling the nation: Iraq in Fragments and the acoustics of occupation, 


Sanna Karkulehto, Ph.D., is Professor of Finnish Literature at the 

University of Jyväskylä, Docent of Literature and Cultural Studies at 

the University of Oulu, and Docent of Women’s Studies at the 

University of Lapland, Finland. 

› The ‘Greatest Finn’ meets the ‘Gay Marshal’: Foucault’s cycle, national 

narratives and The Butterfly of the Urals, Journal of Scandinavian Cinema, 

1.2, 177-197. 

Suvir Kaul is AM Rosenthal Professor of the English Department at the 

University of Pennsylvania. He has published three books, Eighteenthcentury 

British Literature and Postcolonial Studies (Edinburgh 

University Press, 2009), Poems of Nation, Anthems of Empire: English 

Verse in the Long Eighteenth Century (Charlottesville: The University 

Press of Virginia, 2000; Delhi: Oxford University Press, 2001) which 

won the Walker Cowen Prize awarded biennially to a scholarly 

manuscript in 'Eighteenth Century Studies in history, literature, 

philosophy, or the arts' and Thomas Gray and Literary Authority: 

Ideology and Poetics in Eighteenth-Century England (New Delhi: 

Oxford University Press, 1992; Stanford: Stanford University Press, 

1992). 

› Book Reviews, Studies in South Asian Film & Media, 1.1, 192-194. 

Janice Kaye Janice Kaye received her Ph.D. in 2007 from the University of 

Southern California’s School of Cinema-Television in Los Angeles. In

Ryerson University, 350 Victoria St., 

Toronto, Ontario, M5B 2K3, Canada 

Keywords Canadian cinema, 

Canadian identity, nation-specific 

screenwriting, national cinemas, 

screenwriting, television 

Leslie Kealhofer 

Westminster College (Pennsylvania), 


319 South Market Street, New 

Wilmington, PA 16172, United States 

of America 

Keywords Yamina Benguigui, Islam, 

headscarf, Femmes d’Islam, 

Mémoires d’immigrés: l’héritage 

maghrébin, Aïcha 

Abigail Keating 

University College Cork, Film 

Studies/Italian, Room 1.09 First Floor 

Block A West, O’ Rahilly Building, 

Cork, Ireland 

Keywords transnational, 

documentary, documusical, Italy 

2001–06, immigration, national 

identity 

addition to earning a Graduate Certificate in Gender Studies there, Dr. 

Kaye is the winner of the Cagney and Lacey Fellowship, the 

MGM/Ray Stark Foundation Scholarship, the Phi Beta Kappa Southern 

California Alumni Association Scholarship in the United States, as well 

as the Gerald Pratley Award and the Queen’s University Medal in Film 

Studies in Canada. She has presented papers at universities across the 

United States and Canada as well as in the United Kingdom and Italy, 

and has had articles, book reviews, encyclopaedia entries and a chapter 

published. Formerly a communications professional in the Canadian 

and American film and television industries, she is a founding member 

of the Academy of Canadian Cinema and Television. 

› If it ain't on the page, it ain't on the stage: screenwriting, national specificity 

and the English-Canadian feature film, Journal of Screenwriting, 2.1, 61-83. 

Leslie Kealhofer is Visiting Assistant Professor of French at 

Westminster College (Pennsylvania). She completed her doctoral 

dissertation on 'Cinematic Voices of Maghrebi Migrant Women in 

France' at Florida State University in 2011 and is currently preparing a 

book manuscript on this subject. 

› Veiled voices in the films of Yamina Benguigui, Studies in French Cinema, 

11.3, 207-221. 

Abigail Keating is a Ph.D. candidate in Film Studies at University 

College Cork, Ireland. Her doctoral thesis is entitled 'Locating the 

Transnational: Representations and Aesthetics of the City in 

Contemporary European Cinema'. Her publications (past and 

forthcoming) include essays on transnational film, cinematic Dublin, 

‘interactive’ home movies and Web 2.0, along with contributions to 

Intellect’s Directory of World Cinema series. She is also co-founder 

and co-editor of the inaugural issue of Alphaville: Journal of Film and 

Screen Media. She has worked as a research assistant and video editor 

on the nationally funded project, Capturing the Nation: Irish Home 

Movies, 1930–1970, and teaches on the M.A. in Film Studies at UCC. 

Her research interests include space, place and the city in film; 

European cinema(s); the practice and aesthetics of digital media; nonfiction; 

and Web 2.0.

Patrick Keating 

Trinity University, Department of 

Communication, One Trinity Place, 

San Antonio, TX 78212, United 


Keywords emotion, causality, 

screenplay manuals, three-act 

structure 

Douglas Keesey 

California Polytechnic State 

University, English Department, San 

Luis Obispo, California, CA 93407, 


Keywords censorship, feminism, 

rape, Breillat 

Dominic Keown 

University of Cambridge, Fitzwilliam 

College, Huntingdon Road, 

Cambridge, Cambridgeshire, CB3 

0DG, United Kingdom 

Keywords resistance, post-war 

Spanish cinema, smugglers, 

Calabuch, Berlanga, Teta i la lluna, 

Bigas Luna, L'illa de l'holandès, 

Formentera, landscape 

› All roads lead to Piazza Vittorio: Transnational spaces in Agostino Ferrente’s 

documusical, Studies in Documentary Film, 5.2-3, 197-209. 

Patrick Keating is an Assistant Professor in the Department of 

Communication at Trinity University in the United States, where he 

teaches courses in film and media studies. He is the author of the book 

Hollywood Lighting from the Silent Era to Film Noir, published by 

Columbia University Press. In addition to his research on the history of 

cinematography, he has written several articles in film history and 

theory, including ‘Emotional Curves and Linear Narratives’, a study of 

the structure of classical Hollywood narrative. 

› The plot point, the darkest moment, and the answered question: three ways of 

modelling the three-quarter-point, Journal of Screenwriting, 2.1, 85-98. 

Douglas Keesey is Professor of Film and Literature at California 

Polytechnic State University. His publications include books on 

Catherine Breillat, Don DeLillo, Peter Greenaway, Paul Verhoeven, 

erotic cinema and neo-noir, along with articles on James Dickey, 

Stephen King, Thomas Pynchon, Aaron Sorkin and Peter Weir. 

› Split identification: Representations of rape in Gaspar No's Irrversible and 

Catherine Breillat's A ma sur!/Fat Girl, Studies in European Cinema, 7.2, 95- 

107. 

Dr. Dominic Keown is Reader in Catalan Studies in the Department of 

Spanish and Portuguese at the University of Cambridge. He specializes 

in contemporary Hispanic culture. He has published on the ideological 

dimension of Catalan literature, Sobre la poesia catalana 

contemporània (Valencia: 1996), Polifonia de la subversió: la veu 

collectiva de Vicent Andrés Estellés (Valencia: Tandem, 2000), and on 

Spanish and Catalan cinema, with particular reference to Buñuel, 

Berlanga, Bigas Luna and Sigfrid Monleón. He is the editor/translator 

of Salvat-Papasseit (1982), Ausiàs March (3 vols: 1986, 1989, 1993), 

Valle-Inclán (1991), Joan Fuster (1992, 2006) and J. V. Foix (1998), 

director of the Journal of Catalan Studies and the Occasional Papers of 

the Anglo-Catalan Society (ACSOP).

Aaron Kerner 

San Francisco State University, 


Keywords representing catastrophic 

events, history, memory 

Paul Kerr 


Department of Applied Social 

Sciences, Ladbroke House, 62-66 

Highbury Grove, London, N5 2AD, 


Keywords superstructure, homology, 

package-unit production, art cinema, 

globalization 

Dimitra Kessenides 

Barnard College, New York, NY, 


Keywords scriptwriting, 

screenwriter's strike, unions, credits, 

multilingual writing 

› A view from the edge: Transgression and dissidence in Berlanga's Calabuch, 


Aaron Kerner is an associate professor in the Cinema Department at 

San Francisco State University. His curatorial and research work 

examines the problems of representations, exploring the difficulty of 

representing catastrophic events and the uneasy transfiguration of 

history and memory into narrative form. He is the author of Film and 

the Holocaust (Continuum, 2011). 

› The cartoon logic in Mitko Panov’s With Raised Hands, Short Film Studies, 

2.1, 29-32. 

Since summer 2007 Paul Kerr has been Senior Lecturer in Broadcast 

Media at London Metropolitan University. For the previous twenty 

years he was a television producer, making dozens of programmes for 

the BBC and Channel Four aswell as a number of international coproductions. 

He is the author and editor of a number of books and 

articles on television and film. His research interests include 

documentary, drama documentary, ‘quality’ television, arts 

programming, the independent production sector in film and television, 

Hollywood, and international art cinema. He is a former member of the 

Screen editorial board and was a producer-director at October Films in 

London from 1999 to 2007. 

› Babel’s network narrative: packaging a globalized art cinema, Transnational 


Dimitra Kessenides is a New York-based writer and editor, and the 

editorial director at Barnard College. She has interviewed film-makers 

and written about film for Salon, indieWire, Moving Pictures and the 

now-defunct Brill's Content magazine. 

› Lone Star: American Indie Icon John Sayles at the 48th Thessaloniki 

International Film Festival, Film International, 6.1, 6-12. 

› Festivals, Film International, 6.2, 76-97.

Catherine Kevin 

Flinders University, History 

Department, GPO Box 2100, 

Adelaide, Australia 

Keywords stolen generations, 

maternal, history, Jedda, Australia 

Shahnaz Khan 

Wilfrid Laurier University, 75 

University Avenue West, Waterloo, 

Ontario, N2L 3C5, Canada 

Keywords Muslim women, Bombay 

cinema, diaspora, women studies 

Lina Khatib 

Stanford University, Center on 

Democracy, Development and the 

Rule of Law, 616 Serra St. Encina 

Hall, C151 Stanford, Palo Alto, 

California, CA 94305-6055, United 


Keywords Middle East, cinemas, 

politics, media 

Catherine Kevin lectures in Australian history, body politics and 

memory at Flinders University. She has recently edited Feminism and 

the Body: interdisciplinary perspectives (2009) and co-edited randing 

Cities: cosmopolitanism, parochialism and social change (2009). She 

has published on the history of pregnancy, feminism and immigration. 

› Solving the problem of the motherless indigenous child in Jedda and 

Australia: white maternal desire in the Australian epic before and after 

Bringing Them Home, Studies in Australasian Cinema, 4.2, 145-157. 

Shahnaz Khan is Associate Professor of Women’s Studies and Global 

Studies at Wilfrid Laurier University. She is the author of Aversion and 

Desire: negotiating Muslim female identity in the diaspora, and Zina, 

Transnational Feminism and the Moral Regulation of Pakistani 

Women. She has written on Muslim women in the diaspora and the 

Zina Ordinance in Pakistan. Her current research interests include 

representations of Muslims in Bombay Cinema and their influence on 

audiences in Canada and in Pakistan. 

› Nationalism and Hindi Cinema: Narrative Strategies in Fanaa, Studies in 

South Asian Film & Media, 1.1, 85-99. 

Lina Khatib is Programme Manager at the Centre on Democracy, 

Development, and the Rule of Law at Stanford University. She joined 

Stanford University from the University of London where she was 

Associate Professor. Her research is firmly interdisciplinary and 

focuses on the intersections of politics, media and social factors in 

relation to the politics of the Middle East. She is also a consultant on 

Middle East politics and media and has published widely on topics 

such as new media and Islamism, US public diplomacy towards the 

Middle East, and political media and conflict in the Arab world. She 

has an active interest in the link between track two dialogue and 

democratization policy. She is also Research Associate at SOAS, 

University of London, and, from 2010-2012, Research Fellow at the 

USC Centre on Public Diplomacy at the Annenberg School. 

› Digital cinema: The transformation of film practice and aesthetics, New 

Cinemas: Journal of Contemporary Film, 4.1, 21-36.

Daria Khitrova 

University of Chicago, Slavic 

Department, 1130 East 59th Street, 

Foster Hall Room 406, University of 

Chicago, Chicago, IL 60637, United 


Keywords Russian poetry, Russian 

literature, ballet, relationship between 

film and dance 

Liew Kai Khiun 


Division of Broadcast and Cinema 

Studies, Wee Kim Wee School of 

Communication and Information SCI 

02-13, 31 Nanyang Link, 637718, 

Singapore 

Keywords Pacific War, militarism, 

World War II, Japanese cinema 

Omar Kholeif 

Foundation for Art and Creative 

Technology, 88 Wood Street, 

Liverpool, L1 4DQ, United Kingdom 

Keywords Arabic cinema, politics, 

dissidence and identity, experimental 

narrative, new media 

Daria Khitrova is currently a Mellon Postdoctoral Fellow in the Slavic 

Department at the University of Chicago. She received her Ph.D. in 

Russian Literature in 2005 from the Russian State University for the 

Humanities (RGGU, Moscow). Alongside research on nineteenthcentury 

Russian poetry, she is writing on the history of ballet and other 

forms of dance, specifically on ballet in other arts, from literature to 

film. The relationship between film and dance is the subject of a book 

project planned in collaboration with Yuri Tsivian. 

› Eisenstein’s choreographyin Ivan the Terrible, Studies in Russian and Soviet 


Liew Kai Khiun is assistant professor in the Division of Broadcasting 

and Cinema Studies at Nanyang Technological University's Wee Kim 

Wee School of Communication and Information. His recent 

publications include the edited anthologies Liberalizing, Feminizing 

and Popularizing Health Communications in Asia (Ashgate, 2010) and 

The Makers & Keepers of Singapore History (Ethos Books, 2010). 

› Self-inflicted pain: Japanese cinema on the Pacific War, New Cinemas: 


Omar is an Egyptian-born, UK-based writer, curator and producer with 

a cross-disciplinary practice that focuses on the presentation of film, 

video and new media. He is Curator at FACT Liverpool and Visiting 

Curator at Cornerhouse, Manchester. Core to his practice is an interest 

in collaborative tools and interfaces of authorship and production. 

Omar is the founder of the Arabic Film Festival (UK), Director of 

Queerfest Liverpool, co-founder of The Centre of Cultural Confusion, 

and the Arab Fringe. Recent projects include producing 

Semiconductor: Worlds in the Making, working with animatorfilmmaker, 

Chris Shepherd, as well as Abandon Normal Devices 2011 

and Rewire 2011. Omar is also a prolific writer appearing in Art 

Monthly, Frieze, Film International, The Guardian, and PopMatters. 





› Reviews, Transnational Cinemas, 1.2, 181-191.

Olivia Khoo 

Monash Univeristy, School of 

English, Communications and 

Performance Studies, Monash 

University, Clayton, Victoria, 3800, 

Australia 

Keywords multiculturalism, realism, 

Asian Australian cinema, Australian 

cinema, ethics, values 

Gaik Cheng Khoo 


Faculty of Arts, Canberra, ACT 0200, 

Australia 

Keywords Southeast Asian filmmakers, 

independent cinema, South 

East Asian indies, cosmopolitanism, 

cinema, space, daily life 

Barış Kılıçbay 

Keywords melancholy, Turkish- 

German cinema, drag, mother, 

motherland 

Olivia Khoo is a Lecturer in Film and Television Studies at Monash 

University in Victoria, Australia. She is the author of The Chinese 

Exotic: Modern Diasporic Femininity (Hong Kong University 

Press) and co-author (with Sean Metzger) of Futures of Chinese 

Cinema: Technologies and Temporalities in Chinese Screen Cultures 

(Intellect). She has published widely on Asian film and media. 

› Editorial:, Studies in Australasian Cinema, 2.2, 97-102. 

› Cinemas of value: multicultural realism in Asian Australian cinema, Studies 


› Editorial: Transnational Asian Australian cinema, Part 2, Studies in 


› Tokyo drifting: Toei Corporation's The Drifting Avenger and the 

internationalization of the Australian western, Studies in Australasian 


› Special Issue on From Diasporic Cinemas to Sinophone Cinemas, Journal of 


Gaik Cheng Khoo researches South East Asian cinema, specializing in 

independent film-making in Malaysia. She is a member of the Annual 

South East Asian Cinemas Conference which rotates through different 

cities in South East Asia. Her other interests include cosmopolitanism 

through food, space and identity. She teaches cultural studies and 

gender at the Australian National University. 

› What is Diasporic Chinese cinema in Southeast Asia?, Journal of Chinese 


Barıs¸ Kılıçbay is a scholar based at Gazi University, Ankara. His 

current research focuses on transnational cinema (Turkish-German 

cinema in particular), postmemory and melancholy as national 

identification, Turkish cinema with an emphasis on gender, and reality 

programming. He is currently working on a co-authored book on 

Turkish-German cinema. 

› Impossible crossings: Gender melancholy in Lola + Bilidikid and 

Auslandstournee, New Cinemas: Journal of Contemporary Film, 4.2, 105- 

116.

Lee-Von Kim 


English and Cultural Studies, M202, 

35 Stirling Highway, Crawley, 

Western Australia, 6009, Australia 

Keywords hospitality, homeland, 

diaspora, transnational 

communication 

Noel King 

Macquarie University, Department of 

Media, Music, Communication and 

Cultural Studies, Sydney, New South 

Wales, 2109, Australia 

Keywords Scorsese, Don DeLillo, 

Greil Marcus, The Great Gatsby, selfinvention 

Laurian Kipeja 

Zanzibar International Film Festival 

(ZIFF), PO Box 3032, Zanziba, 

Tanzania 

Keywords Porter's Five Forces 

Model, marketing, video halls, 

distribution 

Neil Kirkham 

University of the Arts, The University 

Lee-Von Kim is a doctoral candidate in English and Cultural Studies at 

the University of Western Australia. Her thesis examines postcolonial 

haunting in cultural productions from Australia and South Africa. 

› Giving spaces/spaces of giving: accommodation in Floating Life, Studies in 


Noel King teaches Film and Literary-cultural Criticism in the 

Department of Media, Music, Communication, and Cultural Studies at 

Macquarie University, Sydney, NSW, Australia. His current research 

concerns the literature–film relationship of two US writers, poet 

Richard Hugo and novelist Don DeLillo. 

› ‘The entire panorama of what America is to me’: Dylan and the American 

idiom, Studies in Documentary Film, 1.1, 35-48. 

› ‘You don't command the enterprise’, Studies in Documentary Film, 2.3, 227- 

232. 

› At Least a Witness to Myself: On watching The American Dreamer after 

learning of the death of Dennis Hopper, Studies in Documentary Film, 4.2, 

109-118. 

Laurian Kipeja is a Marketing and Resources Manager at the Zanzibar 

International Film Festival (ZIFF). Kipeja holds a Master’s Degree in 

events management and marketing from the Norwegian University of 

Sport. He is also the director of a marketing services company, 

Micronet Tanzania Ltd. His interests include film marketing and 

distribution and festival management. 

› Creative/Cultural industries financing in Africa: A Tanzanian film value 

chain study, Journal of African Cinemas, 2.1, 3-25. 

Neil Kirkham is Lecturer in Cultural and Historical Studies at the 

University of the Arts, London, UK. He has recently completed his 

Ph.D., entitled 'Simple pornographers? Sade, libertinage and the

of the Arts, 272 High Holborn, 

London WC1V 7EY 

Keywords 

Signe Kjær Jørgensen 


Department for Political Science, 

Øster Farigmagsgade 5, opg. E, 

Copenhagen K, 1353, Denmark 

Keywords public, governance, 

rhetoric, policy-politics, legitimacy 

Naum Kleiman 

Museum of Cinema, Film Museum, 

Smolenskaya ulitsa 10, Moscow, 

121009, Russia 

Keywords Eisenstein, Russian 

cinema, Soviet cinema 

Christina Klein 

Boston College, English Department, 

140 Commonwealth Avenue, 

Chestnut Hill, Boston, Massachusetts, 


America 

Keywords Kung Fu Hustle, 

transnational, globalization, Hong 

Kong, Hollywood 

evolution of the hard-core pornographic film narrative' and is preparing 

a series of journal articles that are based on his doctoral research. His 

publications include articles on the role of costume in hard-core 

pornography (Fashionably Laid: The Styling of Hard-Core, 2011). 

› The new 'porno-chic'? Fashion, consumption and film pornography, Film, 

Fashion & Consumption, 1.2, 203-220. 

Signe Kjær Jørgensen is a Ph.D. Fellow at the Department for Political 

Science, University of Copenhagen. Her dissertation deals with the 

representation of Muslims in Danish society from 2005 onwards. Her 

major interests are theories of new public spheres, political 

communication, citizenship and critical discourse analysis of texts, 

symbols and images. She has published on these issues from 2001 

onwards. 

› Political authority as genuineness – how to transgress new public spheres, 


Naum Kleiman is the world’s leading Eisenstein scholar and director of 

the Museum of Cinema in Moscow. He serves on the editorial board of 

Studies in Russian and Soviet Cinema. 

› Fergana Canal andTamburlaine’s Tower, Studies in Russian and Soviet 


Christina Klein is Associate Professor of English and American Studies 

at Boston College. She is the author of Cold War Orientalism: Asia in 

the Middlebrow Imagination, 1945–1963 (Berkeley: University of 

California Press, 2003) and has published articles about contemporary 

Asian cinema in Cinema Journal, Comparative American Studies and 

the Los Angeles Times. 

› Kung Fu Hustle: Transnational production and the global Chinese-language 

film, Journal of Chinese Cinemas, 1.3, 189-208.

T. Jefferson Kline 

Boston University, Deptartment of 

Modern Foreign Languages & 

Literatures, 718 Commonwealth 

Avenue, Boston, Massachusetts, 


Keywords repetition, intertextuality, 

Deneuveseduction theory, 

psychoanalysis, Freud 

Jason E Klodt 

University of Mississippi, Modern 

Languages, 3071 David Drive, 

Oxford, Mississippi, 38655, United 


Keywords violence, gaze, real 

Barbara Klonowska 

Catholic University of Lublin, 

Department of English Literature and 

Culture, Al. Racławickie 14, Lublin, 

20-950, Poland 

Keywords Polish history, idyll, 

magical realism, Polish cinema 

T. Jefferson Kline is currently Professor of French in the Department of 

Romance Studies at Boston University. His publications include André 

Malraux and the Metamorphosis of Death (Columbia University Press, 

1973), Bertolucci’s Dream Loom: A Psychoanalytic Study of Cinema 

(University of Massachusetts Press, 1987), I film di Bertolucci (Rome: 

Gremese, 1992), Screening the Text: Intertextuality in New Wave 

French Film (Johns Hopkins, 1992), Bernardo Bertolucci Interviews 

(co-edited with Fabien Gerard, University of Mississippi Press, 2000), 

Unraveling the French Cinema (Blackwell, 2009), and a number of 

articles on the French novel, French theatre and European cinema. 

› Benoît Jacquot's Septième ciel: Revisiting the boundaries between cinema 

and hypnosis, Studies in French Cinema, 1.1, 37-46. 

› Recuperating Hitchcock’s doubles, Studies in French Cinema, 3.1, 35-46. 

› Freud's family romance with Princess Marie: Benot Jacquot resurrects the 

childhood seduction theory, Studies in French Cinema, 10.2, 155-168. 

Jason E. Klodt teaches at the University of Mississippi. His research 

Interests are Modern Spanish Literature; Spanish Cultural Studies; 

Contemporary Spanish Film; Generation X Literature and Literary 

Theory. 

› En el fondo te gusta: Titillation, desire, and the spectator's gaze in Alejandro 

Amenábar's Tesis, Studies in Hispanic Cinemas, 4.1, 3-17. 

Barbara Klonowska is an assistant professor in the Institute of English 

at the Catholic University of Lublin, Poland. She teaches British 

literature and culture and has published articles on contemporary 

British fiction; her study Contaminations: Magic Realism in 

Contemporary British Fiction was published in 2006. Her academic 

interests include magic realism in film and cinematic utopias and 

dystopias. 

› Far away from the present: Magical realism in Polish film, Studies in Eastern 


› Reviews, Studies in Eastern European Cinema, 2.1, 91-111.

Marit Knollmueller 

Keywords surrealism, oneirism, 

Spanish literature, Cervantes, 

Calderón de la Barca 

Jane Knox-Voina 

Bowdoin College, Brunswick, Maine, 


Keywords Central Asian cinema, 


Erik Knudsen 


Music, Media and Performance, 

Adelphi House, The Crescent, 

Manchester, M3 6EN, United 


Keywords practice research, 

storytelling, fact, fiction, Africa 

Marit Knollmueller has a Ph.D. in film studies from the University of 

Kent at Canterbury. Her thesis is entitled ‘A Cinema under the 

Influence? Contemporary European Auteurism beyond the 

Postmodern’. She also has an MA in cinema studies from NYU. Her 

research interests include influence theory, contemporary perspectives 

on authorship and such film-makers as Amenábar, François 

Ozon,Thomas Vinterberg, Tom Tykwer and Danis Tanovic. In addition 

to European cinema topics, she has published work on the intersection 

of film and museums. She has taught European Cinema at The 

University of Cambridge, The University of Kent, and London 

Southbank University. 

› Death is a dream: Placing Abre los ojos in a Spanish tradition, Studies in 


Jane Knox-Voina is professor of Russian at Bowdoin College. She is a 

specialist in Russian, and especially, Central Asian cinema. She has 

received multiple grants to do research on film as a tool in nation 

building in the former Soviet republics, Kazakhstan and Kyrgyzstan. 

She received a Lecture-Research Fulbright Fellowship in the spring of 

2006 to focus on the youth of Kazakhstan and taught a four-month 

master class, The History of American Cinema, to students at the 

Kazakhstan National Academy of the Arts, in the Department of the 

History and Theory of Film, Almaty, Kazakhstan. Her latest success 

with filmmakers in Kazakhstan came in the summer of 2009 when she 

received an award from IREX (International Research Exchange) as an 

American Embassy Policy Specialist in the capital of Kazakhstan, 

Astana. There she conducted research on Russian-Kazakh interethnic 

relations. 

› The Kazakh New New Wave, Studies in Russian and Soviet Cinema, 4.2, 

195-203. 

Erik Knudsen is Professor of Film Practice and the Head of the School 

of Media Music and Performance. Formerly the Director of Graduate 

Studies at the University of Salford, Manchester, UK, earlier roles at 

the University of Salford have included programme leading the MA in 

Wildlife Documentary Production, the MA in Television Documentary 

Production and the MA in Fiction Film Production. He is also visiting 

professor, and the former head of the editing department at the Escuela 

Internacional de Cine y Television in Cuba. Amongst a range of 

commitments, Erik is a member of the editorial board of the Journal of

Mika Ko 

The University of Sheffield, 

Sheffield, United Kingdom 

Keywords Miike Takashi, 

multiculturalism, body, kokutai 

ideology, Japan 

Lauren Kogen 

University of Pennsylvania, 

Annenberg School for 

Communication, Philidelphia, 

Pennsylvania, United States of 

America 

Keywords media studies, television 

studies 

M.R. Koivumäki 

Aalto University, Department of 

Motion Picture, Hämeentie 135 C, 

P.O. Box 31000, Aalto, FI-00076, 

Media Practice, an AHRC Peer Review College member and a board 

director of the film and visual arts centre, Cornerhouse, in Manchester. 

He also runs his own production company, One Day Films Limited. 

His latest feature film is The Silent Accomplice. 

› Zen and the art of film narrative: towards a transcendental realism in film, 


Mika Ko joined the School of East Asian Studies in 2006 after working 

as a Japanese teaching fellow at the University of Leeds. Her research 

interests are in the fields of Film, Media and Cultural Studies. Her 

Ph.D. thesis was entitled 'Otherness in Contemporary Japanese 

Cinema: Nationalism, Multiculturalism and the Problem of 

Japaneseness' in which she analysed the representation of minority 

groups in Japanese cinema and how these related to images of Japanese 

national identity. Dr. Ko's research interests also extend to East-Asian 

cinema more generally and she is particularly interested in the 

development of transnational East-Asian cinema and its potential to 

challenge traditional forms of national cinema. 

› The break-up of the national body, New Cinemas: Journal of Contemporary 

Film, 2.1, 29-40. 

Lauren Kogen graduated from Stanford University with a BA in 

Economics, and has recently finished a project funded by a Fulbright 

research grant on the effects of digital technologies on Spain’s film 

industry. She is currently in the Doctoral Program in Communication at 

the Annenberg School at the University of Pennsylvania. 

› Once or twice upon a time: Temporal simultaneity and the Lost phenomenon, 


Marja-Riitta Koivumäki is a senior lecturer in Screenwriting at Aalto 

University, School of Art and Design, Department of Film, TV and 

Production Design, Helsinki. She has studied at the Moscow film 

school VGIK and has worked as a screenwriter, script editor and 

screenwriting tutor in the United Kingdom and Denmark. She is a

Finland 

Keywords performance, mental 

artwork, dramaturgy, aesthetics 

Karolina Kosinska 

Institute of Art, Polish Academy of 

Sciences, Institute of Art, Polish 

Academy of Sciences, Warsaw, 

Poland, UL, Warsaw, Długa 2800- 

950, Poland 

Keywords social realism, socialist 

realism, Free Cinema, Black Series, 

British cinema, Polish cinema 

Maaret Koskinen 


Cinema Studies, Box 270 62, 

Stockholm, SE-102 51, Sweden 

Keywords In the Beginning Was the 

Word, Bergman’s childhood, 

autobiography, The Magic Lantern, 

Swedish modernism 

Kristine Kotecki 


Department of English, 1 University 

Station B5000, Austin, TX 78712- 


Keywords Lebanon, genre, 

articulation of presence, collective 

member of a screenwriting research team, ‘Aristotle in Change’, funded 

by the Academy of Finland. 

› The aesthetic independence of the screenplay, Journal of Screenwriting, 2.1, 

25-40. 

› Poetic dramaturgy in Andrey Tarkovsky’s Ivan’s Childhood (1962): Conflict 

and contrast, two types of narrative principles, Journal of Screenwriting, 3.1, 

27-43. 

Karolina Kosinska, Ph.D., is a graduate of Film Studies at the 

Jagiellonian University. She is Assistant Professor in Institute of Art, 

Polish Academy of Sciences (IS PAN) and editor of an academic film 

journal, Kwartalnik Filmowy. Her interests lie in British cinema and 

the notion of cinematic modes of realism. 

› Style and attitude: Social(ist) realism in the Polish Black Series and British 

Free Cinema, Studies in Eastern European Cinema, 2.2, 193-209. 

› From Short Story to Film Autobiography, Film International, 1.1, 5-11. 

Kristine Kotecki is a doctoral student in English at the University of 

Texas at Austin. She received her MA in English: Cultural Studies 

from the University of Hawai'i. Her current research interests include 

cultural memory and the collection as form (short story collection, film 

festival, etc.), especially in the aftermath of violence. 

› Articulations of presence: The explosions and rubble of Philippe Aractingi's 

Sous les Bombes, New Cinemas: Journal of Contemporary Film, 8.2, 87-

mourning, aesthetics 

Gary M. Kramer 

Keywords film festival, queer film, 

Latin American cinema, documentary, 

Toronto, Telluride, Miami, New York 

Film Festival, Jean-Marc Barr 

Coonoor Kripalani 

University of Hong Kong, HK 

101. 


Gary M. Kramer is a contributing writer to the alternative weeklies Gay 

City News (NY), Philadelphia Gay News, The Philadelphia City Paper, 

San Francisco Bay Times, Frontiers/In Los Angeles, as well 

as Instinct magazine and the websites aroundphilly.com and indieWire. 

He is the author of Independent Queer Cinema: Reviews and 

Interviews. His research interests include queer films and filmmakers, 

Latin American cinema, and film festival coverage. 

› Laurent Cantet heads south: an interview, Film International, 4.23, 62-. 

› Jean-Marc Barr and ‘impossible love’: love, sex and spirituality in the Free 

Trilogy, Film International, 5.5, 63-71. 

› Toronto International Film Festival; Take One, Film International, 5.1, 87- 

90. 

› Popular Cinema in Brazil, Film International, 5.2, 73-74. 


› Festival Reviews, Film International, 6.4, 86-93. 




› Around the Circuit: Toronto International Film Festival, 10–19 September 

2009, Film International, 8.1, 92-96. 


› Around the Circuit: Tribeca Film Festival, 22 April2 May 2010, Film 


› Around the Circuit: The New York Film Festival, 24 September10 October 



› Around the Circuit: Tribeca Film Festival, 20 April–1 May 2011, Film 


› Interviews, Film International, 9.4, 84-91. 

Coonoor Kripalani is Honorary Research Fellow at the HK Institute for 

the Humanities & Social Sciences (inc. the Centre of Asian Studies 

[CAS]), the University of Hong Kong (1997-present). A student of

Institute for the Humanities & Social 

Sciences (inc.Centre of Asian 

Studies), 2A Bishopsgate, Singapo, 


Keywords advertising, consumerism, 

consumption, Hindi cinema 

Nete Nørgaard 

Kristensen 




Copenhagen, 2300, Denmark 

Keywords mediatization, press 

history, culture wars,cultural 

journalism 

James H Krukones 

John Carroll University, Department 

of History, AD 133, 20700 North 

Park Blvd, University Heights, Ohio, 


Keywords cultural exchange, 

widescreen films, Cinerama, 

Kinopanorama 

Indian and Chinese modern history, she wrote her thesis on a 

comparison of Gandhi & Mao. Coonoor is the author of Mahatma 

Gandhi: Apostle of Non-violence (New Delhi: Rupa & Co., 2003). She 

is currently based in Singapore and has published several articles on 

popular Hindi film. At present she is engaged on a project on radio 

broadcasting in India. 

› Trendsetting and product placement in Bollywood film: Consumerism 

through consumption, New Cinemas: Journal of Contemporary Film, 4.3, 

197-. 

Nete Nørgaard Kristensen, Ph.D., is Associate Professor and Head of 

Studies at the Department of Media, Cognition and Communication at 

the University of Copenhagen, Denmark. Her ongoing research on 

cultural journalism is conducted in collaboration with Associate 

Professor Unni From, University of Aarhus published as a monograph 

in 2010. She has also published books and articles on journalism- 

source-relations, strategic communication, journalism as profession, 

media coverage of war and political communication. 

› The historical transformation of cultural journalism, Northern Lights: Film & 


James H. Krukones received his Ph.D. in Russian history from the 

University of Wisconsin-Madison in 1983. He joined the Department 

of History at John Carroll University in 1988 and has taught a variety 

of courses on Russia, modern Europe and history on film. Since 2001, 

he has also served as an associate academic vice-president. His most 

recent publication is an article on Artkino and its distribution of Soviet 

films in America that appeared in the Historical Journal of Film, Radio 

and Television. 

› Peacefully coexisting on a wide screen: Kinopanorama vs. Cinerama, 

195266, Studies in Russian and Soviet Cinema, 4.3, 283-305. 

Ilya Kukulin Ilya Kukulin is Assistant Professor at the Moscow Pedagogical 

Institute of the Humanities and of the Higher School of Economics.

Moscow Pedagogical Institute of the 

Humanities and of the Higher School 

of Economics, Filologicheskii 

fakultet, Khodynskii Blvd 21a, Room 

203, Moscow, 125252, Russia 

Keywords Russian literature, Russian 

culture 

Alka Kurian 

Centre for Research in Media and 

Cultural Studies, University of 

Sunderland, St. Peter's Campus, 

Sunderland, SR6 0DD, United 


Keywords South Asian anglophone 

literature, World literatures in 

English, Gender theory, Postcolonial 

theory,diaspora studies, South Asian 


Morten Kyndrup 

Aarhus University, Dept. of Aesthetic 

Studies, Langelandsgade 139, Aarhus 

C, DK-8000, Denmark 

Keywords art theory, aesthetics, 

narratology, comparative arts studies 

Armida De La Garza 

Xian Jiaotong - Liverpool University, 

Department of Language and Culture, 

Author of articles on the history of Russian twentieth-century literature 

and on the sociology of contemporary Russian culture. 

› A prolonged revanche:Solzhenitsyn and Eisenstein, Studies in Russian and 


Alka Kurian's research interests lie in South Asian Anglophone 

literature, subaltern Literature in India, World literatures in English, 

gender and postcolonial theory, comparative literatures in English, 

South Asian film, culture, diaspora studies and the European 

enlightenment. 



Morten Kyndrup, D.Phil., is Professor of Aesthetics and Culture at the 

Institute of Aesthetic Studies, University of Aarhus, Denmark. His 

work includes such books as Det Postmoderne (1986), Framing and 

Fiction (1992), Riften og sløret (1998), Den æstetiske relation (2008) 

and numerous articles on art theory, aesthetics, narratology, and 

comparative arts studies, including film, theatre, painting, and 

literature. He is currently director of the Doctoral School in Arts and 

Aesthetics, University of Aarhus, chairman of the Nordic Society of 

Aesthetics and member of director’s board, The New Carlsberg 

Foundation. 

› He, she, the camera, the movie: chains of enunciation and spaces of 

undecidability in Derailment, Short Film Studies, 1.2, 251-255. 

Armida de la Garza is Associate Professor at the University of Xian 

Jiaotong - Liverpool, where she is currently setting up Communication 

and Media Studies. Prior to that she was Deputy Head of Division for 4 

years at the University of Nottingham Ningbo, and before that Lecturer

Jiangsu, China 

Keywords transnational cinema, film 

and identity, film and museums, 

practice-based education, cultural 

industries 

Jo Labanyi 


Spanish and Portuguese, 13-19 

University Place, New York, NY, 


America 

Keywords mediation, oral history, 

early Francoism, audience, reception, 

film 

Yves Laberge 

Université Laval, Department of 

Sociology, Institut Quebecois des 

Hautes Etudes Internationales, Bureau 

3469, Pavillon Charles-De Koninck, 

Québec, G1K 7P4, Canada 

Keywords film history, sociology 

in the UK campus. Her research interests are mainly on national and 

transnational cinema, but also screen media more broadly, and their 

relation to culture, industry and education. She has published on the 

links between documentary and diaspora, and also on Realism in Latin 

American cinema. Her current research projects include the exploration 

of synergies between screen media and fashion for aesthetic, creative 

and marketing purposes; cinema and the museum, and experiential 

learning. 

› Editorial-Introducing Transnational Cinemas, Transnational Cinemas, 1.1, 3- 

6. 

Jo Labanyi is Professor in the Department of Spanish and Portuguese at 

New York University. She was co-editor of Spanish Cultural Studies: 

An Introduction (Oxford University Press) and founding editor of the 

Journal of Spanish Cultural Studies. Her most recent books are Gender 

and Modernization in the Spanish Realist Novel (Oxford University 

Press, 2002) and the edited volume Constructing Identity in 

Contemporary Spain (Oxford University Press, 2002). She is director 

of the AHRB funded collaborative project ‘An Oral History of Cinema- 

Going in 1940s and 1950s Spain’ (1999-2004) and the British 

Academy follow-up ‘Film Magazines, Fashion and Photography in 

1940s and 1950s Spain’ (2004-07). She is writing a book on Spanish 

cinema of the 1940s. 

› The mediation of everyday life: an oral history of cinema-going in 1940s and 

1950s Spain, Studies in Hispanic Cinemas, 2.2, 105-108. 

Dr. Yves Laberge is sociologist and film historian. He serves as a 

Series editor for the Book series L'espace public and Cinéma et société 

at 'Les Presses de l'Université Laval', and also for a Parisian publisher, 

L'Harmattan. Among various publications, Yves Laberge has 

contributed more than 100 articles and entries on film studies in a 

dozen of encyclopedias and reference books published in the United 

States, including Men and Masculinities: A Social, Cultural, and 

Historical Encyclopedia (ABC-Clio, 2004), edited by Michael Kimmel 

and Amy Aronson. 

› Review, New Cinemas: Journal of Contemporary Film, 5.3, 245-.

Roland-François Lack 

University College London, 

Department of French, London, 


Keywords locale, French cinema, 

Godard, Cocteau, early cinema 

Tarja Laine 


Department of Media Studies, 



Keywords hodological space, space, 

time, inter-subjectivity, body 

Anthony Lambert 

Macquarie University, Media, Music, 

Communication and CulturalStudies, 

Room Y3A 149, Sydney, NSW 2109, 

Australia 

Keywords Australia, cultural studies, 

Identity, space 

Roland-François Lack teaches French literature and film at University 

College, London. He is the author of Poetics of the Pretext (Exeter 

University Press). He has published several articles on Jean-Luc 

Godard, as well as DVD commentaries for Bande à part and Cocteau’s 

Orphée. He is currently writing a book on cinema and locale (re: 

London, Paris and Geneva), and preparing an edited volume on Godard 

and his Books. 

› The point in time: precise chronology in early Godard, Studies in French 


Dr. Tarja Laine is Assistant Professor of Film Studies at the Media 

Studies department of the University of Amsterdam, giving classes on 

film theory and aesthetics, among other things. In 2004 she received 

her Ph.D. within the 'Cinema Europe' research project at the 

Amsterdam School for Cultural Analysis (ASCA). She is the author of 

Shame and Desire: Emotion, Intersubjectivity, Cinema (2007), and her 

essays on emotions and sensations in cinema have been published in 

journals such as Midwest Studies in Philosophy, Media, Culture & 

Society, Discourse: Journal for Theoretical Studies in Media and 

Culture, Studies of European Cinema, New Review of Film and 

Television Studies, PostScript, and Film and Philosophy. 

› Lars von Trier, Dogville and the hodological space of cinema, Studies in 


Anthony Lambert is Senior Lecturer in Critical and Cultural Studies at 

Macquarie University, Sydney. Publications include the co-edited book 

Diasporas of Australian Cinema (Intellect) and articles and chapters in 

Interpretations, Balayi, YGCL, Metro, Reconstruction, Postcolonial 

Text, MIA, SCAN, Space and Culture, and in books 

including Gendered Outcasts and Diasporas of Australian Cinema. He 

is editor of and Studies in Australasian Cinema (Intellect). His research 

and teaching interests include: Australian film and culture, 

representations of gender and sexuality, cultural studies methodologies, 

theories of identity and the poetics of space. 

› EDITORIAL, Studies in Australasian Cinema, 5.1, 3-5. 

› The search for Captain Thunderbolt: An interview with David Donaldson, 

Studies in Australasian Cinema, 5.1, 81-87.

Julieanne Lamond 


English, John Woolley Building, A20, 

Science Road, Sydney, Australia 

Keywords American cinema, Ken G. 

Hall, Steele Rudd, nationalism, 

politics and cinema 

Ohad Landesman 

New York University, Cinema 

Studies, New York, NY, United 


Keywords digital technology, 

realism, truth, indexicality, 

technology 

Jane Landman 

Victoria University, Department of 

Communication and the Arts, 

Melbourne, Victoria, Australia 

Keywords Australia, history, 

colonialism, Australian cinema, 

documentary 

› REVIEWS, Studies in Australasian Cinema, 5.1, 89-93. 

› ‘Modern’ cinematic encounters: Border crossing and environmental 

transformation in some recent Australian films, Studies in Australasian 


› Cinema, modernity, modernism: Selected papers from the XVth Biennial 

Conference of the Film and History Association of Australia and New 

Zealand (FHAANZ), University of New South Wales, Sydney, Australia, 


Julieanne Lamond is a postgraduate research student in the Department 

of English at the University of Sydney, currently writing up her Ph.D. 

thesis on the role of popular and literary culture in influencing public 

conceptions of community, politics and citizenship in Australia. 

› Dad Rudd, M.P. and the making of a national audience, Studies in 


Ohad Landesman is a Ph.D. candidate in the Department of Cinema 

Studies at New York University, where he also obtained his Master's 

degree. He also has a Bachelor degree in Film and Television and a 

Bachelor of Law from Tel Aviv University. His dissertation project 

explores digital video aesthetics in contemporary documentaries and he 

has written extensively, being published in Film Comment, Cineaste, 

Reverse Shot, IndieWIRE, and the Israeli daily newspaper Calcalist. 

› In and out of this world: digital video and the aesthetics of realism in the new 

hybrid documentary, Studies in Documentary Film, 2.1, 33-45. 

Jane Landman is a Senior Lecturer at Victoria University in 

Melbourne, where she teaches Media Studies in the School of 

Communication, Culture and Languages. Her research includes work 

on popular television and Australian cinema and she is the author of 

'The Tread of a White Man’s Foot’: Australian Pacific Colonialism and 

the Cinema, (Pandanus Press, Research School of Pacific and Asian 

Studies, Australian National University).

Line Langebek 

Bournemouth University, The Media 

School, Fern Barrow, Poole, BH12 

5BB, United Kingdom 

Keywords screenwriting, fictional 

political narratives 

Rachael Langford 

Cardiff University, School of 


Cardiff, Wales, CF10 3AS, United 


Keywords Finyé (1982), Yeelen 

(1987), Waati (1995), political 

cinema, African francophone 

Birger Langkjær 


Department of Nordic Studies and 

Linguistics, Njalsgade 76, 

Copenhagen, DK-2300, Denmark 

› Borders of the national family in King of the Coral Sea (1954), Studies in 


Screenwriter Line Langebek has had numerous feature film 

commissions, short films produced as well as contributing to 

ScriptWriter UK, Broadcast Magazine and Norwegian Radio’s 

Pullover programme. Her first produced feature, I’ll Come Running 

(co-written with American director Spencer Parsons), premiered at the 

Los Angeles Film Festival in 2008. She lectures in scriptwriting at 

Bournemouth University, where she is currently undertaking a 

practice-based Ph.D. exploring the working processes and influences of 

the writer of fictional political narratives. 

› Screenwriting Conference, Copenhagen, September 2010 Conference 

Review, Journal of Screenwriting, 2.2, 287-289. 

Rachael Langford is a lecturer in French in the School of European 

Studies at Cardiff University. She researches and teaches on 

nineteenth-century French culture and literature, and on francophone 

African literature and film, particularly on discourses of time, space 

and the self in French colonial ideology and representations of time, 

space and the self in post-independence francophone African film and 

literature. 

› Black and White in Black and White: Identity and Cinematography in 

Ousmane Sembène's La Noire de.../Black Girl (1966), Studies in French 


› Colonial false memory syndrome? The Cinémémoire archive of French 

colonial films and Mémoire d’Outremer (Claude Bossion, 1997), Studies in 


Birger Langkjær is an associate professor at the Department of Nordic 

Studies and Linguistics at the University of Copenhagen. Born in 1965, 

he teaches media analysis and film aesthetics. He has written two 

books on film sound and film music – Filmlyd & filmmusik (1997), and 

Den lyttende tilskuer (2000) – and numerous articles in an array of 

journals, including Convergence, Sekvens, MedieKultur, Norsk

Keywords Lars von Trier, Thomas 

Vinterberg, avant-garde, realitystatus, 

Festen/The Celebration 

George S. Larke-Walsh 

University of North Texas, Radio, TV 

and Film, PO Box 310589, Denton, 

TX, 76203, United States of America 

Keywords Mafia in film, Mafia 

mythologies 

Brian Larkin 

Barnard College, Department of 

Anthropology, 1200 Amsterdam Ave. 

& W. 119th St., New York, New 

York, 10027-7054, United States of 

America 

Keywords Nigerian video films 

(NVF), African film market, Zach 

Orji, Nigerian film export, embassy 

films 

Medietidsskrift, Kosmorama, Montage a/v, Filmhäftet, Northern Lights 

and. He has also written in a set of anthologies – Byens konkyliesang, 

Ruinøs modernitet, I billedet er alt muligt, Film Style and Story, Made 

in America, and Nøgne billeder. Currently, he is working on a book 

about realism, genre and contemporary Danish film. 

› What was Dogme 95?, Film International, 4.19, 34-43. 

Dr George Larke-Walsh is part of the Department of Radio, TV and 

Film at the University of North Texas. She joined the University of 

North Texas in January 2004 as an adjunct instructor and later a fulltime 

lecturer. Born in England, George studied at Loughborough 

University and the University of East Anglia. She obtained her Ph.D. 

from the University of Sunderland and worked for a few years at the 

University of Northumbria in Newcastle Upon Tyne before moving to 

Texas. Larke-Walsh’s research interests include mythologies of the 

Mafia in film. Her new book is titled Screening the Mafia: Masculinity, 

Ethnicity and Mobsters from The Godfather to The Sopranos. She is 

currently researching new areas of Mafia mythologies and extending 

her focus from fiction to non-fiction film. 



Brian Larkin, associate professor of anthropology and chair of the 

Department of Anthropology, joined the faculty of Barnard in 1998. In 

addition to his teaching duties for the department of anthropology, 

Professor Larkin is affiliated with Barnard's Africana studies 

programme. His research examines the ways in which media 

technologies shape secular and Muslim modernities in northern 

Nigeria. He is especially interested in the material culture of 

technologies and how these interact with local religious and social 

beliefs. He examines the imaginative worlds made available to Hausa 

youth by the circulation of transnational media flows—from Indian 

films to Islamic media—and the connections thus created within and 

between non-Western countries. 

› The Nollywood Rising Conference, Film International, 5.4, 109-111.

Pierre Larrivée 

Aston University, School of 

Languages and Social Sciences, 

Aston Triangle, Birmingham, B4 

7ET, United Kingdom 

Keywords language varieties, Quebec 

French, identity, fragmentation, 

domination 

Lisbeth Richter Larsen 

Danish Film Institute, Archive & 

Cinematheque, Gothersgade 55, 1123 

København K, Denmark 

Keywords Danish silent cinema, Carl 

Th. Dreyer, Nordisk Film, Jørgen 

Leth 

Susan Larson 

University of Kentucky, Department 

of Hispanic Studies, 1131 Patterson 

Office Tower, Lexington, Kentucky, 


Keywords Nemesio Sobrevila, 

Walter Benjamin, El sexto sentido, 

Spanish silent cinema, philosophy 

Wendy Larson 

University of Oregon, 70 NW Couch 

Street, Portland, Oregon, 97209, 


Pierre Larrivée is Senior Lecturer in the School of Languages and 

Social Sciences at Aston University. He completed a Ph.D. at Laval 

University in Quebec City in 1998, and his Habilitation at Marc Bloch 

University in Strasbourg in 2003, and has published widely on French 

linguistics. 

› Identities and oppressions: Jean-Claude Lauzon's Léolo (1992), New 


Lisbeth Richter Larsen works at the Danish Film Institute in 

Copenhagen. She is editor of the Danish National Filmography and the 

Carl Th. Dreyer website as well as other projects such as the release of 

the Jørgen Leth Collection (DVD). 

› Carl Th. Dreyer: the man andhis work, Journal of Scandinavian Cinema, 1.1, 

75-78. 

Susan Larson is an assistant professor of Spanish at the University of 

Kentucky and teaches courses in the the field of Cultural Geography, 

Cultural Studies and Film. Her recent publications include an edited 

collection of essays entitled Visualising Spanish Modernity and a 

critical edition of Carmen de Burgos's 1917 novel La rampa. She is 

also the managing editor of the Arizona Journal of Hispanic Cultural 

Studies. 



› Nemesio M. Sobrevila, Walter Benjamin, and the provocation of film, 


Wendy Larson is Professor of East Asian Languages and Literatures at 

the University of Oregon, with a speciality in modern Chinese 

literature and film. Her most recent publications include From Ah Q to 

Lei Feng: Freud and Revolutionary Spirit in 20th Century China 

(Stanford, 2008), and ‘Zhang Yimou’s Hero: dismantling the myth of 

cultural power’.

Keywords hero, modernity, culture, 

fascism, aesthetics, Chinese cinema, 

Zhang Yimou 

Mariah Larsson 

Malmö University, Department of 

Health and Society, 20506, Malmö, 

Sweden 

Keywords European cinema, 1970s, 

sexploitation, pornography, sex film 

Patrizia LaTrecchia 

University of South Florida, 

Deptartment of World Languages, 

College of Arts and Sciences, 4202 

East Fowler Avenue, CPR 107, 

Tampa, Florida, 33620, United States 

of America 

Keywords Capuano, flâneur, 

Benjamin, Neomelodici, globalization 

› Zhang Yimou's Hero: dismantling the myth of cultural power, Journal of 


› On Zhang Yimou's Hero: Counter-response, Journal of Chinese Cinemas, 

3.1, 89-91. 

Mariah Larsson is a senior lecturer at Malmö University, where she is 

programme co-ordinator for the masters programme in Sexology and 

works on her research project 'The Exhibition of Pornographic Films in 

Malmö 1971- c.1980'. She received her Ph.D. in Film Studies from 

Lund University in 2006. 


› Practice Makes Perfect? The Production of the Swedish Sex Film in the 

1970s, Film International, 8.6, 40-49. 

› Editorial Issue 48: Making Movies in Europe: An Opening Note, Film 


Patrizia La Trecchia is Assistant Professor of Italian Studies and serves 

as Director of the Italian Program at the University of South Florida in 

Tampa, FL. She received a Ph.D. in Italian Studies and Comparative 

Literature from the University of Pennsylvania. Her research interests 

include film studies, cultural studies, Italian-American studies, 

migration studies, and the impact of globalization on cultural 

representations of Italian identity. Her work includes publications on 

Italian and European film, music and globalization, Italian literature 

and theatre, and audio visual translation. In 2009, she published a film 

study textbook on the film Il Postino. She is completing a book-length 

manuscript on the idea of the Italian South, focusing specifically on the 

representative case study of the contemporary city of Naples. 

› Sites of ‘glocal’ representations and artistic resistance: the Neapolitan urban 

imaginary in Antonio Capuano's Sacred Silence, Studies in European 


Clara Laurent Clara Laurent is a research student at the University of Paris-Ouest- 

Nanterre-La Défense (formerly Paris X). She is currently completing

Paris West University Nanterre La 

Defense, UFR Literature, Languages 

and Philosophy, Nanterre, France 

Keywords Feuillère, Stroheim, 

espionage, female emancipation, 

mythologization 

Palle Schantz Lauridsen 

University of Copenhagen, Institut for 

Nordiske Studier og Sprogvidenskab, 

Njalsgade 120, DK-2300 Kobenhavn 

S, Denmark 

Keywords genre, generic modulation, 

popular culture, popular hero, 

Sherlock Holmes, crime fiction, 

media history 

Flavia Laviosa 

Wellesley College, Department of 

Italian Studies, 106 Central St., 

Wellesley, Massachusetts, MA 02481, 


Keywords 

her dissertation on spy films in the 1930s. She is also a lecturer at Paris 

VII Diderot and Paris X Nanterre. 

› Marthe Richard vs. Mata Hari: The (De)mythologizing of a French Spy, 


Palle Schantz Lauridsen, Ph.D., is Associate Professor at the 

Department of Scandinavian Studies, University of Copenhagen. 

Lauridsen has published Danish language books on film theory and has 

done research within in the field of popular media culture: From the 

James Bond phenomenon through film sound, urbanity and aesthetics, 

and more recently Dogma films, television drama, Suburbia in Danish 

Film and Television Culture, and Sherlock Holmes.Lauridsen is also a 

film critic at the Danish daily newspaper Kristeligt Dagblad. Among 

his publications in English are: ‘Reel Cities And Soundscapes’ (1997); 

‘Film & variety theatre in Denmark: Media Interaction at the Turn of 

the Century’ (1997); ‘Defining a New Media. The Discourse on and 

Technology of Sound Film in Denmark and the USA, 1923–1930.’ 

(1995); ‘"A Considerable Repertoire was Necessary”. Sound in Danish 

Silent Cinema’ (1994). 

› The making of a popular hero: Sherlock Holmes in early Danish media 

culture, Northern Lights: Film & Media Studies Yearbook, 9., 45-61. 

Flavia Laviosa holds a Ph.D. in Foreign Language Education and an 

M.A. in Humanities from SUNY Buffalo. She also earned an M.Sc. in 

European Film Studies and Criticism at the University of Edinburgh in 

Scotland; and completed a B.A. Honors in Foreign Languages and 

Literatures at the University of Bari in Italy.

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Her current research 

is on representations of 

honor killings in world 

cinema." Italian 

cinema, transnational 

cinema, crimes of honor 

Francesca Archibugi's cinema: 

Minimalism or micro-history? Italian 

cinema: 1980s–2000s, Studies in 


Keywords 

Fiona Yuk-wa Law 

The University of Hong Kong, 

Department of Comparative 

Literature, Pokfulam, Hong Kong 

Keywords Chineseness, diasporic 

cinema, Cantonese cinema, Mandarin 

cinema, festive films, Chinese New 

Year 

Novotny Lawrence 

Southern Illinois University 

Fiona Yuk-wa Law teaches in the Department of Comparative 

Literature, The University of Hong Kong. Her research interests 

include visual cultures, film genres, audience reception, film 

exhibition, Chinese-language cinemas, Asian cinemas in the context of 

globalization, cinematic nostalgia, and Hong Kong cultural studies. She 

is working on a book manuscript about the cultural history of Chinese 

New Year films made in Hong Kong and the People’s Republic of 

China from the 1950s to the present. 

› Timely festivity: Chinese new year films (hesui pian) in the 1950s1960s, 


Novotny Lawrence received his Ph.D. in Film Studies from the 

Department of Theatre and Film at the University of Kansas. He is 

currently an Assistant Professor of Race, Media, and Popular Culture in

Carbondale, Radio-Television 

Department, Illinois, United States of 

America 

Keywords blaxploitation, Cotton 

Comes to Harlem, 1970s, Hollywood 

cinema, horror, Dracula 

Anna Lawton 

Georgetown University, School of 

Foreign Service, 37th and O St., 

N.W., Washington, DC 20057-1047, 


Keywords Russian cinema, Soviet 

cinema, 

Halldór Laxness 

Translated and annotated by Björn 

Þór Vilhjálmsson 

Keywords studio system, Hollywood 

and ideology, Cecil B. DeMille, 

Charles Chaplin 

the Radio-Television Department at Southern Illinois University 

Carbondale where he teaches a range of courses including Media and 

Society, Documenting the Black Experience, and the History of 

African American Images in Film and Television. He is also the author 

of ‘The Detective Film as Genre’, which was published in Screening 

Noir, and his book BlaxploitationFilms of the 1970s: Blackness and 

Genre was recently released by Routledge Press. 

› Fear of a blaxploitation monster: blackness as generic revision in AIP's 

Blacula, Film International, 7.3, 14-27. 

Anna Lawton received her Ph.D. in Slavic Languages and Literatures 

from UCLA in 1976. She has been an Associate Professor at Purdue 

University for fifteen years, and since 1987 she has taught at the 

School of Foreign Service at Georgetown University as an adjunct 

professor. Currently she teaches courses in visual culture and film 

studies with a focus on Russian cinema. She is a member of the Film 

Advisory Board at the National Gallery of Art, and has contributed to 

several of the Gallery’s film programmes. Her publications include 

numerous articles, book chapters, and books such as Kinoglasnost: 

Soviet Cinema in Our Time (Cambridge University Press, 1992), 

recently reissued as Before the Fall: Soviet Cinema in the Gorbachev 

Years (NAP, 2004); The Red Screen: Politics, Society, Art in the Soviet 

Union, ed. (Routledge,1992); Russian, with Herbert Eagle, eds. 

(Cornell University Press, 1988). 

› Russian Cinema in troubled times, New Cinemas: Journal of Contemporary 

Film, 1.2, 98-112. 

› Richard Stites 19312010, Studies in Russian and Soviet Cinema, 4.2, 129- 

134. 

Halldór Laxness (1902–98) was an Icelandic novelist, poet and 

playwright. His novels include Sjálfstætt fólk/Independent People 

(1934–35), Heimsljós/World’s Ligh (1937–40), 

Íslandsklukkan/Iceland’s Bell (1943–46) and Kristnihald undir 

Jökli/Under the Glacier (1968). He was awarded the Nobel Prize for 

Literature in 1955. In 1927 he moved to Los Angeles hoping to become 

a screenwriter. He stayed for two years and the essay published here, 

‘Kvikmyndin ameríska 1928’/‘The American Film in 1928’, was written 

during that period and appeared originally in 1929 in his essay 

collection 'Alþýðubókin/‘The Commoner’s Book’.'

Samantha Lay 

University of Bedforshire, Reserach 

Institute for Media, Arts and Design, 

Luton, Bedfordshire, United Kingdom 

Keywords British cinema, 

production, representation 

Matthew Lazen 

Princeton University, Wu Hall, Butler 

College, Princeton, New Jersey, 8544, 


Keywords Demy, new wave, place, 

nostalgia, intertextuality 

Gwénaëlle Le Gras 

Université Michel de Montaigne – 

Bordeaux 3, Département Arts du 

Spectacle, Bordeaux 3, Domaine 

universitaire, Pessac Cedex, 33607, 

France 

Keywords Peau d'âne, Tristana, Belle 

de Jour, Jacques Demy, Luis 

Buñuelclever 

› The American Film in 1928, Journal of Scandinavian Cinema, 1.2, 145-158. 

Samantha Lay is a post-doctoral research fellow at the Research 

Institute for Media Arts and Design, University of Bedfordshire. Her 

current research project at RIMAD centres on films fans in cyberspace 

and explores the institutionalisation, commercialisation and 

standardisation of the internet. She has also recently completed a 

research paper on audience responses to game-to-film adaptations. She 

has a long-standing interest in British social realism and is the author of 

British Social Realism: from Documentary to Brit Grit, (2002), 

London: Wallflower Press. 

› Good intentions, high hopes and low budgets: Contemporary social realist 

film-making in Britain, New Cinemas: Journal of Contemporary Film, 5.3, 

231-244. 

Matthew Lazen served three years as a lecturer in history and literature 

at Harvard University and is currently a teaching fellow in film at 

Harvard. He has previously published articles on French regional 

culture in French Cultural Studies and the French journal Plurial. He 

received his Ph.D. in 1998 from the Literature Program at Duke 

University. 

› ‘En perme à Nantes’: Jacques Demy and new wave place, Studies in French 


Gwénaëlle Le Gras is Maîtresse de conférences at l’Université de 

Bordeaux 3. She specializes in 'star studies' and classic and 

contemporary French cinema. She has published many articles on 

Catherine Deneuve, Michel Simon, Sacha Guitry, Erich von Stroheim 

and the heroines from policier/crime in French cinema. In 2010 she 

published two works: Le Mythe Deneuve: une « star » française entre 

classicisme et modernité (Nouveau Monde), and Michel Simon: l’art de 

la disgrâce (Scope). 

› Soft and hard: Catherine Deneuve in 1970, Studies in French Cinema, 5.1,

Michael Leader 

Keywords video games, comic 

books, history of film 

Sarah Leahy 

Newcastle University, School of 

Modern Languages, Newcastle upon 

Tyne, NE1 7RU, United Kingdom 

Keywords stardom, sexuality, 

women, France, patriotism, Signoret 

James Leahy 


Keywords sound, France, Jean 

Renoir 

27-36. 

› Annie Girardot de la Comdie-Franaise au film policier des annes 50: le 

brouillage des strotypes genrs, Studies in French Cinema, 10.3, 235-249. 

Michael Leader is a freelance writer based in London. He has written 

about cinema, video games and other areas of culture for outlets such 

as Sight & Sound, The Guardian, Little White Lies, Den of Geek and 

Film4.com. He also hosts a radio show for the We Are Words + 

Pictures collective, which promotes the comic book medium through 

workshops, publishing and curatorial initiatives. He is currently 

studying for an MA in History of Film and Visual Media at Birkbeck 

College, University of London. 


Sarah Leahy is Lecturer in French Film at the University of Newcastle 

upon Tyne. She has published several articles on stardom and gender in 

French cinema, and her book on Casque d’or (Jacques Becker, 1952) is 

shortly to be published with I.B. Tauris. Current research interests 

include film audiences and theories of spectatorship, film 

representations of the city, and film adaptation. 

› The matter of myth: Brigitte Bardot, stardom and sex, Studies in French 


› ‘Neither charm nor sex appeal...’ Just what is the appeal of Simone Signoret?, 





James Leahy is a film historian and screenwriter. He was one of the 

founding editors of Vertigo, and now also writes regularly for Senses of 

Cinema. He co-wrote Ken McMullen’s feature (Cannes, Karlovy Vary 

and Edinburgh 1990). He is convinced his experience shooting 

documentary footage for Nicholas Ray in the winter of 1969–70 

qualifies him for the title of the world’s worst sound-recordist.

Charles Leary 

National University of Singapore, 

Asia Research Institute, National 

University of Singapore, 469A Tower 

Block #09-10, Bukit Timah Road, 


Keywords Chinese cinema, Asian 


Vivian Lee 

City University of Hong Kong, 

Department of Chinese, Translation 

and Linguistics, Kowloon, Hong 

Kong 

Keywords Chinese cinema, East 

Asian cinema, cultural studies, global 

culture, visual culture, Chinese 

literature 

James Leggott 

University of Northumbria, School of 

Arts & Social Sciences, Lipman 

Building, Sandyford Road, Newcastle 

Upon Tyne, Tyne and Wear, NE1 

8ST, United Kingdom 

Keywords British cinema, British 

television, comedy, Amber Films, 

documentary, workshop movement, 

› Reviews, The Soundtrack, 1.3, 217-227. 

Charles Leary is a postdoctoral fellow at the National University of 

Singapore's Asia Research Institute. He received his doctorate from the 

Department of Cinema Studies at New York University's Tisch School 

of the Arts, and has written on Chinese-language cinemas for various 

publications. 

› Introduction: Violence in contemporary Asian cinema, New Cinemas: 


Vivian Lee teaches in the Department of Chinese, Translation and 

Linguistics, City University of Hong Kong. Her work on Chinese 

cinema and modern Chinese literature has been published in Chinese 

Films in Focus 2 (ed. Chris Berry, BFI/Palgrave, 2008), Journal of 

Chinese Cinemas, MCLC, Asian Cinema, and . She is the author of 

Hong Kong Cinema since 1997: the Post-nostalgic Imagination 

(Palgrave, 2009). 

› Pornography, musical, drag, and the art film: performing ‘queer’ in Tsai 

Ming-liang's The Wayward Cloud, Journal of Chinese Cinemas, 1.2, 117- 

138. 

› Virtual bodies, flying objects, Journal of Chinese Cinemas, 1.1, 9-26. 

› Introduction: Placing Value in the Missing and the Lost, Journal of Chinese 


James Leggott (Ph.D.) lectures in Film and Television Studies at 

Northumbria University (UK). His doctoral dissertation was concerned 

with traditions of British realist cinema. He is the author of 

Contemporary British Cinema (Wallflower, 2008). His research 

interests include the films of the Amber Collective, television comedy, 

reality television, and British science fiction film and television. 

› From Marks and Spencer to Marx and Engels: a transnational DEFA and 

Amber Film documentary project across the Iron Curtain, Studies in

eality television, science fiction 

Barbara Lehin 

Keywords French cinema, British 

cinema, ethnic minorities, 1980s 

Ulrik Lehrmann 

Syddansk Universitet, Department of 

Literature, Culture, and Media, 

Campusvej 55, 5230 Odense M, 

Denmark 

Keywords crime journalism, tabloid 

press, Danish press history, narrative 

structure 

John A. Lent 

Temple University Philidelphia, 

School of Communication and 

Theatre, Philidelphia, Pennsylvania, 


Keywords pioneers, comics, Europe, 

China 


› Working Title Films: From Mid-Atlantic to the Heart of Europe?, Film 


After a DEA on Indian cinema at the Université de Rennes II, Barbara 

Lehin was awarded a Ph.D. for her work entitled 'Cinema and Society: 

Thatcher’s Britain and Mitterrand’s France' at the University of 

Warwick. She has published several articles on the cinema of 

immigration, the question of work and the family on screen in French 

and British cinemas. 

› Giving a voice to the ethnic minorities in 1980s French and British cinemas, 


Ulrik Lehrmann, MA, is Associate Professor at Department of 

Literature, Culture and Media, University of Southern Denmark. 

Lehrmann has been a member of the research programme ‘Crime 

Fiction and Crime Journalism in Scandinavia’, funded by the Danish 

Research Council for Culture and Communication. His current research 

interests include tabloid crime journalism, literary reading cultures, 

history of journalism and the press. He has published a number of 

articles on Danish literature, reading cultures 1860–1960, journalism 

and history of the media. 

› Tabloid crime journalism: Writing on the edge of existence, Northern Lights: 

Film & Media Studies Yearbook, 9., 179-192. 

John A. Lent has been teaching at the college/university level since 

1960, including stints as the organizer of the first journalism courses at 

De La Salle College in Manila; founder and coordinator of Universiti 

Sains Malaysia communications program; Rogers Distinguished Chair 

at University of Western Ontario; visiting professor at Shanghai 

University, Communication University of China, Jilin College of the 

Arts Animation School, and Universiti Kebangsaan Malaysia. Prof. 

Lent pioneered in the study of mass communication and popular 

culture in Asia (since 1964) and Caribbean (since 1968), comic art and

Alfio Leotta 

Victoria University, School of 

English, Film, Theatre and Media 

Studies, 83, Fairlee Terrace, 

Wellington, New Zealand 

Keywords tourism, New Zealand, 

Italy, landscape, semiotics 

Esther Leslie 

Birkbeck University, 21 Crowndale 

Court, Crowndale Road, London, 

NW1 1TY, United Kingdom 

Keywords surveillance film, CCTV, 

documentary, Harun Farocki, Iain 

Sinclair, Sergei Eisenstein, Chris 

Petit, Videogramme einer Revolution, 


Pierre Lethier 

King’s College London, War Studies 

Department, Strand, London, United 


Keywords Feuillère, Stroheim, 

animation, and development communication. 

› Animation in South Asia, Studies in South Asian Film & Media, 1.1, 101- 

117. 

Dr. Alfio Leotta teaches Film Studies at Victoria University of 

Wellington. His primary research interests focus on the relation 

between film and landscape, the history of New Zealand cinema, and 

New Italian Cinema. He has recently completed a Ph.D. thesis about 

film-induced tourism in New Zealand. 

› Framing the beach: a tourist reading of The Piano, Studies in Australasian 


Esther Leslie is Professor of Political Aesthetics in the School of 

English and Humanities at Birkbeck, University of London. She 

studied German and Critical Theory at the University of Sussex and in 

Berlin. She is the author of Synthetic Worlds: Nature, Art and the 

Chemical Industry (Reaktion, 2005), Hollywood Flatlands: Animation, 

Critical Theory and the Avant Garde (Verso, 2002) and Walter 

Benjamin: Overpowering Conformism (Pluto, 2000). She is on the 

editorial boards of the journals Historical Materialism, Radical 

Philosophy and Revolutionary History. Together with Ben Watson, she 

runs a website of polemics, rants and pictures called Militant Esthetix 

(www.militantesthetix.co.uk). 

› Documents of Revolution, Incompetence and Resistance: Rubbish Images of 

Film, Television, Video and Surveillance in Recent Documentaries, Film 


Pierre Lethier is a graduate of the London Film School and the E.S.M 

de Saint-Cyr. He is currently completing his dissertation on espionage 

intertextuality at King’s College London. He is also a Visiting Lecturer 

at the Centre for Intelligence and Security Studies at Brunel University 

(BCISS). 

› Marthe Richard vs. Mata Hari: The (De)mythologizing of a French Spy,

espionage, female emancipation, 

mythologization Studies in French Cinema, 9.1, 63-73. 

Alison J. Murray Levine 

University of Virginia, Department of 

French, VA 22904-4770, P.O. Box 

400770, Charlottesville, VA, United 


Keywords rural and colonial France, 

French documentary film, colonial 

tourism, colonial memory, Maghrebi- 


Randolph Lewis 


American Studies, 1 University 

Station B7100, Austin, Texas, 78712, 


Keywords intentionality, authorial 

fallacy, Arlene Bowman, Luis 

Buñuel, semantic autonomy, 

documentary, American studies, 

Native American studies 

Evan Lieberman 

Cleveland State University, School of 

Communication, 2121 Euclid 

Avenue, MU225, Cleveland, OH, 


Keywords Lucha Libre, Mexican 

Popular Cinema, masks, masculinity, 

wrestling films 

Alison J. Murray Levine is Assistant Professor of French at the 

University of Virginia. Her book, Framing the Nation: Documentary 

Film in Interwar France (New York: Continuum Press, 2010), 

examines the representation of rural and colonial France in early 

French documentary film. Other recent publications include articles on 

colonial tourism, colonial memory, contemporary Maghrebi-French 

film and Chris Marker. 

› ‘Provoking situations’: Abderrahmane Sissako’s documentary fiction, 


Randolph Lewis is an Associate Professor of American Studies at the 

University of Oklahoma. In addition to co-editing a series on 

indigenous media for the University of Nebraska Press, he is the author 

of two books on nonfiction cinema: Emile de Antonio: Radical 

Filmmaker in Cold War America (2000) and Alanis Obomsawin: The 

Vision of a Native Filmmaker (2006). 

› Questionable Intent: Documentary Cinema and the Authorial Fallacy, Studies 

in Documentary Film, 1.3, 265-278. 

Evan Lieberman is an Associate Professor of Film at Cleveland State 

University. Recent publications include work on film and telepresence, 

on cinematographers Gregg Toland and Gabriel Figueroa, 

narratology and the American situation comedy. Evan Lieberman is coauthor 

with David Cook of The Moving Image, forthcoming from 

Oxford University Press. 

› Mask and Masculinity: Culture, Modernity, and Gender Identity in the 

Mexican Lucha Libre films of El Santo, Studies in Hispanic Cinemas, 6.1, 3- 

17.

Torey Liepa 

Keywords screenwriting, copyright, 

Library of Congress, cinema history, 

regulatory capture, commercialization 

Song Hwee Lim 


English, Queen's Building, The 

Queen's Drive, Exeter, Devon, EX4 

4QH, United Kingdom 

Keywords Chinese cinema, 

transnational cinemas, Taiwan, Tsai 

Ming-liang, queer cinema, Singapore 

and Malaysian cinema 

Torey Liepa has published articles on silent film, including dialogue in 

the films of D. W. Griffith and Thomas Ince, as well as the emergence 

of screenwriting in the silent era. He has taught film studies and 

American cultural studies in Ankara, Turkey, College Park, Maryland 

and New York City. 

› An uneven marketplaceof ideas: Amateurscreenwriting, the Libraryof 

Congress and the strugglefor copyright, Journal of Screenwriting, 2.2, 179- 

193. 

Song Hwee Lim is Senior Lecturer in Film Studies at the University of 

Exeter. He is the author of Celluloid Comrades: Representations of 

Male Homosexuality in Contemporary Chinese Cinemas (University of 

Hawaii Press, 2006), co-editor of Remapping World Cinema: Identity, 

Culture and Politics in Film (Wallflower Press, 2006), and founding 

editor of the Journal of Chinese Cinemas. He recently completed a 

book manuscript entitled Tsai Ming-liang and a Cinema of Slowness, 

and a co-edited volume, The Chinese Cinema Book (BFI/Palgrave 

Macmillan). 

› New World Order, New Cinemas: Journal of Contemporary Film, 2.1, 3-16. 

› New cinemas from Asia, New Cinemas: Journal of Contemporary Film, 2.2, 

71-72. 

› Is the transin transnational the transin transgender?, New Cinemas: Journal 


› Positioning auteur theory in Chinese cinemas studies: intratextuality, 

intertextuality and paratextuality in the films of Tsai Ming-liang, Journal of 

Chinese Cinemas, 1.3, 223-. 

› Editorial, Journal of Chinese Cinemas, 1.2, 81-82. 







› Manufacturing orgasm: Visuality, aurality and female sexual pleasure in Tsai 

Mingliang’s The Wayward Cloud, Journal of Chinese Cinemas, 5.2, 141- 

155. 

› ‘You must believe there is an author behind every film’: An interview with 

Tsai Ming-liang, Journal of Chinese Cinemas, 5.2, 181-191. 

› , Journal of Chinese Cinemas, 5.2, 101-102. 

› Concepts of transnational cinema: towards a critical transnationalism in film 

studies, Transnational Cinemas, 1.1, 7-21.

Wenchi Lin 

National Central University, English 

Department, No. 300, Zhongda Rd, 

Zhongli City, Taoyuan County, 

32001, Taiwan 

Keywords Lee Hsing, Bai Jingrui, 

Romantic film, Working Girl, 1970s 

Daniel Lindvall 

Keywords marxism, class, realism, 

modernism, avant-garde, cultural 

politics, imperialism, labour 

movement 

Wenchi Lin teaches at the English Department of National Central 

University in Taiwan. He has published several articles on Chinese 

cinema in Chinese and co-edited Xilian rensheng: Hou Xiaoxian 

dianying yanjiu/Passionate Detachment: Critical Essays on Hou 

Hsiao-Hsien . He is also the editor-in-chief of the online film magazine 

Fangying zhoubao/FunScreen Weekly. 

› More than escapist romantic fantasies: Revisiting Qiong Yao films of the 

1970s, Journal of Chinese Cinemas, 4.1, 45-50. 


› Futurist Fears of The Machine, Film International, 1.3, 16-24. 





















› EDITORIAL, Film International, 9.3, 4-6. 

› EDITORIAL, Film International, 9.4, 4-5.

Consuelo Lins 

Federal University of Rio de Janeiro, 

Rio de Janeiro, Brazil 

Keywords documentary, Brazilian 

cinema, television 

Karin Ljuslinder 

University of Umea, SE-901, 87 

Umea, Sweden 

Keywords Mental illness, violent 

crime, media representation, crime 

journalism, Lithuania-Scandinavia 

Kwai-Cheung Lo 

Hong Kong Baptist University, 

Department of English Language and 

Literature, Kowloon Tong, Kowloon, 

Hong Kong 

Keywords Tian Zhuangzhuang, 

ethnic minorities, post-cultural 

revolution, Delamu, capitalism 

Consuelo Lins is a director of documentary films and professor at the 

Federal University of Rio de Janeiro, Brazil. She has a Ph.D. from 

Université Paris 3 (Sorbonne Nouvelle), having written her dissertation 

on documentary films, focusing on the work of Robert Kramer. In 

1999, she produced and directed Chapéu Mangueira e Babilônia: 

histórias do morro, a documentary on the history and day-to-day life of 

two slums located in Copacabana, Rio de Janeiro. In 2001, she directed 

Julliu ́s Bar, a film centered on transvestites from the peripheral areas 

of Rio de Janeiro which was selected to participate in several festivals, 

including the Brazilian Competition of the International Documentary 

Film Festival 'É Tudo Verdade'. 

› The cinema of Eduardo Coutinho, Studies in Documentary Film, 1.3, 199- 

206. 

Karin Ljuslinder, PhD, is Senior Lecturer in Media and 

Communication Studies, University of Umeå, formerly Head of 

Department of Culture and Media at University of Umeå 2003–2010. 

Research areas: Media representations of people with disabilities and 

Life conditions for disabled women in developing countries in Latin 

America. 

› The victim, the wicked and the ignored: Representation of mentally ill 

perpetrators of violent crime in news reports in the Norwegian, Swedish and 

Lithuanian press, Northern Lights: Film & Media Studies Yearbook, 9., 193- 

209. 

Kwai-Cheung Lo teaches in the Humanities Program at Hong Kong 

Baptist University. He is the author of Chinese Face/Off: The 

Transnational Popular Culture of Hong Kong (Urbana and Chicago: 

University of Illinois Press, 2005) and Excess and Masculinity in Asian 

Cultural Productions (Albany: SUNY Press, 2010). 

› Two moments of ethnic representation in Tian Zhuangzhuang's minority 

films, Journal of Chinese Cinemas, 3.3, 231-247.

Ramon Lobato 

Swinburne University of Technology, 

Institute for Social Research, 

Hawthorn, Victoria, 3122, Australia 

Keywords media industries, 

distribution, cultural policy, cultural 

theory 

Elena Lombardi 

University of Bristol, School of 

Modern Languages, 17 Woodland 

Road, Bristol, BS8 1TE, United 


Keywords Bicycle Thieves, 

neorealism, picaresque novel, 

alienation, fetishism 

Ignacio López-Vicuña 

University of Vermont, Department 

of Romance Languages, Burlington, 

Vermont, United States of America 

Keywords memory, history, Latin 

America, politics, Chilean cinema, 

Raul Ruiz 

Ramon Lobato is a postdoctoral research fellow at the Institute for 

Social Research, Swinburne University of Technology. Ramon's 

research focuses on distribution networks for film, video and music, 

especially pirate networks. His book Subcinema: Mapping Informal 

Film Distribution (under contract to the British Film Institute/Palgrave) 

analyses a series of film circuits in Africa, the US, Latin America and 

the Asia-Pacific and demonstrates the centrality of the informal 

economy as a driver of global film distribution. Ramon has taught film, 

media and global studies at Melbourne University and RMIT, and has 

worked as a freelance writer and editor. 

› Secret lives of Asian Australian cinema: offshore labour in transnational film 

industries, Studies in Australasian Cinema, 2.3, 213-227. 

› The politics of digital distribution: exclusionary structures in online cinema, 


Elena Lombardi is Senior Lecturer in Italian at the University of 

Bristol. She has published a book entitled The Syntax of Desire: 

Language and Love in Augustine, the Modistae, Dante (Toronto 2007), 

and articles on Dante, early Italian poetry and D’Annunzio. Other 

research interests are the Italian Renaissance, the turn-of-the-century 

European novel, and Italian film. 

› Of Bikes and Men: The intersection of three narratives in Vittorio De Sica's 

Ladri di biciclette, Studies in European Cinema, 6.2&3, 113-126. 

Ignacio López-Vicuña is Assistant Professor of Spanish at the 

University of Vermont. His areas of expertise include contemporary 

Latin American literature and cultural studies with a focus on Southern 

Cone, representations of urban space, queer theory and Latin American 

film. López-Vicuña earned his Ph.D. in Hispanic literature and cultural 

studies at the University of Pittsburgh. He has published articles on 

Diamela Eltit and Roberto Bolaño, and on film-makers Adrián Caetano 

and Raúl Ruiz. His work has appeared in journals such as Latin 

American Research Review, Journal of Latin American Cultural 

Studies and Revista Chilena de Literatura. 

› Ral Ruiz's lost Chilean film: memory and multiplicity in Palomita Blanca, 

Studies in Hispanic Cinemas, 6.2, 111-124.

Matt Losada 

San Diego State University, 

Department of Spanish and 

Portuguese, 5500 Campanile Drive, 

San Diego, CA 92182-6010, United 


Keywords Spanish literature, 

Hispanic cinema, Latin American 

literature 

Yosefa Loshitzky 

University of East London, Film, 

Media and Cultural Studies, London, 


Keywords holocaust, 

postcolonialism, French identity, beur 

cinema, banlieue cinema 

Victoria Lowe 

University of Manchester, 83 

Foxbench Walk, Manchester, M21 

7RE, United Kingdom 

Keywords theatre, British arts, 

stardom, voice 

Matt Losada received his doctorate from the University of California, 

Berkeley. He lectures at San Diego State University on Spanish and 

Latin American literature. 

› San Juan de la Cruz in Tactilvisión: The technological mysticism of José Val 

del Omar's Tríptico elemental de España, Studies in Hispanic Cinemas, 7.2, 

101-115. 

Yosefa Loshitzky is Professor of Film, Media and Cultural Studies in 

the School of Humanities and Social Sciences at the University of East 

London. Author of some 40 articles and book chapters, Loshitzky’s 

work has been translated into French, German, Swedish and Hebrew. 

She has been a Visiting Research Fellow at The Institute of Germanic 

and Romance Studies, School of Advanced Study, University of 

London, The Annenberg School of Communication, University of 

Pennsylvania, USA, The Yitzhak Rabin Centre for Israel Studies, The 

Jerusalem Van Leer Institute, The French CNRS, and The Italian CNR. 

From 2004-5 she was a Leverhulme Trust Visiting Professor at 

University College London (UCL). From 1994-2003 she served on the 

editorial board of Cinema Journal. 

› The post-Holocaust Jew in the age of postcolonialism: La Haine revisited, 


Victoria Lowe is a lecturer in Drama and Screen Studies at the 

University of Manchester, UK. Her Ph.D. thesis, ‘The matinee idol and 

the false beard’ (2004) examined the relationship between performance 

and stardom in British Cinema in the 1930s. She is currently 

conducting research into the actor’s voice in British Cinema. 

› Escape from the stage? Fromplay to screenplay in Britishcinema’s early 

sound period, Journal of Screenwriting, 2.2, 215-228. 

Xiaoning Lu Xiaoning Lu is Lecturer in Modern Chinese Culture and Language at 

the Department of China and Inner Asia, SOAS, University of London.

School of Oriental and African 

Studies, Department of China and 

Inner Asia, London, United Kingdom 

Keywords socialist cinema, film star, 

performance, spectatorship 

Tonglin Lu 

Universite de Montreal, Comparative 

Literature, Montreal, Canada 

Keywords dispositif, contredispositif, 

profanation, localization, 

globalization 

Nikolaj Lübecker 

St John’s College, St Giles, Oxford, 

OX1 3JP, United Kingdom 

Keywords Bruno Dumont, avantgarde, 

New Extremism, Zabriskie 

Point, culture of redemption 

Tiago de Luca 

Keywords everyday, realism, 

materiality, corporeal, sensory, 

domestic privacy, singularity 

Her research areas include socialist cinema, star studies, spectatorship 

and popular culture. 

› Zhang Ruifang: modelling the socialist Red Star, Journal of Chinese 


After her Ph.D. degree in Comparative Literature from Princeton in 

1988, Tonglin Lu worked at American universities, including a oneyear 

research grant at UC Berkeley, before moving to Canada in 2003. 

Currently, she teaches Chinese literature and cinema and cultural 

theory in Comparative Literature at the University of Montreal. She 

published several monographs, an anthology and a series of articles 

concerning gender, sexuality, modernity, Chinese literature and 

cinema. She is author of Confronting Modernity: Contemporary 

Cinema in Taiwan and Mainland China. 

› Fantasy and reality of a virtual China in Jia Zhangke's film The World, 


Nikolaj Lübecker is Fellow in French at St John’s College, University 

of Oxford. He has previously published articles on Claire Denis, Lars 

von Trier and various aspects of (mainly French) avant-garde culture; 

his most recent monograph, published by Continuum in 2009, 

concerned the notion of community in texts by Breton, Bataille, Sartre 

and Barthes. 

› Bruno Dumont’s Twentynine Palms: The avant-garde as tragedy?, Studies in 


Tiago de Luca was recently awarded his Ph.D. in World Cinemas at the 

University of Leeds. He has published in academic journals such as 

Senses of Cinema and New Cinemas: Journal of Contemporary Film 

and has most recently written a chapter on realism and world cinema in 

the anthology Theorizing World Cinema (I. B. Tauris, 2011). 

› Reviews, New Cinemas: Journal of Contemporary Film, 8.1, 59-67.

Bernadette Luciano 

University of Auckland, School of 

European Languages & Literatures, 

Level 7, Arts 1, Building 206, 14a 

Symonds Street, Auckland, New 

Zealand 

Keywords Italy, Italian cinema, 

Italian women filmmakers, mother– 

daughter relationship, feminist film 

criticism 

Alexandra Ludewig 


Faculty of Arts, Humanities and 

Social Science 

Keywords Tykwer, Wortmann, 

German cinema, 

Vergangenheitsbewältigung, genre 

Jan Lumholdt 

Keywords Terry Gilliam, film 

festival, Bobcat Goldthwait, Lars von 

Trier, Max von Sydow, The Italian 

Job (1969), Robert Aldrich 

› Sensory everyday: Space, materiality and the body in the films of Tsai Mingliang, 


Bernadette Luciano is Associate Professor of Italian at the University 

of Auckland. She has published articles and book chapters on Italian 

women’s historical novels, women’s autobiographical writing; Italian 

cinema; film adaptation; and literary translation. She has co-edited an 

interdisciplinary book on NZ/European cross-cultural encounters and 

has published a book on Italian filmmaker Silvio Soldini. She is 

currently co-authoring a book on contemporary Italian women 

filmmakers with Dr. Susanna Scarparo. 

› Back to the future: The Comencini sisters and their search for a cinematic 

language, Studies in European Cinema, 4.2, 137-148. 

› ‘I bambini si guardano’: The documentaries of Costanza Quatriglio, Studies 

in Documentary Film, 5.2-3, 183-196. 

Alexandra Ludewig, Associate Dean (Education) and Convenor of 

German Studies at The University of Western Australia, has studied 

and worked at a variety of universities in England, Germany, South 

Africa and Australia. Her research interests include questions of 

Heimat and identity in European film and contemporary German 

speaking literature. 

› ‘Heimat, Heimat, über alles’: Heimat in two contemporary German films, 


Jan Lumholdt was born in 1961. He is the Swedish-Danish film critic 

for Svenska Dagbladet and author/editor of books on Lars von Trier, 

Harriet Anersson, and Per Fly. Other contributions include: Film 

Comment, Ingmar, Film & TV, and Filmkonst. He also does radio and 

television work. 

› Venetian lines, Film International, 5.1, 79-83. 

› Great cinema, great food, Max Von Sydow's real voice and Goddag from 

Copenhagen via satellite, Film International, 5.1, 84-86.

Anker Brink Lund 

Keywords mediated crime, CSI 

effect, television, newspapers, web 

media, content analysis, journalism 

studies 

Arne Lunde 

University of California 

Keywords Benjamin Christensen, 

First National, Seven Footprints to 

Satan, Häxan, émigré, film-making, 

› Treasure-hunting at the Torino Film Festival 10–18 November 2006, Film 


› Marrakech International Film Festival 1–9 December 2006, Film 






› Around the Circuit, Film International, 7.4, 93-96. 



› Around the Circuit: San Sebastián, Film International, 7.6, 92-93. 

› Around the Circuit: Berlin International Film Festival, 1121 February 2010, 


› Around the Circuit: Cannes 2010, Film International, 8.4, 96-98. 

› Around the Circuit: Around the Circuit: Berlin International Film Festival, 

1020 February 2011, Film International, 9.2, 95-97. 

› Around the Circuit: Cannes 2011, Film International, 9.4, 92-95. 

Henrik Jensen, Master-student of Science (MSc) in Business 

Administration and Philosophy, is research assistant at Copenhagen 

Business School, Department of Business and Politics. He has done the 

content analysis and statistics of cross media analysis of crime content 

in press, television and web media, based on comparative data from the 

research project One Week of News in 2003, and 2008 

(www.fbc/nyhedsugen), managed by professor Anker BrinkLund, 

Copenhagen Business School, Department of Business and Politics. 

› Continuity and change in mass-mediated crime coverage: Content analyses 

of newspapers, television and web media, Northern Lights: Film & Media 

Studies Yearbook, 9., 159-177. 

Arne Lunde is Assistant Professor in the Scandinavian Section at 

UCLA. He teaches courses on Nordic cinema as well as on 

Scandinavian literature. His current research focuses on Norwegian 

film history and on Scandinavian ethnicity in American film and 

television. His book Nordic Exposures: Scandinavian Identities in 

Classical Hollywood Cinema is forthcoming from the University of 

Washington Press.

studio 

Wainer Lusoli 

JRC Institute for Prospective 

Technological Studies, Edificio Expo, 

C, Inca Garcilaso 3, Sevilla, 41092, 


Keywords Internet, online media, 

political communication, media, 

democracy 

Garry Lyons 


Perfomance & Cultural Industries, 

Leeds, LS2 9JT, United Kingdom 

Keywords screenwriting, playwright, 

writing for performance 

Jean Ma 

Department of Art and Art History, 

Stanford University, 435 Lasuen 

Mall, Stanford, California, 94305, 


Keywords Tsai Ming-liang, Grace 

Chang, intertextuality, gender, film 

music, post-war Chinese cinema 

› After The Celebration: Thomas Vinterberg's It's All About Love, Film 


› Scandinavian auteur as chameleon: how Benjamin Christensen reinvented 

himself in Hollywood, 1925–29, Journal of Scandinavian Cinema, 1.1, 7-23. 

Wainer Lusoli is Scientific Officer at the European Commission JRC, 

Institute for Prospective Technological Studies. He works on research 

and policy issues related to the Information Society, eGovernance, 

digital identity (eID), technological foresight, cloud computing and 

social computing. He holds an honorary Visiting Research Fellowship 

at the University of Chester (2008–2011). More information on his 

research is available at http://lusoli.info. 

› What's the story…? Online news consumption in the 2005 UK election, 


Garry Lyons is an award-winning screenwriter, playwright and 

producer with more than 25 years professional drama-making 

experience. His television work has been broadcast in more than 60 

countries, including on HBO in the United States. Since 2003 he has 

been Lecturer in Writing for Performance at the University of Leeds. 

› Britain’s First SuicideBombers – The script and thescreenwriter in 

dramatizeddocumentary for television, Journal of Screenwriting, 2.2, 249- 

262. 

vJean Ma is Assistant Professor of Art and Art History at Stanford 

University, where she teaches in the Film and Media Studies program. 

She is the author of Melancholy Drift: Marking Time in Chinese 

Cinema (2010) and coeditor (with Karen Beckman) of Still Moving: 

Between Cinema and Photography (2008). Her work has appeared in 

Post Script, Grey Room, Global Art Cinema: New Theories and 

Histories and A Companion to Michael Haneke. 

› Delayed voices: Intertextuality, music and gender in The Hole, Journal of 

Chinese Cinemas, 5.2, 123-139.

Ian W. Macdonald 



Clothworkers North Building, Leeds, 


Keywords screenplay, screenwriting, 

reading, adaptation, evaluation, 

proposition, scenario, photoplay 

David MacFadyen 



322 Humanities Building, BOX 

951502, Los Angeles, California, 


America 

Keywords Soviet cinema, Oscar, 

stagnation, official press, fairy tale 

Dr. Ian Macdonald is Director, Louis Le Prince Centre for Cinema, 

Photography and Television, Institute of Communication Studies, 

University of Leeds. Research interests include screenwriting, narrative 

and the moving image, film and television practice, film and television 

history and education within these subjects. Formerly Head of the 

Northern Film School (1992–2001), he has broadcast TV experience at 

LWT and as a freelance, and has taught screenwriting since 1993. He is 

currently Course Leader for the BA in TV Production, on which he 

teaches screen fiction and screenwriting. Publications include 

articles in the Journal of Media Practice and the Journal of 

Screenwriting (of which he is co-editor). Has served as Chairman and 

Treasurer of AMPE, and on the Executive Board of MeCCSA, and is 

Co-ordinator of the Screenwriting Research Network. 

› Editorial, Journal of Screenwriting, 1.1, 7-10. 

› ‘…So it’s not surprising I’m neurotic’ The Screenwriter and the Screen Idea 

Work Group, Journal of Screenwriting, 1.1, 45-58. 



› Lost and gone for ever?The search for early Britishscreenplays, Journal of 


David MacFadyen is Professor of Slavic Languages and Literatures at 

the University of California, Los Angeles. He is a graduate of the 

University of London and UCLA and has authored books on subjects 

ranging from the poetry of Joseph Brodsky (Joseph Brodsky and the 

Baroque, 1999; Joseph Brodsky and the Soviet Muse, 2000), to Russian 

popular songs (Red Stars: Personality and the Soviet Popular Song 

after 1955, 2001; Èstrada?! Grand Narratives and the Philosophy of 

the Russian Popular Song 1982–2000, 2001; Songs for Fat People: 

Affect, Emotion and Celebrity in the Soviet Popular Song, 1900 to 

1955, 2002), to animated and feature films of the Soviet Union (The 

Sad Comedy of Èl’dar Riazanov, 2003; Yellow Crocodiles and Blue 

Oranges: Russian Animated Film, 2004). 

› Moscow Does Not Believe in Tears:From Oscar to consolation prize, Studies 


Aaron Magnan-Park Aaron Han Joon Magnan-Park is Assistant Professor in the Department


Department of Film, Television, and 

Theatre, Notre Dame, 46556, United 


Keywords Asian cinema, Chung 

Chang Wha, 5 Fingers of Death 

Joseph Mai 

Clemson University, Department of 

Languages, Clemson, South Carolina, 


Keywords body, de-figuration, 

influence, representation, voice 

Ingeborg Majer-O’Sickey 

Binghamton University, German and 

Women's Studies, Binghamton, New 

York, United States of America 

Keywords women's studies, German 

studies, German visual culture 

Irina Makoveeva 

Vanderbilt University, Department of 

of Film, Television, and Theatre at the University of Notre Dame. He 

specializes in Asian cinema, connecting action with aesthetics, culture, 

history and theory in a global framework. His most recent essay is a 

study of director Chung Chang Wha and '5 Fingers of Death' 

forthcoming in the Journal of Korean Studies. 

› Technologized tae kwon do millennialism: Robot Taekwon V and the 

assertion of a triumphant South Korean national identity, Journal of 

Japanese & Korean Cinema, 2.2, 109-130. 

Joseph Mai is an assistant professor, French and Film Studies at 

Clemson University (South Carolina, USA). His publications include 

forthcoming articles on the Dardenne Brothers and Julie Lopès-Curval. 

Dr. Mai earned his BA from Northern Illinois, his MA from the 

University of Illinois, and his Ph.D. in French from Yale University 

(2004). He has also studied at the École Normale Supérieure in Paris 

and taught at Tulane University. He completed a Ph.D. dissertation 

entitled 'Lost Order: Repercussions of Secularization on Literary and 

Film Rhetoric'. Research Interests include French cinema, history and 

theory; religious/secular tensions in literature, film and culture. 

› ‘New(er) stories’: Narration and de-figuration in Robert Bresson's Mouchette 


An Associate Professor of German and Women’s Studies, Majer- 

O’Sickey teaches German film studies and literature at Binghamton 

University. She is editor and co-editor of three anthologies, has 

published widely on German visual culture and is currently completing 

a study on representations of women in Weimar and Third Reich 

Cinema. 

› European Cinema: Experiment, mainstream and praxis, Studies in European 


Irina Makoveeva is Mellon Assistant Professor at Vanderbilt 

University. Her articles have appeared in Slavic and East European 

Journal, Tolstoy Studies Journal and Studies in Slavic Cultures.

Germanic and Slavic Languages, 

Nashville, United States of America 

Keywords gender, post-Soviet 

cinema, female avenger, rape-revenge 

film 

Joshua Malitsky 


Communication and Culture, 800 East 

Third Street, Bloomington, Indiana, 


Keywords truth, indexicality, 

circulation, actor network theory, 


Tijana Mamula 


Film Studies, King's College London, 

Strand, London, WC2R 2LS, United 


Keywords linguistics, European exile 

film-making, French cinema 

Currently she is working on two projects. While her first project, 

Mythologizing ‘Anna Karenina’, examines the novel’s transfiguration 

into the master narrative of adulterous love, her second project, 

Invading Male Territory, focuses on the issues of female agency as 

represented by women film-makers in post-Soviet cinema. 

› The woman-avenger on the post-Soviet screen, Studies in Russian and Soviet 


Joshua Malitsky is Assistant Professor in the Department of 

Communication and Culture at Indiana University. He is a film scholar 

who studies the role of documentaries in nation-building in postrevolutionary 

socialist states, in particular the USSR, Cuba and 

Yugoslavia. His teaching and research interests include documentary 

history, theory, and criticism; non-fiction film and nation-building; 

intersections between documentary, ethnographic film, and the avantgarde; 

early Soviet cinema; Cuban cinema; West African cinema; 

realism; and sports media. He is currently working on a book 

manuscript entitled Post-Revolution Non-Fiction Film: Building the 

Soviet, Yugoslav, and Cuban Nations. Professor Malitsky is affiliated 

faculty with the Russian and Eastern European Institute (REEI) and 

Center for Latin American and Caribbean Studies (CLACS). 

› Actor-network theory and documentary studies, Studies in Documentary 

Film, 4.1, 65-78. 

Tijana Mamula is a Ph.D. candidate in Film Studies at King’s College, 

University of London. Her thesis focuses on the relationship between 

linguistic displacement and visuality in European exile and émigré 

film-making. 

› Matricide, indexicality and abstraction in Chantal Akerman’s News from 

Home and Là-bas, Studies in French Cinema, 8.3, 265-275. 

› Reviews, Transnational Cinemas, 1.2, 181-191. 

Franco Manai Since 1993 Franco Manai has been teaching Italian culture at the 

University of Auckland, New Zealand. He has written monographs on

School of European Languages and 

Literatures, Department of Italian, 

Arts 1 Building, 14a Symonds Street, 

Auckland, Private Bag 92019, 1142, 

New Zealand 

Keywords globalization, American 


Krishna Manavalli 

Illinois State University, Department 

of English, Illinois, United States of 

America 

Keywords postcolonialism, diaspora, 

feminism, South Asian cinema 

Sunil Manghani 

York St John University, Faculty of 

Arts, Lord Mayor's Walk, York, 

North Yorkshire, YO31 7EX, United 


Keywords critical theory, cultural 

studies, image media neutral, new 

media, visual culture 

Christos Manolas 

University of York, Deaprtment of 

Italian writers Luigi Capuana and Giulio Angioni and various articles 

on Italian classical authors, such as Petrarch, Pietro Bembo, Niccolò 

Machiavelli and Carlo Goldoni, as well as on Italian authors of popular 

culture such as Loriano Macchiavelli, Andrea De Carlo and Fruttero & 

Lucentini. 

› The movie Pinocchio by Roberto Benigni and its reception in the United 

States, Studies in European Cinema, 6.2&3, 153-163. 

Krishna Manavalli is currently an assistant professor in the Department 

of English at Illinois State University. She specializes in Postcolonial 

Studies and Global Literatures. Her research interests include 

contemporary British literature, diaspora studies, literatures in the 

regional languages of South India, feminism, South Asian film studies 

and translations. 

› Imagining women and diaspora in the 1990s Bollywood film: A ‘close-up’ 

look at the visual politics in Pardes, Studies in South Asian Film & Media, 

2.2, 71-84. 

Sunil Manghani is Reader in Critical & Cultural Theory at York St 

John University, United Kingdom. His publications appear in Theory, 

Culture & Society, Film International, Invisible Culture, Journal of 

Visual Art Practice and Culture, Theory and Critique. He is co-editor 

of Images: A Reader (Sage, 2006), an anthology of writings on the 

image from Plato to the present. He is currently working on an Image 

Studies textbook, as well pursuing a research interest in aspects of 

neutrality. 

› Making metapictures political: public screenings of the fall of the Berlin 

Wall, Northern Lights: Film & Media Studies Yearbook, 7.1, 113-131. 

› Public (re)visions: critical pictures of the fall of the Berlin Wall, Film 


Christos Manolas is a graduate of the University of York (MSc in 

Music Technology, MA in Postproduction/Sound Design) with 

undergraduate studies in music (Diploma in Music Performance

Theatre, Film and Television, Baird 

Lane, Heslington (East), YO10 5GB, 


Keywords multi-channel sound, 

surround sound, narrative, 

spatialization, 3D, sound sources 

Lev Manovich 

University of California - San Diego, 

Visual Arts Department, 9500 Gilman 

Drive, La Jolla, California, CA 


America 

Keywords remediation, metamedium, 

new-media theory 

Rebecca J. Manring 

Indiana University, Indiana, United 


Keywords India, Sanskrit Indian 

literatures, South Asian cinema, 

Gaudiya Vaisnavism 

Violin) and Information Technology (Multimedia Programming, 

Computing). Christos’ interests and previous work include music 

composition and performance, sound engineering, sound design and 

software development. Currently, he is studying for a Ph.D. degree 

(related with the role of multichannel soundtracks in 3D cinema) under 

the supervision of Dr. Sandra Pauletto in the department of Theatre, 

Film and TV in the University of York. 

› Enlarging the Diegetic Space: Uses of the Multi-channel Soundtrack in 

Cinematic Narrative, The Soundtrack, 2.1, 39-55. 

Lev Manovich's books include Software Takes Command (released 

under CC license, 2008), Soft Cinema: Navigating the Database (The 

MIT Press, 2005), and The Language of New Media (The MIT Press, 

2001) which is hailed as 'the most suggestive and broad ranging media 

history since Marshall McLuhan.' He has written over 90 articles which 

have been reprinted over 300 times in over 30 countries. Manovich is a 

Professor in Visual Arts Department, University of California, San 

Diego, a Director of the Software Studies Initiative at California 

Institute for Telecommunications and Information Technology (Calit2), 

and a Visiting Research Professor at Godsmith College (University of 

London), De Montfort University (UK) and College of Fine Arts, 

University of New South Wales (Sydney). 

› Alan Kay's universal media machine, Northern Lights: Film & Media Studies 

Yearbook, 5.1, 39-56. 

Rebecca J. Manring is Associate Professor of India Studies and 

Religious Studies at Indiana University, where she teaches Sanskrit, 

Indian literatures, and courses on women in South Asian religions and 

South Asian cinema. Her research interests include Gaudiya 

Vaisnavism and sectarian grammars. 

› REVIEWS, Studies in South Asian Film & Media, 2.2, 119-136. 

Steven Maras Dr. Steven Maras is Senior Lecturer in Media and Communications at 

the University of Sydney. A graduate of Curtin University in Western

The University of Sydney, Media and 

Communications Department, Faculty 

of Arts and Social Sciences, Holme 

Building A09a, New South Wales 


Keywords video, production, 


Steven Marchant 

Royal Holloway University of 

London, Media Arts Department, 



Keywords shot, suture, Antonioni, 

Béla Tarr, Werckmeister Harmonies 

Silvia Marchetti 

University of Michigan, United States 

of America 

Keywords Kusturica, Italy, Gypsy 

community, culture, home 

Gina Marchetti 

University of Hong Kong, 

Department of Comparative 

Literature, Pokfulam Road, Hong 

Kong 

Keywords Edward Yang, Mahjong, 

Australia (1988), Steven studied Honours at Murdoch University, and 

received his Ph.D. in Communication Studies from Murdoch 

University (1994). He joined the Media and Communications 

department in 2005 after ten years teaching at the University of 

Western Sydney. He has published articles and essays in numerous 

journals in Australia and internationally, and is on the editorial 

advisory board of Continuum: Journal of Media and Cultural Studies 

and the Journal of Screenwriting. 

› Some attitudes andtrajectories in screenwritingresearch, Journal of 


Steven Marchant teaches film history and film theory. His research 

explores the way films give form to events, with special emphasis on 

1940s Hollywood (, Rebecca, Citizen Kane) and modern cinema in 

Europe (Antonioni, Béla Tarr, Godard, Rivette, Tarkovsky, Rossellini). 

› Nothing counts: shot and event in Werckmeister Harmonies, New Cinemas: 


Silvia Marchetti is a doctoral student at the University of Michigan, 

where she also teaches Italian language, culture, and literature. Among 

her areas of research are contemporary Italian literature and film, and 

migration studies, and translation. Her dissertation focuses on the 

notion of ‘minor’ in Italian literature and film. 

› Blending cultures, shifting homes: Emir Kusturica's Time of the Gypsies, 


Gina Marchetti, Ph.D. (Northwestern) teaches in the Department of 

Comparative Literature, School of Humanities, at the University of 

Hong Kong. In 1995, her book, Romance and the 'Yellow Peril': Race, 

Sex and Discursive Strategies in Hollywood Fiction (University of 

California, 1993), won the award for best book in the area of cultural 

studies from the Association for Asian American Studies. Her recent 

books include Andrew Lau and Alan Mak's Infernal Affairs (2002-

Hou Hsiao-hsien, Good-Bye South, 

Taiwanese cinema, Taiwanese 

gangster culture, youth subculture, 

national identity, Ang Lee, The 

Incredible Hulk, Fresh Kill, Shu Lea 

Cheang, Confucian morality 

Greil Marcus 

Keywords Greil Marcus, Martin 

Scorsese, D. A. Pennebaker Joan 

Baez, Telluride Film Festival 

Paola Margulis 

Instituto de Investigaciones Gino 

Germani, Facultad de Ciencias 

Sociales, Universidad de Buenos 

Aires, Uriburu 950, 6° piso, (1114) 

Capital Federal, Buenos Aires, 

Argentina 

Keywords documentary film, 

archival images, visual depiction of 

the masses 

Matthew J. Marr 

Pennsylvania State University, 

Department of Spanish, Italian, and 

2003) (Hong Kong: Hong Kong University Press, 2007), From 

Tian'anmen to Times Square: Transnational China and the Chinese 

Diaspora on Global Screens (Philadelphia: Temple University Press, 

2006), and Hong Kong Film, Hollywood and the New Global Cinema, 

co-edited with Tan See-Kam (London: Routledge, 2007). 

› Race, Class, Gender, and Television Action, Film International, 1.2, 33-43. 

› Taiwanese Triads in the Transnational Imagination: Mahjong and Goodbye, 

South, Goodbye, Film International, 2.9, 28-41. 

› Hollywood/Taiwan: Connections, Countercurrents, and Ang Lee, Film 


Greil Marcus is the author of Lipstick Traces. His The Shape of Things 

to Come: Prophecy and the American Voice, was published in August 

2006 by Faber & Faber. From 2006 he has taught at the University of 

California at Berkeley and at Princeton University. 

› The World Premier of No Direction Home, Studies in Documentary Film, 

1.1, 49-52. 

Paola Margulis is completing her Ph.D. in social sciences at the 

Universidad de Buenos Aires – on Argentina’s documentary cinema 

during the transition to democracy, with a scholarship for graduate 

studies from the CONICET. She teaches History of the Media at the 

School of Communications of the Universidad de Buenos Aires. Ms. 

Margulis has written several articles and book chapters on 

documentary cinema, the status of archival images and the visual 

depiction of the masses, among other topics. 

› A professional without borders: The case of the documentary film-maker 

Carlos Echeverría in Germany and Argentina, Studies in Documentary Film, 

5.1, 3-15. 

Matthew J. Marr is Assistant Professor of Spanish at The Pennsylvania 

State University. He is currently at work on a book that examines the 

politics of representation with regard to age and disability in recent 

Spanish cinema. He specializes in contemporary Peninsular studies,

Portuguese, 237 Burrowes Building, 

University Park, Pennsylvania, 16802, 


Keywords comedic horror, socialissue 

cinema, aging, subjectivity, 

representation 

Adrian Martin 

Monash University, School of 


Performance Studies, Faculty of Arts, 

Victoria, 3800, Australia 

Keywords experimental cinema, 

music, sound, rhythm digital cinema, 

intermediality 

Florence Martin 

Goucher College, French and 

Francophone Cinema and Literature, 

2411 Everton Rd, Mount Washington, 

with an emphasis on poetry, fiction, and cinema produced from Spain’s 

post-Franco transition to democracy through the present. In examining 

how literary and filmic texts reflect, promote, and negotiate this 

period’s dynamic turn toward a culture of pluralism, his scholarship 

engages with a host of theoretical debates (postmodernism, 

transnationalism, age and disability studies), topical and 

methodological interests (humour in poetry, youth countercultures, 

intertextuality, comparative approaches to the novel), aesthetic trends 

and movements ('Generation X', la poesía de la experiencia, socialissue 

cinema), and authors/filmmakers (among others, Esther Tusquets, 

Antonio Muñoz Molina, Javier Cercas, José Ángel Mañas, Vicente 

Gallego, Luis García Montero, Alejandro Amenábar, and Pedro 

Almodóvar). 

› Representation and the cultural politics of aging in Justino, un asesino de la 

tercera edad (La Cuadrilla, 1994), Studies in Hispanic Cinemas, 6.2, 139- 

152. 

Adrian Martin is Associate Professor of Film and Television Studies 

and Co-Director of the Research Unit in Film Culture and Theory at 

Monash University, Melbourne, Australia. He is the author of five 

books and numerous articles and reviews translated into many 

languages. He is currently completing A Secret Cinema and launching 

both his own website archive and a new online film magazine, . 

› Lessons of noise and silence: avant-garde cinema and experimental music in 


› The artist between images and across media: James Clayden, Studies in 


› Ozploitation compared to what? A challenge to contemporary Australian film 

studies, Studies in Australasian Cinema, 4.1, 9-21. 

› Another kind of river, Studies in Documentary Film, 1.1, 53-58. 

› The Misleading Man: Dennis Hopper, Film International, 5.1, 32-44. 

› Mystery envelope: Kitchen Sink as Female Gothic, Short Film Studies, 2.1, 

75-78. 

Florence Martin is Professor of French and Francophone Cinema and 

Literatures at Goucher College, Baltimore, USA. Her work on 

Maghrebi cinema has been published in France, Tunisia, the United 

Kingdom and the United States, and her latest book is titled Screens 

and Veils: Maghrebi Women’s Cinema (Indiana University Press,

Baltimore, MD 21209, United States 

of America 

Keywords Malika Mokeddem, 

nomad, sedentary, Mediterranean, 

language 

Fran Martin 

University of Melbourne, Cultural 

Studies, Department of English with 

Cultural Studies, Victoria, Australia 

Keywords Chinese cinema, 

Taiwanese cinema, sexuality, gender 

Daniel Martin 

Queen's University Belfast, Film 

Studies, Belfast, Northern Ireland, 

BT7 1NN, United Kingdom 

Keywords genre, marketing, Fulltime 

Killer, Election, Exiled 

David Martin-Jones 

University of St Andrews, Scotland, 

Department of Film Studies, 99 North 

St, St Andrews, Fife, KY16 9AD, 

2011). 

› Filming the body Guiana: Alain Maline's Jean Galmot aventurier (1990), 


› Silence and scream: Moufida Tlatli’s cinematic suite, Studies in French 


› Transvergence and cultural detours: Nadia El Fani's Bedwin Hacker (2002), 


Fran Martin is Senior Lecturer in Cultural Studies at the University of 

Melbourne. Her publications include Backward Glances: 

Contemporary Chinese Cultures and the Female Homoerotic 

Imaginary (Duke University Press, 2010) and Situating Sexualities: 

Queer Representation in Taiwanese Fiction, Film and Public Culture 

(Hong Kong University Press, 2003). 

› Introduction: Tsai Ming-liang's intimate public worlds, Journal of Chinese 


Daniel Martin is Lecturer in Film Studies at Queen’s University 

Belfast. He has a special interest in South East Asian cinema, and his 

research concerns the international circulation of South Korean, 

Japanese and Hong Kong cinema. His Ph.D. thesis was a study of the 

marketing and critical reception of cult Asian cinema in the United 

Kingdom, with a particular focus on Tartan’s ‘Asia Extreme’ brand. He 

has published articles in Cinema Journal and Scope: An Online Journal 

of Film Studies, and he has written reports for the Korean Film 

Council. 

› Another week, another Johnnie To film: the marketing and distribution of 

postcolonial Hong Kong action cinema, Film International, 7.4, 30-39. 

Dr David Martin-Jones lectures in Film Studies at The University of St 

Andrews, Scotland. He is the author of Deleuze, Cinema and National 

Identity (Edinburgh University Press, 2006), has published articles in a 

number of international journals (including Cinema Journal, Screen 

and CineAction) and is on the editorial boards of Film-Philosophy and


Keywords world cinema, national 

identity, transnational identity, Gilles 

Deleuze, tourism 

Susan Martin-Márquez 

Rutgers University, Spanish & 

Portuguese, New Brunswick, New 

Jersey, United States of America 

Keywords oral history, Francoism, 

daily life, gender, sexuality 

Thomas Martinec 

University of Regensburg, German 

Studies, Institute for German Studies, 

D-93040 Regensburg, Germany 

Keywords adaptation of poetry, 

spontaneity, poetic coherence, 

describing the invisible, sound of 

language 

The Journal of Deleuzian Studies. His research interests focus on 

questions of national identity in a range of cinemas from around the 

world. 

› Bicycle Thieves or Thieves on Bicycles? El Baño del Papa (2007), Studies in 


Professor Martin-Márquez's research and teaching centre on modern 

Spanish Peninsular cultural studies and Spanish-language film. She is 

also Director of Rutgers' Program in Cinema Studies, and teaches 

courses on world cinema. Her film-related books include Feminist 

Discourse and Spanish Cinema: Sight Unseen (Oxford UP, 1999), and 

the collaborative project, Cinema and Everyday Life in 1940s and 

1950s Spain: An Oral History (Berghahn Books, 2011). Other 

scholarly work focuses on questions of coloniality and identity. 

Disorientations: Spanish Colonialism in Africa and the Performance of 

Identity (Yale UP, 2008) examines the anxious reformulation of 

centralist and peripheral national identities resulting from Spaniards' 

post-Enlightenment rediscovery of their 'African inheritance', precisely 

at a time in which 'scientific racism' rose to dominance, and the 

Spanish nation began investing in new colonial regimes in Africa. 

› Sex in the cinema: film-going practices and the construction of sexuality and 

ideology in Franco's Spain, Studies in Hispanic Cinemas, 2.2, 117-124. 

Thomas Martinec was Fellow in German at Lincoln College, Oxford, 

until he became Lecturer at the University of Regensburg. His research 

focuses on the relationship between tragedy and philosophy in the 

eighteenth century, on the relationship between poetry and music 

around 1900, and on the period after 1945, including film. He 

published a monograph on Lessing’s theory of tragedy’s effect 

(Niemeyer 2003), co-edited a volume on family and identity in German 

literature (P. Lang 2009) and is currently working on a book about the 

functions of music in German modernist poetics. 

› ‘Some kind of film-poem’: the poetry of Wim Wenders' Der Himmel Über 

Berlin/Wings of Desire, Studies in European Cinema, 6.2&3, 165-178.

Lesley Marx 

University of Cape Town, Centre for 

Film and Media Studies, Rondebosch 

7701, Cape Town, South Africa 

Keywords Jews, Italian culture, 

diaspora, children, Classical 

Hollywood, Great Depression 

Jurga Mataityte-Dirziene 

Vilnius University, Universiteto st. 

9/1-206, 01513 Vilnius, Lithuania 

Keywords Mental illness, violent 



Ernest Mathijs 

Univresity of British Columbia, 

Department of Theatre and Film, 

6354 Crescent Road, Vancouver, BC, 

V6T 1Z2, Canada 

Keywords teaching film, media 

literacy, vernacular concepts, moral 

controversies 

Jill Julius Matthews 


School of Cultural Inquiry, Room 

Lesley Marx taught in the English Department at the University of 

Cape Town for many years, focusing on American Studies. She chaired 

the department from 1997 to 2000, was Deputy Dean in the Faculty of 

Humanities from 2001 to 2002, and, from 2003 to 2004, was the 

Founding Director of the Centre for Film and Media Studies. Her 

current research interests include the cinemas of Ireland and Scotland, 

and Hollywood during the Great Depression. 

› Mum, Dad and the Apocalypse: John Lawlor's Sunday, Short Film Studies, 

1.2, 299-302. 

› Freeze-frame: The death and life of a photograph in Mitko Panov’s With 

Raised Hands, Short Film Studies, 2.1, 17-20. 

Jurga Mataityte-Dirziene, Ph.D., is Lecturer in Social Work at Vilnius 

University. Her Research areas are Integration of people with mental 

disorders, Psychosocial rehabilitation, Self-help, Disability and mass 

media and Social enterprises of disabled. 




209. 

Ernest Mathijs is Associate Professor in Film Studies at the University 

of British Columbia, Canada. His books include Cult Cinema, The Cult 

Film Reader (co-editor), three books on the reception of The Lord of 

the Rings, and The Cinema of David Cronenberg: From Baron of 

Blood to Cultural Hero. His research focuses on the reception of 

alternative and ‘problematic’ media (horror film, reality-TV, regional 

cinema, and cultural resistance). 


Professor Jill Julius Matthews is Head of the School of Cultural Inquiry 

at the Australian National University. She is currently researching the 

history of distribution and exhibition of adult and pornographic movies 

in Australia,1896–1984. She is also working on the ARC funded

139, A.D. Hope Building 14, College 

of Arts and Social Sciences, Canberra, 

ACT 0200, Australia 

Keywords pornographic film, 

modernity, sexuality/sexualization, 

masturbating reader, 

schaulust/voyeurism, consumer 

society 

Saër Maty Bâ 


Creative Arts, Film and Media 

Studies, Portsmouth, PO1 2UP, 


Keywords diaspora, criticism, 

African cinema, migration, festivals, 

representation, transnational cinema, 

digital 

Judith Mayne 


French & Italian, 200 Hagerty Hall, 

Columbus, Ohio, United States of 

America 

Keywords lesbianism, Steeman, 

Delair, adaptation, music hall, French 


project, ‘Mapping the movies: The changing nature of Australia’s 

cinema circuits and their audiences 1956–1984’. Among her books are 

Good and Mad Women (1984), Sex in Public (ed. 1994), Dance Hall 

and Picture Palace (2005). 

› The lust of the eye and the thrill of the flesh, Studies in Australasian Cinema, 

5.2, 193-202. 

Currently a co-editor on The Encyclopedia of Global Human Migration 

project (Wiley-Blackwell: 2012), Dr. Bâ’s research blurs boundaries 

between diaspora, film, media, and cultural studies and includes 

migration, film festivals, French cinema, visual and sonic cultures of 

the Black Atlantic. He has held research and teaching fellowships at 

Exeter, East London, Bangor, and St Andrews Universities. 

› Problematizing (black) documentary aesthetics: John Akomfrah's use of 

intertextuality in Seven Songs for Malcolm X (1993), Studies in 


› Visualizing rhythm, transforming relationship: jazz and Seven Songs for 

Malcolm X, Studies in Documentary Film, 2.2, 137-148. 


› Affective Power/Formal Knowledge: Diaspora, African Cinema and Film 

Festivals Outside Africa, Film International, 8.5, 54-69. 


› REVIEWS, Transnational Cinemas, 2.1, 113-125. 

Judith Mayne is Distinguished Humanities Professor of French at Ohio 

State University (Columbus). Her specialist areas of research are 

French cinema and feminist film studies. Her most recent books are 

Claire Denis (University of Illinois Press 2005) and Le Corbeau (I.B. 

Tauris 2007). She recently guest-edited an issue of Studies in French 

Cinema on French film studies in the U.S. She is currently working on 

a book-length study of French fiction film during World War II. 

› Dora the image-maker and Henri-Georges Clouzot’s Quai des orfèvres, 


› Tous les garçons and toutes les filles, Studies in French Cinema, 5.3, 207- 

218. 

› Danielle Darrieux, French female stardom, and the Occupation, Studies in

Ewa Mazierska 

University of Central Lancashire, 

School of Journalism, Media and 

Communication, Harrington Building 

244, Preston, Lancashire, PR1 2HE, 


Keywords travel, post-communism, 

capitalism, disappointment, Poland 

Ranjani Mazumdar 

The National Media Museum, 129 

Ankur Apts. 7, I.P Extension, Delhi, 

110092, India 

Keywords 1960s, globalization, 

Bombay film poster, urban cultures, 


› French Film Studies in the US, Studies in French Cinema, 10.2, 91-93. 

Ewa Mazierska is Professor of Contemporary Cinema at the School of 

Journalism, Media and Communication, University of Central 

Lancashire, UK. Her publications include over ten monographs and 

edited collections in Polish and English concerning various aspects of 

European cinema, including Nabokov's Cinematic Afterlife 

(McFarland, 2011), Jerzy Skolimowski: The Cinema of a 

Nonconformist (Berghahn, 2010), Masculinities in Polish, Czech and 

Slovak Cinema (Berghahn, 2008), Crossing New Europe: The 

European Road Movie (Wallflower Press, 2006, co-author Laura 

Rascaroli), and Pasja: Filmy Jean-Luca Godarda (Ha!art, 2010). 

› Searching for alternatives: The evolution of the motif of work in Jean-Luc 

Godard's cinema in the years 1972–1982, Studies in European Cinema, 7.3, 

209-220. 

› The motif of escape in recent Polish films, New Cinemas: Journal of 


› Polish martial law of 1981 seen from abroad, New Cinemas: Journal of 


› Eastern European cinema: old and new approaches, Studies in Eastern 


› Reviews, Studies in Eastern European Cinema, 1.2, 217-231. 

› Editorial, Studies in Eastern European Cinema, 1.2, 135-137. 

› 39th Lubuskie Lato Filmowe, agw, Poland, 2027 June 2010, Studies in 

Eastern European Cinema, 2.1, 113-115. 

› Wojciech Jerzy Has at Era New Horizons International Film Festival, 

Wrocaw, Poland, 22 July1 August 2010, Studies in Eastern European 


› REVIEWS, Studies in Eastern European Cinema, 2.2, 227-246. 

Ranjani Mazumdaris Associate Professor of Cinema Studies at the 

School of Arts & Aesthetics, Jawaharlal Nehru University, New Delhi. 

Her current research focuses on film culture of the 1960s, globalization 

and film culture, and the history of the Bombay film poster. Her 

publications focus on urban cultures, popular cinema, gender and the 

cinematic city. She is the author of Bombay Cinema: An Archive of the 

City published by the University of Minnesota Press (2007). Mazumdar 

has also worked as a documentary filmmaker and is a founding

popular cinema, gender cinematic city member of Mediasorm, India’s first women’s film collective, which 

received the Chameli Devi Jain Award for outstanding media 

professionals among women. 

John C. McCall 

Southern Illinois University, 

Department of Anthropology, 

Mailcode 4502, Faner Hall 3543, 

Carbondale, IL 62901-4502, United 


Keywords Nollywood, Nigeria, 

video-film, media, informal 

economies, African culture, Pan- 

Africanism, Afrocentrism, Negritude, 

censorship, global economy, music, 

dance, performance arts, masquerade 

Ben McCann 

University of Adelaide, School of 

Humanities, North Terrace, SA 5005, 

Australia 

Keywords 1930s, French cinema, set 

design, décor practices, Marcel 

Carné, horror 

Brian McDonnell 

Massey University, School of Social 

& Cultural Studies, Albany Campus, 

Private Bag 102904, North Shore 

MSC, Auckland, New Zealand 

› The Bombay Film Poster: A Journey from the Street to the Museums, Film 


John C. McCall is an Associate Professor of Anthropology and 

Africana Studies at Southern Illinois University, Carbondale. He has 

been publishing research on Nigeria since 1989. Since 2000 his work 

has focused on the Nigerian movie industry, popularly known as 

'Nollywood'. 

› The pan-Africanism we have: Nollywood's invention of Africa, Film 


Ben McCann is Lecturer in French at the University of Adelaide. He is 

the author of recent book chapters on Les Enfants du Paradis and 

Jacques Tati’s dystopian visions and recent articles on Les Triplettes de 

Belleville, contemporary French horror films, and the Hollywood 

career of set designer Alexandre Trauner. He is currently completing a 

study of Le Jour se lève (I. B. Tauris) and is co-editing a collection of 

essays on Michael Haneke. 

› ‘(Under)Scoring Poetic Realism’ – Maurice Jaubert and 1930s' French 

Cinema, Studies in French Cinema, 9.1, 37-48. 

Brian McDonnell has a Ph.D. in Film Studies from the University of 

Auckland. His doctoral thesis was on the links between New Zealand 

fiction and New Zealand film. He has published a textbook called 

Fresh Approaches to Film (1998), he is the co-author (with Geoff 

Mayer of La Trobe University, Melbourne) of the Greenwood 

Encyclopedia of Film Noir (2007), and he has published widely on

Keywords Heavenly Creatures, 

narrative subjectivity, Peter Jackson, 

Frances Walsh, Kate Winslet 

Ruth McElroy 

University of Glamorgan, Cardiff 

School of Creative and Cultural 

Industries, University of Glamorgan, 

Cardiff, CF14 3NL, United Kingdom 

Keywords historical reality, 

documentary, acting, performance 

Patrick McGilligan 

Marquette University, Department of 

Communication Studies, 2746 N. 

Frederick Avenue, Milwaukee, 

Wisconsin, WI 53211, United States 

of America 

Keywords Larry Cohen, City College 

of New York, 1950s, television, 

screenwriting, writer-director, Larry 

Gordon, Michael Eisner, producerwriter, 

genre 

New Zealand film and Hollywood Cinema, including chapters in the 

Italian encyclopaedia Storia del cinema mondiale (Einaudi, 2001) and 

The Cinema of Australia and New Zealand (Wallflower, 2007). He 

currently teaches film studies at Massey University in Auckland. 

› The physician who assumed his patient's fever: Peter Jackson's narrative 

strategy in Heavenly Creatures, Studies in Australasian Cinema, 1.2, 161- 

174. 

Ruth McElroy is Principal Lecturer in Communication, Cultural and 

Media Studies in the School of Creative and Cultural Industries, 

University of Glamorgan. She has published on lifestyle television, TV 

drama, Welsh media and cultural identity in journals such as Critical 

Studies in Television, Television and New Media and the European 

Journal of Cultural Studies for which she is book reviews editor. 

› Real performance: Ordinary people and the problem of acting in constructed 

documentaries, Studies in Documentary Film, 4.3, 253-266. 

Patrick McGilligan is the author of a number of well-known books 

about film including the New York Times Notable Books George 

Cukor: A Double Life and Fritz Lang: The Nature of the Beast, both 

film director biographies. His biography of Alfred Hitchcock, Alfred 

Hitchcock: A Life in Darkness and Light, published by HarperCollins 

in 2003, was nominated for an Edgar Award by the Mystery Writers of 

America. His most recent book, Oscar Micheaux: The Great and Only, 

was published by HarperCollins in June 2006. He is also the co-editor 

of Tender Comrades, a definitive oral history of the Hollywood 

blacklist, and edits a continuing series of books of interviews with 

screenwriters called Backstory for the University of California Press. 

› Alvin Sargent: Pursuit and Destination, Film International, 1.5, 24-31. 

› Film Crazy: An Interview with Larry Cohen, Film International, 2.11, 4-25. 

› Walter Hill:Last Man Standing, Film International, 2.12, 12-25. 


› Interviews, Film International, 8.3, 82-90.

Joseph McGonagle 

University of Manchester, School of 

Languages, Linguistics & Cultures, 

Oxford Road, Manchester, M13 9PL, 


Keywords ethnicity, Marseilles, 

Mediterranean, Rai, Robert 

Guédiguian, France 

Andrew McGregor 

University of Melbourne, French 

Department, School of Languages & 

Linguistics, Babel Building, Parkville, 


Keywords nation-state, ethnography, 

transnational, orientalism, song 

Brian McIlroy 

University of British Columbia 

Keywords Northern Ireland 

'Troubles', transnationalism 

A Lecturer in Cultural Studies in the French-speaking World, Dr 

Joseph McGonagle researches representations of ethnicity in French 

and francophone film and photography. He has published articles on 

French television and photography in French Cultural Studies (2002) 

and Modern and Contemporary France (2005) and an interview with 

the British-based Franco-Algerian artist Zineb Sedira in (2006). His 

Ph.D. thesis (The University of Manchester, 2006) considered 

representations of ethnicity in French film and photography since the 

1980s and he is currently completing a monograph (under contract with 

Manchester University Press) that expands this research to consider 

representations of ethnicity within contemporary French visual culture. 

› The end of an era: Marseilles at the millennium in Robert Guédiguian's La 

Ville est tranquille (2001), Studies in French Cinema, 7.3, 231-242. 

› ‘Gently does it: Ethnicity and cultural identity in Olivier Ducastel and 

Jacques Martineau's Drôle de Félix (2000)’, Studies in European Cinema, 

4.1, 21-34. 

Dr Andrew McGregor is Lecturer in French Studies at The University 

of Melbourne. He is the author of Film Criticism as Cultural Fantasy: 

The Perpetual French Discovery of Australian Cinema (Peter Lang, 

2010). Andrew is the founding co-editor of the Film Cultures series for 

Peter Lang Publishing, Bern. He holds a Master of Cinema Studies 

from the Université de Paris I – Panthéon-Sorbonne, and received a 

personal accreditation from the President of the Cannes International 

Film Festival. He lectures and publishes on European cinema and 

particularly on the representation and interpretation of cultural 

identities in film. 

› Home, sweet home: The significance of the apartment in the film Malen'kaia 

Vera/Little Vera, Studies in European Cinema, 8.1, 57-65. 

› French cinema in exile: trans-national cultural representation in Tony Gatlif 

’s Gadjo Dilo, New Cinemas: Journal of Contemporary Film, 6.2, 75-83. 

Dr. Brian McIlroy is Professor of Film Studies at the University of 

British Columbia. He is the author of Shooting to Kill: Filmmaking and 

the 'Troubles' in Northern Ireland (Richmond: Steveston Press, 2001) 

and the editor of Genre and Cinema: Ireland and Transnationalism 

(London and New York: Routledge, 2007). 

› A Swiftian Sunday, Short Film Studies, 1.2, 283-286.

Tony McKibbin 

University of Edinburgh, Film, Media 

& Contemporary Cultures, 11 

Buccleuch Place, Edinburgh, EH8 

9LW, United Kingdom 

Keywords film critic, French cinema, 

Hollywood 

Kristi McKim 

Hendrix College, Fausett English 

Department 7, 1600 Washington Ave, 

Conway, Arkansas, AR 72032, 


Keywords Japanese cinema, French 

cinema, time, environmental changes, 

emotion 

Laura McMahon 


of French, Faculty of Modern and 

Medieval Languages, Sidgwick 

Avenue, CB3 9DA, United Kingdom 

Keywords Nancy, Derrida, touch, 

community, politics, justice 

Tony McKibbin is an independent film critic in Edinburgh. He teaches 

film courses in Open Studies at The University of Edinburgh. He is 

also a regular contributor to the Scottish listings magazine The List, and 

writes frequently for various magazines and journals including Film 

Ireland and Senses of Cinema. 

› La Captive and the power of love, Studies in French Cinema, 3.2, 93-100. 

› The Chaos of the Organs: Isabelle Huppert's Reverse Pygmalionism, Studies 


› Amplification over procrastination: searching out the possible in Va savoir, 


Kristi McKim is an Assistant Professor of Film and English and 

Programme Chair of Film Studies at Hendrix College. Her recent 

article in Camera Obscura, ‘Learning to Love What Passes: Sensual 

Perception, Temporal Transformation, and Epistemic Production in 

Hirokazu Kore-eda’s After Life (1998)’, combines analysis of classical 

Japanese film aesthetics and cinematic, seasonal and gendered time to 

argue that film gives its viewers the time to learn a sensual and 

sensitive way of being in the world. Her work has appeared in Senses 

of Cinema, Film-Philosophy, Film International and Film Quarterly. 

› Time, scale and cinephilia in the cinematic elegy: Agnès Varda’s Jacquot de 

Nantes, Studies in French Cinema, 8.3, 211-227. 



Laura McMahon works on twentieth-century and contemporary French 

and francophone cinema, philosophy and theory, with a particular 

focus on issues of community, relationality and responsibility. Her 

monograph, Cinema and Contact: The Withdrawal of Touch in Nancy, 

Bresson, Duras and Denis (Legenda, 2011), draws on the work of 

Jean-Luc Nancy in an investigation of the aesthetics and politics of 

touch in cinema. Her current research project explores the idea of 

community in contemporary French and francophone film, including 

work by Godard, Varda, Klotz, the Dardennes, Assayas, des Pallières 

and Denis. She is the co-editor of Rhythms: Essays in French 

Literature, Thought and Culture (Peter Lang, 2008).

Isabelle McNeill 


of French, 6 Derby Rd, Cambridge, 

Cambridgeshire, CB1 7BU, United 


Keywords Éloge de l’amour, Godard, 

Frodon, Freud, human memory, 

France 

Louise McReynolds 


Chapel Hill, Department of History, 

North Carolina, United States of 

America 

Keywords gaze, melodrama, Lacan, 

Mulvey, patriarchy 

Terence McSweeney 

Keywords Andrei Tarkovsky, 

memory, Russian Cinema, South East 

Asian Cinemas, video game theory 

› The withdrawal of touch: Denis, Nancy and L'Intrus, Studies in French 


Isabelle McNeill is Philomathia Fellow in French at Trinity Hall, 

University of Cambridge, where she teaches French film and literature. 

She is the author of Memory and the Moving Image: French Film in 

the Digital Era (EUP, 2010). 

› Phrases, monuments and ruins: melancholy history in Éloge de l’amour 



Louise McReynolds is Professor of History at the University of North 

Carolina at Chapel Hill. Her primary research interest lies in the 

middlebrow culture of late imperial Russia, as reflected in her major 

publications, The News Under Russia’s Old Regime: The Development 

of the Mass-Circulation Press (Princeton University Press, 1991), and 

Russia at Play: Leisure Activities at the End of the Tsarist Era (Cornell 

University Press, 2003). 

› Demanding men, desiring women and social collapse in the films of Evgenii 

Bauer, 1913–17, Studies in Russian and Soviet Cinema, 3.2, 145-156. 

Dr Terence McSweeney is an independent researcher who has 

published on a variety of film, history and literature topics. He 

completed his Ph.D. at the University of Essex on Andrei Tarkovsky in 

2009. He is the co-editor of Millennial Cinema: Memory in 

Contemporary Global Film (Wallflower Press, 2011). His most recent 

project is a full length book called Contemporary American Cinema: 

9/11 Frames per Second. His research specialisms are: Andrei 

Tarkovsky; Russian cinema from pre-Soviet to post-Glasnost; South 

East Asian Cinemas (especially South Korea); cinematic 

representations of memory; film theory; video game theory; Gilles 

Deleuze.

Giuseppina Mecchia 


of French and Italian, 1328 Cathedral 

of Learning, Pittsburgh, United States 

of America 

Keywords child-director, Gilles 

Deleuze, Jacques Rancière, Michael 

Haneke, internal 

Andy Medhurst 

University of Sussex, School of 

Humanities, Brighton, East Sussex, 

BN1 9RQ, United Kingdom 

Keywords Almodóvar, comedy, 

queer cinema, art cinema 

Monika Mehta 

Binghamton University, Department 

of English, PO Box 6000, 

Binghamton, New York, 13902-6000, 


Keywords postcolonial literature and 

film, globalization, diaspora, gender 

and sexuality, South Asian cinema, 

Bombay cinema 




Giuseppina Mecchia is associate professor of French and Italian at the 

University of Pittsburgh. She has published articles on political 

subjectivity and on sexual and national politics in French literature and 

culture. She has co-edited and translated a special issue of Sub-Stance 

on contemporary Italian political thought. She is currently working on 

a book about contemporary French and Italian political thought. 

› The Children Are Still Watching Us, Caché/Hidden in the folds of time, 


Andy Medhurst works in the Department of Media and Film at the 

University of Sussex. He is the co-editor of Lesbian and Gay Studies: 

A Critical Introduction (Cassell 1997) and the author of A National 

Joke: Popular Comedy and English Cultural Identities (Routledge 

2007). 

› Heart of farce: Almodóvar's comic complexities, New Cinemas: Journal of 


Monika Mehta is an Assistant Professor in the Department of English 

at Binghamton University. Her research and teaching interests include 

postcolonial literature and film; globalization, diaspora, and cultural 

production; gender and sexuality; cinema in south Asia; the state and 

the entertainment industry. She is currently completing her bookmanuscript, 

Selections: Cutting, Classifying, and Certifying in Bombay 

Cinema, which examines censorship of sex in Bombay cinema. She has 

also begun research on her next project, Disjunct Economies: Libidinal 

and Material Investments in Bombay Cinema, which explores how 

processes which go under the name of ‘globalization’ have 

reconfigured relations among Bombay cinema, the Indian state, and 

Indian diasporic communities.

Glenda Mejía 

RMIT University, School of Global 

Studies, Social Science & Planning, 

Building 37, Level 5, Swanston 

Street, Melbourne, Victoria, 3000, 

Australia 

Keywords Fernando Pérez, women, 

Cuban cinema, special period, identity 

Paul Melo e Castro 


Spanish, Portuguese and Latin 

American Studies, School of Modern 

Languages and Cultures, Leeds, LS2 

9JT, United Kingdom 

Keywords Portuguese cinema, 

lusophone African cinema, the city, 

Manoel de Oliveira, photography, 

photobooks 

Adam Melvin 

University of Ulster, School of 

Creative Arts, Magee College, Room 

MQ209, Londonderry, BT48 7JL, 

› A Certification Anomaly: The Self- Sacrificial Female Body in Bombay 

Cinema, Studies in South Asian Film & Media, 1.1, 119-144. 

Dr. Glenda Mejía completed her Masters in Arts at The University of 

Queensland, Brisbane, Australia, in the field of Socio-linguistics. She 

also completed her Ph.D. studies at The University of Queensland, 

Brisbane, Australia, in the field of Culture and Cinema Studies, with a 

dissertation entitled ‘The Representation of Women in Revolutionary 

Cuban Cinema’. She has taught Spanish language at The University of 

Queensland since 1998 and also lectured in Spanish Language Studies 

at Griffith University, Brisbane, Australia. Her primary research 

interests include Cuban and Latin American cinema, women’s studies, 

and cross-cultural studies. Currently she lectures and coordinates the 

Spanish Language Studies at RMIT University, Victoria, Australia. 

› Madagascar: Un viaje interno, Studies in Hispanic Cinemas, 3.2, 101-108. 

Paul Melo e Castro completed his Ph.D. entitled ‘Aspects of the 

Representation of 1960s Lisbon in the Novel, the Photobook and Film’ 

in 2008. He is currently Leverhulme Early Career Fellow at the 

University of Leeds. His research interests include twentieth-century 

Portuguese literature, film and photography, with a particular focus on 

the city in literature; detective fiction; documentary film; street 

photography; and the photobook. His current research concerns Goan 

literature in Portuguese, partly in relation to other Lusophone 

postcolonial literatures and to postcolonial theory more generally. 

› Circling the city in Fernando Lopes' Belarmino (1964), Studies in European 

Cinema, 6.2&3, 179-189. 

› Reviews, New Cinemas: Journal of Contemporary Film, 6.2, 153-160. 

Adam Melvin is a composer, saxophonist and researcher, and is 

Lecturer in Popular and Contemporary Music at Magee College, 

University of Ulster, Derry, Northern Ireland. He studied Music at 

Queen’s University Belfast and Composition at the Guildhall School of 

Music and Drama and the Royal Academy of Music, London. He has

Ireland 

Keywords music, moving image, 

performance 

Germán Labrador 

Méndez 

Princeton University, Department of 

Spanish and Portuguese Languages 

and Cultures, 347 East Pyne, 

Princeton, NJ 08544, United States of 

America 

Keywords Spanish culture, Spanish 

literature, avant- garde, modernity 

Xavier Mendik 

Brunel University, Department of 

Screen Media, Gaskell Building 106, 

Uxbridge, UB8 3PH, United 


Keywords Rottweiler, The Fantastic 

Factory, body, sexual taboos, 

Reaganite cinema 

given research papers on music and moving image, site-specific 

performance and collaborative practice at conferences in London 

(Institute of Musical Research) and New York (NYU Steinhardt), 

amongst others. 

› Sonic motifs, structure and identity in Steve McQueen’s Hunger, The 


Germán Labrador Méndez (Ph.D. Spanish Literature, Universidad de 

Salamanca, Spain) is an Assistant Professor in Modern and 

Contemporary Peninsular Literature. His teaching and research 

interests include post-dictatorial Spanish cultural studies, the avantgarde 

and modernity in Spain, and twentieth-century Spanish literature. 

He has published Letras arrebatadas. Poesía y química en la transición 

española (Madrid: Devenir, 2008), a study of poetic and politic 

practices under the influence in the cultural atmosphere of the 1970’s in 

Spain. 

› The biopolitics of death in Chapero-Jackson's Alumbramiento, Short Film 

Studies, 1.2, 211-214. 

Xavier Mendik is Director of the Cult Film Archive and Convenor of 

the MA in Cult Film and TV at Brunel University. He has published 

widely on the subjects of cult, underground and Eurotrash cinema. His 

key publications (as author/editor/coeditor) include Dario Argento’s 

Tenebrae (2000), Unruly Pleasures: The Cult Film and its Critics 

(2000), Shocking Cinema of the Seventies (2002), Underground USA: 

Filmmaking Beyond the Hollywood Canon (2002), Alternative Europe: 

Eurotrash and Exploitation Cinema Since 1945 (2004) and Fear 

Theory: Case Studies in European and American Horror Cinema 

(forthcoming). He coordinates two book series: AlterImage and 

Cultographies (with Ernest Mathijs and Jamie Sexton). 

› Blood, Buns and Body Humour:, Film International, 1.3, 29-31. 

› Resurrecting Horror: Rottweiler and the Fantastic Films of Brian Yuzna, 



› Menstrual meanings: Brett Sullivan discusses werewolves, hormonal horror 

& the Ginger Snaps audience research project, Film International, 4.21, 78- 

83.

Rajiv Kannan Menon 

George Washington University, 

English and International Affairs, 

2401 H Street NW, Washington DC, 


Keywords gender, film, Chemmeen, 

Manichitrathazhu, violence 

Leigh Mercer 

University of Washington, Spanish 

Literature and Culture, Seattle, 

Washington, United States of 

America 

Keywords trick film, silent cinema, 

Segundo de Chomón, modernity, 

surrealism 

Jason Merrill 

Michigan State University, A-643 

Wells Hall, East Lansing, MI 48824, 


Keywords post-Soviet cinema, 

gender, feminism, intertextuality, 

Moscow 

Rajiv Kannan Menon is a fourth-year student of English and 

International Affairs at the George Washington University in 

Washington DC. His research interests include South Asian literary and 

cultural studies, with a focus on South India and its diaspora. His 

current research examines dynamics of regionalism and 

cosmopolitanism in south Indian literature and film. 

› Intimate terrors: changing representations of structural violence against 

women in Malayali cinema, Studies in South Asian Film & Media, 1.2, 285- 

302. 

Professor Leigh Mercer is Assistant Professor of eighteenth- to 

twentieth-century Spanish Literature and Culture at the University of 

Washington. She has published articles on the role of the museum in 

the formation of the middle class in nineteenth-century Spain, as well 

as on the evolution of dueling in modern Spain. Having recently 

completed a book manuscript on the intersections of class, gender and 

public space in nineteenth-century Spain, Mercer is working on a new 

project about the experimental films of the early silent era in Spain and 

their impact on avant-garde filmmakers of the 1920s. These 

experimental films include trick films, radical city views, and the 

earliest Spanish pornographic cinema. 



› Fear at the hands of technology: The proto-Surrealism of the films of 

Segundo de Chomón, Studies in Hispanic Cinemas, 4.2, 79-90. 

Jason Merrill is Associate Professor of Russian at Michigan State 

University (East Lansing, USA). In addition to Russian cinema he 

researches questions of intertextuality in the works of the Russian 

Symbolists. He is also a co-author of Russian Animation for 

Conversation (Focus, 2008). 

› Gender and nationality in Iurii Kuzin's The Ark, Studies in Russian and 


Sergi Mesonero Burgos 

Keywords specialized festivals, video 

technologies, film distribution, 

European coordination of film 

festivals, High Definition 

Martin Mhando 

Murdoch University, School of Media 

Communication & Culture, Murdoch, 

WA, 6150, Australia 

Keywords distribution, globalization, 

anglophone, reception, media, film 

value chain study 

Nhamo Anthony 

Mhiripiri 

Midlands State University and 

University of KwaZulu-Natal, Media 

& Society Studies Department, Postal 

Bag 9055, Gweru, Masizi Kunene 

Ave, Zimbabwe 

Keywords music promoters, political 

economy of music, music policy, 

stardom, Zimbabwean music industry 

Sergi Mesonero Burgos works for the Cultural Promotion Unit of the 

Barcelona Autonomous University (UAB) where he co-directs the 

UAB’s International Film-Essay Award and runs a workshop on 

independent film promotion and distribution. He has directed two 

festivals (Mostra Lambda and the Barcelona International Gay and 

Lesbian Film Festival) and was a founding member of Plataforma, the 

first film festival coordination body in Spain. From 2005 he also runs 

an annual seminar on film festivals at Observatorio de Cine. 

› A Festival Epidemic in Spain, Film International, 6.4, 8-13. 

Martin Mhando is Associate Professor in Media Studies at Murdoch 

University in Australia. He heads the Participatory Media Hub of the 

National Academy for Screen and Sound (NASS) at Murdoch 

University and his areas of interest include Indigenous knowledge, 

media and trauma, and African cinemas. His latest writing on 

Zimbabwean cinema appears in the forthcoming Cinema and 

Landscape edited by Graeme Harper. He is also an award winning 

film-maker (Mama Tumaini 1987, Maangamizi 2000, Liyarn Ngarn 

2007) and Festival Director of the Zanzibar International Film Festival. 

› Globalization and African cinema: distribution and reception in the 

anglophone region, Journal of African Cinemas, 1.1, 19-34. 

› Creative/Cultural industries financing in Africa: A Tanzanian film value 

chain study, Journal of African Cinemas, 2.1, 3-25. 

› Festival Reviews, Journal of African Cinemas, 2.2, 167-193. 

Nhamo Anthony Mhiripiri is a Media and Cultural Studies scholar 

interested in film studies, visual anthropology, political economy of the 

media, the music industry and copyright. He has published book 

chapters and articles in Emerging Perspectives on Dambudzo 

Marechera (Africa World Press 1999), he Hidden dimensions of 

Operation Murambatsvina (Weaver 2008) and Visual Anthropology, 

Critical Arts, Screening the Past and Muziki. He has published fiction 

and poetry in Dreams, Miracles & Jazz (Picador 2008), No more 

plastic balls (College Press 2000), A Roof to Repair and Creatures 

Great and Small (Mambo Press 2005) and State of the Nation 

(Conversation Press 2010). 

› Thematic concerns in the emergent Zimbabwean short film genre, Journal of 

African Cinemas, 2.2, 91-109.

Graciela Michelotti 

Haverford College, 370 Lancaster 

Ave, Haverford, PA, 19041, United 


Keywords Latin American literature, 

Latin American cinema, women, 

historical fiction 

Jeffrey Middents 

American University, Department of 

Literature, 4400 Massachusetts 

Avenue NW, Washington, DC 20016- 


Keywords Peruvian cinema, national 

cinemas, genre, stardom, short films 

Robert J. Miles 

University of Hull, Department of 

Film, Hull, HU6 7RX, United 


Keywords Mexico, virginity, 

nationality, Derrida, Freud 

Graciela Michelotti is Associate Professor of Spanish at Haverford 

College. She works primarily with Latin American literature and film, 

with a special emphasis on women creators and subjects and historical 

fiction. 

› Contrasts in Alumbramiento, Short Film Studies, 1.2, 203-206. 

Jeffrey Middents teaches and studies world literature and film as 

Associate Professor of Literature at American University in 

Washington, DC. His book, Writing National Cinema: Film Journals 

and Film Culture in Peru (Dartmouth College Press, 2009) investigates 

the historical place of cultural writing within a national discourse by 

tracing how Peruvian cinema was shaped by local film criticism. His 

film-oriented courses cover a wide range of concepts, including 

national cinemas, genre, the auteur, stardom, film criticism, and short 

films. Professor Middents also curates the Short Films Blog 

(http://shortfilmsblog.blogspot.com). 

› Not the same ones you sang when you were little: children, Spain and 

Chapero-Jackson's Alumbramiento, Short Film Studies, 1.2, 187-190. 

Robert J. Miles is Lecturer in Spanish at the University of Hull. He is 

the author of articles on Picasso and Víctor Erice. He previously taught 

at the universities of Portsmouth and Leeds. He teaches literature art 

and film on all Hispanic culture modules as well as contributing to 

interdisciplinary, cross-departmental modules such as Representations 

of the Past in European Film. He also teaches Spanish language and 

translation at all levels. His research interests include theories of 

influence and trauma, modernity and cultural memory, especially 

representations of the Spanish Civil War and its aftermath, the 

experience of exile and Spain under Franco in art and film. 

› Virgin on the edge: Luis Buñuel's transnational trope, Studies in Hispanic 


› Book Reviews, New Cinemas: Journal of Contemporary Film, 2.1, 61-.

Kathryn Millard 

Macquarie University, Media, Music, 

Communication and Cultural Studies, 

Building Y3A, North Ryde, Sydney, 

NSW 2109, Australia 

Keywords screenwriting, psychology, 

screen practice research, digital 

cinema, independent cinema, script 

development, colour theory, 

photography 

Benjamin Miller 

University of Sydney, Faculty of Arts 

and Social Sciences, Room 328B Old 

Teachers' College, Writing Hub, 

Sydney, New South Wales, 2006, 

Australia 

Keywords radiance, Aboriginal 

cinema, Aboriginal, whiteness, 

blackface 

Jamie Miller 

Keywords repression, politics, 

Stalinism, Association of 

Revolutionary Cinematography 

(ARRK), Soiuzdetfil'm, Margarita 

Barskaia 

Kathryn is a writer and filmmaker with a body of work that is highly 

awarded and internationally recognized. Kathryn’s current work 

focuses on how writing for the screen is shifting in our digital era. 

Kathryn’s feature documentary about Chaplin imitators in India The 

Boot Cake premiered at the Pordenone Silent Film Festival in 2008. It 

was subsequently selected for Chicago International Film Festival’s 

feature documentary competition, Docfest, and has screened in 

competitive festivals around the globe. Kathryn’s 2003 feature film 

Travelling Light was nominated for four Australian Film Institute 

awards including Best Original Screenplay (feature) and winner of Best 

Supporting Actress for Sacha Horler, as well as being nominated for 

Best Original Screenplay (feature) at the AWGIES. 

› After the typewriter: the screenplay in a digital era, Journal of Screenwriting, 

1.1, 11-25. 

› Reviews, Journal of Screenwriting, 1.2, 389-399. 

Benjamin Miller is the Associate Director of the Writing Hub at the 

University of Sydney. He has published on authors/directors such as 

David Unaipon, Charles Chauvel and Rachel Perkins, drawing on 

theories of whiteness and performativity. His current research uses 

theories of rhetoric to investigate the communicative traditions (British, 

American, Aboriginal, etc) that have shaped Australian culture. 

› Australians in a vacuum: the socio-political ‘stuff’ in Rachel Perkins’ 

Radiance, Studies in Australasian Cinema, 2.1, 61-71. 

Jamie Miller specialises in the relationship between politics and film in 

the USSR under Lenin and Stalin. He is the author of Soviet Cinema: 

Politics and Persuasion under Stalin(London and New York, I.B. 

Tauris, 2010) and journal articles about Soviet film in the 1930s. He is 

currently researching the history of the Mezhrabpom film studio over 

the period 1923-1936. 

› The purges of Soviet cinema,1929-38, Studies in Russian and Soviet Cinema, 

1.1, 5-26. 



› Book Reviews, Studies in Russian and Soviet Cinema, 4.3, 355-377.

Toby Miller 

University of California Riverside, 

Media & Cultural Studies, Riverside, 

California, United States of America 

Keywords media, culture, sport, 

Marxism, globalization 

Janice Miller 

University of the Arts London, 

London College of Fashion, 

University of the Arts London, 272 

High Holborn, London WC1V 2EY 

Keywords 

Brett Mills 

University of East Anglia, School of 

Film and Television Studies, 

University of East Anglia, NR4 7TJ, 

UK 

Keywords textual analysis, pleasure, 

humour theory, Joan Rivers, stand-up 

comedy 

Toby Miller is the author and editor of over 30 books, has published 

essays in more than 100 journals and edited collections, and is a 

frequent guest commentator on television and radio programmes. His 

teaching and research cover the media, sports, labour, gender, race, 

citizenship, politics, and cultural policy, as well as the success of 

Hollywood overseas and the adverse effects of electronic waste. 

Miller's work has been translated into Chinese, Japanese, Swedish, 

German, Spanish and Portuguese. He has been Media Scholar in 

Residence at Sarai, the Centre for the Study of Developing Societies in 

India, Becker Lecturer at the University of Iowa, a Queensland Smart 

Returns Fellow in Australia, Honorary Professor at the Center for 

Critical and Cultural Studies, University of Queensland, CanWest 

Visiting Fellow at the Alberta Global Forum in Canada, and an 

International Research collaborator at the Centre for Cultural Research 

in Australia. 


Janice Miller is Senior Lecturer in Cultural and Historical Studies at 

London College of Fashion, University of the Arts London. Recent 

published work includes the monograph Fashion and Music published 

by Berg in 2011. 

› The Runaways: Music, fashion and 'post-feminism', Film, Fashion & 

Consumption, 1.2, 187-201. 

Brett Mills is Head of the School of Film and Television Studies, 

University of East Anglia. He is the author of Television Sitcom (BFI, 

2005) and The Sitcom (Edinburgh, 2009) and co-author of Reading 

Media Theory: Thinkers, Approaches, Context (Pearson, 2009). He is 

currently undertaking the three-year AHRC-funded project, Make Me 

Laugh: Creativity in the British Television Comedy Industry. 


Andrea Mirabile Andrea Mirabile is assistant professor of Italian at Vanderbilt 

University. He is the author of two books: Le strutture e la storia

Vanderbilt University, VU Station B 

#356312, 2301 Vanderbilt Place, 

Nashville, TN 37235- 6312, United 


Keywords documentary, Giuseppe 

Bertolucci, consumerism, fascism, 

Roberto Longhi, meta-cinema, Pier 

Paolo Pasolini, Donatien-Alphonse- 

François de Sade 

Anna Misiak 

University College Falmouth, Film, 

Tremough Old House, Tremough 

Campus, Falmouth, Cornwall, TR10 

9EZ, United Kingdom 

Keywords Polish cinema, postcommunist 

film, Eastern European 

cinema, cultural trauma 

Peta Mitchell 


English, Media Studies and Art 

History, St Lucia, QLD 4072, 

Australia 

Keywords affective landscape, 

landscape, media geography, tourism, 


(2006) on semiotics and historicism in Italy and Scrivere la pittura 

(2009) on Roberto Longhi and his influence. He is currently working 

on D’Annunzio and the birth of Italian cinema. 

› Documentary film as equivalence: Giuseppe Bertolucci’s Pasolini prossimo 

nostro (2006), Studies in Documentary Film, 5.2-3, 133-144. 

Anna Misiak is senior lecturer in Film at University College Falmouth 

in Cornwall. She holds a Ph.D. in Sociology from the Institute of 

Philosophy and Sociology, Polish Academy of Sciences, in Warsaw, 

Poland. She was a Fulbright grantee at the School of Cinema- 

Television at the University of Southern California in Los Angeles, and 

a Polish–Czech government grantee at Charles University in Prague. 

She worked for the American Studies Center, Warsaw University, 

where she taught several courses in film (history and theory), 

communication and social studies. She has published her book (in 

Polish) on film censorship in various political regimes. 

› Our own courtyard: Post-traumatic Polish cinema, New Cinemas: Journal of 


Dr Peta Mitchell is Lecturer in Writing at the School of English, Media 

Studies and Art History, University of Queensland, and author of 

Cartographic Strategies of Postmodernity (Routledge, 2008) and a 

forthcoming monograph, Contagious Metaphor (contracted by 

Continuum). Her current book project examines cross-disciplinary uses 

of the metaphor of contagion, and she is also working on an ARCfunded 

collaborative research project, entitled 'A Cultural Atlas of 

Australia: Mediated Spaces in Theatre, Film, and Literature', with 

colleagues Jane Stadler and Stephen Carleton. Her research interests 

include critical theory, contemporary fiction, metaphor, cartography, 

new media technologies, academic discourse, and open-access 

publishing. 

› Never-Never Land: affective landscapes, the touristic gaze and heterotopic 

space in Australia, Studies in Australasian Cinema, 4.2, 173-187.

Lora Wheeler Mjolsness 

University of California, Irvine, 

School of Humanities, 112 

Humanities Office Building, Irvine, 

CA 92697, United States of America 

Keywords animation, Soviet Toys, 

Viktor Deni, advertising, agitational 

journalism 

Kristian Moen 


Drama, University of Bristol, 

Cantocks Close, Bristol, BS8 1UP, 


Keywords cinema and modernity, 

cinema and fantasy, film and fairy 

tales 

Raphaëlle Moine 

Université Sorbonne Nouvelle – Paris 

3, UFR cinéma et audiovisuel, Paris 

3, 13 rue de Santeuil, Paris Cedex 05, 

75231, France 

Keywords star, comédie de 

boulevard, historical film, national 

identity, theatre, Sacha Guitry 

Lora Wheeler Mjolsness is a lecturer in the programme of Russian 

Studies at the University of California, Irvine. She received her Ph.D. 

in Slavic Languages and Literatures from the University of Southern 

California. Her dissertation 'Children in Transition: Popular Children's 

Magazines in Late Imperial and Early Soviet Russia, 1900-1932', 

explores the themes of the orphaned hero, the female protagonist, the 

role of education and the use of fantasy in these magazines. Her most 

recent publications have been on Russian and Soviet animation, both 

for children and adults. Her other interests include nineteenth- and 

twentieth-century Russian literature, Russian and Soviet cinema, 

modern Russian art and Russian folklore. 

› Dziga Vertov’s Soviet Toys: Commerce, Commercialization and Cartoons, 


Kristian Moen is a Lecturer in Screen Studies in the Department of 

Drama: Theatre, Film, Television at the University of Bristol. He has 

published and presented on topics including nineteenth-century visual 

culture, cinema and modernity, and the relationship between cinema 

and fantasy. He is currently completing a monograph on film and fairy 

tales. 

› The ‘Education of the Eye’: Social aesthetics and Émile Vuillermoz’s early 

film criticism, Studies in French Cinema, 11.3, 169-180. 

Raphaëlle Moine is Professor of Cinema and Media Studies at 

l’Université Sorbonne Nouvelle – Paris 3. She has published Les 

Genres du cinéma (2002; translated into English in 2008), Remakes: 

les films français à Hollywood (2007), and Les Femmes d’action au 

cinéma (2010). She has edited a number of volumes, including Fictions 

patrimoniales sur grand et petit écran (with Pierre Beylot, 2009). She 

is preparing a monograph on Sacha Guitry. 

› The star as the ‘great man’ in French cinema: the example of Sacha Guitry, 


› Le biopic la franaise: de l'ombre la lumire, Studies in French Cinema, 10.3, 

269-287.

Caroline Moine 

University of Versailles Saint- 

Quentin-en-Yvelines, History, 9 rue 

Edouard Manet, Paris, 75013, France 

Keywords Leipzig Documentary 

Film Festival, Glasnost, perestroika, 

USSR Cinema Association, Elem 

Klimov, COMECON prize, DEFA, 

history, German cinema, film festival, 

documentary 

David Montero 

University of Bath, Department of 

European Studies and Modern 

Languages, Claverton Down, Bath, 

BA2 7AY, United Kingdom 

Keywords Chris Marker, Sans soleil, 

Deleuze, time, Vertigo 

Anna Morcom 


London, Music Department, Egham, 

Surrey, TW20 0EX, United Kingdom 

Keywords performing arts, 

modernity, nationalism, globalization, 

economic development 

Caroline Moine is a film historian and Ph.D. student at the Paris 

1/Sorbonne University, though presently living in Berlin. Her main 

interest is GDR fiction films and documentaries. The theme of her 

dissertation is the history of the international documentary film festival 

in Leipzig between 1955 and 1990. 

› Gone with the Eastern Wind, Film International, 2.8, 6-13. 

David Montero is a part-time lecturer at the University of Bath. He has 

given several papers on transnational cinema and new models in nonfiction 

film-making. He is currently writing a Ph.D. on essayistic 

features in the work of Chris Marker, José Luis Guerín and Harun 

Farocki. 

› Film also ages: time and images in Chris Marker's Sans soleil, Studies in 


Anna Morcom’s research focuses on popular and ‘traditional’ 

performing arts in India and Tibet in the context of a range of issues 

related to the contemporary world, such as film, media, modernity, 

nationalism, globalization and economic development/marginalization. 

Key publications are Hindi film songs and the cinema (2007), ‘Indian 

popular culture and its “others”: Bollywood dance and anti-nautch in 

twenty-first century global India’ in K. Moti Gokulsing and Wimal 

Dissanayake (eds.) Popular culture in a globalised India (2008), and 

‘Modernity, power and the reconstruction of dance in post 1950s Tibet’, 

in Journal of the International Association of Tibetan Studies, Vol. 3 

(2007). 

› Bollywood, Tibet, and the spatial and temporal dimensions of global 

modernity1, Studies in South Asian Film & Media, 1.1, 145-172. 

Davide Morena Davide Morena was born in Potenza and graduated in Naples (Italy), 

where he cultivated his passion for arts and cinema. In 2000 he

Keywords Maurizio Nichetti, 

intermediality, commercial television, 

spectatorship, satire 

Ben Morgan 

Worcester College, Oxford 

University, Oxford, Oxfordshire, OX1 

2HB, United Kingdom 

Keywords German cinema, music, 

Nazi, film policy, 1930s, Fritz Lang, 

Leni Riefenstahl, Heimat movies 

Lisbeth Morlandstø 

University of Nordland, 8049 Bodø, 

Norway 

Keywords mental illness, violent 



mounted the Library of the Shoah Museum in Naples. He writes for 

many magazines as a cinematographic critic, then he moved to 

Bradford (UK), where he received a Masters in Electronic Imaging and 

Media Communication, and a specialization in British Cinema. There 

he published many essays on academic reviews and he produced and 

distributed some short movies. He has settled in Florence where he has 

become editor-in-chief of Mymovies.it, the most popular online 

magazine about cinema in Italy, and of MattoniGrandDrink.com, an 

international magazine on the beverage world. He is also author and 

producer of many events, as the Medicean Month, an annual festival on 

the Medici family, as well as of a wide number of works in the world 

of video and theatre. 

› Shifting frames of reference, or what Maurizio Nichetti’s Ladri di 

saponette/The Icicle Thief can tell us about watching films on television, 


Ben Morgan is Fellow and Tutor in German at Worcester College, 

Oxford. He has published on a wide range of topics including German 

cinema (Lang, Riefenstahl, the Heimat Film) and German intellectual 

history (Medieval Mysticism, Nietzsche, early psychoanalysis, 

Heidegger, the Frankfurt School). He has also published on 

contemporary literature (Jelinek, Trojanow). 

› Music in Nazi film: How different is Triumph of the Will?, Studies in 


Lisbeth Morlandstø, Ph.D. is Senior Lecturer in Mass communication 

and Journalism at University of Nordland. Her research areas are 

Journalism and disability and Journalism and psychiatry. 




209. 

Douglas Morrey Douglas Morrey lectures in French Cinema at the University of

University of Warwick, Department 

of French Studies, Coventry, CV4 

7AL, United Kingdom 

Keywords Éloge de l’amour, Godard, 

Histoire(s) du cinéma, Rivette, New 

Wave, Nouvelle Vague 

Nathalie Morris 

British Film Institute, Special 

Collections, 21 Stephen Street, 

London, United Kingdom 

Keywords British cinema, British 

Film Institute (BFI), women, silent 


Jim Morrissey 

Queen Mary, University of London, 

Film Studies, School of Languages, 

Linguistics and Film, E1 4NS, United 


Keywords French cinema, political 

engagement, Pierre Bourdieu, literary 

realism, popular 

Warwick. He has written a book surveying the entire career of Jean- 

Luc Godard, and co-authored, with Alison Smith of the University of 

Liverpool, a study of Jacques Rivette. He is now developing research 

into the legacy of the New Wave in French cinema. He has maintained 

an interest in contemporary French fiction and is currently completing 

a book about Michel Houellebecq for Liverpool University Press. 

› History of resistance/resistance of history: Godard’s Éloge de l’amour (2001), 


Nathalie Morris is the BFI’s Curator of Special Collections. Her Ph.D. 

was on the Stoll Film Company and British Cinema (1918–28), and she 

has published on various aspects of British cinema including women’s 

pictures of the 1920s and silent Sherlock Holmes adaptations. She is a 

member of the Women’s Film History project and is co-creator of the 

website Women and Silent British Cinema 

(http://womenandsilentbritishcinema.wordpress.com/). 

› Research Resources, Journal of Screenwriting, 1.1, 197-202. 

Jim Morrissey’s Ph.D. thesis, submitted in 2010, establishes a dialogue 

between Pierre Bourdieu’s writings on the French cultural field and the 

notion of political engagement in the French fiction film in the period 

since 1968. Jim’s publications include a prizewinning study of ‘Parisian 

voyages of self-discovery’ in Varda’s Cléo de 5 à 7 and Jeunet’s Le 

Fabuleux destin d’Amélie Poulain (2008) and a comparative study of 

French and British versions of the urban film as represented by 

Kassovitz’s La Haine and Saul Dibb’s Bullet Boy (2010). Jim has 

convened modules on The French New Wave and Contemporary 

French Cinema in the Department of Film Studies at Queen Mary, 

University of London. 

› Paris and voyages of self-discovery in Cléo de 5 à 7 and Le Fabuleux destin 

d'Amélie Poulain, Studies in French Cinema, 8.2, 99-110. 

John Morton John Morton is a Senior Lecturer in anthropology at La Trobe

La Trobe University, Anthropology, 

School of Social Sciences, Bundoora, 


Keywords myth, Aboriginal, 

sovereignty, Stolen Generations, 


Anne Eakin Moss 

John Hopkins University, Humanities 

Centre, Maryland, United States of 

America 

Keywords desire, sexuality, gaze, 

gender, spectator 

Miguel Mota 

The University of British Columbia, 

Department of English, Vancouver, 

B.C., V6T 1Z1, Canada 

Keywords British literature, British 

culture 

Matilda Mroz 


of Slavonic Studies, Sidgwick 

Avenue, Cambridge, CB3 9DA, 


Keywords postmodernism, film 

aesthetics, historical films, Polish 

University and has been involved in Aboriginal studies for some 30 

years. Apart from researching and teaching in the academy, he has also 

worked as a consultant in land rights, native title and Stolen 

Generations legal cases, mainly relating to central Australia, and as a 

senior curator at Museum Victoria. He has published widely in 

anthropology and Aboriginal studies and his recent publications 

include The Photographs of Baldwin Spencer (jointly edited with 

Philip Batty and Lindy Allen, Miegunyah Press, 2005). 

› Redeeming the bastard child: exploring legitimacy and contradiction in 


Anne Eakin Moss is a Mellon Postdoctoral Fellow in the Humanities 

Center at the Johns Hopkins University. She received her Ph.D. in 

Slavic Languages and Literatures from Stanford University in 2005. 

She is currently working on a book entitled Women’s Community in the 

Russian Imagination: Realism, Utopianism, Modernity (1863–2003). 

› Stalin's harem: the spectator's dilemma in late 1930s Soviet film, Studies in 


Miguel Mota is Associate Professor of English at The University of 

British Columbia in Vancouver, Canada, where he teaches in the area 

of contemporary British literature and culture. 

› Greenaway’s books: PeterGreenaway’s publishedscreenplays, Journal of 


Dr. Matilda Mroz is a British Academy Postdoctoral Fellow in the 

Department of Slavonic Studies at the University of Cambridge, and 

the Charles and Katherine Darwin Research Fellow at Darwin College. 

She has previously published on Andrzej Wajda (‘Fracturing the 

marble façade: visceral excavation in Andrzej Wajda’s Man of Marble’, 

Senses of Cinema, 2007) and Jerzy Skolimowski (‘Walkover’, Senses of 

Cinema, 2009). Her monograph on cinematic duration in the films of 

Andrei Tarkovsky, Michelangelo Antonioni, and Krzysztof Kieslowski

cinema, Dariusz Baliszewski is forthcoming. Her current research project examines post-war Polish 

war films and memorial practices in cinema. 

Gabriele Mueller 


Languages, Literatures & Linguistics, 

4700 Keele Street, Toronto, Ontario, 

M3J 1P3, Canada 

Keywords city spaces, German 

identity, European Union, social 

divisions, history, musealization 

processes 

Ishani Mukherjee 

University of Illinois at Chicago, 

Department of Communication, 

Illinois, United States of America 

Keywords South Asian cinema, 

blogging, social networking, 

globalization, human rights issues 

Graham Murdock 

Loughborough University, 

Department of Social Sciences, 

Leicestershire, LE11 3TU, United 


› Restless bodies, buried texts: Sikorski, The General, and the archive, Studies 

in Eastern European Cinema, 1.2, 153-165. 

Gabriele Mueller is Associate Professor of German at York University, 

Canada. Her main areas of research interest include German cinema 

and German cultural studies, in particular discourses on east German 

identity and their representations in German film and literature. She 

published on film censorship, DEFA films and contemporary German 


› ‘Welcome to Reality’. Constructions of German identity in Lichter (Schmid, 

2003) and Halbe Treppe (Dresen, 2002), New Cinemas: Journal of 


Ishani Mukherjee is currently a doctoral candidate in the Department of 

Communication at the University of Illinois at Chicago. Her areas of 

interest cover inter- and intra-cultural communication; online ethics; 

ethno-gender representations in online communication and films (with 

particular emphasis on South Asian cinema); and social uses of new 

media technologies, in particular blogging and social networking. Her 

current research focuses on the exchange of intersectional ethnocultural 

discourses in online South Asian communities as it pertains to 

human rights issues, globalization, immigration, and identity and 

gender negotiations online/offline. 

› The masala of globalism: Repositioning ‘dis/placement’ in the films of Mira 

Nair, Studies in South Asian Film & Media, 2.2, 85-106. 

Graham Murdock, Reader in the Sociology of Culture in the 

Department of Social Sciences at Loughborough University, has held 

the Bonnier Chair at the University of Stockholm and the Teaching 

Chair at the Free University of Brussels, and been a Visiting Professor 

at the Universities of California, Mexico City, Leuven, Helsinki and 

Bergen, where he taught for a decade. His work is available in nineteen

Keywords fate, risk, magic, media, 

networks 

Robert Murphy 

De Montfort University, Department 

of Media, Film and Journalism, 

Clephan Building, De Montfort 

University, Leicester, LE1 9BH, 


Keywords Britian, film noir, 

Pinewood, Ealing, crime, fugitive 

films, damaged male protagonist, 

Robert Hamer, Brighton Rock, The 

Third Man, The Spider and the Fly 

J. J. Murphy 


Department of Communication Arts, 

6035 Vilas Hall, 821 University 

Avenue, Madison, Wisconsin, 53726, 



screenwriting, screenplays, 

improvisation, visual storytelling 

Jill Murphy 


Studies, Dept. of Italian, Cork, Ireland 

languages, and major collections of his essays are currently in press in 

Poland, South Korea and China. His recent works include the co-edited 

collections Media in the Age of Marketisation and Digital Dynamics 

and the co-authored monograph The GM Debate. 

› Re-enchantment and the popular imagination: fate, magic and purity, 


Robert Murphy is Professor in Film Studies and course leader for the 

MA in Television Scriptwriting at De Montefort University, Leicester. 

Robert Murphy has written several books about British cinema, and 

Smash and Grab, a history of the London underworld in the first half of 

the 20th century. He is also the editor of Directors in British and Irish 

Cinema and The British Cinema Book. He has taught a wide range of 

film-related subjects, from ‘The Australian New Wave’ to 

‘Experimental Cinema’ to ‘A History of the Media Industries’. He also 

teaches courses on ‘Directors in British Cinema’ and ‘The Ever- 

Growing Empire of Film Noir’. 

› Dark Shadows around Pinewood and Ealing, Film International, 2.7, 28-35. 

J. J. Murphy is a film-maker. He has written articles that have appeared 

in Film Quarterly, Film Culture, Millennium Film Journal, Field of 

Vision and Film Studies: An International Review. He is the author of 

Me and You Memento and Fargo: How Independent Screenplays Work 

(Continuum, 2007). He teaches film production, screenwriting and 

cinema studies in the Department of Communication Arts at the 

University of Wisconsin-Madison, USA. 

› No room for the fun stuff: the question of the screenplay in American indie 

cinema, Journal of Screenwriting, 1.1, 175-196. 

Jill Murphy is a doctoral candidate at University College Cork and 

tutors on the MA programme in Film Studies at the college. Her 

research focuses on the intersection between art and film, particularly 

as regards Passion iconography. Recent publications include an article 

in Artefact: Journal of the Irish Association of Art Historians (Issue 4

Keywords art and film, Passion 

iconography, Derek Jarman’s 

Caravaggio, Pier Paolo Pasolini 

Stuart Murray 

Leeds University, School of English, 

Leeds, LS2 9JT, United Kingdom 

Keywords Maori culture, 

documentary, television, indigenous 

cinema, politics, New Zealand 

cinema, disability and film 

Leo Murray 

Murdoch University, School of Media 

Communication & Culture, South 

Street, Murdoch, WA 6150, Australia 

Keywords sound, authenticity, 

realism, documentary, drama, 

television 

Jonathan Murray 

Keywords Scottish culture, British 

cinema, animated documentary film 

2010) on mimesis and identity in Derek Jarman’s Caravaggio, and a 

chapter on art-historical readings of the Sacred in the early films of Pier 

Paolo Pasolini in Faith and Spirituality in Masters of World Cinema 

Volume II (Cambridge Scholars Press, Forthcoming 2011). 

› ‘To see a script’: Jean-Luc Godard’s re-envisioning of screenwriting in 

Passion (1982) and Scénario du film Passion (1982), Journal of 


Stuart Murray teaches in the School of English at the University of 

Leeds in the United Kingdom. He has published on literature and 

cultural history from New Zealand, Australia and other postcolonial 

contexts, and is the co-editor of New Zealand Filmmakers (Wayne 

State University Press, 2007). He has recently completed a monograph 

on the films of Barry Barclay entitled Images of Dignity: Barry 

Barclay and Fourth Cinema. 

› Activism, community and governance: Barry Barclay's The Kaipara Affair 

(2005), Studies in Australasian Cinema, 1.2, 147-160. 

Leo Murray worked as a Broadcast Engineer with ‘BBC Radio’ in 

London before moving to Australia and joining Murdoch University’s 

Media department. He is a Lecturer in Sound and Audio at Murdoch 

University in Perth and has also worked as a sound recordist and sound 

editor for drama and documentary films. He is currently doing a Ph.D. 

in Film Sound Theory and Practice. 

› Authenticity and realism in documentary sound, The Soundtrack, 3.2, 131- 

137. 

Jonathan Murray teaches Film and Visual Culture in the School of 

Design at Edinburgh College of Art. At present, his primary research 

interests are Scottish culture (visual or otherwise) and contemporary 

British cinema and animated documentary film. He also writes 

regularly on contemporary world cinema for a range of international 

publications, including Cineaste and Film International. In particular, 

He has published widely on Scottish film culture past and present.

Aaron Mushengyezi 

Makerere University, Department of 

Literature, Rm. 34 Faculty of Arts 

Bldg, P.O. Box 7062, Kampala, 

Uganda 

Keywords Islamic fundamentalism, 

terrorism, globalization, 

multiculturalism, Uganda, martyrs 

Charles Musser 

Yale University, Film Studies and 

American Studies, 53 Wall Street, 

New Haven, CT 06511, United States 

of America 

Keywords presidential elections, 

Barrack Obama, John McCain, 

Hillary Clinton, YouTube 

Selected books include: Discomfort and Joy: the Cinema of Bill 

Forsyth (Peter Lang, 2010) and (co-edited with Fidelma Farley and 

Rod Stoneman) Scottish Cinerma Now (Cambridge Scholars 

Publishing, 2009). 



Aaron Mushengyezi holds a Ph.D. from the University of Connecticut, 

USA and currently lectures at Makerere University, Uganda. His recent 

research, sponsored by the International Fellowships Program of the 

Ford Foundation and the African Humanities Program, has focused on 

collecting and translating children’s folklore forms into texts for 

schools in Uganda. He is currently coordinating a children's literature 

project funded by Development Partnerships in Higher Education 

(DelPHE), which trains teachers to write bilingual readers for use in the 

classroom. Aaron is the author of Twentieth Century Literary Theory 

(2003) and co-edited Africa in World Affairs (2004). 

› Problematizing a ‘fundamentalist’ ideology: A close analysis of Atef Hetata's 

The Closed Doors and Phil Mullaly's The Martyrs of Uganda, Journal of 


Charles Musser is a Professor of Film Studies and American Studies at 

Yale University. He has published extensively on early cinema and his 

prize-winning book The Emergence of Cinema: The American Screen 

to 1907 is available through University of California Press. His 

documentary Before the Nickelodeon: The Early Cinema of Edwin S. 

Porter is available on DVD from Kino International and the British 

Film Institute. He is currently completing a book entitled Truth and 

Documentary in the Age of George W. Bush and a documentary on 

Errol Morris. 

› Political documentary, YouTube and the 2008 US presidential election: 

Focus on Robert Greenwald and David N. Bossie, Studies in Documentary 

Film, 3.3, 199-218.

Dilek Kaya Mutlu 

Bilkent University, Turkey 

Keywords Turkey, Turkish cinema, 

Middle East, reception, distribution, 

geopolitics, media franchise 

Jacqueline Nacache 

Keywords jeune cinéma, stars, auteur 

cinema, J'ai horreur de l'amour, 

political commitment 

Lúcia Nagib 

University of Leeds, Centre for World 

Cinemas, Leeds, LS2 9JT, United 


Keywords utopia, Rossellini, neorealism, 

Cinema Novo, Walter Salles, 

Brazilian cinema 

Dilek Kaya Mutlu is an assistant professor at the Department of 

Graphic Design at Bilkent University. 

› Beware of the Wolves! The Turkish versus the European Reception of Valley 

of the Wolves: Iraq (2006), Film International, 9.3, 19-34. 

Jacqueline Nacache is Senior Lecturer in Film Studies at Paris 7-Denis 

Diderot. Her work focuses primarily on classical Hollywood cinema. 

She is the author of Lubitsch (Edilig, 1987), Le Film hollywoodien 

classique (Nathan, 1995) and Hollywood, l’ellipse et l’infilmé 

(L’Harmattan, 2001). But it is as a film critic (for Cinéma, La Revue du 

Cinéma, , Positif) that she has broadened her interests to encompass 

French cinema as well. Presently she is working on the function of the 

actor. In this context she has published L’Acteur de cinéma (Nathan- 

Université, 2003). 

› Group Portrait with a Star: Jeanne Balibar and French ‘Jeune’ Cinema, 


Lúcia Nagib is Centenary Professor of World Cinemas and Director of 

the Centre for World Cinemas, University of Leeds. She is the author 

of Werner Herzog: Film as Reality (Estação Liberdade); Born of the 

Ashes: The Auteur and the Individual in Oshima’s Films (Edusp); 

Around the Japanese Nouvelle Vague (Editora da Unicamp); The 

Renaissance of Brazilian Cinema (Editora 34); Brazil on Screen: 

Cinema Novo, New Cinema, Utopia (I.B. Tauris); and World Cinema 

and the Ethics of Realism (Continuum, in press). She is the editor of the 

books (Navegar), Master Mizoguchi (Marco Zero), The New Brazilian 

Cinema (I.B. Tauris), Realism and the Audiovisual Media (with Cecília 

Mello, Palgrave) and Theorizing World Cinema (with Chris Perriam 

and Rajinder Dudrah, I.B. Tauris). 

› The zero, the centre and the empty utopia – From Rossellini to Walter Salles, 


› Is this really Brazil?, New Cinemas: Journal of Contemporary Film, 2.1, 17- 

28.

Constantine V. Nakassis 

University of Chicago, Department of 

Anthropology, 1126 E. 59th Street, 

Chicago, IL, 60637, United States of 

America 

Keywords realism, film theory, 

spectatorship, Tamil cinema, 

anthropology, media 

Matilde Nardelli 

University College London, Film 

Programme, Centre for Intercultural 

Studies, c/o Department of Italian, 

Gower Street, London, WC1E 6BT, 


Keywords magnetic tape, John Cage, 

concert music, silence, Michelangelo 

Antonioni 

Eva Näripea 

The Estonian Academy of Arts, 

Research Library, Estonia pst 7, / 

Teatri väljak 1, Tallinn, Harjumaa, 

10143, Estonia 

Keywords Estonian cinema, Eastern 

European cinema, national space, 

architecture, cinematic spaces 

Constantine V. Nakassis received his Ph.D. from the Department of 

Anthropology at the University of Pennsylvania. His research deals 

with youth culture, mass media and concepts of gender and status in 

contemporary Tamil Nadu, India. 

› Theorizing film realism empirically, New Cinemas: Journal of 


Matilde Nardelli is a British Academy Post-doctoral Fellow at 

University College London, working on a project entitled 'Screens, 

Projections and Projectors: Cinema between Sculpture and 

Monumentality'. She wrote her Ph.D. thesis on Antonioni and 

experimental film-making, and is interested in the dialogue between 

‘commercial’ and ‘experimental’ cinema, and between cinema, art and 

other media. Her recent publications include 'Moving Pictures: Cinema 

and Its Obsolescence in Contemporary Art', Journal of Visual Culture 

(December 2009); 'Dream Houses', Sophia (June 2009) and 'The Cut: 

Interruptions of Consciousness in Zorns Lemma and Red Desert', 

Crash Cinema, ed. by Jill Good, Mark Goodall and Will Godfrey 

(Cambridge Scholars Press, 2007). 

› Some reflections on Antonioni, sound and the silence of La notte, The 


Dr Eva Näripea is Visiting Senior Research Fellow at the Estonian 

Academy of Arts. She has published a study on Estonian 

Cinescapes: Spaces, Places and Sites in Soviet Estonian Cinema (and 

Beyond (2011), and a number of articles on representations of city and 

landscapes in Soviet Estonian cinema in various Estonian and 

international publications. She has co-edited Via Transversa: Lost 

Cinema of the Former Eastern Bloc (2008, with Andreas Trossek) and 

a special issue on Estonian cinema in Kinokultura: New Russian 

Cinema (2010, with Ewa Mazierska and Mari Laaniste). She is 

currently working on an edited volume Postcolonial Approaches to 

Eastern European Cinema: Portraying Neighbours on Screen (with 

Ewa Mazierska and Lars Kristensen, I.B. Tauris, forthcoming in 2012). 

Her research interests include cinematic spaces; Soviet, Baltic and East 

European cinemas; the shifting dynamics of 

› Aliens and time travellers: Recycling national space in Estonian science-

Kate Nash 

University of Tasmania, Hobart 

Campus, Humanities Building, 561, 

Private Bag 82, Hobart, Tasmania, 


Keywords Foucault, ethics, 

documentary, trust, power 

Rebecca Naughten 

Keywords Spanish cinema, stardom, 

national cinema 

Christopher Neilan 

Keywords screenwriting, comedy, 

crime cinema, sound, light 

fiction cinema, Studies in Eastern European Cinema, 1.2, 167-182. 

Kate Nash is an Associate lecturer in Journalism, Media and 

Communications at the University of Tasmania. Her Ph.D. thesis, 

submitted in July 2009, 'Beyond the Frame', looks at the participant’s 

experience of documentary drawing attention to issues of trust, power, 

consent and performance. Alongside her research, Kate has an active 

career as a media producer. She is currently working with primary 

school students on child-generated documentary projects. 

› Exploring power and trust in documentary: A study of Tom Zubrycki's Molly 

and Mobarak, Studies in Documentary Film, 4.1, 21-33. 

Rebecca Naughten was awarded her Ph.D. in Film Studies at 

Newcastle University in 2010 with a doctoral thesis entitled 'Spain 

Made Flesh: Reflections and projections of the national in 

contemporary Spanish stardom, 1992-2007.' Her main research 

interests include stardom, Spanish cinema, national cinemas, 

performance, costume, the film industry and Hollywood cinema. She 

writes the Spanish cinema blog 'Nobody Knows Anybody'. 

› Comatose women in ‘El bosque’: Sleeping beauty and other literary motifs in 

Pedro Almodóvar's Hable con ella, Studies in Hispanic Cinemas, 3.2, 77-88. 

Christopher Neilan is a screenwriter, author and creative producer. He 

has written comedy for TV and radio, and has worked with the 

producers of Peep Show and The Office. His debut novel Abattoir 

Jack was published by Punked books in 2009. His short stories have 

been published in Tall Tales magazine, and his work is currently 

available at http://www.authortrek.com. Current areas of research 

include dramatic structure in crime cinema, narrative construction in 

the comedies of Simon Pegg and Edgar Wright, and the use of sound 

and light in the films of P.T. Anderson. 

› Film Reviews, Film International, 7.3, 79-84.

Jill Nelmes 

Keywords screenplay, creativity, 

craft, playwriting, poetry 

Hilary Neroni 

University of Vermon, Film and 

Television Studies, English 

Department, 400 Old Mill, 

Burlington, VT 05405, United States 

of America 

Keywords torture, enjoyment, 

psychoanalysis, Abu Ghraib, 

documentary 

Richard Neupert 

University of Georgia, Film Studies, 

0262a Fine Arts Building, 255 





› Collaboration and control in the development of Janet Green's screenplay 

Victim, Journal of Screenwriting, 1.2, 255-271. 

› Editorials, Journal of Screenwriting, 2.1, 3-3. 


› Re-writing Paul Laverty’sscreenplay – The Wind thatShakes the Barley 

(2006), Journal of Screenwriting, 2.2, 263-274. 

› EDITORIALS, Journal of Screenwriting, 3.1, 3-3. 


Hilary Neroni is an Associate Professor of film and television studies 

in the English Department at the University of Vermont. She has 

published essays on women directors (in particular Jane Campion and 

Claire Denis) and a book, The Violent Woman: Femininity, Narrative, 

and Violence in Contemporary American Cinema, on the 

psychoanalysis of violence in cinema. More recently, her essay 

‘Documenting the Gaze: Psychoanalysis and Judith Helfand’s Blue 

Vinyl and Agnes Varda’s The Gleaners and I’ (in Quarterly Review of 

Film and Video 27.2, February 2010) explores the Lacanian gaze in 

autobiographical documentary film. 

› The nonsensical smile of the torturer: documentary form and the logic of 

enjoyment, Studies in Documentary Film, 3.3, 245-257. 

Richard Neupert teaches Film Studies and is Wheatley Professor of the 

Arts at the University of Georgia. His latest books include French 

Animation History (2011) and A History of the French New Wave 

Cinema (2002).

Baldwin St, Athens, Georgia, GA 


Keywords Michel Ocelot, Kirikou et 

la sorcière, Princes et princesses, 

Edgar Morin, Jean Mitry 

Elizabeth Newton 


French, Leeds, United Kingdom 

Keywords embodiment, feminism, 

Merleau-Ponty, perception, 

phenomenology 

Kenny K. K. Ng 

Hong Kong University of Science and 

Technology, Division of Humanities, 

Clear Water Bay, Hong Kong, China 

Keywords Cold War, colonialism, 

film policy, Communist propaganda, 

censorship, Hong Kong 

Sunedria Nicholls- 

Gärtner 

International Film School of Cologne, 

Picture and Sound Editing, Werder 

Str. 1, Köln, 50672, Germany 

Keywords post-production, editing, 

sound 

› Kirikou and the animated figure/body, Studies in French Cinema, 8.1, 41-56. 

› Adieu Philippine and Rozier's alternative sound practice, Studies in French 


Elizabeth Newton gained a BA (Honours) degree in French and 

Philosophy from the University of Sheffield, UK. Following this, she 

completed an MA in the Language and Philosophy of Criticism at the 

same institution. Her Ph.D. thesis on 'Phenomenology in the works of 

Robbe-Grillet' was awarded by the University of Leeds, UK. She 

teaches courses on French language and culture at the Universities of 

Leeds and Sheffield . She is the author of articles on cinema, literature, 

phenomenology and sexuality. 

› The phenomenology of desire: Claire Denis's Vendredi soir (2002), Studies 


Kenny K. K. Ng is Assistant Professor of the Humanities at the Hong 

Kong University of Science and Technology. He teaches Film and 

Comparative Literature with a focus on the Greater China regions. He 

is finishing a book on modern Chinese fiction and historical 

imagination. His upcoming project deals with Chinese cinema in Cold 

War contexts and the cultural history of colonialism in Hong Kong. 

› Inhibition vs. exhibition: political censorship of Chinese and foreign cinemas 

in postwar Hong Kong, Journal of Chinese Cinemas, 2.1, 23-35. 

Su Nicholls-Gärtner began her career in Vancouver Canada as a 

Production and Directors Assistant on TV and feature films. In 1993 

she immigrated to Germany and landed in film post-production. As an 

editor she worked on German film and TV productions including the 

TV Series The Partners and the feature film David in Wonderland. 

Since 2001 she has worked at the ifs Internationale Filmschule Köln, as 

Head of Department for Post-production, developing and organizing 

education for editors, including a two-year training for Sound Design 

in Film and a three-year Bachelor of Arts programme for Editing in

Bill Nichols 

San Francisco State University, 

Cinema Studies, 1600 Holloway, San 

Francisco, California, CA 94132, 


Keywords documentary cinema, Two 

Laws, indigenous Australia 

Jakob Isak Nielsen 

Aarhus University, Denmark, 

Department of Information and Media 

Studies, Denmark 

Keywords cinematography, visual 

style, editing, intensified continuity, 

discontinuity 

Ma Ning 

Shanghai University, School of Film 

and Television Technology, 

Shanghai, 200072, China 

Picture and Sound. 

› Review of ‘The Soundtrack’ – the School of Sound summer workshop, 

Napier Screen Academy, Edinburgh, August 2008, The Soundtrack, 1.3, 228- 

235. 

Bill Nichols is Professor of Cinema and Director of the Graduate 

Program in Cinema Studies at San Francisco State University. He is the 

author of many books about documentary, including Ideology and the 

Image (1981); Representing Reality (1991); Blurred Boundaries: 

Questions of Meaning in Contemporary Cinema (1994) and, most 

recently, a book called Introduction to Documentary (2001). He edited 

the standard collection, Movies and Methods (University of California 

Press, 1976–1985) and Maya Deren and the American Avant-Garde 

(University of California Press, 2001). 

› Two Laws: DVD release film commentary, Studies in Documentary Film, 

2.2, 191-217. 

Jakob Isak Nielsen is Assistant Professor, Department of Information 

and Media Studies, Aarhus University. His Ph.D. thesis is entitled 

‘Camera Movement in Narrative Cinema’ (2007). He is the founding 

editor of – A Danish Online Journal of Film Studies (http://www.16- 

9.dk) and co-author of the textbook Film i øjet (2005). He has 

published articles on a variety of topics including visual style, mobile 

phones in film and TV, stylistic history, comedy, westerns, art cinema, 

short fiction films and commercials. 

› The War Is Over Nina Mimica short fiction film war Croatian culture Italian 

film arts counterpoint, Short Film Studies, 1.1, 37-41. 

Ma Ning is professor in the School of Film and Television Technology 

at Shanghai University. He has published widely on the history of 

Chinese cinema. 

› Rules of the forbidden game: Violence in contemporary Chinese cinema,

Keywords globalization, Chen Kaige, 

Zhang Yimou, Chinese cinema New Cinemas: Journal of Contemporary Film, 8.3, 169-177. 

Eija Niskanen 

Keywords Taiwanese cinema, The 

Wayward Cloud, Tian bian yi duo 

yun, Japan, audio-visual, long take, 

Kihachi Okamoto, The Other Half 

(2006) 

Obed Nkunzimana 

University of New Brunswick, 

Humanities and Languages, PO Box 

5050, Saint John, New Brunswick, 

E2L 4L5, Canada 

Keywords colonialism, 

postcolonialism, stereotypes, 

imagination, Africa 

Eija Margit Niskanen, native of Finland, received an MA from UCLA 

Critical Studies in Film and Television, writing a Ph.D. dissertation on 

Japanese anime industry and style for University of Wisconsin- 

Madison, Department of Communication Arts. Eija been a programmer 

for Helsinki International Film Festival since 1989. A freelance film 

writer, Eija is currently living in Tokyo. Eija's interests are East Asian 

and South East Asian cinema and world animation in general, as well 

as documentary film. 

› The Corporation: Interview with the Filmmakers, Film International, 2.9, 4- 

7. 


› Tsai Ming-liang delves into Japanese AV-culture, Film International, 4.19, 

70-74. 

› Tokyo Filmex premiers Mozart, Film International, 5.2, 90-92. 

› Hiroshima carries animation tradition forward 24–28 August 2006, Film 

International, 5.2, 93-. 

Dr. Obed Nkunzimana is Full Professor at the University of New 

Brunswick, Saint John campus (Canada). He teaches French, 

francophone literature and cinema. In addition to his recent 

contributions to collective books on francophone literature (Peter Lang, 

2008; Nota Bene / Montréal, 2008) and on African cinema (Mémoire 

d’encrier / Montréal, 2006), his other publications appeared in the 

journals Présence francophone, Études littéraires, Quebec Studies 

(American Council of Quebec Studies), Année Francophone 

Internationale and Africa Today. He is interested in 

postmodern/postcolonial theories and the francophone world. His 

upcoming book, co-authored with Marie-Christine Rochmann 

(Montpellier, France) and Françoise Naudillon (Concordia, Canada), is 

titled L'Afrique noire dans les littératures et les imaginaires antilloguyanais 

to be published by Karthala. 

› Beyond colonial stereotypes: reflections on postcolonial cinema in the 

African Great Lakes region, Journal of African Cinemas, 1.1, 79-94.

Dominique Noguez 



knowledge 

Marguerite Nolan 

Australian Catholic University, 

Brisbane Campus, PO Box 456, 

Virginia, Queensland, 4014, Australia 

Keywords stolen generations, race, 

psychoanalysis, mothers, 

Stephen M. Norris 

Miami University, History 

Department, 250 Upham Hall, 

Oxford, Ohio, OH 45056, United 


Keywords Great Patriotic War, post- 

Soviet film, television, historical 

narratives, memory 

Dominique Noguez is an agrégé in philosophy, and was a professor at 

the Universities of Montreal and Paris. He established practical and 

theoretical courses in experimental cinema in Paris at that time (the 

early 1970s). He was awarded a Doctorat d’État on US underground 

cinema. He has published, amongst many other reference books on the 

subject, Éloge du cinéma expérimental (1979), and made three short 

films, including Una Vita (1984). He is also an essayist and novelist; 

amongst others, he has published Les Trois Rimbaud (1986), L’Homme 

de l’humour (2003), and he was awarded the Prix Femina in 1997 for 

Amour noir. 



Marguerite Nolan is a lecturer in Australian Studies at the Brisbane 

campus of the Australian Catholic University National. She completed 

her Ph.D. on indigenous literatures as a Commonwealth Scholar to the 

United Kingdom at the University of Stirling. Her research interests are 

dominated by questions of race and identity in Australian history and 

culture. She is currently co-editing an edition of Australian Literary 

Studies on frauds, hoaxes and imposture in Australian literature and is 

also working on a book on cross-racial identification in Australia. 

› Exorcizing history: Radiance and the abject Aboriginal mother, New 


Stephen M. Norris is Associate Professor of History at Miami 

University, Ohio. He is the author of A War of Images: Russian 

Popular Prints, Wartime Culture, and National Identity, 1812–1945 

(2006) and the co-editor of Preserving Petersburg: History, Memory, 

Nostalgia (with Helena Goscilo, 2008) and Insiders and Outsiders in 

Russian Cinema (with Zara Torlone, 2008). He is currently working on 

a monograph entitled Blockbuster History: Movies, Memory, and 

Patriotism in the Putin Era. 

› Guiding stars: the comet-like rise of the war f ilm in Putin's Russia: recent 

World War II f ilms and historical memories, Studies in Russian and Soviet 


› Reviews, Studies in Russian and Soviet Cinema, 3.3, 353-385.

Dan North 


English, Queens Building, Exeter, 

Devon, EX4 4QH, United Kingdom 

Keywords cinema, Hollywood, 

magic, special effects, visual effects, 

puppetry, technology 

Glen W. Norton 

Brock University, Department of 

Communication, Popular Culture & 

Film, 500 Glenridge Avenue, St 

Catharines, Ontario, Canada 

Keywords French cinema, French 

new wave, contemporary cinema, 

Canadian cinema, philosophy 

Björn Norðfjörð 

Keywords Icelandic cinema, Jar City, 

Baltasar, Kormákur, Arnaldur 

Indriðason, adaptation, crime fiction 

Most of Dan North's work is concerned with issues raised by special 

effects technologies in film. His Ph.D. thesis 'Special Effects and the 

Aesthetics of Illusion' connects discourses around nineteenth-century 

magic theatre and the reception of early cinema to the development of 

sophisticated mechanisms for the production of visual illusions up to 

the present day. A monograph on the subject of special effects, drawn 

in part from this research (Performing Illusions: Cinema, Special 

Effects and the Virtual Actor), was published by Wallflower Press in 

2008. He is currently working on a book about cinema and puppetry. 

› Magic and illusion in early cinema, Studies in French Cinema, 1.2, 70-79. 

Glen W. Norton is an Instructor in Film Studies at the Department of 

Communication, Popular Culture and Film, Brock University, Canada. 

He has published in various journals including Studies in French 

Cinema, Post Script, Theory@Buffalo, Senses of Cinema and 

CinemaScope. Since 1996 he has maintained and edited 

Cinema=Godard=Cinema, a primarily academic hub of information 

pertaining to the work of Jean-Luc Godard: 

http://cinemagodardcinema.wordpress.com/. His research interests are 

French new wave and contemporary cinema, avant-garde cinema, 

Canadian cinema, Italian neorealist cinema, documentary cinema, 

phenomenological and existential thought, phenomenological 

approaches in film theory and criticism, philosophy of film, philosophy 

of time, moral theory, theories of the self, aesthetics, social and cultural 

theory, modernist/postmodernist debates, and creative writing. 

› Moral perfectionism in Eric Rohmer's Ma nuit chez Maud, Studies in French 


Björn Norðfjörð is Assistant Professor and Director of the Film Studies 

programme at the University of Iceland. His publications in both 

Icelandic and English focus equally on Icelandic national cinema and 

world cinema. His most recent English publication is a monograph on 

Dagur Kári’s Nói the Albino (2010). 

› ‘A typical Icelandic murder?’ The ‘criminal’ adaptation of Jar City, Journal 

of Scandinavian Cinema, 1.1, 37-49.

Eva Novrup Redvall 

University of Copenhagen, Film and 

Media Studies Department, Njalsgade 

80, Copenhagen, 2300, Denmark 

Keywords screenwriting, film 

schools, Danish cinema, 

collaboration, authorship 

Charles O'Brien 

Carleton University, School for 

Studies in Art and Culture, 1125 

Colonel By Drive, Ottawa, Ontario, 

K1S5B6, Canada 

Keywords editing, René Clair, style, 

studio, statistics 

Daniel O'Brien 

Keywords Víctor Erice, Roy William 

Neill, Sherlock Holmes, childhood, 

autobiography, Spanish Civil War, 

horror films, mystery films 

Eva Novrup Redvall is Assistant Professor in the Film and Media 

Studies Section of the Department of Media, Cognition and 

Communication at the University of Copenhagen. She has contributed 

to a number of anthologies on Danish and Nordic film, among them 

Transnational Cinema in a Global North (Wayne State University 

Press, 2005), and she is the co-editor of a new edition of Danish 

Directors – Dialogues on a Contemporary National Cinema together 

with Mette Hjort and Eva Jørholt (Intellect Press, forthcoming 2010). 

She is currently finishing a Ph.D. thesis on creative collaborations 

behind screenwriting practices in Danish feature film production. She 

has been film critic for the daily newspaper Information since 1999. 

› Teaching screenwriting in a time of storytelling blindness: the meeting of the 

auteur and the screenwriting tradition in Danish film-making, Journal of 



Charles O’Brien is an associate professor of film studies at Carleton 

University in Canada. He is the author of Cinema’s Conversion to 

Sound (2005) and various articles and book chapters on the artistic 

consequences of film-technological change. He is currently completing 

a book provisionally titled Entertainment for Export: Movies, Songs, 

and Electric Sound. 

› Sous les toits de Paris and transnational film style: An analysis of film 

editing statistics, Studies in French Cinema, 9.2, 111-125. 

› Songs in French-language cinema: Coeur de Lilas (1932) in national and 

transnational context, Studies in French Cinema, 11.2, 101-110. 

Daniel O'Brien is a freelance writer and film historian. His work has 

appeared in The Independent, Shivers and The Dark Side. He has 

contributed to such reference works as The Hutchinson Encyclopedia, 

The International Dictionary of Films and Film-makers and Directors 

in British and Irish Cinema. His books include Clint Eastwood: Film- 

Maker (1995), The Frank Sinatra Film Guide (1997), SF:UK – How 

British Science Fiction Changed the World (2000), The Hannibal Files 

(2001), Spooky Encounters (2003), Paul Newman (2004) and Daniel 

Craig: Ultimate Professional (2007). He is currently researching a 

Ph.D. thesis on the peplum or

Catherine O'Rawe 

University of Bristol, Italian, 19 

Woodland Road, Bristol, BS8 1TE, 


Keywords Italian cinema, neo-realist 

cinema, Hollywood, gender 

Martin O'Shaughnessy 

Nottingham Trent University, School 

of Arts and Humanities, Clifton 

Campus, Nottingham, 

Nottinghamshire, NG1 4BU, United 


Keywords violence, France, 

Rancière, Balibar, Žižek 

Stefano Odorico 


Studies 

Keywords new media, documentary, 

Web 2.0, pragmatics, film and media 


Catherine O’Rawe graduated from Oxford with a BA in English and 

Italian. She completed an MA in Italian at the University of Toronto, 

and a Ph.D. in 2001 at Cambridge on the narrative of Luigi Pirandello. 

She was Lecturer in Italian at the University of Exeter from 2001 to 

2004, and at the University of Leeds from September 2004 to January 

2007. Her principal research area is Italian cinema, focusing in 

particular on the relations between neo-realist cinema (and Italian film 

culture more generally) and Hollywood, and also on the question of 

gender and neo-realism. She is currently working on a monograph on 

the dialogue between Italian cinema and Hollywood. 


› Editorial, New Cinemas: Journal of Contemporary Film, 6.1, 3-3. 

Martin O'Shaughnessy is Reader in Film Studies at Nottingham Trent 

University. He is the author of Jean Renoir (M.U.P. 2000) and The 

New Face of Political Cinema: Commitment in French Film since 1995 

(Berghahn, 2007). He co-edited Cinema et Engagement (L'Harmattan, 

2005) with Graeme Hayes. He has written widely on French film and is 

currently working on a book on Renoir's La Grande Illusion. 

› The Parisian popular as reactionary modernization, Studies in French 


› French cinema and the political, Studies in French Cinema, 10.1, 39-56. 

› Silencing the war all the better to hear it: Renoir's La Grande Illusion (1937), 


Stefano Odorico is a doctor in film studies and a documentary film 

director. He has published a number of articles in international journals 

and anthologies about film and media theory, film practice, cinema 

technology, documentary studies, urban spaces in film, new media and 

interactive productions.

theory, film technology 

Karla Oeler 

Emory University, Department 

of Film Studies, 109 Rich Building, 

Atlanta, GA, 30322, United States of 

America 

Keywords Philip Rosen, Death Every 

Afternoon, Soviet Cinema 

Onookome Okome 





Keywords Nigerian video film, 

Nollywood, video-parlor, city video 

film, glamour girls, End of the 

Wicked, Helen Ukpabio, Nigerian 

gender roles 

Chukwuma Okoye 

Department of Theatre Arts, 

University of Ibadan, Oyo State 

› Documentary on the web between realism and interaction. A case study: 

From Zero – People Rebuilding Life after the Emergency (2009), Studies in 

Documentary Film, 5.2-3, 235-246. 


Karla Oeler is Associate Professor of Film Studies at Emory 

University, USA. Her research and teaching focus on classical and 

contemporary film theory and aesthetics. She is the author of A 

Grammar of Murder: Violent Scenes and Film Form (forthcoming, 

University of Chicago Press). 

› André Bazin and the preservation of loss, Film International, 5.6, 76-82. 

Onookome Okome is Professor of African Literature and Cinema at the 

Department of English and Film Studies, University of Alberta, 

Edmonton. He was educated at the University of Ibadan, Nigeria where 

he earned the BA (Hons), MA and Ph.D. in Theatre and Cinema 

Studies. He taught at the University of Calabar, Nigeria from 1989 to 

2002 when he moved to the Department of English and Film Studies of 

the University of Alberta, Canada. One of the foremost scholars on 

Nollywood and a frontline intellectual of African popular culture, Dr. 

Okome had travelled widely and has given lectures in the United 

States, Canada, Israel, Ghana, Switzerland, Germany, Belgium and 

Holland. He has published several books, including Ogun's Children: 

The Literature and Politics of Wole Soyinka Since the Nobel and 

Writing the Homeland: The Poetry and Politics of Tanure Ojaide. 

› Women, Religion and the Video Film in Nigeria, Film International, 2.7, 4- 

13. 


Chukwuma Okoye is a Senior Lecturer at the Department of Theatre 

Arts, University of Ibadan, Nigeria, where he teaches contemporary 

African theatre and performance. His current research interest is in 

critically marginalized forms of contemporary African theatre, 

especially by young people, that are neither taught nor investigated in

Keywords African theatre, 

postcolonialism, cultural identity, 

self-writing 

Senayon Olaoluwa 

Osun State University, UI, Oyo State, 

Ibadan, Oyo State, P O Box 21156, 

Nigeria 

Keywords postcolonial literature, 

African cinema, African culture 

Ranen Omer-Sherman 

University of Miami, 1252 Memorial 

Drive, Ashe Building, Room 227 

Coral Gables, Florida, FL 33146, 


Keywords Levantine identities, 

Jewish American Literature, Jewish 

graphic novel 

conventional theatre scholarship. He has published critical essays on 

indigenous Igbo masquerade theatre in Nigeria, and on the location of 

African theatre in current debates in literary and cultural studies. 

› Looking at Ourselves in our Mirror: Agency, Counter-Discourse, and the 

Nigerian Video Film, Film International, 5.4, 20-29. 

Dr Senayon Olaoluwa obtained his doctorate from the University of the 

Witwatersrand, and currently teaches postcolonial literature at the 

College of Humanities and Culture of the Osun State University, 

Osogbo, Osun State, Nigeria. His papers and reviews have appeared in 

journals including English Studies, Current Writing, Journal of 

Postcolonial Writing, English Academy Review, Journal of 

Contemporary African Studies, Nordic Journal of African Studies and 

The Anachronist and African Affairs. 

› Thierry Henry as Igwe: Soccer fandom, christening and cultural passage in 

Nollywood, Journal of African Cinemas, 3.1, 25-42. 

Ranen Omer-Sherman was a founding member of a desert kibbutz and 

is currently Associate Professor of English at the University of Miami 

where he teaches a wide range of courses in American and British as 

well as Israeli and other Jewish literatures. He has edited a special issue 

of Shofar on the subject of Jewish Orientalism. His first book, 

Diaspora and Zionism in Jewish American Literature: Lazarus, Syrkin, 

Reznikoff, Roth (2002) was published by Brandeis University Press. 

His second book entitled Israel in Exile: Jewish Writing and the Desert 

(2006), which examines sacred as well as political aspects of the 

writer’s responses to the wilderness of Exodus, is published by the 

University of Illinois Press. He is currently editing a book of essays on 

the 'Jewish Graphic novel' and is researching Levantine identities in 

contemporary memoir 

› Book Reviews, New Cinemas: Journal of Contemporary Film, 2.1, 61-. 

John Orr John Orr was Professor Emeritus in the School of Social and Political 

Studies and has published widely in many areas of Film Studies and

Keywords Bonnaire, Béart, Binoche, 

Dalle, Huppert Seberg 

Vicente Rodríguez Ortega 

Universidad Carlos III de Madrid, 

Calle Toledo 19, 5C, Madrid, 28005, 


Keywords documentary film, Spanish 


Dayna Oscherwitz 

Southern Methodist University, 

Department of Foreign Languages 

and Literatures, Room 320 Clements, 

Dallas, Texas, TX 75275, United 


Keywords French cinema, African 

cinema, cultural studies, postcolonial 

studies 

Modern Culture. These include the relationship between film, culture 

and modernity; stylistic and narrative innovation in the feature film; 

and the development of modernism in European and American 

cinemas. 

› Stranded: stardom and the free-fall movie in French cinema, 1985–2003, 


› Out of noir: Seberg–Preminger–Godard–Garrel, Studies in French Cinema, 

7.1, 43-56. 

› Out of Dreyer's shadow? The quandary of Dogme95, New Cinemas: Journal 


› Californian noir: is it European?, Film International, 4.23, 6-19. 

› Camus and Carné transformed: Bergman's The Silence versus Antonioni's 

The Passenger, Film International, 5.3, 54-62. 

› Control and British Cinema, Film International, 6.1, 13-22. 

› A Cinema of Parallel Worlds: Lynch & Kieslowski + Inland Empire, Film 


Vicente Rodríguez Ortega has an MA in Communications from the 

University of Iowa and a Ph.D. in Cinema Studies from NYU. He has 

contributed to several book collections and journals. He is also a 

documentary filmmaker. He is the co-editor of Contemporary Spanish 

Cinema and Genre (Manchester University Press). He currently 

teaches at la Universidad Carlos III de Madrid. 

› Surgical passports, the EU and Dirty Pretty Things: Rethinking European 

identity through popular cinema, Studies in European Cinema, 8.1, 21-30. 

› Digital technology, aesthetic imperfection and political film-making: Illegal 

bodies in motion, Transnational Cinemas, 2.1, 3-19. 

Dayna Oscherwitz is Associate Professor of French at Southern 

Methodist University in Dallas Texas. She is co-author of The 

Historical Dictionary of French Cinema (Scarecrow, 2007) and has 

published on various aspects of francophone culture and cinema. She 

has recently completed a monograph entitled Past Forward: French 

Cinema and the (Post)Colonial Heritage. Her current projects are an 

historical dictionary of African cinema, an edited volume looking at the 

way the western genre has been used by filmmakers outside of the US, 

and an exploration of the relationship between form, film language, and 

postcolonial theory in African cinema.

Suzanne Osmond 

Keywords Cleopatra, Orientalism, 

costume, fashion, theatre, 

Shakespeare 

Elzbieta Ostrowska 





Keywords Polish cinema, East/West 

relationship, Communism, gender, 

European cinema, national cinema, 


Lida Oukaderova 

Rice University, Department of Art 

History, 6100 Main Street, MS-21, 

Herring Hall 103, Houston, TX, 


› Shaking up the historical (Film): Christophe Gans's Le Pacte des loups/The 

Brotherhood of the Wolf (2001), Studies in French Cinema, 11.1, 43-55. 

Suzanne Osmond is completing a Ph.D. at the University of 

Technology, Sydney, and is also a professional costume supervisor for 

commercial theatre, film and large-scale events. She has worked on 

international films suchas the The Matrix Reloaded/The Matrix 

Revolutions (Wachowski Bros., 2003) and Disgrace (Jacobs, 2008), as 

well as commercial theatre projects in Australia such as Cabaret (2002) 

and The Lion King (2003). She is currently Costume Supervisor for 

Andrew Lloyd-Webber’s Love Never Dies in Australia. Sue also 

teaches in fashion and costume at several colleges and universities in 

Sydney. 

› Her Infinite Variety : Representations of Shakespeare s Cleopatra in 

fashion, film and theatre, Film, Fashion & Consumption, 1.1, 55-79. 

Elzbieta Ostrowska currently teaches film at the University of Alberta 

(Canada). Publications include, Women in Polish Cinema (with Ewa 

Mazierska, Berghahn Books, 2006), The Cinema of Roman Polanski. 

Dark Spaces of the World (co-ed. with John Orr, Wallflower, 2006), 

The Cinema of Andrzej Wajda. The Art of Irony and Defiance (co-ed. 

with John Orr, Wallflower 2003), Gender-Film-Media (co-ed. with 

Elzbieta Oleksy, Rabid 2001), Gender w kinie europejskim i mediach 

(ed., Rabid 2001) Przestrzen´ filmowa (Rabid 2000), Gender in Film 

and the Media. East-West Dialogues (co-ed. with Elzbieta Oleksy, 

Michael Stevenson, Peter Lang 2000). 

› Gendered discourses of nation(hood) and the West in Polish cinema, Studies 


Lida Oukaderova is Assistant Professor of Film Studies at Rice 

University. Her current research focuses on conceptions of space in 

Soviet cinema of the 1950s and 1960s. Her work on Russian literature 

and film has appeared in the Yearbook of Comparative and General 

Literature and American Imago.

Keywords body, movement, 

architecture, Georgii Daneliia, post- 

Stalinist cinema 

Jonathan Owen 

Keywords Slovak new wave, 1960s, 

utopianism, revolution, counterculture 

Díóg O’Connell 

Institute of Art, Design and 

Technology, Institute of Art, Design 

and Technology (IADT), Dún 

Laoghaire, Co. Dublin, Ireland 

Keywords Irish cinema, narrative and 

storytelling, documentary 

Lucas O’Connor 

Keywords Robert Rodriguez, Sin 

City, graphic novels, translation, 

adaptation 

› The sense of movement in Georgii Daneliia's Walking the Streets of 

Moscow, Studies in Russian and Soviet Cinema, 4.1, 5-21. 

Jonathan Owen has just obtained his doctorate at the University of 

Manchester, UK. His doctoral dissertation dealt with the influence of 

surrealism and other avant-garde traditions on the Czech new wave 

films of the 1960s. His research interests include European (especially 

Central and East European) cinema and the Czech avant-garde from the 

interwar period to the present. 

› Slovak bohemians: revolution, counterculture and the end of the Sixties in 

Juraj Jakubisko’s films, Studies in Eastern European Cinema, 1.1, 17-28. 

Díóg O’Connell is a lecturer in Film and Media Studies at IADT, Dún 

Laoghaire Co., Dublin. She has written extensively on Irish cinema, 

focusing particularly on issues of narrative and storytelling. Her book, 

New Irish Storytellers: Narrative Strategies in Film was published by 

Intellect, 2010. She recently co-edited a collection of essays on Irish 

Documentary titled Documentary in a Changing State, published by 

Cork University Press in February 2012. 

› Irish cinema 1994–2009: The trajectory of script development policy at the 

Irish Film Board, Journal of Screenwriting, 3.1, 61-71. 

Lucas O’Connor majored in literature and theatre studies at Yale 

University. In addition to graphic novel adaptations, his academic 

interests primarily concern East Asian cinema. He currently assists 

screenwriters Michael Green (Green Lantern) and Jonathan Nolan (The 

Dark Knight) in Los Angeles. 

› A Graphic Nature: Sin City’s Troublesome Adaptation, Film Matters, 1.2, 

26-30.

Des O’Rawe 

Queen’s University, Film Studies, 

Belfast, BT7 1NN, United Kingdom 

Keywords film aesthetics, 

modernism, documentary film 

Joanna Page 

University of Cambridge, Centre of 

Latin American Studies, 17 Mill 

Lane, Cambridge, Cambridgeshire, 

CB2 1RX, United Kingdom 

Keywords memory, psychoanalysis, 

theories of film spectatorship, 

dictatorship, Potestad, Los rubios 

Derek Paget 

The University of Reading, 

Department of Film, Theatre and 

Television, Whiteknights, PO Box 

217, Reading, Berkshire, RG6 6UR, 


Keywords documentary, acting, 

theatre, television, porosity 

Des O’Rawe teaches film studies at Queen’s University, Belfast. His 

current research and writing focuses on film aesthetics and modernism. 

Recent articles have appeared in Screening the Past, Kinema: Journal 

of Film and Audiovisual Media, Quarterly Review of Film and Video, 

Literature/Film Quarterly and Screen. He currently co-edits the 

Cinema Aesthetics series for Manchester University Press. 

› New York City: 12 December, 1980, Studies in Documentary Film, 5.1, 31- 

44. 

Joanna Page holds a lectureship in Latin American Cultural Studies at 

the University of Cambridge. She has published on contemporary 

Argentine literature and cinema. She is the author of Crisis and 

Capitalism in Contemporary Argentine Cinema (Duke University 

Press, 2009) and the co-editor of Visual Synergies in Fiction and 

Documentary Film from Latin America (Palgrave Macmillan, 2009). 

› Memory and the spectator in post-dictatorship Argentina: misreading 

D'Angiolillo's Potestad, Studies in Hispanic Cinemas, 2.1, 15-28. 

› Memory and mediation in Los rubios: a contemporary perspective on the 

Argentine dictatorshipMemory and mediation in Los rubios: a contemporary 

perspective on the Argentine dictatorship, New Cinemas: Journal of 


Derek Paget is Honorary Research Fellow in the Department of Film, 

Theatre and Television at the University of Reading. He led the AHRC 

‘Acting with Facts’ research project (2007–10). Once a theatre worker 

(notably for Theatre Workshop), he is the author of True Stories (1990) 

and No Other Way to Tell It (1998 – 2nd edition 2011). A member of 

Studies in Theatre and Performance's Editorial Board, he is also an 

associate editor of Studies in Documentary Film. 

› ‘Acting with Facts’: Actors performing the real in British theatre and 

television since 1990. A preliminary report on a new research project, Studies 

in Documentary Film, 1.2, 165-176. 

› Editorial, Studies in Documentary Film, 4.3, 191-193.

Chris Pallant 

Canterbury Christ Church University, 

Department of Media, Art and 

Design, Kent, United Kingdom 

Keywords animation, Disney, 


Tim Palmer 

University of North Carolina 

Wilmington, United States of 

America 

Keywords French cinema, Japanese 

cinema, classical Hollywood, film 

history 

Chris Pallant is a Lecturer in Film and Digital Media in the Department 

of Media, Art and Design at Canterbury Christ Church University. His 

research interests include animation, digital mediation, filmmaking 

technology, and screenwriting. His first book, Demystifying Disney: A 

History of Disney Feature Animation, was published by Continuum. As 

a Fulbright Commission awardee he spent the summer of 2010 at New 

York University, participating in the American Studies Summer 

Institute. As Reviews Editor for the Journal of Screenwriting, Dr. 

Pallant is also happy to receive expressions of interest from those 

wanting to contribute reviews of recent and relevant publications. 

› Neo-Disney: Recent developments in Disney feature animation, New 


› Reviews, Journal of Screenwriting, 1.2, 389-399. 


Tim Palmer is Associate Professor of Film Studies at the University of 

North Carolina Wilmington. His latest book is Brutal Intimacy: 

Analyzing Contemporary French Cinema (Wesleyan University Press, 

2011). He is also co-editor of the Directory of World Cinema: France 

(Intellect, forthcoming 2012); and will follow this in 2013 with a 

monograph on the film Irreversible. His research has appeared in 

Cinema Journal, Journal of Film and Video, Studies in French 

Cinema, The French Review, New Review of Film and Television 

Studies and Film International. 

› Jean-Pierre Melville and 1970s French film style, Studies in French Cinema, 

2.3, 135-146. 

› Under your skin: Marina de Van and the contemporary French cinéma du 

corps, Studies in French Cinema, 6.3, 171-182. 


› Interview, Film International, 6.4, 94-98. 


› Editorial, Film Matters, 1.1, 2-2. 




› Roundtable on the French New Wave, Fifty Years On: Part 1, Film Matters, 

1.4, 3-6. 

› Editorial, Film Matters, ., 2-2. 

› Editorial, Film Matters, 2.1, 2-2.

Liza Palmer 


Wilmington, 601 S. College Rd., 

Wilmington, NC 28403, United States 

of America 

Keywords Final Cut, Dennis King, 

Andrew M. Hulse, Ann Seidl, 

Overdue Productions, Justin D. 

Hilliard, Striped Socks Productions, 

Neil Young, Patti Smith 

R. Barton Palmer 

Clemson University, United States of 

America 

Keywords postwar America, movie 

stars of the 1950s, auteur as adaptor 

Liza Palmer is the review section editor for the journal Film 

International and co-editor-in-chief of the magazine Film Matters, both 

published by Intellect. Her research interests involve the cinema of the 

American avant-garde with a particular focus upon the works of Stan 

Brakhage, Maya Deren, and Kenneth Anger. Recent publications 

include 'Les Enfants Terribles: An Interview with Françoise Marie' in 

Film International, issue 6.4, and 'Self-Made Myths: Strategies of 

Promotion Among Avant-Garde Filmmakers' in Film and Television 

Stardom (Cambridge Scholars Publishing, 2008). 

› Film Scratches: Notes from the fringe, Film International, 4.21, 6-11. 

› Film scratches notes from the fringe, Film International, 4.19, 6-8. 

› Film scratches Notes from the fringe, Film International, 5.5, 6-9. 

› Film Scratches: Notes from the Fringe, Film International, 6.3, 6-9. 


› Film Happenings, Film International, 7.1, 97-98. 







› Editorial, Film Matters, ., 2-2. 


R. Barton Palmer is Calhoun Lemon Professor of Literature at Clemson 

University, where he also directs the film studies program. He is the 

author, editor, or general editor of more than forty volumes on various 

literary and cinematic subjects. Among his recent books are (with 

Robert Bray) Hollywood’s Tennessee: the Williams Films and Postwar 

America and To Kill a Mockingbird: The Relationship between the Text 

and the Film. He has edited (with Steven Sanders) The Philosophy of 

Stanley Kubrick, Larger than Life: Movie Stars of the 1950s, and, 

forthcoming, (with David Boyd) Hitchcock at the Source: The Auteur 

as Adaptor. Palmer and Murray Pomerance have recently edited A 

Little Solitaire: John Frankenheimer and American Film (forthcoming 

this summer, 2011, from Rutgers University Press). 

› ‘He Loved What He Did So Much!’ An Interview with Evans (Evans) 

Frankenheimer, Film International, 9.3, 35-50.

Laikwan Pang 

The Chinese University of Hong 

Kong, Department of Cultural & 

Religious Studies, 4th Floor, Hui 

Yeung Shing Building, Hong Kong, 


Keywords national cinema, diaspora, 

transnational, movements, discipline 

Narendra Panjwani 

St. Xavier's College, Film Studies, 

Xavier Institute of Communications, 

Mumbai, 400 001, India 

Keywords Indian cinema, sociology 

Marco Paoli 

University of Liverpool, Italian 

School of Cultures, Languages and 

Area Studies, Liverpool, L69 3BX, 


Keywords crime, Italian cinema, 

Italian detective fiction 

P. Julie Papaioannou 

University of Rochester, Lattimore 

Laikwan Pang is a professor of Cultural Studies in the Department of 

Cultural and Religious Studies at the Chinese University of Hong 

Kong. She is the author of Building a New China in Cinema: The 

Chinese Left-wing Cinema Movement, 1932–37 (Rowman and 

Littlefield, 2002), Cultural Control and Globalization in Asia: 

Copyright, Piracy, and Cinema (Routledge, 2006), The Distorting 

Mirror: Visual Modernity in China (University of Hawaii Press, 2007), 

and Creativity and Its Discontents: China's Creative Industries and 

Intellectual Property Right Offenses (Duke University Press, 

forthcoming). 

› Issues and Debates The institutionalization of ‘Chinese’ cinema as an 

academic discipline, Journal of Chinese Cinemas, 1.1, 55-62. 

› Introduction, or, What's in an ‘s’?, Journal of Chinese Cinemas, 2.1, 3-8. 

Narendra Panjwani is a Professor of Film Studies at Xavier Institute of 

Communications. He received a Ph.D. in Sociology from Mumbai 

University in 1984. He worked with The Times of India, as an Assistant 

Editor, from 1989 to 2000. He is the author of Emotion Pictures – 

Cinematic Journeys into the Indian Self (Rainbow Books: New Delhi, 

2006). 

› India's Musical Soul: Three Book Reviews, Studies in South Asian Film & 

Media, 2.1, 57-60. 

Marco Paoli is a lecturer in Italian at the University of Liverpool. His 

current main research area is the evolution of crime in Italy from the 

post-war period to the present as represented in Italian cinema and 

detective fiction. 

› Metropolitan neo-gangsterism and the lure of capitalism in Carlo Lizzani's 

Bandits in Milan, Studies in European Cinema, 8.1, 43-55. 

P. Julie Papaioannou is a lecturer at the University of Rochester, NY. 

Her teaching and research include French and francophone literature 

and film, literary and postcolonial theory, and film theories. She has

432a, PO Box 270082, Rochester, 

NY, 14627, United States of America 

Keywords orality, postcolonial, 

semiotics, Third Cinema, Third Space 

Dimitris Papanikolaou 

University of Oxford, Faculty of 

Medieval and Modern Languages, 47 

Wellington Square, Oxford, OX1 2JF, 


Keywords modern Greek, cultural 

studies, gender theory 

Darcy Paquet 

Keywords film funding, Korean 

stock market, chaebol, netizen funds, 

hallyu 

contributed in Cinema and Social Discourse in Cameroon and in 

critical reviews. Her most recent research focuses on the production of 

literature by the African diaspora in France. She is currently working 

on a book project on francophone African film. 

› From orality to visuality: the question of aesthetics in African cinema, 


Dimitris Papanikolaou is University Lecturer in Modern Greek Studies 

at the University of Oxford. His research is interdisciplinary and his 

main interests are in modern Greek, cultural studies and gender theory. 

He has published the monograph Singing Poets: Literature and 

Popular Music in France and Greece (Legenda, 2007) and is currently 

writing a book titled The New Phase of Eros: C.P. Cavafy and the 

Writing of (Homo)Sexuality. 

› Introduction, New Cinemas: Journal of Contemporary Film, 6.3, 163-166. 

› New queer Greece: thinking identity through Constantine Giannaris's From 

the Edge of the City and Ana Kokkinos's Head On, New Cinemas: Journal of 


Darcy Paquet is a film journalist and researcher who has been living in 

Seoul since 1997. He is the founder and editor of the website 

Koreanfilm.org. He has contributed essays to various book-length 

studies of Korean cinema, including the essay ‘The Korean Film 

Industry: 1992 to the Present’ in New Korean Cinema; ‘Obaltan’, a 

chapter in The Cinema of Japan and Korea in the 24 Frames series; 

‘Christmas in August and Korean Melodrama’, in Seoul Searching: 

Culture and Identity in Contemporary Korean Cinema. He is 

completing a book-length study on New Korean Cinema as part of the 

Short Cuts series published by Wallflower Press. 

› Market swings: Stock-market listings and the Korean film industry, Journal 

of Japanese & Korean Cinema, 1.1, 83-91. 

Alejandro Pardo Alejandro Pardo is Head of the Department of Film, TV & Digital 

Media, University of Navarra, Spain. Among his books are The

University of Navarra, Department of 

Film, TV & Digital Media, Spain 

Keywords Greenfields Studios, 

Runaway Productions, Ciudad de la 

Luz 

Lee Parpart 

Keywords mother, body, voice, 

performance, modernities 

Christopher Partridge 

Lancaster University, Politics, 

Philosophy and Religion, County 

South, Lancaster, LA1 4YL, United 


Keywords occulture, re-enchantment, 

mediatization, sacralization, 

spirituality 

Europe-Hollywood Coopetition: Cooperation and Competition in the 

Global Film Industry (2007) and The Audiovisual Management 

Handbook (ed., 2002). He has also written several chapters on the film 

& TV industries, for instance ‘Hollywood at the Digital Crossroad: 

New Challenges, New Opportunities’ in The Media as a Driver of the 

Information Society: Economics, Management, Policies and 

Technologies (2009); and ‘Spanish Co-Productions: Commercial Need 

or Common Culture?’ in Zoom In, Zoom Out: Crossing Borders in 

Recent European Cinema (2007). 

› City of Light, City of Shadows: The Difficult Take-off of a Spanish Film 

Studio, Film International, 8.6, 60-69. 

Lee Parpart is a Toronto-based writer and lecturer whose essays and 

stories, mostly on issues related to Canadian art and cinema, have 

appeared in C Magazine, Canadian Art, P.O.V. (Canada), Take One, 

and in numerous books and journals, including Essays on Canadian 

Writing, Masculinity: Bodies, Movies, Culture, and the forthcoming 

The Gendered Screen: Canadian Women Filmmakers. She is working 

on a dissertation about feminist film, television and new media 

adaptations of Canadian women’s fiction. 

› Crying over the mother: reading (and feeling) Ken Wardrop’s contradictory 

construction of maternal femininity, Short Film Studies, 1.1, 77-81. 

Christopher Partridge's research interests are focused on new religions, 

alternative spiritualities, sacralization, and the 'occultural' significance 

of contemporary popular culture. Christopher has a particular interest 

in spirituality and popular music subcultures, and his current research 

is focusing on the social and spiritual significance of dub reggae and 

dance music. He co-edits the series Studies in Popular Music and is a 

founding co-director of the Centre for the Study of Religion and 

Popular Culture. 

› The occultural significance of The Da Vinci Code, Northern Lights: Film & 

Media Studies Yearbook, 6.1, 107-126.

Christiane Passevant 

Keywords Barcelona School, 

Salamanca Conversations, Basilio 

Martin Patino, Vicente Aranda, 

censorship, Francisco Franco, Basilio 

Martin Patino, Spanish civil war, 

Francisco Franco, Caudillo, Madrid, 

documentary film, history 

Brígida M. Pastor 

University of Glasgow, School of 


Hetherington Building, Bute Gardens, 

Glasgow, Scotland, G12 8RS, United 


Keywords Law of Desire, Spanish 

cinema, sexuality, gender, otherness 

Victoria Pastor-González 

Regent’s College 

Keywords European art film, 

religion, spirituality, Spanish 

docudramas 

Christiane Passevant is a journalist and film editor who writes on the 

cinema. In 2004 she published Cinéma engagé, cinema enragé with 

Pascal Dupuy and Larry Portis. 

› The Barcelona School and the New Spanish Cinema, Film International, 9.4, 

29-32. 

› Beyond the Barcelona School: an interview with Vicente Aranda, Film 


› Origins of the New Spanish Cinema: interview with Basilio Martin Patino, 


› The Recovered Memory of the Spanish Civil War and Revolution: an 

interview with Jaime Camino, Film International, 9.4, 43-49. 

Dr. Brigida M. Pastor is Senior Lecturer of Hispanic Studies at the 

University of Glasgow where she lectures on Hispanic women’s 

writing, Cuban and Spanish film and Latin American literature. She is 

currently working on a project on representations of gender in Cuban 

and Spanish film, which has already yielded several publications. 

Books include Miradas de género en el cine cubano (Iberoamerica 

Vervuert, 2007); Screening Gender in Cuban and Spanish Film 

(Tamesis, 2007) and a joint edition of A Companion to Latin American 

Women Writers (Boydell Brewer, 2008). 

› Screening sexual and gendered otherness in Almodóvar's Law of Desire 

(1987) – The real 'sexual revolution', Studies in European Cinema, 3.1, 7-24. 

Victoria Pastor-González is a Lecturer in Spanish at Regent’s College, 

London. She has written and published on European art film, the Polish 

director Krzysztof Kieślowski and is particularly interested in 

representations of religion and spirituality in European cinema, and 

issues of cultural and national representations in the Spanish media. 

She is currently working on the Andalusian film director Benito 

Zambrano and on contemporary Spanish docudramas. 

› The passion of Antonio Delgado: Religious iconography in the Spanish TV 

mini-series Padre Coraje/Father Courage, Studies in Documentary Film, 4.3, 

283-296.

Sandra Pauletto 

The University of York, Department 

of Theatre, Film and Television, East 

Campus, Baird Lane, York, YO10 

5GB, United Kingdom 

Keywords sound design, sound 

synthesis, multi-channel sound, 

surround sound, cinematic narrative, 

spatialization of sound sources 

Tom Paulus 

University of Antwerp, Department of 

Literature, Stadscampus S.D.221, 

Grote Kauwenberg 18, Antwerp, 

2000, Belgium 

Keywords Jean Renoir, La Chienne, 

profondeur de champ, The Miracle 

Woman, montage cinema 

Luc Pauwels 

University of Antwerp, Department of 

Communication. Faculty of Political 

and Social Sciences, Stadscampus, 

S.R.129. Rodestraat 14, Antwerp, 

2000, Belgium 

Keywords sociology, documentary, 

scientific representation, filmic 

expression, filmic reflexivity 

Jurica Pavicic 

University of Split 

Keywords normalization, self- 

Sandra Pauletto has a Ph.D. in Music Technology from The University 

of York and is a lecturer in Sound Design in the Department of 

Theatre, Film and Television at The University of York (UK). Sandra’s 

research interests focus on sound design and Interaction. Sandra is a 

member of the EU Cost Action Sonic Interaction Design (SID), see 

www.cost-sid.org, and the organizer of the workshop ‘Sonic Interaction 

Design and its relation to Film and Theatre sound design’. 

› Enlarging the Diegetic Space: Uses of the Multi-channel Soundtrack in 

Cinematic Narrative, The Soundtrack, 2.1, 39-55. 

Tom Paulus teaches film history and film aesthetics at the University of 

Antwerp. He has published mainly on early film style. His most recent 

book is an edited collection of essays, Slapstick Comedy (Routledge 

2010, with Rob King). 

› The Mortgage the Merrier: Hollywood comedies of remarriage in the age of 

domesticity, Film International, 4.22, 21-34. 

› The view across the court yard: Bazin and the evolution of depth style, Film 


Professor Luc Pauwels is Chair of the Department of Communication 

Sciences at the University of Antwerp, Belgium, where he teaches and 

researches visual communication, visual culture (visual sociology), 

documentary film theory, film aesthetics and media literacy. He is also 

heading the new Master programme in ‘Film Studies and Image 

Culture’. 

› Filmed science in search of a form, New Cinemas: Journal of Contemporary 

Film, 2.1, 41-60. 

Jurica Pavicic is a film critic, screenwriter and filmologist. He is a 

regular film critic on the daily newspaper Jutarnji . He teaches the 

history of cinema and the history of Croatian cinema at the University 

of Split.

Balkanization, Jasmila Žbanic’, Srdan 

Golubovic’, Ognjen Svilicic › ‘Cinema of normalization’: changes of stylistic model in post- Yugoslav 

cinema after the 1990s, Studies in Eastern European Cinema, 1.1, 43-56. 

Tatjana Pavlović 

Tulane University, Department of 

Spanish and Portuguese, 302 

Newcomb Hall, New Orleans, 

Louisiana, LA 70118, United States 

of America 

Keywords twentieth-century Spanish 

intellectual history, Spanish cinema, 

cultural studies 

Alison Peirse 

Northumbria University, School of 

Arts & Social Sciences, 335 Lipman 

Building, Sandyford Road, Newcastle 

upon Tyne, NE1 8ST, United 


Keywords vampire, male body, 

1930s, uncanny 

Tatjana Pavlović received her Ph.D. from the University of 

Washington, Seattle in 1996. She is currently Associate Professor of 

Spanish at Tulane University in New Orleans. Since 2006, she has 

served as Director of Tulane’s Undergraduate Spanish Studies 

Program. Her research and teaching interests centre on twentiethcentury 

Spanish intellectual history, literature, cultural studies, and film 

theory. She published her first book, Despotic Bodies and 

Transgressive Bodies: Spanish Culture from Francisco Franco to Jesús 

Franco (SUNY Press), in 2003. In 2009 she published a 

comprehensive survey of 100 Years of Spanish Cinema (Oxford: 

Wiley-Blackwell). Her most recent major book project, entitled The 

Mobile Nation (1954-1964): España cambia de piel, is published by 

Intellect. 

› Allegorising the body politic: Masculinity and history in Saura's El jardín de 

las delicias (1970) and Almodóvar's Carne trémula (1997), Studies in 



Alison Peirse is Lecturer in Film Studies at the University of Hull, 

where she teaches modules on film theory, Hitchcock, horror, and 

science fiction film. Her research interests are horror film and cult 

television. She has recently published articles on Charmed, Battlestar 

Galactica and the films of Edgar G. Ulmer, and review essays in 

Screen, Feminist Media Studies and Critical Studies in Television. Her 

article ‘Destroying the Male Body in British Horror Film’ is 

forthcoming in Santiago Fouz-Hernández (ed), Mysterious Skin: Male 

Bodies in Contemporary Cinema (London: I.B.Tauris, 2009). She is 

currently writing a research monograph on the male body in 1930s 

film. 

› The impossibility of vision: vampirism, formlessness and horror in Vampyr, 


Riikka Pelo 

Keywords Tonino Guerra, 

Michelangelo, Antonioni, Andrei 

Tarkovsky, screenwriting, authorship, 

writer-director relationship 

Manjunath Pendakur 

Southern Illinois University at 

Carbondale, Mass Communication & 

Media Arts, Department of Radio and 

Television, IL, 62901-6606, United 


Keywords political economy, 

communication, globalization 

Luisa Pèrcopo 

University of Caligari, Loc. Sa 

Duchessa, Via Is Mirrionis, 1, 09123 

Cagliari, Italy 

Keywords Kate Woods, Marc Augé, 

Italian-Australian culture, 

nationalism, cultural displacement 

Riikka Pelo is a Finnish novelist and a screenwriter currently working 

on her Ph.D. by practice in screenwriting in the University of Art and 

Design, Helsinki. Her novel, The Heaven-Bearer, was published in 

English by The Twisted Spoon Press (Czech Republic/USA) in 2010. 

› Tonino Guerra: the screenwriter as a narrative technician or as a poet of 

images? Authorship and method in the writer–director relationship, Journal 


Manjunath Pendakur, Ph.D. is professor and dean at Southern Illinois 

University Carbondale, USA. He has professional media experience 

from India, Canada and the United States. Pedakur specializes in the 

political economy of communication and has published widely on film 

and television industries in the US, Canada, and India. His books 

include Canadian Dreams and American Control: The Political 

Economy of the Canadian Film Industry (Wayne State University 

Press, 1990), Citizenship and Participation in the Information Age 

(Garamond, 2002), and Indian Popular Cinema: Industry, Ideology 

and Consciousness (Hampton, 2003). Pendakur is currently researching 

for a book dealing with globalization issues in India. 

› In the Shadows of Hollywood: Continuity and Change in Canada's Film 

Industry, Film International, 1.4, 19-26. 

Luisa Pèrcopo teaches Postcolonial and Australian Studies at the 

University of Cagliari, Italy, and is affiliated with the Menzies Centre 

for Australian Studies at King’s College London. Her current research 

interests are on autobiographies by ethnic minority Australians, the 

Italian diasporas, the literatures of islands, and the Mediterranean as a 

postcolonial space. She has published articles and essays on these 

topics in both edited collections of essays and refereed journals. 

› Lieux et non-lieux: subverting spaces of recognition and belonging in 

Looking for Alibrandi, Studies in Australasian Cinema, 2.1, 21-31. 

Philippe Perebinossoff Philippe Perebinossoff, Ph.D. was an executive at ABC Network 

before moving into academia. He is an associate professor in the

California State University, Fullerton, 

R., 18 26th Avenue, Venice, CA 

90291–4303 

Keywords television, programming, 

media ethics 

Adrián Pérez Melgosa 

SUNY Stony Brook, Hispanic 

Languages & Literature, N3014 

Melville Library, Stony Brook, New 


of America 

Keywords film theory, Latin 

American cinema, Spanish cinema, 

gender identity, performance, 

motherhood, nationalism, Third 

Cinema 

Claire Perkins 

Monash University, Film and 

Television Studies, Caulfield 

Campus, Victoria, 3145, Australia 

Keywords auteur, documentary, The 

Five Obstructions, Jørgen Leth, Lars 

von Trier 

Sarah Perks 

Cornerhouse, 70 Oxford Street, 

Manchester, M1 5NH, United 


Keywords women film-makers, Ann 

Radio-TV-Film Department at California State University, Fullerton. 

He received his MA in Creative Writing from The Johns Hopkins 

University, Baltimore, Maryland and a Ph.D. in English and Film from 

the University of Illinois, Champaign/ Urbana. He has co-authored a 

book on programming and has also written a book on media ethics. 

› Television and film screenwriters: How to reach a global audience, Journal 


Adrián Pérez Melgosa is an Assistant Professor at the Department of 

Hispanic Languages and Literature and at the Department of Literary 

and Cultural Studies at SUNY Stony Brook. He has published articles 

in the Journal of Spanish Cultural Studies, Social Text, Latin American 

Literary Review, Journal of Romance Studies, Revista Alteridades, and 

Mapocho: Revista de la Biblioteca Nacional de Chile. He is currently 

writing a book entitled Imaginary Policies and Real Fictions: 

Metaphors of Hemispheric Otherness in the Americas. 

› Imaging crisis in contemporary Argentina: mothers on the street and mothers 

on the screen, Studies in Hispanic Cinemas, 1.3, 151-168. 

Claire Perkins is Assistant Lecturer in Film and Television Studies in 

the School of English, Communications & Performance Studies at 

Monash University, Melbourne. She is the author of the forthcoming 

book American Smart Cinema (Edinburgh University Press). 

› Documenting film-makers, Studies in Documentary Film, 4.2, 105-108. 

› In Treatment: The Five Obstructions, Studies in Documentary Film, 4.2, 149- 

158. 

Sarah Perks is Programme and Engagement Director at Cornerhouse, 

Greater Manchester’s International Centre for Contemporary Visual 

Arts and Film. Previously Education Director, Sarah manages the 

education team that includes the innovative programmes ‘LiveWire’ 

(for young people aged 14-18 years) and ‘Projector’ (a year round 

programme for schools and colleges). Sarah has also been Festival 

Director of ‘Exposures’, the UK’s leading student film festival for

Hui, Mabel Cheung, Clara Law, 

Angie Chen 

Chris Perriam 

University of Manchester, 

Deptartment of Spanish, Portuguese 

and Latin American Studies, Arts 

Building, Oxford Road, Manchester, 

M13 9PL, United Kingdom 

Keywords Penélope Cruz, difference, 

diversity, Spanish cinema, stars, 


Polona Petek 

Keywords Head On, cinema, 

soundtrack, multiculturalism, taste 

several years. Last year, Sarah also co-programmed ‘Made in Hong 

Kong’ – a season of films and events exploring the tenth anniversary of 

the handover and is working toward a nationwide tour of Hong Kong 

Women Filmmakers next year.Sarah is a director of the Northern Film 

Network and a freelance lecturer and writer specialising in Asian 

cinema. Sarah has recently completed a Common Purpose Matrix 

Leadership course and led a Cultural Leadership Programme research 

project on personalization, audiences and organizational culture. 

› Editorial Issue 40 Hong Kong cinema since 1997, Film International, 7.4, 4- 

5. 

› Visible secrets: Hong Kong's women film-makers, Film International, 7.4, 

48-56. 

Chris Perriam is Professor of Hispanic Studies at the University of 

Manchester. His research interests are in contemporary Spanish 

cinema, poetry in Spanish, and queer writing in Spain. His publications 

include A New History of Spanish Writing from 1939 to the 1990s (as 

editor and co-author) (Oxford University Press, 2000) and From 

Banderas to Bardem: Stars and Masculinities in Recent Spanish 

Cinema (Oxford University Press, 2003). 

› Two transnational Spanish stars: Antonio Banderas and Penélope Cruz, 



Polona Petek has recently completed her Ph.D. in Cinema Studies at 

the University of Melbourne, Australia, where she teaches in the 

programme of Screen Studies. She has given papers and published 

articles on psychoanalytic and feminist interpretations of the double in 

cinema; the centrality of the myth of Echo and Narcissus in 

spectatorship theories; the Lacanian notion of the gaze in the films of 

David Cronenberg; and cross-cultural genealogies of the female 

protagonist of mainstream action cinema. Her current research and 

forthcoming publications focus on the changes in cinema brought about 

by globalization and migration, in particular on the role of cultural 

diasporas and transnational connectivity in European cinema. 

› Enabling collisions: Re-thinking multiculturalism through Fatih Akin's 

Gegen die Wand/Head On, Studies in European Cinema, 4.3, 177-186.

Line Nybro Petersen 

University of Copenhagen, Section 

for Film and Media Studies, 

Njalsgade 80, 2300 Copenhagen S, 

2300, Denmark 

Keywords television fiction, 

cognition, daydreams, collective 

mourning, popular culture 

Sheila Petty 

University of Regina, Faculty of Fine 

Arts, Riddell Centre 269, Regina, 

Saskatchewan, S4S 0A2, Canada 

Keywords musical, postcolonial, 

hybridization, disjunction, 

nationalism 

Kristen Phillips 

Curtin University of Technology, 

Department of Communication and 

Cultural Studies, Perth, GPO Box 

U1987, Australia 

Keywords nation, gender, borders, 

asylum seekers, multiculturalism 

Line Nybro Petersen, MA in Film Studies from University of 

Copenhagen. She is a Ph.D. scholar at the section of Film and Media 

Studies, University of Copenhagen. Her doctoral research project 

focuses on religious discourse in contemporary American television 

fiction and considers the series as examples of cultural export to 

Danish society and the reception among young Danish viewers. 

› Understanding superpowers in contemporary television fiction, Northern 


Sheila Petty is Dean of the Faculty of Fine Arts and Professor of Media 

Studies at the University of Regina (Canada). She has written 

extensively on issues ofcultural representation, identity and nation in 

African and African diasporic cinema and new media, and has curated 

film, television and new media exhibitions for galleries across Canada. 

She is author of Contact Zones: Memory, Origin and Discourses in 

Black Diasporic Cinema (Wayne State University Press, 2008) and a 

forthcoming monograph on the television series, Law & Order. She is 

leader of an interdisciplinary research group and a new media studio 

laboratory spanning computer science, engineering and fine arts. 

› The rise of the African musical: postcolonial disjunction in Karmen Geï and 

Madame Brouette, Journal of African Cinemas, 1.1, 95-112. 

Kristen Phillips is a Ph.D. candidate at Curtin University of 

Technology in the Department of Communication and Cultural Studies. 

She is writing a thesis on themes of containment and gender in 

Australian culture in an era of border anxiety. In 2003 she completed 

an Honours dissertation on the cultural significance of third-wave 

feminism. 

› Domesticating refugees: the border-crossing other in Marking Time, Studies 


Paul G. Pickowicz Paul G. Pickowicz is Distinguished Professor of History and Chinese 

Studies at the University of California, San Diego. He began

University of California - San Diego, 

Department of History, 9500 Gilman 

Drive, San Diego, California, CA 


Keywords underground cinema, 

history, memory, Greater China, 

theory 

Julianne Pidduck 

Universite de Montreal, Departement 

de Communication, C P 6128, 

Succursale Centre-Ville, Montreal, 

Quebec, H3C 3J7, Canada 

Keywords family, gender, 

masculinity, homosexuality, intimacy, 

Patrice Chéreau 

Matthew Pink 

Keywords Radio One, Kraftwerk, 

electronic, identity, road movie, 

sound, sound design, soundtrack, 

music, audio, film music 

researching Chinese cinema in 1971 and spent a year at the Film 

Archive of China in 1982–83. He is the author of many article-length 

studies of Chinese film, co-editor of New Chinese Cinemas (1994) and 

From Underground to Independent (2006), and associate producer of a 

two-hour documentary film entitled The Mao Years, 1949–1976 

(1994). 

› Issues and Debates From Yao Wenyuan to Cui Zi’en, Journal of Chinese 


› Exhibiting Chinese cinemas, reconstructing reception, Journal of Chinese 


Julianne Pidduck is Assistant Professor in the Department of 

Communication at the Université de Montréal. She is the author of 

Contemporary Costume Film: Space, Place and the Past (British Film 

Institute, 2004) and La Reine Margot (I.B. Tauris, 2005), and has 

published widely in the fields of gender, sexuality and the moving 

image. Her current research examines queer kinship in North American 

and European cinema, video and television. 

› A cinema of collisions: Patrice Chéreau and the homosocial, Studies in 


Matthew Pink graduated from Leeds University with a joint honours 

degree in French and Italian in 2003. In 2009 he received an MA with 

Distinction in Cinema Studies from the University of Bristol where he 

researched and wrote about the use of sound and the blues in the films 

of Aki Kaurismäki. He currently lives and works as a copy-editor in 

Cambridge, developing his research on sound in film and working for 

the Cambridge Film Festival. He has contributed to Little White Lies, 

Electric Sheep Magazine, the Guardian and the Intellect Directory Of 

World Cinema: Italy. 

› Electronic realities and identity fugue in Chris Petit’s Radio On (1979), The 

Soundtrack, 2.2, 143-152.

Thea Pitman 




Languages and Cultures, Leeds, LS2 

9JT, United Kingdom 

Keywords identity, Chicana girl 

gangs, film critics, Chicano cinema 

Virginia Pitts 

University of Kent, Canterbury, Kent, 

CT2 7NZ, United Kingdom 

Keywords literary adaptation, 

political documentary, 

phenomenology 

Cassi Plate 

Keywords authorship, cross-cultural, 

Aboriginal, land rights, documentary 

Thea Pitman is senior lecturer in Latin American studies in the 

Department of Spanish, Portuguese and Latin American Studies at the 

University of Leeds. She researches mainly in the fields of Latin 

American travel writing and Latin American cyberculture. Her 

publications include Mexican Travel Writing (Lang, 2008), and Latin 

American Cyberculture and Cyberliterature, co-edited with Claire 

Taylor (Liverpool University Press, 2007). 

› Policing the borders of Chicano cinema: The critical reception of Allison 

Anders's Mi vida loca/My Crazy Life (1994) by the Chicano community, 


Dr. Virginia Pitts is an academic and film-maker who aims to foster 

dialogue between critical enquiry and creative practice. She has 

published in the areas of literary adaptation, political documentary and 

intercultural film practice. Virginia's own screen practice spans drama, 

documentary, screen-dance and various hybrid forms for both film and 

television. Shot on both celluloid and digital formats, her films have 

been screened at many of the world's top film festivals, toured art 

galleries and sold widely. Her current research draws on 

phenomenology to explore the potential for embodied forms of 

engagement with cinema to invigorate screen development processes. 

› Technologies of culture: Digital feature film-making in New Zealand, New 


Cassi Plate is a freelance writer and curator. She has been a Research 

Fellow at the Research Institute for Humanities and Social Sciences, 

University of Sydney. She wrote her Ph.D. thesis on the life of her 

grandfather, A. G. Plate. The thesis, called Restless Spirits, was the 

first book published by the Picador imprint as part of a project called 

‘From Thesis to Book’. 

› Surrendering control: Two Laws as collaborative community film-making: 

an interview with Carolyn Strachan and Alessandro Cavadini, Studies in 


Laura Podalsky 




Languages and Cultures, 298 Hagerty 

Hall, 1776 College Dr., Columbus, 


Keywords transnational, 

globalization, affect, melodrama 

Michael Pokorny 

University of Westminster, 

Economics and Quantitative Methods, 

309 Regent Street, London, W1B 

2UW, United Kingdom 

Keywords 1930s, foreign revenues, 

film budgets, profits, strategy 

Murray Pomerance 

Keywords modernism, cinematic 

gesture, circulation, The Last 

Laugh/Der Letzte Mann, F.W. 

Murnau 

Laura Podalsky specializes in Latin American film and has published 

essays on a wide variety of topics, including Mexican youth films and 

classic melodrama, pre-revolutionary Cuban cinema and Brazilian 

film-maker Ana Carolina, in journals such as Framework, Screen, 

Cinemais (Brazil) and Archivos de la Filmoteca (Spain). She is the 

author of Specular City: Transforming Culture, Consumption, and 

Space in Buenos Aires, 1955–1973 (2004) on Argentine film and urban 

culture and the forthcoming Contemporary Latin American Cinema 

and the Politics of Feeling. 

› Migrant feelings: Melodrama, Babel and affective communities, Studies in 


Michael Pokorny is a Principal Lecturer in Quantitative Business 

Methods at the Business School of the University of Westminster. His 

main teaching interests are in quantitative 

methods/statistics/econometrics/quantitative finance, but he has also 

taught labour economics and industrial economics. His current research 

interests are concerned with the economics and economic history of the 

film industry. 

› Hollywood’s foreign earnings during the 1930s, Transnational Cinemas, 1.1, 

83-97. 

Murray Pomerance is a professor in the Department of Sociology at 

Ryerson University and the author of The Horse Who Drank the Sky: 

Film Experience Beyond Narrative and Theory, Johnny Depp Starts 

Here, Savage Time, An Eye for Hitchcock and Magia d’Amore. His 

Michelangelo Red, Antonioni Blue: Eight Reflections on Cinema is 

forthcoming. He has edited or co-edited numerous volumes including A 

Family Affair: Cinema Calls Home, City That Never Sleeps: New York 

and the Filmic Imagination, Cinema and Modernity, American Cinema 

of the 1950s: Themes and Variations and Where the Boys Are: 

Cinemas of Masculinity and Youth. 

› A modern gesture: perpetual motion and screen suspense, Film International, 

5.5, 42-53. 

› Digesting Steven Spielberg: ‘Perhaps table-manners are not a bad test of 

sincerity.’ – George Orwell, The Road to Wigan Pier (1937), Film 


› Baghdad Bad, Film International, 7.5, 27-49.

Mark Poole 

RMIT University, Bld 9, Level 4, 124 

La Trobe St., Melbourne, Vic 3000, 

Australia 

Keywords AFI, screen culture, 

government subsidy, EFTF, revival, 

renaissance, experimental film 

Jennifer Porst 

University of California, 2006 

Washington Avenue, Santa Monica, 


Keywords Renoir, sound, technology, 

visual style, La Chienne, Tire au flanc 

Larry Portis 

Keywords Italian cinema, Elio Petri, 

film festival, Peter Watkins, Bristol 

› What Ever is Happening to M. Night Shyamalan: Meditation on an 

‘Infection’ Film, Film International, 8.1, 34-46. 

› ‘He Loved What He Did So Much!’ An Interview with Evans (Evans) 

Frankenheimer, Film International, 9.3, 35-50. 

Mark Poole is a Melbourne-based writer/director and Chair of the 

Australian Writers’ Guild, Victoria. He has written more than twenty 

hours of television drama, including the AFI award-winning telefeature 

A Single Life; heco-produced and directed the documentary Fearless, 

screened on the ABC (2010); and he is a contributor to the online 

journal Screen Hub and other publications such as The Age, Metro and 

Storyline. He is also an occasionallecturer in RMIT’s School of Media 

and Communication, and the co-author of Shining a Light: 50 Years of 

the Australian Film Institute (2009). 

› Passionate amateurs: The xperimental film and television fund and modernist 

film practice in Australia, Studies in Australasian Cinema, 5.2, 171-183. 

Jennifer Porst is a Ph.D. candidate in Cinema and Media Studies at the 

University of California, Los Angeles, with a focus on the struggle 

over the licensing and sale of Hollywood’s feature films to American 

television before 1955. 

› The influence of sound on visual style in Renoir’s Tire au flanc and La 

Chienne, Studies in French Cinema, 11.3, 195-206. 

Larry Portis is the author of a number of books on history, culture and 

politics and often writes about the cinema. Among his publications are 

Soul Trains: A Peoples' History of Popular Music in the United States 

and Britain, (College Station, VBW Publications, 2002); Cinéma 

engagé Cinéma enragé, (Ed. with Pascal Dupuy and Christiane 

Passevant, Paris, Editions l’Harmattan, 2003); French Frenzies : A 

Social History of Popular Music in France, (College Station, VBW, 

2004); Dictionnaire des chansons politiques et engagées, (with 

Christiane Passevant Paris, Éditions Scali, 2008); Histoire du fascisme 

aux Etats-Unis, (Paris, Éditions CNT-RP, 2008); (ed.) Terror and Its

Catherine Portuges 

University of Massachusetts Amherst, 

Film Studies/Comparative Literature, 

320 Herter Hall, 161 Presidents Dr, 

Amherst, Massachusetts, 01003-9312, 


Keywords Hungarian cinema, French 

cinema, psychoanalysis, film festival 

Larson Powell 

University of Missouri, Department 

of Foreign Languages and Literatures, 

216 Scofield Hall, 711 E. 51st Street, 

Kansas City, Missouri, 64110, United 


Keywords electronic music, media 

art, German television 

Representations: Studies in Social History and Cultural Expression in 

the United States and Beyond. (Montpellier, Presses Universitaires de 

la Méditerranée, 2008); Qu’est-ce, (Paris, Éditions de l’Alternative 

Libertaire, 2010). 



› The Director Who Must (Not?) Be Forgotten: Elio Petri and the Legacy of 

Italian Political Cinema, Part 1, Film International, 8.2, 17-29. 

› The Director Who Must (Not?) Be Forgotten: Elio Petri and the Legacy of 

Italian Political Cinema, Part 2, Film International, 8.4, 42-50. 

Catherine Portuges is Professor of Comparative Literature and Director 

of the Interdepartmental Program in Film Studies at the University of 

Massachusetts at Amherst. She is an editorial board member for 

Studies in Eastern European Cinema and the AHEA Journal and was 

awarded the Pro Cultura Hungarica Medal from the in 2009 for her 

contributions on behalf of Hungarian Cinema. She is the author of 

Screen Memories: the Hungarian Cinemaof Márta Mészáros (1993) 

and co-editor, with Peter Hames, of Cinema in Transition: Post- 

Socialist East Central Europe (Temple University Press, 2011). 

› Interview:Conversation with Yvette Biró: interviews conducted in Paris, 5 

July 2008, and New York City, 1 November 2008, Studies in Eastern 


› Reports, Studies in Eastern European Cinema, 1.2, 233-242. 

Larson Powell is associate professor of German, University of Missouri 

– Kansas City. His first book, on modern German literature, was 

published by Camden House in May 2008; a second book on post-1945 

media art (electronic music, radio plays, film) is in preparation, along 

with a third book on DEFA director Konrad Wolf. He is also currently 

co-editing a volume on German television with Robert Shandley. He 

has published and lectured in German, French and English, on German 

film and literature as well as on musicology and philosophical 

aesthetics. Recent articles include 'Mama Ich Lebe: Konrad Wolf’s 

Intermedial Parable of Antifascism', Edinburgh German Yearbook vol. 

3 (2009), and ‘Allegories of Management: Norbert Schulze’s 

Soundtrack for Das Maedchen Rosemarie’, in Davidson and Hake 

(eds.), Framing the Fifties (Berghahn 2007).

Dominic Power 

National Film and Television School, 

Beaconsfield Studios, Station Road, 

Beaconsfield, Bucks, HP9 1LG, 


Keywords Sturges, patriotism, 

symphony, marching band, Ives 

Phil Powrie 

University of Surrey 

Keywords Feyder, Albatros, 

authenticity, kiss curl, French cinema, 

Jean-Luc Godard 

› Breaking the frame of painting: Konrad Wolf ’s Goya, Studies in European 


Dominic Power began writing for radio while studying English 

Literature at Royal Holloway College. He has written plays, reviews, 

essays and numerous other publications that have been published 

widely for years. He is the Head of the Screen Arts Department at The 

National Film & Television School. In addition, he is a regular lecturer 

on the History of Film Music on the Music MA at Kingston University 

and has also lectured Cambridge University. He is, with Stephen 

Deutsch and Larry Sider, one of the editors of the journal The 

Soundtrack. 

› ‘This is a story that happened yesterday but I know it's tomorrow’;, The 


› ‘Kol Nidre’ to ‘Toot, Toot, Tootsie,’ (The Jazz Singer on DVD), The 

Soundtrack, 1.2, 135-145. 


› More Than Meets the Eye: Rouben Mamoulian's City Streets, The 

Soundtrack, 1.3, 236-239. 

› Patriotic Dissonance: The Soundtrack of Hail the Conquering Hero, The 


Phil Powrie is Professor of Cinema Studies at the University of Surrey. 

He has published widely in French cinema, notably French Cinema in 

the 1980s: Nostalgia and the Crisis of Masculinity (Oxford: Clarendon 

Press, 1997), and, as editor, Contemporary French Cinema: Continuity 

and Difference (Oxford University Press, 1999), Jean-Jacques Beineix 

(Manchester University Press, 2001), and, with Keith Reader, French 

Cinema: A Student’s Guide (Arnold, 2002). He is the Chief General 

Editor of the journal Studies in French Cinema. 

› Diva: A new psychoanalytical approach, Studies in French Cinema, 2.1, 41- 

49. 


› The kiss-curl and the resisting eyes, Studies in French Cinema, 3.1, 15-24. 



› Thirty years of doctoral theses on French cinema, Studies in French Cinema,

Peter Pozefsky 

College of Wooster, Department of 

History, Wooster, OH, 44631, United 


Keywords genre, gangster film, Pavel 

Lungin, history, Andrei 

Konchalovskii, Pavel Chukhrai 

3.3, 199-. 


› Introduction. Fifteen years of 1950s cinema, Studies in French Cinema, 4.1, 

5-14. 













› Pierre Batcheff, the surrealist star, Studies in French Cinema, 8.2, 159-177. 


› Josephine Baker and Pierre Batcheff in La Sirène des tropiques, Studies in 







› La Tragédie de Carmen (Peter Brook, 1983) and embodiment, Studies in 


Peter Pozefsky teaches Russian history at The College of Wooster in 

Ohio. He is the author of The Nihilist Imagination (2003). His articles 

'Childhood and the Representation of Stalinism in Russian Cinema of 

the Transition' and 'Russian Gangster Film As Popular History' were 

published in Studies in Russian and Soviet Cinema. 

› Russian gangster films as popular history: genre, ideology and memory in 

Pavel Lungin’s Tycoon, Studies in Russian and Soviet Cinema, 2.3, 299-325. 

› Childhood and the representation of the history of Stalinism in Russian 

cinema of the transition period, Studies in Russian and Soviet Cinema, 4.1, 

23-44.

Brad Prager 

University of Missouri, Department 

of German and Russian Studies, 451 

Strickland Hall, Columbia, MO 


America 

Keywords focalization, film theory, 

narrative theory, Werner Herzog, Les 

Blank 

Alexander Prokhorov 

College of William and Mary, 

Department of Modern Languages 

and Literature, Washington Hall, P.O. 

Box 8795, Williamsburg, Virginia, 

VA 23187, United States of America 

Keywords Soviet culture, nation, 

melodrama, children, Thaw 

Ryan Prout 



Cardiff, CF10 3AS, United Kingdom 

Keywords transplant, nation state, 

gift-exchange dimension, 

Organización Nacional de 

Trasplantes, somatization 

Brad Prager is Associate Professor of German and Film Studies at the 

University of Missouri. He has authored two monographs: Aesthetic 

Vision and German Romanticism: Writing Images (2007) and The 

Cinema of Werner Herzog: Aesthetic Ecstasy and Truth (2007). His 

articles have appeared in New German Critique, Modern Language 

Review and Art History. Most recently he has co-edited the collections 

The Collapse of the Conventional: German Film and its Politics at the 

Turn of the Twenty-First Century (2010) and Visualizing the 

Holocaust: Documents, Aesthetics, Memory (2008). 

› On Blank's screen: Les Blank's Werner Herzog Eats His Shoe and the gravity 

of the director's subject, Studies in Documentary Film, 4.2, 119-135. 

Alexander Prokhorov works on issues relating to the cinema as a mode 

of political and aesthetic expression. His teaching and research link 

these issues to the relationship between genre films and art films, and 

the construction of imperial and national identity, with particular 

attention to Soviet and Russian cinema. He is the editor of Springtime 

for Soviet Cinema: Re/viewing the 1960s (Pittsburgh Film Symposium, 

2001). His essays and reviews have appeared in Slavic Review, Slavic 

and East European Journal, Russian Review, Wiener Slawistische 

Almanach, and Kinokultura as well as the anthologies The Russian 

Memoir (ed. Beth Holmgren, 2003), Against the Grain: Parody, Satire, 

and Intertextuality in Russian Literature (ed. Janet Tucker, 2002) and 

Imitations (eds. Louise McReynolds and Joan Neuberger, 2002). 

› The adolescent and the child in the cinema of the Thaw, Studies in Russian 



Ryan Prout is a lecturer in Hispanic Studies at the School of European 

Studies, Cardiff University. His research interests centre on film and 

writing from Latin America and from post-transitional democratic 

Spain. He is particularly interested in digital cultures and in exploring 

through film and literary narrative the signs of Spain’s re-emergence as 

a crucible of diverse cultures. His work on Juan Goytisolo focused on 

the representation of childhood and gender across the span of his 

oeuvre, from his juvenilia to his most celebrated avant-garde 

texts. More recently, his research has focused on aspects of popular 

culture and has studied, for example, the semantics of Spanish 

advertising icons, the significance of religious sects in Spanish society, 

and the meanings of dissidence in film and writing from and about

Mirosław Przylipiak 

Pomeranian University in Słupsk, 

Małopolska 39/1, Gdynia, 81-555, 

Poland 

Keywords split screen, General 

Sikorski, historical films, politics of 

history, Polish cinema 

Anton Pujol 

UNC Charlotte, Department of 

Languages and Culture Studies, 9201 

University City Boulevard, Charlotte, 

NC, 28223, United States of America 

Keywords Gilles Deleuze, Catalan 

cinema, Lluïsa Cunillé, Barcelona, 

Cuba. He has also studied the portrayal of minorities in Spanish 

narrative and in writing from Mexico. 

› All about Spain: transplant and identity in La flor de mi secreto and Todo 

sobre mi madre, Studies in Hispanic Cinemas, 1.1, 43-. 

› British Film Makers: Derek Jarman Roland Wymer (2005), Film 






› Interviews, Film International, 9.4, 84-91. 

› Exploding anonymity: the romance and risk of Derailment, Short Film 

Studies, 1.2, 239-243. 

Mirosław Przylipiak is Professor of Film and Media Studies at 

Pomeranian University in Słupsk. He is also a film critic, translator, 

and documentary film-maker. His main publications include the books 

Kino stylu zerowego/Zero Style Cinema (1994), Kino najnowsze/New 

Cinema (1998), Poetyka kina dokumentalnego/Aesthetics of 

documentary cinema ([2000] 2004), Kino bezpośrednie/Direct Cinema 

(2008), as well as over 100 academic papers on various aspects of film 

and media and numerous film reviews. He has translated over twenty 

books, mostly from the fields of psychology and film, and some poetry. 

He also made several documentary films and a series of educational 

television programmes. He was a founder and managing director of 

Academic Educational Television of Gdańsk University. 

› Exploring Assassination in Gibraltar by Anna Jadowska in the context of 

dominant tendencies in contemporary Polish cinema, Studies in Eastern 


Anton Pujol graduated from the Universitat Autónoma in Barcelona. 

He earned a Ph.D. at the University of Kansas in Spanish Literature 

and an MBA from the University of Chicago, with a focus in 

economics and international finance. Currently he is an associate 

professor at the University of North Carolina at Charlotte where he is 

the Graduate Program Director for Spanish. He has recently published 

articles in Translation Review, Catalan Review, Arizona Journal of 

Hispanic Cultural Studies and Studies in Hispanic Cinemas, among

Spanish Civil War others. 

Claudia Pummer 

University of Hartford, Department of 

Cinema, 107D ABR, 200 Bloomfield 

Avenue, West Hartford, CT, 6117, 


Keywords Algeria, exile, border 

theory, French new wave, young 

German cinema 

Davina Quinlivan 


Department, Strand Campus, London, 

WC2R 2LS, United Kingdom 

Keywords haptics, innocence, 

kinaesthetic, marks, materiality 

Michael Rabiger 

Keywords documentary film, short 

film, directing 

› Ventura Pons's Barcelona (un mapa): Trapped in the Crystal, Studies in 


Claudia Pummer is a Ph.D. candidate in Film Studies at the University 

of Iowa. Her dissertation project investigates the work of the filmmakers 

Jean-Marie Straub and Daniéle Huillet in the context of the 

history and development of political avant-garde cinema. She currently 

teaches film studies and film production courses at the University of 

Hartford. 

› Les Passeurs: Inscriptions of war and exile in Jean-Marie Straub and Danile 

Huillet's Machorka-Muff (1962), Studies in European Cinema, 7.1, 51-60. 

Davina Quinlivan is a Ph.D. candidate in the Film Studies Department 

at King’s College, London. Her thesis entitled ‘The Place of Breath in 

the Cinema’ examines the locus of the literal and symbolic role of the 

breathing body in the films of Atom Egoyan, David Cronenberg and 

Lars von Trier. She has published her work in Lucia Nagib and Cecilia 

Mello (eds) Realism and the Audio-Visual Media (Palgrave,2009), and 

Jenny Chamarette and Jennifer Higgins (eds) Guilt and Shame (Peter 

Lang, 2009). She has also published in Film-Philosophy and Vertigo. 

› Material hauntings: The kinaesthesia of sound in Innocence (Hadzihalilovic, 

2004), Studies in French Cinema, 9.3, 215-224. 

Michael Rabiger worked in British film industry as an editor, then 

directed BBC documentaries. Co-founded and eventually chaired a 

Columbia College’s Film/Video Department in Chicago and founded 

Michael Rabiger Center for Documentary. Authored widely-used howto 

texts (Directing: Film Techniques and Aesthetics and Directing the 

Documentary) as well as Developing Story Ideas. 

› Out of the underworld, Short Film Studies, 1.2, 235-238.

Paula Rabinowitz 

University of Minnesota, Department 

of English, 207 Church Street SE, 

Minneapolis, Minnesota, MN 55455, 


Keywords documentary, materialistfeminist 

theory, American studies 

Emma Radley 

University College Dublin, School of 

English, Drama and Film, Belfield, 

Dublin, Ireland 

Keywords psychoanalytic theory, 

gender, sexuality, uncanny 

Hilary Radner 

University of Otago, New Zealand 

Keywords 

Rajko Radovic 

Keywords Camorra, Roberto 

Saviano, deregulation, free trade, 

Naples 

Paula Rabinowitz is Professor at the Department of English, University 

of Minnesota, where she teaches American Cultural Studies. Her 

research interests include film, visual culture, Marxist and feminist 

theories, and American working-class and minority writers. Her books 

include They Must be Represented: The Politics of Documentary 

(Verso 1994) and Black & White And Noir: America's Pulp Modernism 

(Columbia 2002). She is co-editor of the four-volume series on 

clothing and identity, Habits of Being (Minnesota). 

› Esther Bubley Invents Noir, Film International, 1.2, 14-23. 

Emma Radley lectures in UCD School of English, Drama and Film. 

Her research interests include psychoanalytic theory, film theory, 

gender, sexuality, and the uncanny. She has published in the area of 

Irish film and culture, horror cinema, and psychoanalytic theory. 

› Seven words: the real Sunday, Short Film Studies, 1.2, 291-294. 

› REVIEWS, Film, Fashion & Consumption, 1.2, 221-226. 

Rajko Radovic is a film-maker and freelance journalist based in 

Vancouver, Canada. He is a correspondent for the Serbian newspaper 

Republic and the cultural and fashionmagazine Prestup. Living and 

travelling through Serbia, Kosovo and Montenegro, he was a first hand 

witness to the effects of the economic embargo and NATO 

bombardment.He has contributed to Senses of Cinema, and other 

publications, including numerous anthologies. 

› McMafia rising, Film International, 7.1, 6-11. 

› A Bandit Apart, Film International, 8.3, 14-20. 

› Master of Ambiguity: A Conversation with Jerzy Skolimowski, Film

Amit Rai 

Queen Mary, University of London, 

School of Business and Management, 

Mile End Road, London, E1 4NS, 


Keywords Bollywood, cinema-going, 

haptics, rasa theory 

Benjamin E. Raiklin 


Department of History, Mosse 

Humanities Building, Madison, WI 


Keywords Stalinist cinema, Great 

Terror, Artistic Council, Mosfilm, 

censorship 

Zakir Hossain Raju 

Monash University, School of Arts 

and Sciences, Sunway Campus, Jalan 

Lagoon Selatan, Malaysia 

Keywords Chineseness, Malaysian 

cinema, digital film, identity 


Amit Rai is Assistant Professor in Global Literatures and Film, 

Department of English, Florida State University, USA. He holds a 

Ph.D. from the Program in Modern Thought and Literature at Stanford 

University (1996). He has previously taught at the New School for 

Social Research, and since January 2004 has taught courses in 

Victorian literature, Human Rights, and Global literatures and film 

studies in the English department at FSU. His research interests include 

postcolonial perspectives on Victorian studies, the history of sentiment 

and affect, globalization studies, new media and popular Hindi and 

Hong Kong cinema, and the anthropology of monstrosity. 

› The haptic codes of Bollywood cinema in New York City, New Cinemas: 


Benjamin Raiklin is a Ph.D. candidate studying Soviet history at the 

University of Wisconsin-Madison and currently working on his 

dissertation entitled 'Towards a ‘'Cult’' of the Soviet War Cameraman: 

Stalinist Documentary Filmmaking Effortsand the Politics of War and 

War Memory, 1928-1948'. 

› Soviet cinema in the wake of the terror: the Artistic Council at Mosfilm, 

1939–41, Studies in Russian and Soviet Cinema, 3.3, 267-288. 

Zakir Hossain Raju teaches at Sunway Campus, Monash University, 

Malaysia. He earned his Ph.D. in Cinema Studies from La Trobe 

University (Melbourne) in 2005. His latest book is Bangladesh Cinema 

and National Identity: In Search of the Modern, (Routledge, 2008). 

Raju’s current research focuses on cultural translation and transnational 

media in Asia. He has also scripted and directed seven documentary 

films that featured in international film festivals around the world. 

› Filmic imaginations of the Malaysian Chinese: ‘Mahua cinema’ as a 

transnational Chinese cinema, Journal of Chinese Cinemas, 2.1, 67-79.

Gaetano Rando 

University of Wollongong, Modern 

Languages Programme, Wollongong, 

New South Wales, 2522, Australia 

Keywords Giorgio Mangiamele, 

Australian cinema, history, criticism, 

migrant experiences, marginalization, 

ethnicity 

Laura Rascaroli 

University College Cork, Italian, Film 

Studies, Orb 1.10, Cork, Ireland 

Keywords Marseilles cinema, 

Mediterranean, space, place, end of 

geography, essay film, Jean-Luc 

Godard 

Srilata Ravi 

University of Alberta, French Studies, 

Campus Saint-Jean, 2-16 Pav 

Gaetano Rando is currently Honorary Senior Fellow (Italian Studies 

and English Language and Linguistics) Faculty of Arts, University of 

Wollongong. He has written extensively on Italian Australian studies, 

recent publications being: La Diaspora italiana dopo la Seconda 

Guerra Mondiale. The Italian Diaspora after the Second World War 

(2007), co-edited with Jim Hagan; Emigrazione e letteratura: Il caso 

italoaustraliano (2004); translated and introduced Rosa R. Cappiello’s 

Australian edition of Oh Lucky Country (2009); 'Recent Italian- 

Australian Narrative Fiction by First Generation Writers Kunapipi, 

Vol. XXXI, No. 5 (2009). In 2005 the President of the Republic of 

Italy conferred him with the award of Commendatore, Ordine della 

Stella della Solidarietà italiana, for research and teaching 

achievements. 

› Liminality, temporality and marginalization in Giorgio Mangiamele's 

migrant movies, Studies in Australasian Cinema, 1.2, 209-222. 

Laura Rascaroli is Senior Lecturer in Film Studies at University 

College Cork. Her research focuses on European cinema, particularly 

of the 1940s, 1950s, 1960s and contemporary; on modernism and 

postmodernism in film; on space and place (the cinematic city, the road 

movie); on the essay film, personal/autobiographical film, amateur 

cinema, art film and non-fiction. She has published in many edited 

collections and in journals including Screen, Framework, Film 

Criticism, Studies in French Cinema, New Cinemas and Kinema. 

› The space of a return. A topographic study of Alain Resnais' Providence, 


› The place of the heart: scaling spaces in Robert Guédiguian's cinema, Studies 


› Performance in and of the Essay film: Jean-Luc Godard plays Jean-Luc 

Godard in Notre musique (2004), Studies in French Cinema, 9.1, 49-61. 

› Home and away: Nanni Moretti's The Last Customer and the ground zero of 

transnational identities, New Cinemas: Journal of Contemporary Film, 3.3, 

187-. 

Srilata Ravi is Professor of French at the University of Alberta, 

Campus Saint-Jean. Her research interests are in Francophone Studies, 

Diaspora and Migration Studies and Indian Ocean Studies. She has 

published widely in international refereed journals on gender, ethnicity,

Lacerte, 8406-9 le rue, Edmonton, 

T6C 4G9, Canada 

Keywords francophone literature, 

Vietnam, women writers, migrant 

writer, home 

Ming-Yeh T. Rawnsley 


Communications Studies, Room 1.29, 

Clothworkers Building North, Leeds, 


Keywords communications studies, 

media studies, East Asia, Taiwan, 

science communications, film festival 

Jonathan Rayner 

University of Sheffield, School of 

English Language, Literature and 

Linguistics, Jessop West, 1 Upper 

Hanover Street, Sheffield, South 

Yorkshire, S3 7RA, United Kingdom 

Keywords cinema, landscape, 

Australia, naval history, New Zealand 

migration and travel in francophone literature and culture. Her 

publications include Rainbow Colors: Literary Ethno topographies of 

Mauritius (2007), Asia in Europe, Europe in Asia (2004, co-edited with 

Mario Rutten and Beng-Lan Goh) and Le genre romanesque français 

1947 (1997). 

› Women, Family and Empire-building: Régis Wargnier's Indochine, Studies 


Ming-Yeh T. Rawnsley is Research Fellow at the Institute of 

Communications Studies, University of Leeds where she lectures and 

researches on Chinese-language films. Her current projects include 

‘Cross-Cultural Dialogues: Taiwan Cinema' and ‘Making Science TV 

Programmes for the International Market’. She publishes widely in 

both Chinese and English languages on media, culture and literature. 

Her most recent books include Global Chinese Cinema: The Culture 

and Politics of Hero (Routledge, 2010) and Little Study, Big Universe 

(Lixu, 2010, in Chinese). She is presently working on a monograph, 

Cultural Democratization in Taiwan: Society, Cinema and Theatre 

(Routledge, forthcoming). 



› Cinema, Historiography, and Identities in Taiwan: Hou Hsiao-Hsien’s A City 

of Sadness, Asian Cinema, 22.2, 196-213. 

Jonathan Rayner is Reader in Film Studies at the University of 

Sheffield, School of English Literature, Language and Linguistics. He 

has contributed to books on topics as diverse as Australian cinema, 

New Zealand cinema, musicals, horror films, crime/caper films, cult 

films, and road movies. His previous books include The Naval War 

Film: Genre, History, National Cinema (Manchester University Press, 

2007), Contemporary Australian Cinema (Manchester University 

Press, 2000) and The Films of Peter Weir (Continuum, 1998/2003), and 

as co-editor (with Graeme Harper) Cinema and Landscape (Intellect, 

2010). His research interests include Australasian cinema, genre and 

auteur studies, cinema and landscape, and naval films and history. 

› Live and dangerous? The screen life of Steve Irwin, Studies in Australasian 

Cinema, 1.1, 107-118.

Keith Reader 

University of Glasgow, Department 

of French, Glasgow, G12 8QL, 


Keywords cinema, modern fiction, 

sado-masochism, Fifth Republic, 

literature 

Eric Rebillard 

Keywords surrealism, masculinity, 

André Breton, Antonin Artaud, 

Salvador Dalí 

Nick Redfern 

Independent Researcher 

› Adapting Australian Film: Ray Lawrence from Bliss to Jindabyne, Studies in 


› REVIEWS, Studies in Australasian Cinema, 5.2, 203-208. 

Professor Reader works on various aspects of (primarily but not solely) 

twentieth-century French culture. He has recently finished an article on 

Resnais's L'Annee derniere a Marienbad as sado-masochistic text - an 

approach that incorporates his interest in critical theory (in this case the 

work of Deleuze) and in gender studies. The latter approach largely 

underpins his monograph, co-authored with Rachel Edwards, on The 

Papin Sisters (Oxford University Press, 2001), and even more 

markedly his study of male (self-)abjection The Abject Object (Rodopi, 

2006), which examines avatars of the abject phallus across a variety of 

texts. 

› Jouissance at the Margins: Phillippe Harel's Extension du domaine de la 

lutte/Whatever, Studies in French Cinema, 1.2, 118-. 

› Another Deleuzian Resnais: L'Année dernière à Marienbad (1961) as 

conflict between sadism and masochism, Studies in French Cinema, 8.2, 

149-158. 

Eric Rebillard is a member of the Association Française de recherche 

sur l’histoire du cinéma. He has published work on Pierre Batcheff 

with Phil Powrie in Buñuel, Siglo XXI (Institución Fernando el 

Católico/Prensas Universitarias de Zaragoza, 2004), and Marcel 

L’Herbier: l’Art du Cinéma (Association Française de Recherche sur 

l’Histoire du Cinéma, 2008). 

› Pierre Batcheff, the surrealist star, Studies in French Cinema, 8.2, 159-177. 

› Josephine Baker and Pierre Batcheff in La Sirène des tropiques, Studies in 


Nick Redfern studied Film and History at the University of Kent, and 

completed his Ph.D. on regionalism in contemporary British cinema at 

Manchester Metropolitan University in 2006. He has published articles 

on regional film policy in the United Kingdom and the representation

Keywords film industry, British 

cinema, regionalism, globalization 

Allen H. Redmon 

Texas A&M University, Killeen, 

Texas, United States of America 

Keywords narrative, cinematography, 

editing, mimesis, apocalypse 

Gregg Redner 

The University of Western Ontario, 

Department of Film Studies, London, 

Ontario, N6A 3K7, Canada 

Keywords Maurice Jaubert, Jean 

Vigo, L'Atalante, sensation, film 

music 

of the UK’s regions in cinema in Entertext, The Journal of British 

Cinema and Television, and the International Journal of Regional and 

Local Studies and Cyfrwng: Media Wales Journal. He has taught film 

studies at Manchester Metropolitan University and the University of 

Central Lancashire, specializing in British cinema, Hollywood cinema, 

film analysis and film theory. 

› Connecting the regional and the global in the UK film industry, 


Allen H. Redmon teaches film and cultural studies courses at Texas 

A&M University Central Texas in Killeen, Texas. Past publications 

have examined the work of Carl Dreyer, Fatih Akin, Zhang Yimou, and 

Clint Eastwood. More recently, he has focused on the films of Quentin 

Tarantino and the Coen brothers, respectively. The common strain in 

all of these pursuits is an ongoing interest in the ways directors use 

established genres or recognized narratives to alter the narratives their 

films purportedly adopt. 

› ‘Come Out of Here, My People’: Pandemonium and Power in Carl Theodor 

Dreyer's La Passion de Jeanne d'Arc, Studies in French Cinema, 6.3, 183- 

194. 

Gregg Redner holds a Ph.D. in Film Studies from Exeter University, 

UK. He is a graduate of the Juilliard School in New York City, from 

which he holds a double Master of Music degree in organ and 

harpsichord performance and has also completed the coursework 

towards a Ph.D. in Historical Musicology from the Graduate Center of 

the City University of New York. Gregg Redner also serves on the 

Film Studies Faculty of the University of Western Ontario. His work 

has been published in Studies in French Cinema, Music Sound and the 

Moving Image and Rhizomes. 

› Fragments of a life: becoming-music/woman in Krzysztof Kieslowski’s Trois 

couleurs: bleu, Studies in French Cinema, 8.3, 277-287. 

› Deleuzian sensation and Maurice Jaubert's score for L'Atalante (Vigo, 1934), 


Nick Rees-Roberts 


French, 17 Woodland Road, Bristol, 

BS8 1TE, United Kingdom 

Keywords French cinema, queer 

cinema, immigration, prostitution, 

sexualities, transgender 

Todd W. Reeser 


of French and Italian, 702 Old 

Engineering Hall, Pittsburgh, 



Keywords sex, temporality, time, 

transsexualism, Wild Side 

Friedman Régine-Mihal 

Tel-Aviv University, Department of 

Cinema and Television, Faculty of 

Arts, Tel-Aviv 69978, Israel 

Keywords witnessing, 'I-productions', 

Nick Rees-Roberts is Lecturer in French at the University of Bristol, 

specializing in screen aesthetics and cultural studies. His current 

research includes work on queer cinema and theory, and on fashion 

history, focusing on synergies between masculinities, men's style and 

the moving image. Before coming to Bristol in 2007, he lived in Paris 

where he taught English, media and cultural studies at the Universities 

of Paris III, IV and Paris-Dauphine. He has a D.Phil. from the 

University of Sussex, where he wrote a dissertation on sexuality, 

gender and culture in contemporary France, and has published work on 

French cinema culture in New Cinemas, Contemporary French 

Civilization, Studies in French Cinema and the International Journal 

of Cultural Studies. 


› Down and out: immigrant poverty and queer sexuality in Sébastien Lifshitz's 

Wild Side (2004), Studies in French Cinema, 7.2, 143-156. 

› Queering the Orientalist porn package: Arab men in French gay 

pornography, New Cinemas: Journal of Contemporary Film, 6.3, 197-208. 

› Men of mode: Alain Delon, Christian Dior and brand heritage, Film, Fashion 

& Consumption, 1.1, 81-99. 

Todd W. Reeser teaches French and Gender Studies at the University 

of Pittsburgh (USA). He has published essays on French literature, 

theory, culture and film. He is the author of Moderating Masculinity in 

Early Modern Culture (North Carolina, 2006), co-editor of a special 

issue of Esprit Créateur on French masculinities and of ‘Entre 

hommes’: Theoretical and Cultural Perspectives on French and 

Francophone Masculinities. He recently published an interdisciplinary 

book on the study of masculinity from a Humanities perspective 

entitled Masculinities in Theory (Wiley-Blackwell, 2010). 

› Transsexuality and the disruption of time in Sébastien Lifshitz's Wild Side, 


Régine-Mihal Friedman is a professor in the Department of Cinema 

and Television, Tel-Aviv University. She obtained her Ph.D. from the 

University of Strasbourg with a thesis on Nazi Cinema, published as 

L’Image et son Juif. She publishes regularly in the German feminist 

journal Frauen und Film. She has written extensively on Israeli 

Cinema. Recent publications include work on Carl Mayer, on André 

Delvaux, and on the testimonial films emanating from ‘the Generations

interactive, testimonial pac of the Aftermath’. 

Cacilda M. Rego 

Utah State University, Languages, 

Philosophy and Speech 

Communication, 0720 Old Main Hill, 

Utah, 84322-0720, United States of 

America 

Keywords audio-visual, Globo 

Network, state policy 

Stijn Reijnders 

Erasmus University Rotterdam, 

Erasmus School of History, Culture, 

and Communication, P.O Box 1738, 

NL-3000 DR, Rotterdam, Netherlands 

Keywords guilty house, guilty 

landscape, Marc Dutroux, collective 

memory, crime, dark tourism, 

material culture 

Markus Reisenleitner 


Humanitites, 1001 Roselawn Avenue 

Apt 211, Toronto, Ontario, M6B 

› The transmutation of testimony in Cling, Najman and Finkiel's Aftermath 

films, Studies in French Cinema, 5.3, 195-206. 

Cacilda M. Rêgo received her Ph.D. from the University of Texas at 

Austin. She is currently an associate professor in the Department of 

Languages, Philosophy and Speech Communication at the Utah State 

University, where she teaches Brazilian Literary and Cultural Studies. 

› Brazilian cinema: its fall, rise, and renewal (1990–2003), New Cinemas: 


Stijn Reijnders is Associate Professor in Cultural Heritage at the 

Erasmus University Rotterdam. His research focuses on the relation 

between media culture, popular heritage and tourism. He has published 

in, amongst others, Media, Culture & Society, European Journal for 

Communication, Cultural Geographies, Ethnologia Europeae, and 

European Journal for Cultural Studies. In 2006, he finished his Ph.D., 

entitled 'Holland op de Helling. Televisieamusement, volkscultuur en 

ritueel vermaak'/'Holland on the slide. Television 

entertainment,folklore and ritual', which was awarded the national 

Dissertation Award by the Netherlands School of Communications 

Research. Currently, Reijnders is working on a new project, funded by 

the Dutch Science Foundation (NWO), focusing on media tourism: the 

phenomenon of people visiting locations from popular novels, films or 

TV series. In 2011, he published his second 

› Imprisoned by Dutroux: An ethnography of guilty houses in Belgium, 


Markus Reisenleitner is Associate Professor and Head of the 

Department of Cultural Studies at Lingnan University in Hong Kong. 

His areas of interest include representations of the urban in popular 

culture and film. His publications include a monograph on the early 

modern period, a co-authored introduction to cultural studies, and

4M4, Canada 

Keywords European imaginaries, 

new Europe, game culture, 

cyberpunk, digital humanities, global 

culture, memory, nostalgia 

Suneeti Rekhari 

Keywords identity, Indigenous 

studies, media, race and ethnicity 

Karen Remedios 

Southern Connecticut State 

University, Department of English, 

501 Crescent Street, New Haven, 

Connecticut, 6515, United States of 

America 

Keywords postcolonial theory, 

postcolonial cinema, South Asian 

novel, anglophone Caribbean 

literature, West African literature 

Jooyeon Rhee 


Humanities, 8-58 York Research 

Tower, 4700 Keele Street, Toronto, 

Ontario, M3J 1P3, Canada 

Keywords Korean cinema, gender, 

colonialism, Na Un-Kyu, domestic 

novels 

several articles on urban imaginaries in Europe and Asia. 

› Polarizing Avalon: The European virtuosity and global virtuality of Mamoru 

Oshii's filmic imaginary, New Cinemas: Journal of Contemporary Film, 4.2, 

129-. 

Suneeti Rekhari completed a Ph.D. in Sociology, Indigenous studies 

and Film at the University of New South Wales, Australia. She 

currently lectures in the Arts at the Institute of Koorie Education, 

Deakin University. Her research interests include film studies, studies 

on identity, Indigenous studies, media, race and ethnicity. 

› Jaisa Desh, Waisa Vesh? Explorations on the representations of Adivasis in 

popular Hindi cinema, Studies in South Asian Film & Media, 2.2, 107-117. 

Karen Remedios is Assistant Professor of Modern British and 

Postcolonial Literature at Southern Connecticut State University, New 

Haven, CT. Her teaching and research interests include postcolonial 

theory and film, the South Asian novel, anglophone Caribbean 

literature, and West African literature. 


Jooyeon Rhee received her Ph.D. from the Department of Humanities 

at York University in Toronto, Canada. Her interests are gender, 

literature, film and visual culture of Korea and Japan. 

› Arirang, and the making of a national narrative in South and North Korea, 

Journal of Japanese & Korean Cinema, 1.1, 27-43.

Natalia Riabchikova 



6705 Thomas Boulevard, Pittsburgh, 

Pennsylvania, 15208, United States of 

America 

Keywords Soiuzdetfil'm, Margarita 

Barskaia, children's cinema, studios 

Lucia Ricciardelli 

Montana State University, School of 

Film & Photography, 11272 Kelly 

Canyon Rd., Bozeman, Montana, 


Keywords documentary film, class, 

race, gender 

Niall Richardson 

University of Sussex 

Keywords 

Natalia Riabchikova is a graduate student in the Department of Slavic 

Languages and Literatures at the University of Pittsburgh. She received 

her BA in Film Studies from the Russian State University of 

Cinematography (VGIK), Moscow. She has published articles on 

Soviet film history in Kinovedcheskie zapiski (Moscow). Her research 

interests include Soviet film production in the 1920s–30s and theory 

and practice of Sergei Eisenstein. 



Lucia Ricciardelli is an Assistant Professor in the School of Film and 

Photography at Montana State University in Bozeman. A graduate in 

Fine Arts with a specialization in Documentary Photography from the 

Academy of Fine Arts of Bologna (Italy), in 2007 she received her 

Ph.D. in History of Art and Architecture from the University of 

California in Santa Barbara, specializing in documentary film. 

Ricciardelli‘s academic work has shown a consistent interest in the 

interdisciplinary connections between representations of class, race and 

gender in a broad range of visual media - specifically film, art, 

photography and digital technologies. 

› Documentary Filmmaking in the Postmodern Age: Errol Morris & The Fog 

of Truth, Studies in Documentary Film, 4.1, 35-50. 

Niall Richardson teaches film at the University of Sussex and is the 

convenor of MA Gender and Media. He is the author of The Queer 

Cinema of Derek Jarman: Critical and Cultural Readings (London: I B 

Tauris); Transgressive Bodies: Representations in Film and Popular 

Culture (Hampshire: Ashgate) and editor (with Adam Locks) of 

Critical Readings in Bodybuilding (London: Routledge). 

› Fashionable 'fags' and stylish 'sissies': The representation of Stanford in Sex 

and the City and Nigel in The Devil Wears Prada, Film, Fashion & 

Consumption, 1.2, 137-157. 

Nicole Richter Nicole Richter is Assistant Professor in the Motion Pictures Program at

Wright State University, Department 

of Theatre Dance and Motion 

Pictures, T148 Creative Arts Center, 

3640 Colonel Glenn Hwy, Dayton, 

Ohio, 45435-0001, United States of 

America 

Keywords feminism, documentary, 

formalism, motherhood 

Thomas Riegler 

Keywords Algeria, war, realism, 

Italian cinema 

David M. M. Riep 

The University of Iowa, 2055 South 

Ridge Drive, Coralville, IA, IA 


Keywords African art, South Africa, 


Howard Riley 

Swansea Metropolitan University, 

Dynevor Centre for Arts Design and 

Media, De La Beche Street, Swansea, 

Wright State University. She is the founding Editor-in-Chief of In 

Short: The Journal of Small Screen Studies and the founder of the 

Women Filmmakers Collective at Wright State. Her forthcoming 

publications include Visualizing Bodily Shame: The Films of Catherine 

Breillat and The Feminist Poetics of Sofia Coppola. 

› Dressing the body in memories, Short Film Studies, 1.1, 83-86. 

Thomas Riegler, born 1977, studied history and politics at Vienna and 

Edinburgh Universities. He now works as a journalist and independent 

historian. Riegler has published on a wide range of topics, including 

terrorism, film studies, and contemporary history. He is author of 

'Terrorismus: Akteure, Strukturen, Entwicklungslinien' ( in Terrorism: 

Actors, Structures, Trends, 2009) and 'Im Fadenkreuz: Österreich und 

der Nahostterrorismus 1973-1985' (in In the Cross Hairs: Austria and 

Middle Eastern terrorism 1973-1985, 2010). 

› Gillo Pontecorvo's ‘dictatorship of the truth’ – a legacy, Studies in European 


David Riep received his Ph.D. in art history from the University of 

Iowa. His primary area of research focuses on the arts of Africa. Riep’s 

recent work on South Sotho art and history in South Africa and 

Lesotho served as the focus of his Ph.D. dissertation. Aside from his 

written work, Riep has produced several documentary films on the arts 

of southern Africa, including titles on pot making and mural arts. 

Presently, he has several new titles in production that will address a 

variety of South Sotho artistic techniques and cultural events. 

› Visual revision: Intersecting art and film in the work of Jean-Marie Teno and 

Raoul Peck, Journal of African Cinemas, 3.1, 81-92. 

Howard Riley is Professor of Visual Communication and Head of the 

School of Research and Postgraduate Studies at the Dynevor Centre for 

Arts, Design & Media, Swansea Metropolitan University. He has 

taught drawing, and the history and theory of art and design in 

Australia and Malaysia as well as the United Kingdom. His

SA1 3EU, United Kingdom 

Keywords art pedagogy, artworld, 

conceptual intrigue, perceptual 

intrigue 

Elena del Río 



Humanities Centre, Edmonton, AB, 

T6G 2E5, Canada 

Keywords Claire Denis, Nénette and 

Boni, Beau travail, modern cinema 

Jonathan Risner 


Chapel Hill, Department of English 

and Comparative Literature, 

Greenlaw Hall CB #3520, Chapel 

Hill, NC 27599-3520, United States 

of America 

Keywords circulation, horror, 


Ian Roberts 

University of Leicester, School of 

Modern Languages, University Road, 

Leicester, Leicestershire, LE1 7RH, 


Keywords Murnau, innovation, 

publications are in the fields of visual semiotics and multimodality, 

generative art and his drawings have most recently been exhibited in 

the the Bay Art Gallery, Cardiff, the Wales Drawing Biennale, and at 

the Elysium Artspace, Swansea. 

› The multimodal matrix – a laboratory of devices: film and the Formalist 

legacy, Studies in Russian and Soviet Cinema, 1.2, 191-210. 

Elena del Río is an Associate Professor of Film Studies at the 

University of Alberta, Canada. She is the author of Deleuze and the 

Cinemas of Performance: Powers of Affection (Edinburgh University 

Press, 2008). Her essays on the intersections between film and 

technology, and film and performance, have been featured in Camera 

Obscura, Discourse, Science Fiction Studies and Quarterly Review of 

Film and Video. 

› Body transformations in the films of Claire Denis: from ritual to play, Studies 


Jonathan Risner is a doctoral student in the Program of Comparative 

Literature at the University of North Carolina at Chapel Hill. He has 

published an essay on the mainstreaming of Latina/o comic and is 

writing a dissertation on contemporary Argentine horror cinema. 

› This city is killing me: The circulation of Argentine horror cinema and 

Buenos Aires in Pablo Pars and Daniel de la Vega's Jennifer's Shadow (2004) 

and De la Vega's Death Knows Your Name (2007), Studies in Hispanic 


Ian Roberts lectures in German and film at the University of Leicester. 

His research interests are equally divided between German filmic 

responses to war (particularly depictions of Germans at war), and the 

films of the Weimar period. Recent publications have covered the 

literary response to the bomber war over Germany, and an article on 

Robert Wiene’s Das Cabinet des Dr. Caligari/The Cabinet of Dr. 

Caligari. His study of Weimar film, entitled German Expressionist

Weimar Expressionism, unchained 

camera 

Les Roberts 

University of Liverpool, Institute of 

Popular Music, 80-82 Bedford Street 

South, Liverpool, L69 7WW, United 


Keywords place, space, mobility, 

urban cultural studies, GIS and 

cultural memory, tourism, heritage, 

consumption, landscape, moving 

image 

Robert Robertson 

Keywords Sergei Eisenstein, Frank 

Lloyd Wright, architecture, audiovisual, 

space, music 

Cinema: The World of Light and Shadow was published by Wallflower 

Press in 2008. 

› Friedrich Wilhelm Murnau, transatlantic thresholds and transcendental 

homelessness, Studies in European Cinema, 4.3, 223-. 

Les Roberts is a postdoctoral researcher in the Institute of Popular 

Music. He is currently working with Professor Sara Cohen on the 

project Popular Music Heritage, Cultural Memory and Cultural 

Identity (POPID), a large scale international collaborative research 

project funded by HERA (Humanities in the European Research Area). 

Les’s research interests are in the cultural production of place, space 

and mobility; urban cultural studies; GIS and cultural memory; 

tourism, heritage and consumption; landscape and the moving image. 

› 'Welcome to Dreamland': From place to non-place and back again in Pawel 

Pawlikowski's Last Resort, New Cinemas: Journal of Contemporary Film, 

1.2, 78-90. 

› From Sarajevo to Didcot: An interview with Pawel Pawlikowski, New 


Robert Robertson is a composer and film-maker. He has an MFA in 

Film Production from the Mel Hoppenheim School of Cinema, 

Montreal. His music/films include Oserake and The River That Walks, 

Assault on Time and Trace Elements, and he has composed the operas 

The Kingdom, The Cathars and Empedocles. His book Eisenstein on 

the Audiovisual, published by I.B. Tauris in 2009, is the result of his 

doctoral research at King’s College London, UK. 

› The equivalence of space and music: Eisenstein and Frank Lloyd Wright, 

The Soundtrack, 2.2, 99-109. 

José Luis Rodríguez Jose Luis Rodríguez specializes in post-Spanish Civil War literature 

and film, especially the years 1940–80. His research interests also 

include surrealism and the Movida Madrileña. He is also keen on 

critical theory, especially psychoanalysis and structuralist and poststructuralist 

debate. He has recently published on Juan Benet in BHS

Keywords Viridiana, Kristeva, 

contamination, transformation 

Susan Rogers 

Freelance Screenwriter and 

Consultant, United Kingdom 

Keywords commissioning process, 

guild memberships, screenwriters, 

writing credit, gender 

Brigitte Rollet 

University of London Institute in 

Paris, 9 rue de Constantine, Paris, 

75007, France 

Keywords memory, abortion, 

women, documentary, Mariana Otero, 

Histoire d'un secret, francophone 

Africa, gender, sexuality, French 

cinema, French television 

Mireille Rosello 

University of Amsterdam, Literary 

Studies, Spuistraat 210, 1012 VT, 

Netherlands 

and is currently preparing a monograph on the author. 

› Contamination and transformation: a Kristevan reading of Luis Buñuel's 

Viridiana, Studies in Hispanic Cinemas, 1.3, 169-180. 

Susan Rogers is a screenwriter. She began her film career at Zoetrope 

Studios in Los Angeles and New York on the marketing of Apocalypse 

Now and went on to head the story department at United Artists in Los 

Angeles during the development of Raging Bul and Heaven’s Gate, 

before returning to Francis Coppola’s Zoetrope Studios in Hollywood 

to head the Development Department. On leaving Zoetrope, she wrote 

and directed several awardwinning short films including Astronomy, 

(official selection at the Sundance, New York and London Film 

Festivals), and directed drama in Britain for BBC One and Two and 

ITV. 

› Who Writes British Films: A Summary on the UKFC Report and a Call for 

Further Research, Journal of Screenwriting, 1.2, 375-383. 

Brigitte Rollet is Senior Lecturer in French Cultural Studies at the 

University of London Institute in Paris. She has published widely on 

French cinema and television from a gender perspective and is the 

author of Coline Serreau (MUP, 1998), Télévision et Homosexualité: 

10 ans de fictions françaises (1995–2005) (L’Harmattan 2007), and coauthor 

of Cinema and the Second Sex: Women’s Filmmaking in France 

in the 1980s and 1990s (Continuum, 2001). Her most recent coeditions 

are Genre et légitimité culturelle (2007), and the proceedings 

of the 5th PEC conference (2009). 

› Quand les femmes filment l'Histoire: Histoire d'un secret (Mariana Otero, 

2003), Studies in French Cinema, 10.3, 257-267. 

Mireille Rosello teaches in the department of Literary Studies at the 

University of Amsterdam and the Amsterdam School of Cultural 

Analysis (ASCA). Her research focuses on diasporic studies 

(European, North African and Caribbean migrant) and gender 

constructions (queer theories and cultures). Her most recent

Keywords diaspora, gender, 

European multilingualism 

Steven J. Ross 

USC College of Letters, Arts and 

Sciences, Department of History, 

3454 Trousdale Pkwy, Los Angeles, 

CAS 100, United States of America 

Keywords working-class history, 

social history, film history, class 

Alexander G Ross 

Keywords production, National 

Research Group, corporatization, 


publications are The Reparative in Narratives: Works of Mourning in 

Progress (2009), France and the Maghreb: Performative Encounters 

(2005) and Postcolonial Hospitality: the Immigrant as Guest (2001). 

She is currently working on a collection of essays on European 

multilingualisms (co-edited with Lazlo Mazarck) and What's queer 

about Europe (co-edited with S. Dasgupta). 

› Agnès Varda's Les Glaneurs et la glaneuse: Portrait of the Artist as an Old 

Lady, Studies in French Cinema, 1.1, 29-36. 

Steven J. Ross is Professor of History and chairman of the History 

Department at USC. The first person in his family to go to college, 

Steve received his BA from Columbia University, a Bachelor of 

Philosophy from Oxford University, and a Ph.D. from Princeton 

University, where he worked with famed historians Arthur Link and 

James McPherson. Professor Ross has written extensively in the areas 

of working-class history, social history, and film history. His first book, 

Workers On the Edge: Work, Leisure, and Politics in Industrializing 

Cincinnati, 1788-1890 (1985) was adapted for the screen by Cincinnati 

unionists and made into an educational video entitled They Build the 

City: The Working People of Cincinnati. His second book, Working- 

Class Hollywood: Silent Film and the Shaping of Class in America 

(1998), received the prestigious Theater Library Association Book 

Award for 1999. 

› The Visual Politics of Class, Film International, 1.2, 44-50. 

Alexander G. Ross studied at the universities of Heidelberg, 

Cambridge and the ESCP in Paris. He has been a visiting lecturer at 

York St. John University and presently at Westminster University and 

has lectured at UCLA, Chapman University, Bournemouth University 

and the LIFS. He is a doctoral candidate researching the evolution of 

Hollywood Film-making. Alexander became a member of Bafta in 

2004. He subsequently produced the romantic comedy The List (2007) 

for Warner Bros. He works as a script consultant for writers such as Iris 

Yamashita (Acad. Nom. Letters From Iwo Jima, 2006). In 2011 he 

was appointed as an expert to the EU's: Education, Audiovisual and 

Culture Executive Agency MEDIA Program. 

› Creative decision making within the contemporary Hollywood studios, 

Journal of Screenwriting, 2.1, 99-116.

Kathrin Rothemund 

Leuphana Universitat Luneburg, 

Scharnhorststr. 1, 21335 Luneburg, 

Germany 

Keywords German crime fiction, 

gangster genre, television 

series/serials, Quality TV, narrative 

complexity, textual analysis 

William Rothman 

University of Miami, Motion Picture 

Program, Frances L. Wolfson 

Building 4009, 5100 Brunson Drive, 

Coral Gables, Florida, FL 33146, 


Keywords Hitchcock, documentary, 

cinema-verite, aesthetics, Cavell, 

Emerson 

Kathrin Rothemund, MA, is Lecturer at Leuphana University 

Lüneburg, Department of Applied Media Studies. Rothemund is 

currently finishing her Ph.D. on narrative complexity in contemporary 

US-American television series and serials with textual analysis of 

Dexter, Heroes and. Her research interests include aspects of 

complexity in media such as contingency, possible world theory, mind 

game movies and unreliable narration. Furthermore, she is interested in 

audiovisual aesthetics, film and television theory, as well as transmedia 

storytelling. One of her latest interests is the current developments in 

German crime fiction on television and in film. She has published in 

German on the construction of Gender in the oeuvre of Joel and Ethan 

Coen (2008,‘Die Ästhetik des Blicks. Studien zur Filmästhetik und 

Unterhaltungskultur’) as well as on aspects of crime fiction 

in television series such as Dexter 

› Facing complex crime: Investigating contemporary German crime fiction on 

television, Northern Lights: Film & Media Studies Yearbook, 9., 127-142. 

William Rothman received his Ph.D. in Philosophy 

from Harvard University, where he taught for many years. He is a 

Professor of Motion Pictures and Director of the MA and Ph.D. 

Programs in Film and Media Studies at the University of Miami. Dr. 

Rothman was a founding editor of the Harvard Film Studies series for 

Harvard University Press and the Cambridge Studies in Film series for 

Cambridge University Press. His own books include Hitchcock: The 

Murderous Gaze (1982, expanded edition forthcoming), The ‘I’ of the 

Camera: Essays in Film History, Criticism and Aesthetics (1989, 

expanded edition, 2004), Documentary Film Classics (1998), Reading 

Cavell’s The World Viewed: A Philosophical Perspective on Film 

(2000), Cavell on Film (2005), Jean Rouch: A Celebration of Life 

and Film (2007). 

› Nobody's Perfect, Film International, 1.1, 36-47. 

› Matters of Life and Death, Film International, 1.6, 50-51. 

› Notes on Ozu’s cinematic style, Film International, 4.22, 35-44. 

› Bazin as a Cavellian realist, Film International, 5.6, 54-61. 

› Romance, eroticism and the camera's gaze in Jean Genet's Un Chant d'amour, 

Film International, 7.6, 56-63.

Anjali Gera Roy 

Department of Humanities and Social 

Sciences, Indian Institute of 

Technology, Kharagpur, 721 302, 

India 

Keywords incommensurability, 

liminality, metaphoricity, 

pedagogic/performative nation, 

interdisciplinarity, Laila Majnu 

Mantra Roy 

Keywords race, ethnicity, gender, 

postcolonial studie, South Asian 

(Indian) cinema 

Victoria Ruétalo 

University of Alberta, Modern 

Languages and Cultural Studies, 200 

Arts, Edmonton, Alberta, T6G 2E6, 

Canada 

Keywords co-production, Arturo 

Ripstein, Walter Salles, borders, 

national cinemas 

Anjali Gera Roy is Professor in the Department of Humanities of 

Social Sciences at the Indian Institute of Technology Kharagpur. She 

has published essays in literary, film and cultural studies, translated 

short fiction from Hindi, authored a book on African fiction, edited an 

anthology on the Nigerian writer Wole Soyinka and co-edited another 

on the Indo-Canadian novelist Rohinton Mistry. With Nandi Bhatia, 

she has co-edited a volume of essays, Partitioned Lives: Narratives of 

Home, Displacement and Resettlement (Delhi: Pearson Longman 2008) 

on the Indian Partition of 1947. Her new book Bhangra Moves: From 

Ludhiana to London and Beyond (Aldersgate: Ashgate 2010) looks at 

the transmutation of Bhangra, a Punjabi harvest dance, into global 

dance music. 

› Translating difference in Bend it Like Beckham, New Cinemas: Journal of 


› Bhakti and Ashiqi: The syncretic heritage of Hindi cinema, Studies in South 

Asian Film & Media, 2.1, 41-55. 

Mantra Roy’s research interests include race, ethnicity, gender and 

broadly postcolonial studies. Politics of representation in different 

media including visual culture has been Roy’s focus all along. South 

Asian, particularly Indian, literature and cinema are Roy’s current areas 

of research. Roy’s dissertation was a comparative study of 

representation of subalternity in India and the United States. 


Victoria Ruétalo is Associate Professor of Spanish and Latin American 

Studies at the University of Alberta, Canada. Her essays on Latin 

American film and culture have been published in Studies in Latin 

American Popular Culture, Quarterly Review of Film and Video, 

Journal of Latin American Cultural Studies, and Cultural Critique and 

invarious anthologies. She is currently working on a manuscript about 

the work of Argentine sexploitation duo Armando Bo and Isabel Sarli 

and has co-edited Latsploitation, Exploitation Cinemas and Latin 

America with Dolores Tierney (Routledge, 2009). 

› Border-crossings and textual gaps: a ‘globalized’ mode of production in 

Profundo carmesí and Terra estrangeira, Studies in Hispanic Cinemas, 

5.1&2, 57-71.

Jeffrey Ruoff 

Dartmouth College, Department of 

Film and Television Studies, HB6194, 

Hanover, NH, 3755, Germany 

Keywords Férid Boughedir, Nouri 

Bouzid, Tunisia, Carthage Film 

Festival, Arab cinema, African 


Robert A. Rushing 

University of Illinois, Program in 

Comparative and World Literature, 

3080 FLB, 707 S. Mathews Ave, 

Urbana, Illinois, 61801, United States 

of America 

Keywords De Sica, gender, 

neorealism, sexual difference 

Dominique Russell 

University of Western Ontario, 

Modern Languages and Literatures, 

Westminster Hall, Suite 360, London, 

Ontario, N6A 3K7, Canada 

Keywords film sound, birth in film, 

Latin American cinema, Spanish 

cinema, torture in film, transition, 

matricide 

Jeffrey Ruoff is a film historian and documentary filmmaker in the 

Department of Film and Television Studies at Dartmouth 

College. With his brother Kenneth, he co-authored a book on The 

Emperor's Naked Army Marches On and historical memory in postwar 

Japan. An American Family: A Televised Life, his study of the 1973 

public television series, was published by the University of Minnesota 

Press in 2002. His anthology Virtual Voyages: Cinema and Travel was 

published by Duke University Press in 2006. His films and videos, 

including Hacklebarney Tunes: The Music of Greg Brown (1993) and 

The Last Vaudevillian (1998), have been shown at festivals and on 

television in the United States and abroad. 

› Ten Nights in Tunisia: Les Journées Cinématographiques de Carthage, Film 


Robert A. Rushing is Associate Professor of comparative literature and 

Italian at the University of Illinois, Urbana-Champaign, where he also 

holds affiliate appointments in the Unit for Cinema Studies as well as 

the Unit for Criticism and Interpretive Theory. He is the author of 

Resisting Arrest: Detective Fiction and Popular Culture (2007) and has 

published on topics ranging from Italian peplum films to the television 

show . 

› De Sica's The Children Are Watching Us: neorealist cinema and sexual 

difference, Studies in European Cinema, 6.2&3, 97-112. 

Dominique Russell is Assistant Professor in the Department of Modern 

Languages and Literatures at the University of Western Ontario and 

teaches in the Film, Comparative Literature and Spanish programmes. 

Recent publications have focused on sound in the films of Victor Erice, 

Luis Buñuel and Alejandro Amenábar. She is currently editing a 

collection on rape in art cinema. 

› A second listen: Meanings of silence in Adolfo Aristarain's Tiempo de 

Revancha, Studies in Hispanic Cinemas, 3.1, 3-14. 

› Reconsidering matricide in Spanish Cinema of the transition: Furtivos 

[Poachers], Studies in Hispanic Cinemas, 4.1, 19-33.

Paolo Russo 

Oxford Brookes University, School of 

Arts and Humanities, Headington 

Campus, Gipsy Lane, Oxford, OX3 

0BP, United Kingdom 

Keywords Italian studies, 

masochism, horror, cyberpunk, 

displacement, migration 

Grace Russo Bullaro 

City University of New York-Lehman 

College, Lehman College, 250 

Bedford Park Boulevard, Bronx, NY, 


Keywords Nina Mimica, short fiction 

film, war, Croatian culture, Italian 


Urther Rwafa 

Midlands State University, 

Department of Theatre Arts and Film 

Studies, P O Box 9055, Senga Road, 

Gweru, Zimbabwe 

Keywords censorship, Zimbabwe, 

theatre studies, performance studies 

Paolo Russo is Senior Lecturer in Film Studies at Oxford Brookes 

University. He is in the editorial board of the New Review of Film and 

Television Studies (Routledge) and Ol3Media, and member of the ISO 

(Italian Studies in Oxford) research hub on migration in cinema. He has 

published on Kubrick, Stoppard, Argento, Pasolini, sadism and 

masochism in films, horror, cyberpunk, film and literature, 

displacement and migration. He currently researches and teaches 

storytelling techniques and film narrative in contemporary Hollywood 

cinema, and the relationships between body and technology in film and 

TV series. Paolo is also a screenwriter and videomaker. 


Grace Russo Bullaro is Associate Professor of English at the City 

University of New York-Lehman College as well as Director of the 

Masters Program in English. The courses she teaches and her 

publications cover the areas of literature, philosophy, cinema and social 

and artistic movements (her articles have appeared in Forum Italicum, 

Italian Culture, Journal of Popular Culture, Essays in the Arts and 

Sciences, Columbia Journal of American Studies, among others). In 

2005 she published Beyond Life is Beautiful: Comedy and Tragedy in 

the Cinema of Roberto Benigni; in 2007 Man in Disorder: The Cinema 

of Lina Wertmüller in the 1970s; and in 2010 From Terrone to 

Extracomunitario: New Manifestations of Racism in Contemporary 

Italian Cinema. 

› Counterpoint and commentary on war in The War Is Over, Short Film 

Studies, 1.1, 29-32. 

› De-familiarization and estrangement in Sunday, Short Film Studies, 1.2, 295- 

298. 

Urther Rwafa is a lecturer in the department of Theatre Arts at 

Midlands State University, Zimbabwe, and is pursuing his Ph.D. 

studies on ‘Film and censorship in Zimbabwe’ with UNISA. His main 

interests are in film, theatre and performance studies. He has published 

in Scrutiny 2 and Muziki, both South African journals. 

› Exploring the communicative function of light, sound and colour in Hotel 

Rwanda, Journal of African Cinemas, 3.1, 43-49.

Mark Ryan 

Queensland University of 

Technology, K Block, Room 413, 

Victoria Park Road Musk Ave, Kelvin 

Grove, Brisbane, QLD 4059, 

Australia 

Keywords cinema, Australian 

cinema, genre, horror, cultural policy, 

production 

Ingrid Ryberg 


Cinema Studies, Box 27062, 

Stockholm, S-102 51, Sweden 

Keywords female ejaculation, 

maximum visibility, identity politics, 

feminism, Linda Williams 

Joanna Rydzewska 

University of Swansea, Department of 

Media and Communication Studies, 

Singleton Park, Swansea, SA2 8PP, 


Keywords metaphor, Polish cinema, 

East/West relationship, communism, 

masculinity British identity 

Mark David Ryan is a Research Fellow in Film and Television for the 

Queensland University of Technology. He is a leading commentator on 

Australian horror movies and popular genre cinema. His Ph.D. thesis, 

titled 'A Dark New World: Anatomy of Australian Horror Films', was 

the first major study of the Aussie horror movie industry. He has since 

written numerous essays on popular movie genres and Australian 

cinema, production studies, and genre analysis. His research has been 

published in New Review of Film & Television Studies, Media 

International Australia: Incorporating Culture and Policy, Continuum: 

Journal of Media & Cultural Studies, and Studies in Australasian 

Cinema, among others. 

› Putting Australian and New Zealand horror movies on the map of cinema 

studies, Studies in Australasian Cinema, 4.1, 3-7. 

› Australian cinema's dark sun: the boom in Australian horror film production, 


Ingrid Ryberg is a Ph.D. student in Cinema Studies at Stockholm 

University, Sweden. Her research project is about lesbian pornography, 

spectatorial processesand embodied experience. She has a background 

as a journalist and TV reporter. She is the director of the documentary 

Dragkingdom of Sweden (2002). 

› Maximizing Visibility, Film International, 6.6, 72-79. 

Joanna Rydzewska is a lecturer at the Department of Media and 

Communication at Swansea University. Her research interests focus on 

transnational cinema, European cinema, feminist film theory, and 

Eastern European cinema. She has published Representing Gender in 

Cultures (ed. with E.H.Oleksy Peter Lang 2004) and articles on 

transnational directors (Kieslowski, Polanski, Pawlikowski), Polish 

masculinity and European identity. 

› Gendered discourses of nation(hood) and the West in Polish cinema, Studies 


› Imagining Englishness: the mapping of identity in My Summer of Love 

(2004) by Pawel Pawlikowski, New Cinemas: Journal of Contemporary 

Film, 7.2, 119-136. 

› Europe is ageing: the Oedipal trajectory and its social implications in 

Alumbramiento, Short Film Studies, 1.2, 195-198.

Eivind Røssaak 

National Library of Norway, 

Department of Scholarship and 

Collections, Henrik Ibsens gate 110, 

Oslo, 255, Norway 

Keywords archive, National Library 

of Norway, new media, remediation, 

algorithmic technologies, avant-garde, 

video, art cinema, CGI, Bill Viola, 

Douglas Gordon, Ken Jacobs, 

Norwegian cinema, essay film 

James S. Williams 


London, School of Modern 


Egham, Surrey, TW20 OEX, United 


Keywords gay/queer, desire, 

aesthetics, narcissism, realism 

Isis Sadek 

University of South Carolina, 

Department of Languages, Literatures 

and Cultures, Welsh Humanities 

Building, 1620 College Street, 

Columbia, SC 29208, United States of 

America 

Keywords destabilization, Cinema 

Novo, love stories, Brazilian cinema, 

landscape, spatial practices 

Eivind Røssaak Ph.D. is Associate Professor in the Department of 

Scholarship and Collections, National Library of Norway. He has 

written several books and articles and most recently, has edited the 

books The Archive in Motion (2010) and Between Stillness and Motion 

(forthcoming). His revised and expanded Ph.D. dissertation will be 

published as Cinema and the Arts (forthcoming). 

› Analysing archives in motion, Journal of Scandinavian Cinema, 1.1, 79-81. 

James S. Williams is Professor of Modern French Literature and Film 

at Royal Holloway, University of London. He is the author of Jean 

Cocteau (Manchester University Press, 2006) and co-editor of Gender 

and French Cinema (Berg, 2001), The Cinema Alone: Essays on the 

Work of Jean-Luc Godard 1985–2000 (Amsterdam University Press, 

2000), For Ever Godard (Black Dog, 2004), and Jean-Luc Godard. 

Documents (2006), a catalogue of the exhibition Voyages(s) en Utopie, 

is held at the Centre Pompidou in Paris. 

› His life to film: The extreme art of Jacques Nolot, Studies in French Cinema, 

9.2, 177-190. 

Isis Sadek is an Assistant Professor of Spanish and Portuguese at the 

University of South Carolina. Her research focuses on the spatial and 

territorial imagination in the cultural production of Brazil and 

Argentina from the 1950s onward. She is working on a manuscript 

reading Argentine documentary cinema from the 1950s, linking the 

documentary gaze to other contemporary modes of production of 

knowledge about ‘under-development’. She has also published a review 

article exploring the intersections of memory, space, landscape and 

exploitation in Latin American cultural anthropology. 

› A serto of migrants, flight and affect: Genealogies of place and image in 

Cinema Novo and contemporary Brazilian cinema, Studies in Hispanic 


Ronald Sadoff 


Music and Performing Arts, 35 West 

4th St 777, New York, NY 10012, 


Keywords film music, film score 

Claudia Sandberg 

University of Southampton, School of 

Humanities, Film Studies, 

Southampton, SO17 1BJ, United 


Keywords German cinema, diaspora, 

exile 

Irina Sandomirskaia 

University College of Sodertorn, 

Centre for Baltic and Eastern 

European Studies, Huddinge, Sweden 

Keywords sound performance, 

Glasnost, language, politics, speech 

culture, Soviet psychiatry 

Ronald H. Sadoff, Associate Professor at New York University, is the 

architect and Director of the Film Music Program in the Steinhardt 

School. He composed the score for John Canemaker's Oscar-winning 

film, The Moon and the Son (2005) featuring Eli Wallach and John 

Turturro. He is the co-founder and co-editor of the University of 

Illinois Press journal Music and the Moving Image, and is currently coauthoring 

the third edition of Film Music: A Neglected Art with Roy M. 

Prendergast for W.W. Norton. He serves as Chair of the conference 

committee for the annual Music and the Moving Image conference, 

held at NYU. 


Claudia Sandberg teaches German language and German film at the 

University of Southampton. She is currently completing her Ph.D. 

dissertation about the German-Jewish filmmaker Peter Lilienthal and 

has presented several papers on this subject at conferences in Europe 

and the United States. Her further research concerns cinemas in and of 

exile. 

› Far from home? Functions of escapism and portrayal of the tropics in La 

Habanera (1937), Studies in European Cinema, 6.1, 63-76. 

Irina Sandomirskaia is Professor of Cultural Studies at the Centre for 

Baltic and Eastern European Studies, University College Södertörn 

(Sweden). She received her doctoral degree in theoretical linguistics 

and continued working in feminist theory and discourse analysis. Her 

research includes a socio-lingual analysis of Soviet documents of 

everyday life, a study of discursive practices in Russian and Soviet 

patriotic language, and numerous contributions to contemporary art 

theory. Her recent research is connected with the bio-politics of 

language, including the individual strategies of constructing 

subjectivity in writing against the background of language planning 

and management in Stalin’s USSR; the linguistic conditions of deafblindness 

and the manufacturing of a deaf-blind subjectivity, a case 

study in Soviet special education. 

› A glossolalic glasnost and the re-tuning of the Soviet subject: sound 

performance in Kira Muratova's Asthenic Syndrome, Studies in Russian and 


› Eurasia as a filmic assemblage, Studies in Russian and Soviet Cinema, 4.3,

Kjetil Sandvik 





Keywords computer game, playercentred 

design, immaterial labour 

Isabel Santaolalla 

Roehampton University, Media, 

Culture and Language, Roehampton 

Lane, London, SW15 5SL, United 



migration, diaspora, gender, 

postcolonialism, transculturalism 

Mauro Sassi 

McGill University, Department of 

Languages, Literatures, and Cultures, 

Room 425, 688 Sherbrooke Street 

West, Montreal, H3A 3R1, Canada 

Keywords documentary, Italy, Genoa 

321-344. 

Kjetil Sandvik, MA, Ph.D., is Associate Professor at Department of 

Media, Cognition and Communication, University of Copenhagen. He 

is academic coordinator of the one-year Master-program in Cross- 

Media Communication. His educational background is an MA in 

dramaturgy and cultural studies and a Ph.D. within the field of 

interactive multimedia communication. His fields of research and 

teaching are digital aesthetics, storytelling as format in strategic 

communication, new media and experience economy, cross-media 

communication and computer games with a special focus on computer 

games and politics, computer game dramaturgy and other forms of 

interactive dramaturgy and uses of theatre as tools for analysing and 

designing interactive multi-medial fiction formats. He has published a 

variety of articles and papers on these topics. 

› Gameplay as design: uses of computer players' immaterial labour, Northern 


Isabel Santaolalla is Professor of Spanish and Film Studies at 

Roehampton University, London. She has published on postcolonial 

literature, cultural studies and film, with special emphasis on the 

representation of ethnicity and gender in Spain and in transnational 

contexts. 

› The ‘road that turning always...’: Re-placing the familiar and the unfamiliar 

in Iciar Bollain’s Flores de otro mundo/Flowers from Another World (1999), 


Mauro Sassi worked as a story editor and scholar in Turin, Italy, before 

coming to Canada in 2007. He was adjunct professor of TV 

scriptwriting and chair of the master course on story editing and 

scriptwriting at the University of Turin. He is currently a Ph.D. 

candidate at McGill University and is recipient of the FQRSC (Fonds 

de recherche du Québec - Société et culture)181 Doctoral Research 

Fellowship and McGill Principal’s Graduate Fellowship.He published 

in Italian on TV genres and TV formats and several articles in English

G8, Francesca Comencini, Carlo 

Giuliani, Gramsci, war of position 

John Savage 

Lehigh University, History 

Department, 9 West Packer Avenue, 

Bethlehem, Pennsylvania, PA 18015, 


Keywords dreams, Luis Buñuel, 

nationalism, René Clair, surrealism 

Libby Saxton 

Queen Mary - University of London, 

School of Modern Languages, Mile 

End Road, London, E1 4NS, United 


Keywords Bazin, Bonitzer, offscreen 

space, secrecy, memory 

Susanna Scarparo 


Languages, Cultures & Linguistics, 

W518 Building 11, Clayton Campus, 

Clayton, Victoria, 3800, Australia 

are due for publication in 2011. 

› Carlo Giuliani, ragazzo: A counter-hegemonic Italian documentary, Studies 


John Savage is Associate Professor of History at Lehigh University, 

Bethlehem, Pennsylvania where he is a cultural historian of modern 

France. He holds a Ph.D. from New York University and is especially 

interested in the way legal systems shape political culture and social 

relations. He is currently working on a study of the impact of the 

Napoleonic Code on slavery in the French Caribbean as part of a 

broader cultural history of the nineteenth-century Civil law. 

› L'Amour Fou: nationalism, patriarchy and the nuptial farce in L'Âge d'or and 

Un chapeau de paille d'Italie, Studies in French Cinema, 7.3, 243-. 

Libby Saxton is Senior Lecturer in French and Film Studies at Queen 

Mary, University of London. Her research interests include the 

interactions between film and continental thought, especially 

philosophies of ethics; post-war French cinema; representations of the 

Holocaust and the Franco-Algerian War; and the relationship between 

film, memory and testimony. She is the author of Haunted Images: 

Film, Ethics, Testimony and the Holocaust (Wallflower, 2008), coauthor, 

with Lisa Downing, of Film and Ethics: Foreclosed Encounters 

(Routledge, 2009) and co-editor, with Simon Kemp, of Seeing Things: 

Vision, Perception and Interpretation in French Studies (Peter Lang 

AG, 2002). 

› Secrets and revelations: Off-screen space in Michael Haneke's Caché (2005), 


Susanna Scarparo is Cassamarca Senior Lecturer in Italian Studies at 

Monash University. Her publications include Elusive Subjects: 

Biography as Gendered Metafiction (2005) and numerous articles on 

Italian cinema, life writing, feminist theory, Italian Australian literature 

and contemporary Italian women writers. She is also the co-editor of 

Across Genres, Generations and Borders: Italian Women Writing Lives

Keywords Italy, Italian cinema, 

Italian women filmmakers, mother– 

daughter relationship, feminist film 

criticism 

Michelle Scatton-Tessier 


Wilmington, Department of Foreign 

Languages and Literatures, 601 South 

College Road, Wilmington, North 

Carolina, NC 28403-5954, United 


Keywords Jean-Pierre Jeunet, 

petisme, faits divers, French cinema, 

Marc Caro, Dante 01 

Peter Schepelern 



Communication, Njalsgade 80, Det 

Humanistiske Fakultet, Copenhagen, 

2300, Denmark 

Keywords Aki Kaurismäki, Lars von 

Trier, Nordic cinema, auteur, art 


Marion Schmid 

University of Edinburgh, Literatures, 

Languages and Cultures, # 60 George 

Square, Edinburgh, EH8 9JU, United 

(2004) and Violent Depictions: Representing Violence Across Cultures 

(2006). She is currently writing (with Bernadette Luciano), a book 

about Italian women filmakers. 

› Back to the future: The Comencini sisters and their search for a cinematic 

language, Studies in European Cinema, 4.2, 137-148. 

› ‘I bambini si guardano’: The documentaries of Costanza Quatriglio, Studies 


Michelle Scatton-Tessier, assistant professor of French at the 

University of North Carolina Wilmington. She is the author of 

'Rencontre avec Eliane Victor, la Grande Dame de la télévision 

française' (The French Review. Vol. 78.5 (April 2005): 976-987). Her 

research interests include French women filmmakers and writers, and 

the cinema of Jean-Pierre Jeunet. 

› Le Petisme: flirting with the sordid in Le Fabuleux Destin d’Amélie Poulain, 


› From Storyboard to Film: Marc Caro's Dante 01, Film International, 6.3, 26- 

33. 

Peter Schepelern is Associate Professor of Cinema Studies in the 

Department of Media, Cognition and Communication at the University 

of Copenhagen. He is the author of numerous books and articles on 

Lars von Trier, the Dogma movement, and contemporary Danish 

cinema in general. He is the editor of Filmleksikon (1995) and 100 

Years of Danish Cinema (2001,100 års dansk film). 

› The element of crime and punishment: Aki Kaurismäki, Lars von Trier and 

the traditions of Nordic cinema, Journal of Scandinavian Cinema, 1.1, 87- 

103. 

Marion Schmid is Reader in French at the University of Edinburgh. 

She is the author of Processes of Literary Creation: Flaubert and 

Proust (Oxford, Legenda: 1998), Proust at the Movies (co-authored 

with Martine Beugnet, Ashgate, 2005), Proust dans la décadence


Keywords adaptation, literature, 

intermediality, European cinema, 

Proust 

Lisa Schmidt 

Bishop’s University, 253 High St., 

Apt. 7, Sherbrooke, QC, J1H 3W2, 

Canada 

Keywords science fiction, fantasy, 

horror, sound, genre, reception, 

fandom 

Sebastian Scholz 

University of Amsterdam, Media 

Studies, Turfdragsterpad 9, 

Amsterdam, 1012 XT, Netherlands 

Keywords Trouble Every Day, Claire 

Denis, haptics, visual representation, 

skin/screen 

Kim Christian Schrøder 

Roskilde University, Communication 

Studies, POB 260, Roskilde, 4000, 

Denmark 

(Paris: Champion, 2008) and Chantal Akerman (Manchester: 

Manchester University Press, 2010). 

› Filming jealousy: Chantal Akerman's La Captive (2000), Studies in French 


Lisa Schmidt recently completed her Ph.D. in Media Studies at the 

University of Texas, Austin. The title of her dissertation is ‘Sensational 

Genres: Experiencing Science-Fiction, Fantasy and Horror’. Her 

research interests include sound, genre, reception (both television and 

film) and fandom. She is currently teaching at Bishop’s University in 

Sherbrooke, Quebec. 

› Sound matters: Towards an enactive approach to hearing media, The 


Sebastian Scholz is a lecturer at the Media Studies Department of the 

University of Amsterdam, Netherlands. He is working on a Ph.D. 

thesis ‘Topologies of the Visible: Media of Representation in Science 

1900/2000’. From July 2007 to July 2010 has was a fellow of the 

Graduate School 'Topology of Technology' (University of Technology, 

Darmstadt, Germany). His main research interests are historiography of 

knowledge and media, film philosophy, (new) media theories, relations 

of space and media, visual cultures of popular television and the 

discouse of quality television. He recently co-edited a book on the 

German television crime series Tatort (Tatort Stadt. Mediale 

Topographien eines Fernsehklassikers, 2010, Campus). 

› Exceeding the limits of representation: screen and/as skin in Claire Denis's 

Trouble Every Day (2001), Studies in French Cinema, 8.1, 5-16. 

Kim Christian Schrøder is Professor in Communication Studies at 

Roskilde University, Denmark. His books include The Language of 

Advertising (co-author, Blackwell 1985), Media Cultures: 

Reappraising Transnational Media (co-editor and contributor, 

Routledge 1992), and Researching Audiences (co author, Arnold 

2003). His current research deals with news consumption in the media

Keywords typology, cultural 

citizenship, worthwhileness, crossmedia, 

news consumption 

Suzanne L. Schulz 


Department of Radio-Television- 

Film, 1 University Station A0800, 

Austin, Texas, 78712-0108, United 


Keywords postcolonial studies, Uttar 

Pradesh, ethnographic approaches 

John Sedgwick 


Centre for International Business and 

Sustainability, Holloway Road, 

London, N7 8DB, United Kingdom 

Keywords 1930s, foreign revenues, 

film budgets, profits, strategy 

landscape of the digital age, and with methodological issues around the 

quantitative/qualitative divide. In the COST Action Transforming 

Audiences – Transforming Societies, he is chair of the division ‘New 

Media Genres, Media Literacy, and Trust in the Media’. 

› Towards a typology of cross-media news consumption: a 

qualitativequantitative synthesis, Northern Lights: Film & Media Studies 

Yearbook, 8.1, 115-137. 

Suzanne L. Schulz, a doctoral candidate in Radio-Television-Film at 

University of Texas-Austin, is currently an American Institute of 

Indian Studies Junior Research Fellow combining archival and 

ethnographic approaches to the study of provincial governmentalities 

and everyday cinematic sites in postcolonial Uttar Pradesh. She 

received her Masters from The Department of Asian Studies at 

University of Texas, and her B.A. from Bard College. Before pursuing 

postgraduate studies, Suzanne worked for six years in documentary 

film production in New York and Boston. 


John Sedgwick is Professor of Film Economics, as well as Director of 

the Centre for International Business and Sustainability, at London 

Metropolitan University. He researches into the economic history of 

film and has published articles, mostly with his colleague Mike 

Pokorny (Westminster University) in Business History, the Economic 

History Review, the Journal of Economic History, Explorations in 

Economic History, the Journal of Cultural Economics, as well as 

Transnational Cinema, mostly on topics set in the 1930s. John has also 

produced a monograph: Popular Filmgoing in 1930s Britain 

(University of Exeter Press, 2000) and co-edited (with Pokorny) an 

anthology An Economics History of Film, published by Routledge in 

2005. 

› Hollywood’s foreign earnings during the 1930s, Transnational Cinemas, 1.1, 

83-97.

Jule Selbo 

California State University, Fullerton 

Keywords genre, idealized cognitive 

model, mental space, possible world, 

audience 

Geneviève Sellier 

Université Michel de Montaigne – 

Bordeaux 3, Film Studies, Bordeaux 

3, Domaine universitaire, Pessac 

Cedex, 33607, France 

Keywords historical epics, black 

realism, thriller, female point-of-view, 

patriarchy 

Co-editor Jule Selbo, PhD, is an Associate Professor and Head of the 

M.F.A. in Screenwriting Program at California State University, 

Fullerton. She has written two books on screenwriting structure and 

several articles on Film Genre and Pre-Code American Cinema for 

academic journals and publications. She also writes for the commercial 

film industry, produced credits include features for Disney, Columbia 

Pictures as well as for television – such as Young Indiana Jones 

Chronicles, Melrose Place, Space Above and Beyond and more. She 

has also written for theatre and created and penned graphic novels. 

› Reviews: Embodied Visions: Evolution, Emotion, Culture and Film, Torben 

Grodal (2009), Journal of Screenwriting, 1.1, 214-217. 


› The constructive use of film genre for the screenwriter: mental space of film 

genre – first exploration, Journal of Screenwriting, 1.2, 273-289. 


› Society for Cinema and Media Studies Conference, 2010, Los Angeles, 

California, Journal of Screenwriting, 2.1, 129-131. 


› The constructive use of film genre for the screenwriter: The relevant 

knowledge component of the mental space of film genre, Journal of 



Geneviève Sellier is Professor in Film Studies at the Université Michel 

de Montaigne – Bordeaux 3. Her books include Jean Grémillon: le 

cinéma est à vous (1989), Les Enfants du paradis (1992), La Drôle de 

guerre des sexes du cinéma français, 1930–1956 (1996, with Noël 

Burch), La Nouvelle Vague: un cinéma au masculin singulier (2005; 

translated in 2008 by Kristin Ross), and Le Cinéma au prisme des 

rapports de sexe (2009, with Noël Burch). She is a Senior Member of 

the Institut Universitaire de France. 

› The Belle Époque genre in post-war French Cinema a woman’s film à la 

française?, Studies in French Cinema, 3.1, 47-54. 

› L'Expertise de la spectatrice ordinaire dans le courrier des lecteurs des 

magazines populaires: le cas de L'Ecran franais, Studies in French Cinema, 

10.3, 219-234. 

› Introduction, Studies in French Cinema, 10.3, 201-204.

Priyanjali Sen 

Tisch School of the Arts, New York 

University, Department of Cinematic 

Studies, 721 Broadway, 6th Floor, 

New York, 10003, United States of 

America 

Keywords Bengali cinema, 

documentary, avant-garde, essay-film 

Leah Shafer 

Hobart and William Smith Colleges, 

Media and Society, 300 Pulteney 

Street, Geneva, NY 14456, United 


Keywords consumerism, popular 

culture, product placement, television, 

celebrity, new media, performance 

Nishant Shah 

Keywords digital cinema, kuso, 

youth and technology, cultural 

production, resistance 

Deborah Shamoon 


Department of East Asian Languages 

and Cultures, 205 O’Shaughnessy 

Hall, Notre Dame, IN 46556, United 


Priyanjali Sen is a Ph.D. candidate in the Department of Cinema 

Studies at Tisch School of the Arts, New York University. She has a 

B.A. in English from St. Stephen’s College, Delhi University and an 

M.A. from the AJK Mass Communication Research Center at Jamia 

Millia Islamia University. Her current work focuses on the literary 

influence on Bengali cinema in the 1950s and 1960s. Her research 

interests include documentary and avant-garde film practices, in 

particular the essay-film. 


Leah Shafer is an Assistant Professor of Media Studies in the Media 

and Society Program at Hobart and William Smith Colleges in Geneva, 

NY. Her work focuses on readings of commodity culture with 

emphases on: the aesthetics of entertainment marketing, digital video 

cultures, and theories of new media. 

› REVIEWS - PUEBLOS UNIDOS: SWINE FLU GROUND ZERO IN 

MEXICO, FELIPE CASANOVA AND MIGUEL ANGEL DAZ (2009), 


After completing his doctoral work at the Centre for the Study of 

Culture and Society, Nishant Shah joined as the director for research at 

the Centre for Internet and Society, Bangalore. He is the recipient of 

the Asia Scholarship Foundation scholarship for his project on the 

making of an IT city, for which he is currently in Shanghai. 

› Now streaming on your nearest screen: Contextualizing new digital cinema 

through Kuso, Journal of Chinese Cinemas, 3.1, 15-31. 

Deborah Shamoon is Assistant Professor at the Department of East 

Asian Languages and Cultures, University of Notre Dame, where she 

teaches courses in modern Japanese literature, film and popular culture. 

Her recent publications include ‘Misora Hibari and the girl star in 

postwar Japanese cinema’ (2009, , 35: 1, 131–51). Her study of the 

history of shōjo manga, 'Passionate Friendship: The Aesthetics of Girls’ 

Culture in Japan' is forthcoming from the University of Hawaii Press.

Keywords Japanese cinema, postwar 

Japan, girl star, shōjo manga › Casshern and the spectre of Japan’s war crimes in Asia, Journal of Japanese 

& Korean Cinema, 2.2, 147-162. 

Surabhi Sharma 

A-604 

Keywords documentary film, labour, 

globalization, culture, identity, 

ecology, women's health 

Jasper Sharp 

Keywords Takashige Ichise, Jhorror, 

The Ring, auteur, Hideo 

Nakata 

Surabhi Sharma has completed a BA in Anthropology and Psychology. 

She studied film direction at the Film and Television Institute of India 

in Pune. She has been working as an independent film-maker since 

2000. She has also been a guest lecturer at various design and media 

schools. She has made documentary films on labour and globalization, 

culture and identity, ecology and women's health. Her films include, 

Jari Mari: of cloth and other stories, The Turtle People and Jahaji 

Music. Her films have been screened and have won awards at various 

international film festivals. 

› Images from an assembly line, Studies in South Asian Film & Media, 1.2, 

303-307. 

Jasper Sharp is the co-editor of the website Midnight Eye 

(www.midnighteye.com), the online resource for Japanese cinema in 

the English language. His critically-acclaimed book The Midnight Eye 

Guide to New Japanese Film, joint-written with Tom Mes, was 

published by Stone Bridge Press in 2003, and he has contributed 

chapters to several anthologies including 24 Frames: Japan and Korea 

(ed. Justin Bowyer) for Wallflower Press, Film Out of Bounds: Essays 

and Interviews on Non-Mainstream Cinema Worldwide for McFarland 

(ed. Matthew Edwards), ! High Art - Pop Culture for the Deutsches 

Filmmuseum and Tokyolife: Art and Design (ed. Ian Luna) for Rizzoli. 

› Takashige Ichise: Man in the Shadows, Film International, 3.17, 4-5. 

› Forgotten roots of Japanimation: In praise of shadows, Film International, 

4.21, 30-47. 

› Edogawa Rampo: A Hellish Mirror, Film International, 4.19, 24-33. 

› Forgotten Roots of Japanimation: masters of puppets, Film International, 5.1, 

58-71. 

Christopher Sharrett Christopher Sharrett is Professor of Communication at Seton Hall 

University, New Jersey. He is an internationally recognized film

Seton Hall University, Department of 

Communication, South Orange, New 

Jersey, United States of America 

Keywords bourgeois, 1950s, gender 

Zaza Shatirishvili 

Tbilisi Shota Rustaveli State Institute 

of Georgian Literature, 1008, 5, 

Kostava St., 1008 Tbilisi, Georgia 

Keywords Georgian cinema, 

Caucasus, Otar Iosseliani, Robert 

Sturua, Sergei Paradjanov 

Deborah Shaw 

University of Portsmouth, Creative 

Arts, Film & Media, Park Building, 

King Henry 1 Street, Portsmouth, 

PO1 2DZ, United Kingdom 

Keywords Solanas, Salles, Iñárritu, 

patriarchy, absent fathers, 

scholar and critic and teaches a wide range of courses in the 

Department of Communication, developing courses for the University 

Honors Program. His books include The Rifleman (2005), Mythologies 

of Violence in Postmodern Media (1999), and Crisis Cinema: the 

Apocalyptic Idea in Postmodern Narrative Film (1993). He is co-editor 

of Planks of Reason: Essays on the Horror Film (2004). His 

forthcoming project, for the University of California Press, is a book on 

the politics of contemporary cinema. 

› False Criticism: Cinema and the Conservative Critique of the Bourgeois 

Society, Film International, 2.12, 26-41. 

› Home from the Hill, Minnelli and the crisis of post-war patriarchy, Film 


› Death of the Strong, Silent Type, Film International, 7.1, 16-27. 

Zaza Shatirishvili (b. 1966) is a literary critic and philosopher. He is a 

professor at the Tbilisi Shota Rustaveli State Institute of Georgian 

Literature. Shatirishvili writes on literary theory and culture history and 

has published more than 70 articles and two books: An Apology for 

Narrative (Tbilisi: The Centre of Theology and Culture, 2005) (in 

Georgian); Galaktion Tabidze’s Poetics and Rhetoric: 1919–1927 

(Tbilisi: Logos Press, 2004) (in Georgian). His most recent articles 

include: ‘Fictional Narrative and Allegorical Discourse’ in Der 

Kommentar in Antike und Mittelalter, 2 (Leiden and Boston: Brill, 

2004), pp.179–83; ‘Romantic Topography and the Dilemma of Empire: 

The Dialogue of Georgian and Russian Poetry’ (in cooperation with 

Harsha Ram) in Russian Review, 1 (2004), pp. 1–25. 

› The montage of Tbilisi culture, Film International, 4.23, 48-51. 

Deborah Shaw is Reader in Film Studies at the University of 

Portsmouth. Her principal areas of research have fallen into three areas: 

Latin American women’s writing, contemporary Latin American film 

and representations of Latinos and Latin Americans in Hollywood film. 

More recently her focus has been on the latter two subject areas, and 

she is currently working on a monograph on contemporary Mexican 

filmmakers. 

› The figure of the absent father in recent Latin American films, Studies in 

Hispanic Cinemas, 1.2, 85-102.

Lisa Shaw 

Reader in Portuguese and Brazilian 

Studies, School of Cultures, 

Languages and Area Studies, 

University of Liverpool, Liverpool, 

L69 7ZR, United Kingdom 

Keywords popular culture, musical 

comedies, Salazar, Portugal, The 

Estado Novo, Brazil, Vargas era 

Andrey Shcherbenok 

Columbia University, Society of 

Fellows in the Humanities, Mail 

Code 5700, 2960 Broadway, New 

York, NY 10027, United States of 

America 

Keywords identification, 

embodiment, intersubjectivity, 

fantasmatic scenes 

› Editorial-Introducing Transnational Cinemas, Transnational Cinemas, 1.1, 3- 

6. 

Lisa Shaw, Reader in Portuguese and Brazilian Studies at the 

University of Liverpool, UK, author of The Social History of the 

Brazilian Samba (Ashgate,1999), and co-author of Popular Cinema in 

Brazil, 1930–2001 (Manchester University Press, 2004) and Brazilian 

National Cinema (Routledge, 2007). She is currently writing a 

monograph on Carmen Miranda for the BFI-Palgrave ´film stars´ 

series. 

› Book Reviews, New Cinemas: Journal of Contemporary Film, 2.1, 61-. 


Andrey Shcherbenok received his first Ph.D. in Russian literature from 

St Petersburg State University in 2002, and his second Ph.D. in 

Rhetoric, with an emphasis in Film Studies, from the University of 

California Berkeley in 2006. His first dissertation was on Tolstoy, 

Chekhov, Bunin and Nabokov, while his second one, ‘Trauma and 

Ideology in the Soviet Film of 1929–1945’, focuses on the traumatic 

contradictions that lie at the heart of the ideological message of Soviet 

post-avant-garde cinema. He is currently a Mellon Postdoctoral Fellow 

in the Society of Fellows inthe Humanities at Columbia University. He 

is the author of Deconstruction and Classical Russian Literature: From 

the Rhetoric of Fiction to the Rhetoric of History (Moscow: Novoe 

literaturnoe obozrenie, 2005) and several articles on Russian literature 

and Soviet cinema. 


› Russian/Soviet screened sexuality: An introduction, Studies in Russian and 


Chu-Li Shewring Chu-Li Shewring is a freelance sound designer and film-maker who 

graduated from the National Film and Television School in 2007. She 

has recently codirected a series of short films for Channel 4 exploring 

the world of late-night radio phone-ins. With the aid of a grant from

Keywords ventriloquists, Chion, 

loudspeakers, dissociated voices, 

Connor 

Shen Shiao-Ying 

National Taiwan University, 

Department of Foreign Languages 

and Literature, Roosevelt Rd, Taipei 

10617, Taiwan 

Keywords Taipei, Taiwan cinema, 

Documentary, city film, Gong Hong 

Martin Shingler 

University of Sunderland, The Media 

Centre, The Sir Tom Cowie Campus 

at St Peter's, St Peter's Way, 

Sunderland, Tyne and Wear, SR6 

0DD, United Kingdom 

Keywords radio, methodology, sound 

Meryl Shriver-Rice 

Keywords New Danish Cinema, 

Nordic film, Hollywoodization, 

ethics, Dogme 95, existential crisis, 

Hollywood remake 

BritDoc, she is currently developing a feature film set in the jungles of 

Borneo. 

› The voice and the uncanny, The Soundtrack, 1.2, 127-134. 

Shen Shiao-Ying is Associate Professor in the Department of Foreign 

Languages and Literature at National Taiwan University. Her articles 

on Western and Chinese-language cinema have been published in 

Chung-Wai Literary Monthly, Film Appreciation, Post Script, Tamkang 

Review, and numerous anthologies. She is also co-editor and 

contributor of Passionate Detachment: Films of Hou Hsiao-Hsien 

(2000). 

› A Morning in Taipei: Bai Jingrui's Frustrated Debut, Journal of Chinese 


Martin Shingler is Senior Lecturer in Radio and Film Studies at the 

University of Sunderland, where he teaches courses on radio theory, 

radio drama and documentary. He is the co-author, with Cindy 

Wieringa, of On Air: Methods and meanings of Radio (London: 

Arnold, 1998) and has published on radio in the Journal of Radio 

Studies (USA) and the Media Education Journal. He is the convenor of 

'Sounding Out', an international symposium in media sound. 

› Rich voices in talky talkies: The Rich Are Always with Us, The Soundtrack, 

3.2, 109-115. 

Meryl Shriver-Rice is a final-year Ph.D. candidate in Film Studies at 

the University of Miami. Her dissertation project titled, ‘Inclusion in 

New Danish Cinema: Gender, Sexuality, and Transnational Belonging’, 

examines films by Danish women directors and queer Danish cinema. 

She has presented papers on contemporary Danish cinema at six 

academic conferences in the United States and abroad. 

› Adapting National Identity: Ethical Borders Made Suspect in the Hollywood 

Version of Susanne Bier's Brothers, Film International, 9.2, 8-19.

Cui Shuqin 

Bowdoin College, Asian Studies, 

7500 College Station, Brunswick, 

Maine, 04011-8475, United States of 

America 

Keywords gender, oral history, 

AIDS, independent cinema, 

documentary 

Sophia Siddique Harvey 

Vassar College, Vogelstein Center for 

Drama and Film, Box 741, 124 

Raymond Avenue, Poughkeepsie, 

NY, 12604, United States of America 

Keywords Singapore, Southeast Asia, 

identity politics, science fiction, 

Chineseness 

Larry Sider 

Keywords sound effects, film music, 

merchandising tie-ins, music sales, 

online offshoots 

Cui Shuqin is Associate Professor of Asian Studies at Bowdoin 

College. She is the author of Women Through the Lens: Gender and 

Nation in a Century of Chinese Cinema (University of Hawaii Press, 

2003). She has also authored many journal articles and book chapters 

on various topics in Chinese cinema. Her research and teaching 

interests include but are not limited to cinema, gender, and literature 

studies. She is currently working on a manuscript tentatively titled, The 

Absence of Presence: An Exploration of Women’s Experimental Art in 

Contemporary China. 

› Alternative visions and representation: independent documentary filmmaking 

in contemporary China, Studies in Documentary Film, 4.1, 3-20. 

Sophia Siddique Harvey is an assistant professor of Film at Vassar 

College. She holds a Ph.D. from the University of Southern California 

School of Cinematic Arts. Her research interests include Singapore 

cultural studies, representations of trauma and memory in Cambodian, 

Indonesian, and Thai cinema, and the impact of new media on 

Southeast Asia’s moving image culture. 

› Mapping cyborg bodies, shifting identities, and national anxieties in Cyber 

Wars, Journal of Chinese Cinemas, 3.1, 49-62. 

Larry Sider is a film editor and sound designer who is Director of The 

School of Sound (www.schoolofsound.co.uk). From 2002–2006 he was 

Head of Post-Production at the National Film and Television School 

(Beaconsfield, UK). He has worked extensively in animation and 

documentary, most recently on Robinson in Ruins by Patrick Keiller, 

The Piano Tuner of Earthquakes by the Brothers Quay, and 

Mirrormask by Dave McKean. He is co-editor of The New Soundtrack 

journal and Soundscape: The School of Sound Lectures 1998–2001. He 

lectures in the UK and abroad. 

› Editorial, The Soundtrack, 1.3, 161-162.

Jane Sillars 

University of Edinburgh, School of 

Literatures, Languages and Cultures, 

Edinburgh, EH8 9YL, United 


Keywords public space, landscape, 

space, British cinema, Scottishness 

Catherine Simpson 

Macquarie University, Environment 

& Geography, North Ryde 2109, 

Sydney, Australia 


country towns, female film-makers 

Patrik Sjoberg 

Karlstad University, Division of 

Culture snd Communication, 

Karlstad, SE-651 88, Sweden 

Keywords Craig Baldwin, media 

archeology, culture jamming, 

subversion of copyrights, found 

footage, avant-garde, Sonic Outlaws 

Nariman Skakov 

Stanford University, Slavic, 450 Serra 

Mall, Building 240, Stanford, CA 

Jane Sillars joined Edinburgh University in 2010 to work as co-director 

of the new MSc in Film and the Public Space. Before this she was a 

member of the Department of Film, Media & Journalism at the 

University of Stirling. Jane has experience of researching the moving 

image across a range of academic, professional and industrial contexts. 

› Beau travail: time, space and myths of identity, Studies in French Cinema, 

1.3, 166-173. 

Catherine Simpson has been seconded from Media to the Science 

faculty to set up a new Science Communication programme. She is coeditor 

(with Renata Murawska and Anthony Lambert) of Diasporas of 

Australian Cinema (Intellect, 2009). Catherine has organized film 

festivals in Australia and Turkey and writes on the cinema of both 

countries. She has a growing interest in the ecological humanities and 

is working on a new book with Anthony Lambert, Ecologies of 

Australian Cinema. 

› Reconfiguring rusticity: feminizing Australian cinema’s country towns, 


› Australian eco-horror and Gaia's revenge: animals, eco-nationalism and the 

new nature, Studies in Australasian Cinema, 4.1, 43-54. 

Patrik Sjoberg is Assistant Professor in Film Studies, Division of 

Culture snd Communication, Karlstad University, Sweden. Sjoberg's 

research centres on theoretical and historical issues surrounding the 

production of documentary films. 

› Editorial 1,2, Film International, 1.6, 3-3. 

› An Amalgamation of Discourses?, Film International, 1.6, 4-9. 

› Craig Baldwin, Film International, 2.7, 14-21. 

Nariman Skakov is an Assistant Professor of Slavic Languages and 

Literatures at Stanford University. He completed his D.Phil. thesis on 

the cinema of Andrei Tarkovsky at the University of Oxford in 2009. 

His research interests include Russian cinema, literary theory and post-


Keywords Andrei Tarkovsky, word 

and image, David Lynch, Rustam 

Khamdamov 

Aga Skrodzka 

Clemson University, Department of 

English, 712 Strode Tower, Clemson, 

South Carolina, SC 29634, United 


Keywords gender, transnational 

cinema, postsocialist cultures, 

alternative aesthetics 

Belinda Smaill 



Performance Studies, Wellington Rd, 

Clayton, Melbourne, Victoria, 3800, 

Australia 

Keywords documentary, Australian 

cinema, diaspora, women 

Soviet culture and visual arts. 

› The (im)possible translation of Nostalgia, Studies in Russian and Soviet 


Aga Skrodzka is an assistant professor in the Department of English at 

Clemson University, where she teaches film and gender theory. She 

received her Ph.D. in comparative literature and cultural studies from 

SUNY Stony Brook. Her research interests include alternative 

aesthetics in East Central European cinema, issues of class, gender, 

race and exile in cinematic representations of East Central Europe since 

its EU accession and the female body in exploitation cinema. She is 

currently writing a book on magic realism in East Central European 

cinema (Edinburgh University Press, forthcoming 2012) and preparing 

an edited volume on films about sex trafficking. 

› Woman's body and her pleasure in the celluloid erotica of Walerian 

Borowczyk, Studies in European Cinema, 8.1, 67-79. 

› Clandestine human and cinematic passages in the United Europe: The Polish 

Plumber and Kieślowski’s hairdresser, Studies in Eastern European Cinema, 

2.1, 75-90. 

Belinda Smaill lectures in Film and Television Studies in the School of 

English, Communications and Performance Studies at Monash 

University, Melbourne. Her research interests include documentary 

studies, public service broadcasting, multiculturalism and diaspora in 

cinema, women and film, and the politics of the emotions in 

documentary. She is the co-editor of Youth, Media and Culture in the 

Asia Pacific (2008) and author of The Documentary: Politics, Emotion, 

Culture (2010). Recent essays have been published in Continuum: 

Journal of Media and Cultural Studies, Screening the Past, Camera 

Obscura and Jump Cut. With Olivia Khoo and Audrey Yue, she is a 

chief investigator in the Australian Research Council funded project 

titled The History of Asian Australian Cinema. 


› Affective authorship: contemporary Asian Australian documentary, Studies 




› Injured Identities: Pain, Politics and Documentary, Studies in Documentary

Pauline Small 

Queen Mary - University of London, 

Mile End Road, London, E1 4NS, 


Keywords I cento passi, resurgence, 

Mafia, intertextuality, Hollywood 

Kevin Smets 

University of Antwerp, Turkey 

Keywords Turkish cinema, North 

African cinema, diaspora 

Elena Smirnova 

Keywords Russian Ark, Russian 

history, Russian art, Hermitage, St 

Petersburg 

Film, 1.2, 151-164. 

› Interview with Kim Longinotto, Studies in Documentary Film, 1.2, 177-188. 

› Review, Studies in Documentary Film, 3.1, 69-71. 

Pauline Small teaches courses on Italian, European and Hollywood 

cinema at Queen Mary, University of London. Her research interests 

focus mainly on stardom in 1950s Italy, and contemporary Italian 

cinema. Her recent book, Sophia Loren: Moulding the Star, was 

published by Intellect (June 2009) and a book chapter, ‘The Films of 

Emanuele Crialese’ in Italian Film Directors in the New Millenium 

edited by W. Hope (Cambridge Scholars Publishing, 2010). Further to 

the 2005 publication on Giordana’s 'I cento passi' she is at present 

writing an article on two more recent Italian Mafia films, The 

Consequences of Love (Sorrentino, 2004) and Gomorrah (Garrone, 

2008). 

› Giordana’s I cento passi: renegotiating the Mafia codes, New Cinemas: 


Kevin Smets is a research fellow and Ph.D. candidate in Film Studies 

at the University of Antwerp. His research deals with Turkish and 

North African cinema and diaspora. 



Elena Smirnova is a doctoral student at the University of Bath 

specializing in the depiction of masculinities in post-Soviet Russian 

culture. She is from Taganrog in southern Russia, where she has 

worked as a translator and interpreter in local businesses. 

› Alexander Sokurov and the Russian soul, Studies in European Cinema, 1.1, 

57-.

Douglas Smith 

University College Dublin, 

Department of French, Belfield, 

Dublin 4, Ireland 

Keywords realism, desire, time, 

death, Godardart documentary 

Jillian Smith 

University of North Florida, 

Department of English, 1 UNF Drive, 

Jacksonville, Florida, 32224, United 


Keywords Frederick Wiseman, 

Titicut Follies, Walter Benjamin, 

materiality, sensation 

Jo Smith 

Victoria University of Wellington, 

Media Studies Programme, Victoria 

University of Wellington, Wellington, 

PO Box 600, New Zealand 

Keywords settler nationalism, 

multiculturalism, biculturalism, 

postcolonial exotic, settler cinema 

Douglas Smith teaches cinema, literature and theory in the Department 

of French, University College Dublin. The author of a study of the 

French reception of Nietzsche (Transvaluations, 1996), he has also 

translated Nietzsche into English for Oxford World’s Classics. 

Currently holding a Government of Ireland Senior Research Fellowship 

funded by the Irish Research Council for Humanities and Social 

Sciences, he is preparing an interdisciplinary study of cultural space in 

postwar France. 

› ‘A world that accords with our desires’?: realism, desire and death in André 

Bazin’s film criticism, Studies in French Cinema, 4.2, 93-102. 

› Moving pictures: the art documentaries of Alain Resnais and Henri-Georges 

Clouzot in theoretical context (Benjamin, Malraux and Bazin), Studies in 


Jillian Smith is Associate Professor of English and Film at the 

University of North Florida where she teaches and researches 

documentary media and events. She has published on ‘The Fog of War’ 

in Postmodern Culture and on 9/11 in Politics and Culture, and is 

currently working on projects on Drivers Education films and 

Spectacles. 

› The politics of tactility: Walter Benjamin materialized by way of Frederick 

Wiseman's Titicut Follies, Studies in Documentary Film, 2.2, 103-122. 

Jo Smith is a senior lecturer in Media Studies at Victoria University of 

Wellington in Aotearoa/New Zealand. She researches in the areas of 

postcolonial media theory, indigenous media and new media studies. 

› New Zealand cinema and the postcolonial exotic: the case of Apron Strings, 


Jacob Smith Jacob Smith teaches in the Institute of Film and Television Studies, in 

the School of American and Canadian Studies at the University of

University of Nottingham, 

Department of American and 

Canadian Studies, University Park, 

Nottingham, NG7 2RD, United 


Keywords horror, public service, 

advertising, sound recording, 

subliminal media 

Tatiana Smorodinska 

Middlebury College, Russian 

Department, Middlebury, VT 05753, 


Keywords justice, revenge, remake, 

Sidney Lumet, Nikita Mikhalkov 

Maloe Sniekers 

Erasmus University Rotterdam, 

Erasmus School of History, Culture, 

and Communication, Rotterdam, 

Netherlands 

Keywords guilty house, guilty 

landscape, Marc Dutroux, collective 

memory, crime, dark tourism, 


Tytti Soila 


Cinema Studies, Filmhuset, 

Borgvägen 1-5, Stockholm, 102 51, 

Sweden 

Keywords national cinemas, Nordic 

Nottingham. His book, Vocal Tracks: Performance and Sound Media 

(University of California Press, 2008) is an examination of the styles of 

vocal performance that developed in tandem with sound media 

technologies. He has published on media history and performance in 

journals such as Screen, Film Quarterly, Television and New Media 

and Velvet Light Trap. 

› An unnatural sound in Village, Short Film Studies, 1.1, 135-137. 

Tatiana Smorodinska is Associate Professor at Middlebury College, 

VT. She is the co-editor of the Encyclopedia of Contemporary Russian 

Culture (with Helena Goscilo and Karen Evans-Romaine, 2006), the 

author of Konstantin Sluchevsky: The Untimely Poet (2008) and several 

articles on Russian poetry and contemporary Russian film and culture. 

› Rule of law vs. Russian justice: Nikita Mikhalkov's 12, Studies in Russian 


Maloe Sniekers is Ph.D. student at the Erasmus University Rotterdam 

(EUR). Her PhD research, at the department of History, Culture and 

Communication, focuses on ‘dark tourism’, the tourist consumption of 

sites associated with death and suffering. Currently Sniekers is working 

on a cross national comparative research involving, next to the houses 

of Marc Dutroux, the houses of Josef Fritzl in Austria and Fred and 

Rosemary West in the United Kingdom. 

› Imprisoned by Dutroux: An ethnography of guilty houses in Belgium, 


Tytti Soila is Professor of Cinema Studies and Chair of the Department 

of Journalism, Media and Communication at Stockholm University. 

She has published extensively on Nordic national cinemas and feminist 

film theory. 

› The Landscape of Memories in the Films of the Kaurismäki Bros., Film 


countries, feminist film theory 

Olga V. Solovieva 

Prussian Cultural Heritage 

Foundation, Museum of Prints and 

Drawings, Kupferstichkabinett, 

Stauffenbergstr. 41, Berlin, 10785, 

Germany 

Keywords global cinema, Fyodor 

Dostoevsky, Kurosawa Akira, 

adaptation 

Ove Solum 

University of Oslo, Film Studies, 

Postboks 1093 Blindern, Oslo, 317, 

Norway 

Keywords Norwegian cinema, digital 

cinema, Norway, municipal cinemas 

David Sorfa 

Liverpool John Moores University, 

Film Studies, Dean Walters Building, 

Upper Duke Street, Liverpool, 

Merseyside, L1 7BR, United 


Keywords uncanny, domestic, art 

house, Heimat film, code unknown 

› The uncanny in Kitchen Sink, Short Film Studies, 2.1, 83-86. 

Olga Solovieva received her Ph.D. in Comparative Literature and Film 

Studies at Yale. She has taught at the film studies programmes at Smith 

College, Yale College, and Georgia Tech. Currently she is a research 

fellow at the Museum of Prints and Drawings of the Prussian Cultural 

Heritage Foundation in Berlin. 

› Kurosawa Akira's The Idiot: Where the East meets the West, Journal of 

Japanese & Korean Cinema, 1.2, 129-142. 

› The erased grave of Dersu Uzala: Kurosawa's cinema of memory and 

mourning, Journal of Japanese & Korean Cinema, 2.1, 63-79. 

Ove Solum is Professor of Film Studies, University of Oslo. Solum has 

published on Norwegian cinema and film culture. His latest book is 

Den norske filmbølgen (2010), co-authored with Gunnar Iversen. His 

doctoral thesis was on the historical development of the unique 

municipal cinema system of Norway. He was leader of the National 

Association of Media Researchers in Norway 1994-97, visiting scholar 

at The University of California, Santa Barbara 2001 and a member of 

the Research group at the Norwegian Film Institute, currently at the 

National Library of Norway. 

› The municipal cinemasystem in Norway andthe digital turn, Journal of 


David Sorfa is a senior lecturer in Film Studies at Liverpool 

John Moores University (UK) and managing editor of the journal Film- 

Philosophy. He has published on Michael Haneke, Jan Švankmajer, 

Czech cinema and a wide variety of other film-related subjects. He is 

the co-editor of The Cinema of Michael Haneke: Europe 

Utopia (Columbia University Press/Wallflower, 2010). 

› Uneasy domesticity in the films of Michael Haneke, Studies in European 

Cinema, 3.2, 93-104.

Cécile Sorin 

Universite de Paris 8, Departement 

Cinema, 2 rue de la Liberté, 93526 

SAINT-DENIS cedex, Paris, France 

Keywords parody, pastiche, 

references, police thriller, Western, 

Hollywood, New Wave, Bernard 

Borderie 

Moussa Sow 

The College of New Jersey, 


Bliss Hall 325, 2000 Pennington 

Road, Ewing, NJ 08628, United 


Keywords francophone African 

cinema, Islam in African literatures, 

black diaspora in France 

Kim Soyoung 

Korean National University of Arts, 

School of Film, Television, and 

Media, Seoul, 1360716, Korea Sout 

Keywords Cold War, The 

Murmuring, My Own Breathing, 

Peppermint Candy, Korean cinema 

Cécile Sorin is a lecturer in the Department of Cinema Studies at the 

University of Paris 8. Her doctoral thesis was on genre borrowing, a 

topic on which she has written a number of articles. She is particularly 

interested in the French and Italian popular cinemas in the Cold War 

period. 

› The art of borrowing: French popular cinema before the New Wave, Studies 


Moussa Sow is Assistant Professor of Francophone Literatures and 

Cultures and African American Studies at The College of New Jersey. 

His research interests include francophone African film and literatures, 

Islam in African literatures, as well as the literatures of the black 

diaspora in France. His recent authored or co-authored publications 

include ‘L’Archéologie de la résilience’, in Pius Ngandu Nkashama: 

Trajectoires d’un discours (Paris, l’Harmattan, 2007) and ‘Le Slam en 

France: une Renaissance de Harlem?’ in Harlem heritage, mémoire et 

renaissance (Paris, Riveneuve Continents, 2008). 

› Book Review, Journal of African Cinemas, 2.2, 195-197. 

Kim Soyoung is professor of Cinema Studies at the Korea National 

University of Arts. Her publications include Geundaeseong-ui 

yuryeongdeul – Pantaseutik hanguk Yeonghwa/Spectres of Modernity: 

Fantastic Korean Cinema (Ssiaseul Ppurineum Saram, 2000) and 

Sinema: tekeuno munhwa-ui pureun kkot/Cinema: Blue Flower in the 

Land of Technology (Youlhwadang, 1996). She is also an 

accomplished film-maker, her works including the documentary 

Women's History Trilogy (2000–04). 

› Gendered trauma in Korean cinema: Peppermint Candy and My Own 

Breathing, New Cinemas: Journal of Contemporary Film, 8.3, 179-187. 

Oliver C. Speck Oliver C. Speck currently teaches Film Studies at Virginia 

Commonwealth University, School of World Studies. Prior to joining


Wilmington, Department of Foreign 

Languages and Literatures, 601 South 

College Road, LH 277, Wilmington, 

North Carolina, NC 28403-5954, 


Keywords Coup de torchon/Clean 

Slate (1981), postcolonial cinema, 

mission civilisatrice, Frantz Fanon, 

Giorgio Agamben 

Katherine Spring 

Wilfrid Laurier University, 

Department of English and Film 

Studies, 3-156 DAWB, 75 University 

Ave W, Waterloo, ON, N2L 3C5, 

Canada 

Keywords sound, music, narrative, 

American cinema, genre, pedagogy 

Jane Stadler 


English, Media Studies and Art 

History, Brisbane, QLD 4072, 

Australia 

Keywords affective landscape, film 

landscape, media geography, tourism, 


VCU in 2007, he taught at the University of North Carolina 

Wilmington. His areas of expertise are film studies, especially 

European cinema, and German language and literature. His teaching 

interests also include genre studies and cultural studies. His scholarly 

writing focuses on narrative strategies and the representation of 

memory and history in French, German and other European 

cinema. His new book, Funny Frames: The Filmic Concepts of 

Michael Haneke (Continuum, NY: 2010), explores how a political 

thinking manifests itself in the oeuvre of the Austrian director, 

suggesting that the constant shifting of frames of reference in his films 

is needed to open up ethical perspectives. 

› The cesspool of colonial cinema: Coup de torchon by Bertrand Tavernier, 


Katherine Spring is Assistant Professor of Film Studies at Wilfrid 

Laurier University in Waterloo, Canada. Her research interests include 

film sound and music, American film history, Hong Kong cinema, and 

theories of film narrative and narration. She has published articles and 

reviews in Cinema Journal, Film International, and , and chapters on 

Hong Kong filmmaker Johnnie To and music in science fiction cinema. 

Her book on popular music in American cinema during Hollywood's 

transition to sound is under contract with Oxford University Press. In 

her spare time, she serves on the Board of Directors of - and 

programmes films for - Cinematheque Waterloo. 

› Toronto Film Seminar Inaugural Meeting, 27 March 2008, Film 


› (Introduction to Capra Award Winner) Judge’s Perspective, Film 



Jane Stadler is Senior Lecturer in Film and Television Studies at the 

School of English, Media Studies and Art History, University of 

Queensland, and author of Pulling Focus (Continuum, 2008), Screen 

Media (with Kelly McWilliam, Allen and Unwin, 2009) and Media and 

Society (with Michael O’Shaughnessy, Oxford University Press, 2008). 

› Never-Never Land: affective landscapes, the touristic gaze and heterotopic 

space in Australia, Studies in Australasian Cinema, 4.2, 173-187.

Gitte Bang Stald 

IT University of Copenhagen, Rued 

Langgaardsvej 7, Copenhagen, 2300 

S, Denmark 

Keywords mobile media, social 

change, digital communication, 

digital youth media cultures, digital 

media, globalization 

Isolde Standish 

University of London, School of 

Oriental and African Studies, 




Keywords avant-garde, Art Theatre 

Guild, Night and Fog in Japan, shima 

Nagisa 

Regina Standún 

Keywords Austrian cinema, film 

Gitte Bang Stald is an Associate Professor in DC/MC Research Group 

at the IT University of Copenhagen. From February 2010 she is head of 

the Digital Design and Communication study programme. From 1994 

to 2007 she worked at Film & Media Studies, Institute for Media, 

Cognition and Communication at the University of Copenhagen. 

Primary research areas are mobile media and social change, digital 

communication, and digital youth media cultures, digital media and 

globalization. She participated in the European comparative project 

Children and Their Changing Media Environment 1995-98; in the 

research programme Global Media Cultures 1999-2001; in research – 

and development projects on mobile content for young Danes 2004-06; 

on mobile solutions for dyslexics 2006-07; in The MacArthur 

Foundation’s series on Youth 2007, Digital Media and Learning on 

user driven mobile media communities 2008-09. She participated in 

EU Kids Online I+II, 2006-11. 


› Online debate on digital aesthetics and communication, Northern Lights: 


Isolde Standish is Senior Lecturer in Film and Media attached to the 

Centre for Media and Film Studies, School of Oriental and African 

Studies, University of London. She is author of Myth and Masculinity 

in the Japanese Cinema: Towards a Political Reading of the Tragic 

Hero (Curzon/Routledge, 2000), and A New History of Japanese 

Cinema: A Century of Narrative Film (Continuum, 2005). She is 

currently completing a book-length study on Japanese avant-garde 

cinema and the 1960s titled Politics, Porn and Protest: the Japanese 

Avant-garde Film Movement and the 1960s (Continuum). 

› Night and Fog in Japan: Fifty Years On, Journal of Japanese & Korean 


› Reviews, Journal of Japanese & Korean Cinema, 1.2, 185-193. 

Regina Standún has been working with the German Department at the 

National University of Ireland Maynooth since September 2000 and is 

currently a Government of Ireland Scholar. Her doctoral dissertation 

was a comparative study of the rural Austrian Volksstück and the Irish 

peasant play of the twentieth century.

noir, Wolfgang Murnberger, 'Come, 

Sweet Death' › Contemporary Austrian cinema: the peculiar case of Come, Sweet Death 

(2000), Studies in European Cinema, 2.1, 45-54. 

Peter Stanfield 

University of Kent, School of Arts, 

Canterbury, CT2 7NX, United 


Keywords film theory, auteurism, 

Lynda Miles, Peter Wollen 

Blandine Stefanson 

The University of Adelaide, French 

Studies, School of Humanities,, 

Adelaide, 5008, Australia 

Keywords violence, culture, history, 

myth, film interpretation 

› On the road to nowhere? – Contemporary Austrian popular film, New 


Peter Stanfield is Director of Film Studies and Co-Director of the 

centre for the interdisciplinary Study of Film and The Moving Image at 

the University of Kent. His primary area of interest is in the cultural 

history of American film, with a twin focus on cycles of formulaic 

movies and the synergy between cinema and other forms of popular 

culture, including music, comic book and sequential art, pulp novels 

and magazine fiction, and material culture. 

› Notes Toward a History of the Edinburgh International Film Festival, 1969– 


Blandine Stefanson taught French literature and cinema at the 

University of Adelaide until 2002 and is now researching postcolonial 

cultures in West Africa and New Caledonia. She contributed book 

chapters and journal articles on postcolonial literatures and/or cinema 

in Australian Journal of French Studies, Essays in French Literature, 

Etudes Francophones, Africultures, Dialogues et Cultures. She 

coordinated Littérature de Nouvelle-Calédonie (Notre Librairie 134) 

and co-edited Les historiens africains et la mondialisation/African 

Historians and Globalization. She was Guest Editor for volume 1 of 

Journal of African Cinemas (Issues 1 & 2) and is now co-editor of 

Directory of World Cinema: Africa (Intellect Books). 

› Renewal in African cinema: genres and aesthetics, Journal of African 


› Renewal in African cinema: genres and aesthetics Issue 2: Aesthetics and 

ideology, Journal of African Cinemas, 1.2, 139-140. 

› Violence in Souleymane Cissé's films: a cultural perspective, Journal of 


Liz Stephens Liz Stephens is a graduate of the Masters Cinema Studies programme

D.E. Shaw & Co, 120 W. 45th St, 

39th Floor, New York, 10036, United 


Keywords Patti Smith, The Rolling 

Stones, Happy-Go-Lucky, Doris 

Dörrie, Jesus Christus Erlöser 

Jörg Sternagel 

University of Potsdam, Institute for 

Arts and Media, Germany 

Keywords Michael Haneke, Daniel 

Auteuil, Juliette Binoche, acting, 

spectatorship 

David Sterritt 

Keywords Jean-Luc Godard, 1950s 

at the Tisch School of the Arts NYU and currently lives in Brooklyn, 

NY. She has been the experimental programmer and a judge for the 

Brooklyn International Film Festival. She is also an experimental 

videographer and works with The Hartford Sound Alliance to create 

video art installations performed with live electronic and percussion 

music. 





Jörg Sternagel is Visiting Lecturer in Film and Philosophy in the 

European Media Studies programme at the Institute for Arts and Media 

at the University of Potsdam. His research focus is film, philosophy 

and acting in film. He is the author of a book on method acting, 

Methodische Schauspielkunst und Amerikanisches Kino (Berlin, 2005), 

based on his Ph.D. thesis. He is currently working on his second book, 

There Is More than Meets the Eye: A Phenomenology of the Film 

Actor, a project funded by the Fritz Thyssen Foundation in Cologne 

between 2007 and 2008. Jörg Sternagel’s writing has appeared in 

Bestattungskultur, Cinetext – Film and Philosophy, Film Criticism, 

Literatur in Wissenschaft und Unterricht, and Mitteilungsheft der 

Gesellschaft für Medienwissenschaft. 

› From Inside Us: Experiencing the Film Actor in Michael Haneke's Caché, 



David Sterritt is Chair of the National Society of Film Critics, Adjunct 

Professor in the School of Arts at Columbia University, and Professor 

Emeritus in the School of Visual and Performing Arts at Long Island 

University. He recently finished editing Jean-Luc Godard: Interviews, 

due later this year from University Press of Mississippi, and is now 

completing The Films of Jean-Luc Godard for the Cambridge Film 

Classics series of Cambridge University Press. His other books include 

Mad to Be Saved: The Beats, the '50s, and Film. 


Brad Stevens 

Freelance Film Critic 

Keywords film history, editing, 

alternative editing 

Diane Stevenson 

Keywords Howard Hawks, Red 

River, Barbary Coast, romance, 

literary genres, Jean-Luc Godard, 

Masculine Feminine, ‘Ontology of the 

Photographic Image’, indexical sign, 

punctum 

Rob Stone 

Swansea University, Department of 

Translation and Digital 

Communication, Keir Hardie 

Building, Singleton Park, Swansea, 






Brad Stevens has contributed to many film magazines, including Sight 

and Sound, Cineaction and Video Watchdog, as well as the Senses of 

Cinema website. He is the author of Monte Hellman: His Life and 

Films (McFarland, 2003) and Abel Ferrara: The Moral Vision (FAB 

Press, 2004). He wrote sleeve notes for DVD releases of Full Metal 

Jacket, Shock Corridor, The Naked Kiss and The Driller Killer, and 

interviewed Christopher Lee for VCI’s The City of the Dead disc. He 

recently worked as an interviewee and consultant on Odyssey in Rome, 

a documentary about Abel Ferrara. 

› Returning to the source: Notes on rereading (and rewriting) film history, 


Diane Stevenson is a poet and independent scholar. She earned an 

M.F.A. and Ph.D. from Columbia University, where she wrote her 

dissertation under Edward Said and was his research assistant as he 

was writing Orientalism (1978). Her poems and essays have appeared 

in many publications, including The Nation, The Yale Review, Cineaste 

and Mississippi Review. Her essay ‘How Photographs Made Me’ is 

forthcoming in Raritan. 

› The mixture of genres in two films by Howard Hawks, Film International, 

7.6, 24-31. 

Professor Rob Stone directs Film and Media Studies at Swansea 

University. He is the author of Spanish Cinema (Harlow: Longman, 

2001), The Flamenco Tradition in the Works of Federico García Lorca 

and Carlos Saura (Edwin Mellen Press, 2004), Julio Medem 

(Manchester University Press, 2006) and Walk, Don't Run: The Cinema 

of Richard Linklater (Columbia University Press / Wallflower, 2011). 

His specialist subjects are Independent American Cinema; European,

Keywords Spanish cinema, Basque, 

American cinema, politics of 

aesthetics 

Dana Strand 

Carleton College, Department of 

French, Carleton College, Northfield, 

MN, 55057, United States of America 

Keywords Cantet, language, 

education, national identity, Entre les 

murs 

Mark Straw 

Birmingham University, Deptartment 

of American and Canadian Studies, 

Edgbaston, Birmingham, B15 2TT, 


Keywords masculinity, Gulf War, 

Hollywood cinema, memory, 

whiteness 

Basque, Spanish and Latin American Cinema; Film theory and the 

politics of aesthetics; American television drama; Spanish and Basque 

literature and cultural studies. 

› Animals were harmed during the making of this film. A cruel reality in 

Hispanic cinema, Studies in Hispanic Cinemas, 1.2, 75-84. 


› Mapping the gendered space of the Basque Country, Studies in European 



› Screening identities at and beyond Europe's borders, New Cinemas: Journal 


› Time of death, Short Film Studies, 1.2, 183-186. 

Dana Strand is Andrew W. Mellon Professor of French and the 

Humanities at Carleton College in Northfield, Minnesota. She is the 

author of Colette: A Study of the Short Fiction (Twayne, 1995) and coeditor 

of French Cultural Studies: Criticism at the Crossroads (SUNY 

Press, 2000). She has also published articles on the French writer, 

Michel Butor, francophone literature and French film. She is currently 

working on a study of place and identity in contemporary French 

fiction and film. 

› Être et parler: Being and speaking French in Abdellatif Kechiche's L'Esquive 

(2004) and Laurent Cantet's Entre les murs (2008), Studies in French 


Mark Straw is a Ph.D. student in the Department of American and 

Canadian Studies at the University of Birmingham, UK. He received a 

BA in English Language and Literature from the University of Leeds, 

UK, and an MPhil in American Literature and Film from the University 

of Birmingham. His current area of research examines masochistic 

male subjectivity and spectatorship in contemporary war films, media 

representation of war, and Hollywood film as a form of neo-imperial 

public diplomacy. He teaches courses on film aesthetics and theory, 

and North American Cinema. 

› Traumatized masculinity and American national identity in Hollywood’s 

Gulf war, New Cinemas: Journal of Contemporary Film, 6.2, 127-143.

Sarah Street 

University of Bristol, Drama 

Department: Theatre, Film, TV, 

Cantocks Close, Woodland Road, 

Bristol, Avon, BS8 1UP, United 


Keywords film musical, Jessie 

Matthews, British cinema, 

orientalism, production 

Julian Stringer 

University of Nottingham, Culture, 

Film and Media, University Park, 

Nottingham, NG7 2RD, United 


Keywords counter-public sphere, 

speech-act theory, epideictic 

discourse, community 

Vlad Strukov 

University of Leeds, Leeds, LS2 9JT, 


Keywords mysticism, symbolism, 

psychoanalysis, affective states, 

retribution 

Sarah Street is Professor of Film at the University of Bristol. Her 

publications include Cinema and State: the Film Industry and the 

British Government, 1927–84 (co-authored with Margaret Dickinson, 

BFI, 1985); British National Cinema (Routledge, 1997); British 

Cinema in Documents (Routledge, 2000); Costume and Cinema: Dress 

Codes in Popular Film (Wallflower, 2001) and Transatlantic 

Crossings: British Feature Films in the USA (Continuum, 2002). She 

has also co-edited three books, European Cinema: an Introduction 

(with Jill Forbes, Macmillan/Palgrave, 2000); Moving Performance: 

British Stage and Screen (with Linda Fitzsimmons, Flicks Books, 

2000) and The Titanic in Myth and Memory: Representations in Visual 

and Literary Culture (with Tim Bergfelder, I.B. Tauris, 2004). 

› ‘Got to Dance my Way to Heaven’: Jessie Matthews, art deco and the British 

musical of the 1930s, Studies in European Cinema, 2.1, 19-30. 

Julian Stringer is Associate Professor of Film and Television Studies at 

the University of Nottingham and co-ordinating editor of Scope: An 

Online Journal of Film and Television Studies 

(www.scope.nottingham.ac.uk). He has published widely on 

Hollywood, East Asian Cinema (Chinese, Japanese, Korean), and the 

history and culture of international film festivals. His latest book is 

Japanese Cinema: Texts and Contexts (coedited with Alastair Phillips, 

Routledge, 2007). 

› Genre Films and Festival Communities: Lessons from Nottingham, 1991– 


Vlad Strukov has an appointment at the University of Leeds, School of 

Modern Languages and Cultures. He is an Assistant Professor in 

Russian Cultural Studies in the Department of German, Russian and 

Slavonic Studies, and an Assistant Professor in Digital Film in the 

Centre for World Cinemas. He is the founding editor of Digital Icons: 

Studies in Russian, Eurasian, and Central European New Media and an 

independent new media and animation curator. He is the author of 

many publications on Russian film, animation, digital media especially 

the Internet and popular culture, including the most recent volume 

Celebrity and Glamour in Contemporary Russian Culture: Shocking 

Chic (Routledge 2010). 

› Review, New Cinemas: Journal of Contemporary Film, 8.2, 141-143.

Gustavo Subero 

Coventry University, West Midlands, 


Keywords queer diaspora, queer 

identity, Latin American 

homosexuality, entendidos, machismo 

Shreerekha Subramanian 

University of Houston-Clear Lake, 

2700 Bay Area Boulevard, Suite 

2617, Houston, Texas, 77058, United 


Keywords community in the 

contemporary novel, Caribbean and 

African American literature, Indian 

cinema, 

Richard Suchenski 

C/o Bard Film and Electronic Arts 

› Nemesis or mimesis? The theme of retribution in contemporary Russian 

cinema, Studies in Russian and Soviet Cinema, 4.2, 135-136. 

› For all who draw the sword will die by the sword: the symbolism of Filipp 

Iankovskii's The Sword Bearer, Studies in Russian and Soviet Cinema, 4.2, 

171-185. 

Dr Gustavo Subero is a senior lecturer in Cultural Studies at Coventry 

University, where he teaches courses on Latin American Cultural 

Studies and Hispanic Cinema, as well as courses on Global Media and 

Representation(s) to undergraduate students. His main areas of research 

are queer masculinity in film and media in Latin America, queer 

authorship in Latin America, queer literatures in Latin American and 

the Caribbean, and HIV/AIDS representations in contemporary Latin 

American culture. 

› The different caminos of Latino homosexuality in Francisco J. Lombardi's 

No se lo Digas a Nadie, Studies in Hispanic Cinemas, 2.3, 189-204. 

› Gay male pornography and the re/de/construction of postcolonial queer 

identity in Mexico, New Cinemas: Journal of Contemporary Film, 8.2, 119- 

136. 


Shreerekha Subramanian is Assistant Professor of Humanities at the 

University of Houston-Clear Lake. She earned a Ph.D. in Comparative 

Literature from Rutgers University, and is currently at work on a 

monograph on notions of community in the contemporary novel. She 

has published several chapters on Caribbean and African American 

literatures, and also writes on Indian cinema. She is the first recipient 

of the Marilyn Mieszkuc Professorship in Women's Studies at the 

University of Houston-Clear Lake. 


Richard Suchenski is Assistant Professor of Film and Electronic Arts at 

Bard College. He is a joint-Ph.D. candidate in Film Studies and History 

of Art at Yale University, whose research focuses primarily on the

Program, 30 Campus Road, 

Annandale-on-Hudson, NY, 12504, 


Keywords cinematic modernism, 

utopian romanticism, cinematic longform 

John Sundholm 

Karlstad University, Film Studies, 

Faculty of Arts and Education, 

Karlstad, SE-65188, Sweden 

Keywords experimental film, minor 

cinemas, memory, deixis, Malcolm 

Le Grice, Gunvor Nelson, 

amateurism, Finnish cinema, Swedish 


Asuman Suner 

Sabanci University, Faculty of Arts 

and Social Sciences, Istanbul, Turkey 

Keywords nostalgia, memory, new 

wave Turkish cinema, popular 

cinema, political cinema 

development of cinematic modernism internationally and on the 

relationship between film and the other arts. His dissertation is entitled 

‘Utopian Romanticism and the Poetics of Scale: Modernist 

Explorations of the Cinematic Long Form’. 

› Turn Again, Tourneur: Maurice Tourneur between France and Hollywood, 


John Sundholm is Associate Professor of Film Studies at Karlstad 

University, Sweden and on the examination board of the Ph.D. 

programme in Fine Arts at the Academy of Fine Arts in Helsinki, 

Finland. He has written extensively on experimental film and memory 

studies. Together with Lars Gustaf Andersson he is working on a 

research project titled ‘The Cultural Politics of Minor Cinema' (2010– 

2012), funded by the Swedish Research Council. Recent books (as 

editor or co-editor) Gunvor Nelson and the Avant-garde (2003); 

Memory Work (2005); Collective Traumas (2006); A History of 

Swedish Experimental Film Culture: From Early Animation to Video 

Art (2010, co-written with LG Andersson and Astrid Söderbergh 

Widding). Essays in Canadian Journal of Film Studies, Framework, 

New Cinemas and Studies in European Cinema. 

› ‘I am a rhinoceros’: memory and the ethics and aesthetics of materiality in 

film, Studies in European Cinema, 2.1, 55-64. 

› Amateur and avant-garde: minor cinemas and public sphere in 1950s 

Sweden, Studies in European Cinema, 5.3, 207-218. 

› Contemporary cinematic work from Finland: The non-place of cinema and 

identity, New Cinemas: Journal of Contemporary Film, 4.2, 83-92. 



Asuman Suner teaches at Sabanci University in Istanbul. Apart from 

several journal and book articles, she has written a monograph entitled 

Hayalet Ev: Yeni Türk Sinemasında Aidiyet, Kimlik ve Bellek (Spectral 

Home: Belonging, Identity and Memory in the New Turkish Cinema) 

published by Metis Press in 2006. The English edition of this book is 

published by I.B. Tauris Press under the title New Turkish Cinema: 

Belonging, Identity and Memory. 

› Silenced memories: notes on remembering in new Turkish cinema, New

Jim Supanick 

Keywords Tearoom, camera 

Surveillance, Mansfield 1962, gay 

rights, sodomy laws 

Alfredo Luiz Suppia 

Keywords Brazilian cinema, fantasy, 

chanchadas, terrir, Brazilian New 

Cinema/Cinema Novo 

Heather Sutherland 

University of Reading, Department of 

Film, Theatre & Television, 

Bulmershe Court, Reading, RG6 

1HY, United Kingdom 

Keywords licence fee, commercial 

break, public service broadcasting, 

BBC, comedy 


Jim Supanick makes video and writes about the moving image and the 

visual arts. He has contributed to such publications as Film Comment, 

Millennium Film Journal, Cineaste, The Wire, The Brooklyn Rail, and 

others. 

› Last Year at Mansfield: William E. Jones’s Tearoom, Film International, 7.1, 

12-15. 

Alfredo Luiz Suppia is Assistant Professor at Pontificia Universidade 

Católica de Campinas (PUCC). 

› Science Fiction in the Brazilian Cinema: A Brief Overview, Film 


Heather Sutherland is the Post-doctoral Researcher for the 

AHRC/University of Reading Acting with Facts project. She was 

previously a member of another AHRC-funded team, working on 

Volume VI of the Official History of the BBC. Her Ph.D.‘Where is the 

Public Service in Light Entertainment? An Historical Study of the 

Workings of the BBC Television Light Entertainment Group, 1975– 

1987’ (2007) was linked to this project. 

› Embedded actors as markers of authenticity: Acting the real in Troubles 

docudramas, Studies in Documentary Film, 4.3, 267-281. 

› Competitive writing: BBC Public Service television light entertainment and 

comedy in the 1970s and 1980s, Journal of Screenwriting, 2.1, 7-23. 

Paul Sutton Paul Sutton is Principal Lecturer in Film and Head of Media, Culture

Roehampton University, Department 

of Media, Culture and Language 

Keywords auteur, Berlusconi, Il 

Caimano, cinema, television 

Vinay Swamy 

University of Washington, Division 

of French and Italian Studies 

Keywords homosexuality, family, 

kinship, couple, marriage, French 


Susan Sydney-Smith 

University of Central Lancashire 

(UCLAN), United Kingdom 

Keywords crime, documentary, 

female police, gender, feminism 

and Language at Roehampton University. He has interests in Italian 

and French cinema, film theory and critical theory. He has published in 

journals such as Screenand French Studies and is currently writing 

Remaking Film: In History, In Theory, for Blackwell. 

› ‘Say Something Left-Wing!’ Nanni Moretti's Il Caimano, Studies in 


› From the everyday to the universal: The War Is Over, Short Film Studies, 

1.1, 33-36. 

Vinay Swamy is an assistant professor of French at the University of 

Washington, Seattle, where he teaches contemporary Francophone 

literature and film. His publications include essays on novels by Azouz 

Begag and Maryse Condé, Hanif Kureishi’s My Beautiful Laundrette 

and on the PaCS debate and kinship structures in contemporary French 

films. He is completing a book length study entitled Interpreting the 

Republic: Marginalization and Resistance in Postcolonial 

Metropolitan French Novels and Films. 

› Gallic dreams? The family, PaCS and kinship relations in millennial France, 


› Marivaux in the suburbs: Reframing language in Kechiche's L'Esquive 

(2003), Studies in French Cinema, 7.1, 57-. 

Susan Sydney-Smith is Associate Researcher in Film and Media, 

Department of Journalism at the University of Central Lancashire 

(UCLAN), Preston, UK. She was awarded her Ph.D. from Film and 

Media within the Department of English and American Studies at the 

University of East Anglia (UEA) and is the author of Beyond Dixon of 

Dock Green (2002). Her research interests include the development of 

popular television fictions, especially the television police series. She is 

currently researching her new book, The Great British Cop Show. 

› Buddies, bitches, broads: the British female cop show, Film International, 

7.2, 46-58.

Jeremi Szaniawski 

Yale University, Slavic Languages 

and Literatures, PO Box 208236, New 

Haven, Connecticut, United States of 

America 

Keywords space, history, Quentin 

Tarantino, 'trans'modernism, horror 


Lars-Martin Sørensen 

Danish Film Institute, The 

Cinemateque, Gothersgade, 

Copenhagen, Denmark 

Keywords film theory, history, 

Japanese cinema, Danish cinema 

Gert Sørensen 


Department of English, Germanic and 

Romance Studies, Njalsgade 124, 

Copenhagen K, 2300, Denmark 

Keywords Italian politics, Italian 

media, mediatization of politics, 

Italian culture, Italian history 

Jeremi Szaniawski is a Belgian graduate student at Yale University in 

the joint Slavic and Film Studies programme. Fields of interest on 

which he has published in English include the films of Ingmar 

Bergman, Quentin Tarantino, Andre Bazin, modernism, 

postmodernism, postfeminism and what he has branded 

'trans'modernism in contemporary cinema. He has also taught classes 

on Horror cinema at Yale. His dissertation topic centers on the feature 

films of Alexander Sokurov, with whom he conducted an interview 

published in Critical Inquiry. In 2010, he also translated Thomas 

Elsaesser's and Malte Hagener's Film Theory: an Introduction Through 

the Senses into French, for the Presses Universitaires de Rennes. 

› Historic space in Sokurov's Moloch, Taurus and The Sun, Studies in Russian 


Lars-Martin Sørensen is a postdoctoral research fellow at the Section 

of Film & Media Studies, University of Copenhagen. He obtained his 

Ph.D. in Film Studies from the same academic institution. He has 

published numerous articles on Japanese film, is a co-editor of the 

peer-reviewed film journal Kosmorama, and a member of the steering 

committee of the Nordic Association for the Study of Contemporary 

Japan (NAJS). 

› Animated animism – the global ways of Japan’s national spirits, Northern 


Gert Sørensen, is associate professor in Italian at the Department of 

English, Germanic and Romance Studies, University of Copenhagen. 

His main research areas are European cultural history, European 

intellectuals, Italy and the role of Italy in Europe. His dissertation was 

on Gramsci and he has also published a book in Danish on Berlusconi, 

Berlusconi og den moderne fyrste. Om demokratiets tilstand i et land i 

Europa/Berlusconi and the modern principe. The state of Democracy 

in a European Country (2008). He has published numereous books and 

articles in both Danish, Italian and English. 

› Berlusconi and the post-democratic reorganization of politics, Northern 

Lights: Film & Media Studies Yearbook, 7.1, 95-112.

Bjørn Sørenssen 

Norweigan University of Science and 

Technology, Department of Art and 

Media Sciences, Trondheim, N-7491, 

Norway 

Keywords history, web 2.0, public 

sphere, Habermas, digital 

documentary, Le Giornate del cinema 

muto 

Philip Tagg 

University of Montreal, Department 

of Music, Canada 

Keywords musical meaning, 

anaphone, genre, synecdoche, gesture, 

The Dream of Olwen, The Sound of 

Music 

Raija Talvio 

Aalto University, School of Art and 

Design, Hämeentie 135 C, Helsinki, 


Keywords screenwriting, film 

history, national cinemas, 

professional identity 

Kenneth Paul Tan 

National University of Singapore, Lee 

Kuan Yew School of Public Policy, 

469C Bukit Timah Road, 259772, 

Bjørn Sørenssen is Professor of Film and and Media at the Department 

of Art and Media Studies at the Norwegian University of Science and 

Technology, Trondheim. His main research interests are in film history, 

documentary and new media technology. He has published a 

considerable number of articles internationally on these themes in 

addition to articles and books in Norwegian, among these Å fange 

virkeligheten: Dokumentarfilmens århundre (Catching Reality: The 

Century of the Documentary, 2001, 2nd edition 2007). 

› Digital video and Alexandre Astruc's caméra-stylo: the new avant-garde in 

documentary realized?, Studies in Documentary Film, 2.1, 47-59. 

› Le Giornate del Cinema Muto, Pordenone 2007, Film International, 6.4, 77- 

81. 

Philip Tagg is Professor of Musicology at the Music Department of the 

University of Montreal. His essay 'Reading Sounds' is included in the 

anthology The Popular Music Reader edited by Barry Shank 

(Routledge: 2005). 

› Gestural Interconversion and Connotative Precision, Film International, 

3.13, 20-31. 

Raija Talvio is a screenwriter and playwright currently working on her 

Ph.D. in screenwriting at Aalto University School of Art and Design 

(formerly the University of Art and Design Helsinki), as one of the 

researchers of the Aristotle in Change Project funded by the Academy 

of Finland. She is also a screenwriting tutor and former film editor. 

› ‘First of all, the screenplay problem has to be solved’ – the public debate on 

screenwriting in 1930s Finland, Journal of Screenwriting, 1.2, 325-342. 

Kenneth Paul Tan is associate professor at the National University of 

Singapore's Lee Kuan Yew School for Public Policy. He has written 

extensively on Singapore, particularly on governance, multiculturalism 

and the culture industry. His publications include Renaissance 

Singapore? Economy, Culture, and Politics (National University of


Keywords violence, Eric Khoo, Tan 

Pin Pin, Singapore cinema 

E.K. Tan 

Stony Brook University, Department 

of Comparative Literary and Cultural 

Studies, 2120 Humanities Building, 

Stony Brook, NY, United States of 

America 

Keywords Nyonya and Baba, 

Nanyang Chinese, Chinese identities, 

Hong Kong cinema 

Michael Tapper 


Languages and Literature 

Keywords crime fiction, horror, 

science fiction, genre, film history, 

Swedish cinema, American cinema, 

ideology, class, film and mass media 

Singapore Press, 2007) and Cinema and Television in Singapore: 

Resistance in One Dimension (Brill, 2008). 

› Violence and the supernatural in Singapore cinema, New Cinemas: Journal 


E. K. Tan is an Assistant Professor at the State University of New York 

at Stony Brook in the Department of Comparative Literary and Cultural 

Studies. His research interests include Sinophone studies, Southeast 

Asian studies, Chinese-language cinemas, theories of cultural 

translation and postcolonialism. He is working on a book manuscript 

entitled Translational Identity: Articulations of Chineseness in 

Narratives of the Nanyang Diaspora. 

› Hong Kong cinema and the portrayal of the Nanyang Chinese in the 1950s 

and 1960s, Journal of Chinese Cinemas, 4.2, 155-168. 

Michael Tapper is former editor-in-chief of Film International (2003- 

04) and its Swedish predecessor Filmhäftet (1998-2002). He has a 

Ph.D. in Cinema Studies at Lund University, Sweden, and besides 

writing books on film he is a film critic at Sydsvenska Dagbladet since 

1999 and regular contributor to Nationalencyklopedin since 1989 (web 

edition at: www.ne.se since 1996). He was on the editorial board of 

Cinema Journal 2003-07 and has contributed to Historical Journal of 

Film, Radio and Television as well as continuing to contribute to Film 

International. 




› Editorial 1,2, Film International, 1.6, 3-3. 






› A fistful of DVDs (and a few tips on what to read in between the films), Film 


Carrie Tarr 

Kingston University 

Keywords identity, anti-semitism, 

banlieue, diaspora, community 

Sharon Lin Tay 

Middlesex University, Film Studies, 

Middlesex University, Cat Hill, Herts, 

EN48HT, United Kingdom 

Keywords world cinema, feminist 

politics, film-making practices 

› Beyond the banal surface of reality: Terry Gilliam interview, Film 


› Short takes, Film International, 4.19, 75-77. 


› ‘More than ABBA and skinny-dipping in mountain lakes’: Swedish dystopia, 

Henning Mankell and the British Wallander series, Film International, 7.2, 

60-69. 



Carrie Tarr is Visiting Professor of Film at Kingston University, UK. 

She has published on gender and ethnicity in French cinema in various 

edited collections and journals, including Screen and Studies in French 

Cinema. She is currently working on women's fimmaking in France in 

the 2000s and on Franco-African cinematic connections. Her 

publications include Diane Kurys (1999), Women, Immigration and 

Identities in France (co-edited with Jane Freedman, 2000), Cinema and 

the Second Sex: Women’s Filmmaking in France in the 1980s and 

1990s (with Brigitte Rollet, 2001), Reframing Difference: beur and 

banlieue cinema in France (2005), A ‘Belle Epoque’? Women in 

French Society and Culture 1890–1914 (co-edited with Diana Holmes, 

2006). 

› Feminist influences on the work of Yannick Bellon in the 1970s, Studies in 

French Cinema, 3.1, 55-. 

› The Porosity of the Hexagon: Border Crossings in Contemporary French 

Cinema, Studies in European Cinema, 4.1, 7-20. 

Sharon Lin Tay is Lecturer in Film Studies at Middlesex University in 

London, where she teaches world cinema, film theory and digital 

culture. Her interests lie with feminist politics, film theory and filmmaking 

practices. She has published her articles widely and is currently 

preparing a book about feminist ethics and women's film-making 

practices. 

› Undisclosed Recipients, Studies in Documentary Film, 2.1, 79-98.

Kate E Taylor 

University of Wales, School of 

Creative Studies and Media, Bangor, 

Gwynedd, LL57 2DG, United 


Keywords visual culture, colonial 

cinema, Japan, Korea, China, gender, 

prostitution, sex trafficking, 

performance, domestic violence, 

women 

Richard Taylor 

Swansea University, Professor 

Emeritus, United Kingdom 

Keywords Soviet cinema, Eisenstein, 

Stalinism 

Aaron Taylor 

University of Lethbridge, Department 

of New Media, Centre for the Arts 

W864, 4401 University Drive, 

Lethbridge, Alberta, T1K 3M4, 

Canada 

Keywords supporting player, style, 

Kate E Taylor is Lecturer in Visual Culture at Bangor University. Her 

research specialism includes the visual culture of Japan, South Korea, 

and gender and Visual Culture. She is the author of Rising Sun Divided 

Land: Japanese and Korean cinema (Wallflower Press, Forthcoming) 

and has published widely on a variety of topics including Colonial 

Japanese and Korean Cinema, domestic violence and the Internet and 

Prostitution and the sex trade in East Asia. She is the co-founder of the 

representing prostitution network. Her current project examines the 

Legacy of the Japanese Colonial Empire in the Visual Culture of East 

Asia. 

› Infection, postcolonialism and somatechnics in Claire Denis's Trouble Every 

Day (2002), Studies in French Cinema, 7.1, 19-30. 

Richard Taylor is Emeritus Professor of Politics at Swansea University 

in Wales. He is the author of numerous articles and books on Soviet 

cinema, including The Politics of the Soviet Cinema, 1917–1929 

(1979), Film Propaganda: Soviet Russia and Nazi Germany (1998) and 

studies of Eisenstein’s films, The Battleship Potemkin (2000) and 

October (2002). He has also co-edited The Film Factory: Russian and 

Soviet Cinema in Documents, 1896–1939 (1988, 1994), Inside the Film 

Factory: New Approaches to Russian and Soviet Cinema (1991, 1994) 

and Eisenstein Rediscovered (1993) with Ian Christie, and Stalinism 

and Soviet Cinema (1993) with Derek Spring. 

› Sergei Eisenstein: ‘The middle of the three’, Studies in Russian and Soviet 


› Eisenstein on Hollywood, Studies in Russian and Soviet Cinema, 2.2, 217- 

238. 

› Eisenstein's silent films on DVD, Studies in Russian and Soviet Cinema, 2.2, 

239-241. 


Aaron Taylor is an Assistant Professor in the Department of New 

Media at the University of Lethbridge. Some of his recent publications 

include reflections on the supporting player in Quarterly Review of 

Film and Video (2012), theatrical performance styles in Stages of 

Reality: Theatricality in Cinema (2011), Adam Sandler in Millennial 

Masculinity (2013), melodramatic villainy in he Journal of Film and 

Video (2007) and superhero bodies in The Journal of Popular Culture 

(2007). He is currently writing a study of It’s a Wonderful Life and is

Adam Sandler, villainy, superhero 

bodies 

Jean Olivier Tchouaffe 

University of Texas 

Keywords opposition, chief, 

indigenous people, democracy, utopia 

Stephen Teo 


Wee Kim Wee School of 

Communication and Information, 


31 Nanyang Link, 637718, Singapore 

Keywords Hong Kong cinema, 

martial arts cinema, Asian cinema 

editing an anthology of essays on screen acting and film theory. 

› Angels, Stones, Hunters: Murder, celebrity and direct cinema, Studies in 


Jean-Olivier Tchouaffé is a visiting Assistant Professor at 

Southwestern University in Georgetown, TX. He teaches classes on 

Communication and Film Studies. He currently works on a book on 

Cameroonian cinema and grassroots democratic activism. Besides 

many book chapters, his other works have also appeared in the Journal 

of Applied Semiotics, POV Online, Journal of Contemporary Thought, 

The Journal of African Cinemas, PostAmble Journal and in The 

International Encyclopedia of Communication. Most recent 

publications include: 'Colonial Visual Archivesand the Anti- 

Documentary perspective', forthcoming in Journal of Information 

Ethics, 'Notes on Cultural Flows and Globalization: When China Meets 

Africa', forthcoming in Blackwell’s International Companion to Media 

Studies: Production. 

› Reframing African cinema and democracy: the case of Cameroon, Journal of 


Stephen Teo is associate professor at the Wee Kim Wee School of 

Communication and Information, Nanyang Technological University, 

Singapore. Before joining NTU, he was a research fellow at the Asia 

Research Institute, National University of Singapore, from 2005 to 

2008. He is well published in the field of Hong Kong cinema. His 

books include Hong Kong Cinema: The Extra Dimensions (London: 

British Film Institute 1997), Wong Kar-wai (BFI: 2005), King 

Hu's A Touch of Zen (Hong Kong: Hong Kong University Press, 

2007), Director in Action: Johnnie To and the Hong Kong Action Film 

(HKU Press: 2007) and Chinese Martial Arts Cinema: The Wuxia 

Tradition (Edinburgh: Edinburgh University Press 2009). His next 

book, to be published by Routledge, is The Asian Cinema Experience. 

› The aesthetics of mythical violence in Hong Kong action films, New 


› Introduction: Placing Value in the Missing and the Lost, Journal of Chinese 


› The missing female knight-errant in Hong Kong action cinema 19651971: 

back in critical action, Journal of Chinese Cinemas, 4.2, 143-154.

Eric Tessier 

University of North Carolina, 

Department of French, United States 

of America 

Keywords Dante 01, science fiction, 

Jean-Pierre Jeunet, Métal hurlant, 

comics 

Amit Thakkar 

Lancaster University, Department of 

European Languages and Cultures, 

Lancaster, LA1 4YT, United 


Keywords masculinities, violence, 

Hispanophone cinema, Juan Rulfo 

Eleftheria Thanouli 

Aristotle University of Thessaloniki, 

School of Fine Arts, Neohoriou 14, 

Neapoli, Thessaloniki, 56727, Greece 

Keywords World cinema, postclassical 

narration, network, 

transnational flow 

Eric Tessier is a lecturer in French at the University of North Carolina. 

He specializes in mass communications and popular culture. Eric 

Tessier has translated scholarly articles in French and Cinema Studies 

and published translations of novellas by French author Danielle 

Robert-Guédon; his co-authored article and interview with Robert- 

Guédon was released in The French Review, 2009. He coauthored an 

article on film director Marc Caro ('From Storyboard to Film: Marc 

Caro’s Dante 01') published in Film International, 2008. His recent 

translations include French film subtitles for Persistence of Memories 

narrating Salvador Dali and Henry Miller’s encounter, and Gasoline 

(2007) by Andrew Hulse submitted for The Clermont Ferrand 

International Short Film Festival. 

› From Storyboard to Film: Marc Caro's Dante 01, Film International, 6.3, 26- 

33. 

Amit Thakkar is lecturer in Hispanic studies at Lancaster University. 

He received his Ph.D. in 2004. His current area of research activity is 

masculinities and violence in cultural works, with a specific focus on 

aesthetics of violence and gender in Hispanophone film. He has also 

published extensively on Mexican writer Juan Rulfo. 

› Cine de choque: Image culture, the absence of the patriarch and violence in 

Alejandro Amenábar's Abre los ojos (1997), New Cinemas: Journal of 


Dr. Eleftheria Thanouli is Assistant Professor in Film Theory at the 

Film Department at Aristotle University of Thessaloniki. She received 

her Ph.D. from the University of Amsterdam in 2005. She is the author 

of Post-Classical Cinema: an international poetics of film narration 

(Wallflower Press, 2009). 

› Narration in World cinema: Mapping the flows of formal exchange in the era 

of globalisation, New Cinemas: Journal of Contemporary Film, 6.1, 5-15.

Sunera Thobani 


Center for Women and Gender 

Studies 

Keywords terror, Slumdog 

Millionaire, Bollywood 

Randy Thom 

Skywalker Sound 

Keywords Cast Away, absence of 

location sound 

Pamela Thoma 

Washington State University, USA, 

Department of Critical Culture, P.O. 

Box 64007, Wilson Road, WA, 


America 

Keywords feminist theory, women's 

literature, transnational, gendered 

labour 

Lyn Thomas 


ISET, 166–220 Holloway Road, 


Keywords online, media 

convergence, cultural capital, soap 

operas, audience 

Sunera Thobani teaches at the Centre for Women’s and Gender Studies 

at the University of British Columbia. Her research interests focus on 

race and gender relations; globalization, migration and citizenship; and 

media representations of the War on Terror. She is the author of 

Exalted Subjects: Studies in the Making of Race and Nation in Canada, 

published by the University of Toronto Press (2007). 

› Slumdogs and superstars: negotiating the culture of terror, Studies in South 

Asian Film & Media, 1.2, 227-248. 

Randy Thom is a sound designer, and is the current Director of Sound 

Design at Skywalker Sound. He has worked on many award-winning 

films including Star Wars Episodes V & , Temple of Doom, and the 

second and fourth Harry Potter films. 

› On Sound Designing: Cast Away, The Soundtrack, 2.1, 19-21. 

Pamela Thoma is Assistant Professor of Women’s Studies at 

Washington State University in Pullman, Washington, where she 

teaches courses on feminist theory, women’s labour, neo-liberal 

consumer culture and popular culture. Her research interests include 

women’s literature and film, transnational feminist cultural politics, 

post-feminist popular culture, and gendered labour and citizenship. 


Lyn Thomas is the deputy director of the Institute for European 

Transformations at London Metropolitan University. Her previous 

publications include: a book on fan cultures around Inspector Morse 

and The Archers – Fans, Feminisms and ‘Quality’ Media (Routledge, 

2002); several articles and chapters on environmental issues, 

consumerism and lifestyle media; and two books and several articles on 

the writing and reception of the contemporary French writer Annie 

Ernaux. She also edited a book Religion, Consumerism and 

Sustainability: Paradise Lost? for Palgrave, 2010, and is developing a 

project on religious reality television and its audiences.

Claire Thomson 

University College London, 

Department of Scandinavian Studies, 

Gower Street, London, WC1E 6BT, 


Keywords Keywords cyborg, 

ecology, posthuman, Tarkovsky 

Ross Thorne 


Performance Studies, Woolley 

Building A20, Sydney, NSW 2006, 

Australia 

Keywords film distribution, motion 

picture exhibition, transporting films, 

history 

Niamh Thornton 

University of Ulster, School of 


Cromore Road, Coleraine, Northern 

Ireland, BT52 ISA, United Kingdom 

Keywords Dolores del Río, stars, 

YouTube, music, fan culture 

› BOOK REVIEWS-Historical Dictionary of French Cinema, Film Matters, 

1.1, 27-29. 

Claire Thomson is a Lecturer in Scandinavian Film and Head of 

Department of Scandinavian Studies, University College London. She 

is Editor of the journal Scandinavica, and teaches and researches 

Danish and Nordic cinema and literature, especially from intercultural 

and eco-critical perspectives. She edited Northern Constellations: New 

Readings in Nordic Cinema (Norvik Press, 2006). 

› Air, scent and the senses in Derailment, Short Film Studies, 1.2, 245-249. 

Ross Thorne was trained, and practised as an architect and acoustic 

consultant until 1980. In 1961 he became a lecturer in architecture at 

the University of Sydney, continuing through as an associate professor 

(1973) until retirement (1998). He researched office buildings, housing 

and recreation facilities but theatre and cinema have been of constant 

interest since 1963. This interest quickly developed beyond theatre 

buildings to the social history of theatres and cinemas in Australia. 

Publications since 1971 include books and articles in both popular and 

academic journals, together with a number of assessments 

commissioned by state and federal heritage authorities. 

› Rethinking distribution: developing the parameters for a micro-analysis of 

the movement of motion pictures, Studies in Australasian Cinema, 1.3, 315- 

332. 

Dr. Niamh Thornton is a Lecturer in Hispanic Studies and Film at the 

University of Ulster, Coleraine. A specialist in Latin America with a 

particular focus on Mexico, her research interests include literature, 

film and cyber-culture. She examines war and conflict as moments of 

tension in which national and sometimes transnational interests 

interpose with the local and personal. In particular, she has considered 

textual and visual representations of canonical and non-canonical 

voices, drawing parallels with international trends and critical 

frameworks. In her research she has also considered how gender 

influences the representation of conflict, which considers both the teller

Claus Tieber 

University of Salzburg, Fachbereich 

Musik- und Tanzwissenschaft, 

Michalekg. 2/8/5, Vienna, 1160, 

Austria 

Keywords Arthur Laurents, the 

blacklist, Hollywood Ten, The Way 

We Were, HUAC 

Dolores Tierney 

Sussex University, Dolores Tierney 

School of Media, Film and Music, 

Falmer, Brighton, BN1 9QN, United 


Keywords radical film-making, 

American independent cinema, third 

worldist discourses, Mexican national 


(film-maker, author, narrator) and the subject of the narration. She is 

currently completing a monograph on conflict in Mexican film. 

› YouTube: transnational fandom and Mexican divas, Transnational Cinemas, 

1.1, 53-67. 

Claus Tieber is an Austrian film scholar and leads several research 

projects at the University of Vienna. He previously worked as 

commissioning editor in the TV movie department of the Austrian 

Broadcasting Corporation (ORF). He wrote his post-doc thesis 

(habilitation paper) on the history of American screenwriting 

(Schreiben für Hollywood: Das Drehbuch im Studiosystem, Münster: 

Lit Verlag 2008). He is currently leading a research project about 

music in silent cinema in Vienna at the University of Salzburg. 

› The Way He Wrote: Dalton Trumbo and Sixteen Unused Pages for The Way 

We Were, Film International, 8.4, 51-64. 

Dolores Tierney is a lecturer in Film in the School of Media, Film and 

Music at Sussex University. She is the author of Emilio Fernández 

(2007) and co-editor of Latsploitation, Exploitation Cinema and Latin 

America (2009). Her articles and book chapters have been published in 

Screen, Quarterly Review of Film and Video, Horror International, The 

Spectator, New Cinemas, Journal of Latin American Cultural Studies, 

Archivos de la Filmoteca, Revista Iberoamericana and Cuadernos 

Americanos. 

› Emilio Fernández ‘in Hollywood’: Mexico’s postwar inter-American Cinema, 

La perla/The Pearl (1946) and The Fugitive (1948), Studies in Hispanic 


› Alejandro González Iñárritu: director without borders, New Cinemas: 


George Toles George Toles is Chair of Film Studies and Professor of English at the 

University of Manitoba in Winnipeg. He is the author of A House 

Made of Light: Essays on the Art of Film (2001). For two decades, in 

films such as Archangel (1990), Careful (1992) and The Saddest Music

Keywords amnesia, film noir, The 

Locket, the crisis of inwardness, 

Nancy Monks, Parker Tyler's ‘Hamlet 

being’ 

Keyan Gray Tomaselli 

The University of KwaZulu-Natal, 

The Centre for Communication, 

Media and Society, Room G006a, 

Howard College Campus, Mazisi 

Kunene Road, Durban, 4041, South 

Africa 

Keywords Ju/'hoansi, John Marshall, 

cinéma vérité, development, 

advocacy, film education 

Frank P. Tomasulo 

City College of New York, Film 

Studies 

Keywords Michelangelo Antonioni, 

Wong Kar-Wai, Steven Soderbergh, 

eroticism in film, anthology 

in the World (2004), he has been director Guy Maddin’s screenwriting 

collaborator. 

› Eloquent Objects, mesmerising commodities in William Wyler’s The 

Heiress, Film International, 4.22, 48-67. 

› The gift of amnesia in John Brahm's The Locket, Film International, 7.6, 32- 

55. 

Keyan G. Tomaselli is Senior Professor at the University of KwaZulu- 

Natal (UKZN), Durban, South Africa. He is the Director at the Centre 

for Communication, Media and Society (CCMS) and the Academic 

Coordinator for Culture, Communication and Media Studies. He was a 

Smithsonian Honorary Research Associate in the University's 

Department of Anthropology between 1996 and 2000 and has worked 

as a video producer and film-maker. 

› ‘At the Other End of the camera’: Film through history in John Marshall's 

documentaries, Studies in Documentary Film, 1.2, 123-136. 


› Not Another Media Journal?, Journal of African Cinemas, 1.1, 5-7. 


› Bumping into Reality, Brutal Realism and Bafundi 2009: Some Thoughts on 

a Student Film Festival, Journal of African Cinemas, 1.2, 225-234. 


› Mirror communities and straw individualisms: Essentialism, cinema and 

semiotic analysis, Journal of African Cinemas, 3.1, 3-24. 

Frank P. Tomasulo was most recently Professor and Head of Film 

Studies in the College of Motion Picture and Television Arts at Florida 

State University in Tallahassee. He has also taught cinema and 

television history and theory, as well as film production and 

screenwriting, at UCLA, Ithaca College, Cornell University, the 

University of California-Santa Cruz, Georgia State University, and 

Southern Methodist University.Currently, Dr. Tomasulo teaches 

undergraduate film classes at City College of New York and on-line 

graduate seminars for National University in San Diego. 

› Eros and Civilization: Sexuality and the Contemporary International Art 

Cinema, Film International, 6.6, 28-39.

Noboru Tomonari 

Carleton College, One North College 

Street, Northfield, MN 55057, United 


Keywords Koreans in Japan, 

Japanese cinema, Japanese theatre, 

Kim Sujin, Shinjuku Ryozanpaku 

Zhang Tongdao 

Beijing Normal University, School of 

Media & Arts, China 

Keywords China, cinematic 

combatant, cinematic poet, 

documentary, ideology 

David Toop 

University of the Arts London 

Keywords sound design, hip-hop 

culture, crime fiction, The Wire 

Noboru Tomonari is director of the East Asian Studies Program and an 

associate professor of Japanese at Carleton College, specializing in 

Japanese literature and cinema. He is the author of Constructing 

Subjectivities: Autobiographies of Modern Japan (Lanham, MD: 

Lexington Books, 2008). His recent research focuses on minorities in 

Japanese literature and cinema, and he has published articles on 

resident Koreans and burakumin. He is currently working on his 

second book, which is on resident Korean film-makers in Japan. 

› The avant-garde and resident Korean film-making: Kim Sujin and the 

Shinjuku Ryozanpaku, Journal of Japanese & Korean Cinema, 1.1, 65-81. 

Zhang Tongdao, Doctor of Literature, Professor of School of Media & 

Arts, Beijing Normal University, documentary maker. Main works 

including books: The Flag of Exploration – A Discussing on Chinese 

Modernism Poets in 20th Century, Arts Theoretics, Observation on 

Chinese TV, Images of Documentary Masters; documentaries: Kids 

Kindom (2009, Gold Panda Award in 10th Sichuan International Film 

Festival), Neighborhood Committee (2001, the 14th Amsterdam 

International Documentary Festival, nominated), and Four Sisters 

From Baima (2003, Fribourg International Film Festival, nominated). 

› The legend of a filmmaker and a country – fifty years of Ivens and China, 


David Toop is a composer, author and sound curator, visiting professor 

at University of the Arts London and a senior research fellow at 

London College of Communication. He has published five books, 

including Ocean of Sound and Haunted Weather and most recently: 

Sinister Resonance: the Mediumship of the Listener published by 

Continuum in 2010. Exhibitions he has curated include Sonic Boom for 

the Hayward Gallery, and Playing John Cage for Arnolfini Bristol. His 

first album, New and Rediscovered Musical Instruments, was released 

on Brian Eno’s Obscure label in 1975; since 1995 he has released eight 

solo albums, including Black Chamber and Sound Body. 

› Cold world: the deathly void of sound, The Soundtrack, 2.2, 87-97.

Maria Tortajada 

University of Lausanne, Department 

of History and Aesthetics of Film, 

Switzerland 

Keywords ambiguity, theory of 

representation, spectator, libertinage, 

classifieds 

Cian Traynor 

Keywords experimental cinema, 

R.E.M., avant-garde, documentary, 

Take Away Shows 

Núria Triana-Toribio 


Department of Spanish & Portuguese, 

Oxford Road, Manchester, Greater 



Keywords auteur, Canon-makers, 

women's cinema, revisionism 

Maria Tortajada is Assistant Professor at the University of Lausanne, 

Switzerland, in the Department of History and Aesthetics of Film and 

is also currently working on a Swiss National Science Foundation 

research project to update the encyclopedia of Swiss cinema. She 

obtained her doctorate in Literature from the University of Geneva. She 

is the author of Le spectateur séduit. Le libertinage dans le cinéma 

d’Eric Rohmer et sa fonction dans une théorie de la représentation 

filmique (Paris: KIME, 1999) and the editor and contributor of Cinéma 

suisse: Nouvelles (Lausanne: Payot, 2000). She is working on a theory 

of seduction in relation to questions of gender. 

› Eric Rohmer and the mechanics of seduction, Studies in French Cinema, 4.3, 

229-. 

Cian Traynor is a freelance sub-editor and music writer who has 

contributed to a range of publications including the Irish Independent, 

the Times Educational Supplement, State, Foggy Notions, the Event 

Guide, Beat Happening, The Talent and Connected. He also adds 

regular lifestyle and culture features, interviewing leading directors, 

sports stars, politicians, fashion designers and artists. 

› Looking for Life: Cian Traynor interviews Vincent Moon, Film 


Dr. Núria Triana-Toribio lectures on Spanish Cinema at the University 

of Manchester. She has published articles in the Bulletin of Hispanic 

Studies, Film History and Journal of Hispanic Research. She is the 

author of Spanish National Cinema (Routledge, 2003). Her research 

interests are in Spanish Popular Culture especially Spanish popular 

cinema, transnational cinemas within Hispanism, discourses of Spanish 

nationalism and theories of authorship in contemporary cinema. She is 

currently working on the cultural history of the Spanish Film Festivals 

Seminci and FICXixon. She is co-editor of Manchester University 

Press series Spanish and Latin American Filmaker and an editorial 

board member of the journals Transnational Cinemas and Film 

Cultures. 

› Journeys of El Deseo between the nation and the transnational in Spanish 

cinema, Studies in Hispanic Cinemas, 4.3, 151-163. 


2.3, 139-148.

Temenuga Trifonova 

York University, Department of Film, 

Faculty of Fine Arts, 4700 Keele St., 

Toronto, ON, M3J 1P3, Canada 


American cinema, time and cinema, 

film theory, philosophy and film, 


Sarah Trott 

Swansea University, UK, 25 Ffordd 

Yr Eglwys, North Cornelly, Bridgend, 

South Wales, CF33 4HN, United 


Keywords American postwar 

literature, socio-psychological impact 

of war, ethnicity, nationality 

Hing Tsang 

University of Surrey, Department of 

Dance, Film and Theatre, Guildford, 

Surrey, GU2 7XH, United Kingdom 

Keywords evolutionary theory, 

biosemiotics, Peircean sign-theory, 

phenomenology, documentary cinema 

Temenuga Trifonova is assistant professor of Film Studies in the 

Department of Cinema and Media Studies at York University, Toronto, 

Canada. She is the author of The Image in French Philosophy (New 

York: Rodopi, 2007) and European Film Theory (New York: 

Routledge, 2008). Her articles have appeared (or are forthcoming) in 

Cineaste, European Journal of American Culture, CTheory, Studies in 

European Cinema, Routledge Encyclopaedia of Film Theory, Film and 

Philosophy and other publications including several edited collections. 

› Pensiero debole: Weak national cinema, Studies in European Cinema, 8.1, 7- 

20. 

› Between the national and the transnational: Bulgarian post-communist 

cinema, Studies in Eastern European Cinema, 2.2, 211-225. 

Sarah Trott is an early career academic at Swansea University whose 

primary field of research is American postwar literature with a 

concentration upon the psychological and social impact of war in 

American society. Taking a literary and socio-psychological approach, 

her current research examines twentieth-century urban American 

postwar literature as a social and psychological illustration of the 

postwar era, and considers the ramifications of war upon writers, 

characters, society and the form of the American novel. She is 

currently investigating the conflict between ethnicity and nationality in 

post-World War I African American literature. 


Hing Tsang is an independent film-maker and part-time lecturer at the 

University of Surrey. His current research interests include 

evolutionary theory, biosemiotics, Peircean sign-theory, 

phenomenology and documentary cinema. He is currently completing a 

monograph on Peirce’s notion of the self and its relevance to 

documentary practice and theory. 

› Emotion, documentary and Van der Keuken’s Face Value, Studies in 


Silvana Tuccio 

Keywords family, dislocation, 

Australian cinema, women, 

difference, unhomeliness 

Thomas Deane Tucker 

Chadron State College, English & 

Humanities, ADM 209, 1000 Main 

Street, Chadron, Nebraska, 69337, 


Keywords Bernanos, Bazin, Jacques 

Derrida, translation, adaptation 

Angela Tumini 

Chapman University, Languages, 920 

S Calle Venado, Anaheim Hills, 


Keywords European cinema, Italian 

cinema, Danish cinema, Lars von 

Trier, Futurism, neo-realism 

Silvana Tuccio founded the cultural association Lacunae (2002) in 

Italy, and has been artistic director of the film culture event Sguardi 

australiani (Genoa 2002-2006). She has published several articles on 

Australian cinema and edited the book Sguardi australiani: idee, 

immaginari e cinema degli antipodi (Le Mani, 2005). Silvana Tuccio 

contributed an article on the experience of the Sguardi australiani 

events (which featured the films of Giorgio Mangiamele, Tracey 

Moffatt, David Vadiveloo) to the volume Australians in Italy: 

Contemporary Lives and Impressions, (Kent, Pesman, Troup, Monash 

Epress: Melbourne, 2008). Silvana Tuccio has a Ph.D. in Cinema 

Studies from the University of Melbourne. 

› Whose story is reclaimed in The Home Song Stories?, Studies in 


Dr. Tucker is Professor of Humanities and Philosophy at Chadron State 

College (Nebraska, USA) where he has been on the faculty since 1998. 

He holds a BA in Film, a BA in Humanities (major subject area in 

philosophy), an MA in Humanities (philosophy) from the University of 

West Florida in Pensacola, and a Ph.D. in Humanities (subject areas in 

continental philosophy and critical theory) from Florida State 

University in Tallahassee. His research and teaching interests are in 

continental philosophy, philosophical aesthetics, philosophy of film, 

and modernism. He is the author of Derridada: Duchamp as 

Readymade Deconstruction (Lexington Books, 2009). His most recent 

publication was a volume of essays on filmmaker Terence Malick titled 

Terrence Malick: Film and Philosophy published in 2011 by 

Continuum. 

› Adapting patience (waiting), Studies in French Cinema, 3.1, 25-34. 

Angela Tumini is Professor of Italian Studies at Chapman University in 

California. Her professional career includes positions as assistant 

professor of Italian at Emory University, Skidmore College, as well as 

head of the Italian Program at the University of Mississippi. She 

obtained a Ph.D. in Italian Literature at the University of Oxford, 

England in 2002 and has published a book, and several articles on 

Italian Literature & Cinema. In addition to her scholarly work, Dr. 

Tumini has created successful Study Abroad courses for the various 

institutions in which she has been teaching, including a Summer 

program for the University of Mississippi, and has been working in 

close cooperation with Umbra Institute in Perugia, Italy, where she is

Maya Turovskaya 

Keywords documentary, fascism, 

Soviet–German cultural relations, 

Mikhail Romm, Leipzig Documentary 

Film Festival 

Casper Tybjerg 




Copenhagen S, DK - 2300, Denmark 

Keywords Paul Schrader, religion 

and film, transcendental style, film 

style, cognitive film theory 

Ben Tyrer 


Department, The Strand, London, 

also a member of the current Advisory Board. 

› A landscape of their own: space and identity in Ozpetek's Hamam: The 

Turkish Bath and Julio Medem's Cows, Film International, 7.5, 50-56. 

Maya Turovskaya was born in Kharkov in 1924. She graduated from 

the philology department of Moscow State University and from the 

theatre department of the Theatre Institute GITIS under Anatoli Efros. 

She received her doctorate in 1983. Since 1973 she has been a leading 

researcher of the Film Research Institute NII in Moscow (theory and 

history of cinema). She is the author of Maxim Straukh (with B. 

Medvedev, 1952), Yes and No: About Cinema of the Last Decade 

(1966), Sergei Yutkevich (1968, with Khantiutin), Babanova: Legend 

and Biography (1981), Heroes of a Non Heroic Time (1971), Der 

Gewöhnliche Faschismus (1981, with Romm and Khaniutin), On the 

Borderline of Art: Brecht and Cinema (1985) and others. 

› Some documents from the life of a documentary film, Studies in Russian and 


Casper Tybjerg is Associate Professor, Ph.D., at the Department of 

Media, Cognition and Communication at the University of 

Copenhagen. He has written the chapter on Danish sound cinema in 

Storia del cinema mondiale (ed. Gian Piero Brunetta, 1999-2001) and a 

number of articles on film history, particularly Carl Theodor Dreyer 

and his films, in Film History, , and various anthologies. Head of 

studies from 1 February 2002. Chairman of the Museum Advisory 

Board at the Danish Film Institute since 1997. 

› Forms of the intangible: Carl Th. Dreyer and the concept of ‘transcendental 

style’, Northern Lights: Film & Media Studies Yearbook, 6.1, 59-73. 

› Editorial, Journal of Scandinavian Cinema, 1.1, 3-5. 

Ben Tyrer is a doctoral student in Film Studies at King’s College 

London. His research interests include critical theory and film theory, 

art cinema, and Left Bank film-makers. His thesis investigates a 

relation between the historiography of film noir and Lacanian

WC2R 2LS, United Kingdom 

Keywords gleaning, aesthetics, 

politics, structure, subjective 

documentary 

Abdalla Uba Adamu 

Bayero University, Department of 

Mass Communication, Kano, P.M.B. 

3011, Kano State, Nigeria 

Keywords Kanywood, Bollywood, 

Islam, colonialism, Middle Eastern 

literature, adaptation, globalization, 

cultural proximity 

Matthias Uecker 

University of Nottingham, School of 


University Park, Nottingham, 

Nottinghamshire, NG7 2RD, United 


Keywords Post-unification German 

cinema, nostalgia, national identity, 

Wolfgang Becker, Sönke Wortmann 

Angela Ungoed Hughes 

Dynevor Centre for Arts Design and 

Media, Swansea Institute, University 

of Wales, De La Beche Street, 

structures of interpretation and meaning. His research is supported by 

the AHRC. 

› Digression and return: Aesthetics and politics in Agnès Varda's Les Glaneurs 

et la glaneuse (2000), Studies in French Cinema, 9.2, 161-176. 

Prof. Abdalla Uba Adamu is professor of Curriculum Studies, and 

Media and Cultural Studies in Bayero University, Kano, Nigeria. His 

main research focus is on transnational media flows and their impact 

on the transformation of Muslim Hausa popular culture especially in 

literature, film, music and performing arts. He is the creator of the 

Foundation for Hausa Performing Arts (Kano, Nigeria) whose main 

focus is archiving traditional performing arts heritage of the Muslim 

Hausa. His most recent books are Passage from India: Transnational 

Media Flows and African Cinema: The Video Film in Northern Nigeria 

(Ohio University Press, US, forthcoming). 

› Currying favour: eastern media influences and the Hausa video film, Film 


Matthias Uecker is Professor of German the the University of 

Nottingham. He is the author of Zwischen Industrieprovinz und 

Großstadthoffnung. Kul-‐turpolitik im Ruhrgebiet der zwanziger Jahre 

(Wiesbaden: Deutscher Universitäts-Verlag 1994), Antifernsehen? 

Alexander Kluges Fernsehproduktion (Marburg: Schüren-Verlag 

2000), and Literatur und Wirklichkeit. Strategien dokumentarischen 

Schreibens in der Weimarer Republik (Bern/Oxford: Peter Lang, 2007). 

› Fractured families – united countries? Family, nostalgia and nation-building 

in Das Wunder von Bern and Goodbye Lenin!, New Cinemas: Journal of 


Angela Ungoed Hughes is a film-maker and lecturer. She holds a Ph.D. 

studentship in the Dynevor Centre for Arts, Design and Media, 

Swansea Institute, University of Wales. Howard Riley is Head of the 

School of Research and Postgraduate Studies in the Dynevor Centre.

Swansea, SA1 3EU, United Kingdom 

Keywords Russian Formalism, 

multimodality, systemic-functional 

semiotics, narrative film 

Theresa Urbainczyk 

University College Dublin, School of 

Classics, Belfield, Dublin 4, Ireland 

Keywords historical accuracy, poetry, 

history, Aristotle, Athens 

Maurice Taonezvi Vambe 

University of South Africa, 

Department of English Studies, 

UNISA, Preller Road, Muckleneuk 

Ridge, Pretoria, P O Box, 392, 0003, 

South Africa 

Keywords African cinema, African 

Oral story telling tradition 

Stefanie Van de Peer 



Scotland, FK9 4LA, United Kingdom 

Keywords feminism in sub-Sahara 

› The multimodal matrix – a laboratory of devices: film and the Formalist 

legacy, Studies in Russian and Soviet Cinema, 1.2, 191-210. 

Theresa Urbainczyk is Associate Professor in the School of Classics, 

University College Dublin. She has published two books on church 

historians, Socrates of Constantinople (1997) and Theodoret of 

Cyrrhus (2002), both with the University of Michigan Press and two on 

slave revolts, Spartacus (Duckworths, 2004), and Slave Revolts in 

Antiquity (Acumen, University of California Press 2008). Currently 

she is in the preliminary stages of research on the twelfth-thirteenth 

century Byzantine historian, Niketas Choniates. She teaches on a wide 

range of subjects, all aspects of Greek and Roman history, Greek and 

Latin language and literature. Her favourite course was on ancient 

history on film but has only had the opportunity to teach that once. 

› Greece and Rome on screen, Film International, 5.3, 6-13. 

› Spartacus: A Hero Turns 50, Film International, 8.3, 7-13. 

Maurice Taonezvi Vambe is Professor of African literature at the 

University of South Africa and has written on African film. He is the 

author of African Oral story telling tradition and the Zimbabwean 

novel in English (Pretoria, Unisa Press, 2004). Vambe also co-authored 

Close to Sources: Essays on Contemporary African Culture, Politics 

and the Academy (Pretoria, Unisa Press 2009) with Abebe Zegeye). 

› Exploring the communicative function of light, sound and colour in Hotel 

Rwanda, Journal of African Cinemas, 3.1, 43-49. 

Stefanie Van de Peer graduated in English and Dutch Studies at the 

University of Ghent (Belgium) in 2003, where she specialized in the 

Afrikaans poetry of Wilma Stockenström. She moved to Newcastle 

upon Tyne to pursue a Masters degree in Contemporary Film and 

Literature, with a dissertation on Nigerian Women’s literature, focusing 

on alternative forms of feminisms in sub-Sahara Africa. She came to 

Stirling in 2007 for doctoral research under the supervision of

Africa, Maghreb and Egyptian 

cinema, 'Africa in Motion' 

Isabelle Vanderschelden 



Tylecote Building, Cavendish St, 

Manchester, Greater Manchester, 

M15 6BG, United Kingdom 

Keywords comedy, television, 

ethnicity, Beur identity, multicultural 

France, Club des 13 

Nina Varsava 


Department of English, 397 – 1873 

East Mall,, Vancouver, BC V6T 1Z1, 

Canada 

Professor David Murphy in documentary film-making by North 

African women. She has published on the cinemas from the Maghreb 

and Egypt and is preparing an edited volume on 'Art and Trauma' in 

Africa. She is one of the directors of the ‘Africa in Motion’ film festival 

in Edinburgh and has been on the jury of other Arab and African film 

festivals. 

› Permissible documentaries: Representation in Ateyyat El Abnoudy’s 

documentaries, Journal of African Cinemas, 3.1, 109-124. 

Isabelle Vanderschelden is Senior Lecturer in French studies at 

Manchester Metropolitan University. Her recent research focuses on 

contemporary French cinema. She has written articles on popular 

French stars, French directors, comedy, subtitling and transnational 

issues in French cinema. She has also published a book-length critical 

study of Jean Pierre Jeunet's Amelie (IB Tauris 2007), and has coedited 

with Darren Waldron a book on recent trends in French popular 

cinema France at the Flicks (Cambridge Scholars Publishing 2007). 

She is currently finishing a monograph for Auteur Publishing: Studying 

French Cinema. 

› Subtitling wit: the case of Ridicule, Studies in French Cinema, 2.2, 109-. 

› Jamel Debbouze: A New Popular French Star?, Studies in French Cinema, 

5.1, 61-. 

› The ‘Cinéma du milieu’ is falling down: New challenges for auteur and 

independent French cinema in the 2000s, Studies in French Cinema, 9.3, 

243-257. 


› Luc Besson’s ambition: EuropaCorp as a European major for the 21st 

century, Studies in European Cinema, 5.2, 91-104. 

› The beautiful people of Christophe Honor: New Wave legacies and new 

directions in French auteur cinema, Studies in European Cinema, 7.2, 135- 

148. 

Nina Varsava is a graduate student in the Department of English at the 

University of British Columbia in Vancouver, and currently a visiting 

researcher at Stanford. Her interests revolve around ethics and 

contemporary literature, in particular bio- and eco-ethics, and the ethics 

of representation. Her research has appeared in scholarly journals in the 

United States and Europe, and her creative writing and journalism have 

appeared in various Canadian publications.

Keywords ethics and contemporary 

literature, ethics of representation › Processions of trauma in Hiroshima mon amour: Towards an ethics of 

representation, Studies in French Cinema, 11.2, 111-123. 

Hunter Vaughan 

Washington University in St. Louis, 

Film and Media Studies, Washington 

University, Campus Box 1174, One 

Brookings Drive, St Louis, MO, 


Keywords film-philosophy, French 

cinema, transnational cinema, culture, 

environment 

C.S. Venkiteswaran 

Keywords Indian cinema, Eric 

Barnouw, S. Krishnaswamy, Indian 

film websites, Bollywood, regional 


Pasquale Verdicchio 

University of California, Dept. of 

Literature, 9500 Gilman Drive, La 

Jolla, San Diego, Ca 92093-0410, 


Keywords translation, poetry, Italian 

diaspora, Italian photographic culture 

Hunter Vaughan is Lecturer of Film and Media Studies at Washington 

University in St Louis. His manuscript, ‘Where Film Meets Philosophy: 

Godard, Resnais, and Experiments in Cinematic Thinking’, explores 

the film medium’s alignment with twentieth-century philosophy, using 

the alternative practices of these French film-makers to reconcile 

phenomenological and Deleuzean approaches to the moving image. His 

research and teaching interests include film-philosophy, French and 

transnational cinemas, and culture and the environment. 

› The philosophical war: Beyond the Cartesian subject in Alain Resnais's La 

Guerre est finie (1966), Studies in French Cinema, 11.2, 125-137. 


He is a film/media critic from Kerala, India, who writes regularly on 

film and media in various journals. He has run a weekly column in 

New Indian Express titled 'RUMBLESTRIP' for the last 9 years. He 

has published a book on the filmmaker K R Mohanan: Samanthara 

Yathrakal - K R Mohanante Cinema (Malayalam, 2004) and edited a 

book along with Lalit Mohan Joshi on the filmmaker Adoor 

Gopalakrishnan, A Door to Adoor (South Asian Cinema Foundation, 

London, 2005). 

› Critical Potpourri: Film literature in India today, Film International, 4.20, 

30-37. 

Pasquale Verdicchio is one of the founding members of the Association 

of Italian Canadian Writers; he has published a number of books of 

translation and his own poetry through Guernica Editions and other 

presses. His most recent publications from Guernica include This 

Nothing’s Place, winner of theBressani Prize for Poetry in 2010, and 

Fosfeni, translation of poetry by Andrea Zanzotto (2010). His essays on 

poetry, film and literature have appeared in journals in North America 

and Europe. With Fairleigh Dickinson University Press he published

Constantine Verevis 


Television studies, School of English, 

Communications and Performance 

Studies, Victoria, Victoria, 3800, 

Australia 

Keywords film theory, criticism, 

media, seriality, remake, sequel, 

adaptation, genre, Australian cinema, 

Australian television 

Deb Verhoeven 

Deakin University, School of 

Communication and Creative Arts, 

Deakin University, 221 Burwood 

Highway, Burwood, Victoria, 3125, 

Australia 

Keywords art cinema, cinema-going, 

diaspora, Australian cinema, 

production, media geography, film 

exhibition, film distribution 

Bound by Distance: Rethinking Nationalism through the Italian 

Diaspora (1997) and Looters, Photographers, and Thieves: Topics in 

Italian Photographic Culture in the Nineteenth and Twentieth 

Centuries (2011). Verdicchio has taught literature, film and writing at 

the University of California, San Diego, since 1986. 

› Documentary on the verge of progress, Studies in Documentary Film, 5.2-3, 

107-119. 

Constantine Verevis is Senior Lecturer in Film and Television Studies 

at the School of English, Communications and Performance Studies at 

Monash University, Melbourne. He is the author of Film Remakes 

(Edinburgh UP, 2006), and co-editor of Second Takes: Critical 

Approaches to the Film Sequel (SUNY P, 2010). 

› Australian International Pictures, Studies in Australasian Cinema, 4.3, 195- 

198. 

› Dead on arrival: The fate of Australian film noir, Studies in Australasian 


› Disorder: Joy Division, Studies in Documentary Film, 2.3, 233-246. 

› Moldy Art: The exotic world of Jack Smith, Studies in Documentary Film, 

4.2, 173-186. 

› Documenting film-makers, Studies in Documentary Film, 4.2, 105-108. 

› Guest editorial, Studies in Australasian Cinema, 1.3, 243-244. 

› Twice born: Dionysos Films and the establishment of a Greek film circuit in 


› Australian screen adaptations in the AFI Research Collection, Studies in 


› It was an experience that totally blew up in my face: Steve Railsback and 

Turkey Shoot, Studies in Australasian Cinema, 4.1, 73-79. 

› Editorial, Studies in Australasian Cinema, 4.3, 193-194.

Kathleen M. Vernon 

State University of New York, Stony 

Brook, NY, United States of America 

Keywords material culture, 

collecting, oral history, consumption, 

identification 

Cosetta M. Veronese 


Department of Italian Studies, United 


Keywords Levi, Holocaust, memory, 

testimony, adaptation 

Per Vesterlund 

University of Gävle, Cinema Studies, 

Sweden 

Keywords politics, Sweden, labour 

movement, quality, film funding, 

Harry Schein 

Marian Via Rivera 

University of London, Royal 

Holloway 

Kathleen Vernon is Associate Professor of Hispanic Studies at the State 

University of New York, Stony Brook. She is the author of numerous 

studies on contemporary Spanish cinema and culture. Her current work 

in progress includes a book entitled he Rhythms of History: Cinema, 

Music and Cultural Memory in Contemporary Spain and the jointly 

authored study directed by Jo Labanyi, The Mediation of Everyday 

Life: An Oral History of Cinema-Going in 1940s and 1950s Spain, to 

be published by Berghahn Books. 

› Introduction, Studies in Hispanic Cinemas, 2.2, 67-68. 

› Material culture and the cinema collector: a case study from Franco-era 

Spain, Studies in Hispanic Cinemas, 2.2, 137-144. 

Cosetta Veronese currently lectures in Italian literature and culture at 

the University of Birmingham. She has researched into the cinema of 

Francesco Rosi and nineteenth-century English and Italian literature. 

She has specialized and published on the poetry of Emily Brontë and 

the production and reception of Giacomo Leopardi. 

› Paying the price of perpetuating memory: Francesco Rosi’s interpretation of 

Primo Levi’s The Truce, Studies in European Cinema, 5.1, 55-66. 

Per Vesterlund is Associate Professor of Cinema Studies at the 

University of Gävle, Sweden. His publications include two co-edited 

volumes, Citizen Schein (2010) and Svensk television: en mediehistoria 

(2008). His current research project concerns Harry Schein and his role 

in Swedish film and media politics. 

› Quality in the welfare state: some remarks on a document from the archive of 

Harry Schein, Journal of Scandinavian Cinema, 1.1, 25-30. 

Marian Via Rivera teaches Spanish Language and Literature at Royal 

Holloway, University of London. She has an MA in English Literature 

and Film Studies from Glasgow University, a MSt in European 

Literature at Wadham College, Oxford, and she is currently studying 

for a Ph.D. at Royal Holloway.

Keywords Bardem, Martín-Gaite, 

performance, identity, Neorrealism › Theatricality/sexuality/performance: Neorrealism and the construction of 

identity in Calle Mayor and Entre Visillos, Studies in Hispanic Cinemas, 3.2, 

109-122. 

Hvard Andreas Vibeto 

Claus Riis Gate 4, Oslo, 457, Norway 

Keywords national cinema, 

Nordicness, art cinema, genre, film 

reviews, Norwegian cinema 

Aida Vidan 

Harvard University, Department of 

Slavic Languages and Literatures, 

Barker Center, Cambridge, MA 


Keywords Bosnia, Serbia, Croatia 

Fabio Vighi 


European Studies, PO Box 908, 

Cardiff, CF10 3YQ, United Kingdom 

Keywords neo-realism, subjectivity, 

Lacan, real, jouissance 

Håvard Andreas Vibeto is a film scholar and research fellow Ph.D. in 

Game Studies at Hedmark University College. He is currently working 

on his Ph.D. thesis on video-gameaesthetics and player experience. 

› Hunting High and Low: Notes on Nazi Zombies, Francophiles and National 

Cinema(s), Film International, 9.2, 30-41. 

Aida Vidan received her Ph.D. from Harvard, where she currently 

teaches Bosnian, Croatian and Serbian and is a researcher at the 

Milman Parry Collection of Oral Literature. She is the author of 

Embroidered with Gold, Strung with Pearls: The Traditional Ballads of 

Bosnian Women (Milman Parry Collection and Harvard University 

Press), co-author of Beginner’s Croatian and Beginner’s Serbian 

(Hippocrene Books) and co-editor of In Contrast: Croatian Film Today 

(Kinokultura online special issue). 

› Spaces of ideology in South Slavic films, Studies in Eastern European 


After graduating in 1994 at Bologna University (Italy), Fabio Vighi 

obtained his Ph.D. at the University of Reading with a study on the 

Italian poet, film-maker and intellectual Pier Paolo Pasolini. Before 

being appointed Lecturer at CardiffUniversity, he was employed at 

Portsmouth University (1996–2000). His research interests focus on 

psychoanalysis, critical theory and film studies. More specifically, he 

has recently worked on subjectivity, ethics and utopia using a number 

of theoretical approaches that include Lacanian psychoanalytic theory, 

Marxism andpost-Marxist theory and German Idealism. 

› Encounters in the real: subjectivity and its excess in Roberto Rossellini, 


Björn Þór Vilhjálmsson 

Hugvísindasvið, Sæmundargata 2, 

Háskóli Íslands, Aðalbygging, 101 

Reykjavík, Iceland 

Keywords Halldór Laxness, 

technology, modernity 

Ginette Vincendeau 


Keywords Marcel Pagnol, French 

cinema, Vichy France, fallen women 

Sherryl Vint 

Brock University, Department of 

English Language and Literature, St. 

Catharines, ON, L2S 3A1, Canada 

Keywords science fiction cinema and 

television, popular culture 

Björn Þór Vilhjálmsson is a Ph.D. dissertator in Critical Literary and 

Cinema Studies at the University of Wisconsin, Madison where he is 

based in the Department of Scandinavian Studies. He is writing on 

Halldór Laxness, technology and modernity. 

› Modernity and the moving image: Halldór Laxness and the writing of ‘The 

American Film in 1928’, Journal of Scandinavian Cinema, 1.2, 135-144. 

Ginette Vincendeau is Professor of Film Studies and Head of the Film 

Studies department at King’s College London. She has written widely 

on popular French and European cinema, including most recently La 

Haine (I.B. Tauris, 2005), Jean Pierre Melville: An American in Paris 

(BFI, 2003), and Stars and Stardom in French Cinema (Continuum, 

2000). Her latest book, Popular French Cinema, from the Classicalto 

the Transnational was published by I.B. Tauris in 2010. She is 

currently working on a study of the representation of the south of 

France in international film and television. 

› Marcel Pagnol, Vichy and Classical French Cinema, Studies in French 


Sherryl Vint is an associate professor in the Department of English 

Language and Literature at Brock University. She is a founding coeditor, 

with Mark Bould, of the journal Science Fiction Film and 

Television from Liverpool University Press and the director of Brock 

University's MA in Popular Cutlure. She is the author of Bodies of 

Tomorrow (2007) and Animal Alterity (2010), co-author, with Mark 

Bould, of The Routledge Concise History of Science Fiction (2011), 

and co-editor of Fifty Key Figures in Science Fiction (2009), The 

Routledge Companion to Science Fiction (2009) and Beyond 

Cyberpunk (2010). 

› Book Reviews, Film International, 5.3, 77-. 

› The essential Atom Egoyan box set, Film International, 5.2, 57-60. 

Concepción Cascajosa Concepción Cascajosa Virino is Assistant Professor in the Department

Virino 

Carlos III University of Madrid, 

Getafe (Madrid), 28903, Spain 

Keywords Narciso Ibáñez Serrador, 

television in Spain, television 

authorship, global television 

Valentina Vitali 

Senior Lecturer in Film Studies, 


Sciences, University of East London, 

Docklands, 4-6 University Way, 

London, E16 2RD, United Kingdom 

Keywords legal space, realism, 

sensationalism, mode of address, 

pleasure 

Richard A Voeltz 

Cameron University, Department of 

History and Government, 2800 West 

Gore Blvd, Lawton, 73505, United 


Keywords historiography, the British 

Empire, the history of Namibia, film 

and history, American history through 

film 

of Journalism and Audiovisual Communication of the Carlos III 

University of Madrid, where she is also a member of the research 

group ‘Television-Cinema: Memory, Representation and Industry’ 

(TECMERIN). 

› Narciso Ibáñez Serrador, an early pioneer of transnational television, Studies 

in Hispanic Cinemas, 7.2, 133-145. 

Valentina Vitali teaches Film History and Theory at the University of 

East London. She is the author of Hindi Action Cinema: Industries, 

Narratives, Bodies (OUP 2008) and co-editor, with Paul Willemen, of 

Theorising National Cinema (BFI 2006). Her work has appeared in a 

number of journals and anthologies, including boundary2, Inter-Asia 

Cultural Studies, Kinema, Framework, Women: A Cultural Review, and 

Hong Kong Connections: Transnational Imagination in Action Cinema 

(Duke University Press and Hong Kong University Press 2005). 

› Revisiting the ‘realism’ of the cosmetics of hunger: Cidade de Deus and 

Ônibus 174, New Cinemas: Journal of Contemporary Film, 8.1, 15-30. 

Richard A. Voeltz is Professor of History and former Chair of the 

Department of History and Government at Cameron University in 

Lawton, OK, USA, where he teaches courses in South African History 

and Film and American History Through Film, as well as courses in 

British History and Modern European History. He received his Ph.D. in 

history from the University of California, Los Angeles, and is the 

author of German Colonialism and the South West Africa Company. 

His areas of research and interest include historiography, the British 

Empire, the history of Namibia, and film and history. He is the author 

of numerous articles and reviews in these areas, as well as in American 

and Modern European History. 


Robert von Dassanowsky Robert von Dassanowsky is Professor of German and Film Studies, and 

Director of the Film Studies program at the University of Colorado, 

Colorado Springs. He is also active as an independent film producer

University of Colorado, Colorado 

Springs, Languages and Cultures; 

Visual and Performing Arts, 1410 

Meredith Heights #207, Colorado 

Springs, Colorado, 80919, United 


Keywords popular culture, Austria, 

Central Europe, fascism 

Anne Marit Waade 

Aarhus University, Media Studies, 

Helsingforsgade 14, 8200 Aarhus N, 

Denmark 

Keywords TV production, crime 

series, Wallander, Ystad, location, 

production value 

Ingela Wadbring 

University of Gothenburg, 


Communication, POB 710, 

Gothenburg, SE 405 30, Sweden 

with his company, Belvedere Film. Dassanowsky is a Delegate to the 

European Academy of Sciences and Arts, VP of the Modern Austrian 

Literature and Culture Association (MALCA) and a fellow of both 

the Royal Historical Society and the Royal Society of Arts. His 2005 

book, Austrian Cinema: A History (McFarland), is the first Englishlanguage 

survey of that nation’s cinema art and industry. His latest 

books include a co-edited collection (with Oliver C. Speck) on New 

Austrian Film (Berghahn 2011), a co-edited study (with Martin 

Liebscher and Christophe Fricker) The Nameable and the Unnameable: 

Hugo von Hofmannsthal's Der Schwierige Revisited (U of London/ 

Iudicium 2011), and a collection of critical essays on Tarantino's 

Inglourious Basterds: Manipulations of Metacinema 

› Catch Hannibal at Mr Ripley's Fight Club if you can: From Eurodecadent 

cinema to American nationalist allegory, Film International, 5.3, 14-29. 

› A Wave Over Boundaries: New Austrian Film, Film International, 6.1, 31- 

44. 

Anne Marit Waade, MA, PhD, is Associate Professor at the 

Department of Information and Media Studies at Aarhus University, 

Denmark. Her research falls within the areas of media aesthetics, visual 

culture, mediated tourism andbranding culture. She has recently 

published articles on crime fiction series, crime tourism 

(www.krimiforsk.aau.dk) and travel series 

(www.tvunderholdning.au.dk), she has co-published the book Medier 

og turisme/Media and Tourism with Jakob Linaa Jensen (2009), and 

co-edited two books, Re-Investing Authenticity (2010) and Den 

Skandinaviske krimi – bestseller og blockbuster/Scandinavian Crime 

Fiction – Bestseller and Blockbuster. Her book Wallanderland will be 

published in 2012. 

› Crime scenes: Conceptualizing Ystad as location in the Swedish and the 

British Wallander TV crime series, Northern Lights: Film & Media Studies 

Yearbook, 9., 9-25. 

Ingela Wadbring, Ph.D., is Associate Professor at the Department of 

Journalism, Media and Communication at the University of 

Gothenburg, Sweden. She is project director of the Swedish Newspaper 

Research Programme, and her research in the programme focuses on 

free dailies and the consequences of new media on the newspaper 

market as well as media structural changes in general. She also runs a

Keywords newspapers, free dailies, 

media structure, journalism, media 

development 

Keith B. Wagner 

London South Bank University, Film 

Studies, College Hall, Malet Street, 

London, WC1E 7HZ, United 


Keywords Matthew Barney, 

neoliberalism, commodity culture, 

decadence, Richard Serra 

Kristen Anderson 

Wagner 

University of Southern California 

Keywords female comedians, 

American silent cinema 

Karin Wahl-Jorgensen 

Cardiff University, Media and 

Cultural Studies, Bute Building, King 

Edward VII Avenue, Cardiff, CF 10 

3NB, United Kingdom 

Keywords discourse, journalism, 

liberal democracy, archive, tabloid 

project about media commercialization and has published several 

books and articles on newspaper development, audience analyses and 

media structural changes. 

› The contribution of free dailies and news on the web: implications of media 

structural changes for the Swedish newspaper readership market, Northern 


Keith Wagner received his M.Phil in Screen Media and Cultures from 

the University of Cambridge in 2007, and his MA in the Photographic 

Image from the University of Durham in 2006. He came to King’s 

College London to undertake a Ph.D. in 2009 after teaching at the 

University of Rhode Island in the United States for two years, 

convening eleven modules ranging from Asian cinema to literature and 

film from MacMillan to Thatcher. 

› The Neo-liberal Auteur: Commodity fetishism and decadence in the mise-enscène 

of Matthew Barney's Cremaster 3, Film International, 6.3, 34-42. 

Kristen Anderson Wagner is a Ph.D. candidate in Critical Studies at the 

University of Southern California's School of Cinema-Television. Her 

dissertation is concerned with the work of female comedians in 

American silent film. 




Karin Wahl-Jorgensen, Ph.D., is a Reader at Cardiff University’s 

School of Journalism, Media and Cultural Studies. She is interested in 

the relationship between citizenship, democracy and the media. She is 

interested in how citizens are represented in news forms and genres, 

including vox pop interviews, letters to the editor, disaster coverage 

and user-generated content. She is the author of two books, Journalists 

and the Public (Hampton Press 2007) and Citizens or Consumers? 

(Open University Press 2005; co-authored with Justin Lewis and Sanna

newspapers Inthorn) and Director of the MA in Journalism Studies and the MA in 

Political Communication. 

Elizabeth Walden 

Bryant University, Literary and 

Cultural Studies, 1150 Douglas Pike, 

Smithfield, Rhode Island, RI 02917, 


Keywords animation, visual culture, 

digital culture, nature, animality, 

materiality 

Darren Waldron 


Department of French Studies, 

Oxford Road, Manchester, Greater 



Keywords reception, audience, 

gender, lesbianism, Josiane Balasko, 

François Ozon 

› Audience views on user-generated content: exploring the value of news from 

the bottom up, Northern Lights: Film & Media Studies Yearbook, 8.1, 177- 

194. 

Elizabeth Walden is Associate Professor of Philosophy and Cultural 

Studies at Bryant University. She works in the fields of Cultural 

Theory, Cinema and Aesthetics. Her work focuses on recent and 

emerging trends in cinema, media and visual culture. Current work 

concerns the shifting boundary between definitions of human nature 

and the animal and representation of extreme emotion in visual culture. 

She teaches courses in Philosophy, Cultural Studies, Visual Culture 

and Cinema. 

› ‘You want to torture Zora?’ Olivier Assayas’s Demonlover as critique, New 


Darren Waldron is a Lecturer in French Screen Studies at the 

University of Manchester. His research interests include 

representations of sexuality and gender in contemporary French film 

comedies and their reception. He has published articles on Gazon 

maudit (Balasko, 1995), Pédale douce (Aghion, 1996) and Le Placard 

(Veber, 2001). He is currently co-editing a forthcoming volume on 

Contemporary French ‘Popular’ cinema. His monograph, Queering 

Contemporary French Popular Cinema: Images and their Reception, 

was published with Peter Lang in 2009. 

› Incorporating qualitative audience research into French film studies: the case 

of Gazon maudit (Balasko, 1995), Studies in French Cinema, 4.2, 121-134. 

› ‘Une mine d'or inépuisable’: the queer pleasures of François Ozon's 8 

femmes/8 Women (2002), Studies in French Cinema, 10.1, 69-82. 

› From critique to compliance: Images of ethnicity in Salut cousin (1996) and 

Chouchou (2003), Studies in European Cinema, 4.1, 35-48.

Dylan Walker 

Flinders University, Screen Studies 

Department, GPO Box 2100, 

Adelaide, 5001, Australia 

Keywords South Australia, 

Snowtown, rural film, exhibition, 

cinema-going 

Janet Walker 

Department of Film Studies, 

University of California, Santa 

Barbara Ellison Hall 1720, California, 


Keywords trauma, testimony, 

memory, history, Holocaust 

Ann-Kristin Wallengren 


Languages and Literatures, Box 201, 

Lund, S-22100, Sweden 

Keywords America, 

Americanization, Hollywood icons, 

male identity, stereotypes 

Dylan Walker is a Screen Studies doctoral student at Flinders 

University researching film distribution and exhibition in rural South 

Australia during the 1930s. His book Adelaide’s Silent Nights, 

published in 1996, dealt with the history of picture houses in South 

Australia during the silent era. Dylan also has an interest in Greek 


› Rural cinema audiences in South Australia in the 1930s, Studies in 


Janet Walker is Professor and former Chair of the Department of Film 

and Media Studies at the University of California, Santa Barbara, 

where she is also affiliated with the Women’s Studies Program. Her 

research has been supported by the American Council of Learned 

Societies, the National Endowment for the Humanities and the 

California Council for the Humanities and she is the recipient of a 

Distinguished Teaching Award from the University of California, 

Santa Barbara. 

› ‘Testimony in the umbra of trauma: film and video portraits of survival’, 


Ann-Kristin Wallengren is an associate professor and senior lecturer in 

Film Studies at Lund University in Sweden. Her teaching covers most 

areas in the discipline, in particular focusing upon film history, film 

analysis and theory. She is a member of the SCMS and the NECS, as 

well as a member of the editorial board for the journal Music and the 

Moving Image (Illinois University Press). Recently she has been a 

Visiting Honorary Fellow at Southampton University, UK (Oct-Nov 

2008). 

› Music in Children, Film International, 3.13, 40-49. 

› The Cinema of Scandinavia Tytti Soila (ed.) (2005), Film International, 5.2, 

77-78. 

› Hollywood in Sweden: Cinematic references imagining America, Film 


Mike Walsh 

Flinders University, Screen Studies 

Department 

Keywords film distribution, film 

exhibition, film sound, film history 

Yiman Wang 

University Of California Santa Cruz, 

Department of Film and Digital 

Media, 1156 High Street, Santa Cruz, 

California, 95064, United States of 

America 

Keywords methodology, mode of 

address, foreignization, remake 

embodied performance, costuming 

George Chun Han Wang 

University of Hawaii at Manoa, 

Academy for Creative Media, 2550 

Campus Road Crawford 210, 

Honolulu, HI 96822, United States of 

America 

Keywords martial arts, Li Hanxiang, 

Shaw Brothers, Run Run Shaw,King 

Hu, China, Hong Kong, Taiwan, 

Mike Walsh is a senior lecturer in the Screen Studies Department at 

Flinders University in Adelaide, South Australia. He is also consultant 

programmer for the Adelaide Film Festival. He has published 

numerous articles in various anthologies and journals on film 

distribution, Australian cinema and Asian cinema. He holds a Ph.D. 

from the University of Wisconsin-Madison. He is currently working on 

a book dealing with the establishment of United Artists’ international 

distribution network. 

› Cinema in a small state: distribution and exhibition in Adelaide at the coming 

of sound, Studies in Australasian Cinema, 1.3, 299-314. 

› From the outback to the background: Indian films in Australia, Studies in 


Yiman Wang is Assistant Professor of Film & Digital Media at UC 

Santa Cruz. Her research and teaching interests include early cinema, 

border-crossing film remakes, transnational Chinese cinemas, DV 

image-making in contemporary China, star studies, theories of 

translation, postcolonialism, and race and gender. She has completed a 

book manuscript on cross-Pacific film remakesand is currently working 

on the second book project on Anna May Wong 

› The ‘transnational’ as methodology: transnationalizing Chinese film studies 

through the example of The Love Parade and its Chinese remakes, Journal of 


› Anna May Wong: a border-crossing ‘minor’ star mediating performance, 


› Made in China, sold in the United States, and vice versa – transnational 

‘Chinese’ cinema between media capitals, Journal of Chinese Cinemas, 3.2, 

163-176. 

› King Hu and Run Run Shaw: the clash of two cinema legends, Journal of 

Chinese Cinemas, 4.2, 127-142.

comedy, Kevin Chu Yen Ping, Lee 

Hsing, montage, editing, sound, 

soundtrack, Udine, Hawaii 

Aarti Wani 

Symbiosis College of Arts and 

Commerce, Department of English, 

G-21, Chidanand, Sus Road, Pashan, 

Pune, Maharashtra, 411021, India 

Keywords Bombay cinema, 1950's, 

Hindi cinema 

Julian Ward 

University of Edinburgh, Asian 

Studies, 8 Buccleuch Place, 

Edinburgh, EH8 9LW, United 


Keywords war, adaptation, 

collaboration, arbitrary cruelty 

Stephen Ward 

University of Salford, European 

Studies Research Institute, Salford, 

M5 4WT, United Kingdom 

Aarti Wani is an Associate Professor of English at the Symbiosis 

College of Arts and Commerce, Pune, Maharashta, India. She is 

reading for a Ph.D. in Cinema Studies at the School of Arts and 

Aesthetics, JNU, New Delhi, towards a dissertation titled The Fantasy 

of the Modern: Romantic Love in the Bombay Cinema of the Fifties. 

Her review articles on contemporary Hindi Cinema have appeared in 

Film International, and online magazines. 

› Uses of history: a case of two films, Film International, 5.1, 72-78. 




Julian Ward teaches Chinese Studies at the University of Edinburgh. 

Research interests include travel writing, particularly in the travel 

diaries of Xu Xiake. He is currently teaching courses on both 

traditional literature, including Tang and Song poetry and Ming 

vernacular fiction, and modern poetry and literature. He is also coeditor 

of the Chinese Cinema Book published in May 2011. 

› Filming the anti-Japanese war: the devils and buffoons of Jiang Wen’s Guizi 

Laile, New Cinemas: Journal of Contemporary Film, 2.2, 107-118. 




Stephen Ward is research fellow at the Oxford Internet Institute and 

has been senior lecturer at the University of Salford. He is an expert on 

Internet, politics and democracy and has been involved in several larger 

research projects on E-democracy and online media. He has published 

numerous articles on these subjects and edited a number of books, for 

instance: Making a Difference? Internet Campaigning in Comparative

Keywords Internet, online media, 

political communication, media and 

democracy 

Claire Wardle 

Keywords news production, 

immediacy, BBC, authenticity, 

audience 

Marina Warner 

University of Essex, Literature, Film 

and Theatre Studies, United Kingdom 

Keywords Splat, sensation, sound, 

comics, inferno 

Charles Warren 

Boston University, Visual and 

Environmental Studies Department 

Keywords criticism, history, realism, 

Perspective (co-editor, 2007) and Electronic Democracy: Mobilisation 

and Participation Online (co-editor, 2004). 

› What's the story…? Online news consumption in the 2005 UK election, 


Claire Wardle, Ph.D., is an Honorary Lecturer at Cardiff University’s 

School of Journalism, Media and Cultural Studies. After completing 

the AHRC- and BBC-funded research project into UGC, she undertook 

a six-month secondment with BBC English Regions examining the use 

of UGC on BBC Local websites. She now works with the BBC College 

of Journalism. 



194. 

Marina Warner was born in London in 1946, of an Italian mother and 

an English father who was a bookseller. She was educated in Cairo; 

Brussels; Berkshire, England; and Lady Margaret Hall, Oxford. She is 

a prize-winning writer of fiction, criticism and history. Her works 

include novels and short stories as well as studies of female myths and 

symbols. Her most recent book is Phantasmagoria: Spirit Visions, 

Metaphors, and Media (Oxford University Press). She is Professor in 

the Department of Literature, Film and Theatre Studies at the 

University of Essex where she teaches courses on fairy tales and other 

forms of narrative. 

› Phew! Whaam! Aaargh! Boo!: Sense, Sensation, and Picturing Sound, The 

Soundtrack, 1.2, 107-125. 

Charles Warren is Lecturer on Film at Boston University, and 

Associate of the Visual and Environmental Studies Department at 

Harvard University. He is editor of Beyond Document: Essays on 

Nonfiction Film (1996) and, with Maryel Locke, of Jean Luc-Godard’s 

Hail Mary: Women and the Sacred in Film (1993). He has worked with 

filmmaker Robert Gardner to produce the DVD series Screening Room,

Jean Renoir, theory and has edited Gardner's books Making Dead Birds: Chronicle of a 

Film (2007), Human Documents: Eight Photographers (2009), and Just 

Representations (2010). Recently Warren has contributed essays to 

volumes on Gardner, Jean Rouch, and Michael Haneke. He is currently 

writing on self-reflection in silent film, on Direct Cinema, and on 

Hitchcock's Vertigo. 

Marek Wasielewski 

University of West England, Cultural 

and Media Studies 

Keywords Dave Fleischer, 

Paramount, industrial design, the 

Gernsback Continuum, the Titan City 

project 

Janet Wasko 

University of Oregon, School of 

Journalism and Communication, 


Keywords political economy of the 

media, hollywood, disney 

Thomas Waugh 

Concordia University, Mel 

Hoppenheim School of Cinema, 1455, 

boul de Maisonneuve ouest, 

MontrÈal, QuÈbec, H3G 1M8, Canada 

Keywords Joris Ivens, China, 

› Cavell, Altman and Cassavetes, Film International, 4.22, 14-20. 

› Q:What is criticism?, Film International, 5.6, 22-31. 

Marek Wasielewski is a Ph.D. student in Cultural and Media Studies at 

the University of the West of England. His thesis will seek to position 

the emergence of the comicbook superhero within the context of 

industrial modernity. 

› ‘This amazing stranger from the Planet Krypton’, Film International, 5.2, 6- 

17. 

Janet Wasko is Professor and Knight Chair of Communication 

Research at the University of Oregon. Wasko’s area of specialization is 

the political economy of the media, especially focusing on the film 

industry. She is author, co-author or editor of eighteen books including 

How Hollywood Works, Understanding Disney: The Manufacture of 

Fantasy and Dazzled by Disney: The Global Disney Audience Project. 

› Dissin' the Distribs: Hollywood's Questionable Distribution Policies, Film 


Thomas Waugh is Concordia University Research Chair in 

Documentary and in Sexual Representation; Professor of Film Studies 

and Interdisciplinary Studies in Sexuality; Graduate Program Director, 

Film Studies; and Director, Concordia HIV/AIDS Project, at the Mel 

Hoppenheim School of Cinema, Concordia University, Montreal, 

Quebec. His expertise lies in Censorship, Education, AIDS/HIV, Gay 

Art/Literature/Film, Gay/Lesbian Issues, Canadian Film and Video, 

Eroticism in Film, Gay Cinema, Pornography/Obscenity/Censorship

solidarity film, mise-en-scène 

documentary, Sino-Japanese war 

Mike Wayne 

Keywords ideology, the commodity 

form, Venezuela, the Bolivarian 

revolution, formalism, praxis listen to 

Venezuela, Marxism 

Harry Weeks 

University of Edinburgh, History of 

Art, School of Arts, Culture and 

Environment, Minto House, 20 

Chambers Street, Edinburgh, EH1 

1JZ, United Kingdom 

Keywords contemporary art, 

community, activism, social turn, 

Eastern Europe, post-capitalism 

and Indian Film. 

› The 400 Million (1938) and the solidarity film: ‘halfway between Hollywood 

and Newsreel’, Studies in Documentary Film, 3.1, 7-17. 

Mike Wayne teaches and researches in the areas of film, television and 

media, with a particular emphasis on Marxist cultural theory. He most 

recently published as a co-author (with Julian Petley, Craig Murray and 

Lesley Henderson) the book Television News, Politics and Young 

People: Generation Disconnected? (Palgrave, 2010). This book was 

one of the outcomes of an AHRC funded project worth £108K. From 

2008 to 2009 Mike spent a year in Venezuela on a Leverhulme Trust 

Study Abroad Award where he also co-directed (with Deirdre O’Neill) 

a feature length documentary about the Venezuelan revolution, called 

Listen To Venezuela. He is the author of Political Film: The Dialectics 

of Third Cinema (2001), Marxism and Media Studies: Key Concepts 

and Contemporary Trends (2003) and as editor, Understanding Film: 

Marxist Perspectives (2005). 

› Spectre, Film International, 2.10, 4-13. 

› Realism: Eleven theses and some elaborations, Film International, 4.24, 6- 

15. 

› Film as a radical pedagogic tool, Film International, 5.5, 10-16. 

› Return to Third Cinema? The Case of Listen To Venezuela, Film 


Harry Weeks (b. 1986) is a Ph.D. student in History of Art at the 

University of Edinburgh. His current Ph.D. research project is entitled 

'Activism, Acvtivity, Activation: Potential post-capitalisms in 

contemporary art' and examines the political implications of 

contemporary community-engaged art practice. He graduated from the 

University of Edinburgh in 2008 and completed an MSc by research in 

2009 entitled 'Re-cognising the post-Soviet condition: contemporary art 

in the Baltic States'. A revised version of this paper was published in 

March 2010 in Studies in Eastern European Cinema. In 2009 he 

curated an exhibition of Scottish video art called 'You and me and the 

TV makes 3' as part of the Edinburgh Annuale and in 2010 wrote the 

catalogue essay for the 'What Drives Baltic?' exhibition in Riga, Latvia. 

› Re-cognizing the post- Soviet condition: the documentary turn in 

contemporary art in the Baltic States, Studies in Eastern European Cinema,

Susan Weiner 


of French and Italian, 1 Shields 

Avenue, Sproul Hall, Room 522, 

Davis, United States of America 

Keywords Mac Orlan, Quai des 

brumes, prostitution, war, adaptation 

Hildegard Westerkamp 


Keywords Gus Van Sant, silence, 

Murray Schafer, soundscape, 

soundscape composition 

Catherine Wheatley 

University of Southampton, 

Southampton, Hampshire, United 


Keywords Robin Wood, La Pianiste, 

melodrama, women's film, 

1.1, 57-70. 

Susan Weiner is a visiting associate professor of French at the 

University of California, Davis. She has published articles on Edgar 

Morin and Roland Barthes, Jean-Pierre Léaud and French popular 

culture. She is the author of Enfants Terribles: Femininity and Youth in 

the Mass Media in France, 1945–1968 (Johns Hopkins University 

Press, 2001) and is currently writing a book on the cinema of Jacques 

Demy and Agnès Varda. 

› When a prostitute becomes an orphan: Pierre Mac Orlan's Le Quai des 

brumes (1927) in the service of poetic realism, Studies in French Cinema, 

6.2, 129-140. 

Hildegard Westerkamp is a composer who focuses on listening, 

environmental sound and acoustic ecology. She is on the board of the 

World Forum for Acoustic Ecology (WFAE) and is a co-editor of its 

journal Soundscape – The Journal of Acoustic Ecology. She has taught 

courses in Acoustic Communication at Simon Fraser University, is 

conducting soundscape workshops and giving concerts and lectures 

internationally. Some of her compositional work appears in US filmmaker 

Gus Van Sant’s films Elephant and Last Days. Her music has 

been commissioned by CBC Radio, Canada Pavilion at Expo '86, Ars 

Electronica (Linz), and Österreichischer Rundfunk, Zentrum für Kunst 

und Medien in Germany. 

› School of Sound Symposium, London 2009; keynote lecture, The 

Soundtrack, 2.2, 111-126. 

Catherine Wheatley is currently studying for a D.Phil. at St. John’s 

College, Oxford, for which her thesis title is ‘Michael Haneke’s Critical 

Aesthetic and the Ethics of Film Spectatorship’. She has written articles 

on Michael Haneke and on film and ethics, as well as contributing 

several entries to the Routledge Encyclopedia of Documentary Film (3 

vols., ed., Ian Aitken. New York and London: Routledge, 2006).

spectatorship 

Duncan Wheeler 


Spanish, Leeds, LS2 9JT, United 


Keywords popular film, domestic 

violence, feminism, post-feminism 

Duncan White 

University of the Arts, London, 

Central St. Martins College of Art & 

Design 

Keywords expanded cinema, 

performance, video, production, 

reception, writing 

Frederick H. White 

Newfoundland, Canada 

Keywords postmodern, degeneration, 

St Petersburg, Dostoevskii, post- 

Soviet 

› The masochistic fantasy made flesh: Michael Haneke's La Pianiste as 

melodrama, Studies in French Cinema, 6.2, 117-128. 

Duncan is a Leverhulme Research Fellow at the Department of 

Spanish, Portuguese and Latin American Studies at the University of 

Leeds, where he is also a member of the executive committee for the 

Centre for World Cinemas. He has previously held lecturing positions 

at the Universities of Birmingham, London and Oxford, and is a 

published translator whose latest project is an English version of a 

Spanish play for the RSC. His articles on film, theatre and gender 

studies have appeared in numerous journals in the United Kingdom, 

Spain and the United States. He is Reviews Editor for New Cinemas. 

His book Golden Age Drama in Contemporary Spain: The Comedia on 

Page, Stage and Screen will be published by the University of Wales 

Press in 2012. 

› The representation of domestic violence in popular English-language cinema, 



Duncan White is a research fellow at Central St Martins College Art 

and Design, University of the Arts London. He is the lead author and 

co-editor of Expanded Cinema: Art Performance Film (Tate Publishing 

2011). Current research interests include film and media experiments, 

poetry, art and performance. 

› ‘Seeing or believing’: Harmony Korine and the cinema of self-destruction, 


Frederick H. White is Associate Dean of Arts (Research and Graduate 

Programs) at Memorial University (Newfoundland, Canada). He has 

published in scholarly journals such as Novoe literaturnoe obozrenie 

and Voprosy literatury, has a book in print, Memoirs and Madness: 

Leonid Andreev through the Prism of the Literary Portrait (2006) and 

is completing a follow-up study on narratives of mental illness by and 

about Andreev. Most recently, he has begun to examine the depiction

Tom Whittaker 

Department of Humanities, Arts, 

Languages and Education, Tower 

Building, 166-220 Holloway Road, 


Keywords landscape, rural cinema, 

environmentalism, Levitas, peasants, 

Eceiza 

James Wicks 

Point Loma Nazarene University, 

LJML Department, 3900 Lomaland 

Drive, San Diego, CA, 92106, United 


Keywords Taiwanese cinema, Bai 

Jingrui, Li Xing, transnationalism, 

migration, 1960s, 1970s 

Emma Widdis 

University of Cambridge, Trinity 

College, Cambridge, CB2 1TQ, 


Keywords Abram Room, Lev 

Kuleshov, set design, faktura, haptics 

of the Russian fin de siècle in post-Soviet film. 

› Of Freaks and Men: Aleksei Balabanov’s critique of degenerate post-Soviet 

society, Studies in Russian and Soviet Cinema, 2.3, 281-297. 

› Infinite landscapes in Gutiérrez Aragón's Habla, mudita, Studies in Hispanic 


› Geographies of anxiety: space, modernization and sexuality in Antxón 

Eceiza's El próximo otoño/ Next Autumn and De cuerpo presente/ Present in 

Body, Studies in European Cinema, 6.1, 7-16. 

James Wicks, Ph.D. is an Assistant Professor of Literature at Point 

Loma Nazarene University in San Diego, California. He is currently 

converting his dissertation, entitled The Antecedents of Taiwan New 

Cinema: The State of Taiwan Film in the 1960s and 1970s, into a book. 

› Projecting a state that does not exist: Bai Jingrui's Jia zai Taibei/Home Sweet 

Home, Journal of Chinese Cinemas, 4.1, 15-26. 

Emma Widdis is Senior Lecturer in the Department of Slavonic Studies 

at Cambridge University, and Fellow of Trinity College. She is the 

author of Visions of a New Land: Soviet Cinema from the Revolution to 

the Second World War (2003), and Alexander Medvedkin (2004), coeditor, 

with Simon Franklin, of National Identity in Russian Culture 

(2004), and author of other articles on Russian cinema and culture. She 

is currently working on a cultural history of ‘touch’ in Soviet Russia. 

› Faktura: depth and surface in early Soviet set design, Studies in Russian and 


Mary Wiles 

University of Canterbury, Cinema 

Studies, School of Humanities, 

English-Education Building, 

Christchurch, 8140, New Zealand 

Keywords New Wave, Jacques 

Rivette, theatricality, gender theory, 

feminist film theory, French film 

Paul Willeman 

University of Ulster, Coleraine 

Campus, Belfast, United Kingdom 

Keywords Indian cinema, zoom in 

popular cinema, style, stortytelling, 

industrialization of culture 

Deane Williams 


Television Studies, School of Englsih 

Communications and Performance 

Studies, Faculty of Arts, Caulfiled 

Campus, Melbourne, Victoria, 3800, 

Australia 

Keywords British cinema, 

documentary, Harry Watt, Ealing 

Studios, John Grierson 

Mary Wiles is a Lecturer in the Department of Theatre and Film 

Studies at the University of Canterbury, Christchurch, New Zealand. 

She received a Ph.D. in film studies at the University of Florida, an 

MA in film studies and an MA in French at the University of Iowa, and 

also received a diplôme d'études approfondies at Sorbonne Nouvelle in 

Paris. She is currently working on her book Jacques Rivette, which will 

become part of the Contemporary Directors Series published by 

Illinois University Press. She has published numerous articles on avantgarde 

theatricality and adaptation in contemporary French and New 

German cinemas. She recently placed an essay on the coming-of-age 

girl in New Zealand cinema in the exciting new collection, Youth 

Culture in Global Cinema. 

› Re-staging the Feminine in Jacques Rivette's Haut bas fragile (1995), Studies 


Paul Willeman edited Framework in the 1980's, published Looks and 

Fictions (1994) and co-wrote, with A. Rajadhyaksha, The 

Encyclopaedia of Indian Cinema (rev. ed. 1998). He is currently 

Research Professor at the University of Ulster, Coleraine. 

› The Zoom in Popular Cinema: A Question of Performance, New Cinemas: 


Deane Williams is the Head of Film and Television Studies at Monash 

University, Melbourne. He has published widely on realist film 

including Australian film history and documentary film history. He is 

the editor of the journal Studies in Documentary Film and author of 

Mapping the Imaginary: Ross Gibson's Camera Natura and in 2008 his 

(and Brian McFarlane's) Michael Winterbottom was published by 

Manchester University Press. 

› The Overlanders: between nations, Studies in Australasian Cinema, 1.1, 79- 

90. 

› Introduction, Studies in Documentary Film, 2.2, 101-102.

Lee Williams 

University of Miami, United States of 

America 

Keywords silent film criticism, River 

Plate literature, Southern Cone 

literature, Florida/Boedo, vanguard 

and film 

Tony Williams 

Southern Illinois University 

(Carbondale, IL), United States of 

America 

Keywords stardom, Hong Kong, 

Taiwan, film, late twentieth century 

Andrew Williams 

Cardiff University, Media and 

Cultural Studies, Bute Building, King 

Edward VII Avenue, Cardiff, CF 10 

3NB, United Kingdom 

Keywords news production, BBC, 

audience, media convergence, usergenerated 

content 

Ida Willig 

Roskilde University, Department of 

Communication, Business and 

Information Technologies, POB 260, 

Lee Williams holds a Ph.D. in Spanish from the Department of Foreign 

Languages and Literatures, University of Miami. His research interests 

focus on twentieth-century River Plate literature, comparative 

literature, and metafiction. Forthcoming research includes articles on 

Dickens, Arlt and Onetti. 

› Film criticism and/or narrative? Horacio Quiroga's early embrace of cinema, 

Studies in Hispanic Cinemas, 1.3, 181-. 

Tony Williams is Professor and Area Chair of Film Studies in the 

Department of English at Southern Illinois University at Carbondale. 

He has written extensively on South East Asian cinema in Cinema 

Journal, Asian Cinema and Asian Cult Cinema. He has just completed 

a study on John Woo’s 1990 Vietnam War epic, Bullet in the Head. 

› Brigitte Lin Ching Hsia: last eastern star of the late twentieth century, 


Andy Williams, Ph.D., is the RCUK Research Fellow in Risk, Health 

and Science Communication at Cardiff University’s School of 

Journalism, Media and Cultural Studies. His research interests are 

media convergence, including the political economy of convergence, 

the effects of multiplatform news provision on news quality and 

journalists’ pay and conditions, and the rise of user generated content, 

the role of public relations in the UK media and media representations 

of health and science, particularly journalist-source relations and the 

relationship between science journalism and PR. 



194. 

Ida Willig, Ph.D., is Associate Professor of Journalism Studies, 

Department of Communication, Business and Information 

Technologies at Roskilde University, Denmark. She is currently 

working on a study of the structural transformations of the Danish 

media system, and has published books and articles on field theory,

Roskilde, 4000, Denmark 

Keywords reader image, audience, 

news production, journalism 

Andrew Willis 


Music, Media & Performance, 

Adelphi Building, Peru Street, 

Salford, Manchester, Greater 

Manchester, M3 6EQ, United 


Keywords popular cinema, Spanish 

cinema, Hong Kong cinema, British 

television 

Janet Wilson 

University of Northampton, School of 

Arts, Park Campus, Boughton Green 

Road, Northampton, NN2 7AL, 


Keywords adaptation, Aboriginal, 

violence, trauma 

reflexive sociology, newsroom ethnography and journalism. 

› Constructing the audience: a study of segmentation in the Danish press, 


Andrew Willis, based at the University of Salford, is the co-author of 

Media Studies: Texts, Institutions and Audiences (Blackwell, 1999), 

co-editor of Cult Movies: The Cultural Politics of Oppositional Taste 

(Manchester University Press, 2003) and Spanish Popular Cinema 

(Manchester University Press, 2004) and editor of Film Stars: 

Hollywood and Beyond (Manchester University Press, 2004). He has 

acted as co-programmer, with Sarah Perks, for the events Made in 

Hong Kong (2007) and Visible Secrets: Hong Kong’s Women 

Filmmakers (2009) which have both been hosted by Cornerhouse, 

Manchester and have involved a season of films alongside a series of 

interrelated events celebrating Hong Kong film culture. 


2.3, 139-148. 

› Hong Kong cinema since 1997: troughs and peaks, Film International, 7.4, 

6-17. 

Janet Wilson is Professor of English and Postcolonial Studies at the 

University of Northampton, and in 2010-2011 Research Fellow in New 

Zealand Studies at Birkbeck, University of London. Her research is in 

the literature and film of the white settler societies of New Zealand and 

Australia and in postcolonial and diaspora studies more generally. Her 

present projects focus on Katherine Mansfield and adaptation on 

contemporary New Zealand and Australian cinema. Publications 

include Fleur Adcock (2007), The Southland Stories of Dan Davin 

(2007), and the coedited volumes Global Fissures; Postcolonial 

Fusions (2006), Rerouting the Postcolonial: New Directions for the 

New Millennium (2010), Katherine Mansfield and Literary Modernism 

(2011) and Celebrating Katherine Mansfield: A Centenary Volume of 

Essays (2011). She is editor of the Journal of Postcolonialhair of 

EACLALS and vice-chair of the Katherine Mansfield Society. 

› Reconsidering Fred Schepisi's The Chant of Jimmie Blacksmith (1978): the 

screen adaptation of Thomas Keneally's novel (1972), Studies in 

Australasian Cinema, 1.2, 191-208.

Emma Wilson 

University of Cambridge, Corpus 

Christi College, Cambridge, CB2 

1RH, United Kingdom 

Keywords contemporary film, 

trauma, gender, women writers, 

modern fiction 

Sheena Wilson 

University of Alberta, Faculté Saint- 

Jean, Calgary, Canada 

Keywords Irshad Manji, postpolitics, 

optical personage, 

performative radicalism, resistant 

ethnicity 

Leslie Kreiner Wilson 

Pepperdine University, Pepperdine 

University, 24255 Pacific Coast 

Highway, Malibu, CA 90263, USA 

Keywords 

Emma Wilson researches contemporary film, trauma, gender, women 

writers, and modern fiction. She is the author of Sexuality and the 

Reading Encounter (OUP, 1996), French Cinema since 1950: Personal 

Histories (Duckworth, 1999), Memory and Survival: The French 

Cinema of Krzysztof Kieslowski (Legenda, 2000), Cinema's Missing 

Children (Wallflower, 2003), Alain Resnais (Manchester, 2006) and 

Atom Egoyan (Illinois University Press, 2009). She is currently 

working on a project on mortality in moving image media. > text and 

graphics --> --> 

› Uncanny Families: Olivier, Olivier, Studies in French Cinema, 1.3, 150-158. 

Sheena Wilson is Assistant Professor at Faculté Saint-Jean, the French 

campus at the University of Alberta, Canada. She is interested in the 

relationship between the written word and the image as discursive 

referents in socio-political contexts. Her research spans the following 

areas: an interdisciplinary approach to the study of human/civil rights 

abuses as represented in literature, film, and media; the representation 

of marginalization and ethnicity by women writers, filmmakers and 

artists; the de-politicization of film as instrument of social change 

through specific recent practices in documentary and mainstream film; 

relationships between the organic world and technologies of the body 

as represented in media environments. She is a co-founding and comanaging 

editor of the online open-access journal of Imaginations: 

Journal of Cross-Cultural Image Studies. 

› Performative Radicalism in contemporary Canadian documentary film, Film 


Leslie Kreiner Wilson directs the MFA Program in Writing for Screen 

& Television at Pepperdine University. She is currently working on a 

book-length critical study of select Frances Marion screenplays and 

novels. 

› Frances Marion: Censorship and the Screenwriter in Hollywood, 1929–1931, 

Journal of Screenwriting, 3.2, 141-155.

Leung Wing-Fai 

University of London, School of 

Oriental and African Studies, United 


Keywords performing, acting, 

television, Chinese opera, multimedia 

stars 

Roel Vande Winkel 

Keywords television, film funding, 

regional cinema, Flanders, Belgium 

Brian Winston 

University of Lincoln, Brayford Pool, 

Lincoln, LN6 7TS, United Kingdom 

Keywords Wiseman, WNET, 

documentary, narrative strategy, 

audience reception 

Michelle Woods 

SUNY New Paltz, Department of 

English, 600 Hawk Drive, New Paltz, 


Keywords translation, European and 

Leung Wing-Fai is a writer and lecturer specializing in East Asian 

films. She is completing a doctoral thesis at the School of Oriental and 

African Studies, University of London on multimedia stardom in Hong 

Kong (1980–2005) and has co-edited East Asian Cinemas: Exploring 

Transnational Connections on Film (I.B. Tauris, 2008) with Leon 

Hunt. Her writing can be found in Hannu Salmi et al. (eds), History of 

Stardom Reconsidered (2007) and Matteo di Giulio and Fabio Zanello 

(eds), Non è Tempo di Eroi. Il Cinema di Johnnie To (2008, in Italian). 

› From Wah Dee to CEO: Andy Lau and performing the authentic Hong Kong 

star, Film International, 7.4, 19-28. 

Roel Vande Winkel is an assistant professor at the University of 

Antwerp and a lecturer at the Sint-Lukas University College of Art and 

Design in Brussels. 

› Made in Flanders (Redux): Film Production, Government Funding and 

Television Participation in Flanders, Belgium, Film International, 8.6, 50-59. 



Professor Brian Winston holds the Lincoln Chair of Communications 

at the University of Lincoln, UK. A revised second edition of his 

history of the documentary Claiming the Real II: The coming of the 

post-Griersonian Documentary is published by the British Film 

Institute. 

› ‘A riddle wrapped in a mystery inside an enigma’: Wiseman and Public 

Television, Studies in Documentary Film, 3.2, 95-111. 

Michelle Woods is interested in modern and contemporary European 

and world literatures and the issue of translation. She wrote her Ph.D 

dissertation on the French and English translations of Milan Kundera's 

Czech novels and on the concept of the "original" text in comparison to 

the translated text. She is interested in all forms of transnationality in 

literature, specifically in cross-cultural issues and exile writing as well 

as the theoretical underpinnings of literary translation. She has

world literatures, "original" text, 


Eva Woods Peiró 

Vassar College, Hispanic Studies 

Keywords affect, disconnect, 

melodrama, resistance, Francoism 

Rochelle Wright 

University of Illinois, Germanic 

Languages and Literatures, United 


Keywords vampire films, genre, 

hybridity, gender identity, the Other, 

Sweden 

Daniel Yacavone 

University of Edinburgh, Film 

published articles on the translation of literature and film, and a book, 

Translating Milan Kundera (Multilingual Matters, 2006). She 

published a translation of a 1929 Czech interview with James Joyce in 

Granta in 2005. Before coming to New Paltz, she held a Fulbright 

scholarship at Columbia University and an IRCHSS Government of 

Ireland postdoctoral fellowship at Dublin City University. 

› Between blue skies and paradise: The role of the English language in Jan 

Svěrák’s Tmavomodrý Svět/Dark Blue World (2001) and Vojtěch Jasný’s 

Návrat Ztraceného Ráje/Which Side Eden (1999), Studies in European 


Eva Woods Peiró is an Assistant Professor of Hispanic Studies at 

Vassar College. She is currently completing a book manuscript, White 

Gypsies, Folklóricas, and Stardom: Racing for Modernity in Spanish 

Musical Films, 1923-1954, (University of Minnesota Press, 2006) and 

has published several articles on the topic. She is the co-editor of a 

collection of essays entitled Visualizing Spanish Modernity (Berg, 

2005) and is one of the authors of The Mediation of Everyday Life: An 

Oral History of Spanish Cinema-going in the 1940s and 

50s (Berghahn, 2006). 

› Identification and disconnect through popular melodrama, Studies in 


Rochelle Wright is the author of The Visible Wall: Jews and Other 

Ethnic Outsiders in Swedish Film (1998) and articles on, inter alia, the 

films of Alf Sjöberg, contemporary Swedish film, and cinematic 

adaptations of Ibsen’s dramas. She has also published widely on 

literary topics and has translated four Swedish novels into English. 

› Vampire in the Stockholm suburbs: Let the Right One In and genre hybridity, 

Journal of Scandinavian Cinema, 1.1, 55-70. 

Dr. Daniel Yacavone currently teaches at the University of Edinburgh 

where he is a Lecturer in Film Studies. He has publised articles in 

Film-Philosophy, Studies in French Cinema, and other journals, and

Studies, David Hume Tower, 9th 

Floor, Edinburgh, EH8 9JX, United 


Keywords Three Colours trilogy, 

camera movement, space, point of 

view, empathy 

Anubha Yadav 

University of Delhi, Department of 

Journalism, Kamala Nehru College, 

Delhi, 110049, India 

Keywords form, Mumbai, New 

wave, screenwriter, screenwriting 

Steven Yates 

Keywords film festival, Switzerland, 

Swiss, Savage Grace (2007), Chapter 

27 (2006) 

Emilie Yueh-yu Yeh 

Hong Kong Baptist University, 

Department of Cinema-TV, Kowloon 

Tong, Hong Kong, China 

Keywords film marketization, China 

Film Group Corporation, market 

reforms, CEPA, re-nationalization 

has a monograph under advance contract from Columbia University 

Press entitled Film Worlds: A new Philosophy of Cinema as Art. 

› Space, theme, and movement in Trois couleurs: Rouge, Studies in French 


Anubha Yadav is an academic at the University of Delhi. She is also a 

writer and film-maker based in Delhi. Her credits as writer include 

newspaper features and short stories. She has worked as a television 

broadcaster for five years and has made award-winning television 

documentaries. Her other areas of interest include gender and film, 

popular Hindi cinema and media and privacy. She is currently 

researching and compiling a book on women screenwriters and 

directors of Hindi cinema. She is also working on her first screenplay. 

› An evolving present within a past a history of screenwriting practices in 

popular Hindi cinema, Journal of Screenwriting, 2.1, 41-59. 

Steven Yates was born in 1968 and is a British Freelance film 

journalist. He writes regularly for online film magazine Kamera and 

contributes to books and magazines for Wallflower Press. He is also an 

English-language supervisor for the FIPRESCI website. 


Emilie Yueh-yu Yeh is Associate Professor at the Department of 

Cinema-TV and Director of the Centre for Media and Communication 

Research at Hong Kong Baptist University. Her publications include: 

Taiwan Film Directors: A Treasure Island (Columbia University Press, 

2005, co-author), Chinese-Language Film: Historiography, Poetics, 

Politics (University of Hawaii Press, 2005, co-editor) and East Asian 

Screen Industries (British Film Institute, 2008, co-author). 

› Re-nationalizing China's film industry: case study on the China Film Group 

and film marketization, Journal of Chinese Cinemas, 2.1, 37-51.

Huang Yiju 

University of Illinois at Urbana- 

Champaign, United States of America 

Keywords Zhang Yimou, Curse of 

the Golden Flower, psychoanalysis, 

symbolic order, maternal body 

Haiqing Yu 

University of New South Wales, 

School of Languages and Linguistics, 

#234 Morven Brown Building, 

Kensington Campus, UNSW, NSW, 


Keywords DV, documentary, microcinema, 

Internet 

Audrey Yue 

University of Melbourne, School of 

Culture and Communications, 


Keywords Asian Australian cinema, 

film co-production, Chinese cinema, 

new media, Hong Kong cinema, 

intimacy, diaspora, cultural policy 

Huang Yiju is a Ph.D. student in East Asian languages and cultures at 

University of Illinois at Urbana-Champaign. Her research interests lie 

in the fields of Modern and Contemporary Chinese Literature; Chinese 

Language Cinema; Theories of Trauma and Memory; Psychoanalytical 

Theory and Film Theory. 

› Weaving a Dark Parody: A Psychoanalytical Reading of Zhang Yimou's 

Curse of the Golden Flower, Film International, 6.2, 41-51. 

Haiqing Yu is lecturer in contemporary Chinese media and culture at 

University of New South Wales, Australia. She is the author of Media 

and Cultural Transformation in China (Routledge, 2009). She 

researches Chinese media and cultural studies with a particular interest 

in the interaction between old and new media and its relation to 

Chinese cultural transformation. She supervises higher degree (Ph.D. 

and MA) research students in the areas of Chinese studies, Asian 

studies and media studies. 

› ‘Just Like Eating Chocolate’: A reflection on China's DV culture, Journal of 


Audrey Yue is a lecturer in Cultural Studies at the University of 

Melbourne. She is co-editor of Mobile Cultures: New Media in Queer 

Asia (2003) and AsiaPacifiQueer: Rethinking Gender and Sexuality 

(2008). Her essays on the Asian Australian diaspora appear in 

Sexualities, GLQ, Journal of Australian Studies, Journal of 

Homosexuality, New Formations, Floating Lives: The Media and Asian 

Diasporas (2001), Diasporas of Australian Cinema (forthcoming) and 

Somatechnics: Queering the Technologies of Bodies (forthcoming). 




› Queer Asian Australian migration: creative film co-production and diasporic 

intimacy in The Home Song Stories, Studies in Australasian Cinema, 2.3, 

229-243. 

› Interview with Tony Ayres: on The Home Song Stories and Asian Australian 

film-making, Studies in Australasian Cinema, 2.3, 245-254. 

› Introduction: Chinese cinemas as new media, Journal of Chinese Cinemas,

Spela Zajec 

University of St Andrews, Film 

Studies, 99 North Street, Fife, St 

Andrews, United Kingdom 

Keywords politics, 

instrumentalization, Serbia, 

transformation 

Anna Zaluczkowska 

University of Bolton, Deane Road, 

Bolton, BL3 5AB, United Kingdom 

Keywords transmedia, multiplatform, 

new media, interactive, 

Henry Jenkins, Lev Manovich, 

Bellyfeel, Alexander Wilson Project 

Alberto Zambenedetti 

New York University, College of 

Staten Island, 2800 Victory 

Boulevard, New York, New York, 


Keywords Italian cinema, Benetton, 

Gianni Amelio, Ferzan Ozpetek, 

Marco Ponti, short fiction film 

3.1, 0-14. 

› Special Issue on From Diasporic Cinemas to Sinophone Cinemas, Journal of 


Spela Zajec is a Ph.D. scholar jointly supervised by the University of 

Copenhagen, Denmark and the University of St. Andrews, Scotland on 

‘Post-communist film culture in the former Yougoslavia’. She is from 

Slovenia and has a BA in Ethnology and Cultural Anthropology from 

University of Ljubjana, Slovenia and an European MA from several 

European Universities. 

› Boosting the image of a nation: the use of history in contemporary Serbian 

film, Northern Lights: Film & Media Studies Yearbook, 7.1, 173-189. 

Anna Zaluczkowska is a senior lecturer and Programme Leader for 

Media, Writing and Production at the University of Bolton, England. 

She is an awardwinning film-maker and writer and her works have 

been screened at film festivals throughout the world, on television, in 

museums and at live events. 

› Storyworld: the Bigger Picture, investigating the world of multiplatform/transmedia 

production and its affect on storytelling processes, 


Alberto Zambenedetti was born and raised in Venice, Italy. He has a 

Laurea in Foreign Languages and Literatures from Università degli 

Studi di Venezia, Ca’ Foscari, a Master’s degree in Cinema Studies 

from New York University, and he is currently pursuing a Ph.D. in 

Italian Studies from the same institution. 

› Multiculturalism in New Italian Cinema, Studies in European Cinema, 3.2, 

105-116. 

› The War Is (Not) Over: a re-evaluation in the new era of perpetual war, Short 

Film Studies, 1.1, 51-54.

Barbara Zecchi 

University of Massachusetts, 

Department of Languages, 161 

President Drive, Amherst, MA 01003, 


Keywords male body, gender, 

sexuality, pleasure, violence 

Yingjin Zhang 

Director of Chinese Studies Program, 

University of California at San Diego, 

Department of Literature, 9500 

Gilman Drive, San Diego, CA 92093- 



styles, subjectivity, objectivity, DV, 

amateurism, comparative studies 

Xuelian Zhang 

Zhongshan University, School of 

Communication and Design, 135 

Xingang XiLu, Guangzhou, 

Guangdong, 510275, China 

Keywords Gus Van Sant, Elephant, 

Jia Zhang Ke, Platform, independent 

Barbara Zecchi teaches Film and Gender Studies at the University of 

Massachusetts, Amherst, in the Department of Languages, Literatures 

and Cultures, unit of Spanish and Portuguese. She holds a Ph.D. in 

Romance Literatures and Cultures from the University of California at 

Los Angeles; an MA in Italian from the University of California at Los 

Angeles and an MA in Spanish from the University of California at San 

Diego. She is the co-editor of La mujer en la España 

actual:¿Evolución o involución? (Icaria, 2004) and of Sexualidad y 

escritura (1850–2000) (Anthropos, 2002). She is presently finishing a 

book on Spanish women and cinema with the tentative title La mujer 

entre teoría y práctica cinematográfica. 

› Women filming the male body: Subversions, inversions and identifications, 


Yingjin Zhang is Professor of Comparative Literature and Film Studies 

at the University of California-San Diego, USA. His English books 

include The City in Modern Chinese Literature and Film (1996), 

Encyclopedia of Chinese Film (1998), China in a Polycentric World 

(1998), Cinema and Urban Culture in Shanghai, 1922–1943 (1999), 

Screening China (2002), Chinese National Cinema (2004), From 

Underground to Independent (2006), Cinema, Space, and Polylocality 

in a Globalizing China (2010) and Chinese Film Stars (2010). 

› Styles, subjects, and special points of view: a study of contemporary Chinese 

independent documentary, New Cinemas: Journal of Contemporary Film, 

2.2, 119-. 

› Issues and Debates Comparative film studies, transnational film studies: 

interdisciplinarity, crossmediality, and transcultural visuality in Chinese 

cinema, Journal of Chinese Cinemas, 1.1, 27-40. 

› Zhao Dan: spectrality of martyrdom and stardom, Journal of Chinese 


Xuelian Zhang teachs in the School of Communication and Design at 

Zhongshan University. She is interested in issues that relate to gender 

and individualism in contemporary Chinese literature and media. Her 

recent research concerns the impact and continuing legacy of the 

Cultural Revolution in contemporary China and Muslim-Chinese 

writing. 

› nternal Screening: the new independent cinema between Hollywood and

cinema, Chinese cinema, Beijing Film 

Academy, the ‘Sixth Generation’, 

digital technology 

Yi Zheng 

The University of Sydney, School of 

Languages and Cultures, Department 

of Chinese Studies, R640 Brennan 

MacCallum Building A18, NSW 


Keywords Hero/Ying xiong, wuxia 

(martial arts genre), transnational 

cinema, blockbusters, stars 

Eugénie Zvonkine 

Universite de Paris, Cinema 

Department, Rue de la Liberte, St 

Denis, 93542, France 

Keywords Soviet cinema, Kira 

Muratova, fairy tale, Propp, dialogue 

China, Film International, 5.1, 45-57. 

Dr Yi Zheng is Senior Research Fellow at the Department of Chinese 

Studies, the University of Sydney. Her recent publications include 

From Burke and Wordsworth to the Modern Sublime in Chinese 

Literature (Purdue University Press, 2011); ‘Modernisms in China’, 

Oxford Handbook of Modernisms (Donald and Zheng, 2010); ‘A Taste 

of Class –Manuals for Becoming Woman’ (Donald and Zheng, 

Positions: East Asia Cultures Critique, 17.3, 2009). 'Post-Mao, Post- 

Bourdieu: Class and Taste in Contemporary China', Portal Journal of 

Multidisciplinary International Studies, (ed. Zheng and Donald, vol. 6, 

no. 22, July 2009) and ‘A La Mode: the Provincial and the 

Cosmopolitan’,Branding Cities: Cosmopolitanism, Parochialism, and 

Social Change (2008). 

› What Makes a Genre Blockbuster Good to Look At: Zhang Yimou's 

Transformative Modus Operandi in Hero, Film International, 8.1, 47-62. 

Eugénie Zvonkine was born in Moscow and moved to Paris in the early 

1990s. She has recently defended a Ph.D. on Kira Muratova’s 

cinematographic oeuvre at the University of Paris 8, under the 

supervision of Professor Claudine Eizykman. She also teaches courses 

on university methodology and the Soviet cinema at the University of 

Paris 8 in the Cinema Department as well as in other French 

universities. Since 2005 she has been responsible for Central Asian 

film selection for the Asian Film Festival in Vesoul, France. She 

currently contributes to Les Cahiers du cinema. 

› The structure of the fairy tale in Kira Muratova's The Sentimental Policeman, 

Studies in Russian and Soviet Cinema, 1.2, 131-146.

"original" text 


1920s 

Andrew Higson 

1930s 


Anna Cabak Rédei 


Ben McCann 

Ben Morgan 

Alison Peirse 


John Sedgwick 

1950s 

Frédéric Gimello-Mesplomb 


Christopher Sharrett 


1950's 

Aarti Wani 

1960s 


Hamish Ford 

Andrew Gordon 


Jonathan Owen 

James Wicks 

1970s 

Joshua First 


Ian Q. Hunter 




James Wicks 

1980s 


Paul Dave 


1990s 


2000 Cannes Film Festival 


3D 



5 Fingers of Death 

Aaron Magnan-Park 

9/11 

Leon Saunders Calvert 

A Story of Floating Weeds 

Kathe Geist 

Abbas Kiarostami 


Aboriginal 

Therese Davis 


Louise Hamby 



John Morton 

Cassi Plate 

Janet Wilson 

Aboriginal Australians 

Ian Henderson 

Aboriginal cinema 


abortion 


Abram Room 


Emma Widdis 

absence of location sound 

Randy Thom 

absent fathers 

Deborah Shaw 

Abu Ghraib 

Hilary Neroni 

accented cinema 



Derek Duncan 

acculturation 


acting 

Adrian Horrocks 

Ruth McElroy 

Derek Paget 



activism 



Harry Weeks 

actor network theory 

Ilana Gershon 


actuality television 

Richard Bates 


Adam Sandler 

Aaron Taylor 

adaptation 




Sue Clayton 

Elisa Costa-Villaverde 






Susan Hayward 




Judith Mayne 



Marion Schmid 






Julian Ward 


Janet Wilson

adaptation of poetry 


adaptation theories 

Anke Brouwers 

adolescence 

Mary Farquhar 

adolescent sexuality 


advertising 






Jacob Smith 

advocacy 


aesthetic form 

Hamish Ford 

aesthetics 

Keith Beattie 



Mia Carter 





Iben Have 

Nick Kaldis 




Wendy Larson 



Ben Tyrer 

affect 


Volha Isakava 



affective landscape 

Peta Mitchell 

Jane Stadler 

affective states 

Vlad Strukov 

Afghanistan 


AFI 

Mark Poole 

Africa 

Carolin Overhoff Ferreira 


Erik Knudsen 


'Africa in Motion' 


African art 


African cinema 






Jeffrey Ruoff 


African culture 



African film market 


African francophone 


African literature 


African Oral story telling 

tradition 


African theatre 


Afrocentrism 


aging 


agitational journalism 


Agnès Varda 

Kelley Conway 

Adrian Danks 

Agostini 


Aïcha 


AIDS 

Mara Adelman 


Aki Kaurismäki 



Alan Taylor 


Albatros 

Phil Powrie 

album souvenir 

Maryse Bray 

Aleksei Iu. German 


Alexander Wilson Project 


Algeria 




Thomas Riegler

algorithmic technologies 


alienation 


'All The Little Live Things' 

Zoë Beyer 

All-India Progressive Writers' 

Association (AIPWA) 

Talat Ahmed 

all-women crew 


Almodóvar 

Ann Davies 

Andy Medhurst 

alterity 


Julia Dobson 


alternative aesthetics 

Aga Skrodzka 

alternative editing 

Brad Stevens 

alternative families 


Althusser 


amateur film-making 


amateurism 


Lisa French 

John Sundholm 


Amber Films 


James Leggott 

ambiguity 


ambivalence 


America 


American cinema 




Franco Manai 


Rob Stone 



American culture 

Nick Heffernan 

American Gothic 


American history through film 


American independent cinema 

Jimmy Hay 


American literature 

Jared Gardner 

American politics 

Carl Freedman 


American postwar literature 

Sarah Trott 

American silent cinema 

Kristen Anderson Wagner 

American studies 



Americanization 

Richard Abel 


amnesia 

Roger Hillman 

George Toles 

anaphone 

Philip Tagg 

Anatomie de l'enfer 


André Breton 


Andrei Konchalovskii 


Andrei Tarkovsky 

Robert Bird 

Robert Efird 

David Foster 


Riikka Pelo 


Andrew M. Hulse 

Liza Palmer 

Andrzej Wajda 


Ang Lee 


Angelino Fons 


Angie Chen 

Sarah Perks 

anglophone 

Martin Mhando

anglophone Caribbean 

literature 


animality 


animated documentary film 


animation 


Craig Hight 

Laura Pontieri Hlavacek 



Chris Pallant 


animation and documentary 


anime 


Ann Hui 

Sarah Perks 

Ann Seidl 

Liza Palmer 

Annenkov 


anthology 



Anthony Ascot 

Bert Fridlund 

anthropology 



anti-capitalism 


anti-globalization 


anti-semitism 

Carrie Tarr 

Antonin Artaud 


Antonio López 


Antonioni 


Riikka Pelo 

apocalypse 

James Aston 

Paul Dave 


Apocalypse Now 


Arab cinema 

Jeffrey Ruoff 

Arabic cinema 

Omar Kholeif 

arbitrary cruelty 

Julian Ward 

arcade games 


archetype 

Helen Jacey 

architecture 



Eva Näripea 



archival images 


archive 

Ursula Böser 






Aristotle 



Arjun Appadurai 


Arlene Bowman 


Arnaldur Indriðason 


Arnhem Land 

Louise Hamby 

Arsenal 

Erika Gregor 

Ulrich Gregor 


art and film 

Jill Murphy 

art cinema 


Pam Cook 

Mike Dillon 

David Forrest 

Conn Holohan 

Paul Kerr 

Andy Medhurst 



Deb Verhoeven 


art house 

Talat Ahmed 

David Sorfa

art pedagogy 

Howard Riley 

Art Theatre Guild 


art theory 


Arthur Laurents 

Claus Tieber 

articulation of presence 


Artistic Council 


Arturo Ripstein 


artworld 

Howard Riley 

Ashes to Ashes 

James Chapman 

Asian Australian cinema 

Tony Ayres 

Helen Grace 

Olivia Khoo 

Audrey Yue 

Asian cinema 

Soo Jeong Ahn 


Charles Leary 


Stephen Teo 

Asian culture 


Asian stereotypes 


Asian-Australian culture 


assemblages 


assimilation 

Anna Cole 

Liz Conor 

Association of Revolutionary 

Cinematography (ARRK) 

Jamie Miller 

asylum seekers 

Alice Bardan 



Atari VCS 


Athens 


Audiard 

Julia Dobson 

audience 


Denis Cryle 




Nancy Huggett 

Jo Labanyi 

Jule Selbo 

Lyn Thomas 


Claire Wardle 


Ida Willig 

audience reception 


audiences 


audio 


audio-visual 


Eija Niskanen 



audiovisual arts 


auditory experience 


auditory field 


Audrey Tautou 


Australasian cinema 


Australia 



Susanne Gannon 


Jill Godmilow 

Graeme Harper 



Jane Landman 




Pam Cook 

Ian Craven 

Allison Craven 



Lisa French 


Oliver Haag 

Ian Henderson 

John Hughes 


Olivia Khoo 

Jane Landman 

Peta Mitchell 

John Morton 

Gaetano Rando 

Mark Ryan 



Jane Stadler 



Deb Verhoeven

Australian culture 

John Hughes 

Australian history 

John Hughes 

Australian literature 

Ian Henderson 

Australian national cinema 


Australian television 


Austria 


Robert von Dassanowsky 

Austrian cinema 

Mattias Frey 


auteur 

Soo Jeong Ahn 



Pat Brereton 

Peter Buse 



Kate Ince 




Jasper Sharp 

Paul Sutton 


auteur as adaptor 


auteur cinema 



auteur theory 

John Berra 

auteurism 



authenticity 

Leo Murray 

Phil Powrie 

Claire Wardle 

author 


authorial fallacy 


authoritarianism 

Nick Kaldis 

authorship 


Therese Davis 

Isabelle Gourdin-Sangouard 





Riikka Pelo 

Cassi Plate 

autobiography 

Enric Bou 

Kelley Conway 

Wendy Everett 



automatism 

David Chapman 

autopoiesis 

David Chirico 

avant- garde 

Germán Labrador Méndez 

avant-garde 

Raphaël Bassan 



Geoffrey Cox 



Timothy Iles 










Cian Traynor 

avant-garde film 


AVPhD 

Ian Christie 

Ayse Polat 

Randall Halle 

Babii Iar 

Jeremy Hicks 

Badiou 


Bai Jingrui 



James Wicks 

Bajo Ulloa 


Bakhtin 

Joe Andrew 


Balibar 


ballet 


Baltasar 


banlieue 

Carrie Tarr 

banlieue cinema 

Cristina Johnston


banned words 


Barbary Coast 


Barcelona 

Anton Pujol 

Barcelona School 


Bardem 


Barrack Obama 


Basilio Martin Patino 




Basque 

Jo Evans 

Rob Stone 

Basque cinema 

Helen Jones 

Bataille 


Baz Luhrmann 

Liz Conor 

Pam Cook 

Bazin 

Ian Aitken 

Gabor Gergely 

Libby Saxton 


BBC 

James Chapman 

Paul Cobley 



Claire Wardle 


Béart 

John Orr 

Beau travail 


Beijing Film Academy 


Xuelian Zhang 

Béla Tarr 


Belgium 


Leen Engelen 


belief 

Jordan Bear 

Belle de Jour 


Bellyfeel 


Benetton 


Bengali cinema 



Bengali male 


Benito Perojo 


Benjamin 


Benjamin Christensen 

Arne Lunde 

Benoît Mariage 


Bergmans childhood 


Berlanga 


Berlin 

Susan Ingram 

Berlin Wall 

Ursula Böser 

Berlinale Forum 

Erika Gregor 

Ulrich Gregor 


Berlusconi 

Paul Sutton 

Bernanos 


Bernard Borderie 


Besson 


best-seller 

Gunhild Agger 

Beur and banlieue 


beur cinema 


Beur identity 

Isabelle Vanderschelden

eyond text 

Ian Christie 

Bhangra 


Bible films 

Julie Jones 

Biblical/juridical injunctions 


BiblioFellini 

Marco Bertozzi 

biculturalism 

Jo Smith 

Bicycle Thieves 


Bigas Luna 


Bildungsroman 

Hector Amaya 


Bill Nichols 


Bill Viola 


binarism 

Nick Kaldis 

Binoche 

John Orr 

biography 

John Baxter 

biomechanics 

Weihong Bao 

biopic 

Brian Hoyle 

bio-pic 



biosemiotics 


birth in film 


bisexuality 

Serena Anderlini-D'Onofrio 

Black British 


black diaspora in France 

Moussa Sow 

Black Narcissus 


black realism 


Black Sea 

Julian Graffy 

Black Series 


Black Sun 


blackface 


blaxploitation 


Bliss 

Robert Dixon 

blockbuster 

Gunhild Agger 

blockbusters 

Yi Zheng 

blogger 


blogging 


Bob Dylan 

Ian Garwood 

Bob Dylan: Chronicles 

Peter Doyle 

Bobcat Goldthwait 

Jan Lumholdt 

body 


Axel Bangert 




Volha Isakava 

Mika Ko 


Joseph Mai 

Xavier Mendik 


Lee Parpart 

Boissier 


Bollywood 

Talat Ahmed 


Amit Rai 




Bombay cinema 

Shahnaz Khan 

Monika Mehta 

Aarti Wani

Bombay film poster 


Bonitzer 

Libby Saxton 

Bonnaire 

John Orr 

Bonnie Prince Charlie 


book collection 

John Baxter 

border theory 


Border theory 


borders 

Margot Black 

David Chirico 

Ciara Haley 



Bordwell 

David Forrest 

Borroloola story 


borrowing 

Ruth Doughty 


Bosnia 

Aida Vidan 

Bosnia and Herzegovina 



Boulanger 


boundary 


bourgeois 

Gabor Gergely 


Brazil 

Lisa Shaw 

Brazilian cinema 


Lúcia Nagib 

Isis Sadek 


Brazilian New Cinema/Cinema 

Novo 


Breillat 


Bresson 


Brezhnev era 

Joshua First 

Bride of Chucky 


Brief Encounter 


Brighton Rock 

Robert Murphy 

Brigitte Bardot 


Bristol 

Larry Portis 

Britain 


Paul Dave 



Britian 

Robert Murphy 

British arts 

Victoria Lowe 

British cinema 

Alice Bardan 

Dagmar Brunow 

Andrew Burke 

Sue Clayton 



Andrew Higson 

Brian Hoyle 

Ian Q. Hunter 


Samantha Lay 

James Leggott 




Nick Redfern 

Jane Sillars 

Sarah Street 


British culture 

Miguel Mota 

British Documentary Film 

Movement 

Keith Beattie 

British Film Institute (BFI) 


British Guyana 

Paul Buhle 

British literature 

Miguel Mota 

British New Wave 

David Forrest 

British Social Realism 

David Forrest 

British television 

Nicholas J. Cull

James Leggott 

Andrew Willis 

Broadcast Media 


broadcasting 


Bruno Dumont 


Buck Rogers 

Mark Bould 

Bulgarian cinema 


Bulgarin minorities 


Buñuel 


Burel 


burlesque 


C.D. Friedrich 

José Alaniz 

Caché (2005) 


Calabuch 


Calderón de la Barca 


camera movement 


camera Surveillance 

Jim Supanick 

Camorra 

Rajko Radovic 

Canadian cinema 



Janice Kaye 


Canadian identity 


Janice Kaye 

Canadian television 


cannibalism 

Emily Bullock 

Canoa 

Kerry Hegarty 

Canon-makers 


Cantet 

Dana Strand 

Cantonese cinema 


capitalism 

Babak Fozooni 


Ewa Mazierska 

Capuano 


car culture 


Cargo 200 


Caribbean and African 

American literature 


Carl Th. Dreyer 


Carlo Giuliani 

Mauro Sassi 

Carlos Gardel 


Carlos Saura 


Carmelo Gómez 


Carmen 

Ann Davies 

Carmen Sevilla 


Carthage Film Festival 

Jeffrey Ruoff 

Cast Away 

Randy Thom 

Catalan cinema 

Anton Pujol 

Catalan literature 

Enric Bou 

Catherine Breillat 

Michel Chion 


Caucasus 


Caudillo 

Christiane Passevant

causality 


Cavell 


CCTV 


Esther Leslie 

Cecil B. DeMille 


Cédric Klapisch 


celebrity 

Brett Farmer 

David George 


Leah Shafer 

censorship 


Evans Chan 

Nicholas Harrison 

Omar Hassan 

Ian Q. Hunter 






Urther Rwafa 

Central Asian cinema 

Seth Graham 


Central Europe 


CEPA 



Cervantes 


CGI 


Chabrol 

Gabor Gergely 

chaebol 

Darcy Paquet 

chance 

David Chapman 

chanchadas 


Channel 4 

Adam Ganz 

chaos 

Wendy Everett 

Chapaev 


Chapter 27 (2006) 

Steven Yates 

charismatic churches 

Wisdom Agorde 

Charles Baudelaire 


Charles Chaplin 


Cheap and Out of Control 

Ira Jaffe 

Cheddi Jagan 

Paul Buhle 

Chemmeen 


Chen Kaige 

Robert Chen 


Chi Qun 

Laurence Coderre 

Chicana girl gangs 

Thea Pitman 

Chicano cinema 

Thea Pitman 

chief 


child-director 


childhood 


Jane Hanley 


children 


Debbie James 

Lesley Marx 


children as consumers 

Jyotsna Kapur 

children's cinema 


Childs Play series 


Chilean cinema 




Sun Hongyun 

John A. Lent 

Kate E Taylor 

Zhang Tongdao 


Thomas Waugh 

China Film Group 

Corporation 

Darrell William Davis


Chinas Film Bureau 

Evans Chan 

Chinatowns 


Chinese cinema 

Chris Berry 

Evans Chan 


Ludmila Moreira Macedo de 

Carvalho 



Wai Siam Hee 



Wendy Larson 

Charles Leary 

Vivian Lee 

Song Hwee Lim 



Audrey Yue 

Xuelian Zhang 

Chinese crime fiction 


Chinese identities 

E.K. Tan 

Chinese literature 

Vivian Lee 

Chinese New Year 


Chinese New Zealanders 


Chinese opera 


Chinese popular music 


Chinese theatre 



Chineseness 




Chion 


Chu-Li Shewring 

Chongqing cinema 

Weihong Bao 

choric 


Chris Marker 

David Montero 

Chris Petit 

Esther Leslie 

Christopher Doyle 


Chung Chang Wha 


Chungking Express 



Joe Andrew 


Sean Cubitt 


Babak Fozooni 




Dan North 

Polona Petek 


Keith Reader 

Mark Ryan 

Paul Sutton 

cinema acting 

Anke Brouwers 

cinema and affect 

Anke Brouwers 

cinema and fantasy 

Kristian Moen 

cinema and modernity 

Kristian Moen 

cinema and the arts 


cinema history 

Torey Liepa 

Cinema Novo 

Lúcia Nagib 

Isis Sadek 

Cinema of Disturbance 


cinema of the affected 

Rob Burns 

cinema sound 


cinema studies 

Kim-mui Elaine E. Chan 

cinéma vérité 


cinema-going 

Kate Bowles 

Denis Cryle 

Amit Rai 

Deb Verhoeven 

Dylan Walker 

cinemas 


cinematic combatant 

Zhang Tongdao

cinematic gesture 


cinematic long-form 


cinematic modernism 



cinematic narrative 


cinematic poet 

Zhang Tongdao 

cinematic reality 

James Aston 

cinematic spaces 

Eva Näripea 

cinematic time 

Peter Doyle 

cinematography 




cinema-verite 


cinephiles 


cinephilia 


Emilie Bickerton 

Mattias Frey 


Cinerama 


Cinmathque Franaise 

Amy R Handler 

circuit of culture 


circulation 

Ilana Gershon 




citizenship 

Jared Gardner 


city and literature 

Enric Bou 

City College of New York 


city film 


city spaces 


city video film 


Ciudad de la Luz 

Alejandro Pardo 

civil disobedience campaigns 

Graeme Hayes 

civil society 


Daisy Hasan 

Civil War 


Jane Hanley 

Claire Denis 



Claire Vass 

Michel Chion 

Clara Law 

Meg Johnston 

Sarah Perks 

class 

Bert Cardullo 

Paul Dave 

William Hope 





classical Hollywood 

Tim Palmer 

Classical Hollywood 

Lesley Marx 

classifieds 


Cleopatra 


Clint Eastwood 

Deborah Allison 

Clive Barker 

Anna Arnman 

Club des 13 


Cocteau 


code unknown 

David Sorfa 

Coen Brothers 


Coffinman (Nkanfu Nikki) 

Michihiro Ama 

cognition 


Ryan G. Hornbeck


cognitive film theory 

William Brown 


cognitive load theory 


Cold War 

Paul Buhle 

Nancy Condee 


Ira Jaffe 



Kim Soyoung 

Cold War period 

Margot Black 

Ciara Haley 

Coline Serreau 


collaboration 

Bridget Conor 

Therese Davis 






Julian Ward 

collecting 


collective individual 


collective memory 

Timothy Iles 



collective mourning 



colonial cinema 

Kate E Taylor 

colonial memory 


colonial tourism 


colonialism 

Emily Bullock 

Liz Conor 




Omar Hassan 



Jane Landman 



Jooyeon Rhee 


colour theory 


colourism 

Sonora Jha 

'Come 


COMECON prize 


'comedia sexy ibérica' 

Barry Jordan 

comedic horror 


comédie de boulevard 


comedy 


Mary Farquhar 


James Leggott 

Andy Medhurst 





comic books 


comics 

John A. Lent 

Eric Tessier 


coming-of-age film 


commercial break 


commercial cinema 

Ian Craven 


Barry Jordan 

commercial production 

Zoë Beyer 

commercial television 

Davide Morena 

commercialization 

Torey Liepa 

commissioning process 

Adam Ganz 

Susan Rogers 

commodification 

Rey Chow 

William Hope 

commodity culture 

Robert Dixon 


Commodore 


communication 

Mara Adelman


communication theory 


communications 


communications studies 


communism 


Communism 


Communist propaganda 


community 

Kay Armatage 


Adrian Danks 

Laura McMahon 


Carrie Tarr 

Harry Weeks 

community development 

Mara Adelman 

community in the 

contemporary novel 


community music 


comparative arts studies 


comparative literature 


comparative studies 


compilation film 


computer game 



computer-gaming 

Alexia Bowler 

computer-mediated imaging 

Craig Hight 

conceptual art 

Nikica Gilic 

conceptual intrigue 

Howard Riley 

concert music 


confession 



conflict 


Confucian morality 



connoisseur 


Connor 


constructivist narrative theory 


consumer society 


consumerism 


Robert Dixon 


Andrea Mirabile 

Leah Shafer 

consumption 



Les Roberts 


contamination 

José Luis Rodríguez 

contemporary American 

literature 


contemporary art 


Amar Kanwar 

Harry Weeks 

contemporary arts 


contemporary cinema 


contemporary digital cinema 


contemporary film 


Emma Wilson 

contemporary France 


contemporary international 

filmmakers 

John Berra 

contemporary Italian culture 


contemporary literature 


contemporary transnational 

remakes


content analysis 

Henrik Jensen 


contextualization 


continental philosophy 


contredispositif 


convergence 

Yiu Fai Chow 

conversation 


cooperatives 




Copacabana 

Ute Hermanns 

co-production 


Chris Berry 


Jochen Hick 


copyright 

Torey Liepa 

copyright laws 

Ian Q. Hunter 

corporatization 


corporeal 

Tiago de Luca 

corporeality 

Julián Daniel Gutiérrez Albilla 

cosmopolitanism 


Jeroen de Kloet 



costume 


costume cinema 

Sue Harper 

costuming 

Yiman Wang 

Cotton Comes to Harlem 


counterattack 


counterculture 

Jonathan Owen 

counter-discourse 


counter-public sphere 


country towns 


Coup de torchon/Clean Slate 

(1981) 

Oliver C. Speck 

couple 


covenant 


craft 

Jill Nelmes 

Craig Baldwin 


creative industries 

John Adams 

creative labour 

Bridget Conor 

creative writing 

Scott Brook 

creativity 

Jill Nelmes 

credibility 


credits 


crime 

Robert Murphy 

Marco Paoli 




crime cinema 



crime fiction 






David Toop 

crime journalism 




Lisbeth Morlandstø

crime series 


criminal investigator 


crisis 


Myriam Juan 

critical edge 


critical sociology 

Bridget Conor 

critical theory 


criticism 



Will Higbee 



Gaetano Rando 



critics 

Myriam Juan 

critique of journalism 


critique of postmodernism 


Croatia 

Aida Vidan 

Croatian culture 


cross-cultural 

Anna Cole 

Therese Davis 




Cassi Plate 

cross-media 


CSI effect 

Henrik Jensen 


Cuba 


Cuban cinema 

Glenda Mejía 

Culloden 


cult 

Brigid Cherry 

cultural belonging 


cultural capital 

Lyn Thomas 

cultural centre 

Peter Brown 

cultural citizenship 


cultural displacement 


cultural diversity 


cultural exchange 


cultural history 


Nick Heffernan 

cultural identity 




cultural industries 


cultural intervention 


cultural journalism 

Unni From 

Nete Nørgaard Kristensen 

cultural memory 


Axel Bangert 

Therese Davis 


cultural passage 


cultural policy 

Scott Brook 

Mette Hjort 

Ramon Lobato 

Mark Ryan 

Audrey Yue 

cultural politics 

Nandana Bose 


Robert Dixon 


cultural production 


Nishant Shah 

cultural proximity 


cultural representations 


cultural studies 




Chua Beng Huat


Vivian Lee 





cultural theory 



Ramon Lobato 

cultural trauma 

Anna Misiak 

culture 

Sarah Berry 





Wendy Larson 


Toby Miller 




culture jamming 


culture of redemption 


culture wars 


curriculum 

Kate Bowles 

Curse of the Golden Flower 

Huang Yiju 

cyber drama 


cyberpunk 


Paolo Russo 

cyberspace 

Alexia Bowler 

cycle 

Brian Hu 

cyclic changes 


Czech visual culture 


D. A. Pennebaker Joan Baez 

Greil Marcus 

D.A. Pennebaker 

Keith Beattie 

D.W. Griffith 


daily life 

Ib Bondebjerg 



Dalle 

John Orr 

damaged male protagonist 

Robert Murphy 

dance 



Daney 


Daniel Auteuil 


Danish cinema 

Mette Hjort 




Danish press history 


Danish silent cinema 


Dante 01 


Eric Tessier 

Dariusz Baliszewski 

Matilda Mroz 

dark tourism 



Dave Fleischer 


David Lynch 



David Sherwin 


David Williamson 

Ian Craven 

daydreams 


DCI Specification 


De battre mon cœur s'est 

arrêté 

Julia Dobson 

De Sica 


Dead End Drive-In 


death 

José Alaniz


Douglas Smith 

Death Every Afternoon 

Karla Oeler 

Death of a Salesman 

Carl Freedman 

death rituals 

Michihiro Ama 

debutante 

Anna Cole 

decadence 


decommodification 


décor practices 

Ben McCann 

Deepa Mehta 


DEFA 


defetishization 

Rey Chow 

de-figuration 

Joseph Mai 

degeneration 


dehumanization 

Andrew Gordon 

deixis 

John Sundholm 

Del Toro 

Jane Hanley 

Delair 

Judith Mayne 

Delamu 


Deleuze 

David Montero 

democracy 

Ib Bondebjerg 


Jens Hoff 



Democratic Party 


Demy 

Matthew Lazen 

Deneuveseduction theory 


Dennis King 

Liza Palmer 

depictions of Germany 

Margot Black 

Ciara Haley 

deregulation 

Rajko Radovic 

Derek Jarman 

Paul Dave 

Derek Jarmans Caravaggio 

Jill Murphy 

Derrida 

Laura McMahon 


describing the invisible 


design 

Zoë Beyer 

desire 




Douglas Smith 

Despentes 

Sophie Bélot 

destabilization 

Isis Sadek 

detectives 

Brian Hauser 

development 



development. 


dialogic 


dialogue 


diaspora 

Tony Ayres 



Scott Brook 

Will Higbee 

Shahnaz Khan 

Lee-Von Kim 


Lesley Marx 


Monika Mehta 

Laikwan Pang 






Carrie Tarr 

Deb Verhoeven

Audrey Yue 

diaspora studies 

Alka Kurian 

diasporic cinema 


diasporic media 


dictatorship 

Joanna Page 

Die bleierne Zeit 


Die innere Sicherheit 


diegetic 


difference 

Chris Perriam 


digital 


digital arts 


digital cinema 

William Brown 

Adam Ganz 

Will Higbee 


Nishant Shah 

Ove Solum 

digital communication 


digital culture 


digital documentary 


digital film 


digital humanities 


digital media 




digital technology 


Maryse Fauvel 




Xuelian Zhang 

digital youth media cultures 


digitalization 

Arild Fetveit 

digitization 

Yiu Fai Chow 


direct cinema 

Keith Beattie 

directing 


disability 


disability and film 

Stuart Murray 

disaffected youth 


disappointment 

Ewa Mazierska 

discipline 

Laikwan Pang 

disconnect 


discontinuity 


discourse 



discourse analysis 


disjunction 

Sheila Petty 

dislocation 


dismemberment 


disney 

Janet Wasko 

Disney 


Chris Pallant 

displacement 



Paolo Russo 

dispositif 


dissemination 

Jeremy Bubb

dissidence and identity 

Omar Kholeif 

dissociated voices 


distribution 

Christian Christensen 



Ramon Lobato 



diversity 

Chris Perriam 

division movies 

Jake Bevan 

docudrama 

Bruce Bennett 

docufiction 


document 


documentary 



Kees Bakker 

Keith Beattie 


Ib Bondebjerg 

Brett Bowles 

Dagmar Brunow 


Kelley Conway 

Peter Doyle 






Sophie Harper 

Craig Hight 

Conn Holohan 

Sun Hongyun 


Brian Hoyle 

John Hughes 

Ira Jaffe 

Debbie James 



Jane Landman 

James Leggott 

Esther Leslie 



Ruth McElroy 



Stuart Murray 

Leo Murray 

Kate Nash 

Hilary Neroni 



Derek Paget 

Luc Pauwels 


Cassi Plate 


Nicole Richter 



Mauro Sassi 





Zhang Tongdao 

Cian Traynor 





Documentary 


documentary cinema 

Jill Godmilow 

Bill Nichols 





Jyotsna Kapur 



Des O’Rawe 






documentation 

John Adams 

documusical 


Dog Bite Dog 


Dogme 95 



Dolores del Río 


domestic 

David Sorfa 

domestic abuse 

Paul Begin 

domestic novels 

Jooyeon Rhee 

domestic privacy 

Tiago de Luca 

domestic space 


domestic violence 

Kate E Taylor 


domination 


Don DeLillo 


Donatien-Alphonse- François 

de Sade 


Donskoi 

Jeremy Hicks 

Doordarshan 

Daisy Hasan

Doris Dörrie 

Liz Stephens 

Dostoevskii 


Dostoevsky 


double consciousness 


double occupancy 


Douglas Fairbanks 


Douglas Gordon 


Dovzhenko 


Dracula 


drag 


drama 



Leo Murray 

dramatic storytelling 


dramaturgy 



dreams 


Robert Efird 

Laura Hubner 

John Savage 

drug culture 


drug films 


dual coding theory 


Duras 


DV 



DVD 

Jeremy Bubb 



dystopia 

Andrew Gordon 

Ealing 

Robert Murphy 

Ealing Studios 


early American cinema 

Richard Abel 

early British screenplays 


early cine-club culture 


early cinema 




early Francoism 

Jo Labanyi 

early modern fiction 

Gerd Bayer 

East Asia 


East Asian cinema 

Vivian Lee 

East/West relationship 



Eastern Europe 

Harry Weeks 


Anna Misiak 

Eva Näripea 


Czechoslovak New Wave 


Eastern philosophy 


East-West 


Eceiza 

Tom Whittaker 

echo 


ecocinema 


ecocriticism 

Gerd Bayer 

ecology 


Claire Thomson

economic development 

Anna Morcom 

ecophilosophy 


Edgar Morin 


Edgar Neville 


Edison Chen 

Brett Farmer 

editing 

Nikica Gilic 

Sunedria Nicholls-Gärtner 




Brad Stevens 


education 

Dana Strand 

Edward Yang 


EFTF 

Mark Poole 

Egyptian cinema 

Omar Hassan 

eighteenth-century literature 

Suvir Kaul 

Eikhenbaum 


Eisenstein 


Naum Kleiman 


El Espíritu de la Colmena 


El sexto sentido 

Susan Larson 

Election 


elections 

Sigurd Allern 

electronic 


electronic music 

Larson Powell 

Elem Klimov 


Elephant 


Xuelian Zhang 

Elfriede Jelinek 


Elio Petri 

Larry Portis 

Éloge de lamour 


Douglas Morrey 

embassy films 


embodiment 




Emeric Pressburger 


Emerson 


émigré 

Gabor Gergely 

Arne Lunde 

Emma Suárez 


Emmanuel Levinas 

Reni Celeste 

emotion 

Gunhild Agger 


Iben Have 


Kristi McKim 

emotional geography 

Sarah Cooper 

emotional journey 

Craig Batty 

empathy 


empire 

Evans Chan 

enchantment 

Torben Grodal 

end of geography 


End of the Wicked 


engaged film-making 


enjoyment 

Hilary Neroni

entendidos 


Entre les murs 

Dana Strand 

environment 

Samba Diop 


environmental changes 

Kristi McKim 

environmental criticism 


environmental media 


environmentalism 

Tom Whittaker 

epic 


epideictic discourse 


Eric Barnouw 


Eric Khoo 


eroticism in film 


Errol Morris 

Ira Jaffe 

escapism 

Ken Chen 

espionage 

Clara Laurent 


essay film 

Dagmar Brunow 

Mike Ingham 



essay-film 


essentialism 


Estonian cinema 

Eva Näripea 

ETA 

Helen Jones 

ethics 

Kees Bakker 


Sarah Cooper 



Sophie Harper 

Olivia Khoo 

Kate Nash 


ethics and contemporary 

literature 


ethics of representation 


ethnic minorities 



ethnic studies 


ethnicity 



Gaetano Rando 

Mantra Roy 

Sarah Trott 


ethnographic approaches 


ethnographic film 

Jyotsna Kapur 

ethnography 


Eurimage 

Melis Behlil 

Europe 

Paul Cooke 

Sue Harper 

John A. Lent 

European and world 

literatures 


European art film 


European cinema 


Melis Behlil 

Ib Bondebjerg 

Brett Bowles 

William Brown 








Brian Hauser 


Andrew Higson 



Marion Schmid 



European Cinema 

Margot Black 

Ciara Haley 

European coordination of film 

festivals 

Sergi Mesonero Burgos

European exile film-making 

Tijana Mamula 

European film 

Michael Cowan 

Roger Hillman 

European film policies 


European identity 

Paul Cooke 


European imaginaries 

Susan Ingram 


European independent cinema 

Jimmy Hay 

European multilingualism 


European Union 



Europeanization 


evaluation 


evangelical Pentecostal 

churches 

Wisdom Agorde 

Evans Chan 

Mike Ingham 

everyday 

Tiago de Luca 

evidence 

Jordan Bear 

evidentiary layering 

Craig Hight 

evolutionary theory 


excess 

José Alaniz 

exhibition 

Denis Cryle 


Conn Holohan 

Dylan Walker 

exile 

Maryse Bray 

Gabor Gergely 




Exiled 


existential crisis 


existential phenomenology 


expanded cinema 

Duncan White 

experimental cinema 

Nikica Gilic 


Cian Traynor 

experimental documentary 



experimental film 


Mark Poole 

John Sundholm 

experimental narrative 

Omar Kholeif 

experimental performance 


Exploding Cinema 


exploitation cinema 


extradiegetic 


extreme cinema 


extreme nationalism 


F. Scott Fitzgerald 


F.W. Murnau 


fable 


fabric and sexuality 


FACE 


fact 

Erik Knudsen 

fairy tale 


Owen Evans 



faith 


faits divers 

Michelle Scatton-Tessier

fake documentary film 

Gerd Bayer 

faktura 

Emma Widdis 

Fallen Angels 


fallen women 


family 


Aminu Fagge Mohammad 




fan culture 

Brigid Cherry 


fandom 


Lisa Schmidt 

fantasmatic scenes 


fantasy 


Claude Evans 

Torben Grodal 

Jane Hanley 

Lisa Schmidt 


fascism 

Evans Chan 

Wendy Larson 




Fascism 



fashion 

Susan Ingram 


Fassbinder 

David Chirico 

Fast 

Ira Jaffe 

fate 


fatherhood 


father-son narratives 


Fatih Akin 

Rob Burns 

Faust 


feeling 


Felix Guattari 


female 


female adolescent desire 


female avenger 


female comedians 

Kristen Anderson Wagner 

female ejaculation 

Ingrid Ryberg 

female emancipation 

Clara Laurent 


female film-makers 


female friendship 

Sophie Bélot 

female point-of-view 


female police 


female sexuality 

Yelena Furman 

female violence 

Sophie Bélot 

female voice 

Liz Greene 


female youth 


femininity 


feminism 


Sophie Bélot 






Ian Q. Hunter 



Jason Merrill 



Ingrid Ryberg 



feminism in sub-Sahara Africa 

Stefanie Van de Peer

feminist and queer theory 

Clarissa Clò 

feminist film criticism 



feminist film theory 

Tytti Soila 

Mary Wiles 

feminist politics 


feminist theory 

Pamela Thoma 

femme fatale 

Ann Davies 

Jo Evans 


Femmes dIslam 


Férid Boughedir 

Jeffrey Ruoff 

Fernando Mendez Leite 


Fernando Palacios 


Fernando Pérez 

Glenda Mejía 

Fernando Solanas 



Ferzan Ozpetek 


FESPACO 

Kay Armatage 

Festen/The Celebration 


festivals 





festive films 


fetishism 

Rey Chow 


Feuillère 

Clara Laurent 


Feyder 

Phil Powrie 

fiction 


Erik Knudsen 

fiction and non-fiction 


fictional political narratives 


fifth generation film-makers 

Evans Chan 

Fifth Republic 

Keith Reader 

filiation 

Julia Dobson 

Filip Remunda 


film 

Jordan Bear 


John R. Cook 


Jo Labanyi 


Tony Williams 

film theory 


film aesthetics 

Matilda Mroz 

Des O’Rawe 

film and fairy tales 

Kristian Moen 

film and fashion 


film and history 


film and identity 


film and mass media 


film and media theory 


film and museums 


film and television 


film as art 

Ira Jaffe 

film as evidence 


film authorship 


film budgets 

Michael Pokorny

John Sedgwick 

film circulation 


film co-production 

Audrey Yue 

film critic 



film criticism 

Robert Arnett 

film critics 

Thea Pitman 

film distribution 



Ross Thorne 

Deb Verhoeven 

Mike Walsh 

film ecologies 


film editing 

Maike Helmers 

film education 


Film Europe 

Andrew Higson 

film exhibition 


Deb Verhoeven 

Mike Walsh 

film festival 

Jeremy Bubb 

Davide Caputo 




Jan Lumholdt 


Larry Portis 



Steven Yates 

Film Festival Jakmel 

Kay Armatage 

film funding 

Maryse Bray 

Leen Engelen 

Jochen Hick 

Darcy Paquet 



film historiography 



film history 




Yves Laberge 

Tim Palmer 


Brad Stevens 

Raija Talvio 


Mike Walsh 

film industry 


Nick Redfern 

Film International 


film interpretation 


film journalism 


film landscape 

Jane Stadler 

film magazines 


film marketization 



film music 


David Chapman 



Jean Ma 


Gregg Redner 

Ronald Sadoff 

Larry Sider 

film musical 

Sarah Street 

film noir 


Robert Murphy 


George Toles 

film philosophy 


film policies 


film policy 

Melis Behlil 

Ian Craven 

Ben Morgan 


film reading 


film reviews 


film schools 


film score 

Ronald Sadoff 

film sound 

Maike Helmers 


Mike Walsh

film star 


Xiaoning Lu 

film style 


film support policy 


film technology 


film theory 

William Brown 

Andrew Burke 





Brad Prager 





film value chain study 


filmic expression 

Luc Pauwels 

filmic reflexivity 

Luc Pauwels 

film-maker integrity 

Sophie Harper 

film-making 

Tony Ayres 

Adrian Danks 

Debbie James 

Arne Lunde 

film-making practices 


film-philosophy 


films of childhood 


filmspace 


Final Cut 

Liza Palmer 



Finnish cinema 

John Sundholm 

Finyé (1982) 


First National 

Arne Lunde 

fixed sounds 


Flanders 

Leen Engelen 


flâneur 


Flash Gordon 

Mark Bould 

Florida/Boedo 

Lee Williams 

focalization 

Brad Prager 

folk 

John Hughes 

folk humour 


folklore 


Forbes Burnham 

Paul Buhle 

foreign revenues 


John Sedgwick 

foreignization 

Yiman Wang 

forensic science 

Sofia Bull 

form 


Anubha Yadav 

formalism 


Mike Wayne 

Formentera 


Foucault 

Mike Dillon 

Kate Nash 

found footage 



fractal film 

Wendy Everett 

fragmentation 



France 

Maryse Fauvel 

Sarah Leahy 

James Leahy 



Martin O'Shaughnessy

Frances Walsh 


Francesca Comencini 

Mauro Sassi 

Francisco Franco 



François Ozon 


François Truffaut 



Francoism 


Julie Jones 



Francoist cinema 

Gerard Dapena 

francophone Africa 


francophone African cinema 

Moussa Sow 

francophone literature 


Srilata Ravi 

Frank Capra 


Frank Kramer 

Bert Fridlund 

Frank Lloyd Wright 


Franka Potente 

Owen Evans 

Frantz Fanon 


Frederick Wiseman 

Jillian Smith 

Free Cinema 


free dailies 



free trade 

Rajko Radovic 

freedom of expression 



Peter Baxter 

Brett Bowles 

William Brown 





Graeme Hayes 

Susan Hayward 

Kate Ince 


Julie Jones 



Tijana Mamula 

Judith Mayne 

Ben McCann 


Kristi McKim 

Jim Morrissey 



Tim Palmer 


Phil Powrie 







French culture 

Jérôme Game 

French documentary film 


French film 

Mary Wiles 

French gay cinema 


French identity 


French new wave 



French New Wave 


French popular culture 


French provinces 


French silent cinema 

Richard Abel 

French television 


Fresh Kill 


Freud 




Freunde der Deutschen 

Kinemathek 

Erika Gregor 

Ulrich Gregor 


Friends of the German Film 

Archive 

Dina Iordanova

Fritz Lang 

Ben Morgan 

Frodon 


frontier outlaws 


Frontier thesis 


fugitive films 

Robert Murphy 

Fulltime Killer 


funerary Buddhism 

Michihiro Ama 

Futurism 


Fyodor Dostoevsky 


gambling 

Brenda Chan 

game 



game culture 


Gang of Four 


gangster film 


gangster genre 


gardens 


Gaston Bachelard 


Gaudiya Vaisnavism 


gay cinema 


gay cruising 

Kenneth Chan 

gay rights 

Jim Supanick 

gay/queer 


gaze 

Jason E Klodt 



gender 


Hector Amaya 

Joe Andrew 



Alexia Bowler 




Claude Evans 



Lisa French 




Wai Siam Hee 

Laura Hubner 


Helen Jones 


Jean Ma 





Jason Merrill 







Emma Radley 

Jooyeon Rhee 


Susan Rogers 



Mantra Roy 





Aga Skrodzka 


Kate E Taylor 


Emma Wilson 


gender and genre 

Gunhild Agger 

gender and sexuality 

Monika Mehta 

gender cinematic city 


gender identity 



gender studies 

Seth Graham 

Steve Jones 

gender theory 



Mary Wiles 

Gender theory 

Alka Kurian 

gendered labour 

Pamela Thoma 

General Sikorski 

Mirosław Przylipiak

generic modulation 


Genoa G8 

Mauro Sassi 

genocide 


genre 




Pat Brereton 

Brenda Chan 



Joshua First 

Nikica Gilic 





Brian Hu 









Mark Ryan 

Lisa Schmidt 

Jule Selbo 


Philip Tagg 





genre reception 


geopolitics 


George Lucas 

Andrew Gordon 

Georgian cinema 


Georgian culture 

Julian Graffy 

Georgii Daneliia 


German cinema 

Owen Evans 

Jaimey Fisher 

Mattias Frey 

Oliver Haag 


Maike Helmers 



Ben Morgan 


German crime fiction 


German Democratic Republic 

(GDR) 


German identity 


German new wave 

Jyotsna Kapur 

German studies 


German television 

Larson Powell 

German visual culture 


German-American cinema 


German-Turkish cinema 


Germany 

Paul Cooke 

Jochen Hick 


gesture 


Philip Tagg 

Gianfranco Parolini 

Bert Fridlund 

Gianni Amelio 


gift-exchange dimension 

Ryan Prout 

Gilles Deleuze 



William Brown 


Carvalho 




Anton Pujol 

Giordana 

Marco Cupolo 

Giorgio Agamben 


Giorgio Mangiamele 

Gaetano Rando 

giri/ninj 


girl star 


GIS and cultural memory 

Les Roberts 

Giuliano Carmineo 

Bert Fridlund 

Giuseppe Bertolucci 

Andrea Mirabile

glamour girls 


Glasnost 



GLBT 


gleaning 

Ben Tyrer 

global change 


global cinema 


global culture 

Vivian Lee 


global economy 



global production 

Pam Cook 

global television 

Concepción Cascajosa Virino 

globalization 


Chris Berry 


Ib Bondebjerg 



Sean Cubitt 


Mette Hjort 

Dale Hudson 

Nick Kaldis 

Paul Kerr 




Franco Manai 


Monika Mehta 


Toby Miller 

Anna Morcom 






Nick Redfern 




Globo Network 


God 

John Hughes 

Godard 

Gabor Gergely 





Godardart documentary 

Douglas Smith 

Golden Horse Film Festival 


Golden Tulip 


Gong Hong 


Gong Li 

Evans Chan 

Gonzalo Suarez 


Good-Bye South 


Gothic 

Emily Bullock 

Allan Cameron 

Gothic aesthetic 

Brigid Cherry 

Gouttes d'eau sur pierres 

brûlantes 


governance 




Jens Hoff 


government subsidy 

Mark Poole 

Grace Chang 

Jean Ma 

graffiti 


Gramsci 

Mauro Sassi 

Grandrieux 


graphic novels 


grassroots 


Great Depression 

Lesley Marx 

Great Patriotic War 


Great Terror 


Greater China 

Paul G. Pickowicz

Greenaway 


Greenfields Studios 


Greil Marcus 


Greil Marcus 

Greta Garbo 


Grierson 

Ian Aitken 

Guantánamo 

Bruce Bennett 

guild memberships 

Susan Rogers 

guilty house 



guilty landscape 



Gulf War 

Mark Straw 

Gunvor Nelson 

John Sundholm 

Gus Van Sant 



Xuelian Zhang 

Guyana 

Paul Buhle 

Gypsy community 


Habermas 




hallelujah video films 

Wisdom Agorde 

hallyu 

Darcy Paquet 

hammer films 

Sue Harper 

Haneke 





Happy-Go-Lucky 

Liz Stephens 

haptics 


Amit Rai 


Emma Widdis 

Harry Schein 


Harry Watt 


Harun Farocki 

Esther Leslie 

Hausa film culture 


Hawaii 


Häxan 

Arne Lunde 

Head On 

Polona Petek 

headscarf 


healing 

Ehab Galal 

hearing-impaired viewers 

Richard Bates 


Heavenly Creatures 


Heimat film 

David Sorfa 

Heimat movies 

Ben Morgan 

Heimatfilm 


Helen Ukpabio 


Henry Jenkins 


heritage 


Les Roberts 

hermeneutics 

Kees Bakker 

Hermitage 



hero 

Evans Chan 

Wendy Larson

Hero/Ying xiong 

Yi Zheng 

heroin chic 


heterogeneity 

Bruce Bennett 

hetero-normativity 



heterosexual gaze 

Jo Evans 

Hideo Nakata 

Jasper Sharp 

High Definition 


Hillary Clinton 


Hillywood 


Hindi cinema 


Aarti Wani 

Hindi Cinema 

Nandana Bose 

hip-hop culture 


David Toop 

Hiroshima 


Hiroshima mon amour 

Reni Celeste 

Hispanic cinema 

Matt Losada 

Hispanicity 


Hispanophone cinema 

Amit Thakkar 

Histoire d'un secret 


Histoire(s) du cinéma 


historical accuracy 


historical approaches to film 


historical epics 

Leon Saunders Calvert 


historical fiction 


historical film 


historical films 

Matilda Mroz 


historical narratives 


historical reality 

Ruth McElroy 

historiography 


history 

Kees Bakker 


Mark Bedford 


Ib Bondebjerg 





Carvalho 



Roger Hillman 

Dong Hoon Kim 

Aaron Kerner 


Jane Landman 






Paul G. Pickowicz 


Gaetano Rando 





Ross Thorne 


Janet Walker 


history of detective fiction 


history of film 


history of the body 

Michael Cowan 

Hitchcock 


Hitler 


hodological space 


hollywood 

Janet Wasko 

Hollywood 


Pat Brereton 

Paul Cooke 



Myriam Juan 


Tony McKibbin

Dan North 




Hollywood and ideology 


Hollywood cinema 

Gabor Gergely 


Mark Straw 

Hollywood icons 


Hollywood remake 


Hollywood style 

Sarah Berry 

Hollywood Ten 

Claus Tieber 

Hollywoodization 


holocaust 


Holocaust 

Axel Bangert 




Janet Walker 

Holocaust cinema 


holocaust studies 

Gerd Bayer 

home 


Srilata Ravi 

homeland 


Lee-Von Kim 

homme fatal 

Jo Evans 

homology 

Paul Kerr 

homosexual gaze 

Jo Evans 

homosexuality 




Hong Kong 


Mike Ingham 




Tony Williams 

Hong Kong cinema 


Brenda Chan 

E.K. Tan 

Stephen Teo 

Andrew Willis 

Audrey Yue 

Hong Kong popular culture 


horror 


Ken Chen 

Brigid Cherry 


Torben Grodal 


Sue Harper 



Steve Jones 


Ben McCann 


Paolo Russo 

Mark Ryan 

Lisa Schmidt 

Jacob Smith 


horror cinema 


horror film 


horror films 


hospitality 

Lee-Von Kim 

Hou Hsiao-hsien 


Hou Hsiao-Hsien 

Robert Chen 

Howard Hawks 


HUAC 

Claus Tieber 

human memory 


human rights 


human rights issues 


humanism 

Timothy Iles 

humour theory 

Seth Graham 

Brett Mills 

Humphrey Jennings 

Keith Beattie 

Hungarian cinema 

Catherine Portuges

Huppert Seberg 

John Orr 

hybridity 


Maryse Fauvel 



hybridity in cinema 


hybridization 

Sheila Petty 

Hyperkino 


I cento passi 


I Know Where I'm Going! 


Iain Sinclair 

Esther Leslie 

Iceland 


Icelandic cinema 


idealized cognitive model 

Jule Selbo 

identification 



identities 

Margot Black 

Ciara Haley 

identity 

Joe Andrew 

Sarah Barrow 

Anna Cole 


Jared Gardner 



Joe Hardwick 

Helen Jones 

Steve Jones 


Glenda Mejía 


Thea Pitman 




Carrie Tarr 


Identity 


identity crisis 


identity politics 


Ingrid Ryberg 


ideology 



Nick Kaldis 


Zhang Tongdao 

Mike Wayne 

idyll 


Il Caimano 

Paul Sutton 

illusion 

Jordan Bear 

I'm Not There 

Ian Garwood 

image 





image media neutral 


images 

Nikica Gilic 

images of women 


imagination 



Imbert 

Maryse Bray 

imitation 

Lisa Gaughan 

Brian Hu 

immaterial labour 


immediacy 

Claire Wardle 

immigration 


David Corkill 





immigration histories 

Dale Hudson 

imperialism 



improvisation 

J. J. Murphy 

In the Beginning Was the 

Word 

Maaret Koskinen

inaction cinema 

Helen Grace 

Iñárritu 

Deborah Shaw 

incommensurability 





Dagmar Brunow 

Sue Clayton 





J. J. Murphy 



Xuelian Zhang 

independent film production 

Edward Bowen 

Independent Media Center 

(IMC) 


indexical sign 


indexicality 

Ilana Gershon 



India 




Indian cinema 




Paul Willeman 

Indian film websites 


Indian marriage market 

Sonora Jha 

Indian People's Theatre 

Association (IPTA) 

Talat Ahmed 

indigenous 



Jill Godmilow 

Daisy Hasan 

indigenous Australia 

Bill Nichols 

indigenous cinema 

Hester Joyce 

Stuart Murray 

indigenous modernity 

Ian Henderson 

indigenous people 



Indigenous studies 


individuality 


industrial design 


industrialization 

Bridget Conor 

industrialization of culture 

Paul Willeman 

inferno 


influence 

Joseph Mai 

informal economies 


injustice 


innocence 


innovation 

Ian Roberts 

installations 


Kelley Conway 

instrumentalization 

Spela Zajec 

insurgency 

Daisy Hasan 

intensified continuity 


intentionality 


interactive 

Debra Beattie 



interactive cinema 




interactive media 

Rob Bridgett 

interactive mixing 

Rob Bridgett 

interdisciplinarity 

Anjali Gera Roy

intermediality 




Davide Morena 

Marion Schmid 

internal 


international cinema 

Allison Craven 

internationalism 


internet 

Jens Hoff 

Internet 

Ib Bondebjerg 



Brett Farmer 

Sonora Jha 


Stephen Ward 


interpretation 

Louise Hamby 

interstate highway system 


intersubjectivity 


inter-subjectivity 


intertextuality 





Matthew Lazen 

Jean Ma 

Jason Merrill 


inter-titles 

Anke Brouwers 

interview 

Davide Caputo 

intimacy 



Audrey Yue 

'I-productions' 


Iran 


Babak Fozooni 

Iraq 



Irish cinema 


Irish Venus 

Deirdre Boyle 

irony 


Irshad Manji 


Sheena Wilson 

Isaac Julien 

Brian Hoyle 

Islam 





Islam in African literatures 

Moussa Sow 

Islamic fundamentalism 


Islamic media 

Ehab Galal 

island 

Emily Bullock 

Israel 


Israeli-Palestinian conflict 


Istanbul 


Italian cinema 






Amy R Handler 



Marco Paoli 

Larry Portis 






Italian culture 

Marco Cupolo 

Lesley Marx 


Italian detective fiction 

Marco Paoli 

Italian diaspora 


Italian documentary 


Italian documentary and 

cinema

Clarissa Clò 

Italian film 


Italian history 


Italian media 


Italian photographic culture 


Italian politics 


Italian short films and 

documentaries 

Edward Bowen 

Italian studies 

Paolo Russo 

Italian women filmmakers 



Italian-Australian culture 



Italo Calvino 


Italy 


Alfio Leotta 



Mauro Sassi 


Italy 2001–06 


Ivan's Childhood 

Robert Efird 

Ives 


Ivorian wedding 

Till Förster 

Jacques Demy 

Adrian Danks 


Jacques Derrida 


Jacques Doillon 

Maryse Bray 

Michel Chion 

Jacques Rancière 


Jacques Rivette 

Mary Wiles 

Jacques Tati 

Michel Chion 

J'ai horreur de l'amour 


Janet Rosenberg Jagan 

Paul Buhle 

Japan 

Dong Hoon Kim 

Timothy Iles 

Mika Ko 

Eija Niskanen 

Kate E Taylor 

Japanese cinema 



Kristi McKim 

Tim Palmer 




Japanese literature 


Japanese modernity 

Kathe Geist 

Japanese new wave 

Jyotsna Kapur 

Japanese theatre 


Jar City 


Jasmila Žbanic 


Javier Bardem 


Jean Cocteau 

David Chapman 

Jean Marais 


Jean Mitry 


Jean Painlevé 


Jean Renoir 

James Leahy 

Tom Paulus 


Jean Vigo 

Gregg Redner 

Jean-Luc Godard 

Phil Powrie 



Diane Stevenson

Jean-Marc Barr 


Jeanne Moreau 


Jean-Pierre Jeunet 


Eric Tessier 

Jedda 


Jesse James 


Jessie Matthews 

Sarah Street 

Jesus Christus Erlöser 

Liz Stephens 

jeune cinéma 


jeune premier 


Jewish American Literature 


Jewish graphic novel 


Jews 

Lesley Marx 

J-horror 

Jasper Sharp 

Jia Zhang Ke 


Xuelian Zhang 

Joan Rivers 

Brett Mills 

Johan van der Keuken 

Kees Bakker 

John Cage 


John Grierson 


John Marshall 


John McCain 


John Travolta 


Jorge Gaggero 


Jorge Negrete 


Jørgen Leth 



Joris Ivens 

Kees Bakker 

Thomas Waugh 

José Luis Sáenz de Heredia 


Joseph Carl Breil 


Josiane Balasko 


jouissance 

Fabio Vighi 

journalism 

Sigurd Allern 

Leo Collis 


Stig Hjarvard 



Ida Willig 

journalism studies 

Henrik Jensen 


journalist 


journey paradigm 

Helen Jacey 

Ju/'hoansi 


Juan Rulfo 

Amit Thakkar 

Jubilee 

Paul Dave 

Juliette Binoche 


Jung 


justice 

Laura McMahon 


Justin D. Hilliard 

Liza Palmer 

Kanak 

Peter Brown 

Kanak-TV 

Randall Halle 

Kano State 


Aminu Fagge Mohammad

Kanywood 


Kate Winslet 


Kate Woods 


Kathryn Bigelow 


Kechiche 


Ken G. Hall 


Ken Jacobs 


Kenji Mizoguchi 

Timothy Iles 

Kevin Chu Yen Ping 


Keywords cyborg 


Khitruk 


Khrushchev 


Kieślowski 


Reni Celeste 

Kihachi Okamoto 

Eija Niskanen 

Kim Kiduk 


Kim Ki-Young 

Soo Jeong Ahn 

Kim Sujin 


kinaesthetic 


King Hu 

Kenneth Chan 


King Kong 

Ian Q. Hunter 

Kinopanorama 


kinship 



Kira Muratova 


Kirikou et la sorcière 


kiss curl 

Phil Powrie 

Klein 


knowledge 


kokutai ideology 

Mika Ko 

kommando 

Axel Bangert 

Korea 

Dong Hoon Kim 

Kate E Taylor 

Korean cinema 


Jooyeon Rhee 

Kim Soyoung 

Korean golden age cinema 


Korean stock market 

Darcy Paquet 

Korean War 

Jake Bevan 

Koreans in Japan 


Kormákur 


Kracauer 

Ian Aitken 


Gabor Gergely 

Kraftwerk 


Kristeva 


Krzysztof Kieslowski 


Kung Fu Hustle 


Kurosawa Akira 


kuso 

Nishant Shah 

Kusturica 

Silvia Marchetti

Kutluğ Ataman 

Randall Halle 

La Chienne 

Tom Paulus 


La Curée 


La Fille sur le pont 

Claude Evans 

La Onda 

Kerry Hegarty 

La Pianiste 


labour 



labour market 

David Corkill 

labour movement 




Lacan 


Jo Evans 


Fabio Vighi 

Laclos 


Ladislas Starewitch 


Laila Majnu 


land rights 

Cassi Plate 

'landismo' 

Barry Jordan 

landscape 

Emily Bullock 

John Edmond 


Alfio Leotta 

Peta Mitchell 


Les Roberts 

Isis Sadek 

Jane Sillars 

Tom Whittaker 

language 

Ursula Böser 

Michel Chion 





Dana Strand 

language pedagogy 

Seth Graham 

language varieties 


Larry Cohen 


Larry Gordon 


Lars von Trier 

Ruth Doughty 


Jan Lumholdt 




Las Vegas 

Sofia Bull 

Last Resort 

Alice Bardan 

L'Atalante 

Gregg Redner 

late socialism 


late twentieth century 

Tony Williams 

Latin America 


Latin American cinema 

Sarah Barrow 





Latin American filmmakers 

Gerard Dapena 

Latin American homosexuality 


Latin American literature 

Matt Losada 


law 


Law of Desire 


Le Cinquième élément 


Le Giornate del cinema muto 


le jeune cinéma 

Joe Hardwick 

Le Mari de la coiffeuse 

Claude Evans 

Le Premier du Nom 

Agnès Calatayud

Lebanon 


Lee Hsing 




Lefebvre 


legal space 

Felicia Chan 


legitimacy 



Leipzig Documentary Film 

Festival 




Leni Riefenstahl 

Ben Morgan 

Leonid Osyka 


Les Blank 

Brad Prager 

Les Plages d'Agnes 

Kelley Conway 

Les Visiteurs 


lesbian identities 


lesbian text 

Susan Hayward 

lesbianism 

Judith Mayne 


Leslie Rabb 

Robert Arnett 

Letters to Ali 

Meg Johnston 

Lev Kuleshov 

Emma Widdis 

Lev Manovich 


Levantine identities 


Levi 


Levitas 

Tom Whittaker 

Ley de Extranjería 

David Corkill 

Li Hanxiang 


Li Xing 

James Wicks 

liaisons dangereuses 


liberal democracy 


Libertad Lamarque 


libertinage 


Library of Congress 

Torey Liepa 

libretti 


licence fee 


lifestyle journalism 

Unni From 

light 


L'illa de l'holandès 


liminality 


Linda Williams 

Ingrid Ryberg 

Lindsay Anderson 


lingering 

Kenneth Chan 

linguistics 

Tijana Mamula 

literacy 


literary adaptation 

David George 


literary genres 


literary realism 

Jim Morrissey

literary theory 


literature 



Keith Reader 

Marion Schmid 

Lithuania-Scandinavia 




Little Fish 

Helen Grace 

lived geographies 


Liverpool 


Lluïsa Cunillé 

Anton Pujol 

local production 

Pam Cook 

locale 


localization 


location 


Lola 

Owen Evans 


Paul Dave 

Esther Leslie 

long take 

Eija Niskanen 

Lope de Vega 


Los rubios 

Joanna Page 

loss 

Sarah Cooper 

Lost Generation 


Lotman 

Joe Andrew 

loudspeakers 


love stories 

Isis Sadek 

low-brow humour 

Ian Q. Hunter 

low-budget 

Jochen Hick 

low-budget film 

Ian Q. Hunter 

Lucha Libre 


Lucky Miles 

Helen Grace 

ludic structures 


Luis Bunuel 


Luis Buñuel 


John Savage 

Luis Buñuelclever 


Luis Marquina 


Lukács 

Ian Aitken 

lusophone African cinema 


Lynda Miles 


lyricism 


Ma vraie vie à Rouen 


Mabel Cheung 

Sarah Perks 

Mac Orlan 


machismo 


Madrid 



Mafia 


Mafia in film 


Mafia mythologies 


magazines 

Kevin J. Hayes

Maghreb 


Maghreb and Egyptian cinema 


Maghrebi cinema 

Maryse Fauvel 

Maghrebi-French cinema 


magic 

Ehab Galal 


Dan North 

magical realism 


magnetic tape 


Magnum Force 


Mahjong 


Malaysian cinema 


Malcolm Le Grice 

John Sundholm 

male 


male body 

Alison Peirse 


male identity 


Malika Mokeddem 


Mandarin cinema 


mandatory detention 


manga 


Manichitrathazhu 


Mannerheim 


Manoel de Oliveira 


Manovich 


Mansfield 1962 

Jim Supanick 

Maoism 


Maori 

Hester Joyce 

Maori culture 

Stuart Murray 

Maraini 


Marc Augé 


Marc Caro 


Marc Dutroux 



Marcel Carné 

Ben McCann 

Marcel Pagnol 


marching band 


Marco Ponti 


Marcos Bernstein 

Ute Hermanns 

Margaret Atwood 


Margarita Barskaia 



Jamie Miller 


marginality 

Joe Hardwick 

marginalization 

Bridget Conor 

Gaetano Rando 

Marguerite Duras 


María Félix 

Gerard Dapena 

Mariana Otero 


Mario Camus 


market reforms 


Emilie Yueh-yu Yeh

marketing 




marks 


marriage 


Marseilles 


Marseilles cinema 


martial arts 

Mary Farquhar 

Leon Hunt 


martial arts cinema 

Stephen Teo 

martial arts film 

Brian Hu 

Martin Guerre 


Martin Scorsese 

Greil Marcus 

Martín-Gaite 


martyrs 


marxism 


Marxism 

William Hope 

Jyotsna Kapur 

Toby Miller 

Mike Wayne 

Masculine Feminine 


masculinities 

Amit Thakkar 

masculinity 

Wisdom Agorde 




Chantal Cornut-Gentille D'Arcy 






Mark Straw 

masculinity British identity 


masks 


masochism 

Paolo Russo 

masquerade 


mass media 



massively multiplayer online 

role-playing game (MMORG) 


masturbating reader 


match-making 

Sonora Jha 





materialist-feminist theory 


materiality 

Yiu Fai Chow 


Tiago de Luca 


Jillian Smith 


maternal 


maternal body 

Huang Yiju 

Mathieu Kassovitz 

Ruth Doughty 

matricide 


Matthew Barney 


Maurice Jaubert 

Gregg Redner 

Maurizio Nichetti 

Davide Morena 

Max von Sydow 

Jan Lumholdt 

maximum visibility 

Ingrid Ryberg 

McNair Scholar 


media 

Sarah Berry 

Ib Bondebjerg 

Leo Collis 

John R. Cook 



Daisy Hasan 

Stig Hjarvard 

Jens Hoff





Toby Miller 





media aesthetics 

Arild Fetveit 

media and citizenship 

Zoë Druick 

media and democracy 

Stephen Ward 

media archeology 


media art 

Larson Powell 

media censorship 


media controversy 


media convergence 

Lyn Thomas 


media development 


media ethics 

Philippe Perebinossoff 

media event 


media franchise 


media freedom 


media geography 

Peta Mitchell 

Jane Stadler 

Deb Verhoeven 

media historiography 

Zoë Druick 

media history 

Sigurd Allern 

Stig Hjarvard 


media industries 

Ramon Lobato 

media literacy 



media panic 


media reception 

Mattias Frey 


media representation 




media signifier 


media structure 


media studies 



Lauren Kogen 


mediascape 


mediated crime 

Henrik Jensen 


mediated ritual 


mediation 


Jo Labanyi 

mediatization 


Stig Hjarvard 



mediatization of politics 


Mediterranean 




Melancholia 


melancholy 


melodrama 



Carvalho 

Gabor Gergely 

Torben Grodal 


Jimmy Hay 








Mémoires dimmigrés: 

lhéritage maghrébin 


memory 

Maryse Bray 

Jessica Carniel




Julian Graffy 

Aaron Kerner 




Joanna Page 




Libby Saxton 

Mark Straw 

John Sundholm 

Asuman Suner 


Janet Walker 

mental artwork 


mental illness 


Mental illness 



mental space 

Jule Selbo 

mentorship 


merchandising tie-ins 

Larry Sider 

Merleau-Ponty 


meta-cinema 


meta-communication 


Métal hurlant 

Eric Tessier 

metamedium 

Lev Manovich 

metaphor 


metaphoricity 


metaphysical 


methodology 




Yiman Wang 

metropolitan film 

Mia Carter 

metteuse-en-scène 


Mexican cinema 

Hector Amaya 

Mexican national cinema 


Mexican Popular Cinema 


Mexico 


Miami 


Michael Eisner 


Michael Haneke 




Michael Kertész/Curtiz 

Andrew Higson 

Michel Chion 


Michel Foucault 


Michel Ocelot 


Michelangelo 

Riikka Pelo 

Michelangelo Antonioni 

Sun Hongyun 



micro-cinema 


Midaq Alley/Zouqaq al-Midaq 

Omar Hassan 

Middle East 



Middle Eastern literature 


MIDI 


Mies vailla menneisyyttä/The 

Man without a Past 


Miéville 


migrant cinema 

Randall Halle

migrant experiences 

Gaetano Rando 

migrant writer 

Srilata Ravi 

migrants 

David Corkill 

migration 


Clarissa Clò 




Paolo Russo 


James Wicks 

Miguel Picazo 


Miike Takashi 

Mika Ko 

Mike Nichols 


Mikhail Romm 




militarism 


Milkyway Image 


mimesis 

Anna Cole 


mimesis/nemesi 


miniseries 


minor cinemas 

John Sundholm 

mirrors 

Ruth Doughty 

mise-en-scène 

Debra Beattie 

mise-en-scène documentary 

Thomas Waugh 

mission civilisatrice 


mixed cinema 


mobile media 



mobility 

Les Roberts 

mod film 

Kerry Hegarty 

modality 


mode of address 

Felicia Chan 


Yiman Wang 

model 

Myriam Juan 

modern and contemporary 

Italian literature 


modern cinema 

John Berra 


modern Danish fiction film 


modern fiction 

Keith Reader 

Emma Wilson 

modern Greek 


modern literature 


modern Taiwan theatre 

Weihong Bao 

modernism 

Nancy Condee 


Des O’Rawe 


modernist aesthetics 


modernities 

Lee Parpart 

modernity 



Peter Brown 





Maryse Fauvel 

Wendy Larson 



Leigh Mercer 

Anna Morcom 


Moïse Blin 


Mon Amour 

Rosamund Davies

Mondays in the Sun 


monster fiction 

Anna Arnman 

montage 


montage cinema 

Tom Paulus 

Montmartre 


Montxo Armendariz 


moral controversies 



moral panic 

Brett Farmer 

mornes 


mortality 

Sarah Cooper 

Mortimer Wilson 


Moscow 

Jason Merrill 

Mosfilm 


mother 



Lee Parpart 

mother–daughter relationship 



motherhood 



motherland 

Deirdre Boyle 


mothers 


motion picture exhibition 

Ross Thorne 

motion picture industry 

Dong Hoon Kim 

motion pictures 

Dong Hoon Kim 

motivation 


mourning 

Deirdre Boyle 


movement 

John Edmond 


movements 

Laikwan Pang 

movie criticism 

Mattias Frey 

movie stars of the 1950s 


moving image 


Les Roberts 

moving image media 

Michael Cowan 

Mr. Death 

Ira Jaffe 

Mulholland Drive 

Liz Greene 

multi-channel sound 



multicultural France 


multicultural media and 

literature 


multiculturalism 



Maryse Fauvel 


Mette Hjort 


Olivia Khoo 

Mika Ko 


Polona Petek 


Jo Smith 

multilingual writing 


multimedia stars 


multimodality 


multi-platform 


Mulvey 

Louise McReynolds

Mumbai 

Anubha Yadav 

Munich Film Festival 2004 

Jaimey Fisher 

municipal cinemas 

Ove Solum 

Murakami Haruki 


Murdock 

Helen Jacey 

Murnau 

Ian Roberts 

Murray Schafer 


musealization processes 


music 

Richard Bates 

Mark Bedford 

Geoffrey Cox 


Samba Diop 


Iben Have 

Roger Hillman 

John Hughes 




Ben Morgan 





music hall 

Judith Mayne 

music in film 


music policy 

Nhamo Anthony Mhiripiri 

music promoters 


music sales 

Larry Sider 

music subcultures 

Clarissa Clò 

musical 

Weihong Bao 

Sheila Petty 

musical comedies 

Lisa Shaw 

musical meaning 

Philip Tagg 

musicology 


musique concrète 


Muslim women 

Shahnaz Khan 

Muslims 


My Own Breathing 

Kim Soyoung 

mystery films 


mysticism 

Vlad Strukov 

myth 

John Morton 


mythologization 

Clara Laurent 


Mythos-RAF 


Na Un-Kyu 

Jooyeon Rhee 

nakedness 

Deirdre Boyle 

Nancy 

Laura McMahon 

Nancy Monks 

George Toles 

Nanyang Chinese 

E.K. Tan 

Naples 

Rajko Radovic 

Narciso Ibáñez Serrador 


narcissism 


narration 

Robert Efird 

Iben Have 

narrative 

Joe Andrew 

Craig Batty 



Samba Diop 


Adam Ganz 

Roger Hillman 





narrative and storytelling 


narrative complexity 

Kathrin Rothemund

narrative film 


narrative film theory 

Reni Celeste 

narrative strategy 


narrative structure 

Conn Holohan 


narrative studies 


narrative subjectivity 


narrative theory 

Robert Bird 

Brad Prager 

narratology 


Natal'ia Andreichenko 

Yelena Furman 

nation 



nation state 

Ryan Prout 

national 

Chris Berry 

national cinema 

Pat Brereton 



Derek Duncan 



Laikwan Pang 


national cinemas 

Janice Kaye 



Tytti Soila 

Raija Talvio 

national history 


national history in German 

film 

Mattias Frey 

national identities 


national identity 



Timothy Iles 

Julie Jones 





Dana Strand 


National Library of Norway 


National Research Group 


national socialism 

Oliver Haag 

national space 

Eva Näripea 

national/cultural identities 


nationalism 

Liz Conor 


Graeme Harper 


Anna Morcom 



Sheila Petty 

John Savage 

nationality 



Sarah Trott 

nationhood 

Meg Johnston 

nation-specific screenwriting 

Janice Kaye 

nation-state 


Native American studies 


natural history 


nature 

José Alaniz 


Nauman 


naval history 


Nazi 

Ben Morgan 

Nazism 


Neco Çelik 

Randall Halle 

necropolitics 

Mike Dillon 

Ned Kelly 

Daniel Eisenberg

Ned Kelly films 


negative didactics 


negotiation 


Negritude 


Neil Young 

Liza Palmer 

Nemesio Sobrevila 

Susan Larson 

Nénette and Boni 


neoliberalism 


Neomelodici 


neorealism 




neo-realism 

Lúcia Nagib 


Fabio Vighi 

neo-realist cinema 


Neo-Romantic landscape 

painting 


Neorrealism 


neo-splatter film 


netizen funds 

Darcy Paquet 

network 


networks 

Wendy Everett 


New Argentine cinema 


New Caledonia 

Peter Brown 

New Danish Cinema 


new Europe 

Susan Ingram 


new extremism 


New Extremism 


New Hollywood 


new media 

Keith Beattie 

David Beer 

Arild Fetveit 


Will Higbee 


Dale Hudson 


Omar Kholeif 




Leah Shafer 

Audrey Yue 


new media art 


New Spanish Cinema 


new technologies 

Pam Cook 

new wave 


Matthew Lazen 

New wave 

Anubha Yadav 

New Wave 



Mary Wiles 

new wave Turkish cinema 

Asuman Suner 

New York Film Festival 


New Zealand 

Alfio Leotta 


New Zealand cinema 

Allan Cameron 


Hester Joyce 

Stuart Murray 

new-media theory 


Lev Manovich 

news 

Stig Hjarvard 

news consumption 


news production 

Claire Wardle 

Andrew Williams

Ida Willig 

newspapers 


Unni From 

Henrik Jensen 



New-Year film 


next-generation sound design 

Rob Bridgett 

Nietzschean ethics 


Nigeria 




Nigerian film export 


Nigerian gender roles 


Nigerian video film 


Nigerian video films 


Nigerian video films (NVF) 


Night and Fog in Japan 


Nihonga 

Kathe Geist 

Nikita Mikhalkov 


Nina Mimica 


Ninotchka 


Nintendo 


Ninth Company 


Nirvana 

William Hope 

No Pasaràn! 

Maryse Bray 

Nollywood 





nomad 


non-fiction 


non-fiction film-making 

Zoë Druick 

non-linear 


Nordic cinema 


Nordic countries 

Tytti Soila 

Nordic cultural politics 


Nordic film 


Nordicness 


Nordisk Film 


normality 


normalization 


North African cinema 


Northern Ireland 'Troubles' 

Brian McIlroy 

Norway 

Sigurd Allern 

Ove Solum 

Norwegian cinema 


Ove Solum 


Norwegian neo-noir 


nostalgia 

Kenneth Chan 


Matthew Lazen 


Asuman Suner 


Not One Less 

Evans Chan 

Nouri Bouzid 

Jeffrey Ruoff 

Nouvelle Vague 

Douglas Morrey

novels 


nude 


nudity 

Deirdre Boyle 

Numéro deux 


Nyonya and Baba 

E.K. Tan 

objectivity 


obscenity trials 


occulture 


occupation 


ocker 


official press 


off-screen space 

Libby Saxton 

Ognjen Svilicic 


Okuribito/Departures 

Michihiro Ama 

old-age love affairs 

Ute Hermanns 

Oliver Stone 

Carl Freedman 

omnibus film 


One Plus One 


oneirism 


OneWorld TV 


online 

Lyn Thomas 

online media 


Stephen Ward 

online offshoots 

Larry Sider 

ontology 


Graeme Harper 

Ontology of the Photographic 

Image 


open voice 

Ursula Böser 

open-air screenings 

Kay Armatage 

opera 

Mary Farquhar 

opposition 



optical personage 


Sheena Wilson 

optimism within defeat 


oral history 

Kate Bowles 

Nancy Huggett 

Jo Labanyi 




orality 


orchestral games concerts 


Organización Nacional de 

Trasplantes 

Ryan Prout 

orientalism 


Sarah Street 

Orientalism 


origin 

Ruth Doughty 

origins versus originals 

Mark Bould 

Oscar 


Otar Iosseliani 


Other 


otherness 


Brígida M. Pastor

outside 


Over the Hill 


Overdue Productions 

Liza Palmer 

Ozon 


Özpetek 

Derek Duncan 

Ozploitation 


Ozu Yasujiro 

Kathe Geist 

P2P file sharing 


Pacific War 


package-unit production 

Paul Kerr 

Pacman 


Pakeha 

Hester Joyce 

Palestine 


Palookaville 


Pan-Africanism 


Paramount 


parasitism 

Joe Hardwick 

paratext 


paratheatre 

Weihong Bao 

Paris 

John Baxter 


Parisian female stars 


Parker Tyler's Hamlet being 

George Toles 

parody 



participation 


participatory film-making 


particularism 

Rey Chow 

Passing Fancy 

Kathe Geist 

Passion iconography 

Jill Murphy 

past 

Hamish Ford 

pastiche 

Ian Q. Hunter 


Pat Hobby stories 


patriarchy 




Deborah Shaw 

Patrice Chéreau 



Patrice Leconte 

Claude Evans 


patriotism 

Sarah Leahy 


Patti Smith 

Liza Palmer 

Liz Stephens 

Paul Schrader 


Pavel Chukhrai 


Pavel Lungin 


Pawel 

Alice Bardan 

peasants 

Tom Whittaker 

Peau d'âne 


pedagogic/performative nation 


pedagogy 

Katherine Spring

Pedro Lazaga 


Peircean sign-theory 


Penélope Cruz 

Chris Perriam 

Penn State 


Peoples Progressive Party 

(PPP) 

Paul Buhle 

Peppermint Candy 

Kim Soyoung 

perception 



perceptual intrigue 

Howard Riley 

perestroika 


perestroika cinema 

Volha Isakava 

performance 


Graeme Harper 




Ruth McElroy 


Lee Parpart 


Leah Shafer 

Kate E Taylor 


Duncan White 

performance arts 


performance studies 

Urther Rwafa 

performative radicalism 


Sheena Wilson 

performativity 


performing 


performing arts 

Anna Morcom 

Peruvian cinema 


Peter Carey 

Robert Dixon 

Peter Jackson 


Peter Watkins 

Larry Portis 

Peter Weiss 


Peter Wollen 


petisme 


Petr Lorenc 


Petraglia 

Marco Cupolo 

Petrov Affair 


Petzold 


Phantom Ride 

John Edmond 

phenomenology 

Kate Ince 




Philip Rosen 

Karla Oeler 

Phillip Borsos 


philosophy 






Babak Fozooni 

Jérôme Game 

Kate Ince 

Susan Larson 


philosophy and film 


photobooks 


photography 

Jordan Bear 



photoplay 


photorealism 

Craig Hight 

physical journey 

Craig Batty

picaresque novel 


Pier Paolo Pasolini 




Jill Murphy 

Pierre Bourdieu 

Jim Morrissey 

pilgrimage 

Julie Jones 

Pinewood 

Robert Murphy 

Pinkola Estes 

Helen Jacey 

Pinocchio 


pioneers 

John A. Lent 

place 

Adrian Danks 

Matthew Lazen 


Les Roberts 

plains 


Platform 


Xuelian Zhang 

player-centred design 


Playstation 


playwright 

Garry Lyons 

playwriting 

Jill Nelmes 

pleasure 

Felicia Chan 

Brett Mills 



poetic cinema 


poetic coherence 


poetic film 

David Foster 

poetic realism 


Poetic realism 

David Forrest 

poetics 



poetics of space 


poetry 


Jill Nelmes 



point of view 


Poland 

Ewa Mazierska 

police 

James Chapman 

police thriller 


policy 


policy-politics 



Polish cinema 


Reni Celeste 



Anna Misiak 

Matilda Mroz 




Polish history 


political activism 


political allegory 

Timothy Iles 

political cartoon 


political cinema 


Asuman Suner 

political commentators 

Sigurd Allern 

political commitment 


political communication 


Stephen Ward 

political conflict 


political documentaries 

Valeria G. Castelli

political documentary 


political economy 


political economy of music 


political economy of the media 

Janet Wasko 

political engagement 

Jim Morrissey 

politics 


Ib Bondebjerg 

Mia Carter 



Paul Dave 

Babak Fozooni 

Lisa Gaughan 



Omar Kholeif 


Laura McMahon 

Jamie Miller 

Stuart Murray 


Ben Tyrer 


Spela Zajec 

politics and cinema 


politics and media 


politics of aesthetics 

Rob Stone 

politics of fear 


politics of history 


politics of protest 

Graeme Hayes 

Pong 


popular 

Jim Morrissey 

popular cinema 





Asuman Suner 

Andrew Willis 

popular culture 

Gerd Bayer 

David Beer 





Stig Hjarvard 



Leah Shafer 

Lisa Shaw 



popular film 


popular hero 


popular music 



popular music in film 

Ian Garwood 

popular musicology 

Geoffrey Cox 

pornographic film 


pornography 

Weihong Bao 




Steve Jones 


porosity 

Derek Paget 

Porter's Five Forces Model 


Portugal 

Lisa Shaw 

Portuguese cinema 



possible world 

Jule Selbo 

post-capitalism 

Harry Weeks 

post-cinema 


post-classical narration 


postcolonial 


Allan Cameron 


Sheila Petty 

postcolonial cinema 



postcolonial culture 

Hester Joyce 

postcolonial exotic 

Jo Smith

postcolonial film theory 

Dale Hudson 

postcolonial literature 


post-colonial literature 


postcolonial literature and film 

Monika Mehta 

postcolonial studie 

Mantra Roy 

postcolonial studies 

Gerd Bayer 

Suvir Kaul 



postcolonial theory 


Postcolonial theory 

Alka Kurian 

postcolonialism 



Mia Carter 

Clarissa Clò 








post-communism 

Ewa Mazierska 

post-communist film 

Anna Misiak 

post-cultural revolution 


post-feminism 



Post-Franco Spain 

Sandra Barriales-Bouche 

posthuman 


post-medium condition 

Arild Fetveit 

postmodern 


postmodern fiction 

Gerd Bayer 

postmodern flâneur 


postmodernism 

Matilda Mroz 

post-modernism 

Owen Evans 

post-modernity 


post-politics 


Sheena Wilson 

post-production 

Rob Bridgett 


post-revisionist films 


postsocialist condition 


postsocialist cultures 

Aga Skrodzka 

post-Soviet 


post-Soviet cinema 



Jason Merrill 

post-Soviet film 



post-Soviet Russian fiction 


post-Soviet Russian film 


post-Stalinist cinema 


post-Thaw 

Joshua First 

Post-unification German 



post-utopian landscapes 


postwar America 


post-war Chinese cinema 

Jean Ma 

postwar Italian cinema 


postwar Japan 


Post-war Japanese society 

Yuna De Lannoy

post-war modernism 

Hamish Ford 

post-war Spanish cinema 


Potestad 

Joanna Page 

power 

Kate Nash 

power balance 

Sophie Harper 

practice 

Adam Ganz 

practice research 

John Adams 

Erik Knudsen 

practice-as-research 

Jeremy Bubb 

practice-based education 


practice-based research 

Ian Christie 

practices of looking 

Till Förster 

practices of seeing 

Till Förster 

pragmatics 


praxis listen to Venezuela 

Mike Wayne 

preposterous 


presidential elections 


press history 


primitive accumulation 

Evans Chan 

Primo Levi 

Axel Bangert 

Princes et princesses 


process of equivalence 


producer-writer 


product placement 

Leah Shafer 

production 



Samantha Lay 

Steven Maras 


Mark Ryan 

Sarah Street 

Deb Verhoeven 

Duncan White 

production context 

Mark Bould 

production value 


profanation 


professional identity 

Raija Talvio 

professionalism 


profits 


John Sedgwick 

profondeur de champ 

Tom Paulus 

Programmable Sound 

Generators (PSG) 


programming 


propaganda 

Brett Bowles 




property 


prophet 

John Hughes 

proposition 


Propp 


prostitution 


Kate E Taylor 


Proust 

Marion Schmid 

Provence 


provocation 

Romain Chareyron


psychoanalysis 

Hector Amaya 





Kate Ince 



Hilary Neroni 


Joanna Page 


Vlad Strukov 

Huang Yiju 

psychoanalytic theory 

Emma Radley 

psychology 


psychosis 


psycho-social metamorphosis 


public 



public diplomacy 


public morality 


public service 

Jacob Smith 

public service broadcasting 


public space 

Jane Sillars 

public sphere 

Kate Bowles 

Sean Cubitt 


public/private history 


Puerto Escondido 

William Hope 

punctum 


punk 

Paul Dave 

puppet 

Julia Dobson 

puppetry 

Dan North 

QTVR 

Debra Beattie 

Quai des brumes 


qualitative audience studies 

Unni From 

quality 


Quality TV 


Quebec French 


Queen Margot 


Queensland 

Denis Cryle 

queer 


queer cinema 

Brian Hoyle 

Song Hwee Lim 

Andy Medhurst 


queer diaspora 


queer film 


queer identity 


queer politics 


queer studies 



queer theory 


Queer Theory 

Derek Duncan 

Quentin Tarantino 


quotidian 


Qur'an 

Ehab Galal 

Qur'an recitation 

Ehab Galal 

R.E.M. 

Cian Traynor

Rabbit-Proof Fence 


race 

Hector Amaya 


Pat Brereton 



Jyotsna Kapur 



Mantra Roy 

race and ethnicity 


race politics 

Ian Q. Hunter 

Rachida Brakni 


racial identity 


racism 


radiance 


radical film-making 


radical media 

Zoë Druick 

radio 



Radio One 


Rafael Gil 


rag-picking 


Rai 


Rancière 


Raoul Walsh 


rape 



rape-revenge film 


rasa theory 

Amit Rai 

Raul Ruiz 


reader image 

Ida Willig 

readership 


Unni From 

reading 


readings/misreadings 

Mark Bould 

Reaganite cinema 

Xavier Mendik 

real 

Leon Hunt 

Jason E Klodt 

Fabio Vighi 

realism 

Ian Aitken 



Felicia Chan 

Robert Chen 

Gabor Gergely 



Olivia Khoo 



Tiago de Luca 

Leo Murray 




Douglas Smith 



reality television 

Adam Ganz 

James Leggott 

reality-status 


reason 


reassembly 


reboot 


reception 



Nancy Huggett 

Jo Labanyi 



Lisa Schmidt 


Duncan White 

reception study 


reconciliation 

Liz Conor 

reconfiguration 

Andrew Asibong

econstruction 

Jeremy Hicks 

Red Army Faction 


Red River 


redemption 


re-enchantment 


reference 



references 


reflexivity 

James Aston 

David Foster 


refugee films 


refugees 

Meg Johnston 

Regie-Förderpreis der 

HypoVereinsbank 

Jaimey Fisher 

regional production 


regional cinema 

Leen Engelen 



regional economy 

David Corkill 

regional Queensland 


regionalism 


Nick Redfern 

regulation 


regulatory capture 

Torey Liepa 

relationship between film and 

dance 


religion 





Stig Hjarvard 



religion and film 


remake 




remake embodied performance 

Yiman Wang 

remediation 

Arild Fetveit 

Lev Manovich 


renaissance 

Mark Poole 

re-nationalization 



René Clair 


John Savage 

renew 


Renoir 



repetition 


representation 




Will Higbee 

Samantha Lay 

Joseph Mai 



representations of family 


representations of prostitution 


representations of sexuality 


representing catastrophic 

events 

Aaron Kerner 

repression 

Jamie Miller 

repulsion 


research methods 


resistance 



Nishant Shah 

Eva Woods Peiró

esistant ethnicity 


Sheena Wilson 

restraint 


resurgence 


resurrection 


Retiro Park 


retribution 

Vlad Strukov 

retrospective revaluation 


return 

Hamish Ford 

reunification movies 

Jake Bevan 

revenge 


revision of genre history 


revisionism 

Timothy Iles 


revisionist films 


revival 


Mark Poole 

revolution 

Jonathan Owen 

rhetoric 




rhetorical analysis 


Rhônes-Alpes Cinema 


rhythm digital cinema 


Ricardo Franco 


Richard Nixon 

Carl Freedman 

Richard Serra 


Riefenstahl 

Roger Hillman 

risk 


risks 


River Plate literature 

Lee Williams 

Rivette 


road movie 

Rob Burns 


Robert Aldrich 

Jan Lumholdt 

Robert Guédiguian 


Robert Hamer 

Robert Murphy 

Robert Rodriguez 


Robert S. McNamara 

Ira Jaffe 

Robert Sturua 


Roberto Longhi 


Roberto Saviano 

Rajko Radovic 

Robin Wood 


robotics 

Andrew Gordon 

Rolf de Heer 

Louise Hamby 

romance 



Romantic anti-capitalism 


Romantic film 


Ronnie Yu 


Roseanne Liang 


Rosetta 

Bert Cardullo

Rossellini 


Lúcia Nagib 

Rottweiler 

Xavier Mendik 

Roy William Neill 


Royal Commission 


RPM International 

Robert Arnett 

ruin 


Rulli 

Marco Cupolo 

Run Run Shaw 


runaway production 


Runaway Productions 


rural 

Kate Bowles 

Denis Cryle 

rural and colonial France 


rural cinema 

Tom Whittaker 

rural film 

Dylan Walker 

Russia 

Joe Andrew 

Russia cinema 


Russian and Soviet culture 

Seth Graham 

Russian Ark 



Russian art 





Sergei Bodrov 


Seth Graham 


Naum Kleiman 


Anna Lawton 

Russian Cinema 


Russian culture 

Ilya Kukulin 

Russian Formalism 


Russian history 



Russian literature 


Ilya Kukulin 

Russian modernism 

Robert Bird 

Russian poetry 


Rustam Khamdamov 


S. Krishnaswamy 


Sabata 

Bert Fridlund 

Sabine Franel 


Sacha Guitry 


sacralization 


sado-masochism 

Keith Reader 

Salamanca Conversations 


Salazar 

Lisa Shaw 

Salles 

Deborah Shaw 

Salvador Dalí 


Sam Garbarski 


same-sex relationships 


samurai 


Sans soleil 

David Montero 

Sansho the Bailiff 

Timothy Iles

Sanskrit Indian literatures 


satire 

Sergei Bodrov 

Lisa Gaughan 

Davide Morena 

Satyajit Ray 

Talat Ahmed 

Savage Grace 

Davide Caputo 

Savage Grace (2007) 

Steven Yates 

Scandinavian cinema 

Ib Bondebjerg 

Dagmar Brunow 

Scandurra 


scenario 


schaulust/voyeurism 


Schlöndorff 

Jaimey Fisher 

scholarship 

Ian Christie 

science communications 


science fiction 


James Chapman 

Ken Chen 


Andrew Gordon 



James Leggott 

Lisa Schmidt 



Eric Tessier 

science fiction cinema and 

television 



Ilana Gershon 


science-fiction cinema 

Alexia Bowler 

scientific representation 

Luc Pauwels 

scopophilia 


Scorsese 


Scottish culture 


Scottishness 

Jane Sillars 

screen culture 

Mark Poole 

screen media 

John Adams 

screen practice research 


screen reception 


screen studies 

Scott Brook 

screenplay 


Jill Nelmes 

screenplay manuals 


screenplay studies 


screenplays 

Robert Arnett 

J. J. Murphy 

screenwriter 

Anubha Yadav 

screenwriters 

Susan Rogers 

screenwriter's strike 




Bridget Conor 




Adam Ganz 



Janice Kaye 


Torey Liepa 

Garry Lyons 


Steven Maras 



J. J. Murphy 



Chris Pallant 

Riikka Pelo 


Raija Talvio 


Anubha Yadav 

script 


script development 


script to screen transition 

Isabelle Gourdin-Sangouard

scriptwriting 


Sergei Bodrov 


Seattle 


Second Language 


Second Life 



Second Republic 


secrecy 

Libby Saxton 

sedentary 


Sega 


segregation 

Nancy Huggett 

Segundo de Chomón 

Leigh Mercer 

self-Balkanization 


self-invention 


self-writing 


selling place 


semantic autonomy 


Sembene 


Sembène 

Samba Diop 

semiotics 



Alfio Leotta 


sensation 

Gregg Redner 

Jillian Smith 


sensationalism 

Felicia Chan 


senses 


sensing-intuitive 


sensory 

Tiago de Luca 

Senufo marriage ceremonies 

Till Förster 

separatism 

Helen Jones 

sequel 




sequence 5 


Serbia 

Aida Vidan 

Spela Zajec 

Serbian cinema 


serendipity 

David Chapman 

Sergei Eisenstein 

Esther Leslie 


Sergei Paradjanov 


Sergei Urusevskii 

Nancy Condee 

seriality 

Jared Gardner 


set design 

Ben McCann 

Emma Widdis 

settler cinema 

Jo Smith 

settler nationalism 

Jo Smith 

settler society 


Seven Footprints to Satan 

Arne Lunde 

sex 



sex film 


sex in cinema 

Søren Birkvad

sex trafficking 

Kate E Taylor 

sexploitation 


sexual difference 


sexual politics 


sexual subcultures 

Sofia Bull 

sexual taboos 

Xavier Mendik 

sexual violence 


sexualities 



sexuality 

Hector Amaya 



Derek Duncan 



Wai Siam Hee 

Volha Isakava 


Sarah Leahy 





Emma Radley 



sexuality/sexualization 


sexually transmitted disease 


Shakespeare 


shame 


Shane Meadows 

David Forrest 

shared textual authority 


Shaw Brothers 


Sherlock Holmes 



shima Nagisa 


Shin Sang-Ok 

Soo Jeong Ahn 

Shinjuku Ryozanpaku 


shōjo manga 


short fiction film 



short film 



short film scriptwriting 


short films 


shot 


showpiece 


Shu Lea Cheang 


Sidney Lumet 


Signoret 

Sarah Leahy 

silence 






silent cinema 

Anke Brouwers 

David George 


Leigh Mercer 


silent film criticism 

Lee Williams 

Simone Signoret 

Susan Hayward 

Sin City 




Singapore and Malaysian 


Song Hwee Lim 

Singapore cinema 


Singin' in the Rain 

Liz Greene

singing 

Liz Greene 

singularity 

Tiago de Luca 

Sinofrench 


Sino-Japanese war 

Thomas Waugh 

sinology 


Sino-Soviet relations 


Sirkbeach 


Sixth Generation 


skin colour 

Sonora Jha 

skin/screen 


Skins 


Slovak new wave 

Jonathan Owen 

Slovenia 


Slumdog Millionaire 


smugglers 


Snowtown 

Dylan Walker 

soap opera 


soap operas 

Lyn Thomas 

soccer 


sociability 

Yiu Fai Chow 

social change 


social class displacements 


social divisions 


Social Genocide 



social history 


social issue cinema 


social justice 


social justice media 

Debbie James 

social media 


social networking 


social realism 


social support systems 

Mara Adelman 

social turn 

Harry Weeks 

social-issue cinema 


socialist cinema 


socialist culture 


socialist realism 


Socialist realism 


socialist realist film 


socialist-feminism 

Jyotsna Kapur 

sociology 

Mark Bedford 

Yves Laberge 


Luc Pauwels 

socio-psychological impact of 

war 

Sarah Trott 

sodomy laws 

Jim Supanick 

Soi Cheang 


Soiuzdetfil'm 

Birgit Beumers


Jamie Miller 


Sokurov 

José Alaniz 

Solanas 

Deborah Shaw 

Soldados de Salamina 


solidarity film 

Thomas Waugh 

somatization 

Ryan Prout 

Sonder 

Axel Bangert 

song 


sonic media 


Sonic Outlaws 


Sönke Wortmann 


sound 

David Beer 

Samba Diop 

Iben Have 



James Leahy 


Leo Murray 





Lisa Schmidt 





sound art 

David Chapman 

sound design 

Maike Helmers 



David Toop 

sound editing 


sound effects 

Larry Sider 

sound film 


sound of language 


sound performance 


sound recording 

Jacob Smith 

sound sources 


sound synthesis 


soundscape 


soundscape composition 


soundtrack 

Polona Petek 



soundtracks 


South Africa 



South African cinema 


South Asia 


South Asian (Indian) cinema 

Mantra Roy 

South Asian anglophone 

literature 

Alka Kurian 

South Asian cinema 

Alka Kurian 



Monika Mehta 


South Asian film 

Amar Kanwar 

South Asian novel 


South Australia 

Dylan Walker 

South East Asia 


South East Asian Cinemas 


South East Asian indies 


South Korean cinema 

Soo Jeong Ahn

South Korean Cinema 

Jake Bevan 

Southeast Asia 


Southeast Asian film-makers 


Southern Cone literature 

Lee Williams 

sovereignty 

John Morton 

Soviet and Russian 


Jeremy Hicks 

Soviet cinema 




Robert Efird 

Jeremy Hicks 


Naum Kleiman 

Anna Lawton 




Soviet Cinema 

Karla Oeler 

Soviet culture 


Soviet psychiatry 


Soviet Toys 


Soviet–German cultural 

relations 



space 

John Edmond 


Wendy Everett 

David Foster 

Gabor Gergely 






Les Roberts 


Jane Sillars 



space and place 


Space Invaders 



David Corkill 

David George 

Spanish cinema 




Enric Bou 

Peter Buse 

Gerard Dapena 

Ann Davies 




Barry Jordan 






Chris Perriam 



Rob Stone 

Andrew Willis 

Spanish civil war 


Spanish Civil War 



Roger Hillman 


Anton Pujol 

Spanish comedy 


Spanish culture 


Spanish docudramas 


Spanish film 


Spanish literature 


Matt Losada 


Spanish music 


Spanish Peninsular literature 

Enric Bou 

Spanish silent cinema 

Susan Larson 

Spanishness 

Ann Davies 

spatial practices 

Isis Sadek 

spatialization 


spatialization of sound sources 


special effects 

William Brown 


Dan North 

special period 

Glenda Mejía

specialized festivals 


spectator 

James Aston 



spectatorial experience 


spectatorship 




Davide Morena 




speech culture 


speech-act theory 


Spike Lee 

Ruth Doughty 

spirituality 



Splat 


split attention 


split screen 


spontaneity 


sport 

Toby Miller 

Spring in a Small Town 


spy drama 

Paul Cobley 

Srdan Golubovic 


St Petersburg 




stagnation 


Stalin 

Julian Graffy 

Stalinism 



Jamie Miller 


Stalinist cinema 


Stalker 

David Foster 

stand-up comedy 

Brett Mills 

star 


Laura Hubner 

Myriam Juan 


star body 

Susan Hayward 

star discourse 

Brian Hu 

stardom 


Mary Farquhar 


Sarah Leahy 

Victoria Lowe 




Tony Williams 

stars 


Chris Perriam 


Yi Zheng 

state industry relations 

Melis Behlil 

state policy 


statistics 


Steele Rudd 


Steeman 

Judith Mayne 

stereotypes 





Sternberg 

Peter Baxter 

Steven Soderbergh 


stigma 


stolen generations 



Stolen Generations 

John Morton

stortytelling 

Paul Willeman 

story 

Craig Batty 

storytelling 

Erik Knudsen 

storytelling analysis 


strategy 


John Sedgwick 

Striped Socks Productions 

Liza Palmer 

strobe acting 


Stroheim 

Clara Laurent 


structure 

Craig Batty 

Ben Tyrer 

studio 


Arne Lunde 


Studio Ghibli 


studio system 


studios 


Sturges 


Sturm und Drang 


style 


Aaron Taylor 

Paul Willeman 

styles 


subjective documentary 

Ben Tyrer 

subjectivity 


Jérôme Game 


Fabio Vighi 


subliminal media 

Jacob Smith 

subversion of copyrights 


Sudden Impact 


suicide bombers 

Mike Dillon 

Summer with Monika 

Laura Hubner 

Sunshine policy 

Jake Bevan 

superhero bodies 

Aaron Taylor 

supernatural 

Torben Grodal 


Brian Hauser 

supernatural literature 


supernaturalism 


superposition 


superstructure 

Paul Kerr 

supporting player 

Aaron Taylor 

surrealism 


Leigh Mercer 


John Savage 

surrealism in Spain 

Gerard Dapena 

surround sound 



surveillance art 


surveillance film 

Esther Leslie 

survey 

Stig Hjarvard 

Susanna 


suspense 

Paul Cobley 

suture 

Steven Marchant

Suzanne Wasserman 

Paul Buhle 

Svetlana Vasilenko 

Yelena Furman 

Sweden 





Swedish and Danish TV crime 

fiction 

Gunhild Agger 

Swedish childrens films 


Swedish cinema 




Laura Hubner 

John Sundholm 


Swedish modernism 


Swedish sin 


Sweet Death' 


swimming 

Julian Graffy 

Swiss 

Davide Caputo 

Steven Yates 

Switzerland 

Davide Caputo 

Steven Yates 

symbolic order 

Huang Yiju 

symbolism 

Vlad Strukov 

symphony 


synaesthesia 


synchrony 


synecdoche 

Philip Tagg 

systemic-functional semiotics 


systems theory 

David Chirico 

tabloid newspapers 


tabloid press 


Taipei 


Taipei Film Festivals 


Taiwan 


Song Hwee Lim 



Tony Williams 

Taiwan cinema 


Taiwan Cinema 


Taiwanese cinema 



Eija Niskanen 

James Wicks 

Taiwanese dialect 


Taiwanese gangster culture 


Taiwanese popular music 


Takashige Ichise 

Jasper Sharp 

Take Away Shows 

Cian Traynor 

Tamil cinema 


Tan Pin Pin 


Tang Pao-yun 


tangibility 

Yiu Fai Chow 


tango 


Tarkovsky 


Tasmania 

Emily Bullock 

taste 

Polona Petek 

teaching film 


Ernest Mathijs

teaching language 


Tearoom 

Jim Supanick 

technology 

Sarah Berry 

Sean Cubitt 


Sonora Jha 


Dan North 



televised fiction 


television 

Keith Beattie 

Ib Bondebjerg 


John R. Cook 




Leen Engelen 


Henrik Jensen 

Janice Kaye 




Stuart Murray 

Leo Murray 


Derek Paget 


Leah Shafer 

Paul Sutton 




television authorship 


television fiction 


television films 


television in Spain 


television series 

James Chapman 

Paul Cobley 

television series/serials 


television studies 

Lauren Kogen 

Telluride 


Telluride Film Festival 

Greil Marcus 

temporality 

Sarah Cooper 

Hamish Ford 

Conn Holohan 


Ten Canoes 

Louise Hamby 

terrir 


terror 

Bruce Bennett 


terrorism 


Paul Cobley 

Mike Dillon 


Terry Gilliam 

Jan Lumholdt 

testimonial pac 


testimony 


Janet Walker 

Teta i la lluna 


textual 


textual analysis 

Brett Mills 


texture 


Thai cinema 


Leon Hunt 

Thaw 

Nancy Condee 



The Best of Youth 

Marco Cupolo 

The Big Picture 


The Birth of a Nation 


the blacklist 

Claus Tieber 

the Bolivarian revolution 

Mike Wayne 

the British Empire 


The Broken Wall 

Wisdom Agorde 

the city 

Paul Melo e Castro

the commodity form 

Mike Wayne 

The Conversation 


The Cranes are Flying 

Nancy Condee 

the crisis of inwardness 

George Toles 

the Cultural Revolution 

Sun Hongyun 

The Dead Pool 


The Dog in the Manger 


The Dream of Olwen 

Philip Tagg 

The Enforcer 


The Estado Novo 

Lisa Shaw 

the European Union 


The Fantastic Factory 

Xavier Mendik 

The Final Girl 


The Finished People 

Helen Grace 

The Five Obstructions 


The Fog of War 

Ira Jaffe 

The Full Monty 


The Game is Over 


the Gernsback Continuum 


The Globalisation Tapes 


The Great Gatsby 


The Hidden Blade 


the history of Namibia 


The Home Song Stories 

Tony Ayres 

The Hour of the Furnaces 



The Idiot 


The Incredible Hulk 


The Italian Job (1969) 

Jan Lumholdt 

the Kashmir conflict 


The Killing 

Gunhild Agger 

The Last Laugh/Der Letzte 

Mann 


The Last of England 

Paul Dave 

The Locket 

George Toles 

The Long Tail 


the machine state 

Andrew Gordon 

The Magic Lantern 


The Miracle Woman 

Tom Paulus 

The Murmuring 

Kim Soyoung 

the new Soviet woman 


The Ninth Day/Der neunte Tag 

Jaimey Fisher 

the other 


the Other 


The Other Half (2006) 

Eija Niskanen 

the outsider 


The Proposition 

Tanya Dalziell

The Ring 

Jasper Sharp 

The Rolling Stones 

Liz Stephens 

the Romantic voice of the artist 

Ian Garwood 

The Silence of Lorna/Le 

Silence de Lorna 

Bert Cardullo 

the Sixth Generation 

Xuelian Zhang 

The Sound of Music 

Philip Tagg 

The Spectator 


The Spectator Arts Blog 


The Spider and the Fly 

Robert Murphy 

The Spirit of the Beehive/El 

esptitu de la colmena 


The Story of Qiu Ju 

Evans Chan 

The Thief of Baghdad 


The Third Man 

Robert Murphy 

the Titan City project 


The Way We Were 

Claus Tieber 

The Wayward Cloud 

Eija Niskanen 

The Wire 

David Toop 

the working class 

Bert Cardullo 

The X Files 

Brian Hauser 

theatre 



Julia Dobson 

Victoria Lowe 



Derek Paget 

theatre studies 

Urther Rwafa 

theatricality 


Mary Wiles 

theology 


theories of film spectatorship 

Joanna Page 

theories of place and space 


theory 

Kees Bakker 



theory of ideology 


theory of representation 


Thierry Henry 


thinking 


Third Cinema 





Third Reich 


Third Republic 


third space 

Rob Burns 

Third Space 


third worldist discourses 


Thomas Vinterberg 


Three Colours trilogy 


Three Men and a Cradle 


three-act structure 


thriller 




Thunder in Guyana 

Paul Buhle

THX 1138 

Andrew Gordon 

Tian bian yi duo yun 

Eija Niskanen 

Tian Zhuangzhuang 


Tiananmen Square 

Mike Ingham 

time 


Kristi McKim 

David Montero 


Douglas Smith 

time and cinema 


Time of the Wolf 

James Aston 

Tinto Brass 

Amy R Handler 

Tire au flanc 


Titicut Follies 

Jillian Smith 

Tlaltelolco 

Kerry Hegarty 

Tokyo Chorus 

Kathe Geist 

Tokyo Story 


Tom Tykwer 


Tomándote 


Tomislav Gotovac 

Nikica Gilic 

Tonino Guerra 

Riikka Pelo 

Toronto 


torture 

Hilary Neroni 

torture in film 


torture porn 

Steve Jones 

total cinema 


totalitarian culture 


touch 



Laura McMahon 

tourism 

Alfio Leotta 


Peta Mitchell 

Les Roberts 

Jane Stadler 

track-lay 


tradition 

Peter Brown 

tragedy 

Reni Celeste 

Carl Freedman 

tragic idealism 

Ken Chen 

transcendental style 


transcultural vision 

Meg Johnston 

transculturalism 




transdiegetic 


transformation 

Lisa Gaughan 


Spela Zajec 

transgender 


trans-generational grief 


transgression 


transition 


translation 





transmedia 


transmediality 


transmission of knowledge 


Gérard Courant


'trans'modernism 


transnational 

Keith Beattie 

Bruce Bennett 

Chris Berry 

Allan Cameron 

Sean Cubitt 


Roger Hillman 

Mike Ingham 




Laikwan Pang 


Pamela Thoma 


Sarah Barrow 


William Brown 


Ruth Doughty 






Chris Perriam 

Aga Skrodzka 


Yi Zheng 


community 


transnational cinemas 

Dale Hudson 

Song Hwee Lim 

transnational communication 

Lee-Von Kim 

transnational Europe 


transnational flow 


transnational identity 


transnational stardom 

Brett Farmer 

transnational utopias 

Pam Cook 

transnationalism 

Rob Burns 






Brian McIlroy 

James Wicks 




transplant 

Ryan Prout 

transporting films 

Ross Thorne 

transsexualism 


transvergence 


Transylvania 

Sue Harper 

trauma 



Volha Isakava 

Janet Walker 

Janet Wilson 

Emma Wilson 

trauma theory 


travel 

Ewa Mazierska 

travelling shot 

John Edmond 

travesty 

Lisa Gaughan 

trick film 

Leigh Mercer 

Trinh Thi 

Sophie Bélot 

Tristana 


Trois couleurs: Bleu/Three 

Colours: Blue 


Trouble Every Day 


trucker 


Trueba 

Roger Hillman 

trust 

Kate Nash 

truth 

Ilana Gershon 



Tsai Ming-liang 


Kenneth Chan 

Wai Siam Hee 

Song Hwee Lim 

Jean Ma 

Tsai Ming-Liang 

Robert Chen

Tunisia 

Jeffrey Ruoff 

Turkey 


Turkish cinema 

Melis Behlil 




Turkish media 


Turkish-German cinema 

Roger Hillman 


TV 

David George 

TV censorship 

Sofia Bull 

tv drama 

John R. Cook 

tv history 

John R. Cook 

TV production 


TV series 

Sofia Bull 

twenties 

Myriam Juan 

twentieth-century French 

literature 


twentieth-century Spanish 

intellectual history 


Twilight Samurai 


Two Laws 


Jill Godmilow 

Bill Nichols 

Tykwer 


typology 


Udine 


Uganda 


Ukrainian cinema 


Yelena Furman 

Ulrich Gregor 

Erika Gregor 


ultra-modern 


uncanny 

Alison Peirse 

Emma Radley 

David Sorfa 

unchained camera 

Ian Roberts 

underground cinema 


une certaine tendance du 

cinéma français 


unemployment 


unhomeliness 


unions 


up-and-coming directors 

Edward Bowen 

urban cultural studies 

Les Roberts 

urban cultures 


urban history 

Ute Hermanns 

urban social issues 

Edward Bowen 

urban space 

Mia Carter 

urban studies 

Susan Ingram 

Urban studies 


user-generated content 


US–Japan cultural relations 


USSR Cinema Association 


utopia 

Lúcia Nagib 


utopian landscapes 

Erik Hedling

utopian romanticism 


utopianism 

Jonathan Owen 

Uttam Kumar 


Uttar Pradesh 


valuation 


values 

Olivia Khoo 

vampire 

Alison Peirse 

vampire films 


vanguard and film 

Lee Williams 

Vargas era 

Lisa Shaw 

Vasyl' Stefanyk 


vehicle 

John Edmond 

Venezuela 

Mike Wayne 

ventriloquic 


ventriloquists 


Ventura Pons 


Vergangenheitsbewältigung 


verisimilitude 

Debra Beattie 

vernacular cinema 


vernacular concepts 



Vertigo 

David Montero 

Viacheslav Ivanov 

Robert Bird 

Vicente Aranda 



Vichy France 


Victor Erice 


Víctor Erice 


Victorian studies 


video 


Keith Beattie 

Steven Maras 


Duncan White 

Video Documentary Lab 


video game sound 

Rob Bridgett 

video game theory 


video games 


video games music 


video halls 


video technologies 


video-film 


Videogramme einer Revolution 

Esther Leslie 

video-parlor 


Vietnam 

Scott Brook 

Srilata Ravi 

vigilante justice 


Viktor Deni 


Vilgot Sjöman 


villainy 

Aaron Taylor 

violence 


Yelena Furman 

Jane Hanley 

Ute Hermanns

Jason E Klodt 





Amit Thakkar 

Janet Wilson 


violent crime 




virginity 


Viridiana 


virtual 



virtual reality 

Debra Beattie 

Alexia Bowler 

visions 

John Hughes 

Visions of Johanna 

Ian Garwood 

visual 

Geoffrey Cox 

visual culture 


Andrew Burke 


Vivian Lee 


Kate E Taylor 


visual depiction of the masses 


visual effects 

Dan North 

visual perception 

Till Förster 

visual representation 


visual storytelling 

J. J. Murphy 

visual style 



visuality 

Rey Chow 


Vit Klusak 


Vogler 

Helen Jacey 

voice 


Liz Greene 


Victoria Lowe 

Joseph Mai 

Lee Parpart 

voice of documentary 


voices 


volcanoes 


Von Trotta 


Waati (1995) 


Wales 


Graeme Harper 

Wallander 


Walter Benjamin 


Susan Larson 

Jillian Smith 

Walter Rodney 

Paul Buhle 

Walter Salles 

Lúcia Nagib 


wandering 

Joe Hardwick 

war 

Ken Chen 





Julian Ward 


war film 


war films 

Jeremy Hicks 

war of position 

Mauro Sassi 

web 2.0 


Web 2.0 


web media 

Henrik Jensen 

Anker Brink Lund

website 


Weimar Expressionism 

Ian Roberts 

welfare state 



Welsh culture 

Graeme Harper 

Wenders 


Werckmeister Harmonies 


Werner Herzog 

Brad Prager 

West African literature 


Western 


What Did the Lady Forget? 

Kathe Geist 

white women 


whiteness 

Alice Bardan 


Mark Straw 

widescreen films 


Wild Side 


William Fox 


William Gibson 


Wiseman 


witnessing 


Wittig 


WNET 


Wolfgang Becker 


Wolfgang Murnberger 


women 

Sonora Jha 

Sarah Leahy 

Glenda Mejía 





Kate E Taylor 


women film-makers 

Sarah Perks 

women in cinema 

Anke Brouwers 

women studies 

Shahnaz Khan 

women writers 

Srilata Ravi 

Emma Wilson 

women's cinema 


Kate Ince 


women's film 

Joshua First 


women's health 


womens literature 


women's literature 

Pamela Thoma 

womens studies 


women's studies 



women's voices 

Wendy Everett 

women-writers 

Clarissa Clò 

Wong Kar-wai 



Carvalho 

Wong Kar-Wai 


word and image 


working class 


Working Girl 


Working Peoples Alliance 

Paul Buhle

working-class history 


workshop movement 


James Leggott 

world cinema 


William Brown 



World cinema 


World literatures in English 

Alka Kurian 

World Trade Organization 

(WTO) 


World War I 


World War II 

Brett Bowles 




worthwhileness 


Wortmann 


wrestling films 


writer 


writer-director 


writer-director relationship 

Riikka Pelo 

writing 

Duncan White 

writing credit 

Susan Rogers 

writing for performance 

Garry Lyons 

writing for television 

Adam Ganz 

wuxia (martial arts genre) 

Yi Zheng 

Y aura-t-il de la neige à Noël? 


Yaaba 


Yamada Yji 


Yamina Benguigui 


Yeelen (1987) 


Yoruba 


young German cinema 


young readers 


young talent 

Edward Bowen 

Yousef Chahine 

Omar Hassan 

youth and technology 

Nishant Shah 

youth culture 

Kerry Hegarty 

youth cultures 

Clarissa Clò 

youth subculture 


Youth Without Youth 


YouTube 



Ystad 


Yugoslav cinema 


Yugoslavia 


Yukong 

Sun Hongyun 

Zabriskie Point 


Zach Orji 


Zhang Yimou 

Evans Chan 

Robert Chen 

Wendy Larson 


Huang Yiju

Zimbabwe 

Urther Rwafa 

Zimbabwean music industry 


Zionism 


Žižek 



Zola 


Susan Hayward 

zoom in popular cinema 

Paul Willeman 

Zurich 

Davide Caputo

who's who in research FILM STUDIES - Intellect

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