who's who in research FILM STUDIES - Intellect
who's who in research FILM STUDIES - Intellect
who's who in research FILM STUDIES - Intellect
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<strong>who</strong>’s <strong>who</strong> <strong>in</strong> <strong>research</strong><br />
film<br />
studies
<strong>who</strong>’s <strong>who</strong> <strong>in</strong> <strong>research</strong><br />
film studies<br />
proof pleAse do not circulAte
<strong>who</strong>’s <strong>who</strong> <strong>in</strong> <strong>research</strong><br />
film studies<br />
<strong>in</strong>tellect Bristol, UK / Chicago, USA
First published <strong>in</strong> the UK <strong>in</strong> 2011 by<br />
<strong>Intellect</strong>, The Mill, Parnall Road, Fishponds, Bristol, BS16 3JG, UK<br />
First published <strong>in</strong> the USA <strong>in</strong> 2011 by<br />
<strong>Intellect</strong>, The University of Chicago Press, 1427 E.<br />
60th Street, Chicago, IL 60637, USA<br />
Copyright © 2011 <strong>Intellect</strong> Ltd<br />
All rights reserved. No part of this publication may be reproduced,<br />
stored <strong>in</strong> a retrieval system, or transmitted, <strong>in</strong> any form or by<br />
any means, electronic, mechanical, photocopy<strong>in</strong>g, record<strong>in</strong>g,<br />
or otherwise, without written permission.<br />
A catalogue record for this book is available<br />
from the British Library.<br />
ISBN 9781841504964w
Richard Abel<br />
University of Michigan, Department<br />
of Screen Arts & Cultures, 6419<br />
North Quad, 105 S. State Street, Ann<br />
Arbor, MI, 48109-1285, United States<br />
of America<br />
Keywords early American c<strong>in</strong>ema,<br />
Americanization, French silent<br />
c<strong>in</strong>ema<br />
Anders Wilhelm Aberg<br />
Institutionen för språk och litteratur,<br />
L<strong>in</strong>néuniversitetet, 351 95 Växjö,<br />
Sweden<br />
Keywords Swedish c<strong>in</strong>ema, Vilgot<br />
Sjöman, televised fiction, Swedish<br />
children’s films<br />
May Adadol Ingawanij<br />
University of Westm<strong>in</strong>ster, Centre for<br />
Research and Education <strong>in</strong> Arts and<br />
Media (CREAM), London, United<br />
K<strong>in</strong>gdom<br />
Keywords Thai c<strong>in</strong>ema,<br />
cosmopolitanism, world c<strong>in</strong>ema,<br />
c<strong>in</strong>ephilia, ultra-modern<br />
Richard Abel is Robert Altman Collegiate Professor of Film Studies <strong>in</strong><br />
the Department of Screen Arts & Cultures at the University of<br />
Michigan. His latest book, Americaniz<strong>in</strong>g the Movies and 'Movie-Mad'<br />
Audiences, 1910-1914 (California), was published <strong>in</strong> 2006.<br />
Forthcom<strong>in</strong>g books <strong>in</strong>clude Early C<strong>in</strong>ema and the 'National', co-edited<br />
with Giorgio Bertell<strong>in</strong>i and Rob K<strong>in</strong>g (John Libbey), and Menus for<br />
Movie Land: Newspapers and the Movies, 1911-1915.<br />
› Frame Stories for Writ<strong>in</strong>g the History of French Silent C<strong>in</strong>ema, Studies <strong>in</strong><br />
French C<strong>in</strong>ema, 2.1, 5-13.<br />
Anders Wilhelm Åberg is an Associate Professor <strong>in</strong> Film Studies at<br />
L<strong>in</strong>naeus University of Kalmar/Växjö. He has published a book on the<br />
Swedish film-maker Vilgot Sjöman and articles on televised fiction,<br />
film criticism and, more recently, on Swedish children’s films.<br />
› Art is born on the border of taboo: Vilgot Sjöman <strong>in</strong> Hollywood, Journal of<br />
Scand<strong>in</strong>avian C<strong>in</strong>ema, 1.2, 159-162.<br />
May Adadol Ingawanij jo<strong>in</strong>ed CREAM after complet<strong>in</strong>g her Ph.D. at<br />
the London Consortium, University of London (with Prof. Laura<br />
Mulvey). Her thesis, Hyperbolic Heritage: Bourgeois Spectatorship<br />
and Contemporary Thai C<strong>in</strong>ema, traces the relationship between<br />
c<strong>in</strong>ematic spectacle, royalism, and the Thai bourgeois fantasy of<br />
atta<strong>in</strong><strong>in</strong>g global prestige by display<strong>in</strong>g ‘world-class Tha<strong>in</strong>ess’. The<br />
<strong>research</strong> has been published <strong>in</strong> Inter-Asia Cultural Studies (2007),<br />
South East Asia Research (2006), and Represent<strong>in</strong>g the Rural (2006).<br />
May is one of the organisers of the Annual Southeast Asian C<strong>in</strong>emas<br />
conference, the ma<strong>in</strong> forum of <strong>in</strong>tellectual exchange concern<strong>in</strong>g the<br />
region’s c<strong>in</strong>emas held on a rotat<strong>in</strong>g basis <strong>in</strong> each of its countries. With<br />
Benjam<strong>in</strong> McKay she is edit<strong>in</strong>g the first volume of critical writ<strong>in</strong>gs on<br />
the <strong>in</strong>dependent c<strong>in</strong>emas of the region.<br />
› Blissfully <strong>who</strong>se? Jungle pleasures, ultra-modernist c<strong>in</strong>ema and the<br />
cosmopolitan Thai auteur, New C<strong>in</strong>emas: Journal of Contemporary Film,<br />
4.1, 37-54.
John Adams<br />
University of Bristol, Department of<br />
Drama (Theatre, Film, Television),<br />
Cantocks Close, Bristol, BS8 1UP,<br />
United K<strong>in</strong>gdom<br />
Keywords screen media, practice<br />
<strong>research</strong>, creative <strong>in</strong>dustries,<br />
documentation<br />
Adewole Adejayan<br />
University of Ibadan, UI, Oyo State,<br />
Ibadan, Oyo State, P O Box 21156,<br />
Nigeria<br />
Keywords soccer, fandom,<br />
Nollywood, cultural passage, Nigeria,<br />
Thierry Henry<br />
Mara Adelman<br />
Seattle University, Department of<br />
Communication, 901 12th Ave,<br />
Seattle, WA 98122, United States of<br />
America<br />
Keywords social support systems,<br />
AIDS, communication, community<br />
development<br />
John Adams is Emeritus Professor of Film & Screen Media Practice <strong>in</strong><br />
the School of Arts (Drama) at the University of Bristol, where he<br />
taught for many years. He has produced and/or directed over 30<br />
broadcast films and theatre productions, and co-founded and chaired<br />
the Watershed Media Centre (Bristol) and the production company<br />
Watershed Television Ltd. He was the found<strong>in</strong>g editor of the Journal of<br />
Media Practice, a member of the Higher Education Fund<strong>in</strong>g Council<br />
media and communications panel for the RAE 2008. He writes and<br />
lectures on practice-based approaches to screen media teach<strong>in</strong>g and<br />
<strong>research</strong>. His current <strong>in</strong>terests <strong>in</strong>clude film and creative <strong>in</strong>dustries<br />
policy, space and place <strong>in</strong> film, and screen act<strong>in</strong>g and performance.<br />
› Book Reviews, Film International, 3.13, 50-51.<br />
Adewole Adejayan is a postgraduate student of the Institute of African<br />
Studies, University of Ibadan, Ibadan, Nigeria. His current <strong>research</strong><br />
explores the <strong>in</strong>tersection between religion and African politics.<br />
› Thierry Henry as Igwe: Soccer fandom, christen<strong>in</strong>g and cultural passage <strong>in</strong><br />
Nollywood, Journal of African C<strong>in</strong>emas, 3.1, 25-42.<br />
Mara Adelman (Ph.D., University of Wash<strong>in</strong>gton) is an Associate<br />
Professor <strong>in</strong> the Department of Communication at Seattle University.<br />
Her <strong>research</strong> is on social support systems and AIDS; communication<br />
and community development; <strong>in</strong>tercultural communication; crosscultural<br />
adaptation/expatriation; service <strong>in</strong>dustry and <strong>in</strong>terpersonal<br />
communication; communication networks and restorative solitude. Dr.<br />
Adelman is a co-author on four books and her <strong>research</strong> has been<br />
published <strong>in</strong> Critical Studies <strong>in</strong> Mass Communication, Journal of<br />
Health Communication and Journal of Marriage and the Family,<br />
among others.<br />
› Look<strong>in</strong>g for Love <strong>in</strong> All the White Places: A Study of Sk<strong>in</strong> Color Preferences<br />
on Indian Matrimonial and Mate-Seek<strong>in</strong>g Websites, Studies <strong>in</strong> South Asian<br />
Film & Media, 1.1, 65-83.
Gbemisola Adeoti<br />
Obafemi Awolowo University,<br />
Department of English, Ile-Ife,<br />
Nigeria<br />
Keywords governance, Nigeria,<br />
theatre, video, Yoruba<br />
Gunhild Agger<br />
Aalborg Universitet, Department of<br />
Culture and Global Studies,<br />
Kroghstraede 3, 9220 Aalborg,<br />
Denmark<br />
Keywords Swedish and Danish TV<br />
crime fiction, best-seller, blockbuster,<br />
The Kill<strong>in</strong>g, emotion, gender and<br />
genre<br />
Wisdom Agorde<br />
University of Alberta, Department of<br />
English and Film Studies, 3-89<br />
Humanities Centre, Edmonton,<br />
Alberta, T6G 2E5, Canada<br />
Gbemisola Adeoti (Ph.D.) is lecturer <strong>in</strong> the English Department of<br />
Obafemi Awolowo University, Ile-Ife, Nigeria. His areas of teach<strong>in</strong>g<br />
and <strong>research</strong> <strong>in</strong>clude Dramatic Literature, Poetry, Literary<br />
History/Theory and Popular Culture. He is the author of Naked Soles,<br />
co-editor (with Bjorn Beckman) of <strong>Intellect</strong>uals and African<br />
Development and editor of Muse and Mimesis: Critical Perspectives on<br />
Ahmed Yerima’s Drama. He was a British Academy Visit<strong>in</strong>g Fellow at<br />
the School of English, University of Leeds, United K<strong>in</strong>gdom, from<br />
October to December 2008. He is a Postdoctoral Fellow of the African<br />
Humanities Program organized by the American Council of Learned<br />
Societies (ACLS).<br />
› Home video films and the democratic imperative <strong>in</strong> contemporary Nigeria,<br />
Journal of African C<strong>in</strong>emas, 1.1, 35-56.<br />
Gunhild Agger, D Phil, is Professor at Department of Culture and<br />
Global Studies, Aalborg University, Denmark. Agger has been the<br />
director of a cross-discipl<strong>in</strong>ary <strong>research</strong> programme ‘Crime Fiction and<br />
Crime Journalism <strong>in</strong> Scand<strong>in</strong>avia’, funded by the Danish Research<br />
Council for Culture and Communication (cf. www.krimiforsk.aau.dk).<br />
Her current <strong>research</strong> areas <strong>in</strong>clude history of the media, national film,<br />
television drama, theory of genre and style. She is co-editor of Medie-<br />
og Kommunikationsleksikon (2009). She has published a number of<br />
books and articles <strong>in</strong> Danish and co-edited Den skand<strong>in</strong>aviske krimi –<br />
bestseller og blockbuster (2010). Among her publications <strong>in</strong> English<br />
and French are Approaches to Scand<strong>in</strong>avian Crime Fiction (2010)<br />
http://www.krimiforsk. aau.dk/uk/awpape<br />
/Agger_ApproachesToScand<strong>in</strong>avienCrimeFiction.w15.pdf; ‘Histoire et<br />
culture médiatique: le roman policier historique en Scand<strong>in</strong>avie’ 2010;<br />
‘The element of childhood. From children’s television to Dogme 95’.<br />
› Emotion, gender and genre: Investigat<strong>in</strong>g The Kill<strong>in</strong>g, Northern Lights: Film<br />
& Media Studies Yearbook, 9., 111-125.<br />
› Media and crime: Fiction and journalism, Northern Lights: Film & Media<br />
Studies Yearbook, 9., 3-7.<br />
Wisdom Agorde teaches at the Department of English and Film<br />
Studies, University of Alberta, Edmonton. He specializes <strong>in</strong> Ghanaian<br />
dance, theatre and music. He has an MA <strong>in</strong> Drama from the University<br />
of Alberta and is currently work<strong>in</strong>g towards his Ph.D. <strong>in</strong> English and<br />
Film Studies <strong>in</strong> the Department of English. Wisdom teaches,
Keywords evangelical Pentecostal<br />
churches, ‘charismatic churches’, The<br />
Broken Wall, mascul<strong>in</strong>ity, hallelujah<br />
video films<br />
Talat Ahmed<br />
Goldsmiths, University of London,<br />
Department of History, New Cross,<br />
London, SE14 6NW, United<br />
K<strong>in</strong>gdom<br />
Keywords art house, Bollywood, All-<br />
India Progressive Writers' Association<br />
(AIPWA), Indian People's Theatre<br />
Association (IPTA), Satyajit Ray<br />
Soo Jeong Ahn<br />
Pusan National University, Ga-102,<br />
474-5, Gwangj<strong>in</strong>-gu, Seoul, 143-858,<br />
Korea Sout<br />
Keywords South Korean c<strong>in</strong>ema,<br />
Kim Ki-Young, Sh<strong>in</strong> Sang-Ok,<br />
auteur, Asian c<strong>in</strong>ema<br />
Ian Aitken<br />
S<strong>in</strong>gtao Communication Centre, 224<br />
Waterloo Rd, Rm.STC801, Kowloon<br />
Tong, Hong Kong<br />
Keywords Baz<strong>in</strong>, Grierson, Kracauer,<br />
Lukács, realism<br />
choreographs and coord<strong>in</strong>ates all the dances and the movements with<strong>in</strong><br />
the West African Music Ensemble course.<br />
› Creat<strong>in</strong>g the balance: hallelujah mascul<strong>in</strong>ities <strong>in</strong> a Ghanaian video film, Film<br />
International, 5.4, 51-63.<br />
Talat Ahmed is a Teach<strong>in</strong>g Fellow <strong>in</strong> Modern South Asian History at<br />
SOAS (School of Oriental and African Studies) University of London.<br />
She has recently completed a Ph.D. on the Progressive Writers’<br />
Movement <strong>in</strong> South Asia: 1932–56.<br />
› Realism <strong>in</strong> South Asian c<strong>in</strong>ema, Film International, 4.24, 40-49.<br />
Soo Jeong Ahn is the author of the chapter ‘Bibliography of Works on<br />
Korean C<strong>in</strong>ema’ <strong>in</strong> New Korean C<strong>in</strong>ema (Ed<strong>in</strong>burgh University Press,<br />
2005). Her essays on film festivals and Asian c<strong>in</strong>ema have been<br />
published <strong>in</strong> the anthologies What a Difference a Region Makes:<br />
Cultural Studies and Cultural Industries <strong>in</strong> North-East Asia (Hong<br />
Kong University Press) and <strong>in</strong> C<strong>in</strong>emas, Identities and Beyond<br />
(Cambridge Scholars Publish<strong>in</strong>g). She currently teaches at the Pusan<br />
National University <strong>in</strong> South Korea.<br />
› Re-imag<strong>in</strong><strong>in</strong>g the Past: Programm<strong>in</strong>g South Korean retrospectives at the<br />
Pusan International Film Festival, Film International, 6.4, 24-33.<br />
Ian Aitken is the author of Film and Reform (Routledge, 1990), The<br />
Documentary Film Movement: An Anthology (EUP, 1998), Alberto<br />
Cavalcanti (Flicks, 2001), European Film Theory and C<strong>in</strong>ema (EUP,<br />
2001), Realist Film Theory and C<strong>in</strong>ema (MUP, 2006), and The<br />
Encyclopedia of the Documentary Film (ed.) (Routledge, 2006). He is<br />
Associate Professor <strong>in</strong> Film Studies at Hong Kong Baptist University,<br />
and Senior Research Fellow <strong>in</strong> Film Studies at De Montfort University.
José Alaniz<br />
University of Wash<strong>in</strong>gton, Slavic<br />
Languages and Literatures, Seattle,<br />
United States of America<br />
Keywords Sokurov, death, excess,<br />
nature, C.D. Friedrich<br />
Julián Daniel Gutiérrez<br />
Albilla<br />
Keywords corporeality, dance,<br />
gesture, silence, subjectivity<br />
Dom<strong>in</strong>ic Alessio<br />
The American International<br />
University <strong>in</strong> London, Queens Road,<br />
Richmond-Upon-Thames, London,<br />
TW10 6JP, United K<strong>in</strong>gdom<br />
Keywords science fiction, modernity,<br />
postcolonialism, extreme nationalism,<br />
› The European realist tradition, Studies <strong>in</strong> European C<strong>in</strong>ema, 3.3, 175-188.<br />
› Physical reality: the role of the empirical <strong>in</strong> the film theory of Siegfried<br />
Kracauer, John Grierson, André Baz<strong>in</strong> and Georg Lukács, Studies <strong>in</strong><br />
Documentary Film, 1.2, 105-122.<br />
José Alaniz is an assistant professor <strong>in</strong> the Departments of Slavic<br />
Languages and Literatures, and Comparative Literatures at the<br />
University of Wash<strong>in</strong>gton, Seattle. His <strong>research</strong> <strong>in</strong>terests <strong>in</strong>clude<br />
late/post-Soviet Russian literature and culture, c<strong>in</strong>ema, death and<br />
dy<strong>in</strong>g, disability, eco-criticism and comics. He is currently writ<strong>in</strong>g a<br />
book on comics <strong>in</strong> Russia.<br />
› ‘Nature’, illusion and excess <strong>in</strong> Sokurov's Mother and Son, Studies <strong>in</strong> Russian<br />
and Soviet C<strong>in</strong>ema, 2.2, 183-204.<br />
Julián Daniel Gutiérrez-Albilla completed his Ph.D. dissertation <strong>in</strong><br />
2004 on questions of gender, sexuality and subjectivity <strong>in</strong> the Spanish<br />
and Mexican c<strong>in</strong>ema of Luis Buñuel at the University of Cambridge.<br />
His <strong>research</strong> <strong>in</strong>terests are <strong>in</strong> modern Spanish cultural studies and film<br />
studies, critical theory, and psychoanalytic criticism. His publications<br />
<strong>in</strong>clude articles on gender, visual arts and Buñuel. He spent the summer<br />
of 2005 <strong>in</strong> Paris <strong>research</strong><strong>in</strong>g the theme of Spanish economic emigration<br />
to France dur<strong>in</strong>g the late Francoist period, and how this theme might be<br />
<strong>in</strong>scribed <strong>in</strong> Buñuel’s French films.<br />
› Body, silence and movement: P<strong>in</strong>a Bausch's Café Müller <strong>in</strong> Almodóvar's<br />
Hable con ella, Studies <strong>in</strong> Hispanic C<strong>in</strong>emas, 2.1, 47-.<br />
Dom<strong>in</strong>ic Alessio is Professor of History and Director of the Study<br />
Abroad Programme at Richmond, The American International<br />
University <strong>in</strong> London. He was also a Visit<strong>in</strong>g Research Fellow <strong>in</strong> the<br />
English and Media Department of the University of Northampton, UK,<br />
and formerly Vice Chair of the New Zealand Studies Association. His<br />
<strong>research</strong> <strong>in</strong>terests relate to empire history, the far right, science fiction<br />
and New Zealand.
India<br />
Tabea Alexa L<strong>in</strong>hard<br />
Wash<strong>in</strong>gton University <strong>in</strong> St. Louis,<br />
Romance Languages and Literatures,<br />
Campus Box 1077, St. Louis, MO,<br />
63105, United States of America<br />
Keywords confession, cultural<br />
memory, gender<br />
Samirah Alkassim<br />
Independent<br />
Keywords alterity, media signifier,<br />
accented c<strong>in</strong>ema, <strong>in</strong>stallations<br />
Bla<strong>in</strong>e Allan<br />
Queen’s University, Film and Media,<br />
› Nationalism and postcolonialism <strong>in</strong> Indian science fiction: Bollywood's Koi<br />
… Mil Gaya (2003), New C<strong>in</strong>emas: Journal of Contemporary Film, 5.3, 217-<br />
230.<br />
Tabea Alexa L<strong>in</strong>hard is Assistant Professor of Spanish and<br />
Comparative Literature at Wash<strong>in</strong>gton University <strong>in</strong> St. Louis. She is<br />
the author of Fearless Women <strong>in</strong> the Mexican Revolution and the<br />
Spanish Civil War (University of Missouri Press 2005). Recent<br />
publications <strong>in</strong>clude ‘In the Precarious Exilic Realm: Edward Said’s<br />
Andalusian Journeys’, Humanism and the Global Hybrid:<br />
Reconstellat<strong>in</strong>g Edward Said and Jacques Derrida (eds. Assim<strong>in</strong>a<br />
Karavanta and N<strong>in</strong>a Morgan, Cambridge Scholars P, 2009). ‘The Maps<br />
of Nostalgia: Juana Salabert’s Velódromo de <strong>in</strong>vierno’, Revista<br />
Hispánica Moderna, 60.1 (June 2007): 72–93 and ‘Between Hospitality<br />
and Hostility: Immigration <strong>in</strong> Contemporary Spanish Culture’, MLN.<br />
122.2 (March 2007): 400–22. She is currently work<strong>in</strong>g on a booklength<br />
manuscript on Jewishexile <strong>in</strong> Spa<strong>in</strong> dur<strong>in</strong>g Word War II.<br />
› Unheard confessions and transatlantic connections: Y tu mamá también and<br />
Nadie hablará de nosotras cuando hayamos muerto, Studies <strong>in</strong> Hispanic<br />
C<strong>in</strong>emas, 5.1&2, 43-56.<br />
Samirah Alkassim is an <strong>in</strong>dependent <strong>research</strong>er and filmmaker with<br />
several years experience liv<strong>in</strong>g <strong>in</strong> Egypt and Jordan. Formerly head of<br />
the Film Program at the American University <strong>in</strong> Cairo, and Film<br />
Production Workshops Coord<strong>in</strong>ator at the Royal Film Commission of<br />
Amman, Samirah currently resides <strong>in</strong> the US. Current projects <strong>in</strong>clude<br />
<strong>research</strong> on Ramadan television serials, and a documentary <strong>in</strong> progress<br />
about Palest<strong>in</strong>ian artists <strong>in</strong> Jordan.<br />
› Crack<strong>in</strong>g the monolith, New C<strong>in</strong>emas: Journal of Contemporary Film, 1.3, 5-<br />
136.<br />
Bla<strong>in</strong>e Allan teaches film at Queen’s University, K<strong>in</strong>gston, Ontario,<br />
Canada. He is work<strong>in</strong>g on a book about the Australia-born Canadian<br />
film-maker, Phillip Borsos. His <strong>research</strong> <strong>in</strong>terests <strong>in</strong>clude historical
160 Stuart Street, K<strong>in</strong>gston, Ontario,<br />
K7L 3N6, Canada<br />
Keywords Phillip Borsos, historical<br />
approaches to film, Canadian c<strong>in</strong>ema,<br />
Canadian television, film authorship<br />
Sigurd Allern<br />
Stockholm University, Department of<br />
Media and Communication, POB<br />
27861, Stockholm, SE-11593,<br />
Sweden<br />
Keywords political commentators,<br />
Norway, media history, journalism,<br />
elections<br />
Mark All<strong>in</strong>son<br />
University of Leicester, United<br />
K<strong>in</strong>gdom<br />
Keywords thriller, auteur, authorship,<br />
Bajo Ulloa<br />
approaches to film, Canadian film and television and film authorship.<br />
› Matters of life and debt, Studies <strong>in</strong> Documentary Film, 2.3, 257-277.<br />
Sigurd Allern, D.Polit., is Professor of Journalism Studies at the<br />
Department of Media and Communication, University of Oslo,<br />
Norway, and guest professor at the Department of Journalism, Media<br />
and Communication, Stockholm University, Sweden. He is project<br />
leader of the Nordic Research Network <strong>in</strong> Journalism Studies. His<br />
present <strong>research</strong> focuses on political communication and the relations<br />
between news organizations and professional sources. He has<br />
published several books and articles on news values, the relations<br />
between PR and journalism, political scandals and the political<br />
economy of news production.<br />
› From party agitators to <strong>in</strong>dependent pundits The changed historical roles of<br />
newspaper and television journalists <strong>in</strong> Norwegian election campaigns,<br />
Northern Lights: Film & Media Studies Yearbook, 8.1, 49-67.<br />
Mark All<strong>in</strong>son is Professor of Spanish at the University of Leicester,<br />
UK. His <strong>research</strong> <strong>in</strong>terests are <strong>in</strong> modern and contemporary Spanish<br />
culture, particularly c<strong>in</strong>ema, drama and subcultures. He has published<br />
three books, A Spanish Labyr<strong>in</strong>th: The Films of Pedro Almodóvar<br />
(London & NY, 2001), ¡Te toca! A New Communicative Spanish<br />
Course (London, 2002), and Spanish C<strong>in</strong>ema: A Student Guide (coauthored<br />
with Barry Jordan). Other publications <strong>in</strong>clude chapters on<br />
Spanish youth cultures and punk, articles on films of Juanma Bajo<br />
Ulloa and Juan Antonio Bardem, and another on the use of simulations<br />
<strong>in</strong> the language classroom. His book on Almodóvar has been updated<br />
and translated <strong>in</strong>to Spanish and is also available as an e-book.<br />
› Editorial, Studies <strong>in</strong> Hispanic C<strong>in</strong>emas, 1.1, 3-4.<br />
Deborah Allison Deborah Allison is a London-based c<strong>in</strong>ema programmer. She holds a<br />
doctorate <strong>in</strong> Film Studies from the University of East Anglia, and her
City Screen, C<strong>in</strong>ema Programm<strong>in</strong>g<br />
Keywords Magnum Force, The<br />
Enforcer, Sudden Impact, The Dead<br />
Pool, Cl<strong>in</strong>t Eastwood<br />
Michihiro Ama<br />
University of Alaska Anchorage,<br />
Department of Languages, ADM 287,<br />
3211 Providence Drive, Anchorage,<br />
AK 99508, United States of America<br />
Keywords funerary Buddhism, death<br />
rituals, Coff<strong>in</strong>man (Nkanfu Nikki),<br />
Okuribito/Departures<br />
Hector Amaya<br />
University of Virg<strong>in</strong>ia, Media Studies,<br />
United States of America<br />
Keywords race, gender, sexuality,<br />
Bildungsroman, psychoanalysis,<br />
Mexican c<strong>in</strong>ema<br />
writ<strong>in</strong>g has appeared <strong>in</strong> an <strong>in</strong>ternational range of books and journals,<br />
<strong>in</strong>clud<strong>in</strong>g Film Criticism, Film Quarterly, Senses of C<strong>in</strong>ema, Screen,<br />
and The Schirmer Encyclopaedia of Film.<br />
› Court<strong>in</strong>g the critics/assur<strong>in</strong>g the audiences: The modulation of Dirty Harry <strong>in</strong><br />
a chang<strong>in</strong>g cultural climate, Film International, 5.5, 17-31.<br />
› Stephen Frears Master of hi-lo culture, Film International, 5.3, 35-53.<br />
› Odeon C<strong>in</strong>emas 2: From J. Arthur Rank to the Multiplex Allen Eyles (2005),<br />
Film International, 5.2, 79-80.<br />
› Book Reviews, Film International, 7.2, 74-83.<br />
› Book Reviews, Film International, 8.1, 78-88.<br />
Michihiro Ama is currently an assistant professor of Japanese at the<br />
University of Alaska Anchorage. He has a forthcom<strong>in</strong>g monograph<br />
entitled Immigrants to the Pure Land: Modernization, Acculturation,<br />
and Globalization of Sh<strong>in</strong> 1898–1941 (University of Hawaii Press,<br />
2011).<br />
› Transcend<strong>in</strong>g death <strong>in</strong> Departures (Okuribito): A case study of film, literature<br />
and Buddhism <strong>in</strong> modern Japan, Journal of Japanese & Korean C<strong>in</strong>ema, 2.1,<br />
35-50.<br />
Hector Amaya is an Assistant Professor of Media Studies at the<br />
University of Virg<strong>in</strong>ia. Previously, he taught <strong>in</strong> the Communication<br />
Studies Department at Southwestern University <strong>in</strong> Georgetown, Texas.<br />
His <strong>research</strong>, writ<strong>in</strong>g, and teach<strong>in</strong>g engages with the areas of global<br />
media, Lat<strong>in</strong> American film, comparative media studies, and Lat<strong>in</strong>as/os<br />
media studies. His first book, Screen<strong>in</strong>g Cuba: Film Criticism as<br />
Political Performance Dur<strong>in</strong>g the Cold War (Urbana: University of<br />
Ill<strong>in</strong>ois Press, 2010) is a comparative study of film reception of Cuban<br />
film, cultural criticism, and citizenship <strong>in</strong> Cuba and the United States<br />
from the 1960s to 1985. His second book, currently under review, is<br />
titled Citizenship Excess: Lat<strong>in</strong>as/os, Transnationalism, Media, and the<br />
Ethics of Nation. This book analyses Bush-era nativisms target<strong>in</strong>g<br />
Lat<strong>in</strong>as/os and the way nativism shapes current political and media<br />
cultures.<br />
› Bridges between the divide: The female body <strong>in</strong> Y tu Mamá también and<br />
Machuca, Studies <strong>in</strong> Hispanic C<strong>in</strong>emas, 4.1, 47-62.<br />
› Amores perros and racialised mascul<strong>in</strong>ities <strong>in</strong> contemporary Mexico, New
Serena Anderl<strong>in</strong>i-<br />
D'Onofrio<br />
University of Puerto Rico, Mayaguez,<br />
Department of Humanities,<br />
Mayaguez, PR 00681-9264, Puerto<br />
Rico<br />
Keywords bisexuality, queer theory,<br />
ludic structures<br />
Lars Pynt Andersen<br />
University of Southern Denmark,<br />
Department of Market<strong>in</strong>g and<br />
Management, Denmark<br />
Keywords rhetorical analysis,<br />
advertis<strong>in</strong>g, modality, lyricism,<br />
retrospective revaluation<br />
Gillian B. Anderson<br />
Keywords film music, The Birth of a<br />
Nation, D.W. Griffith, Joseph Carl<br />
Breil, Douglas Fairbanks, Mortimer<br />
Wilson, The Thief of Baghdad<br />
C<strong>in</strong>emas: Journal of Contemporary Film, 5.3, 201-216.<br />
Serena Anderl<strong>in</strong>i-D’Onofrio is the author of the memoir, Eros: A<br />
Transcultural Journeyandthe guest editor of two issuesofThe Journal<br />
of Bisexuality, Women and Bisexuality Plural Desireson women and<br />
polyamory respectively, which are available as books from Haworth<br />
Press. She has published <strong>in</strong> numerous professional journals, <strong>in</strong>clud<strong>in</strong>g<br />
VIA, DisClosure, and Women and Language. Her study of women’s<br />
playwrit<strong>in</strong>g <strong>in</strong> the twentieth century The ‘Weak’ Subject (1998), has<br />
been translated <strong>in</strong>to Italian as Due <strong>in</strong> una(2003). She is the translator of<br />
her father’s collection of poems A Lake for the Heart/Il lago del<br />
cuorepublished <strong>in</strong> 2005<br />
› Bisexual games and emotional susta<strong>in</strong>ability <strong>in</strong> Ferzan Özpetek's queer films,<br />
New C<strong>in</strong>emas: Journal of Contemporary Film, 2.3, 163-174.<br />
Lars Pynt Andersen is Associate Professor at the Department of<br />
Market<strong>in</strong>g and Management, University of Southern Denmark. His<br />
Ph.D., from the Copenhagen Bus<strong>in</strong>ess School, was on the subject of<br />
genres and rhetorical strategies of Danish TV advertis<strong>in</strong>g. Current<br />
<strong>research</strong> themes are radio advertis<strong>in</strong>g, the construction of the Tween<br />
consumer culture, and the idea of an attention economy.<br />
› A rhetorical analysis of Village, Short Film Studies, 1.1, 127-130.<br />
Gillian B. Anderson is an orchestral conductor and musicologist. She<br />
has reconstructed and performed with orchestras <strong>in</strong> the US, South<br />
America and Europe the orig<strong>in</strong>al scores for 33 films made between<br />
1898 and 1929. Her record<strong>in</strong>g of Nosferatu is avaliable from BMG<br />
classics. A CD and video of Carmen (DeMille, 1915) is avaliable from<br />
VAI, and a DVD of (Christiansen, 1923) from Criterio<strong>in</strong> Films. Most<br />
recently <strong>in</strong> collaboration with Thomas L. Riis and Ronald H. Sadoff<br />
she summarized the state of <strong>research</strong> and practice <strong>in</strong> an issue of<br />
American Music devoted to film music. (Vol. 22, No.1, Spr<strong>in</strong>g 2004,<br />
p.1-13).
Kev<strong>in</strong> Anderson<br />
Deak<strong>in</strong> University, Melbourne,<br />
Victoria, Australia<br />
Keywords short film scriptwrit<strong>in</strong>g,<br />
trans-generational grief, World War I<br />
Lars Gustaf Andersson<br />
Lund University, Centre for<br />
Languages and Literature, Box 201,<br />
Lund, S-221 00, Sweden<br />
Keywords experimental film,<br />
amateurism, Swedish c<strong>in</strong>ema, film<br />
historiography, Peter Weiss<br />
› Editorial, Film International, 3.13, 3-3.<br />
› A Consummation and a Harb<strong>in</strong>ger of the Future: Mortimer Wilson, Film<br />
International, 3.13, 32-39.<br />
Kev<strong>in</strong> Anderson has worked as a writer, director and c<strong>in</strong>ematographer<br />
for many years <strong>in</strong> the Australian film and television <strong>in</strong>dustry. A multiaward<br />
w<strong>in</strong>n<strong>in</strong>g c<strong>in</strong>ematographer, he currently teaches Film and Video<br />
Production, Screenwrit<strong>in</strong>g and C<strong>in</strong>ematography at Deak<strong>in</strong> University <strong>in</strong><br />
Melbourne, Australia.<br />
› The way home:concealment and revelation <strong>in</strong> The War Is Over, Short Film<br />
Studies, 1.1, 43-46.<br />
› Subjective and objective po<strong>in</strong>t of view as metaphor <strong>in</strong> Mitko Panov’s With<br />
Raised Hands, Short Film Studies, 2.1, 33-36.<br />
Lars Gustaf Andersson is Senior Lecturer and Reader <strong>in</strong> Film Studies,<br />
Lund University. He is co-editor of Journal of Aesthetics and Culture<br />
and co-writer (with John Sundholm and Astrid Söderbergh Widd<strong>in</strong>g) of<br />
A History of Swedish Experimental Film Culture: From Early<br />
Animation to Video Art (2010). He is currently <strong>research</strong><strong>in</strong>g the Swedish<br />
Film Workshop <strong>in</strong> Stockholm together with John Sundholm.<br />
› Amateur and avant-garde: m<strong>in</strong>or c<strong>in</strong>emas and public sphere <strong>in</strong> 1950s<br />
Sweden, Studies <strong>in</strong> European C<strong>in</strong>ema, 5.3, 207-218.<br />
› Women & Experimental Filmmak<strong>in</strong>g Jean Petrolle and Virg<strong>in</strong>ia Wright<br />
Wexman (eds) (2005), Film International, 5.2, 62-63.<br />
› DVD Reviews, Film International, 6.2, 60-66.<br />
› DVD Reviews, Film International, 6.3, 60-75.<br />
› DVD Reviews, Film International, 6.5, 70-74.<br />
› Book Reviews, Film International, 6.5, 75-89.<br />
› Book Reviews, Film International, 7.5, 71-90.<br />
Joe Andrew Joe Andrew is Professor of Literature and Culture at Keele University,<br />
where he has worked s<strong>in</strong>ce 1972. His ma<strong>in</strong> <strong>research</strong> <strong>in</strong>terests are<br />
n<strong>in</strong>eteenth-century Russian literature, fem<strong>in</strong>ist approaches to
Keele University, School of<br />
Humanities, Staffordshire, ST5 5BG,<br />
United K<strong>in</strong>gdom<br />
Keywords narrative, gender, identity,<br />
Bakht<strong>in</strong>, Lotman, c<strong>in</strong>ema, Russia<br />
Anita Angelone<br />
College of William & Mary,<br />
Department of Modern Languages<br />
and Literatures, P.O. Box 8795,<br />
Williamsburg, VA 23187–8795,<br />
United States of America<br />
Keywords Italian c<strong>in</strong>ema, fiction and<br />
non-fiction, environmental criticism,<br />
theories of place and space, Pier Paolo<br />
Pasol<strong>in</strong>i<br />
William Anselmi<br />
University of Alberta, MLCS, Canada<br />
Keywords Irshad Manji, postpolitics,<br />
optical personage,<br />
performative radicalism, resistant<br />
ethnicity<br />
literature, women writers, and c<strong>in</strong>ema. He has published numerous<br />
articles <strong>in</strong> these fields, as well as several monographs, <strong>in</strong>clud<strong>in</strong>g<br />
Narrative & Desire <strong>in</strong> Russian Literature, 1822–1849: The Fem<strong>in</strong><strong>in</strong>e &<br />
the Mascul<strong>in</strong>e (Macmillan, 1993), Russian Women’s Shorter Fiction:<br />
An Anthology, 1835–1860 (Oxford University Press, 1996) and<br />
Narrative, Space and Gender <strong>in</strong> Russian Fiction1846-1903. He has<br />
published a number of studies on Russian film. He is also Chair of the<br />
Neo-Formalist Circle, and was co-editor of its journal, Essays <strong>in</strong><br />
Poetics. Over the last decade the Neo-Formalist Circle has organized a<br />
number of special conferences, on Pushk<strong>in</strong>, Platonov, Gogol, Chekhov,<br />
Turgenev, Dostoevsky and Tolstoy.<br />
› Birth equals rebirth?Space, narrative, and gender <strong>in</strong> the Commisar, Studies <strong>in</strong><br />
Russian and Soviet C<strong>in</strong>ema, 1.1, 27-44.<br />
Anita Angelone is assistant professor of Italian Studies at the College<br />
of William & Mary. Her <strong>research</strong> <strong>in</strong>terests <strong>in</strong>clude both fiction and<br />
non-fiction c<strong>in</strong>ema <strong>in</strong> Italy, Italian literary figurations of the city,<br />
environmental criticism, and theories of place and space. She has<br />
published a book chapter on Pier Paolo Pasol<strong>in</strong>i, as well as articles on<br />
topics rang<strong>in</strong>g from the c<strong>in</strong>ema of the economic boom to 19th-century<br />
serial novelist Carol<strong>in</strong>a Invernizio <strong>in</strong> two lead<strong>in</strong>g journals <strong>in</strong> the field,<br />
Italian Culture and Italian Studies.<br />
› Other visions: Contemporary Italian documentary c<strong>in</strong>ema as counterdiscourse,<br />
Studies <strong>in</strong> Documentary Film, 5.2-3, 83-89.<br />
› Talk<strong>in</strong>g trash: Documentaries and Italy’s ‘garbage emergency’, Studies <strong>in</strong><br />
Documentary Film, 5.2-3, 145-156.<br />
William Anselmi, Professor of Italian and Italian Canadian<br />
studies, teaches at the University of Alberta <strong>in</strong> the department of<br />
Modern Languages and Cultural Studies. He has co-authored several<br />
books on ethnicity, multiculturalism/biculturalism, representation, the<br />
media, and social changes resultant from new technologies of<br />
communication <strong>in</strong> the age of the image. He was a long-stand<strong>in</strong>g<br />
collaborator with the Montreal-based ViceVersa, the first example of a<br />
transcultural magaz<strong>in</strong>e <strong>in</strong> Canada. He is a co-found<strong>in</strong>g and comanag<strong>in</strong>g<br />
editor of the onl<strong>in</strong>e open-access journal Imag<strong>in</strong>ations:<br />
Journal of Cross-Cultural Image Studies.<br />
› Performative Radicalism <strong>in</strong> contemporary Canadian documentary film, Film
Kay Armatage<br />
University of Toronto, C<strong>in</strong>ema<br />
Studies Institute, Innis College, 2<br />
Sussex Avenue, Toronto, ON, M5S<br />
1J5, United States of America<br />
Keywords open-air screen<strong>in</strong>gs,<br />
community, FESPACO, Film Festival<br />
Jakmel<br />
Richard Armstrong<br />
Keywords film journalism, banned<br />
words, F. Scott Fitzgerald, Pat Hobby<br />
stories, Lost Generation, Hollywood,<br />
1930s<br />
Robert Arnett<br />
Old Dom<strong>in</strong>ion University,<br />
Department of Communication and<br />
International, 7.1, 44-53.<br />
Kay Armatage is a Professor at the University of Toronto, crossappo<strong>in</strong>ted<br />
to C<strong>in</strong>ema Studies Institute, Innis College and The Women<br />
and Gender Studies Institute. She is a member of the Graduate Centre<br />
for the Study of Drama. Author of The Girl from God's Country: Nell<br />
Shipman and the Silent C<strong>in</strong>ema (University of Toronto Press, 2003),<br />
Co-editor of Gender<strong>in</strong>g the Nation: Canadian Women's<br />
C<strong>in</strong>ema (Toronto: University of Toronto Press, 1999), Editor of Equity<br />
and How to Get It (Toronto: Inanna Press, 1999) and author of articles<br />
on women filmmakers, fem<strong>in</strong>ist theory and Canadian c<strong>in</strong>ema <strong>in</strong> books,<br />
magaz<strong>in</strong>es and journals.<br />
› Screen<strong>in</strong>gs by Moonlight, Film International, 6.4, 34-40.<br />
› Sidebar: Travell<strong>in</strong>g Projectionist Films, Film International, 6.4, 41-42.<br />
Richard Armstrong writes on film for publications on three cont<strong>in</strong>ents,<br />
<strong>in</strong>clud<strong>in</strong>g Film Quarterly, C<strong>in</strong>easte and . His second book -<br />
Understand<strong>in</strong>g Realism - appeared from the British Film Institute <strong>in</strong><br />
2005. He is a major contributor to the Rough Guide to Film (2007), and<br />
is currently <strong>research</strong><strong>in</strong>g a Ph.D. on grief <strong>in</strong> modern c<strong>in</strong>ema at<br />
Cambridge University.<br />
› Bad Language: Some offensive words <strong>in</strong> contemporary film criticism, Film<br />
International, 4.20, 10-11.<br />
› A Pocketful of Angles: F. Scott Fitzgerald's Pat Hobby Stories, Film<br />
International, 4.20, 20-29.<br />
› Deadl<strong>in</strong>e at Dawn: The film criticism of Judith Williamson, Film<br />
International, 4.20, 38-43.<br />
› The Best Years of Our Lives: Planes of <strong>in</strong>nocence and experience, Film<br />
International, 5.6, 83-91.<br />
Robert Arnett has published <strong>in</strong> Creative Screenwrit<strong>in</strong>g, Film Criticism,<br />
Quarterly Review of Film and Video and The Journal of Popular Film<br />
and Television. He has written numerous screenplays and his work is<br />
represented by Leslie Rabb at RPM International. He teaches
Theatre Arts, Norfolk, VA 23529,<br />
United States of America<br />
Keywords screenplays, film<br />
criticism, Leslie Rabb, RPM<br />
International<br />
Anna Arnman<br />
Film Studies, Lund University,<br />
Sweden<br />
Keywords monster fiction, Clive<br />
Barker<br />
Andrew Asibong<br />
Birkbeck University of London,<br />
Department of European Cultures and<br />
Languages, 43 Gordon Square,<br />
London, WC1H 0PD, United<br />
K<strong>in</strong>gdom<br />
Keywords k<strong>in</strong>ship, community,<br />
fantasy, stigma, normality, psychosocial<br />
metamorphosis, reconfiguration<br />
James Aston<br />
The Univerity of Hull, Department of<br />
Humanities, Lecturer <strong>in</strong> Film,<br />
Cott<strong>in</strong>gham Road, Hull, HU6 7RX,<br />
United K<strong>in</strong>gdom<br />
Keywords spectator, reflexivity,<br />
apocalypse, c<strong>in</strong>ematic reality, Time of<br />
the Wolf<br />
screenwrit<strong>in</strong>g and film history at Old Dom<strong>in</strong>ion University, Norfolk,<br />
VA.<br />
› REVIEWS, Journal of Screenwrit<strong>in</strong>g, 3.1, 119-128.<br />
Anna Arnman, Ph.D. <strong>in</strong> Film Studies at Lund University, Sweden. She<br />
has written essays and reviews to several anthologies, <strong>in</strong>clud<strong>in</strong>g The<br />
Man with the Movie Camera (Lund: Absalon, 1999) and Popular<br />
Fictions (Stockholm/Stenhag: Symposion 2000). She published her<br />
dissertation (<strong>in</strong> Swedish) Hellraiser: On Clive Barkers Film at<br />
Ellerstroms publish<strong>in</strong>g company <strong>in</strong> 2005. She is also a writer, editor<br />
and senior lecturer <strong>in</strong> film studies. Arnman is for the moment work<strong>in</strong>g<br />
on a project on monster fiction together with Anna Höglund.<br />
› Editorial, Film International, 3.17, 3-3.<br />
› Unrecognizable bonds: Bleed<strong>in</strong>g k<strong>in</strong>ship <strong>in</strong> Pedro Almodóvar and Gregg<br />
Araki, New C<strong>in</strong>emas: Journal of Contemporary Film, 7.3, 185-196.<br />
James Aston is a lecturer at the University of Hull. He teaches<br />
extensively on the undergraduate film studies course and is also a<br />
member of the Millenniumism Centre at Liverpool Hope University.<br />
Recent work <strong>in</strong>cludes the apocalyptic film pre-and-post millennium<br />
and c<strong>in</strong>ematic representations of the past. He is also co-edit<strong>in</strong>g a book<br />
on sex and television.<br />
› The (Un) spectacle of the real: Forward<strong>in</strong>g an active spectator <strong>in</strong> Michael<br />
Haneke's Le temps du loup/Time of the Wolf (2003), Studies <strong>in</strong> European
Peter Atk<strong>in</strong>son<br />
University of Central Lancashire,<br />
Department of Journalism, Media and<br />
Commun ication, Preston, PR1 2HE,<br />
United K<strong>in</strong>gdom<br />
Keywords popular music,<br />
broadcast<strong>in</strong>g, Liverpool, cultural<br />
representations<br />
Sarah Atk<strong>in</strong>son<br />
University of Brighton, Faculty of<br />
Arts, Havelock Road, Hast<strong>in</strong>gs, TN34<br />
1BE, United K<strong>in</strong>gdom<br />
Keywords audiovisual arts, dramatic<br />
storytell<strong>in</strong>g, Broadcast Media, sonic<br />
media<br />
Michael Audette-Longo<br />
Carleton University, 554 K<strong>in</strong>g<br />
Edward, Ottawa, ON, K1N 6N5,<br />
Canada<br />
Keywords representation, ideology,<br />
discourse, South African c<strong>in</strong>ema<br />
C<strong>in</strong>ema, 7.2, 109-122.<br />
Peter Atk<strong>in</strong>son is senior lecturer <strong>in</strong> Film and Media at University of<br />
Central Lancashire, UK, specializ<strong>in</strong>g <strong>in</strong> popular music and<br />
broadcast<strong>in</strong>g. With a Ph.D. on the subject of cultural representations of<br />
Liverpool <strong>in</strong> broadcast<strong>in</strong>g, Peter has several publications on this subject<br />
and has given numerous <strong>in</strong>ternational conference papers on a variety of<br />
topics.<br />
› Poetic licence: Issues of signification and authorship <strong>in</strong> British television<br />
versedocumentary,1986–96, Studies <strong>in</strong> Documentary Film, 5.1, 61-74.<br />
Dr. Sarah Atk<strong>in</strong>son is Pr<strong>in</strong>cipal Lecturer <strong>in</strong> Broadcast Media at the<br />
University of Brighton, UK. She is also an audiovisual arts practitioner,<br />
undertak<strong>in</strong>g practice-based explorations <strong>in</strong>to new forms of fictional and<br />
dramatic storytell<strong>in</strong>g <strong>in</strong> visual and sonic media. She is particularly<br />
<strong>in</strong>terested <strong>in</strong> multi-l<strong>in</strong>ear and multi-channel aesthetics. Her own multiscreen<br />
<strong>in</strong>teractive c<strong>in</strong>ema <strong>in</strong>stallation Crossed L<strong>in</strong>es has been exhibited<br />
<strong>in</strong>ternationally.<br />
› Surrounded by sound: The aesthetics of multichannel and hypersonic<br />
soundscapes and aural architectures, The Soundtrack, 4.1, 5-21.<br />
Michael Audette-Longo holds the 2007/2009 Research Fellowship<br />
from the Audiovisual Media Lab for the study of Cultures and<br />
Societies (www.lamacs.uOttawa.ca). His <strong>research</strong> <strong>in</strong>terests <strong>in</strong>clude the<br />
representation of the subjective and objective self <strong>in</strong> motion pictures.<br />
He is currently complet<strong>in</strong>g a Ph.D. <strong>in</strong> Cultural Mediations at Carleton<br />
University (Canada).<br />
› Revis(it)<strong>in</strong>g personal, theoretical and national histories: A critical reviewessay<br />
of Encounter<strong>in</strong>g Modernity: Twentieth Century South African C<strong>in</strong>emas<br />
with an <strong>in</strong>terview with Keyan G. Tomaselli, Journal of African C<strong>in</strong>emas, 2.2,<br />
151-165.
Patricia Aufderheide<br />
School of Communication, American<br />
University, Wash<strong>in</strong>gton D.C., United<br />
States of America<br />
Keywords family, body,<br />
documentary, film history, mother<br />
Guy Aust<strong>in</strong><br />
Newcastle University, School of<br />
Modern Languages, Old Library<br />
Build<strong>in</strong>g, Newcastle upon Tyne, NE1<br />
7RU, United K<strong>in</strong>gdom<br />
Keywords comedy, genre, folk<br />
humour, Bakht<strong>in</strong>, Les Visiteurs,<br />
trauma<br />
Thomas Aust<strong>in</strong><br />
University of Sussex, Silverstone<br />
EDB 329, Falmer, Brighton, BN1<br />
9RG, United K<strong>in</strong>gdom<br />
Keywords Black Sun, mascul<strong>in</strong>ity,<br />
disability, documentary<br />
Patricia Aufderheide is a professor <strong>in</strong> the School of Communication at<br />
the American University <strong>in</strong> Wash<strong>in</strong>gton DC and founder-director of the<br />
Center for Social Media there. She is the author of, among others,<br />
Documentary: A Very Short Introduction (Oxford University Press,<br />
2007) and The Daily Planet (University of M<strong>in</strong>nesota Press, 2000). She<br />
has received numerous journalism and scholarly awards, <strong>in</strong>clud<strong>in</strong>g<br />
career achievement awards <strong>in</strong> 2006 from the International<br />
Documentary Association and <strong>in</strong> 2008 from the International Digital<br />
Media and Arts Association.<br />
› Characters structur<strong>in</strong>g narrative: Undress<strong>in</strong>g My Mother with<strong>in</strong> personal<br />
memoir film history, Short Film Studies, 1.1, 71-75.<br />
Guy Aust<strong>in</strong> is currently Professor of French Studies at Newcastle<br />
University; he specializes <strong>in</strong> French and Algerian c<strong>in</strong>ema. Aust<strong>in</strong> began<br />
his career <strong>in</strong> 1992 at Sheffield, where he worked on modern French<br />
c<strong>in</strong>ema, French film stars and the films of Claude Chabrol, each area<br />
result<strong>in</strong>g <strong>in</strong> a book. A revised and expanded edition of his first book,<br />
Contemporary French C<strong>in</strong>ema, was published <strong>in</strong> 2008. S<strong>in</strong>ce around<br />
2006 he has been <strong>in</strong>terested <strong>in</strong> Algerian c<strong>in</strong>ema, and <strong>in</strong> related issues<br />
such as postcolonialism, trauma, national identity and the<br />
representation of space. Aust<strong>in</strong>’s major project at present is a<br />
monograph on Algerian National C<strong>in</strong>ema for Manchester University<br />
Press, due for publication <strong>in</strong> 2012 to co<strong>in</strong>cide with the 50th anniversary<br />
of Algerian <strong>in</strong>dependence.<br />
› Body comedy and French c<strong>in</strong>ema: notes on Les Visiteurs, Studies <strong>in</strong> French<br />
C<strong>in</strong>ema, 6.1, 43-52.<br />
› Aga<strong>in</strong>st amnesia: representations of memory <strong>in</strong> Algerian c<strong>in</strong>ema, Journal of<br />
African C<strong>in</strong>emas, 2.1, 27-35.<br />
Thomas Aust<strong>in</strong> is Senior Lecturer <strong>in</strong> Media and Film at the University<br />
of Sussex, UK. He is the author of Hollywood, Hype and Audiences<br />
(2002) and Watch<strong>in</strong>g the World: Screen Documentary and Audiences<br />
(2007) and co-editor of Contemporary Hollywood Stardom (2003) and<br />
Reth<strong>in</strong>k<strong>in</strong>g Documentary: New Perspectives, New Practices (2008).<br />
› Damaged bodies <strong>in</strong> documentary: Black Sun and Murderball, Studies <strong>in</strong><br />
Documentary Film, 4.1, 51-64.
Kar<strong>in</strong>a Aveyard<br />
Keywords DCI Specification, 3D,<br />
<strong>in</strong>dependent c<strong>in</strong>ema, Australian<br />
c<strong>in</strong>ema<br />
Tony Ayres<br />
Big and Little Films, PO Box 1271, St<br />
Kilda South, Victoria 3182, Australia<br />
Keywords diaspora, Asian Australian<br />
c<strong>in</strong>ema, The Home Song Stories,<br />
film-mak<strong>in</strong>g<br />
Kees Bakker<br />
Institut Jean Vigo, Arsenal, 1 rue Jean<br />
Vielledent, Perpignan, 66000, France<br />
Keywords documentary, Joris Ivens,<br />
Johan van der Keuken, history,<br />
theory, hermeneutics, ethics<br />
Kar<strong>in</strong>a Aveyard is a Ph.D. candidate <strong>in</strong> the School of Humanities at<br />
Griffith University. Her doctoral <strong>research</strong> exam<strong>in</strong>es contemporary<br />
c<strong>in</strong>ema exhibition <strong>in</strong> regional and rural locations. This <strong>research</strong> is<br />
funded by an Australian Research Council L<strong>in</strong>kage Grant <strong>in</strong><br />
partnership with the Australian government film agencies the National<br />
Film and Sound Archive and Screen Australia. Kar<strong>in</strong>a's essays have<br />
been published <strong>in</strong> Studies <strong>in</strong> Australasian C<strong>in</strong>ema and Media<br />
International Australia. Work <strong>in</strong> progress <strong>in</strong>cludes a co-edited<br />
collection Watch<strong>in</strong>g Films: New Perspectives on Movie-Go<strong>in</strong>g,<br />
Exhibition and Reception for <strong>Intellect</strong> Books.<br />
› Introduction Go<strong>in</strong>g Digital: implications and opportunities for c<strong>in</strong>ema <strong>in</strong><br />
Australia and New Zealand, Studies <strong>in</strong> Australasian C<strong>in</strong>ema, 3.2, 151-154.<br />
› ‘Com<strong>in</strong>g to a c<strong>in</strong>ema near you?’: digitized exhibition and <strong>in</strong>dependent<br />
c<strong>in</strong>emas <strong>in</strong> Australia, Studies <strong>in</strong> Australasian C<strong>in</strong>ema, 3.2, 191-203.<br />
› VaultAge: Digitiz<strong>in</strong>g and contextualiz<strong>in</strong>g Australian audio-visual content:<br />
Australianscreen onl<strong>in</strong>e (aso.gov.au), Studies <strong>in</strong> Australasian C<strong>in</strong>ema, 3.2,<br />
205-222.<br />
› More than mak<strong>in</strong>g do : Reth<strong>in</strong>k<strong>in</strong>g c<strong>in</strong>ema attendance <strong>in</strong> regional and rural<br />
Australia, Studies <strong>in</strong> Australasian C<strong>in</strong>ema, 5.1, 7-17.<br />
Tony Ayres is a writer and director of feature films and documentaries.<br />
His most recent feature film is The Home Song Stories.<br />
› Interview with Tony Ayres: on The Home Song Stories and Asian Australian<br />
film-mak<strong>in</strong>g, Studies <strong>in</strong> Australasian C<strong>in</strong>ema, 2.3, 245-254.<br />
Kees Bakker is Director of the Institut Jean Vigo <strong>in</strong> Perpignan, France.<br />
He studied Philosophy and Film and Perform<strong>in</strong>g Arts at the University<br />
of Nijmegen, the Netherlands. He worked for the European Foundation<br />
Joris Ivens and has been teach<strong>in</strong>g Film Theory and Film History at the<br />
Universities of Nijmegen and Utrecht and Documentary at the Dutch<br />
Film Acadamy. Before arriv<strong>in</strong>g at the Jean Vigo Film Institute he<br />
worked as Analyst at the European Audiovisual Observatory (Council<br />
of Europe, Strasbourg). Currently, next to the film archival activities,<br />
the Confrontation film festival and regular film programm<strong>in</strong>g for the<br />
Institut Jean Vigo, he is also programmer of the Doc History section of<br />
the Lussas Documentary Film Festival <strong>in</strong> France.
Bakur Bakuradze<br />
Keywords Russian c<strong>in</strong>ema,<br />
documentary film, scriptwrit<strong>in</strong>g<br />
Cesar Ballester<br />
Arts University College at<br />
Bournemouth, Wallisdown, Poole,<br />
Dorset, BH12 5HH, United K<strong>in</strong>gdom<br />
Keywords Kieślowski, <strong>in</strong>dividuality,<br />
Polish c<strong>in</strong>ema, 1980s, optimism<br />
with<strong>in</strong> defeat<br />
› ‘THEY ARE LIKE HORSES WITH BLINDERS ON’ One war, two views:<br />
Joris Ivens and Fumio Kamei, Ch<strong>in</strong>a, 1938, Studies <strong>in</strong> Documentary Film,<br />
3.1, 19-33.<br />
Bakur Bakuradze is a film-maker (fiction and documentary films) and<br />
scriptwriter. Born on 16 March 1969 <strong>in</strong> Tbilisi, he graduated from the<br />
Moscow Road Institute (MADI) <strong>in</strong> 1993, and then attended the Faculty<br />
of Direct<strong>in</strong>g at the Film Institute VGIK, graduat<strong>in</strong>g <strong>in</strong> 1998 from the<br />
class of Marlen Khutsiev. His films <strong>in</strong>clude Without Money (Bez deneg,<br />
short, 1997); Displaced (Sdv<strong>in</strong>utyi, TV, co-directed by Aleksandr<br />
Basov, 2001); Aleksandr Volkotrubov (with Aleksandr Basov,<br />
documentary, 2001); For the Price of One’s Life (Tsenoi svoei zhizni,<br />
documentary, 2001); The Time of the M<strong>in</strong>istry of F<strong>in</strong>ance: 200 Years of<br />
Service to the Fatherland (Vremia M<strong>in</strong>f<strong>in</strong>a, documentary, 2002); and<br />
Viacheslav Pilipenko (with Aleksandr Basov, documentary, 2003).<br />
› Film Script, Studies <strong>in</strong> Russian and Soviet C<strong>in</strong>ema, 3.1, 91-129.<br />
After his first degree <strong>in</strong> Lat<strong>in</strong> and Hispanic Studies at K<strong>in</strong>g’s College,<br />
London, and spend<strong>in</strong>g some time <strong>in</strong> Prague, Dr Cesar Ballester went on<br />
to complete an MA <strong>in</strong> Russian and East European Literature and<br />
Culture, and later a Ph.D. on Czech and Slovak c<strong>in</strong>ema of the 1960s,<br />
both at the School of Slavonic and East European Studies, University<br />
College London. He has written two monographs so far: El C<strong>in</strong>e de<br />
Andrzej Munk, El Caracter Nacional y el Individuo (Madrid: Semana<br />
de C<strong>in</strong>e Experimental de Madrid, Fundacion Autor, 2008) and Milosˇ<br />
Forman (Madrid: Ediciones Catedra, S.A., 2007). Senior Lecturer at<br />
the Arts University College Bournemouth, he is still currently<br />
<strong>research</strong><strong>in</strong>g ideas of <strong>in</strong>dividuality <strong>in</strong> Czech, Polish and Slovak c<strong>in</strong>ema.<br />
› Individuality <strong>in</strong> Kieślowski's Bez Końca, Studies <strong>in</strong> European C<strong>in</strong>ema, 6.1,<br />
77-89.<br />
› Subjectivism, uncerta<strong>in</strong>ty and <strong>in</strong>dividuality: Munk’s Człowiek na torze/Man<br />
on the Tracks (1956) and its <strong>in</strong>fluence on the Czechoslovak New Wave,<br />
Studies <strong>in</strong> Eastern European C<strong>in</strong>ema, 2.1, 61-73.
Isol<strong>in</strong>a Ballesteros<br />
Baruch College, Department of<br />
Modern Languages and Comparative<br />
Liturature, 17 Lex<strong>in</strong>gton Avenue,<br />
New York, NY 10010, United States<br />
of America<br />
Keywords Spanish c<strong>in</strong>ema,<br />
immigration, female, otherness,<br />
diaspora<br />
Bidisha Banerjee<br />
Department of English, Hong Kong<br />
Institute of Education, 10 Lo P<strong>in</strong>g<br />
Road, Tai Po, New Territories, Hong<br />
Kong<br />
Keywords patriarchy, homosexuality,<br />
queer studies, fem<strong>in</strong>ism, Deepa Mehta<br />
Henrik Paul Bang<br />
Keywords public, governance,<br />
rhetoric, policy-politics, legitimacy<br />
Isol<strong>in</strong>a Ballesteros is Associate Professor at the Department of Modern<br />
Languages and Comparative Literature of Baruch College, CUNY. Her<br />
field of specialty is contemporary Spanish cultural studies. She has<br />
published extensively about Spanish and Lat<strong>in</strong> American women<br />
writers, the image of women <strong>in</strong> the post-Franco literature, and Spanish<br />
and European film. She is the author of two books: Escritura femen<strong>in</strong>a<br />
y discurso autobiográfico en la nueva novela española (1994), and<br />
C<strong>in</strong>e (Ins)urgente: textos fílmicos y contextos culturales de la España<br />
postfranquista (2001). She is currently work<strong>in</strong>g on a book called:<br />
'Undesirable’ Otherness and ‘Immigration C<strong>in</strong>ema’ <strong>in</strong> the European<br />
Union.<br />
› Embrac<strong>in</strong>g the other: the fem<strong>in</strong>ization of Spanish ‘immigration c<strong>in</strong>ema’,<br />
Studies <strong>in</strong> Hispanic C<strong>in</strong>emas, 2.1, 3-14.<br />
› Foreign and racial mascul<strong>in</strong>ities <strong>in</strong> contemporary Spanish film, Studies <strong>in</strong><br />
Hispanic C<strong>in</strong>emas, 3.3, 169-186.<br />
Dr Bidisha Banerjee is Assistant Professor of English at the Hong<br />
Kong Institute of Education. She has an MA <strong>in</strong> English from<br />
Claremont Graduate University and a Ph.D. from the University of<br />
Iowa. Bidisha’s <strong>research</strong> and teach<strong>in</strong>g <strong>in</strong>terests <strong>in</strong>clude postcolonial<br />
studies; globality and transnationalism; diaspora and exile; postcolonial<br />
fem<strong>in</strong>ist fictions and theory; cultural studies; film studies; and gay and<br />
lesbian literature. She has presented her work widely at conferences <strong>in</strong><br />
Europe, Asia and the United States. Some of her work on the South<br />
Asian diaspora has been published.<br />
› Identity at the Marg<strong>in</strong>s: Queer Diasporic Film and the Exploration of Same-<br />
Sex Desire <strong>in</strong> Deepa Mehta's Fire, Studies <strong>in</strong> South Asian Film & Media, 2.1,<br />
19-39.<br />
Henrik Paul Bang is an associate professor at Department for Political<br />
Science, University of Copenhagen. His primary <strong>in</strong>terests are<br />
comparative politics, governance, new modes of citizenship, publics,<br />
power, authority and participation. He has published numerous articles<br />
<strong>in</strong> <strong>in</strong>ternational journals and anthologies. His most recent publications<br />
are: The Everyday Maker (co-author, 2001), Democracy from below<br />
(co-editor, 2000), Governance as social and political communication<br />
(ed., 2003) and New Publics with/out Democracy (co-editor, 2007).<br />
› Political authority as genu<strong>in</strong>eness – how to transgress new public spheres,
Axel Bangert<br />
University of Cambridge, Department<br />
of German and Dutch, United<br />
K<strong>in</strong>gdom<br />
Keywords Holocaust, cultural<br />
memory, Sonder, kommando, Primo<br />
Levi, body<br />
Weihong Bao<br />
Ohio State University, Department of<br />
East Asian Languages and Literatures,<br />
398 Hagerty Hall, 1775 College Rd.,<br />
Columbus, United States of America<br />
Keywords modern Taiwan theatre,<br />
pornography, musical, paratheatre,<br />
biomechanics, Chongq<strong>in</strong>g c<strong>in</strong>ema<br />
Alice Bardan<br />
University of Southern California<br />
Keywords Pawel, British c<strong>in</strong>ema,<br />
Last Resort, asylum seekers,<br />
whiteness<br />
Northern Lights: Film & Media Studies Yearbook, 7.1, 73-94.<br />
Axel Bangert is a Junior Research Fellow at Homerton College,<br />
Cambridge. He holds an MA <strong>in</strong> Modern History from Humboldt<br />
University, Berl<strong>in</strong>, with a thesis on representations of the Holocaust <strong>in</strong><br />
contemporary feature film. His Ph.D., which he completed at the<br />
University of Cambridge <strong>in</strong> 2010, exam<strong>in</strong>es television and c<strong>in</strong>ema<br />
productions about the Third Reich s<strong>in</strong>ce German reunification. In his<br />
post-doctoral <strong>research</strong> project, he develops transnational perspectives<br />
on contemporary European c<strong>in</strong>ema.<br />
› Chang<strong>in</strong>g narratives and images of the Holocaust: Tim Blake Nelson, New<br />
C<strong>in</strong>emas: Journal of Contemporary Film, 6.1, 17-32.<br />
Weihong Bao is Assistant Professor of Ch<strong>in</strong>ese c<strong>in</strong>ema <strong>in</strong> the<br />
Department of East Asian Languages and Literatures at the Ohio State<br />
University. She focuses on Ch<strong>in</strong>ese c<strong>in</strong>ema <strong>in</strong> the silent and early<br />
sound period, with a broad <strong>in</strong>terest <strong>in</strong> n<strong>in</strong>eteenth- and twentieth-century<br />
film and media culture. She has published <strong>in</strong> such journals as Camera<br />
Obscura, N<strong>in</strong>eteenth Century Theatre and Film, and The Journal of<br />
Modern Ch<strong>in</strong>ese Literature.<br />
› Biomechanics of love: re<strong>in</strong>vent<strong>in</strong>g the avant-garde <strong>in</strong> Tsai M<strong>in</strong>g-liang's<br />
wayward ‘pornographic musical’, Journal of Ch<strong>in</strong>ese C<strong>in</strong>emas, 1.2, 139-160.<br />
› In search of a ‘c<strong>in</strong>ematic Esperanto’: exhibit<strong>in</strong>g wartime Chongq<strong>in</strong>g c<strong>in</strong>ema<br />
<strong>in</strong> global context, Journal of Ch<strong>in</strong>ese C<strong>in</strong>emas, 3.2, 135-147.<br />
Alice Bardan is a doctoral candidate <strong>in</strong> English at the University of<br />
Southern California, Los Angeles. She received a BA <strong>in</strong> English and<br />
French and an MA <strong>in</strong> American Cultural Studies from the Al. I. Cuza<br />
University <strong>in</strong> Romania. She also received an MA <strong>in</strong> English from<br />
Emporia State University, Kansas. Her <strong>research</strong> focuses on<br />
contemporary European c<strong>in</strong>ema, the construction of European<br />
identities, media globalization, and post-communist transformations.<br />
› ‘Welcome to Dreamland’: The realist impulse <strong>in</strong> Pawel Pawlikowski's Last
Mart<strong>in</strong> Barker<br />
University of Aberystwyth,<br />
Department of Theatre, Film and TV,<br />
Penglais Campus, Aberystwyth,<br />
Ceredigion, SY23 3AJ, United<br />
K<strong>in</strong>gdom<br />
Keywords teach<strong>in</strong>g film, media<br />
literacy, vernacular concepts, moral<br />
controversies<br />
Just<strong>in</strong> L. Barrett<br />
University of Oxford, Centre for<br />
Anthropology and M<strong>in</strong>d, United<br />
K<strong>in</strong>gdom<br />
Keywords virtual, cognition, religion,<br />
Second Life, touch<br />
Resort, New C<strong>in</strong>emas: Journal of Contemporary Film, 6.1, 47-63.<br />
Mart<strong>in</strong> Barker is Professor of Film and Television Studies at the<br />
University of Wales, Aberystwyth. He is the author of a number of<br />
books, of which probably best-known is Ill Effects: the Media-Violence<br />
Debate (co-edited with Julian Petley). He was director of the major<br />
<strong>in</strong>ternational audience <strong>research</strong> project <strong>in</strong>to the reception of The Lord<br />
of the R<strong>in</strong>gs (2003-4) <strong>who</strong>se results were published (Watch<strong>in</strong>g The<br />
Lord of the R<strong>in</strong>gs) by Peter Lang <strong>in</strong> 2007. In 2007 he also directed a<br />
<strong>research</strong> project for the British Board of Film Classification <strong>in</strong>to<br />
audience responses to sexual violence on screen, <strong>who</strong>se outcomes can<br />
be found on their website.<br />
› Menstrual Monsters, Film International, 4.21, 68-77.<br />
Dr. Just<strong>in</strong> L Barrett is senior <strong>research</strong>er at University of Oxford's<br />
Centre for Anthropology and M<strong>in</strong>d and the Institute for Cognitive and<br />
Evolutionary Anthropology. Barrett received his BA <strong>in</strong> psychology<br />
from Calv<strong>in</strong> College, and his Ph.D. <strong>in</strong> experimental psychology<br />
(cognitive and developmental focus) from Cornell University. He has<br />
served on the faculties of Calv<strong>in</strong> College and the University of<br />
Michigan (Ann Arbor) before jo<strong>in</strong><strong>in</strong>g Oxford. Barrett's career has been<br />
characterized by work <strong>in</strong> the cognitive study of culture with a particular<br />
emphasis on CSR. He is a found<strong>in</strong>g editor of the Journal of Cognition<br />
and Culture (Brill). His book Why Would Anyone Believe <strong>in</strong> God?<br />
(2004, AltaMira) represented the field's first relatively comprehensive<br />
<strong>in</strong>troduction <strong>in</strong>tended for a general audience.<br />
› Virtual reality as a ‘spiritual’ experience: a perspective from the cognitive<br />
science of religion, Northern Lights: Film & Media Studies Yearbook, 6.1,<br />
75-90.<br />
Sandra Barriales-Bouche Sandra Barriales-Bouche is Assistant Professor of Spanish at Suffolk<br />
University where she teaches Spanish language, culture, literature and<br />
film. Her <strong>research</strong> <strong>in</strong>terests <strong>in</strong>clude the literature of the exiles of the<br />
Spanish Civil War, and the literature and film of Democratic Spa<strong>in</strong>.<br />
She has published articles on the poetry of Luis Cernuda and Pedro
Keywords Post-Franco Spa<strong>in</strong>,<br />
Spanish Civil War, Spanish c<strong>in</strong>ema<br />
Sarah Barrow<br />
University of L<strong>in</strong>coln, School of<br />
Media, Brayford Campus, L<strong>in</strong>coln,<br />
L<strong>in</strong>colnshire, LN6 7TS, United<br />
K<strong>in</strong>gdom<br />
Keywords transnational c<strong>in</strong>ema,<br />
Lat<strong>in</strong> American c<strong>in</strong>ema, identity<br />
Stefano Baschiera<br />
Keywords European c<strong>in</strong>ema, popular<br />
c<strong>in</strong>ema, genre, co-production, Italian<br />
c<strong>in</strong>ema<br />
Garfias and the autobiographical texts of Federica Montseny. She is the<br />
editor of España: ¿laber<strong>in</strong>to de exilios? (2005) and the co-editor of<br />
Zoom <strong>in</strong>, Zoom out: Cross<strong>in</strong>g Borders <strong>in</strong> Contemporary European<br />
C<strong>in</strong>ema (2007).<br />
› Film<strong>in</strong>g ghosts: Entre el dictador y yo (2005), an awaken<strong>in</strong>g to a silenced<br />
past, Studies <strong>in</strong> Hispanic C<strong>in</strong>emas, 4.3, 139-150.<br />
Dr Sarah Barrow is Head of the School of Media at the University of<br />
L<strong>in</strong>coln. Her <strong>research</strong> explores the vital relationship between the<br />
‘national’ and the ‘transnational’ <strong>in</strong> c<strong>in</strong>ema, <strong>in</strong> particular Lat<strong>in</strong><br />
American c<strong>in</strong>emas. This <strong>in</strong>cludes an address to questions of identity/ies<br />
and the fram<strong>in</strong>g of those by and for c<strong>in</strong>ema. It also <strong>in</strong>terrogates the<br />
connections and tensions between policies of film fund<strong>in</strong>g (national<br />
and transnational) and systems of representation, <strong>in</strong> particular at<br />
moments of politically motivated conflict. Her <strong>in</strong>terest <strong>in</strong> the <strong>in</strong>dustrial<br />
aspects of c<strong>in</strong>ema, particularly distribution and exhibition, have been<br />
<strong>in</strong>formed by work<strong>in</strong>g for the Cambridge Arts C<strong>in</strong>ema and Cambridge<br />
Film Festival <strong>in</strong> the 1990s as manager of the education programme,<br />
which <strong>in</strong>cluded collaborations with European fund<strong>in</strong>g programmes and<br />
festivals. From 2000-2010, Sarah was one of the found<strong>in</strong>g members of<br />
the Cambridgeshire Film Consortium.<br />
› REVIEWS - TRANSNATIONAL FINANCIAL STRUCTURES IN THE<br />
CINEMA OF LATIN AMERICA: PROGRAMA IBERMEDIA IN STUDY,<br />
LIBIA VILLAZANA (2009), Transnational C<strong>in</strong>emas, 1.1, 101-102.<br />
Stefano Baschiera is Lecturer <strong>in</strong> Film Studies at Queen’s University<br />
Belfast. His <strong>research</strong> <strong>in</strong>terests <strong>in</strong>clude the representation of domestic<br />
and urban spaces <strong>in</strong> European c<strong>in</strong>ema. He has published on<br />
transnational c<strong>in</strong>ema, c<strong>in</strong>ema and space, and the European New Waves<br />
<strong>in</strong> journals and edited collections.<br />
› Once Upon a Time <strong>in</strong> Italy: Transnational Features of Genre Production<br />
1960s1970s, Film International, 8.6, 30-39.<br />
Raphaël Bassan Raphaël Bassan is a film journalist <strong>who</strong> has written on experimental
Metra<br />
Keywords avant-garde, festivals,<br />
cooperatives, history, transmission of<br />
knowledge<br />
Gautam Basu Thakur<br />
University of Mississippi, English, C<br />
134 Bondurant Hall, PO Box 1848,<br />
Mississippi, MS 38677, United States<br />
of America<br />
Keywords psychosis, Lacan,<br />
psychoanalysis, consumerism, auteur,<br />
‘C<strong>in</strong>ema of Disturbance’<br />
Richard Bates<br />
United K<strong>in</strong>gdom<br />
Keywords actuality television, music,<br />
hear<strong>in</strong>g-impaired viewers<br />
c<strong>in</strong>ema (amongst other forms of c<strong>in</strong>ema) <strong>in</strong> specialist journals such as<br />
and La Revue du C<strong>in</strong>éma, <strong>in</strong> national dailies such as Libération, and <strong>in</strong><br />
dictionaries and encyclopaedias, for example L’Encyclopaedia<br />
Universalis (s<strong>in</strong>ce 1996), Une encyclopédie du court métrage français<br />
(2004). He is the co-founder of the Collectif Jeune C<strong>in</strong>éma <strong>in</strong> 1971,<br />
and has made three short films: Le Départ d’Eurydice (1969), Prétextes<br />
(1971), and Lucy en miroir (2004).<br />
› French experimental c<strong>in</strong>ema: the richness of the 1970s, Studies <strong>in</strong> French<br />
C<strong>in</strong>ema, 4.3, 165-174.<br />
Gautam Basu Thakur holds a Ph.D. <strong>in</strong> Comparative Literature from<br />
University of Ill<strong>in</strong>ois at Urbana-Champaign (2010). He is a Visit<strong>in</strong>g<br />
Assistant Professor of World Literature and Literary Theory at the<br />
University of Mississippi, where he teaches world literature, literary<br />
and critical theory, and postcolonial studies. His <strong>research</strong> <strong>in</strong>terests<br />
<strong>in</strong>clude n<strong>in</strong>eteenth- and twentieth-century British and South Asian<br />
literature, world literature, postcolonial theory, Lacanian<br />
psychoanalysis, and culture studies. His articles have been published <strong>in</strong><br />
Psychoanalysis, Culture, & Society, New C<strong>in</strong>emas: Journal of<br />
Contemporary Film, and <strong>in</strong> a collection of essays titled Bollywood and<br />
Globalization: Indian Popular C<strong>in</strong>ema, Nation, and Diaspora. He is<br />
currently work<strong>in</strong>g on a book-length comparative study on the effective<br />
impact of the 1857 Mut<strong>in</strong>y on British and Indian cultural<br />
consciousness.<br />
› Re-read<strong>in</strong>g Michael Haneke's La Pianiste: schizo-politics and the critique of<br />
consumer culture, New C<strong>in</strong>emas: Journal of Contemporary Film, 5.2, 139-<br />
152.<br />
Richard Bates is the Chair of the Media Access Group of the Royal<br />
National Institute of the Deaf. The Group’s tw<strong>in</strong> concerns are the<br />
quantity and quality of subtitles, and the clarity of soundtracks <strong>in</strong><br />
television and radio programmes.<br />
› The problem of music <strong>in</strong> actuality television, The Soundtrack, 1.3, 183-191.
Craig Batty<br />
RMIT University, School of Media<br />
and Communication, RMIT<br />
University, GPO Box 2476,<br />
Melbourne, VIC 3001, Australia<br />
Keywords emotional journey,<br />
narrative, physical journey, story,<br />
structure<br />
Tilman Baumgärtel<br />
Royal University of Phnom Penh,<br />
Department of Media and<br />
Communication, IFL Campus,<br />
Russian Boulevard, Phnom Penh,<br />
Cambodia<br />
Keywords <strong>in</strong>dependent c<strong>in</strong>ema,<br />
South East Asia, globalization,<br />
mediascape, Arjun Appadurai,<br />
transnational c<strong>in</strong>ema<br />
Peter Baxter<br />
Queens University, Film and Media,<br />
K<strong>in</strong>gston, ON K7L 3N6, Canada<br />
Keywords French c<strong>in</strong>ema, Sternberg<br />
Dr Craig Batty is Senior Lecturer <strong>in</strong> Creative and Professional Writ<strong>in</strong>g<br />
at RMIT University <strong>in</strong> Melbourne. He is a writer and script consultant,<br />
and has worked on various short film, feature film and television<br />
projects. He has written numerous articles and book chapters about<br />
screenwrit<strong>in</strong>g and media writ<strong>in</strong>g. He is co-author of the books Writ<strong>in</strong>g<br />
for the Screen: Creative and Critical Approaches and Media Writ<strong>in</strong>g: A<br />
Practical Introduction, and author of the book Movies That Move Us:<br />
Screenwrit<strong>in</strong>g and the Power of the Protagonist's Journey.<br />
› The physical and emotional threads of the archetypal hero's journey:<br />
propos<strong>in</strong>g common term<strong>in</strong>ology and re-exam<strong>in</strong><strong>in</strong>g the narrative model,<br />
Journal of Screenwrit<strong>in</strong>g, 1.2, 291-308.<br />
› An <strong>in</strong>terview with Christopher Vogler, Journal of Screenwrit<strong>in</strong>g, 2.1, 117-<br />
127.<br />
› An <strong>in</strong>terview by Craig Batty with L<strong>in</strong>da Seger, Journal of Screenwrit<strong>in</strong>g, 3.2,<br />
239-246.<br />
Tilman Baumgärtel taught at the Universität Paderborn, Technische<br />
Universität Berl<strong>in</strong>, Mozarteum <strong>in</strong> Salzburg, Austria, and for five years<br />
at the University of the Philipp<strong>in</strong>es <strong>in</strong> Manila, before he jo<strong>in</strong>ed the<br />
Royal University of Phnom Penh <strong>in</strong> 2009. He has published books on<br />
Independent C<strong>in</strong>ema <strong>in</strong> South East Asia, Internet Art, Computer Games<br />
and the German director Harun Farocki. He runs the blog ‘The Institute<br />
of South East Asian Film Studies’ at<br />
http://southeastasianc<strong>in</strong>ema.wordpress.com/.<br />
› Imag<strong>in</strong>ed communities, imag<strong>in</strong>ed worlds: Independent film from South East<br />
Asia <strong>in</strong> the global mediascape, Transnational C<strong>in</strong>emas, 2.1, 57-71.<br />
Peter Baxter teaches <strong>in</strong> the Department of Film Studies, Queen's<br />
University, K<strong>in</strong>gston, Ontario, Canada. At present he is work<strong>in</strong>g on a<br />
study of the relations between men and women as portrayed <strong>in</strong><br />
contemporary French C<strong>in</strong>ema. He has also edited a book of essays<br />
about Sternberg, and wrote another, Just Watch! Sternberg, Paramount<br />
and America, on their film Blonde Venus.<br />
› Putt<strong>in</strong>g Characters <strong>in</strong> Place: From Le Bonheur to La Vie de Jésus and<br />
Western, Studies <strong>in</strong> French C<strong>in</strong>ema, 2.2, 65-73.
John Baxter<br />
Keywords Paris, book collection,<br />
biography<br />
Gerd Bayer<br />
University of Erlangen, Department<br />
of English, Bismarckstr. 1, Erlangen,<br />
91054, Germany<br />
Keywords popular culture, holocaust<br />
studies, early modern fiction,<br />
postcolonial studies, postmodern<br />
fiction, ecocriticism, fake<br />
documentary film<br />
Nicoleta Bazgan<br />
University of Maryland, Department<br />
of Modern Languages, L<strong>in</strong>guistics<br />
and Intercultural Communication,<br />
Baltimore County, 1000 Hilltop<br />
Circle, Baltimore, MD 21250, United<br />
States of America<br />
Keywords Parisian female stars,<br />
Rachida Brakni, Audrey Tautou,<br />
Jeanne Moreau, Brigitte Bardot<br />
John Baxter is a freelance author <strong>who</strong> lives <strong>in</strong> Paris. S<strong>in</strong>ce mov<strong>in</strong>g to<br />
France, he has published biographies of Federico Fell<strong>in</strong>i, Luis Buñuel,<br />
Steven Spielberg, Woody Allen, Stanley Kubrick, George Lucas, and<br />
Robert de Niro, as well as three books of autobiography: A Pound of<br />
Paper: Confessions of a Book Addict, deal<strong>in</strong>g ma<strong>in</strong>ly with his<br />
fasc<strong>in</strong>ation for collect<strong>in</strong>g books; We'll Always Have Paris: Sex and<br />
Love <strong>in</strong> the City of Light, a 'romantic memoir' of his love affair with<br />
Paris and Immoveable Feast: A Paris Christmas and Carnal<br />
Knowledge: Baxter's Concise Encyclopedia of Modern Sex<br />
› William Gibson and the 'Garage Kubrick', Film International, 1.3, 32-35.<br />
Gerd Bayer is a tenured faculty member (Akademischer Rat) <strong>in</strong> the<br />
English department at Erlangen University, Germany, hav<strong>in</strong>g<br />
previously taught at the University of Toronto, Case Western Reserve<br />
University, and the University of Wisconson-Whitewater. He has<br />
published a monograph on John Fowles and nature, ‘Greener, More<br />
Mysterious Processes of M<strong>in</strong>d’: Natur als Dichtungspr<strong>in</strong>zip bei John<br />
Fowles (Nature as a Poetological Pr<strong>in</strong>ciple <strong>in</strong> John Fowles’s Works)<br />
(Münster: LIT, 2004), edited or co-edited four books on pop culture,<br />
holocaust studies, and early modern fiction, as well as written essays<br />
and book chapters on postcolonial studies, postmodern fiction,<br />
ecocriticism, and on fake documentary film. He is currently work<strong>in</strong>g on<br />
a monograph on Restoration prose fiction and genre mak<strong>in</strong>g, funded by<br />
the German Research Foundation (DFG).<br />
› REVIEW, Journal of African C<strong>in</strong>emas, 3.1, 125-129.<br />
Nicoleta Bazgan is Assistant Professor of French C<strong>in</strong>ema at the<br />
University of Maryland, Baltimore County. Her <strong>research</strong> <strong>in</strong>terests<br />
<strong>in</strong>clude French contemporary c<strong>in</strong>ema, c<strong>in</strong>ema and the city, French<br />
female stardom, and national c<strong>in</strong>emas.She is currently work<strong>in</strong>g on a<br />
book manuscript focus<strong>in</strong>g on the female star system <strong>in</strong> France titled<br />
Irresistibly French: Female Stardom and Frenchness.<br />
› Female bodies <strong>in</strong> Paris: iconic urban fem<strong>in</strong><strong>in</strong>ity and Parisian journeys,<br />
Studies <strong>in</strong> French C<strong>in</strong>ema, 10.2, 95-109.
Laura Beadl<strong>in</strong>g<br />
Keywords media studies, trauma<br />
theory, visual culture, women’s<br />
literature, multicultural media and<br />
literature, contemporary American<br />
literature, ethnic studies, women’s<br />
studies<br />
Jordan Bear<br />
University of Toronto, Department of<br />
Art, 100 St. George Street, Room<br />
6036, Toronto, ON, M4Y1R9,<br />
Canada<br />
Keywords photography, film,<br />
illusion, belief, evidence<br />
Debra Beattie<br />
Griffith University, Humanities,<br />
Australia<br />
Keywords virtual reality, QTVR,<br />
<strong>in</strong>teractive, mise-en-scène,<br />
verisimilitude<br />
Laura L. Beadl<strong>in</strong>g is Assistant Professor <strong>in</strong> the English Faculty at the<br />
University of Wiscons<strong>in</strong>-Platteville . Her specializations <strong>in</strong>clude race<br />
and sexuality <strong>in</strong> American film, media studies, trauma theory and<br />
visual culture, women’s literature, multicultural media and literature,<br />
contemporary American literature, ethnic studies, and women’s studies.<br />
› Book Reviews, Film International, 7.5, 71-90.<br />
› Subject of/to the camera: embodied subjectivity and the m<strong>in</strong>d/body split <strong>in</strong><br />
Undress<strong>in</strong>g My Mother, Short Film Studies, 1.1, 103-106.<br />
Jordan Bear is Assistant Professor of art history at the University of<br />
Toronto. He was previously lecturer <strong>in</strong> art history and archaeology at<br />
Columbia University <strong>in</strong> New York, where he completed his doctorate<br />
on an ACLS/Andrew W. Mellon Fellowship. He previously served as<br />
the Chester Dale Fellow <strong>in</strong> the Department of Photographs at New<br />
York City’s Metropolitan Museum of Art. His scholarship, published<br />
<strong>in</strong> History of Photography, Cab<strong>in</strong>et, Bookforum, Photography and<br />
Culture, and Visual Resources, among other venues, has focused on the<br />
historical <strong>in</strong>tersection of photography, knowledge, and belief. He is<br />
currently revis<strong>in</strong>g his dissertation, titled 'Without a Trace: Photography<br />
and the History of Visual Objectivity, 1848–1875', for publication.<br />
› From magician to metal bra<strong>in</strong>: the embodiment of illusion <strong>in</strong> early European<br />
film theory, Studies <strong>in</strong> European C<strong>in</strong>ema, 5.1, 17-29.<br />
Dr. Debra Beattie tra<strong>in</strong>ed at the Victorian College of Arts and has had a<br />
long career as a producer, writer and director of broadcast television<br />
documentary. She is a lecturer <strong>in</strong> the School of Humanities at Griffith<br />
University <strong>in</strong> Australia and also a <strong>research</strong> member at the Susta<strong>in</strong>able<br />
Environment and Culture <strong>in</strong> the Asia Pacific SECAP Research Centre.<br />
Her <strong>research</strong> <strong>in</strong>terests are: film production and new technologies,<br />
documentary mak<strong>in</strong>g, Queensland history, docu-drama and broadband<br />
television, documentary <strong>in</strong>stallations and documentary theatre.<br />
› Documentary expression onl<strong>in</strong>e: The Wrong Crowd, a history documentary<br />
for an ‘electrate’ audience, Studies <strong>in</strong> Documentary Film, 2.1, 61-78.
Keith Beattie<br />
Deak<strong>in</strong> University, Faculty of Arts<br />
and Education, Burwood Highway,<br />
Burwood, Victoria, 3151, Australia<br />
Keywords television, video, new<br />
media, documentary, aesthetics,<br />
transnational, Humphrey Jenn<strong>in</strong>gs,<br />
British Documentary Film Movement,<br />
D.A. Pennebaker, direct c<strong>in</strong>ema<br />
Mark Bedford<br />
Amersham and Wycombe College<br />
(Amersham Campus), Stanley Hill,<br />
Amersham, Bucks, HP7 9HN, United<br />
K<strong>in</strong>gdom<br />
Keywords sociology, history, music<br />
David Beer<br />
Keywords popular culture, new<br />
media, sound<br />
Keith Beattie is the author of a book on the films of D.A. Pennebaker,<br />
forthcom<strong>in</strong>g from the University of Ill<strong>in</strong>ois Press <strong>in</strong> 2011. He is a past<br />
editor of the Australasian Journal of American Studies and was<br />
Foundation Director of the Contemporary Studies Program at the<br />
University of Queensland. He has taught film studies at universities <strong>in</strong><br />
Australia and New Zealand and has published numerous articles on<br />
documentary theory and aesthetics and critical theory. His current<br />
<strong>research</strong> focuses on the aesthetics of documentary film and video,<br />
styles of <strong>in</strong>dividual documentary filmmakers, and transnational<br />
documentary movements. He is an associate editor of Metro: Film,<br />
Television, Radio, Multimedia and a member of the editorial board of<br />
Comparative American Studies. He is a member of the Faculty of Arts<br />
of Deak<strong>in</strong> University, Melbourne.<br />
› The evidentiary strategies of Two Laws, Studies <strong>in</strong> Documentary Film, 2.2,<br />
175-183.<br />
› An ambiguous national iconography: Humphrey Jenn<strong>in</strong>gs' Family Portrait,<br />
Studies <strong>in</strong> Documentary Film, 3.2, 147-158.<br />
S<strong>in</strong>ce complet<strong>in</strong>g his MA <strong>in</strong> History <strong>in</strong> 2007, Mark Bedford has<br />
lectured at a variety of Further Education <strong>in</strong>stitutions. He currently<br />
lectures <strong>in</strong> sociology and history at Amersham and Wycombe College.<br />
He has also written on film and music for a number of publications.<br />
› Smells like 1990s spirit: The dazzl<strong>in</strong>g deception of Fight Club's grungeaesthetic,<br />
New C<strong>in</strong>emas: Journal of Contemporary Film, 9.1, 49-63.<br />
David Beer is Lecturer <strong>in</strong> Sociology <strong>in</strong> the Department of Sociology at<br />
the University of York, UK. He <strong>research</strong>es and writes <strong>in</strong> the areas of<br />
popular culture, new media and sound. His publications <strong>in</strong>clude the coauthored<br />
book New Media: The Key Concepts (2008, Berg).<br />
› Book Reviews, Film International, 9.3, 74-79.<br />
Paul Beg<strong>in</strong> Paul Beg<strong>in</strong> is Assistant Professor of Hispanic Studies and Seaver<br />
Fellow <strong>in</strong> the department of International Studies and Languages at<br />
Pepperd<strong>in</strong>e University <strong>in</strong> Malibu, California. He has authored several
Pepperd<strong>in</strong>e University, Hispanic<br />
Studies, 24255 Pacific Coast<br />
Highway, Malibu, CA, 90263-7446,<br />
United States of America<br />
Keywords Spanish c<strong>in</strong>ema, social<br />
issue c<strong>in</strong>ema, gender, domestic abuse,<br />
realism<br />
Melis Behlil<br />
Keywords European c<strong>in</strong>ema, state<br />
<strong>in</strong>dustry relations, Eurimage, film<br />
policy, Turkish c<strong>in</strong>ema<br />
Wolfgang Beilenhoff<br />
University of Bochum, Ruhr-<br />
Universitat Bochum, Universitatssr<br />
150, Bochum, D-44801, Germany<br />
Keywords Stal<strong>in</strong>ism, totalitarian<br />
culture, compilation film, voice of<br />
documentary, Mikhail Romm<br />
Maria Belodubrovskaya<br />
University of Wiscons<strong>in</strong>-Madison,<br />
Film Studies, 6160 Vilas Hall, 821<br />
University Avenue, Madison, WI<br />
53706, United States of America<br />
Keywords Soviet c<strong>in</strong>ema, Abram<br />
Room, Ladislas Starewitch<br />
articles on the early films of Luis Buñuel, which have appeared <strong>in</strong><br />
journals such as the Bullet<strong>in</strong> of Spanish Studies and Screen. He is<br />
currently undertak<strong>in</strong>g <strong>research</strong> on social issue c<strong>in</strong>ema <strong>in</strong> the Iberian<br />
Pen<strong>in</strong>sula.<br />
› Regard<strong>in</strong>g the pa<strong>in</strong> of others: The art of realism <strong>in</strong> Icíar Bollaín's Te doy mis<br />
ojos, Studies <strong>in</strong> Hispanic C<strong>in</strong>emas, 6.1, 31-44.<br />
Melis Behlil is an Assistant Professor at Kadir Has University,<br />
Istanbul. She has written and commented extensively on contemporary<br />
Turkish c<strong>in</strong>ema.<br />
› Better Late than Never? The Role of Policy <strong>in</strong> the Turkish C<strong>in</strong>ematic<br />
Revival, Film International, 8.6, 21-29.<br />
Wolfgang Beilenhoff is Professor of Film Studies at the Ruhr-<br />
Universitat Bochum and head of <strong>research</strong> group 'Face-Politics' at the<br />
University of Cologne. He has been Visit<strong>in</strong>g Professor at the Russian<br />
State University for the Humanities <strong>in</strong> Moscow, the Centre for Literary<br />
and Cultural Studies <strong>in</strong> Berl<strong>in</strong>, and European Humanities University,<br />
Vilnius. He is a senior fellow at the International Research Centre for<br />
the Study of Cultural Technologies and Media Philosophy. His recent<br />
articles focus on problems of <strong>in</strong>termediality and the avant-garde.<br />
› Speak<strong>in</strong>g about images: the voice of the author <strong>in</strong> Ord<strong>in</strong>ary Fascism, Studies<br />
<strong>in</strong> Russian and Soviet C<strong>in</strong>ema, 2.2, 141-153.<br />
Maria Belodubrovskaya is a Ph.D. candidate <strong>in</strong> Film Studies at the<br />
University of Wiscons<strong>in</strong>-Madison. Maria is complet<strong>in</strong>g a dissertation<br />
on Soviet c<strong>in</strong>ema under Stal<strong>in</strong>. She has published work on Abram<br />
Room’s A Strict Young Man/Strogii iunosha (1936) <strong>in</strong> Tynianovskii<br />
sbornik (2006) and on the early animation of Ladislas Starewitch <strong>in</strong><br />
K<strong>in</strong>oKultura (2009). Her Starewitch essay received a best-paper award<br />
at Le Giornate del C<strong>in</strong>ema Muto <strong>in</strong> Pordenone, Italy <strong>in</strong> 2008.<br />
› The jockey and the horse:Joseph Stal<strong>in</strong> and the biopicgenre <strong>in</strong> Soviet c<strong>in</strong>ema,
Sophie Bélot<br />
University of Sheffield, Department<br />
of French, Western Bank, Sheffield,<br />
South Yorkshire, S10 2TN, United<br />
K<strong>in</strong>gdom<br />
Keywords Despentes, Tr<strong>in</strong>h Thi,<br />
female violence, fem<strong>in</strong>ism, female<br />
friendship<br />
Nitzan Ben-Shaul<br />
Tel Aviv University, Faculty of the<br />
Arts, Film and TV, Ramat Aviv, Tel<br />
Aviv, 69978, Israel<br />
Keywords <strong>in</strong>teractive c<strong>in</strong>ema, split<br />
attention, constructivist narrative<br />
theory, cognitive load theory, dual<br />
cod<strong>in</strong>g theory, critique of<br />
postmodernism<br />
Coste Bénédicte<br />
Université Paul Valéry, Anglais,<br />
Montpellier, 34199 cedex 5, France<br />
Keywords aesthetics, Victorian<br />
studies<br />
Studies <strong>in</strong> Russian and Soviet C<strong>in</strong>ema, 5.1, 29-53.<br />
Sophie Bélot teaches French and French civilization and co-ord<strong>in</strong>ates<br />
the part-time degree <strong>in</strong> French Studies at the University of Sheffield.<br />
She recently completed a Ph.D. on gender representation <strong>in</strong> French<br />
advertis<strong>in</strong>g. Current <strong>research</strong> projects focus on the representation of<br />
sexuality and the issue of female friendship by contemporary French<br />
women film directors.<br />
› Baise-Moi: from a political to a social female friendship film, Studies <strong>in</strong><br />
European C<strong>in</strong>ema, 1.1, 7-18.<br />
Nitzan Ben Shaul is Associate Professor of Film and Television Studies<br />
and former act<strong>in</strong>g chair of the Film and Television Department at Tel<br />
Aviv University. He received his Ph.D. from the C<strong>in</strong>ema Studies<br />
Department at New York University. He has authored several scholarly<br />
books among them Mythical Expressions of Siege <strong>in</strong> Israeli Films<br />
(Edw<strong>in</strong> Mellen, 1997), A Violent World: TV News Images of Middle<br />
Eastern Terror and War (Rowman and Littlefield, 2006), Film: The<br />
Key Concepts (Berg, 2007), and Hyper-narrative Interactive C<strong>in</strong>ema:<br />
Problems and Solutions (Rodopi, 2008). Lately he received two major<br />
grants to carry out <strong>research</strong> projects related to the effects of<br />
computerization on film and television, <strong>in</strong>clud<strong>in</strong>g the production of<br />
Turbulence, a hyper-narrative <strong>in</strong>teractive movie based on a novel and<br />
revolutionary model he developed. He is currentlyWhat If: Optional<br />
Th<strong>in</strong>k<strong>in</strong>g and Narrative Movies<br />
› Can narrative films go <strong>in</strong>teractive?, New C<strong>in</strong>emas: Journal of Contemporary<br />
Film, 2.3, 149-162.<br />
Bénédicte Coste taught English at the Université Stendhal <strong>in</strong> Grenoble<br />
(France). Now an <strong>in</strong>dependent scholar, she has published articles on<br />
women’s writ<strong>in</strong>g and popular culture.<br />
› The soul of woman under liberalism: Lætitia Masson's À vendre, Studies <strong>in</strong><br />
French C<strong>in</strong>ema, 5.3, 185-194.
Delph<strong>in</strong>e Bénézet<br />
Keywords Benoît Mariage, poetics,<br />
politics, realism, regionalism<br />
Bruce Bennett<br />
Lancaster University, Lancaster<br />
Institute for the Contemporary Arts,<br />
Bailrigg, Lancaster, LA1 4YW,<br />
United K<strong>in</strong>gdom<br />
Keywords Guantánamo,<br />
transnational, terror, docudrama,<br />
heterogeneity<br />
Daniela Berghahn<br />
Royal Holloway - University of<br />
London, Department of Media Arts,<br />
Egham, Surrey, TW20 0EX, United<br />
K<strong>in</strong>gdom<br />
Keywords German-Turkish c<strong>in</strong>ema,<br />
diaspora, accented c<strong>in</strong>ema,<br />
Heimatfilm, com<strong>in</strong>g-of-age film<br />
Delph<strong>in</strong>e Bénézet was a Ph.D. student <strong>in</strong> Comparative Literature at the<br />
University of Montreal. Her <strong>research</strong> <strong>in</strong>terests <strong>in</strong>clude contemporary<br />
American literature and contemporary francophone c<strong>in</strong>ema. She is one<br />
of the founders of www.post-scriptum.org, an electronic<br />
<strong>in</strong>terdiscipl<strong>in</strong>ary journal, and was guest editor of its fourth issue.<br />
› Contrast<strong>in</strong>g visions <strong>in</strong> le jeune c<strong>in</strong>éma: poetics, politics and the rural, Studies<br />
<strong>in</strong> French C<strong>in</strong>ema, 5.3, 163-174.<br />
Bruce Bennett is Lecturer <strong>in</strong> Film Studies at Lancaster University. He<br />
is the co-editor of C<strong>in</strong>ema and Technology: Cultures, Theories,<br />
Practices (Palgrave Macmillan 2008), and has published work on<br />
economic theory and c<strong>in</strong>ema, film and politics, and celebrity culture.<br />
He is currently complet<strong>in</strong>g a monograph on Michael W<strong>in</strong>terbottom.<br />
› C<strong>in</strong>ematic perspectives on the ‘war on terror’: The Road to Guantánamo<br />
(2006) and activist c<strong>in</strong>ema, New C<strong>in</strong>emas: Journal of Contemporary Film,<br />
6.2, 111-126.<br />
› Fram<strong>in</strong>g terror: C<strong>in</strong>ema, docudrama and the War on Terror, Studies <strong>in</strong><br />
Documentary Film, 4.3, 209-225.<br />
Daniela Berghahn is a Reader <strong>in</strong> Film Studies <strong>in</strong> the Media Arts<br />
Department at Royal Holloway, University of London. She has widely<br />
published on East and West German c<strong>in</strong>ema; her recent monograph,<br />
Hollywood beh<strong>in</strong>d the Wall: The C<strong>in</strong>ema of East Germany (Manchester<br />
University Press, 2005), is the first representative history of East<br />
German film culture from 1946 to the present. She is currently lead<strong>in</strong>g<br />
an <strong>in</strong>ternational AHRC-funded Research Network <strong>in</strong>vestigat<strong>in</strong>g<br />
Migrant and Diasporic C<strong>in</strong>ema <strong>in</strong> Contemporary Europe<br />
(www.migrantc<strong>in</strong>ema.net).<br />
› No place like home? Or impossible homecom<strong>in</strong>gs <strong>in</strong> the films of Fatih Ak<strong>in</strong>,<br />
New C<strong>in</strong>emas: Journal of Contemporary Film, 4.3, 141-158.<br />
› Introduction: Turkish–German dialogues on screen, New C<strong>in</strong>emas: Journal<br />
of Contemporary Film, 7.1, 3-9.<br />
› From Turkish greengrocer to drag queen: reassess<strong>in</strong>g patriarchy <strong>in</strong> recent<br />
Turkish–German com<strong>in</strong>g-of-age films, New C<strong>in</strong>emas: Journal of<br />
Contemporary Film, 7.1, 55-69.
Maura Bergonzoni<br />
‘Manfredo Fanti’ Liceo Scientifico-<br />
L<strong>in</strong>guistico, via Peruzzi 7, Carpi,<br />
Modena, 41012, Italy<br />
Keywords teach<strong>in</strong>g language, Second<br />
Language, Pier Paolo Pasol<strong>in</strong>i<br />
Annika Bergstrom<br />
University of Gothenburg,<br />
Department of Journalism, Media and<br />
Communication, POB 710,<br />
Gothenburg, SE 405 30, Sweden<br />
Keywords free dailies, young readers,<br />
readership, newspapers<br />
John Berra<br />
Nanj<strong>in</strong>g University, School of Liberal<br />
Arts<br />
Keywords modern c<strong>in</strong>ema, auteur<br />
theory, contemporary <strong>in</strong>ternational<br />
filmmakers<br />
Maura Bergonzoni holds a degree <strong>in</strong> English Literature from the<br />
University of Bologna and an MA <strong>in</strong> Comparative Literature from<br />
Purdue University. She has taught Italian and English as a Second<br />
Language at college level, and English language and literature <strong>in</strong> Italian<br />
public schools. Presently she is teach<strong>in</strong>g English literature at ‘Manfredo<br />
Fanti’ Liceo Scientifico-L<strong>in</strong>guistico <strong>in</strong> Carpi (Modena). She co-edited,<br />
with Professor Ben Lawton, Pasol<strong>in</strong>i: In Liv<strong>in</strong>g Memory, New<br />
Academia Publish<strong>in</strong>g, 2009.<br />
› Al<strong>in</strong>a Marazzi’s Un’ora sola ti vorrei and Vogliamo anche le rose: The<br />
personal stands for the political, Studies <strong>in</strong> Documentary Film, 5.2-3, 247-<br />
253.<br />
Annika Bergström, Ph.D., is Senior Lecturer at the Department of<br />
Journalism, Media and Communication at the University of<br />
Gothenburg, Sweden. For more than ten years her <strong>research</strong> has focused<br />
on use of the <strong>in</strong>ternet and <strong>in</strong>ternet services, <strong>in</strong>clud<strong>in</strong>g onl<strong>in</strong>e<br />
participation and the use of web 2. 0 applications with special emphasis<br />
on political use and user-generated content <strong>in</strong> a journalistic context.<br />
She is also connected to the Newspaper Research Programme<br />
conduct<strong>in</strong>g long-term <strong>research</strong> about the development of Swedish<br />
newspapers.<br />
› The contribution of free dailies and news on the web: implications of media<br />
structural changes for the Swedish newspaper readership market, Northern<br />
Lights: Film & Media Studies Yearbook, 8.1, 139-155.<br />
John Berra teaches Film, is a writer and <strong>research</strong>er specializ<strong>in</strong>g <strong>in</strong><br />
Media Studies, and is the author of Declarations of Independence:<br />
American C<strong>in</strong>ema and the Partiality of Independent Production<br />
(<strong>Intellect</strong> Books). John has written academic articles about modern<br />
c<strong>in</strong>ema and its cultural significance, and he is currently work<strong>in</strong>g on a<br />
book concern<strong>in</strong>g auteur theory with reference to contemporary<br />
<strong>in</strong>ternational filmmakers.<br />
› DVD Reviews, Film International, 6.6, 80-83.<br />
› DVD Reviews, Film International, 8.1, 64-77.<br />
› Book Reviews, Film International, 8.5, 82-90.
Sarah Berry<br />
Portland State University, Liberal<br />
Arts & Sciences, PO Box 751,<br />
Portland, Oregon, 97207, United<br />
States of America<br />
Keywords media, technology,<br />
culture, Hollywood style<br />
Chris Berry<br />
Goldsmiths, University of London,<br />
United K<strong>in</strong>gdom<br />
Keywords national, co-production,<br />
globalization, Ch<strong>in</strong>ese c<strong>in</strong>ema,<br />
transnational<br />
C. David Bertol<strong>in</strong>i<br />
Keywords Greenaway, Paris, Gilles<br />
Deleuze, Žižek, death<br />
Sarah Berry teaches film studies at Portland State University and writes<br />
about media, technology and culture. She is the author of Screen Style:<br />
Fashion and Fem<strong>in</strong><strong>in</strong>ity <strong>in</strong> 1930s Hollywood (M<strong>in</strong>nesota University<br />
Press, 2000).<br />
› Hank Williams will never die: I'm Your Man and Heart of Gold, Studies <strong>in</strong><br />
Documentary Film, 2.3, 247-255.<br />
Chris Berry is Professor of Film and Television Studies at Goldsmiths,<br />
University of London. His primary publications <strong>in</strong>clude (with Mary<br />
Farquhar) C<strong>in</strong>ema and the National: Ch<strong>in</strong>a on Screen (Columbia<br />
University Press and Hong Kong University Press, 2006); Postsocialist<br />
C<strong>in</strong>ema <strong>in</strong> Post-Mao Ch<strong>in</strong>a: the Cultural Revolution after the Cultural<br />
Revolution (New York: Routledge, 2004); (edited with Kim Soyoung<br />
and Lynn Spigel), Electronic Elsewheres: Media, Technology, and<br />
Social Space (M<strong>in</strong>neapolis: University of M<strong>in</strong>nesota Press, 2010);<br />
(edited with Nicola Liscut<strong>in</strong> and Jonathan D. Mack<strong>in</strong>tosh), Cultural<br />
Studies and Cultural Industries <strong>in</strong> Northeast Asia: What a Difference a<br />
Region Makes (Hong Kong: Hong Kong University Press, 2009); and<br />
(edited with Y<strong>in</strong>g Zhu) TV Ch<strong>in</strong>a (Indiana University Press, 2008).<br />
› Introduction, or, What's <strong>in</strong> an ‘s’?, Journal of Ch<strong>in</strong>ese C<strong>in</strong>emas, 2.1, 3-8.<br />
› What is transnational c<strong>in</strong>ema? Th<strong>in</strong>k<strong>in</strong>g from the Ch<strong>in</strong>ese situation,<br />
Transnational C<strong>in</strong>emas, 1.2, 111-127.<br />
C. David Bertol<strong>in</strong>i is an assistant professor at Louisuana State<br />
University where he teaches courses <strong>in</strong> film <strong>in</strong> the Honors College and<br />
the School of Architecture. His current <strong>research</strong> is on documentary and<br />
fictional film representations of the Holocaust, <strong>in</strong> particular Auschwitz-<br />
Birkenau.<br />
› The post-mortem image: Peter Greenaway's documentary Death <strong>in</strong> the Se<strong>in</strong>e<br />
and writ<strong>in</strong>g the history of a corpse, Studies <strong>in</strong> Documentary Film, 1.3, 279-<br />
296.<br />
Marco Bertozzi Marco Bertozzi is associate professor <strong>in</strong> the Faculty of Arts and Design
University IUAV of Venice, Faculty<br />
of Arts and Design, Terese,<br />
Dorsoduro 2206, Venice, 30123, Italy<br />
Keywords experimental documentary<br />
c<strong>in</strong>ema, Video Documentary Lab,<br />
Italian documentary, BiblioFell<strong>in</strong>i<br />
Gary Bett<strong>in</strong>son<br />
Lancaster University, Film Studies /<br />
LICA, Room B161, County Ma<strong>in</strong>,<br />
Lancashire, LA1 4YD, United<br />
K<strong>in</strong>gdom<br />
Keywords Soi Cheang, Hong Kong<br />
c<strong>in</strong>ema, Dog Bite Dog, Milkyway<br />
Image<br />
Mart<strong>in</strong>e Beugnet<br />
University of Ed<strong>in</strong>burgh, Film<br />
Studies, Room G3, 19 George Square,<br />
Ed<strong>in</strong>burgh, EH8 9JX, United<br />
K<strong>in</strong>gdom<br />
Keywords aesthetics, philosophy,<br />
at the University IUAV of Venice where he teaches experimental<br />
documentary c<strong>in</strong>ema and directs the Video Documentary Lab. He is a<br />
lead<strong>in</strong>g Italian documentary scholar, theorist and director. His<br />
numerous publications <strong>in</strong>clude L’immag<strong>in</strong>ario urbano nel c<strong>in</strong>ema delle<br />
orig<strong>in</strong>i. La veduta Lumière (Bologna: Clueb, 2001), L’occhio e la<br />
pietra. Il c<strong>in</strong>ema, una cultura urbana (Tur<strong>in</strong>: L<strong>in</strong>dau, 2003), L’idea<br />
documentaria (Tur<strong>in</strong>: L<strong>in</strong>dau, 2003) and Storia del documentario<br />
italiano (Venice: Marsilio, 2008). He is also the editor of BiblioFell<strong>in</strong>i,<br />
a three-volume project sponsored by the Fondazione Fell<strong>in</strong>i and the<br />
Scuola Nazionale di C<strong>in</strong>ema (2002–04). Among his documentary films<br />
are Appunti romani (2004), Il senso degli altri (2007) and Predappio <strong>in</strong><br />
luce (2008). He is currently work<strong>in</strong>g on a documentary entitled<br />
Displaced <strong>in</strong> C<strong>in</strong>ecittà. His works <strong>in</strong> film and criticism have won<br />
several awards.<br />
› The poetics of reuse: Festivals, archives and c<strong>in</strong>ematic recycl<strong>in</strong>g <strong>in</strong> Italian<br />
documentary, Studies <strong>in</strong> Documentary Film, 5.2-3, 91-106.<br />
Gary Bett<strong>in</strong>son is Lecturer <strong>in</strong> Film Studies at Lancaster University,<br />
UK. He is co-author (with Richard Rushton) of What is Film Theory?<br />
An Introduction to Contemporary Debates (McGraw-Hill, 2010) and<br />
editor of <strong>Intellect</strong>'s Directory of World C<strong>in</strong>ema: Ch<strong>in</strong>a. His essays have<br />
appeared <strong>in</strong> Puzzle Films: Complex Storytell<strong>in</strong>g <strong>in</strong> Contemporary<br />
C<strong>in</strong>ema (ed. Warren Buckland, Blackwell, 2009), David Lynch/In<br />
Theory (ed. Francois-Xavier Gleyzon, Charles University Press,<br />
2010), Asian C<strong>in</strong>ema, Film Studies: An International Review, New<br />
Review of Film and Television Studies, and Journal of Ch<strong>in</strong>ese<br />
C<strong>in</strong>emas. His <strong>research</strong> <strong>in</strong>terests <strong>in</strong>clude Hong Kong and Ch<strong>in</strong>ese<br />
c<strong>in</strong>ema, American <strong>in</strong>dependent and ma<strong>in</strong>stream c<strong>in</strong>ema, film authors,<br />
and approaches to film aesthetics.<br />
› New blood: an <strong>in</strong>terview with Soi Cheang, Journal of Ch<strong>in</strong>ese C<strong>in</strong>emas, 2.3,<br />
211-224.<br />
Mart<strong>in</strong>e Beugnet is professor <strong>in</strong> Film Studies at the University of<br />
Ed<strong>in</strong>burgh. She has published the follow<strong>in</strong>g books: Sexualité,<br />
marg<strong>in</strong>alité, contrôle: c<strong>in</strong>éma français contempora<strong>in</strong> (L'Harmattan,<br />
2000), Claire Denis (MUP, 2004), and, together with Dr Marion<br />
Schmid, Proust at the Movies (Ashgate, 2005). Her fourth book,<br />
entitled C<strong>in</strong>ema and Sensation: French Film and the Art of<br />
Transgression was published by Ed<strong>in</strong>burgh University Press <strong>in</strong>
Bataille, Gilles Deleuze,<br />
contemporary art, postcolonial<br />
Birgit Beumers<br />
University of Bristol, Russian<br />
Department, 17 Woodland Road,<br />
Bristol, BS8 1TE, United K<strong>in</strong>gdom<br />
Keywords Fascism, Soviet–German<br />
cultural relations, Mikhail Romm,<br />
Leipzig Documentary Film Festival,<br />
Soiuzdetfil'm, Margarita Barskaia<br />
September 2007. She has written articles and essays on a wide range of<br />
contemporary c<strong>in</strong>ema topics. Ma<strong>in</strong> <strong>research</strong> <strong>in</strong>terests: film aesthetics,<br />
film and philosophy and the exploration of film form <strong>in</strong> relation to<br />
counter-culture and marg<strong>in</strong>ality (focus<strong>in</strong>g <strong>in</strong> particular, but not<br />
exclusively, on French c<strong>in</strong>ema).<br />
› Beau travail: time, space and myths of identity, Studies <strong>in</strong> French C<strong>in</strong>ema,<br />
1.3, 166-173.<br />
› Film<strong>in</strong>g jealousy: Chantal Akerman's La Captive (2000), Studies <strong>in</strong> French<br />
C<strong>in</strong>ema, 2.3, 157-164.<br />
› Evil and the senses: Philippe Grandrieux's Sombre and La Vie nouvelle,<br />
Studies <strong>in</strong> French C<strong>in</strong>ema, 5.3, 175-184.<br />
› Traces of the modern: an alternative history of French c<strong>in</strong>ema, Studies <strong>in</strong><br />
French C<strong>in</strong>ema, 10.1, 11-38.<br />
› John Orr, Studies <strong>in</strong> French C<strong>in</strong>ema, 11.1, 3-3.<br />
Birgit Beumersis a Reader <strong>in</strong> Russian at the University of Bristol,<br />
specializ<strong>in</strong>g <strong>in</strong> contemporary Russian culture. She is co-author (with<br />
Mark Lipovetsky) of Perform<strong>in</strong>g Violence, and editor of the Studies <strong>in</strong><br />
Russian and Soviet C<strong>in</strong>ema Journal, both published by <strong>Intellect</strong>.<br />
› Editorial, Studies <strong>in</strong> Russian and Soviet C<strong>in</strong>ema, 1.3, 237-238.<br />
› Editorial, Studies <strong>in</strong> Russian and Soviet C<strong>in</strong>ema, 1.2, 113-114.<br />
› Editorial, Studies <strong>in</strong> Russian and Soviet C<strong>in</strong>ema, 1.1, 3-4.<br />
› Editorial, Studies <strong>in</strong> Russian and Soviet C<strong>in</strong>ema, 2.1, 3-4.<br />
› Editorial, Studies <strong>in</strong> Russian and Soviet C<strong>in</strong>ema, 2.2, 133-134.<br />
› Some documents from the life of a documentary film, Studies <strong>in</strong> Russian and<br />
Soviet C<strong>in</strong>ema, 2.2, 155-165.<br />
› Editorial, Studies <strong>in</strong> Russian and Soviet C<strong>in</strong>ema, 2.3, 3-3.<br />
› Editorial, Studies <strong>in</strong> Russian and Soviet C<strong>in</strong>ema, 3.1, 3-3.<br />
› Editorial, Studies <strong>in</strong> Russian and Soviet C<strong>in</strong>ema, 3.2, 133-134.<br />
› Margarita Barskaia and the emergence of Soviet children's c<strong>in</strong>ema, Studies <strong>in</strong><br />
Russian and Soviet C<strong>in</strong>ema, 3.2, 229-262.<br />
› Editorial, Studies <strong>in</strong> Russian and Soviet C<strong>in</strong>ema, 3.3, 265-266.<br />
› Editorial, Studies <strong>in</strong> Russian and Soviet C<strong>in</strong>ema, 4.3, 259-259.<br />
› EDITORIAL, Studies <strong>in</strong> Russian and Soviet C<strong>in</strong>ema, 5.1, 3-.<br />
Jake Bevan Jake Bevan received his BA <strong>in</strong> European and World C<strong>in</strong>emas at the
K<strong>in</strong>g’s College London, Film Studies<br />
Department, Strand, London, WC2R<br />
2LS, United K<strong>in</strong>gdom<br />
Keywords South Korean C<strong>in</strong>ema,<br />
Sunsh<strong>in</strong>e policy, Korean War,<br />
reunification movies, division movies<br />
Charlotte Beyer<br />
University of Gloucestershire,<br />
Department of Humanities, Francis<br />
Close Hall Campus, Sw<strong>in</strong>don Road,<br />
Chelenham, GL50 4NZ, United<br />
K<strong>in</strong>gdom<br />
Keywords contemporary literature,<br />
Margaret Atwood, crime fiction,<br />
poetry<br />
Zoë Beyer<br />
Keywords design, commercial<br />
production, 'All The Little Live<br />
Th<strong>in</strong>gs'<br />
University of Exeter. He is currently study<strong>in</strong>g for an MA at K<strong>in</strong>g’s<br />
College London with a dissertation focus<strong>in</strong>g on Korean films produced<br />
dur<strong>in</strong>g the period of Japanese occupation.<br />
› Welcome to Panmunjeom: encounters with the north <strong>in</strong> contemporary South<br />
Korean c<strong>in</strong>ema, New C<strong>in</strong>emas: Journal of Contemporary Film, 8.1, 45-57.<br />
Dr. Charlotte Beyer is Senior Lecturer <strong>in</strong> English Literature at the<br />
University of Gloucestershire. A contemporary literature specialist, she<br />
has published a number of articles on Margaret Atwood’s fiction and<br />
poetry, and an article and a book chapter on Willa Cather’s journalism.<br />
Her recent publications <strong>in</strong>clude a book chapter on crime fiction and the<br />
‘boy detective’; and articles on black British women’s writ<strong>in</strong>g and<br />
maternal identities, and us<strong>in</strong>g fem<strong>in</strong>ist and postcolonial theoretical<br />
perspectives <strong>in</strong> teach<strong>in</strong>g and learn<strong>in</strong>g. Her forthcom<strong>in</strong>g articles and<br />
book chapters explore issues <strong>in</strong> contemporary crime fiction. Dr. Beyer<br />
writes reviews for academic journals, and serves as a peer reviewer.<br />
She is also a published poet, and her poetry has appeared <strong>in</strong> several<br />
journals and anthologies.<br />
› Mediatization and mothers accused of murder <strong>in</strong> Sophie Hannah’s crime<br />
novel A Room Swept White, Northern Lights: Film & Media Studies<br />
Yearbook, 9., 79-93.<br />
Zoë Beyer currently resides <strong>in</strong> New York City where she works as the<br />
production coord<strong>in</strong>ator at a design and commercial production studio.<br />
In her free time, she ma<strong>in</strong>ta<strong>in</strong>s her blog All The Little Live Th<strong>in</strong>gs. Zoe<br />
graduated from Wesleyan University <strong>in</strong> May 2010 with a dual degree<br />
<strong>in</strong> Film Studies and US History.<br />
› Fassb<strong>in</strong>der’s BRD Trilogy: A Lesson <strong>in</strong> Postwar German History, Film<br />
Matters, 2.1, 3-8.<br />
Emilie Bickerton Emilie Bickerton is a graduate from the Faculty of English, University<br />
of Cambridge. She reviews French film for Sight and Sound as well as<br />
fiction and books <strong>in</strong> anthropology and film for a variety of<br />
publications. She has written on Jean Rouch for the New Left Review
Keywords Daney, c<strong>in</strong>ephilia,<br />
criticism, history<br />
Jonathan Bignell<br />
University of Read<strong>in</strong>g, Department of<br />
Film, Theatre & Television,<br />
Bulmershe Court, Read<strong>in</strong>g, RG6<br />
1HY, United K<strong>in</strong>gdom<br />
Keywords genre, documentary,<br />
drama, hybridity, regulation<br />
Daniel Biltereyst<br />
University of Gent, Department of<br />
Communication Studies,<br />
Universteitstraat 8, Gent, 9000,<br />
Belgium<br />
Keywords media controversy, media<br />
panic, audience, risks<br />
and is currently work<strong>in</strong>g on the history of Cahiers du c<strong>in</strong>éma.<br />
› A message <strong>in</strong> a bottle: Serge Daney's ‘it<strong>in</strong>éraire d'un c<strong>in</strong>é-fils’, Studies <strong>in</strong><br />
French C<strong>in</strong>ema, 6.1, 5-16.<br />
Jonathan Bignell is Professor of Television and Film at the University<br />
of Read<strong>in</strong>g and Co-Investigator on the ‘Act<strong>in</strong>g with Facts’ project. His<br />
books <strong>in</strong>clude Beckett on Screen, Postmodern Media Culture and Big<br />
Brother: Reality TV <strong>in</strong> the Twenty-first Century, and the edited<br />
collections A European Television History, Writ<strong>in</strong>g and C<strong>in</strong>ema,<br />
Popular Television Drama: Critical Perspectives and British<br />
Television Drama: Past, Present and Future. He serves on the editorial<br />
boards of the journals New Review of Film Television Studies,<br />
Symbolism: An International Annual of Critical Aesthetics and the<br />
Journal of Science Fiction Film and Television.<br />
› Docudramatiz<strong>in</strong>g the real: Developments <strong>in</strong> British TV docudrama s<strong>in</strong>ce<br />
1990, Studies <strong>in</strong> Documentary Film, 4.3, 195-208.<br />
Daniel Biltereyst is Professor <strong>in</strong> Film, Television and Cultural Media<br />
Studies and International Communication at the Department of<br />
Communication Sciences, Gent University (Belgium). Previously he<br />
has been an associate professor at the Brussels University. He has<br />
published <strong>in</strong> academic journals (e.g. Media, Culture & Society,<br />
European Journal of Communication) and readers (<strong>in</strong>clud<strong>in</strong>g The<br />
Media Book, News <strong>in</strong> a Globalized Society) on issues deal<strong>in</strong>g with the<br />
role of the media as a central forum for public debate and<br />
(dis)<strong>in</strong>formation. He is the editor of Explorations <strong>in</strong> New C<strong>in</strong>ema<br />
History: Approaches and Case Studies (2011 Wiley-Blackwell) and<br />
C<strong>in</strong>ema, Audiences and Modernity (<strong>in</strong> press, Routledge), both edited<br />
with Richard Maltby and Philippe Meers.<br />
› ‘Down with French vaudevilles!’ The Catholic film movement's resistance<br />
and boycott of French c<strong>in</strong>ema <strong>in</strong> the 1930s, Studies <strong>in</strong> French C<strong>in</strong>ema, 6.1,<br />
29-42.<br />
› ‘Will we ever see Potemk<strong>in</strong>?’: The historical reception and censorship of<br />
Eisenste<strong>in</strong>'s Battleship Potemk<strong>in</strong> <strong>in</strong> Belgium (1926–32), Studies <strong>in</strong> Russian<br />
and Soviet C<strong>in</strong>ema, 2.1, 5-20.
Bridget Birchall<br />
University of Plymouth, Drake<br />
Circus, Plymouth, PL4 8AA, United<br />
K<strong>in</strong>gdom<br />
Keywords nude, metteuse-en-scène,<br />
image, boundary, desire<br />
Robert Bird<br />
University of Chicago<br />
Keywords Russian modernism,<br />
Viacheslav Ivanov, Andrei<br />
Tarkovsky, narrative theory<br />
Søren Birkvad<br />
Keywords c<strong>in</strong>ematic modernism, art<br />
c<strong>in</strong>ema, New Hollywood, sex <strong>in</strong><br />
c<strong>in</strong>ema, Swedish s<strong>in</strong>, negative<br />
didactics<br />
Bridget Birchall is a doctoral student at the University of Exeter. Her<br />
thesis looks at the actor Patrick Dewaere and the configuration of<br />
gender dur<strong>in</strong>g the Giscardien period (1974–1981). Her <strong>research</strong><br />
<strong>in</strong>terests <strong>in</strong>clude star studies and 1970s French c<strong>in</strong>ema.<br />
› From Nude to Metteuse-en-Scène: Isabelle Huppert, Image and Desire <strong>in</strong> La<br />
Dentellière (Goretta, 1977) and La Pianiste (Haneke, 2001), Studies <strong>in</strong><br />
French C<strong>in</strong>ema, 5.1, 5-16.<br />
› Reviews, Studies <strong>in</strong> European C<strong>in</strong>ema, 4.1, 73-.<br />
Robert is Associate Professor <strong>in</strong> the Department of Slavic Languages<br />
and Literatures at The University of Chicago. Robert Bird’s ma<strong>in</strong> area<br />
of <strong>in</strong>terest is the aesthetic practice and theory of Russian modernism.<br />
His first full-length book Russian Prospero (2006) is a comprehensive<br />
study of the poetry and thought of Viacheslav Ivanov. He is also the<br />
author of two books on the film-maker Andrei Tarkovsky, Andrei<br />
Rublev (2004) and Andrei Tarkovsky: Elements of C<strong>in</strong>ema (2008). His<br />
translations of Russian religious thought <strong>in</strong>clude On Spiritual Unity: A<br />
Slavophile Reader (1998) and Viacheslav Ivanov’s Selected Essays<br />
(2001). His works <strong>in</strong> progress <strong>in</strong>clude The Soviet Imag<strong>in</strong>ary and a book<br />
on Dostoevsky and narrative theory, provisionally entitled In Suspense.<br />
› Book Reviews, Studies <strong>in</strong> Russian and Soviet C<strong>in</strong>ema, 4.3, 355-377.<br />
Søren Birkvad, Ph.D., is an Associate Professor <strong>in</strong> Film and Television<br />
Studies at the Lillehammer University College, Norway, where he also<br />
occasionally teaches at the National Film School of Norway. He has for<br />
many years been a specialist <strong>in</strong> documentary film history, Danish<br />
c<strong>in</strong>ema and Scand<strong>in</strong>avian film history. He is the author of Verden er<br />
leth: En bog om Jørgen Leths film og forfatterskab (1992) and<br />
Autentiske <strong>in</strong>ntrykk: Møte med skand<strong>in</strong>aviske filmskaparar (1994) and<br />
a contributor to, among others, Dansk film 1972–97 (1997, Bondebjerg,<br />
Andersen og Schepelern, eds) and Filmanalytiske tradisjoner (2008,<br />
Bakøy og Moseng, eds).<br />
› Hollywood S<strong>in</strong>, Scand<strong>in</strong>avian Virtue: The 1967 Revolt of I Am Curious and<br />
The Graduate, Film International, 9.2, 42-54.
Lizelle Bisschoff<br />
University of Ed<strong>in</strong>burgh, Centre of<br />
African Studies, Ed<strong>in</strong>burgh, United<br />
K<strong>in</strong>gdom<br />
Keywords Belgium, Iceland, Iran,<br />
Slovenia, Australia<br />
Margot Black<br />
Keywords borders, identities,<br />
European C<strong>in</strong>ema, depictions of<br />
Germany, Cold War period<br />
Laura Senio Blair<br />
Southwestern University -<br />
Georgetown, United States of<br />
America<br />
Keywords race, gender, sexuality,<br />
Bildungsroman, psychoanalysis<br />
Michelle Bloom<br />
Department of Comparative Literature<br />
and Foriegn Languages, University of<br />
California, Riverside, CA, 92521-<br />
0321, United States of America<br />
Keywords Tsai M<strong>in</strong>g-liang, François<br />
Truffaut, S<strong>in</strong>ofrench, <strong>in</strong>tertextuality,<br />
French New Wave, Taiwan C<strong>in</strong>ema<br />
Lizelle Bisschoff recently earned a Ph.D. <strong>in</strong> the role of women <strong>in</strong><br />
African c<strong>in</strong>ema from the University of Stirl<strong>in</strong>g. She is the founder and<br />
director of ‘Africa <strong>in</strong> Motion’, the largest African film festival <strong>in</strong> the<br />
UK, based <strong>in</strong> Ed<strong>in</strong>burgh, Scotland and now <strong>in</strong> its fifth year.<br />
› Festivals, Film International, 7.3, 85-97.<br />
› Visions of female emancipation: three recent films from West Africa,<br />
Journal of African C<strong>in</strong>emas, 2.1, 37-48.<br />
Margot Black and Ciara Haley are both students, study<strong>in</strong>g for degrees<br />
<strong>in</strong> French & Italian and Spanish & Italian respectively at Cardiff<br />
University, Wales. They are currently <strong>in</strong> their second year and do<strong>in</strong>g a<br />
module on Borders and Identities <strong>in</strong> European C<strong>in</strong>ema. It is through<br />
this module, and the guidance of their lecturer Ryan Prout, that they<br />
came to be <strong>in</strong>terested <strong>in</strong> depictions of Germany <strong>in</strong> film throughout the<br />
Cold War period.<br />
› Counterculture <strong>in</strong> the GDR: Remember<strong>in</strong>g the GDR through Film, Film<br />
Matters, 2.1, 30-32.<br />
Dr. Senio Blair is Associate Professor of Spanish at Southwestern<br />
University <strong>in</strong> Georgetown, Texas. Recent articles of Dr. Senio Blair's<br />
focus on contemporary Chilean narrative and film.<br />
› Bridges between the divide: The female body <strong>in</strong> Y tu Mamá también and<br />
Machuca, Studies <strong>in</strong> Hispanic C<strong>in</strong>emas, 4.1, 47-62.<br />
Michelle Bloom is Associate Professor of French and Comparative<br />
Literature <strong>in</strong> the Department of Comparative Literature at the<br />
University of California, Riverside. The author of Waxworks: A<br />
Cultural Obsession (University ofM<strong>in</strong>nesota, 2003), she is currently<br />
writ<strong>in</strong>g a book on contemporary S<strong>in</strong>ofrench c<strong>in</strong>emas. She has<br />
published work on Ch<strong>in</strong>ese language films by Jia Zhangke and Emily<br />
Tang (Xiaobai) <strong>in</strong> Modern Ch<strong>in</strong>ese Literature and Culture and on Dai<br />
Sijie and Tsai M<strong>in</strong>g-liang <strong>in</strong> Quarterly Review of Film and Video.
Michael J. Blou<strong>in</strong><br />
Michigan State University, 116<br />
Morrill Hall, American Studies<br />
Program, Michigan State University,<br />
East Lans<strong>in</strong>g, MI, MI 48824, United<br />
States of America<br />
Keywords cultural studies, American<br />
Gothic, US–Japan cultural relations,<br />
globalization<br />
Sergei Bodrov<br />
Keywords scriptwrit<strong>in</strong>g, satire,<br />
Russian c<strong>in</strong>ema<br />
V<strong>in</strong>cent Bohl<strong>in</strong>ger<br />
Rhode Island College, Department of<br />
English, 355 Craig-Lee, 600 Mount<br />
Pleasant Avenue, Providence, 02908-<br />
1991, United States of America<br />
Keywords socialist realist film,<br />
› The <strong>in</strong>tertextuality of Tsai M<strong>in</strong>g-liang’s S<strong>in</strong>ofrench film, Face, Journal of<br />
Ch<strong>in</strong>ese C<strong>in</strong>emas, 5.2, 103-121.<br />
Michael J. Blou<strong>in</strong> is a third-year Ph.D. candidate <strong>in</strong> American Studies<br />
at Michigan State University. His <strong>research</strong> <strong>in</strong>terests <strong>in</strong>clude cultural<br />
studies, the American Gothic, US–Japan cultural relations and<br />
globalization. His dissertation, ‘Specters of Modernity: “Supernatural<br />
Japan” <strong>in</strong> American Discourse’, exam<strong>in</strong>es the recurrent use of ‘Japan’<br />
as a fantastic entity <strong>in</strong> twentieth-century American thought. Recent<br />
essays by Blou<strong>in</strong> that also focus on representations of ‘Japan’ <strong>in</strong> horror<br />
fiction/film have been published <strong>in</strong> Japan Studies Review and The<br />
Journal of American Studies.<br />
› A Communal Haunt: “Synchronicity” and “Betweeness” <strong>in</strong> the Atemporal<br />
Films of Shimizu Takashi, Asian C<strong>in</strong>ema, 22.2, 178-195.<br />
Sergei Bodrov was born <strong>in</strong> Khabarovsk <strong>in</strong> 1948. He graduated from the<br />
Scriptwrit<strong>in</strong>g Department at VGIK <strong>in</strong> 1974 and worked as special<br />
correspondent for the satirical weekly Crocodile from 1975 to 1980.<br />
He has written stories and satirical sketches, as well as the scripts for<br />
over twenty films. His debut film was The Sweet Juice <strong>in</strong> the Grass<br />
(Sladkii sok vnutri travy, Kazakhstan, co-directed with Amanbek<br />
Alpiev, 1984), which featured Gulshat Omarova, <strong>who</strong>se film Schizo (,<br />
Kazakhstan, Russia, France, Germany, 2004) Bodrov produced twenty<br />
years later. Freedom is Paradise (S.E.R: Svoboda – eto rai, 1989)<br />
established Bodrov’s reputation <strong>in</strong>ternationally.<br />
› Cross-Eyed Sasha, Studies <strong>in</strong> Russian and Soviet C<strong>in</strong>ema, 1.1, 69-.<br />
V<strong>in</strong>cent Bohl<strong>in</strong>ger is Assistant Professor of Film Studies <strong>in</strong> the<br />
Department of English at Rhode Island College. He is currently<br />
work<strong>in</strong>g on a book on the development of socialist realist film style <strong>in</strong><br />
the Soviet Union.<br />
› Reviews, Studies <strong>in</strong> Russian and Soviet C<strong>in</strong>ema, 3.3, 353-385.<br />
› Engross<strong>in</strong>g? Excit<strong>in</strong>g!Incomprehensible? Bor<strong>in</strong>g!Audience survey
Soviet c<strong>in</strong>ema, Russian c<strong>in</strong>ema<br />
Eugenio Bolongaro<br />
McGill University, Canada<br />
Keywords Palookaville, Alan Taylor,<br />
Italo Calv<strong>in</strong>o, neorealism,<br />
<strong>in</strong>tertextuality<br />
Jay David Bolter<br />
Georgia Institute of Technology,<br />
Graphics, Visualization and Usability<br />
Center, Technology Square Research<br />
Build<strong>in</strong>g, 85 5th St, NW, Atlanta,<br />
Georgia, GA 30332-0760, United<br />
States of America<br />
Keywords <strong>in</strong>termediality,<br />
essentialism, avant-garde, modernist<br />
aesthetics, new-media theory<br />
responsesto Eisenste<strong>in</strong>’s October, Studies <strong>in</strong> Russian and Soviet C<strong>in</strong>ema, 5.1,<br />
5-27.<br />
Professor Eugenio Bolongaro teaches contemporary Italian literature<br />
and film at McGill University. His <strong>research</strong> has focused on the work of<br />
Italo Calv<strong>in</strong>o, a central figure <strong>in</strong> twentieth-century Italian literature and<br />
culture. In his book Italo Calv<strong>in</strong>o and the Compass of Literature,<br />
Bolongaro exam<strong>in</strong>es the fictional works published by Calv<strong>in</strong>o dur<strong>in</strong>g<br />
the 1950s and early 1960s and relates them to the <strong>in</strong>tellectual debates<br />
that took place <strong>in</strong> Italy at the time, such as the debate surround<strong>in</strong>g<br />
neorealism and the commitment of <strong>in</strong>tellectuals. More recent work on<br />
Calv<strong>in</strong>o has focused on ethics and <strong>in</strong> particular on the ‘question of the<br />
animal’ as it emerges <strong>in</strong> the Italian author's later work. A grow<strong>in</strong>g<br />
<strong>in</strong>terest <strong>in</strong> the ethical function of literature has led to an ongo<strong>in</strong>g, widerang<strong>in</strong>g<br />
study of post-1995 Italian writers that attempts to situate<br />
contemporary Italian prose fiction with<strong>in</strong> a post-structuralist ethical<br />
question<strong>in</strong>g orig<strong>in</strong>at<strong>in</strong>g <strong>in</strong> the<br />
› Represent<strong>in</strong>g the un(re)presentable: Homosexuality <strong>in</strong> Luch<strong>in</strong>o Visconti's<br />
Rocco and His Brothers, Studies <strong>in</strong> European C<strong>in</strong>ema, 7.3, 221-234.<br />
› Playful robberies <strong>in</strong> Palookaville (1995): Alan Taylor, Italo Calv<strong>in</strong>o and a<br />
new paradigm for adaptation, New C<strong>in</strong>emas: Journal of Contemporary Film,<br />
4.1, 3-20.<br />
Jay David Bolter is Professor of Language, Communication, and<br />
Culture at the Georgia Institute of Technology and Act<strong>in</strong>g Director of<br />
the Institute's Graphics, Visualization, and Usability Center. With<br />
Michael Joyce and John B. Smith, he is the co-creator of Storyspace.<br />
Jay is also the author of two <strong>in</strong>ternationally acclaimed books on<br />
computers, literacy, and culture: Tur<strong>in</strong>g's Man (1986), which has been<br />
translated <strong>in</strong>to eight languages, and Writ<strong>in</strong>g Space, which exists both <strong>in</strong><br />
pr<strong>in</strong>t and as a hypertext. Bolter is a major figure <strong>in</strong> Georgia Tech's<br />
graduate program <strong>in</strong> Information Design and Technology.<br />
› Remediation and the language of new media, Northern Lights: Film & Media<br />
Studies Yearbook, 5.1, 25-37.
Ib Bondebjerg<br />
University of Copenhagen, Film And<br />
Media Studies Section, Department of<br />
Media, Cognition and<br />
Communication, Njalsgade 80,<br />
Copenhagen S, DK-2300, Denmark<br />
Keywords documentary, television,<br />
history, European c<strong>in</strong>ema,<br />
Scand<strong>in</strong>avian c<strong>in</strong>ema, daily life,<br />
media, globalization, democracy,<br />
Internet, politics<br />
Nandana Bose<br />
University of Nott<strong>in</strong>gham, Institute of<br />
Film & Television Studies, School of<br />
American & Canadian Studies,<br />
University Park, Nott<strong>in</strong>gham, NG7<br />
2RD, United K<strong>in</strong>gdom<br />
Keywords H<strong>in</strong>di C<strong>in</strong>ema, cultural<br />
politics<br />
Ursula Böser<br />
Heriot-Watt University Ed<strong>in</strong>burgh,<br />
Ed<strong>in</strong>burgh, EH14 4AS, United<br />
K<strong>in</strong>gdom<br />
Ib Bondebjerg is Professor of film and media studies, Department of<br />
Media, Cognition and Communication, University of Copenhagen, and<br />
is also the director of the Centre for Modern European Studies. From<br />
2000 to 2009 he was the editor of Northern Lights: Film and Media<br />
Studies Yearbook. His ma<strong>in</strong> <strong>research</strong> area is European film and media<br />
culture and documentary genres. His most recent publications are<br />
Media, Democracy and European Culture (2008, editor and<br />
contributor) and Narratives of Reality. The History of the Danish<br />
Television Documentary (2008, <strong>in</strong> Danish). He has also contributed to<br />
A European Television History (2008, edited by Fickers and Bignell).<br />
He is presently work<strong>in</strong>g on a book called Engag<strong>in</strong>g with Reality.<br />
Documentary and Politics.<br />
› Beh<strong>in</strong>d the headl<strong>in</strong>es: documentaries, the War on Terror and everyday life,<br />
Studies <strong>in</strong> Documentary Film, 3.3, 219-231.<br />
› Power and personality: politicians on the World Wide Web, Northern Lights:<br />
Film & Media Studies Yearbook, 5.1, 119-140.<br />
› Introduction, Northern Lights: Film & Media Studies Yearbook, 7.1, 3-7.<br />
› War on Terror – war on democracy? The post 9/11 <strong>in</strong>vestigative<br />
documentary, Northern Lights: Film & Media Studies Yearbook, 7.1, 29-50.<br />
› Com<strong>in</strong>g to terms with the past: post-1989 strategies <strong>in</strong> German film culture,<br />
Studies <strong>in</strong> Eastern European C<strong>in</strong>ema, 1.1, 29-42.<br />
Nandana Bose has recently been awarded the doctorate by the<br />
University of Nott<strong>in</strong>gham for her dissertation entitled ‘The Cultural<br />
Politics of the H<strong>in</strong>du Right <strong>in</strong> H<strong>in</strong>di C<strong>in</strong>ema (1992–2002).’ She is the<br />
recipient of the 2008 Society for C<strong>in</strong>ema and Media Studies (SCMS)<br />
Student Writ<strong>in</strong>g Award and has forthcom<strong>in</strong>g publications <strong>in</strong> C<strong>in</strong>ema<br />
Journal and the Velvet Light Trap.<br />
› Book Reviews, Film International, 8.3, 72-79.<br />
› Between the Godfather and the Mafia: Situat<strong>in</strong>g Right-W<strong>in</strong>g Interventions <strong>in</strong><br />
the Bombay Film Industry (1992–2002), Studies <strong>in</strong> South Asian Film &<br />
Media, 1.1, 23-43.<br />
Ursula Böser lectures <strong>in</strong> the Department of Languages and Intercultural<br />
Studies at Heriot-Watt University, Ed<strong>in</strong>burgh. Her <strong>research</strong> <strong>in</strong>terests<br />
are documentary films, found footage film and alternative film modes.<br />
She has written a book on the work of the avant-garde film-makers<br />
Jean-Marie Straub and Danièle Huillet.
Keywords language, open voice,<br />
archive, Berl<strong>in</strong> Wall › Preserv<strong>in</strong>g the Wall's Ambivalence Language, Structure and History <strong>in</strong><br />
Jürgen Böttcher's Die Mauer, Studies <strong>in</strong> Documentary Film, 4.1, 79-89.<br />
Thorsten Botz-Bornste<strong>in</strong><br />
Gulf University, Assistant Professor<br />
of Philosophy, Gult University, PO<br />
Box 7207, Hawally, 32093, Kuwait<br />
Keywords Eastern philosophy,<br />
dreams, Korean c<strong>in</strong>ema, Kim Kiduk<br />
Enric Bou<br />
Brown University, 84 Prospect St,<br />
Providence, RI 02906, United States<br />
of America<br />
Keywords Catalan literature, Spanish<br />
Pen<strong>in</strong>sular literature, Spanish c<strong>in</strong>ema,<br />
autobiography, city and literature<br />
Mark Bould<br />
University of the West of England,<br />
School of Cultural Studies, St<br />
Matthias Campus, Oldbury Court<br />
Road, Fishponds, Bristol, United<br />
K<strong>in</strong>gdom<br />
Keywords Flash Gordon, orig<strong>in</strong>s<br />
versus orig<strong>in</strong>als, Buck Rogers,<br />
read<strong>in</strong>gs/misread<strong>in</strong>gs, production<br />
context<br />
Thorsten Botz-Bornste<strong>in</strong> was born <strong>in</strong> Germany, studied philosophy <strong>in</strong><br />
Paris, and received his Ph.D. from Oxford University. He received his<br />
‘habilitation’ from the EHESS of Paris. He has also been <strong>research</strong><strong>in</strong>g <strong>in</strong><br />
Japan and worked for the Center of Cognition of Hangzhou University<br />
(Ch<strong>in</strong>a) as well as a at Tuskegee University <strong>in</strong> Alabama. He is now<br />
Assistant Professor of philosophy at Gulf University for Science and<br />
Technology <strong>in</strong> Kuwait.<br />
› Anti-Freudianism Korean Style: Kim Ki-duk's Dream, Journal of Japanese<br />
& Korean C<strong>in</strong>ema, 2.1, 51-62.<br />
Enric Bou is professor and Chair of Hispanic Studies at Brown<br />
University. His teach<strong>in</strong>g and <strong>research</strong> <strong>in</strong>terests cover a broad range of<br />
twentieth-century Spanish Pen<strong>in</strong>sular and Catalan literature but<br />
particularly <strong>in</strong>volv<strong>in</strong>g poetry, autobiography, city and literature, and<br />
Spanish film.<br />
› Overcom<strong>in</strong>g darkness: Alumbramiento's journey towards illum<strong>in</strong>ation, Short<br />
Film Studies, 1.2, 215-218.<br />
Mark Bould is Senior Lecturer <strong>in</strong> Film Studies at the University of the<br />
West of England, and found<strong>in</strong>g co-editor of the journal Science Fiction<br />
Film and Television. The author of Film Noir: From Berl<strong>in</strong> to S<strong>in</strong> City<br />
(2005) and the co-editor of Parietal Games: Critical Writ<strong>in</strong>gs by and<br />
on M. John Harrison (2005), he has just completed The C<strong>in</strong>ema of<br />
John Sayles (2007) and embarked upon co-edit<strong>in</strong>g The Routledge<br />
Companion to Science Fiction and Fifty Key Figures <strong>in</strong> Science Fiction<br />
and co-writ<strong>in</strong>g The Routledge Concise History of Science Fiction.<br />
› Fantasiz<strong>in</strong>g the real: The Secret of Roan Inish, Film International, 4.24, 28-<br />
39.<br />
› DVD Reviews, Film International, 5.3, 70-76.
Edward Bowen<br />
Indiana University, Department of<br />
French and Italian, Ballant<strong>in</strong>e Hall<br />
Rm 642, Bloom<strong>in</strong>gton, IN 47405-<br />
7000, United States of America<br />
Keywords Italian short films and<br />
documentaries, young talent, up-andcom<strong>in</strong>g<br />
directors, urban social issues,<br />
<strong>in</strong>dependent film production<br />
Alexia Bowler<br />
University of Swansea, English<br />
Department, S<strong>in</strong>gleton Park, Swansea,<br />
SA2 8PP, United K<strong>in</strong>gdom<br />
Keywords cyberspace, virtual reality,<br />
gender, science-fiction c<strong>in</strong>ema,<br />
computer-gam<strong>in</strong>g<br />
Kate Bowles<br />
University of Wollongong, School of<br />
Social Sciences, Media &<br />
Communications, Woollongong,<br />
NSW, 2522, Australia<br />
Keywords rural, oral history,<br />
curriculum, public sphere, c<strong>in</strong>emago<strong>in</strong>g<br />
› Adapt<strong>in</strong>g Flash Gordon, Film International, 5.2, 18-26.<br />
› Mike Hodges, Film International, 5.2, 27-29.<br />
› Book Reviews, Film International, 7.4, 73-89.<br />
Edward Bowen is a Ph.D. student <strong>in</strong> Italian at Indiana University,<br />
Bloom<strong>in</strong>gton, with a m<strong>in</strong>or <strong>in</strong> Communication and Culture. He has<br />
directed several short films and documentaries <strong>in</strong> Italian. He is the<br />
founder and curator of ‘Italy’s Young Talent: A Showcase of Short<br />
Films’ which has featured over 80 short films by up-and-com<strong>in</strong>g<br />
directors and has been hosted by over twenty <strong>in</strong>stitutions s<strong>in</strong>ce 2008.<br />
This summer, he taught a course titled ‘Today’s youth and urban social<br />
issues <strong>in</strong> contemporary Italian c<strong>in</strong>ema’ for Middlebury College’s<br />
Intensive Language Program. His latest <strong>research</strong> has been on<br />
<strong>in</strong>dependent film production.<br />
› REVIEW, Studies <strong>in</strong> Documentary Film, 5.2-3, 263-268.<br />
Alexia Bowler is a teach<strong>in</strong>g assistant <strong>in</strong> both the Media Department<br />
and the English Department at the University of Wales, Swansea and<br />
has recently submitted her Ph.D. on science fiction c<strong>in</strong>ema. Her<br />
<strong>research</strong> <strong>in</strong>terests are <strong>in</strong> genre c<strong>in</strong>ema, gender <strong>in</strong> film and theoretical<br />
approaches to media, film and literature.<br />
› eXistenZ and the spectre of gender <strong>in</strong> the cyber-generation, New C<strong>in</strong>emas:<br />
Journal of Contemporary Film, 5.2, 99-114.<br />
Kate Bowles is a Senior Lecturer at the University of Wollongong,<br />
<strong>research</strong><strong>in</strong>g regional and rural oral histories of Australian c<strong>in</strong>emago<strong>in</strong>g.<br />
Her primary <strong>research</strong> and <strong>research</strong> supervision focuses on the<br />
connections between emerg<strong>in</strong>g social media cultures and earlier social<br />
histories of media practice; the histories of rural c<strong>in</strong>ema-go<strong>in</strong>g <strong>in</strong> New<br />
South Wales; c<strong>in</strong>ema segregation practices; and the use of cultural<br />
mapp<strong>in</strong>g tools to help analyse consistencies <strong>in</strong> media experiences at<br />
specific locations over time. In teach<strong>in</strong>g, she is <strong>in</strong>terested <strong>in</strong> the future<br />
prospects for Australian media content <strong>in</strong> the context of Australia’s free<br />
trade agreements and the global protection of cultural diversity; the
Brett Bowles<br />
State University of New York,<br />
Department of Languages,<br />
Literatures, Cultures, 1400<br />
Wash<strong>in</strong>gton Avenue, Albany, New<br />
York, 12222, United States of<br />
America<br />
Keywords European c<strong>in</strong>ema, French<br />
c<strong>in</strong>ema, World War II, propaganda,<br />
documentary<br />
Deirdre Boyle<br />
The New School, New York, United<br />
States of America<br />
Keywords Irish Venus, motherland,<br />
mourn<strong>in</strong>g, nakedness, nudity<br />
Maryse Bray<br />
University of Westm<strong>in</strong>ster,<br />
Department of Modern Languages,<br />
309 Regent Street, London, W1B<br />
2UW, United K<strong>in</strong>gdom<br />
Keywords Jacques Doillon, film<br />
fund<strong>in</strong>g, Imbert, No Pasaràn!, album<br />
souvenir, exile, memory<br />
impact of locality on media practices, <strong>in</strong>clud<strong>in</strong>g media-multitask<strong>in</strong>g;<br />
and the cultural life of everyday objects.<br />
› ‘Three miles of rough dirt road’: towards an audience-centred approach to<br />
c<strong>in</strong>ema studies <strong>in</strong> Australia, Studies <strong>in</strong> Australasian C<strong>in</strong>ema, 1.3, 245-260.<br />
Brett Bowles is Associate Professor of French Studies at the State<br />
University of New York, Albany, and North American Editor of<br />
Modern & Contemporary France. His <strong>research</strong> focuses on French<br />
c<strong>in</strong>ema, society and politics dur<strong>in</strong>g the 1930s and 1940s. He has a book<br />
on Marcel Pagnol forthcom<strong>in</strong>g from Manchester University Press and<br />
is currently writ<strong>in</strong>g a manuscript on Marcel Ophüls for the University<br />
of Ill<strong>in</strong>ois Press.<br />
› Becom<strong>in</strong>g a Franco-American: Jean Renoir, the Second World War, and A<br />
Salute to France, Studies <strong>in</strong> French C<strong>in</strong>ema, 10.2, 111-124.<br />
Deirdre Boyle, author of Subject to Change: Guerrilla Television<br />
Revisited (Oxford University Press, 1997), is Associate Professor and<br />
Director of the Graduate Certificate <strong>in</strong> Documentary Media Studies at<br />
The New School <strong>in</strong> New York City. She is tra<strong>in</strong>ed as a psychotherapist<br />
and the author of recent essays on trauma, loss and suffer<strong>in</strong>g <strong>in</strong> the<br />
documentary. She is currently work<strong>in</strong>g on a book on the films of Errol<br />
Morris.<br />
› Undress<strong>in</strong>g My Mother and love and death <strong>in</strong> rural Ireland, Short Film<br />
Studies, 1.1, 107-109.<br />
Maryse Bray is a Senior Lecturer <strong>in</strong> French <strong>in</strong> the Department of<br />
Modern Languages at the University of Westm<strong>in</strong>ster, London, UK. Her<br />
current <strong>research</strong> <strong>in</strong>terest is focused on representations of France’s<br />
colonial past <strong>in</strong> contemporary popular culture. She has published <strong>in</strong><br />
French and <strong>in</strong> English on various productions such as French colonial<br />
songs and post-colonial c<strong>in</strong>ema.<br />
› The French film <strong>in</strong>dustry's current f<strong>in</strong>ancial crisis and its impact on creation:
Bernadette Brennan<br />
University of Sydney, Department of<br />
English, Sydney, NSW, 2006,<br />
Australia<br />
Keywords asylum seekers, ethics,<br />
politics of fear, social justice,<br />
mandatory detention<br />
Pat Brereton<br />
Dubl<strong>in</strong> City University, School of<br />
Communication, Glasnev<strong>in</strong>, Dubl<strong>in</strong>,<br />
Ireland<br />
Keywords auteur, national c<strong>in</strong>ema,<br />
race, genre, Hollywood<br />
Haim Bresheeth<br />
University of East London, School of<br />
Social Sciences, Media & Cultural<br />
Studies, Docklands Campus, 4-6<br />
University Way, London, E16 2RD,<br />
United K<strong>in</strong>gdom<br />
the example of Jacques Doillon's (2003), Studies <strong>in</strong> European C<strong>in</strong>ema, 2.3,<br />
199-212.<br />
› Images of exile: Trac<strong>in</strong>g the past with<strong>in</strong> the present <strong>in</strong> Henri-François<br />
Imbert's No Pasaràn! Album souvenir, Studies <strong>in</strong> European C<strong>in</strong>ema, 4.1, 61-<br />
72.<br />
Bernadette Brennan is a Senior Lecturer <strong>in</strong> Australian Literature at the<br />
University of Sydney. Her <strong>research</strong> <strong>in</strong>terest is <strong>in</strong> the field of literature<br />
and ethics. Bernadette’s edited collection, Just Words?: Australian<br />
Authors Writ<strong>in</strong>g for Justice, was published by the University of<br />
Queensland Press <strong>in</strong> 2008. Her book, Brian Castro’s Fiction: The<br />
Seductive Play of Language was published by Cambria Press <strong>in</strong> 2008.<br />
She is currently <strong>research</strong><strong>in</strong>g and writ<strong>in</strong>g on contemporary Australian<br />
memoir.<br />
› Travell<strong>in</strong>g towards ourselves: rights and recognition <strong>in</strong> Clara Law's Letters to<br />
Ali, Studies <strong>in</strong> Australasian C<strong>in</strong>ema, 3.1, 15-28.<br />
Pat Brereton is a Senior Lecturer <strong>in</strong> the School of Communications at<br />
Dubl<strong>in</strong> City University, hav<strong>in</strong>g worked for almost a decade <strong>in</strong> the UK<br />
before com<strong>in</strong>g back to Ireland. In 2007 he was appo<strong>in</strong>ted Associate<br />
Dean of Research for the Faculty of Humanities and Social Sciences<br />
and is committed to cross-discipl<strong>in</strong>ary <strong>research</strong>. He has published three<br />
books alongside a grow<strong>in</strong>g number of academic articles on all aspects<br />
of film and new media and cont<strong>in</strong>ues to enjoy teach<strong>in</strong>g at<br />
undergraduate and postgraduate level.<br />
› Ireland’s America: a case study of Sheridan’s In America (2002) and Get<br />
Rich or Die Try<strong>in</strong> (2005), Studies <strong>in</strong> European C<strong>in</strong>ema, 5.1, 45-53.<br />
Haim Bresheeth was educated <strong>in</strong> Israel and <strong>in</strong> Brita<strong>in</strong>. He is a filmmaker<br />
and a film studies scholar. S<strong>in</strong>ce 2002 he is Professor of Media<br />
and Cultural Studies at University of East London. His films <strong>in</strong>clude A<br />
State of Danger, (1988) 30 m<strong>in</strong>., a BBC documentary about the first<br />
Intifada, and his publications <strong>in</strong>clude The Gulf War and the New World<br />
Order (1992) and Introduc<strong>in</strong>g the Holocaust (1992 and 2001).
Keywords film, cultural studies,<br />
media studies, Palest<strong>in</strong>e, Israel,<br />
Zionism, Israeli-Palest<strong>in</strong>ian conflict<br />
Rob Bridgett<br />
Radical Enterta<strong>in</strong>ment, Sound, 8th<br />
Floor, 369 Term<strong>in</strong>al Avenue,<br />
Vancouver, British Columbia, V6<br />
4C4, Canada<br />
Keywords video game sound, postproduction,<br />
<strong>in</strong>teractive media,<br />
<strong>in</strong>teractive mix<strong>in</strong>g, next-generation<br />
sound design<br />
Daniel Brodén<br />
Gothenburg University, Department<br />
of Literature, History of Ideas, and<br />
Religion, Box 200, 405 30<br />
Gothenburg, Sweden<br />
Keywords crime c<strong>in</strong>ema, crime<br />
fiction, film and television, Sweden,<br />
welfare state, modernity<br />
› Tell<strong>in</strong>g the Stories of Heim and Heimat, Home and Exile: Recent Palest<strong>in</strong>ian<br />
Films and the Iconic Parable of the Invisible Palest<strong>in</strong>e, New C<strong>in</strong>emas:<br />
Journal of Contemporary Film, 1.1, 24-39.<br />
Rob was one of the first to complete the Master's degree <strong>in</strong> Sound<br />
Design for the Mov<strong>in</strong>g Image at Bournemouth University <strong>in</strong> 1999.<br />
Work for games <strong>in</strong>cludes sound design for Dreamcast title Vanish<strong>in</strong>g<br />
Po<strong>in</strong>t (2001), followed by a two-year <strong>in</strong>-house st<strong>in</strong>t at Climax <strong>in</strong> the<br />
United K<strong>in</strong>gdom provid<strong>in</strong>g audio for Sudeki (2004), Serious Sam: Next<br />
Encounter (2003). In 2003 he began work as Sound Director at Radical<br />
Enterta<strong>in</strong>ment <strong>in</strong> Vancouver, Canada where he directed the audio for<br />
Scarface: The World is Yours (2006) (PS2/Xbox/PC/Wii). More recent<br />
sound design work <strong>in</strong>cludes Crash of the Titans (2007), Timeshift<br />
(2007), World <strong>in</strong> Conflict (2007) and Prototype (2008).<br />
› Post-production sound: a new production model for <strong>in</strong>teractive media, The<br />
Soundtrack, 1.1, 29-39.<br />
Daniel Brodén has a Ph.D. <strong>in</strong> Film Studies and he currently holds a<br />
postdoctoral position at the Department of Literature, History of Ideas<br />
and Religion at Göteborg University, Sweden. His dissertation,<br />
'Folkhemmets skuggbilder: En kulturanalytisk genrestudie av<br />
krim<strong>in</strong>alfiktion i film och tv'/'Dark Shadows of the Welfare State: A<br />
Cultural Genre History of Crime Fiction <strong>in</strong> Swedish C<strong>in</strong>ema and<br />
Television' (2008), was awarded the non-fiction book of the year by<br />
The Swedish Crime Writers Academy. Brodén is currently writ<strong>in</strong>g a<br />
study on the filmmak<strong>in</strong>g of Roy Andersson – on the theme of the<br />
critical understand<strong>in</strong>g of the existential conditions of Swedish welfare<br />
state society –with<strong>in</strong> the <strong>in</strong>terdiscipl<strong>in</strong>ary <strong>research</strong> programme<br />
Religion, Culture and Health. His <strong>research</strong> <strong>in</strong>terests <strong>in</strong>clude theory of<br />
aesthetics and fiction, media culture and history, modernism and<br />
modernity. In English he has also published The Crim<strong>in</strong>al and the<br />
Society <strong>in</strong> Bo Widerberg’s The Man on the Roof<br />
› The dark ambivalences of the welfare state: Investigat<strong>in</strong>g the transformations<br />
of the Swedish crime film, Northern Lights: Film & Media Studies<br />
Yearbook, 9., 95-109.
Scott Brook<br />
Univeristy of Canberra, Faculty of Art<br />
and Design, Australia<br />
Keywords cultural policy, screen<br />
studies, creative writ<strong>in</strong>g, diaspora,<br />
Vietnam<br />
Anke Brouwers<br />
Universiteit Antwerpen, Belgium<br />
Keywords silent c<strong>in</strong>ema, <strong>in</strong>ter-titles,<br />
women <strong>in</strong> c<strong>in</strong>ema, c<strong>in</strong>ema act<strong>in</strong>g,<br />
c<strong>in</strong>ema and affect, adaptation theories<br />
William Brown<br />
Roehampton University, Department<br />
of Media, Culture and Language,<br />
London, SW15 5PU, United K<strong>in</strong>gdom<br />
Keywords film theory, cognitive film<br />
theory, Gilles Deleuze, transnational<br />
c<strong>in</strong>ema, world c<strong>in</strong>ema, European<br />
c<strong>in</strong>ema, French c<strong>in</strong>ema, digital<br />
c<strong>in</strong>ema, special effects<br />
Scott Brook is Assistant Professor of Writ<strong>in</strong>g at the University of<br />
Canberra. His <strong>research</strong> is focused on cultural policy studies,<br />
contemporary and historical formations of aesthetic education, and<br />
diasporic Vietnamese Australian cultural production. He has published<br />
widely <strong>in</strong> Australian and <strong>in</strong>ternational journals, <strong>in</strong>clud<strong>in</strong>g Cultural<br />
Studies Review, , Journal of Culture and Local Governance, Amerasia<br />
Journal, Artwork, Studies <strong>in</strong> Australasian C<strong>in</strong>ema, Journal of<br />
Australian Studies and Journal of Intercultural Studies, and the edited<br />
collections Locat<strong>in</strong>g Asian Australian Cultures (Routledge, 2008),<br />
Australian Made (USyd Press 2011) and Read<strong>in</strong>g Down Under (SSS<br />
Publications 2009).<br />
› The art of government: Khoa Do's The F<strong>in</strong>ished People and the policy reform<br />
of Community Cultural Development, Studies <strong>in</strong> Australasian C<strong>in</strong>ema, 2.3,<br />
177-193.<br />
Anke Brouwers is a fellow with the Research Foundation Flanders and<br />
is prepar<strong>in</strong>g her Ph.D. dissertation on the films of Mary Pickford and<br />
Frances Marion, entitled 'Mak<strong>in</strong>g a Scene. Sentimentalism <strong>in</strong> the Silent<br />
C<strong>in</strong>ema of Mary Pickford and Frances Marion'. Her <strong>research</strong> <strong>in</strong>terests<br />
<strong>in</strong>clude: silent c<strong>in</strong>ema, <strong>in</strong>ter-titles, women <strong>in</strong> c<strong>in</strong>ema, c<strong>in</strong>ema act<strong>in</strong>g,<br />
c<strong>in</strong>ema and affect, and adaptation theories.<br />
› The Mortgage the Merrier: Hollywood comedies of remarriage <strong>in</strong> the age of<br />
domesticity, Film International, 4.22, 21-34.<br />
William Brown is a Lecturer <strong>in</strong> Film at Roehampton University. He<br />
has published relatively widely, <strong>in</strong>clud<strong>in</strong>g on contemporary American,<br />
European, and French c<strong>in</strong>ema. His <strong>research</strong> <strong>in</strong>terests <strong>in</strong>clude digital<br />
technology and film, cognitive film theory and film theory - and<br />
consider<strong>in</strong>g these across a variety of national and transnational<br />
contexts.<br />
› Sabotage or espionage? Transvergence <strong>in</strong> the works of Luc Besson, Studies<br />
<strong>in</strong> French C<strong>in</strong>ema, 7.2, 93-106.<br />
› Contemporary ma<strong>in</strong>stream c<strong>in</strong>ema is good for you: connections between<br />
surrealism and today's digital blockbusters, Studies <strong>in</strong> European C<strong>in</strong>ema, 6.1,<br />
17-30.<br />
› Reviews, New C<strong>in</strong>emas: Journal of Contemporary Film, 6.2, 153-160.
Peter Brown<br />
Australian National University,<br />
School of Languages, Canberra, ACT,<br />
200, Australia<br />
Keywords New Caledonia, tradition,<br />
modernity, cultural centre, Kanak<br />
Niels Brügger<br />
University of Aarhus, Department of<br />
Information and Media, Studies,<br />
Centre for Internet Research, ITparken,<br />
Hels<strong>in</strong>gforsgade 14, Arhus N,<br />
8200, Denmark<br />
Keywords Manovich, Internet,<br />
website, textual, paratext<br />
Klaus Bruhn Jensen<br />
University of Copenhagen,<br />
Department of Media, Cognition and<br />
Communication, Njalsgade 88,<br />
Copenhagen S, DK-2300, Denmark<br />
Keywords communication theory,<br />
digital media, mobile media, Internet<br />
Peter Brown is Reader <strong>in</strong> French <strong>in</strong> the School of Language Studies at<br />
the Australian National University. His pr<strong>in</strong>cipal <strong>in</strong>terest is <strong>in</strong> la<br />
francophonie and concerns the Pacific (Liv<strong>in</strong>g Heritage: Kanak<br />
Culture Today (ed.), Centre Culturel Tjibaou, 2000; Déwé Gorodé:<br />
The Kanak Apple Season, Pandanus Press, 2004). He is the general<br />
editor for a series of critical editions <strong>in</strong> English of works of New<br />
Caledonian literature (Pandanus Press/University of Hawaii Press). He<br />
is a regular contributor to the International Journal of Francophone<br />
Studies on the sommets de la francophonie and matters relat<strong>in</strong>g to New<br />
Caledonia.<br />
› Does art imitate life or life art? Hungarian director István Szabó's latest film<br />
Rokonok/Relations gives a new slant to an old question, Film International,<br />
4.21, 84-.<br />
Niels Brügger is associate professor, MA, Ph.D. at the Centre for<br />
Internet Research, Institute of Information and Media Studies,<br />
University of Aarhus, Denmark. Primary <strong>research</strong> <strong>in</strong>terests are media<br />
theory, the Internet and website history. He has published a number of<br />
articles, monographs, and edited books, <strong>in</strong>clud<strong>in</strong>g Archiv<strong>in</strong>g Websites:<br />
General Considerations and Strategies (2005) and Media History:<br />
Theories, Methods, Analysis (co-editor, 2002).<br />
› The website as unit of analysis? Bolter and Manovich revisited, Northern<br />
Lights: Film & Media Studies Yearbook, 5.1, 75-88.<br />
Klaus Bruhn Jensen is professor, Dr.Phil., <strong>in</strong> the Department of Media,<br />
Cognition, and Communication, Section of Film and Media Studies,<br />
University of Copenhagen, Denmark. Among his authored and edited<br />
volumes are A Handbook of Qualitative Methodologies for Mass<br />
Communication Research (1991), the UNESCO project News of the<br />
World (1998) and A Handbook of Media and Communication<br />
Research: Qualitative and Quantitative Methodologies (2002) (a<br />
second edition is forthcom<strong>in</strong>g). He is also the chief editor of a fourvolume<br />
Danish media history (1996–2003) and Area Editor for<br />
Communication Theory and Philosophy for the International<br />
Encyclopedia of Communication (2008).<br />
› Mixed media: from digital aesthetics towards general communication theory,<br />
Northern Lights: Film & Media Studies Yearbook, 5.1, 7-24.
Anne-Marie Brumm<br />
St Peter's College, Modern &<br />
Classical Languages & Literature,<br />
Room 201, Hilsdorf Hall, Glenwood<br />
Av, Jersey City, New Jersey, United<br />
States of America<br />
Keywords hero<strong>in</strong> chic, drug films,<br />
drug culture, European c<strong>in</strong>ema<br />
Dagmar Brunow<br />
Halmstad University/Hamburg<br />
University, Humaniora (Film<br />
Studies), Sweden<br />
Keywords <strong>in</strong>dependent c<strong>in</strong>ema,<br />
Scand<strong>in</strong>avian c<strong>in</strong>ema, British c<strong>in</strong>ema,<br />
documentary, essay film<br />
Jeremy Bubb<br />
Roehampton University, School of<br />
Arts, Roehampton Lane, London,<br />
SW15 5PH, United K<strong>in</strong>gdom<br />
Keywords practice-as-<strong>research</strong>,<br />
DVD, dissem<strong>in</strong>ation, film festival<br />
Dr. Brumm received a BA degree from Columbia University <strong>in</strong> New<br />
York and a Ph.D. <strong>in</strong> Comparative Literature and Cultural Studies from<br />
the University of Michigan. She has published numerous scholarly<br />
articles on literature and film <strong>in</strong> journals here and abroad as well as two<br />
novels and two volumes of poetry. She has taught at the Hebrew<br />
University of Jerusalem and at Ben Gurion University, both <strong>in</strong> Israel,<br />
and was a guest professor at the University of Freiburg <strong>in</strong> Germany.<br />
Her <strong>in</strong>terests <strong>in</strong> c<strong>in</strong>ema lie ma<strong>in</strong>ly <strong>in</strong> social, political and cultural<br />
issues.<br />
› Hero<strong>in</strong> as hero: the ‘hero<strong>in</strong> chic’ film <strong>in</strong> European c<strong>in</strong>ema (1995–2000),<br />
Studies <strong>in</strong> European C<strong>in</strong>ema, 2.1, 65-.<br />
Dagmar Brunow has been a lecturer <strong>in</strong> film studies at Halmstad<br />
University (Sweden) s<strong>in</strong>ce 1999 and has also taught at the universities<br />
of Lund, Växjö (both Sweden) and Hamburg (Germany). She is a<br />
board member of filmvet.se, the Swedish national association of film<br />
studies. Additionally she works as a literary translator and as a host at<br />
the radio station FSK 93.0 <strong>in</strong> Hamburg, and as a contributor to the<br />
journal testcard, Beiträge zur Popgeschichte. She is a member of the<br />
editorial board of Journal of Scand<strong>in</strong>avian C<strong>in</strong>ema and a contributor to<br />
the Directory of World C<strong>in</strong>ema: Sweden.<br />
› The language of the complex image: Roy Andersson’s political aesthetics,<br />
Journal of Scand<strong>in</strong>avian C<strong>in</strong>ema, 1.1, 83-86.<br />
Jeremy Bubb is a senior lecturer <strong>in</strong> film and digital video production on<br />
the BA Film and MA Documentary Screen Practices course at<br />
Roehampton University, London. He is an award-w<strong>in</strong>n<strong>in</strong>g film-maker,<br />
writer and director and completed Writ <strong>in</strong> Water <strong>in</strong> 2009, a drama made<br />
for three screens about a family <strong>in</strong> crisis.<br />
› From three acts to three screens: the significance of the role of writ<strong>in</strong>g <strong>in</strong> a<br />
new media film project, Journal of Screenwrit<strong>in</strong>g, 1.2, 357-374.<br />
Paul Buhle Paul Buhle published Radical America Komiks <strong>in</strong> 1969 and<br />
edited Wobblies! <strong>in</strong> 2005. S<strong>in</strong>ce then he has edited n<strong>in</strong>e additional non-
Brown University, American<br />
Civilization Department, Box 1892,<br />
Providence, Rhode Island, RI, 2912,<br />
United States of America<br />
Keywords Thunder <strong>in</strong> Guyana,<br />
Suzanne Wasserman, Janet Rosenberg<br />
Jagan, Cheddi Jagan, British Guyana,<br />
Guyana, People’s Progressive Party<br />
(PPP), Forbes Burnham, Walter<br />
Rodney, Work<strong>in</strong>g People’s Alliance,<br />
Cold War<br />
Sofia Bull<br />
Stockholm University, C<strong>in</strong>ema<br />
Studies, Sweden<br />
Keywords TV series, sexual<br />
subcultures, forensic science, Las<br />
Vegas, TV censorship<br />
Emily Bullock<br />
University of Tasmania, Journalism<br />
and European Languages, Private Bag<br />
82, Sandy Bay, Tasmania, 7001,<br />
Australia<br />
Keywords Tasmania, Gothic,<br />
cannibalism, landscape, island,<br />
colonialism<br />
Alice Burg<strong>in</strong><br />
University of Melbourne/Université<br />
Paris X, School of Languages &<br />
fiction comic books; he is also w<strong>in</strong>ner of the Will Eisner Award and<br />
the Harvey Award (with Denis Kitchen) for The Art of Harvey<br />
Kurtzman. He has served as Senior Lecturer at Brown University.<br />
› Thunder <strong>in</strong> Guyana, Film International, 3.18, 26-28.<br />
› Film Reviews, Film International, 8.1, 90-91.<br />
› Film Reviews, Film International, 8.4, 87-90.<br />
Sofia Bull is a Ph.D. candidate at the Department of C<strong>in</strong>ema Studies,<br />
Stockholm University, Sweden. Her <strong>research</strong> project focuses on<br />
representations of the body and forensic science <strong>in</strong> contemporary<br />
television crime dramas. She participates <strong>in</strong> the Video Active project,<br />
provid<strong>in</strong>g articles on television history for the project website. She is<br />
also part of The Women Film Pioneers Project, as organizer of The<br />
Fifth International Women and the Silent Screen Conference and<br />
contributor to the forthcom<strong>in</strong>g Women Film Pioneers Sourcebook<br />
(Volume II).<br />
› ‘What Happens <strong>in</strong> Vegas Stays <strong>in</strong> Vegas’: Sexual Subcultures and Forensic<br />
Science <strong>in</strong> CSI: Crime Scene Investigation, Film International, 6.6, 40-50.<br />
Dr Emily Bullock teaches <strong>in</strong> the School of English, Journalism and<br />
European Languages at the University of Tasmania. Her Ph.D.<br />
considered the cultural poetics of Tasmanian Gothic.<br />
› Rumbl<strong>in</strong>gs from Australia s deep south: Tasmanian Gothic on-screen,<br />
Studies <strong>in</strong> Australasian C<strong>in</strong>ema, 5.1, 71-80.<br />
Alice Burg<strong>in</strong> is a Ph.D. cotutelle candidate <strong>in</strong> the French Studies<br />
Department at The University of Melbourne and the Ecole Doctorale<br />
Lettres, Langues, Spectacles at Université Paris X Nanterre. Her thesis<br />
is focused on the role of France and francophonie <strong>in</strong> contemporary
L<strong>in</strong>guistics, The University of<br />
Melbourne, VIC, Parkville, VIC,<br />
3010, Australia<br />
Keywords imag<strong>in</strong>ation, acculturation,<br />
mediation, migration, globalization,<br />
transculturalism<br />
Robert Burgoyne<br />
University of St Andrews, Fife,<br />
Scotland, Department of Film Studies<br />
at the University of St Andrews, Fife,<br />
United K<strong>in</strong>gdom<br />
Keywords body, war film, history,<br />
violence, covenant<br />
Andrew Burke<br />
University of W<strong>in</strong>nipeg, Department<br />
of English, 515 Portage Avenue,<br />
W<strong>in</strong>nipeg, Manitoba, R3B 2E9,<br />
Canada<br />
Keywords British c<strong>in</strong>ema, film<br />
theory, visual culture<br />
Col<strong>in</strong> Burnett<br />
University of Wiscons<strong>in</strong>-Madison,<br />
Communication Arts-Film, Vilas<br />
Hall, Madison, Wiscons<strong>in</strong>, WI 53706,<br />
United States of America<br />
Keywords c<strong>in</strong>ematography, Bresson,<br />
Burel, Agost<strong>in</strong>i<br />
West African cultural production and reception.<br />
› Acculturation and imag<strong>in</strong>ation as social practice <strong>in</strong> Heremakono, Journal of<br />
African C<strong>in</strong>emas, 3.1, 51-64.<br />
Robert Burgoyne is Professor and Chair of the Department of Film<br />
Studies at the University of St Andrews. His work is centred on<br />
historiography and film, with a current focus on the war film. He is the<br />
author, most recently, of Film Nation: Hollywood Looks at US History:<br />
Revised Edition (2010); The Hollywood Historical Film (2008); and<br />
The Epic Film <strong>in</strong> World Culture (2010).<br />
› War/Homecom<strong>in</strong>g: the social covenant and the body at risk <strong>in</strong> The War Is<br />
Over, Short Film Studies, 1.1, 47-49.<br />
Andrew Burke is Assistant Professor <strong>in</strong> the Department of English at<br />
the University of W<strong>in</strong>nipeg where he specializes <strong>in</strong> Victorian literature,<br />
critical theory and film studies. He has recently published articles <strong>in</strong><br />
Historical Materialism and English Studies <strong>in</strong> Canada and is currently<br />
work<strong>in</strong>g on a book-length project that exam<strong>in</strong>es representations of<br />
modernity and modernization <strong>in</strong> contemporary British c<strong>in</strong>ema.<br />
› Concrete universality: Tower blocks, architectural modernism, and realism <strong>in</strong><br />
contemporary British c<strong>in</strong>ema, New C<strong>in</strong>emas: Journal of Contemporary Film,<br />
5.3, 177-188.<br />
Col<strong>in</strong> Burnett is a Ph.D. candidate <strong>in</strong> Film at the University of<br />
Wiscons<strong>in</strong>-Madison. He is the co-editor (along with Dudley Andrew)<br />
of a forthcom<strong>in</strong>g special issue of Post Script: Essays <strong>in</strong> Film and the<br />
Humanities devoted to the film and photography writ<strong>in</strong>gs of Susan<br />
Sontag.<br />
› Mut<strong>in</strong>g the image: light<strong>in</strong>g and photochemical techniques of Bresson's<br />
c<strong>in</strong>ematographers, Studies <strong>in</strong> French C<strong>in</strong>ema, 6.3, 219-.
Rob Burns<br />
University of Warwick, German<br />
Studies, United K<strong>in</strong>gdom<br />
Keywords c<strong>in</strong>ema of the affected,<br />
third space, transnationalism, road<br />
movie, Fatih Ak<strong>in</strong><br />
Jennifer Burris<br />
Whitney Museum of American Art,<br />
Independent Study Program, 100<br />
Lafayette St., 5th floor, NY, New<br />
York, 10013, United States of<br />
America<br />
Keywords Haneke, Nauman,<br />
surveillance art, CCTV, Algeria,<br />
postcolonialism<br />
Peter Buse<br />
University of Salford, School of<br />
ESPACH, Salford, Manchester,<br />
Greater Manchester, M5 4WT, United<br />
K<strong>in</strong>gdom<br />
Keywords auteur, Spanish c<strong>in</strong>ema<br />
Rob Burns is Professor of German Studies at the University of<br />
Warwick. His publications <strong>in</strong>clude Arbeiterkulturbewegung <strong>in</strong> der<br />
Weimarer Republic (2 vols., 1982); Protest and Democracy <strong>in</strong> West<br />
Germany (1988); German Cultural Studies (1995); and numerous<br />
articles on migrant writ<strong>in</strong>g and migrant c<strong>in</strong>ema <strong>in</strong> Germany. He is<br />
currently work<strong>in</strong>g on a study of diasporic literature, culture and c<strong>in</strong>ema<br />
<strong>in</strong> the Federal Republic.<br />
› On the streets and on the road: identity <strong>in</strong> transit <strong>in</strong> Turkish–German<br />
travelogues on screen, New C<strong>in</strong>emas: Journal of Contemporary Film, 7.1,<br />
11-26.<br />
Jennifer Burris is a 2010–2011 Curatorial Fellow at the Whitney<br />
Museum of American Art Independent Study Program. She holds a BA<br />
from Pr<strong>in</strong>ceton University and a Ph.D. from the University of<br />
Cambridge, K<strong>in</strong>g’s College. Her recent publications <strong>in</strong>clude an article<br />
<strong>in</strong> The Journal of Aesthetics and Art Criticism entitled ‘The “Urban<br />
Photogénie” of Archita<strong>in</strong>ment’ as well as a monographic essay on the<br />
artist Godfried Donkor.<br />
› Surveillance and the <strong>in</strong>different gaze <strong>in</strong> Michael Haneke's Caché (2005),<br />
Studies <strong>in</strong> French C<strong>in</strong>ema, 11.2, 151-163.<br />
Dr Peter Buse is a member of the European Studies Research Institute<br />
at the University of Salford. He is the author of Drama + Theory<br />
(Manchester University Press, 2001) and editor of Ghosts:<br />
Deconstruction, Psychoanalysis, History (Macmillan, 1999). He has<br />
published articles <strong>in</strong> Textual Practice, Cultural Critique, European<br />
Journal of Cultural Studies and Journal of Dramatic Theory and<br />
Criticism.<br />
› The Spanish ‘popular auteur’, New C<strong>in</strong>emas: Journal of Contemporary Film,<br />
2.3, 139-148.<br />
Anna Cabak Rédei Anna Cabak Rédei is study<strong>in</strong>g for a Ph.D. <strong>in</strong> Semiotics at the<br />
University of Lund and is currently writ<strong>in</strong>g a thesis on Cultural<br />
Semiotics, focus<strong>in</strong>g theoretically on the elaboration of the notions of
Lund University, Department of Arts<br />
and Music, Box 201, Lund, S-221 00,<br />
Sweden<br />
Keywords rhetoric, Greta Garbo,<br />
N<strong>in</strong>otchka, the new Soviet woman,<br />
fem<strong>in</strong><strong>in</strong>ity, 1930s<br />
James Leo Cahill<br />
Keywords Jean Pa<strong>in</strong>levé, avant-garde<br />
film, culture<br />
Agnès Calatayud<br />
Birkbeck College, University of<br />
London, School of European Cultures<br />
and Languages, 43 Gordon Square,<br />
London, WC1H 0PD, United<br />
K<strong>in</strong>gdom<br />
Keywords Le Premier du Nom,<br />
Sab<strong>in</strong>e Franel, 2000 Cannes Film<br />
Festival, Sam Garbarski, Moïse Bl<strong>in</strong>,<br />
French c<strong>in</strong>ema<br />
ego and alter <strong>in</strong> the contexts of encounters between cultures. She has<br />
recently written an essay, ‘The Body as a Sign’, on the topic of rhetoric<br />
<strong>in</strong> pictures, analys<strong>in</strong>g how perceptions of gender come <strong>in</strong>to play <strong>in</strong> our<br />
way of look<strong>in</strong>g at bodies.<br />
› Rhetoric <strong>in</strong> film: a cultural semiotical study of Greta Garbo <strong>in</strong> N<strong>in</strong>otchka,<br />
Film International, 4.23, 52-61.<br />
James Leo Cahill is a Ph.D. candidate <strong>in</strong> Critical Studies at the<br />
University of Southern California. His dissertation is on Jean Pa<strong>in</strong>levé<br />
and the impact of the scientific film <strong>in</strong> 1920s and 1930s documentary<br />
and avant-garde film practice, theory and culture.<br />
› DVD Reviews, Film International, 8.1, 64-77.<br />
Agnès Calatayud is a Lecturer <strong>in</strong> French <strong>in</strong> the School of European<br />
Cultures and Languages at Birkbeck College, University of London,<br />
UK. Her <strong>research</strong> <strong>in</strong>terest is focused on contemporary World c<strong>in</strong>ema.<br />
She has published on Agnès Varda and Dom<strong>in</strong>ique Cabrera amongst<br />
others. She is currently <strong>research</strong><strong>in</strong>g on Kiyoshi Kurosawa's latest films.<br />
› An ord<strong>in</strong>ary woman but a film-maker: Dema<strong>in</strong> et encore dema<strong>in</strong> (1997) –<br />
Dom<strong>in</strong>ique Cabrera's self-portrait, Studies <strong>in</strong> French C<strong>in</strong>ema, 1.1, 22-28.<br />
› C<strong>in</strong>ema <strong>in</strong> the first person: Sab<strong>in</strong>e Franel's Le Premier du Nom, Studies <strong>in</strong><br />
French C<strong>in</strong>ema, 3.3, 149-160.<br />
› The French film <strong>in</strong>dustry's current f<strong>in</strong>ancial crisis and its impact on creation:<br />
the example of Jacques Doillon's (2003), Studies <strong>in</strong> European C<strong>in</strong>ema, 2.3,<br />
199-212.<br />
› Images of exile: Trac<strong>in</strong>g the past with<strong>in</strong> the present <strong>in</strong> Henri-François<br />
Imbert's No Pasaràn! Album souvenir, Studies <strong>in</strong> European C<strong>in</strong>ema, 4.1, 61-<br />
72.<br />
Leon Saunders Calvert Leon Saunders Calvert works as a Research Manager <strong>in</strong> a media<br />
company <strong>in</strong> London. He has a bachelor’s degree <strong>in</strong> Philosophy,<br />
Literature and Film Studies from the University of Essex and a Masters<br />
degree <strong>in</strong> bus<strong>in</strong>ess.
Keywords historical epics, 9/11<br />
Allan Cameron<br />
The University of Auckland,<br />
Department of Film, Television and<br />
Media Studies, Private Bag 92019,<br />
Auckland, 1142, New Zealand<br />
Keywords postcolonial, Gothic,<br />
transnational, New Zealand c<strong>in</strong>ema<br />
Luca Cam<strong>in</strong>ati<br />
Concordia University, Mel<br />
Hoppenheim School of C<strong>in</strong>ema, FB<br />
421-7, 1455 De Maisonneuve Blvd.<br />
West, Montreal, H3G 1M8, Canada<br />
Keywords Rossell<strong>in</strong>i, non-fiction,<br />
Mercedes Cam<strong>in</strong>o<br />
Lancaster University, History<br />
Department, DELC, Lancaster,<br />
Lancashire, LA1 4YW, United<br />
› Ideology & the Modern Historical Epic: How the Political Concerns of the<br />
Genre have Changed S<strong>in</strong>ce 9-11, Film International, 3.18, 4-13.<br />
Allan Cameron is a Lecturer <strong>in</strong> Film, Television and Media Studies at<br />
the University of Auckland. He is the author of Modular Narratives <strong>in</strong><br />
Contemporary C<strong>in</strong>ema (Palgrave Macmillan, 2008), and has also<br />
published work <strong>in</strong> The Velvet Light Trap and Jump Cut. He is currently<br />
engaged <strong>in</strong> a collaborative <strong>research</strong> project with Dr Richard Misek<br />
(University of Bristol) explor<strong>in</strong>g the development of slow and fast<br />
motion imagery from early c<strong>in</strong>ema to contemporary digital media. He<br />
has also been at work on a number of <strong>in</strong>dividual articles cover<strong>in</strong>g such<br />
topics as: transnational currents <strong>in</strong> contemporary New Zealand horror,<br />
the centrality of mediation <strong>in</strong> zombie films, and the use of ‘real time’<br />
c<strong>in</strong>ematic narratives to represent historical events.<br />
› The Locals and the global: transnational currents <strong>in</strong> contemporary New<br />
Zealand horror, Studies <strong>in</strong> Australasian C<strong>in</strong>ema, 4.1, 55-72.<br />
Luca Cam<strong>in</strong>ati is associate professor of Film Studies <strong>in</strong> the Mel<br />
Hoppenheim School of C<strong>in</strong>ema at Concordia University <strong>in</strong> Montreal.<br />
He is currently complet<strong>in</strong>g a new volume on Rossell<strong>in</strong>i’s non-fiction<br />
films provisionally titled Una cultura della realtà: Rossell<strong>in</strong>i e il<br />
c<strong>in</strong>ema documentario (Rome: Edizioni del Centro Sperimentale di<br />
C<strong>in</strong>ematografia, forthcom<strong>in</strong>g 2011). In 2009–2010 he was the recipient<br />
of the Paul Mellon/NEH ‘Rome Prize’, a residential fellowship awarded<br />
by the American Academy <strong>in</strong> Rome.<br />
› Narrative non-fictions <strong>in</strong> contemporary Italian c<strong>in</strong>ema: Roberto Munzi’s<br />
Saimir (2002), Giorgio Diritti’s Il vento fa il suo giro (2005) and Pietro<br />
Marcello’s La bocca del lupo (2009), Studies <strong>in</strong> Documentary Film, 5.2-3,<br />
121-131.<br />
Dr. Mercedes M. Cam<strong>in</strong>o is a Reader <strong>in</strong> Hispanic Studies at Lancaster<br />
University. She has published four books and numerous articles on<br />
early modern exploration, Spanish and European film, Baroque<br />
women’s writ<strong>in</strong>g and history of cartography. Her fifth and most recent<br />
book is Film, Memory and the Legacy of the Spanish Civil War
K<strong>in</strong>gdom<br />
Keywords Spanish Civil War, El<br />
Espíritu de la Colmena, Soldados de<br />
Salam<strong>in</strong>a<br />
Valeria Camporesi<br />
Universidad Autonoma de Madrid,<br />
Departamento de Historia y Teoría del<br />
Arte, c/o Raimundo Fernandez<br />
Villaverde, 57, 5 izq., Madrid, 28003,<br />
Spa<strong>in</strong><br />
Keywords Spanish comedy, Second<br />
Republic, Francoism, modernity,<br />
Benito Perojo, José Luis Sáenz de<br />
Heredia, Edgar Neville, Rafael Gil,<br />
Luis Marqu<strong>in</strong>a<br />
Ela<strong>in</strong>e Cann<strong>in</strong>g<br />
University of Swansea, School of Arts<br />
Hispanic Studies, S<strong>in</strong>gleton Park,<br />
Swansea, SA2 8PP, United K<strong>in</strong>gdom<br />
Keywords The Dog <strong>in</strong> the Manger,<br />
Lope de Vega, adaptation, Carmelo<br />
Gómez, Emma Suárez, theatricality<br />
Resistance and Guerrilla 1936-2010, published <strong>in</strong> 2011.<br />
› Blood of an <strong>in</strong>nocent: Montxo Armendáriz's Silencio Roto (2001) and<br />
Guillermo del Toro's El laber<strong>in</strong>to del fauno (2006), Studies <strong>in</strong> Hispanic<br />
C<strong>in</strong>emas, 6.1, 45-64.<br />
› ‘The war is so young’: mascul<strong>in</strong>ity and war correspondence <strong>in</strong> Welcome to<br />
Sarajevo and Territorio Comanche, Studies <strong>in</strong> European C<strong>in</strong>ema, 2.2, 115-<br />
124.<br />
› Good Luck with the Strike: M<strong>in</strong><strong>in</strong>g, Danc<strong>in</strong>g and Stephen Daldry's Billy<br />
Elliot, Film International, 8.5, 29-39.<br />
Valeria Camporesi (Bologna, Italy, 1957) is Associate Professor of<br />
Film and Audiovisual Media History <strong>in</strong> the Art History and Theory<br />
Department of the Universidad Autónoma de Madrid. She is also<br />
coord<strong>in</strong>ator of the Ph.D. Program <strong>in</strong> Film History of the same<br />
University. Her current <strong>research</strong> <strong>in</strong>terests range from extensive and<br />
<strong>in</strong>tensive analyses of representations of Spanish cultural identity <strong>in</strong> film<br />
history (an overall approach can be found <strong>in</strong> her book Para grandes y<br />
chicos. Un c<strong>in</strong>e para los españoles, 1940-1990, Turfán, 1994);<br />
transnational aspects of Spanish c<strong>in</strong>ema; historical approaches to<br />
<strong>in</strong>tertextuality <strong>in</strong> European film history; analysis of chang<strong>in</strong>g patterns<br />
of verisimilitude <strong>in</strong> production and reception of audiovisual media;<br />
contemporary c<strong>in</strong>ema and film theory; film, video and television <strong>in</strong><br />
European c<strong>in</strong>ema s<strong>in</strong>ce the 1960s. S<strong>in</strong>ce July 2009 she is Deputy<br />
Vicechancellor for Culture of the Universidad Autónoma de Madrid.<br />
› Desireable Futures: Modernity and Tradition, Film International, 2.8, 34-39.<br />
Ela<strong>in</strong>e Cann<strong>in</strong>g is a lecturer <strong>in</strong> the Department of Hispanic Studies at<br />
Swansea University. She is author of Lope de Vega’s Comedias de<br />
tema religioso: Re-creations and Re-presentations (Tamesis, 2004) and<br />
is currently co-writ<strong>in</strong>g a book entitled: Altared Images: The Subversion<br />
of Catholic Iconography <strong>in</strong> Iberian Theatre and Film. She is also codirector<br />
of CRISS – Centre for Research <strong>in</strong>to Iberian Stage and Screen<br />
at Swansea.<br />
› ‘Not I, my shadow’: Pilar Miró's adaptation of Lope de Vega's The Dog <strong>in</strong> the<br />
Manger (1996), Studies <strong>in</strong> European C<strong>in</strong>ema, 2.2, 81-92.<br />
› Introduction: ‘Films without Frontiers’, Studies <strong>in</strong> European C<strong>in</strong>ema, 4.3,<br />
163-166.
Davide Caputo<br />
University of Exeter, United<br />
K<strong>in</strong>gdom<br />
Keywords film festival, Switzerland,<br />
Swiss, <strong>in</strong>terview, Zurich, Savage<br />
Grace<br />
Bert Cardullo<br />
Izmir University of Economics,<br />
Turkey<br />
Keywords The Silence of Lorna/Le<br />
Silence de Lorna, class, the work<strong>in</strong>g<br />
class, Rosetta<br />
Michael Carkl<strong>in</strong><br />
University of Glamorgan, Cardiff<br />
School of Creative and Cultural<br />
Industries, Atrium, Adam Street,<br />
Cardiff, CF24 2FN, United K<strong>in</strong>gdom<br />
Keywords space and place, lived<br />
geographies, c<strong>in</strong>ema, South Africa,<br />
childhood<br />
› Dest<strong>in</strong>y, theatricality and identity <strong>in</strong> contemporary European c<strong>in</strong>ema, New<br />
C<strong>in</strong>emas: Journal of Contemporary Film, 4.3, 159-172.<br />
Davide Caputo studied psychology and film at the University of<br />
Manitoba and completed his Ph.D. at the University of Exeter. His<br />
primary <strong>research</strong> <strong>in</strong>terest is the exam<strong>in</strong>ation of the cognitive experience<br />
of c<strong>in</strong>ematic spectatorship, and how this has, and cont<strong>in</strong>ues to be,<br />
affected by evolv<strong>in</strong>g technology.<br />
› Zurich f<strong>in</strong>ds its place <strong>in</strong> the festival circuit: Zurich Film Festival, 27<br />
September–7 October 2007, Film International, 5.6, 97-98.<br />
› Festivals, Film International, 6.1, 69-95.<br />
Bert Cardullo is Professor of Media and Communication at the Izmir<br />
University of Economics <strong>in</strong> Izmir, Turkey, where he teaches courses <strong>in</strong><br />
film history, theory and criticism. His essays and reviews have<br />
appeared <strong>in</strong> such journals as the Yale Review, Cambridge Quarterly,<br />
Film Quarterly, C<strong>in</strong>ema Journal and the Quarterly Review of Film and<br />
Video, and he is the author, editor or translator of a number of books,<br />
among them Sound<strong>in</strong>gs on C<strong>in</strong>ema: Speak<strong>in</strong>g to Film and Film Artists<br />
and The Films of Robert Bresson: A Casebook.<br />
› The c<strong>in</strong>ema of resistance: An <strong>in</strong>terview with Jean-Pierre and Luc Dardenne,<br />
Studies <strong>in</strong> European C<strong>in</strong>ema, 7.3, 177-192.<br />
› The c<strong>in</strong>ema of resistance: an <strong>in</strong>terview with Jean-Pierre and Luc Dardenne,<br />
Film International, 7.5, 6-15.<br />
Based at the University of Glamorgan, Michael Carkl<strong>in</strong> is Head of<br />
Academic Programmes. His previous work <strong>in</strong>cludes co-direct<strong>in</strong>g K<strong>in</strong>g<br />
Oedipus, where Rob Smith was Musical Director.<br />
› Images of childhood <strong>in</strong> Southern Africa: A study of three films, Journal of<br />
African C<strong>in</strong>emas, 2.2, 137-149.
Gregory Carleton<br />
United K<strong>in</strong>gdom<br />
Keywords Afghanistan, sex, rape,<br />
N<strong>in</strong>th Company, Cargo 200<br />
Jessica Carniel<br />
University of Melbourne, Australian<br />
Centre, 137 Barry Street, Carlton,<br />
Victoria 3053, Australia<br />
Keywords ethnicity, race, memory,<br />
multiculturalism, Italian-Australian<br />
culture<br />
Mia Carter<br />
University of Texas, Department of<br />
English, 1 University Station, B5000,<br />
Aust<strong>in</strong>, Texas, TX 78712, United<br />
States of America<br />
Keywords postcolonialism, urban<br />
space, metropolitan film, aesthetics,<br />
politics<br />
Carl Cassegard<br />
University of Gothenburg, Sociology,<br />
Sweden<br />
Gregory Carleton is an associate professor of Russian at Tufts<br />
University and associate at the Davis Center for Russian and Eurasian<br />
Studies, Harvard University. He is the author of two books, The<br />
Politics of Reception: Critical Constructions of Mikhail Zoshchenko<br />
(1998) and Sexual Revolution <strong>in</strong> Bolshevik Russia (2005). He is<br />
currently work<strong>in</strong>g on the representation of war <strong>in</strong> contemporary Russia.<br />
› A tale of two wars: sex and death <strong>in</strong> N<strong>in</strong>th Company and Cargo 200, Studies<br />
<strong>in</strong> Russian and Soviet C<strong>in</strong>ema, 3.2, 215-228.<br />
Jessica Carniel has a Ph.D. <strong>in</strong> Australian Studies from the University of<br />
Melbourne. Her thesis exam<strong>in</strong>ed the development of ethnic identities <strong>in</strong><br />
Italian Australian literature and film. She is currently a tutor at the<br />
Australian Centre, University of Melbourne.<br />
› A cultural affair to remember: nostalgia, whiteness and migration <strong>in</strong> Love's<br />
Brother, Studies <strong>in</strong> Australasian C<strong>in</strong>ema, 3.1, 93-105.<br />
Mia Carter is an Associate Professor of English and University<br />
Dist<strong>in</strong>guished Teach<strong>in</strong>g Associate Professor at the University of Texas<br />
at Aust<strong>in</strong>. Her fields of specialization are Modern and Imperial<br />
Studies, European and World C<strong>in</strong>ema, and Cultural Studies. Carter is<br />
the co-editor of Orientalism and Imperialism: A Documentary<br />
Sourcebook (Basil Blackwell, 1999), Archives of Empire: From the<br />
East India Company to the Suez Canal, Vol. I, and The Scramble for<br />
Africa, Vol. II (Duke U. P., 2003), and Routledge Press's forthcom<strong>in</strong>g<br />
Modernism and Literature: An Introduction and Reader.<br />
› Acknowledged absences: Claire Denis' c<strong>in</strong>ema of long<strong>in</strong>g, Studies <strong>in</strong><br />
European C<strong>in</strong>ema, 3.1, 67-.<br />
Carl Cassegard is assistant professor at the Department of Sociology,<br />
University of Gothenburg University (Sweden), and the author of<br />
Shock and Naturalization <strong>in</strong> Contemporary Japanese Literature<br />
(Folkestone: Global Oriental, 2007). He wrote the article 'From
Keywords Wong Kar-wai,<br />
modernity, Hong Kong, Chungk<strong>in</strong>g<br />
Express, ‘natural history’, Walter<br />
Benjam<strong>in</strong>, Charles Baudelaire,<br />
Murakami Haruki, William Gibson,<br />
Fallen Angels<br />
Valeria G. Castelli<br />
New York University, Department of<br />
Italian Studies, Casa Italiana Zerilli-<br />
Marimò, 24 West 12th Street, New<br />
York, NY 10011-8604, United States<br />
of America<br />
Keywords modern and contemporary<br />
Italian literature, Italian c<strong>in</strong>ema,<br />
cultural studies, political<br />
documentaries<br />
Kirsten Cather<br />
University of Texas at Aust<strong>in</strong>,<br />
Department of Asian Studies, 1<br />
University Station, G9300 Aust<strong>in</strong>, TX<br />
78712, United States of America<br />
Keywords Japanese literature,<br />
censorship, obscenity trials, manga<br />
Patrick Cattrysse<br />
Raamlolaan 3, B-3120 Tremelo,<br />
Belgium<br />
Keywords adaptation, narrative<br />
Withdrawal to Resistance. The Rhetoric of Exit <strong>in</strong> Yoshimoto Takaaki<br />
and Karatani Koj<strong>in</strong>' for Japan Focus.<br />
› Ghosts, Angels, and Repetition <strong>in</strong> the Films of Wong Kar-wai, Film<br />
International, 3.16, 10-23.<br />
Valeria G. Castelli is a Ph.D. Candidate <strong>in</strong> Italian Studies at New York<br />
University. She received her Laurea/B.A. <strong>in</strong> Modern Italian Literature<br />
from Università Cattolica del Sacro Cuore di Milano and her M.A. <strong>in</strong><br />
Italian Studies from the University College of London. Her <strong>research</strong><br />
<strong>in</strong>terests <strong>in</strong>clude Modern and Contemporary Italian Literature, Italian<br />
Cultural Studies and C<strong>in</strong>ema, and Documentary Film Theory and<br />
History. She is currently writ<strong>in</strong>g her dissertation on political<br />
documentary films produced <strong>in</strong> Italy <strong>in</strong> the 1970s. She is an assistant<br />
editor of the journal Quaderni del ‘900 on contemporary Italian<br />
literature and culture.<br />
› Is Citizen Berlusconi good for democracy? A ‘global documentary’ about<br />
Italy’s anomalies, Studies <strong>in</strong> Documentary Film, 5.2-3, 223-234.<br />
Kirsten Cather teaches Japanese literature and film at the University of<br />
Texas at Aust<strong>in</strong>. She earned her B.A. from Connecticut College, and<br />
her M.A. and Ph.D. from University of California, Berkeley, <strong>in</strong><br />
Japanese literature with a secondary specialization <strong>in</strong> film. Her book,<br />
The Art of Censorship <strong>in</strong> Postwar Japan, on the landmark obscenity<br />
trials of literature, film and manga <strong>in</strong> Japan from 1950 to 2007 is<br />
forthcom<strong>in</strong>g from the University of Hawai’i Press <strong>in</strong> 2012.<br />
› Pervert<strong>in</strong>g Ozu: Suō Masayuki’s Abnormal Family, Journal of Japanese &<br />
Korean C<strong>in</strong>ema, 2.2, 131-145.<br />
Patrick Cattrysse currently teaches 'Film narratology' at the University<br />
of Antwerp (Belgium) and 'Screenplay analysis' at the Université Libre<br />
de Bruxelles (Belgium). He also teaches 'Media Criticism & Theory'<br />
and 'Intercultural Communication' at Boston's Emerson College<br />
European Centre (Netherlands).His ma<strong>in</strong> fields of <strong>research</strong> cover<br />
adaptation studies and narrative studies.
studies, screenplay studies<br />
Daniela Cavallaro<br />
University of Auckland, Italian,<br />
School of European Languages and<br />
Lituratures, Private bag 92019,<br />
Auckland, New Zealand<br />
Keywords adaptation, fem<strong>in</strong>ism, allwomen<br />
crew, Mara<strong>in</strong>i, Scandurra<br />
Francesco Caviglia<br />
Keywords literacy, storytell<strong>in</strong>g<br />
analysis, discourse analysis,<br />
contemporary Italian culture<br />
Reni Celeste<br />
Yale University, United States of<br />
America<br />
Keywords Hiroshima mon amour,<br />
Emmanuel Lev<strong>in</strong>as, narrative film<br />
theory, Polish c<strong>in</strong>ema, tragedy,<br />
Kieślowski<br />
› The protagonist’s dramatic goals, wants and needs, Journal of Screenwrit<strong>in</strong>g,<br />
1.1, 83-97.<br />
Daniela Cavallaro is a senior lecturer <strong>in</strong> Italian at the University of<br />
Auckland. Her <strong>research</strong> <strong>in</strong>terests are women’s theatre and film,<br />
contemporary Italian fiction and drama, rewrit<strong>in</strong>g of classical literature<br />
and South Pacific literature.<br />
› The mak<strong>in</strong>g of a fem<strong>in</strong>ist film: Sofia Scandurra's Io sono mia, Studies <strong>in</strong><br />
European C<strong>in</strong>ema, 4.3, 199-210.<br />
Born 1961 <strong>in</strong> Genoa (Italy). Studied for a Ph.D. at the Faculty of Arts<br />
and is Associate Professor at the Department for Language, Literature<br />
and Culture, Aarhus University. Research <strong>in</strong>terests <strong>in</strong> literacy,<br />
storytell<strong>in</strong>g and discourse analysis, seen from an educational<br />
perspective and with a focus on contemporary Italian culture.<br />
› An <strong>in</strong>terview with N<strong>in</strong>a Mimica on The War Is Over, Short Film Studies, 1.1,<br />
21-25.<br />
Reni Celeste has recently completed her first book, The Tragic Screen:<br />
C<strong>in</strong>ema at the Limits of Philosophy. Her work seeks to forge<br />
connections between cont<strong>in</strong>ental philosophy, new media and<br />
contemporary culture. She is currently a Research Affiliate at Yale<br />
University, where she is work<strong>in</strong>g on her second book, and a Visit<strong>in</strong>g<br />
Assistant Professor of Film Studies at Connecticut College.<br />
› Love and catastrophe: film<strong>in</strong>g the sublime <strong>in</strong> Hiroshima mon amour, Studies<br />
<strong>in</strong> French C<strong>in</strong>ema, 3.3, 173-184.<br />
› Decalogue: Poland’s c<strong>in</strong>ema of collision, Studies <strong>in</strong> European C<strong>in</strong>ema, 1.3,<br />
175-184.
N. Buket Cengiz<br />
Kadir Has Universitesi, Fen-Edebiyat<br />
Fak, Kadir Has Kampusu, Cibali,<br />
Istanbul, 34230, Turkey<br />
Keywords Golden Tulip, FACE,<br />
Turkish c<strong>in</strong>ema, Istanbul, human<br />
rights<br />
Maxime Cervulle<br />
University of Paris 1 – Panthéon<br />
Sorbonne, 4 rue neuve de la<br />
chardonnière, 75018 Paris, France<br />
Keywords racial identity, screen<br />
reception<br />
Queenie Monica Chan<br />
The University of Melbourne, School<br />
of Culture and Communication,<br />
Melbourne, Victoria, 3010, Australia<br />
Keywords Asian-Australian culture,<br />
cultural diversity, <strong>in</strong>digenous,<br />
Australia, Rabbit-Proof Fence,<br />
Christopher Doyle<br />
Felicia Chan<br />
The University of Manchester, School<br />
N. Buket Cengiz received her BA <strong>in</strong> Russian Language and Literature<br />
from Istanbul University. Her translations from Russian, from poets<br />
such as K. Simonov and Y. Yevtushenko, as well as from English,<br />
from writers such as Edward Said and John Berger have been<br />
published <strong>in</strong> various newspapers and journals. She received her MA <strong>in</strong><br />
American Culture & Literature, from Kadir Has University <strong>in</strong> Istanbul,<br />
with her thesis on a comparison of selected Romantic heroes and<br />
modern anti-heroes <strong>in</strong> literature and popular culture.<br />
› Festival Reviews, Film International, 6.4, 86-93.<br />
Maxime Cervulle is a <strong>research</strong> assistant and doctoral student <strong>in</strong><br />
Cultural Studies at the University of Paris 1 – Panthéon Sorbonne,<br />
where he is work<strong>in</strong>g on the processes of racial identity formation<br />
through screen reception and audience practices. He has edited the first<br />
collection of essays by Stuart Hall translated <strong>in</strong>to French (Identités et<br />
cultures: Politique des Cultural Studies, 2007) and has translated both<br />
Judith Butler’s Undo<strong>in</strong>g Gender (Défaire le genre, 2006) and Eve<br />
Sedgwick’s Epistemology of the Closet (Epistémologie du placard,<br />
2008) <strong>in</strong>to French.<br />
› Queer<strong>in</strong>g the Orientalist porn package: Arab men <strong>in</strong> French gay<br />
pornography, New C<strong>in</strong>emas: Journal of Contemporary Film, 6.3, 197-208.<br />
Queenie Chan has completed her MA (Cultural Studies) thesis at the<br />
University of Melbourne. Her thesis exam<strong>in</strong>es multiculturalism as<br />
cultural policy and hybridity as creative practice <strong>in</strong> the Australian<br />
c<strong>in</strong>ema, <strong>in</strong> relation to the works of Clara Law, Christopher Doyle and<br />
Tony Ayres.<br />
› Reconstruct<strong>in</strong>g images of history: Christopher Doyle, Rabbit-Proof Fence<br />
and postcolonial collage, Studies <strong>in</strong> Australasian C<strong>in</strong>ema, 2.2, 121-140.<br />
Felicia Chan is RCUK Fellow <strong>in</strong> Film, Media and Transnational<br />
Cultures at the Research Institute for Cosmopolitan Cultures (RICC)<br />
and the Centre for Screen Studies, University of Manchester. Her
of Arts, Histories and Cultures,<br />
Oxford Road, Manchester, M13 9PL,<br />
United K<strong>in</strong>gdom<br />
Keywords legal space, realism,<br />
sensationalism, mode of address,<br />
pleasure<br />
Brenda Chan<br />
Nanyang Technological University,<br />
Wee Kim Wee School of<br />
Communication & Information, 31<br />
Nanyang L<strong>in</strong>k, 637718, S<strong>in</strong>gapore<br />
Keywords genre, Hong Kong c<strong>in</strong>ema,<br />
gambl<strong>in</strong>g<br />
Kenneth Chan<br />
University of Northern Colorado,<br />
Department of English, United States<br />
of America<br />
Keywords nostalgia, l<strong>in</strong>ger<strong>in</strong>g, gay<br />
cruis<strong>in</strong>g, Tsai M<strong>in</strong>g-liang, K<strong>in</strong>g Hu<br />
<strong>research</strong> <strong>in</strong>terests lie <strong>in</strong> issues of cultural translation, <strong>in</strong>tertextuality and<br />
modernity <strong>in</strong> film, literature and other cultural texts. She has published<br />
<strong>in</strong> Critical Studies <strong>in</strong> Television, EnterText, Inter-Asia Cultural Studies,<br />
Refractory, , and Ch<strong>in</strong>ese Films <strong>in</strong> Focus II (ed. Chris Berry, Palgrave<br />
Macmillan 2008).<br />
› Revisit<strong>in</strong>g the ‘realism’ of the cosmetics of hunger: Cidade de Deus and<br />
Ônibus 174, New C<strong>in</strong>emas: Journal of Contemporary Film, 8.1, 15-30.<br />
› Reviews, Transnational C<strong>in</strong>emas, 1.2, 181-191.<br />
Brenda Chan is assistant professor at the Wee Kim Wee School of<br />
Communication and Information <strong>in</strong> Nanyang Technological<br />
University, S<strong>in</strong>gapore. She teaches courses on cultural studies and<br />
qualitative <strong>research</strong> methods. Her <strong>research</strong> <strong>in</strong>terests are <strong>in</strong> Hong Kong<br />
c<strong>in</strong>ema, East Asian television drama and Ch<strong>in</strong>ese popular music.<br />
› Identity and politics <strong>in</strong> Hong Kong gambl<strong>in</strong>g films of the 1990s: God of<br />
Gamblers III and God of Gambler's Return, New C<strong>in</strong>emas: Journal of<br />
Contemporary Film, 9.1, 35-48.<br />
› Gamblers and tricksters: the forgotten gambl<strong>in</strong>g films of the 1970s, Journal<br />
of Ch<strong>in</strong>ese C<strong>in</strong>emas, 4.2, 89-104.<br />
Kenneth Chan is Assistant Professor of Film Studies at the University<br />
of Northern Colorado. His book Remade <strong>in</strong> Hollywood: The Global<br />
Ch<strong>in</strong>ese Presence <strong>in</strong> Transnational C<strong>in</strong>emas is published by Hong<br />
Kong University Press (2009). His essays have also appeared <strong>in</strong><br />
academic journals such as C<strong>in</strong>ema Journal, Tulsa Studies <strong>in</strong> Women's<br />
Literature, Asian C<strong>in</strong>ema, Journal of Ch<strong>in</strong>ese C<strong>in</strong>emas, Discourse,<br />
Mediascape, and Camera Obscura. Dr. Chan is also a member of the<br />
editorial board of the Journal of Ch<strong>in</strong>ese C<strong>in</strong>emas published by<br />
<strong>Intellect</strong> Books.<br />
› Goodbye, Dragon Inn: Tsai M<strong>in</strong>g-liang's political aesthetics of nostalgia,<br />
place, and l<strong>in</strong>ger<strong>in</strong>g, Journal of Ch<strong>in</strong>ese C<strong>in</strong>emas, 1.2, 89-104.<br />
Kim-mui Ela<strong>in</strong>e E. Chan Kim-mui Ela<strong>in</strong>e E. Chan develops and co-teaches General Education<br />
courses at the University of Hong Kong. She received her Ph.D. at the
The University of Hong Kong,<br />
General Education Unit, Rm. G19,<br />
Ground Floor, Hong Kong<br />
Keywords cultural theory, c<strong>in</strong>ema<br />
studies, Hong Kong popular culture,<br />
postmodern flâneur, massively<br />
multiplayer onl<strong>in</strong>e role-play<strong>in</strong>g game<br />
(MMORG)<br />
Evans Chan<br />
Keywords hero, Zhang Yimou,<br />
fascism, Ch<strong>in</strong>ese c<strong>in</strong>ema, fifth<br />
generation film-makers, Gong Li,<br />
censorship, Ch<strong>in</strong>a’s Film Bureau, The<br />
Story of Qiu Ju, Not One Less,<br />
primitive accumulation, empire<br />
David Chapman<br />
University of East London, School of<br />
Humanities and Social Sciences, 4–6<br />
University Way, London, E16 2RD,<br />
United K<strong>in</strong>gdom<br />
Keywords Jean Cocteau, chance,<br />
automatism, serendipity, film music,<br />
sound art<br />
University of Kent, UK. Her areas of <strong>research</strong> <strong>in</strong>clude c<strong>in</strong>ema studies,<br />
cultural theories, gender politics and popular culture. She taught postgraduate<br />
and undergraduate credit bear<strong>in</strong>g courses at Ch<strong>in</strong>ese<br />
University of Hong Kong, L<strong>in</strong>gnan University, and Hong Kong<br />
Polytechnic University <strong>in</strong> the areas of film and c<strong>in</strong>ema studies, cultural<br />
theory, and Hong Kong popular culture. She published recently with<br />
Journal of Ch<strong>in</strong>ese C<strong>in</strong>emas. Her articles also appeared <strong>in</strong> M<strong>in</strong>g Pao,<br />
Crossover, Film Bi-weekly, and Hong Kong Economic Times. She was<br />
also director and producer of television commercials and<br />
documentaries.<br />
› Transformation of visual culture <strong>in</strong> relation to the spatial experience of<br />
postmodern flâneurs: the impact of MMORGs on contemporary Ch<strong>in</strong>ese<br />
c<strong>in</strong>ema, Journal of Ch<strong>in</strong>ese C<strong>in</strong>emas, 3.1, 33-48.<br />
Evans Chan, New York-based critic and filmmaker, won a Golden<br />
Plaque at the 2005 Chicago International Television Competition for<br />
his TV short Subway, New York. Chan’s filmography <strong>in</strong>cludes four<br />
narrative features (To Liv(e), Cross<strong>in</strong>gs, Bauh<strong>in</strong>ia, and The Map of Sex<br />
and Love) and five documentaries, <strong>in</strong>clud<strong>in</strong>g Journey to Beij<strong>in</strong>g, Adeus<br />
Macau, and The Life and Times of Wu Zhong Xian. His latest<br />
documentary is Sorceress of the New Piano – The Artistry of Margaret<br />
Leng Tan. His film<strong>in</strong>g of Tan’s performance of George Crumb’s<br />
Makrokosmos I & II was released on DVD by Mode Records.<br />
› War and Images, Film International, 1.5, 10-23.<br />
› Zhang Yimou’s Hero, Film International, 2.8, 14-23.<br />
› DVD Reviews, Film International, 7.4, 58-72.<br />
David Chapman is a video-maker, musician and sound artist. He is<br />
currently a senior lecturer <strong>in</strong> media production at the University of East<br />
London. He is <strong>in</strong>volved <strong>in</strong> the development of various arts projects,<br />
work<strong>in</strong>g with a number of artists <strong>in</strong> the area of video, new media and<br />
performance. David is also a practic<strong>in</strong>g musician with a long history of<br />
record<strong>in</strong>g and performance and an exhibit<strong>in</strong>g sound artist. His current<br />
<strong>research</strong> <strong>in</strong>terests <strong>in</strong>volve the relationship between digitalization and<br />
the documentary and the role of sound <strong>in</strong> f<strong>in</strong>e art practice.<br />
› Chance Encounters: Serendipity and the Use of Music <strong>in</strong> the Films of Jean<br />
Cocteau and Harry Smith, The Soundtrack, 2.1, 5-18.
James Chapman<br />
University of Leicester, Department<br />
of History of Art and Film, University<br />
Road, Leicester, Leicestershire, LE1<br />
7RH, United K<strong>in</strong>gdom<br />
Keywords Ashes to Ashes, BBC,<br />
television series, police, science<br />
fiction<br />
Roma<strong>in</strong> Chareyron<br />
University of Alberta, Canada<br />
Keywords provocation, image,<br />
horror, pornography, Haneke<br />
Sushmita Chatterjee<br />
Augustana College, Room 639, 38th<br />
Street, Rock Island, IL, 61201, United<br />
States of America<br />
Keywords political cartoon, terrorism<br />
James Chapman is Professor of Film at the University of Leicester,<br />
UK. He has wide-rang<strong>in</strong>g <strong>research</strong> <strong>in</strong>terests <strong>in</strong> the history of British<br />
c<strong>in</strong>ema and popular culture. He is currently writ<strong>in</strong>g, with Nick Cull,<br />
Project<strong>in</strong>g the Future: Science Fiction and Popular C<strong>in</strong>ema, and is<br />
<strong>research</strong><strong>in</strong>g books on Contemporary British Televis<strong>in</strong> Drama and<br />
A New History of British Documentary. He is a Council member of the<br />
International Association of Media and History (IAMHIST) and editor<br />
of the Historical Journal of Film, Radio and Television.<br />
› Editorial Issue 26, Film International, 5.2, 4-5.<br />
› Not ‘another bloody cop show’: Life on Mars and British television drama,<br />
Film International, 7.2, 6-19.<br />
Roma<strong>in</strong> Chareyron has recently completed his Ph.D. at the University<br />
of Alberta, on the transgressive representation of the human body <strong>in</strong><br />
contemporary French c<strong>in</strong>ema. He specialized <strong>in</strong> c<strong>in</strong>ematic semiotics<br />
dur<strong>in</strong>g his graduate studies at the University of Toulouse-Le Mirail<br />
with a thesis on Hollywood film of the 1950s that focused on the<br />
representation of space <strong>in</strong> Sunset Boulevard and A Streetcar Named<br />
Desire. He has published an article entitled ‘La Petite Lili ou la fracture<br />
du réel’ <strong>in</strong> a special issue of Excavatio dedicated to realism and<br />
naturalism <strong>in</strong> Film Studies.<br />
› The ghost image of horror and pornography <strong>in</strong> Michael Haneke's La Pianiste<br />
(2001), Studies <strong>in</strong> French C<strong>in</strong>ema, 11.1, 57-69.<br />
Hav<strong>in</strong>g completed a dual-degree Ph.D. from the Departments of<br />
Political Science and Women’s Studies at the Pennsylvania State<br />
University, Sushmita Chatterjee is currently teach<strong>in</strong>g at Augustana<br />
College, Ill<strong>in</strong>ois. Her Ph.D. dissertation studied post-9/11 identity<br />
politics through an exam<strong>in</strong>ation of Art Spiegelman’s visual politics.<br />
She enjoys teach<strong>in</strong>g, learn<strong>in</strong>g and writ<strong>in</strong>g about democratic theory,<br />
visual politics, fem<strong>in</strong>ist theory and postcolonial politics.<br />
› Cartoon<strong>in</strong>g Mumbai’s 9/11: an exploration of image decolonization, Studies<br />
<strong>in</strong> South Asian Film & Media, 1.2, 249-264.
Saayan Chattopadhyay<br />
Calcutta University, India, Journalism<br />
and Mass Communication<br />
Keywords Bengali male, Uttam<br />
Kumar, performativity, mascul<strong>in</strong>ity,<br />
Bengali c<strong>in</strong>ema<br />
Shoh<strong>in</strong>i Chaudhuri<br />
University of Essex, Department of<br />
Literature, Department of Literature,<br />
Film and Theatre Studies, University<br />
of Essex, Colchester, CO4 3SQ<br />
Keywords<br />
Delph<strong>in</strong>e Chedaleux<br />
Université de Caen, 57 Boulevard de<br />
la Duchesse Anne, Rennes, 35000,<br />
France<br />
Keywords gender, mascul<strong>in</strong>ity,<br />
occupation, jeune premier, Jean<br />
Marais<br />
T<strong>in</strong>a Mai Chen<br />
University of Manitoba, Department<br />
Saayan Chattopadhyay is an Assistant Professor <strong>in</strong> the Department of<br />
Journalism and Mass Communication at Baruipur College, Calcutta<br />
University, India. After a st<strong>in</strong>t as a journalist <strong>in</strong> Kolkata, he is currently<br />
engaged <strong>in</strong> <strong>research</strong> and academics. He has published articles and book<br />
chapters <strong>in</strong> Sarai Reader, Senses of C<strong>in</strong>ema, Gyanpratha, and Sussex<br />
Academic Press, among others. He is currently work<strong>in</strong>g on a book<br />
project on Bengali c<strong>in</strong>ema, ethnicity and mascul<strong>in</strong>ity. His <strong>research</strong><br />
<strong>in</strong>terests <strong>in</strong>clude performative theory, local popular films and<br />
mascul<strong>in</strong>ity studies.<br />
› Performative Bengali Mascul<strong>in</strong>ity: The Rhetoric of Becom<strong>in</strong>g <strong>in</strong> Bengali<br />
Popular C<strong>in</strong>ema of the 1950s, Studies <strong>in</strong> South Asian Film & Media, 2.1, 3-<br />
17.<br />
Shoh<strong>in</strong>i Chaudhuri is Senior Lecturer <strong>in</strong> Contemporary Writ<strong>in</strong>g and<br />
Film at the University of Essex. She has published two books,<br />
Contemporary World C<strong>in</strong>ema: Europe, the Middle East, East Asia and<br />
South Asia (2005) and Fem<strong>in</strong>ist Film Theorists (2006), articles <strong>in</strong><br />
journals such as Screen, Camera Obscura and South Asian Popular<br />
Culture, and essays <strong>in</strong> the edited collections Film Analysis (2005), New<br />
Punk C<strong>in</strong>ema (2005) and Postcolonial C<strong>in</strong>ema Studies (2011).<br />
› Storytell<strong>in</strong>g <strong>in</strong> Bhutanese c<strong>in</strong>ema: Research context and case study of a film<br />
<strong>in</strong> development, Journal of Screenwrit<strong>in</strong>g, 3.2, 197-214.<br />
Delph<strong>in</strong>e Chedaleux teaches c<strong>in</strong>ema at the Université de Caen. She is<br />
prepar<strong>in</strong>g a thesis on 'Les jeunes premiers et les jeunes premières du<br />
c<strong>in</strong>éma français sous l’Occupation, 1940–1944'.<br />
› Un jeune premier sous l'Occupation: Jean Marais ou l'loge d'une mascul<strong>in</strong>it<br />
passive, Studies <strong>in</strong> French C<strong>in</strong>ema, 10.3, 205-218.<br />
T<strong>in</strong>a Mai Chen is Associate Professor of Modern Ch<strong>in</strong>ese History at<br />
the University of Manitoba. Her recent publications <strong>in</strong>clude Film,<br />
History, and Cultural Citizenship: Sites of Production (Routledge,<br />
2007) co-edited with David S Churchill, and various articles on the
of History, W<strong>in</strong>nipeg, Manitoba, R3T<br />
5V5, Canada<br />
Keywords socialist culture, Ch<strong>in</strong>ese<br />
c<strong>in</strong>ema, cultural politics, Maoism,<br />
S<strong>in</strong>o-Soviet relations<br />
Robert Chen<br />
National Chengchi University,<br />
Department of Radio-TV, No. 64,<br />
Sec. 2 Chi-Nan Road, Wen-Shan<br />
District, Taipei, 116, Taiwan<br />
Keywords realism, Hou Hsiao-Hsien,<br />
Tsai M<strong>in</strong>g-Liang, Chen Kaige, Zhang<br />
Yimou<br />
Ken Chen<br />
Keywords science fiction, war,<br />
horror, tragic idealism, escapism<br />
Vitaly Chernetsky<br />
Miami University, German, Russian<br />
& East Asian Languages, GREAL,<br />
172 Irv<strong>in</strong> Hall, Oxford, OH, 45056,<br />
United States of America<br />
Keywords Ukra<strong>in</strong>ian c<strong>in</strong>ema, Soviet<br />
c<strong>in</strong>ema, poetic c<strong>in</strong>ema, displacement,<br />
identity crisis, Leonid Osyka, Vasyl'<br />
mean<strong>in</strong>g of film <strong>in</strong> the People’s Republic of Ch<strong>in</strong>a and S<strong>in</strong>o-Soviet film<br />
exchange published <strong>in</strong> the Journal of the Canadian Historical<br />
Association, Cultural Critique and Modern Ch<strong>in</strong>ese Literature and<br />
Culture.<br />
› International film circuits and global imag<strong>in</strong>aries <strong>in</strong> the People's Republic of<br />
Ch<strong>in</strong>a, 1949–57, Journal of Ch<strong>in</strong>ese C<strong>in</strong>emas, 3.2, 149-161.<br />
› Film <strong>in</strong> the People's Republic of Ch<strong>in</strong>a, 19491979: The miss<strong>in</strong>g years,<br />
Journal of Ch<strong>in</strong>ese C<strong>in</strong>emas, 5.1, 5-12.<br />
Robert Chen co-edited C<strong>in</strong>ema Taiwan: Politics, Popularity, and State<br />
of the Arts (Routledge, 2007) with Darrell Davis. His publication<br />
<strong>in</strong>cludes The Cultural-Historical Experiences of Taiwan C<strong>in</strong>ema and<br />
C<strong>in</strong>ema Empire (both <strong>in</strong> Ch<strong>in</strong>ese).<br />
› Baz<strong>in</strong> at work: the concept of realism <strong>in</strong> Ch<strong>in</strong>ese-language films, Journal of<br />
Ch<strong>in</strong>ese C<strong>in</strong>emas, 4.1, 57-64.<br />
Ken Chen is Executive Director of the Asian American Writers'<br />
Workshop. He is graduate of Yale Law School and recently worked on<br />
an asylum case <strong>in</strong>volv<strong>in</strong>g post-September 11 civil liberties and FGM<br />
(Female Genital Mutilation).<br />
› The Lovely Smallness of Doctor Who, Film International, 6.2, 52-59.<br />
› DVD Reviews, Film International, 8.2, 63-81.<br />
Vitaly Chernetsky is an assistant professor <strong>in</strong> the Department of<br />
German, Russian, and East Asian Languages at Miami University,<br />
where he is also affiliated with the Film Studies and Women’s Studies<br />
programmes. His book Mapp<strong>in</strong>g Postcommunist Cultures: Russia and<br />
Ukra<strong>in</strong>e <strong>in</strong> the Context of Globalization was published by the McGill-<br />
Queen’s University Press <strong>in</strong> 2007. He is currently guest-edit<strong>in</strong>g the<br />
forthcom<strong>in</strong>g special issue of the onl<strong>in</strong>e journal K<strong>in</strong>oKultura on<br />
Ukra<strong>in</strong>ian c<strong>in</strong>ema. Besides Russian and Ukra<strong>in</strong>ian literature and film,<br />
Chernetsky’s areas of <strong>in</strong>terest also <strong>in</strong>clude the work by East European
Stefanyk and Central Asian authors, as well as diasporic cultures, studies of<br />
gender and sexuality, and the theory and practice of translation.<br />
Brigid Cherry<br />
St Mary’s University College, Culture<br />
and Creative Arts, Waldegrave<br />
Road,Twickenham, Middlesex, TW1<br />
1LA, United K<strong>in</strong>gdom<br />
Keywords horror, cult, fan culture,<br />
Gothic aesthetic<br />
Francesco Di Chiara<br />
Keywords European c<strong>in</strong>ema, popular<br />
c<strong>in</strong>ema, genre, co-production, Italian<br />
c<strong>in</strong>ema<br />
› Visual language and identity performance <strong>in</strong> Leonid Osyka’s A Stone Cross:<br />
The roots and the uproot<strong>in</strong>g, Studies <strong>in</strong> Russian and Soviet C<strong>in</strong>ema, 2.3, 269-<br />
280.<br />
› Reviews, Studies <strong>in</strong> Russian and Soviet C<strong>in</strong>ema, 3.3, 353-385.<br />
› Book Reviews, Studies <strong>in</strong> Russian and Soviet C<strong>in</strong>ema, 4.3, 355-377.<br />
Brigid Cherry is a senior lecturer <strong>in</strong> Communication, Culture and<br />
Creative Arts at St Mary’s University College, Twickenham, UK,<br />
where she teaches modules on horror c<strong>in</strong>ema, cult film and television,<br />
youth culture and film aesthetics. Her <strong>research</strong> has focussed on horror<br />
and science fiction fandoms, particularly the female horror film<br />
audience, and onl<strong>in</strong>e science fiction fan cultures. She has recently<br />
published work on fan responses to the return of Doctor Who, the<br />
fem<strong>in</strong><strong>in</strong>e aesthetic of horror c<strong>in</strong>ema, cultural borrow<strong>in</strong>gs <strong>in</strong> alternative<br />
music video and fan canons. Her Film Guidebook on Horror was<br />
published by Routledge <strong>in</strong> 2009. She is currently work<strong>in</strong>g on a<br />
monograph on trans-media storytell<strong>in</strong>g <strong>in</strong> and is edit<strong>in</strong>g a collection on<br />
True Blood for I.B. Tauris’s Cult Television series. Her current<br />
<strong>research</strong> projects <strong>in</strong>clude fem<strong>in</strong><strong>in</strong>e handicrafts as forms of<br />
femaleDoctor Who<br />
› Broken Homes, Tortured Flesh: Hellraiser and the Fem<strong>in</strong><strong>in</strong>e Aesthetic of<br />
Horror C<strong>in</strong>ema, Film International, 3.17, 10-21.<br />
Francesco Di Chiara holds a Ph.D. <strong>in</strong> Film Studies at the University of<br />
Ferrara. His <strong>research</strong> <strong>in</strong>terests <strong>in</strong>clude genre film theory, Italian popular<br />
genres, Italian c<strong>in</strong>ema of the 1950s and c<strong>in</strong>ema economics. He is the<br />
author of I tre volti della paura: il c<strong>in</strong>ema horror italiano, 1957–1965<br />
(Ferrara: Unifepress, 2009).<br />
› Once Upon a Time <strong>in</strong> Italy: Transnational Features of Genre Production<br />
1960s1970s, Film International, 8.6, 30-39.
Michel Chion<br />
University of Paris III - Sorbonne<br />
Nouvelle, 5, Rue Barbette, Paris,<br />
75003, France<br />
Keywords Jacques Doillon, Cather<strong>in</strong>e<br />
Breillat, Claire Vass, Jacques Tati,<br />
language<br />
David Chirico<br />
Broome Community College,<br />
Department of English, State<br />
University of New York,<br />
B<strong>in</strong>ghamton, NY, NY, 13903, United<br />
States of America<br />
Keywords borders, autopoiesis,<br />
systems theory, Fassb<strong>in</strong>der<br />
Marie-Magdele<strong>in</strong>e Chirol<br />
Whittier College, Department of<br />
Modern Languages & Literatures,<br />
13406 Philadelphia Street, PO BOX<br />
634-20, Whittier, CA, 90608, United<br />
States of America<br />
Keywords Yaaba, children, echo,<br />
renew, ru<strong>in</strong><br />
Michel Chion born <strong>in</strong> 1947 <strong>in</strong> Creil, France, is a composer of<br />
experimental music. He teaches at several <strong>in</strong>stitutions with<strong>in</strong> France<br />
and currently holds the post of Associate Professor at the University of<br />
Paris III: Sorbonne Nouvelle where he is a theoretician and teacher of<br />
audio-visual relationships.After study<strong>in</strong>g literature and music he began<br />
to work for the ORTF (French Radio and Television Organization)<br />
Service de La recherche as assistant to Pierre Schaeffer <strong>in</strong> 1970. He<br />
was a member of the Groupe de Recherches Musicales (GRM)<br />
between 1971 - 1976. His compositional pieces elaborate on<br />
schaeffarian theories and methodologies which Schaeffer referred to as<br />
musique concrète. He has also written a number of books as well as<br />
essays expound<strong>in</strong>g his theories of the <strong>in</strong>teraction between sound and<br />
image with<strong>in</strong> the medium of film.<br />
› No man's France, Studies <strong>in</strong> French C<strong>in</strong>ema, 10.3, 251-256.<br />
› What a time it was! An essay on Antonioni's L'eclisse, The Soundtrack, 3.1,<br />
5-9.<br />
David Chirico teaches <strong>in</strong> the English Department of Broome<br />
Community College, where he also serves as coord<strong>in</strong>ator for the<br />
composition programme. His areas of specialization <strong>in</strong>clude<br />
postmodern poetry, American avant-garde film and critical theory.<br />
› In a month of thirteen films: A Fassb<strong>in</strong>der diary, Studies <strong>in</strong> European<br />
C<strong>in</strong>ema, 7.1, 37-49.<br />
Marie-Magdele<strong>in</strong>e Chirol is Professor of French at Whittier College,<br />
California, where she teaches French and African c<strong>in</strong>ema and literature.<br />
Her <strong>research</strong> <strong>in</strong>terests <strong>in</strong>clude the study of ru<strong>in</strong>s and African c<strong>in</strong>ema.<br />
She is the author of L’imag<strong>in</strong>aire de la Ru<strong>in</strong>e dans ‘A la recherche du<br />
temps perdu’ (Summa 2001). Her articles have appeared <strong>in</strong> Research <strong>in</strong><br />
African Literatures, C<strong>in</strong>émAction, The French Review, French Forum,<br />
Etudes Francophones and Revue de Littérature Comparée among<br />
others. Her expertise <strong>in</strong>cludes the c<strong>in</strong>ema of Gaston Kaboré.<br />
› Ru<strong>in</strong> and renewal <strong>in</strong> Idrissa Ouédraogo's Yaaba, Journal of African C<strong>in</strong>emas,<br />
1.2, 159-171.
Paolo Chirumbolo<br />
Louisiana State University, Dept. of<br />
Foreign Languages, 328 Hodges Hall,<br />
Baton Rouge, LA 70803, United<br />
States of America<br />
Keywords Italian c<strong>in</strong>ema, semiotics,<br />
popular culture<br />
Rey Chow<br />
Duke University, Anne Firor Scott<br />
Professor of Literature, Campus Box<br />
90670, Durham, NC, 27708, United<br />
States of America<br />
Keywords commodification,<br />
fetishism, defetishization,<br />
particularism, visuality<br />
Yiu Fai Chow<br />
University of Amsterdam, Amsterdam<br />
School of Communication Research,<br />
Kloveniersburgwal 48, Amsterdam,<br />
1012 CX, Netherlands<br />
Keywords materiality, tangibility,<br />
sociability, convergence, digitization<br />
Paolo Chirumbolo holds a Laurea <strong>in</strong> L<strong>in</strong>gue Straniere (Università La<br />
Sapienza, Rome) and an M.A. and a Ph.D. <strong>in</strong> Italian Studies<br />
(University of Toronto). He has taught Italian language, literature and<br />
c<strong>in</strong>ema at the University of Toronto, Louisiana State University and<br />
McMaster University. His ma<strong>in</strong> areas of <strong>research</strong> are contemporary<br />
Italian fiction, c<strong>in</strong>ema, semiotics and popular culture. He has published<br />
articles on Eco, Calv<strong>in</strong>o, Macchiavelli and Gucc<strong>in</strong>i, Pirandello,<br />
Palazzeschi, Ammaniti, Kerbaker and Sold<strong>in</strong>i. He is the author of Tra<br />
coscienza e autocoscienza (Soveria Mannelli: Rubbett<strong>in</strong>o, 2009) and<br />
co-editor of Neoavanguardia. Italian Experimental Literature and Arts<br />
<strong>in</strong> the 1960s (Toronto: University of Toronto Press, 2010). He is<br />
assistant professor at Louisiana State University where he is also the<br />
director of the Italian Program.<br />
› From heaven to hell: The representation of the ThyssenKrupp tragedy <strong>in</strong><br />
contemporary Italian documentary film-mak<strong>in</strong>g, Studies <strong>in</strong> Documentary<br />
Film, 5.2-3, 157-167.<br />
Rey Chow is Andrew W. Mellon Professor of the Humanities at Brown<br />
University. The books she has authored <strong>in</strong>clude, most recently, The<br />
Age of the World Target (2006) and Sentimental Fabulations:<br />
Contemporary Ch<strong>in</strong>ese Films (2007).<br />
› ‘Woman’, fetish, particularism: Articulat<strong>in</strong>g Ch<strong>in</strong>ese c<strong>in</strong>ema with a crosscultural<br />
problematic, Journal of Ch<strong>in</strong>ese C<strong>in</strong>emas, 1.3, 209-222.<br />
Yiu Fai Chow is Ph.D. candidate at the Amsterdam School of<br />
Communication Research. His project concerns young Ch<strong>in</strong>ese<br />
diaspora <strong>in</strong> the Netherlands and their use of popular culture, <strong>in</strong><br />
particular martial arts films, beauty pageants and popular music.<br />
› All that has melted <strong>in</strong>to bits and bytes becomes solid, Journal of Ch<strong>in</strong>ese<br />
C<strong>in</strong>emas, 3.1, 79-82.<br />
Christian Christensen Christian Christensen is Associate Professor <strong>in</strong> the Department of
Uppsala University, Department of<br />
Informatics and Media, Ekonomikum,<br />
Kyrkogårdsg. 10, Box 513, Uppsala,<br />
Sweden, 751 20, United K<strong>in</strong>gdom<br />
Keywords Iraq, politics, grassroots,<br />
distribution<br />
Johannes H. Christensen<br />
Keywords theology, literature,<br />
philosophy<br />
Ian Christie<br />
Birkbeck, University of London,<br />
School of History of Art, Film and<br />
Visual Media, Malet Street,<br />
Bloomsbury, London, WC1E 7HX,<br />
United K<strong>in</strong>gdom<br />
Keywords practice-based <strong>research</strong>,<br />
scholarship, AVPhD, beyond text<br />
Informatics and Media at Uppsala University <strong>in</strong> Sweden. Recent<br />
<strong>research</strong> <strong>in</strong>cludes studies on documentary film after 9/11, and the<br />
representation of war on YouTube. His work has been published <strong>in</strong><br />
journals such as Studies <strong>in</strong> Documentary Film, the International<br />
Journal of Press/Politics, Global Media and Communication, Media,<br />
War & Conflict, Studies <strong>in</strong> Documentary Film, Popular<br />
Communication: International Journal of Media and Culture and the<br />
British Journalism Review.<br />
› Political documentary, onl<strong>in</strong>e organization and activist synergies, Studies <strong>in</strong><br />
Documentary Film, 3.2, 77-94.<br />
› Guest Editor's Note: Documentary films after 9/11, Studies <strong>in</strong> Documentary<br />
Film, 3.3, 197-198.<br />
› The everyday after 9/11: cycles and details, Studies <strong>in</strong> Documentary Film,<br />
3.3, 233-244.<br />
Johannes H. Christensen is a former lecturer <strong>in</strong> film and television,<br />
religion and philosophy at the Danish Library College (1972–81) and a<br />
parish priest <strong>in</strong> Skovhoved (1981–2009). From 1982 he has also been a<br />
film and literature reviewer at three daily papers, <strong>in</strong>clud<strong>in</strong>g s<strong>in</strong>ce 1996<br />
at Jyllands-Posten. He has written extensively about theology,<br />
literature and film and helped edit the journals Levende Billeder (1976–<br />
82) and KRITIK (1976–88).<br />
› Apple pie from the tree of knowledge, Journal of Scand<strong>in</strong>avian C<strong>in</strong>ema, 1.1,<br />
123-125.<br />
Ian Christie is a film historian, curator and broadcaster. He has written<br />
and edited books on Powell and Pressburger, Russian c<strong>in</strong>ema, Scorsese<br />
and Gilliam; worked on many exhibitions, <strong>in</strong>clud<strong>in</strong>g Spellbound: Art<br />
and Film (2006) and Modernism: Design<strong>in</strong>g a New World (2006); and<br />
co-produced the 1994 BBC television series on early c<strong>in</strong>ema The Last<br />
Mach<strong>in</strong>e. He is currently Professor of Film and Media History at<br />
Birkbeck College and Vice-President of Europa C<strong>in</strong>emas.<br />
› Reviews, The Soundtrack, 3.1, 67-76.
Piotr A. Cieplak<br />
University of Cambridge, St John's<br />
College, Department of French,<br />
Faculty of Modern and Medieval<br />
Languages, Sidgwick Avenue,<br />
Cambridge, CB3 9DA, United<br />
K<strong>in</strong>gdom<br />
Keywords African c<strong>in</strong>ema, genocide,<br />
Hillywood, documentary, short film<br />
Lynn Schofield Clark<br />
University of Denver, School of<br />
Communication, 2490 South Gaylord<br />
Street, Denver , CO 80208, United<br />
States of America<br />
Keywords television, popular culture,<br />
religion, philosophy, mediatization<br />
Sue Clayton<br />
Royal Holloway University of<br />
London, Department of Media Arts,<br />
Department of Media Arts, Royal<br />
Holloway, University of London,<br />
Egham, Surrey, TW20 OEX, Surrey<br />
Keywords adaptation, British c<strong>in</strong>ema,<br />
<strong>in</strong>dependent c<strong>in</strong>ema<br />
Piotr A. Cieplak is currently the recipient of the Harper-Wood<br />
Studentship for English Poetry and Literature at St John's College,<br />
Cambridge. His doctoral thesis <strong>in</strong>vestigated the representation of the<br />
Rwandan genocide and its aftermath <strong>in</strong> photography and documentary<br />
film. Piotr has an <strong>in</strong>terest <strong>in</strong> and has written about cultural memory,<br />
commemorative practices, documentary film, photography, African<br />
film festivals, Rwandan and East African c<strong>in</strong>ema, and representations<br />
of Africa, especially African conflict and its aftermath, outside the<br />
cont<strong>in</strong>ent.<br />
› The Rwandan genocide and the bestiality of representation <strong>in</strong> 100 Days<br />
(2001) and Shoot<strong>in</strong>g Dogs (2005), Journal of African C<strong>in</strong>emas, 2.1, 49-63.<br />
Lynn Schofield Clark is Associate Professor and Director of the Estlow<br />
International Center for Journalism and New Media at the University of<br />
Denver . She currently oversees three <strong>research</strong> projects: the Teens &<br />
The New Media @ Home Project, which explores the <strong>in</strong>troduction of<br />
digital and mobile media <strong>in</strong>to US family life; the Young Media Makers<br />
Project, which is study<strong>in</strong>g how the process of media mak<strong>in</strong>g<br />
contributes to citizenship and civic engagement; and the Global<br />
Students Onl<strong>in</strong>e Project, which is study<strong>in</strong>g the possibilities for<br />
enhanced <strong>in</strong>tercultural understand<strong>in</strong>g through onl<strong>in</strong>e <strong>in</strong>teractions. She<br />
is <strong>in</strong>terested <strong>in</strong> sociology of culture and of the media, sociology of the<br />
family, and sociology of religion, as well as <strong>in</strong> issues related to the<br />
<strong>in</strong>ternationalization of journalism and communication <strong>in</strong> higher<br />
education.<br />
› Religion, philosophy, and convergence culture onl<strong>in</strong>e: ABC’s Lost as a study<br />
of the processes of mediatization, Northern Lights: Film & Media Studies<br />
Yearbook, 6.1, 143-163.<br />
Sue Clayton is a UK <strong>in</strong>dependent feature film writer and director (see<br />
her website www.sueclaytonfilm.com). She is currently co-writ<strong>in</strong>g and<br />
direct<strong>in</strong>g Jumolhari, a feature film set <strong>in</strong> Bhutan. She has also just<br />
released Hamedullah: The Road Home (2011), a film about child<br />
refugees set <strong>in</strong> the United K<strong>in</strong>gdom and Afghanistan, and is develop<strong>in</strong>g<br />
a feature film, Nowhere to Hide, and a documentary for BBC3 on the<br />
same subject. She is also Director of Graduate Studies and Programme<br />
Director of MASTFiR, an M.A. <strong>in</strong> Screenwrit<strong>in</strong>g for Film and<br />
Television (Retreat Programme) at Royal Holloway, University of<br />
London, and has published several book chapters and <strong>in</strong> journals such<br />
as New Writ<strong>in</strong>g, New C<strong>in</strong>emas and The Journal of Media Practice.
Clarissa Clò<br />
San Diego State University,<br />
Department of European Studies,<br />
5500 Campanile Drive, San Diego,<br />
CA 92182-7704, United States of<br />
America<br />
Keywords fem<strong>in</strong>ist and queer theory,<br />
migration, postcolonialism, Italian<br />
documentary and c<strong>in</strong>ema, music<br />
subcultures, women-writers, youth<br />
cultures<br />
Paul Cobley<br />
London Metropolitan University,<br />
United K<strong>in</strong>gdom<br />
Keywords BBC, television series, spy<br />
drama, terrorism, suspense<br />
› Film-mak<strong>in</strong>g <strong>in</strong> Bhutan: The view from Shangri-La, New C<strong>in</strong>emas: Journal<br />
of Contemporary Film, 5.1, 75-90.<br />
› Storytell<strong>in</strong>g <strong>in</strong> Bhutanese c<strong>in</strong>ema: Research context and case study of a film<br />
<strong>in</strong> development, Journal of Screenwrit<strong>in</strong>g, 3.2, 197-214.<br />
Clarissa Clò is associate professor and director of the Italian<br />
Programme <strong>in</strong> the Department of European Studies at San Diego State<br />
University. She specializes <strong>in</strong> Italian Cultural Studies and her <strong>research</strong><br />
<strong>in</strong>terests <strong>in</strong>clude fem<strong>in</strong>ist and queer theory, migration and postcolonial<br />
studies, film, music and popular culture. She has written on The Battle<br />
of Algiers and Lion of the Desert, Italian documentary film-mak<strong>in</strong>g,<br />
music subcultures, circum-Atlantic performances, Italian American<br />
women writers, Mediterranean Studies, youth cultures and postcolonial<br />
literature <strong>in</strong> Italy. Her work has appeared <strong>in</strong> several publications <strong>in</strong><br />
Italy and the United States, <strong>in</strong>clud<strong>in</strong>g Annali d’Italianistica,<br />
Diacritics,Diaspora, Forum Italicum, Il lettore di prov<strong>in</strong>cia, Italian<br />
Culture, Italica, Research <strong>in</strong> African Literatures, and Transformations.<br />
She<br />
› Other visions: Contemporary Italian documentary c<strong>in</strong>ema as counterdiscourse,<br />
Studies <strong>in</strong> Documentary Film, 5.2-3, 83-89.<br />
› Improvvisamente l’<strong>in</strong>verno scorso/Suddenly, Last W<strong>in</strong>ter: Queer Sex <strong>in</strong><br />
Public, Studies <strong>in</strong> Documentary Film, 5.2-3, 255-261.<br />
› Orchestrat<strong>in</strong>g reality through a c<strong>in</strong>ema of relation: Interview with Agost<strong>in</strong>o<br />
Ferrente, Studies <strong>in</strong> Documentary Film, 5.2-3, 211-221.<br />
Paul Cobley is Reader <strong>in</strong> Communications, London Metropolitan<br />
University. He is the author of The American Thriller (Palgrave, 2000)<br />
and is currently work<strong>in</strong>g on a new book, titled The Semiotics of<br />
Paranoia: Re-contextualiz<strong>in</strong>gthe Subject of the Thriller.<br />
› ‘It's a f<strong>in</strong>e l<strong>in</strong>e between safety and terror’: crime and anxiety redrawn <strong>in</strong><br />
Spooks, Film International, 7.2, 36-45.<br />
Laurence Coderre Laurence Coderre is a doctoral student <strong>in</strong> Ch<strong>in</strong>ese Language at the<br />
University of California, Berkeley. She has an AM <strong>in</strong> Regional Studies
University of California, Berkeley,<br />
United States of America<br />
Keywords contextualization, Chi<br />
Qun, counterattack, Gang of Four,<br />
propaganda<br />
Anna Cole<br />
Goldsmiths College, Anthropology<br />
Department, 36 Lewisham Way, New<br />
Cross, London, SE14 6NW, United<br />
K<strong>in</strong>gdom<br />
Keywords debutante, assimilation,<br />
identity, cross-cultural, mimesis<br />
Shaun Cole<br />
London College of Fashion,<br />
University of the Arts, 20 John<br />
Pr<strong>in</strong>ces's Street, London W1G 0BJ,<br />
UK<br />
Keywords<br />
Jacky Coll<strong>in</strong>s<br />
University of Northumbria, MFL -<br />
SASS, Lipman Build<strong>in</strong>g, Sandyford<br />
Road, Newcastle Upon Tyne, Tyne<br />
and Wear, NE1 8ST, United K<strong>in</strong>gdom<br />
Keywords same-sex relationships,<br />
alternative families, lesbian identities,<br />
sexuality, hetero-normativity<br />
– East Asia and an AB <strong>in</strong> Music and East Asian Studies from Harvard<br />
University. Her current <strong>research</strong> <strong>in</strong>terests <strong>in</strong>clude popular culture, the<br />
Cultural Revolution and the reemergence of works from that period <strong>in</strong><br />
the post-Mao era.<br />
› Counterattack: (Re)contextualiz<strong>in</strong>g propaganda, Journal of Ch<strong>in</strong>ese<br />
C<strong>in</strong>emas, 4.3, 211-227.<br />
Anna Cole is a writer, sometime film-maker and post-doctoral <strong>research</strong><br />
fellow at the Centre for Public Culture and Ideas, Griffith University,<br />
Queensland. She iscurrently based <strong>in</strong> London as a Visit<strong>in</strong>g Fellow <strong>in</strong><br />
the Anthropology Department at Goldsmiths College, University of<br />
London. Anna <strong>research</strong>es and publishes <strong>in</strong> the area of historicalanthropology,<br />
cross-cultural exchange, k<strong>in</strong>ship and the sexual politics<br />
of colonialism.<br />
› Danc<strong>in</strong>g with the Prime M<strong>in</strong>ister, Studies <strong>in</strong> Australasian C<strong>in</strong>ema, 2.1, 5-13.<br />
Shaun Cole is a Pr<strong>in</strong>cipal Lecturer <strong>in</strong> the History and Culture of<br />
Fashion and Fashion Curation at London College of Fashion. His<br />
<strong>research</strong> expertise lies <strong>in</strong> mascul<strong>in</strong>ity and gay men's style and dress. He<br />
is the author of Don We Now Our Gay Apparel: Gay Men's Dress <strong>in</strong><br />
the Twentieth Century (2000) and The Story of Men's Underwear<br />
(2010).<br />
› Television's fashion gay teens: Just<strong>in</strong> Suarez and Kurt Hummel, Film,<br />
Fashion & Consumption, 1.2, 159-167.<br />
Jacky Coll<strong>in</strong>s is Senior Lecturer <strong>in</strong> Spanish Studies at Northumbria<br />
University. Her ma<strong>in</strong> area of <strong>research</strong> is lesbian cultures <strong>in</strong><br />
contemporary Spa<strong>in</strong>. She is co-editor of Crime Scene Spa<strong>in</strong>. Essays on<br />
Post-Franco Crime Fiction (Jefferson, NC: McFarland, 2009). Her<br />
<strong>research</strong> <strong>in</strong>terests <strong>in</strong>clude Contemporary Spanish film, web-based<br />
language acquisition, Hispanic detective fiction, representations of<br />
lesbian identity <strong>in</strong> contemporary Spanish film and literature, women <strong>in</strong><br />
the Spanish Civil War.
Karen Coll<strong>in</strong>s<br />
University of W<strong>in</strong>dsor, Department of<br />
Music, United K<strong>in</strong>gdom<br />
Keywords video games music,<br />
market<strong>in</strong>g, soundtracks, Pong, Space<br />
Invaders, arcade games, Pacman,<br />
Programmable Sound Generators<br />
(PSG), Commodore, Atari VCS,<br />
N<strong>in</strong>tendo, MIDI, Sega, Playstation,<br />
orchestral games concerts<br />
Leo Collis<br />
Keywords media, journalism<br />
Brandon Colv<strong>in</strong><br />
Keywords screenwrit<strong>in</strong>g, film critic<br />
› Introduction, Studies <strong>in</strong> European C<strong>in</strong>ema, 2.3, 155-158.<br />
› Challeng<strong>in</strong>g the rhetorical oxymoron: Lesbian motherhood <strong>in</strong> contemporary<br />
European c<strong>in</strong>ema, Studies <strong>in</strong> European C<strong>in</strong>ema, 4.2, 149-.<br />
Karen Coll<strong>in</strong>s is a Lecturer <strong>in</strong> Music at the University of W<strong>in</strong>dsor and<br />
Film Studies at Brock University. Her book, A Bang, A Whimper and A<br />
Beat: Industrial Music and the End of the World (Wesleyan University<br />
Press) exam<strong>in</strong>es issues of popular music, genre and semiotics. Her<br />
current reserch deals with video games music from historical,<br />
technological and semiotic perspectives.<br />
› From Bits to Hits: Video Games Music Changes its Tune, Film<br />
International, 3.13, 4-19.<br />
Leo Collis is a Film, Media and Journalism student, from<br />
Nott<strong>in</strong>ghamshire <strong>in</strong> the United K<strong>in</strong>gdom. He has been study<strong>in</strong>g at the<br />
University of Stirl<strong>in</strong>g s<strong>in</strong>ce 2008, but took a year out to study at the<br />
University of North Carol<strong>in</strong>a Wilm<strong>in</strong>gton, USA, <strong>in</strong> 2010.<br />
› Reviews DVDs, Film Matters, 2.1, 33-39.<br />
Brandon Colv<strong>in</strong> graduated summa cum laude from Western Kentucky<br />
University <strong>in</strong> May 2010 with a BA <strong>in</strong> English, m<strong>in</strong>or<strong>in</strong>g <strong>in</strong> Film<br />
Studies. Experienced as a screenwriter and film critic, he is currently<br />
beg<strong>in</strong>n<strong>in</strong>g his graduate work <strong>in</strong> Film Studies at the University of<br />
Wiscons<strong>in</strong>-Madison.<br />
› A Reasonable Alternative: The Role of Midge <strong>in</strong> Hitchcock's Vertigo, Film<br />
Matters, 1.4, 21-25.
Nancy Condee<br />
University of Pittsburgh, Cathedral of<br />
Learn<strong>in</strong>g 1301, Pittsburgh, PA 15260,<br />
United States of America<br />
Keywords Sergei Urusevskii, The<br />
Cranes are Fly<strong>in</strong>g, Thaw, Cold War,<br />
modernism<br />
Liz Conor<br />
208 Park Street, North Fitzroy. 3068,<br />
Victoria, Australia<br />
Keywords nationalism,<br />
reconciliation, assimilation,<br />
colonialism, Baz Luhrmann<br />
Bridget Conor<br />
Goldsmiths College, 17C Heyworth<br />
Rd, Clapton, London, E5 8DR,<br />
United K<strong>in</strong>gdom<br />
Keywords critical sociology, creative<br />
labour, screenwrit<strong>in</strong>g,<br />
<strong>in</strong>dustrialization, marg<strong>in</strong>alization,<br />
collaboration<br />
Nancy Condee is associate professor of Slavic and Film Studies at the<br />
University of Pittsburgh. She is the author of The Imperial Trace:<br />
Recent Russian C<strong>in</strong>ema (Oxford University Press, 2009) and co-editor<br />
(with Terry Smith and Okwui Enwezor) of Ant<strong>in</strong>omies of Art and<br />
Culture: Modernity, Postmodernity, Contemporaneity (Duke<br />
University Press, 2009). Her work has appeared <strong>in</strong> such Russian<br />
journals as Iskusstvo k<strong>in</strong>o, Novoe literaturnoe obozrenie and .<br />
› Veronika fuses out: Rape and medium specificity <strong>in</strong> The Cranes are Fly<strong>in</strong>g,<br />
Studies <strong>in</strong> Russian and Soviet C<strong>in</strong>ema, 3.2, 173-183.<br />
Dr Liz Conor is a <strong>research</strong> fellow <strong>in</strong> the Department of Culture and<br />
Communication at the University of Melbourne. She is author of The<br />
Spectacular Modern Woman (Indiana University Press, 2004) and<br />
White Lies and Aborig<strong>in</strong>al Women (Fremantle Art Centre Press, 2011).<br />
› A nation so ill-begotten: racialized childhood and conceptions of national<br />
belong<strong>in</strong>g <strong>in</strong> Xavier Herbert's Poor Fellow My Country and Baz Luhrmann's<br />
Australia, Studies <strong>in</strong> Australasian C<strong>in</strong>ema, 4.2, 97-113.<br />
Dr Bridget Conor is affiliated with the media and communication<br />
studies department of Goldsmiths College, University of London. Her<br />
dissertation is a critical analysis of screenwrit<strong>in</strong>g as creative labour <strong>in</strong><br />
the British and North American film <strong>in</strong>dustries. She has lectured <strong>in</strong><br />
media and film theory at various <strong>in</strong>stitutions <strong>in</strong> the United K<strong>in</strong>gdom.<br />
Previously, Bridget taught and studied <strong>in</strong> Auckland, New Zealand, her<br />
<strong>research</strong> focus<strong>in</strong>g on the globalization of the New Zealand film<br />
<strong>in</strong>dustry. Research <strong>in</strong>terests <strong>in</strong>clude: screenwrit<strong>in</strong>g theory, creative<br />
labour, production studies, runaway production, New Zealand film and<br />
gender theory.<br />
› ‘Everybody’s a Writer’ Theoriz<strong>in</strong>g screenwrit<strong>in</strong>g as creative labour, Journal<br />
of Screenwrit<strong>in</strong>g, 1.1, 27-43.<br />
› Book Reviews, Journal of Screenwrit<strong>in</strong>g, 2.2, 291-302.<br />
Kelley Conway Kelley Conway is Associate Professor <strong>in</strong> the Department of<br />
Communication Arts at the University of Wiscons<strong>in</strong> Madison. She is
University of Wiscons<strong>in</strong>-Madison,<br />
Department of Communication Arts,<br />
Vilas Hall, 821 University Avenue,<br />
Madison, Wiscons<strong>in</strong>, 53706-1412,<br />
United States of America<br />
Keywords <strong>in</strong>stallations, documentary,<br />
autobiography, Agnès Varda, Les<br />
Plages d'Agnes<br />
Ann-Marie Cook<br />
Queensland University of<br />
Technology,, ARC Centre of<br />
Excellence for Creative Industries &<br />
Innovation, Brisbane,, 4059, Australia<br />
Keywords Sk<strong>in</strong>s, queer studies,<br />
Australasian c<strong>in</strong>ema<br />
John R. Cook<br />
Glasgow Caledonian University,<br />
Department of Cultural Bus<strong>in</strong>ess,<br />
Caledonian Bus<strong>in</strong>ess School, 70<br />
Cowcaddens Road, Glasgow,<br />
Scotland, G4 0BA, United K<strong>in</strong>gdom<br />
Keywords television, film, media, tv<br />
drama, tv history<br />
Pam Cook<br />
University of Southampton, Film,<br />
School of Humanities, 6A Market<br />
Place, East F<strong>in</strong>chley, London, Greater<br />
London, N2 8BB, United K<strong>in</strong>gdom<br />
the author of Chanteuse <strong>in</strong> the City: The Realist S<strong>in</strong>ger <strong>in</strong> 1930s<br />
French Film (University of California Press, 2004) and essays on the<br />
work of Agnès Varda, music <strong>in</strong> French c<strong>in</strong>ema and Brigitte Bardot.<br />
› Varda at work: Les Plages d'Agns, Studies <strong>in</strong> French C<strong>in</strong>ema, 10.2, 125-139.<br />
Dr Ann-Marie Cook is a Visit<strong>in</strong>g Fellow at the ARC Centre of<br />
Excellence <strong>in</strong> Creative Industries and Innovation, Queensland<br />
University of Technology. She is currently writ<strong>in</strong>g a book that explores<br />
the treatment of lesbian schoolgirl romance <strong>in</strong> the British teen drama<br />
series, .<br />
› Clean<strong>in</strong>g up the queer: Sex, love and ideology <strong>in</strong> Stephen Wallace s For<br />
Love Alone, Studies <strong>in</strong> Australasian C<strong>in</strong>ema, 5.1, 59-70.<br />
John R. Cook is Reader <strong>in</strong> Media at Glasgow Caledonian University,<br />
Scotland. He has <strong>research</strong>ed and published extensively on the work of<br />
Peter Watk<strong>in</strong>s <strong>in</strong>clud<strong>in</strong>g journal articles, book chapters plus<br />
contributions to voice-over commentaries and other special features on<br />
the DVD releases of Watk<strong>in</strong>s’ films Culloden (1964) and Privilege<br />
(1967). He is also the author of Dennis Potter: A Life on Screen (1995;<br />
revised 1998) and co-editor of The Passion of Dennis Potter:<br />
International Collected Essays (2000) and British Science Fiction<br />
Television: A Hitchhiker’s Guide (2006).<br />
› Don't forget to look <strong>in</strong>to the camera !: Peter Watk<strong>in</strong>s' approach to act<strong>in</strong>g with<br />
facts, Studies <strong>in</strong> Documentary Film, 4.3, 227-240.<br />
Pam Cook is Professor Emerita <strong>in</strong> Film at Southampton University.<br />
She is editor of The C<strong>in</strong>ema Book (2007) and author of several<br />
publications on British national c<strong>in</strong>ema. Her most recent book is a<br />
monograph about Baz Luhrmann (BFI/Palgrave Macmillan, 2010). Her<br />
<strong>research</strong> <strong>in</strong>terests cover women and film; visual design; fashion and<br />
film; history and memory; nostalgia; transnational cultural exchange;<br />
contemporary <strong>in</strong>dependent c<strong>in</strong>ema. She is currently work<strong>in</strong>g on a study
Keywords Baz Luhrmann, Australian<br />
c<strong>in</strong>ema, transnational utopias, art<br />
c<strong>in</strong>ema, new technologies, global<br />
production, local production<br />
Paul Cooke<br />
University of Leeds, Centre for World<br />
C<strong>in</strong>emas, Leeds, LS2 9JT, United<br />
K<strong>in</strong>gdom<br />
Keywords European identity, Europe,<br />
Germany, Hollywood<br />
Sarah Cooper<br />
K<strong>in</strong>g’s College London, Film Studies<br />
Department, School of Arts and<br />
Humanities, Strand, London, WC2R<br />
2LS, United K<strong>in</strong>gdom<br />
Keywords ethics, mortality, loss,<br />
temporality, emotional geography<br />
of Sofia Coppola's Marie Anto<strong>in</strong>ette and a monograph about Nicole<br />
Kidman.<br />
› Transnational utopias: Baz Luhrmann and Australian c<strong>in</strong>ema, Transnational<br />
C<strong>in</strong>emas, 1.1, 23-36.<br />
Paul Cooke is Professor of German Cultural Studies at the University<br />
of Leeds. He is the author of Speak<strong>in</strong>g the Taboo: a study of the work<br />
of Wolfgang Hilbig (Amsterdam/Atlanta, Rodopi, 2000), The Pocket<br />
Essential to German Expressionist Film (London, Pocket Essential<br />
Press, 2002), Represent<strong>in</strong>g East Germany: From Colonization to<br />
Nostalgia (Oxford, Berg, 2005). He has edited a number of film-related<br />
books, most recently World C<strong>in</strong>ema's 'Dialogues' With Hollywood<br />
(Bas<strong>in</strong>gstoke, Palgrave, 2007), Screen<strong>in</strong>g War: Perspectives on<br />
German Suffer<strong>in</strong>g (Rochester, Camden House, 2010), with Marc<br />
Silberman, and New Directions <strong>in</strong> German C<strong>in</strong>ema (London, I. B.<br />
Tauris, 2011). He is currently complet<strong>in</strong>g a monograph for MUP on<br />
contemporary German C<strong>in</strong>ema.<br />
› Editorial, Studies <strong>in</strong> European C<strong>in</strong>ema, 1.2, 73-76.<br />
› Introduction: Realism <strong>in</strong> European c<strong>in</strong>ema and beyond, Studies <strong>in</strong> European<br />
C<strong>in</strong>ema, 3.3, 171-174.<br />
› Screen<strong>in</strong>g identities at and beyond Europe's borders, New C<strong>in</strong>emas: Journal<br />
of Contemporary Film, 4.2, 79-82.<br />
Sarah Cooper is Reader <strong>in</strong> Film Theory and Aesthetics at K<strong>in</strong>g’s<br />
College London. Her most recent books <strong>in</strong>clude Selfless C<strong>in</strong>ema?<br />
Ethics and French Documentary (Oxford: Legenda, 2006) and Chris<br />
Marker (Manchester: Manchester University Press, 2008). She is<br />
currently writ<strong>in</strong>g a book on film and the soul.<br />
› Je sais bien, mais quand même…: Fetishism, Envy, and the Queer Pleasures<br />
of Beau travail, Studies <strong>in</strong> French C<strong>in</strong>ema, 1.3, 174-182.<br />
› Look<strong>in</strong>g back, look<strong>in</strong>g onwards: selflessness, ethics, and French<br />
documentary, Studies <strong>in</strong> French C<strong>in</strong>ema, 10.1, 57-68.
Roderick Coover<br />
Temple University, Department of<br />
Film & Media Arts, 131 Annenber<br />
Hall, 2020 N 13th St, Philadelphia,<br />
Pennsylvania, PA 19122, United<br />
States of America<br />
Keywords Filip Remunda, Vit<br />
Klusak, Petr Lorenc, the European<br />
Union, advertis<strong>in</strong>g<br />
David Corkill<br />
Manchester Metropolitan University,<br />
Department of Languages, Mabel<br />
Tylecote Build<strong>in</strong>g, Cavendish Street,<br />
Manchester, Greater Manchester,<br />
M15 6BG, United K<strong>in</strong>gdom<br />
Keywords labour market, migrants,<br />
Ley de Extranjería, regional economy,<br />
immigration, Spa<strong>in</strong><br />
Chantal Cornut-Gentille<br />
D'Arcy<br />
Ciudad Universitaria, Inglesa y<br />
alemana, Departamento de Filolog’a,<br />
Facultad de Letras, 50009 Zaragoza,<br />
Spa<strong>in</strong><br />
Keywords politics, unemployment,<br />
mascul<strong>in</strong>ity, The Full Monty,<br />
Mondays <strong>in</strong> the Sun<br />
Roderick Coover is a mediamaker and theorist <strong>who</strong>se works concern<br />
the representation of identity, culture and place. His works traverse<br />
questions of anthropology, geography, visual culture, and digital arts.<br />
His works <strong>in</strong>clude digital scholarship such as the CD-ROM, Cultures<br />
In Webs , films and videos, such as The Language of W<strong>in</strong>e and<br />
Someth<strong>in</strong>g That Happened Only Once, and museum <strong>in</strong>stallations, as<br />
well as essays <strong>in</strong> books and journals.<br />
› Czech Dream <strong>in</strong> a capitalist republic: an <strong>in</strong>terview with Czech film-maker<br />
Filip Remunda, Film International, 5.3, 63-69.<br />
David Corkill is Professor of Iberian Studies at Manchester<br />
Metropolitan University. His <strong>research</strong> centres on Spa<strong>in</strong> and Portugal<br />
with particular reference to immigration and the labour market and<br />
representations of the immigrant <strong>in</strong> film. He has published extensively<br />
on contemporary Spa<strong>in</strong> and Portugal, <strong>in</strong>clud<strong>in</strong>g (with R.J. Harrison)<br />
Spa<strong>in</strong>: A Modern European Economy (Ashgate, 2004).<br />
› Introduction, Studies <strong>in</strong> European C<strong>in</strong>ema, 4.1, 3-6.<br />
Chantal Cornut-Gentille D’Arcy is a senior lecturer <strong>in</strong> the Department<br />
of English Philology at the University of Zaragoza, Spa<strong>in</strong>. She has<br />
<strong>research</strong>ed on women’s studies and cultural studies and has also<br />
published several articles on British c<strong>in</strong>ema. She co-edited Culture and<br />
Power (Barcelona, 1995), Gender, I-deology: Essays on Theory,<br />
Fiction and Film (Rodolpi, 1996), Culture and Power: Bus<strong>in</strong>ess<br />
(Zaragoza, 1999) and has edited Culture and Power: Confrontations<br />
(Zaragoza, 1999). She is also the author of the forthcom<strong>in</strong>g book, La<br />
era Thatcher en pantalla: c<strong>in</strong>e nacional o ‘nacionalista’?<br />
› Globalization from down below: unemployment and damaged mascul<strong>in</strong>ities<br />
<strong>in</strong> The Full Monty (1997) and Mondays <strong>in</strong> the Sun (2002), Studies <strong>in</strong><br />
European C<strong>in</strong>ema, 2.2, 125-136.<br />
Elisa Costa-Villaverde Elisa Costa Villaverde, Ph.D. (Hull, UK), MA <strong>in</strong> Women and<br />
Literature (Hull), BA Hons. (Santiago de Compostela) is currently
University of Las Palmas de Gran<br />
Canaria, Modern Languages, Apdo<br />
35, Moana (Pontevedra), 36080,<br />
Spa<strong>in</strong><br />
Keywords European c<strong>in</strong>ema,<br />
women's c<strong>in</strong>ema, immigration,<br />
national/cultural identities, adaptation<br />
Gustavo Costant<strong>in</strong>i<br />
Keywords Youth Without Youth,<br />
The Conversation, Apocalypse Now,<br />
Chion, musique concrète<br />
Lisa Coulthard<br />
University of British Columbia,<br />
Department of Theatre and Film,<br />
University of British Columbia, 6354<br />
Crescent Road, Vancouver, BC, V6T<br />
1Z2, Canada<br />
Keywords philosophy, ethics,<br />
Badiou, Haneke<br />
lectur<strong>in</strong>g at the Department of Modern Languages of the University of<br />
Las Palmas de Gran Canaria (Spa<strong>in</strong>). She lectured on Spanish<br />
Contemporary C<strong>in</strong>ema at The University of Hull and is a former<br />
<strong>research</strong>er of the SIMIC <strong>research</strong> team (Sem<strong>in</strong>aire Images dans le<br />
Monde Ibérique Contempora<strong>in</strong>) with<strong>in</strong> the Centre de Recherches<br />
Interdiscipl<strong>in</strong>aires sur les Mondes Ibériques et Contempora<strong>in</strong>s at the<br />
Institut d'Etudes Hispaniques, Paris-IV, La Sorbonne University. She<br />
has read papers at numerous <strong>in</strong>ternational conferences, Forums,<br />
Colloquiums, the European C<strong>in</strong>ema Research Forum, and has been a<br />
guest speaker at a number of International Film Festivals and<br />
Universities across the United K<strong>in</strong>gdom, France, Spa<strong>in</strong>, United States<br />
and New Zealand. She has published <strong>in</strong> four languages, <strong>in</strong> the United<br />
K<strong>in</strong>gdom, Spa<strong>in</strong>, France and Italy.<br />
› Yoyes and Extranjeras by Helena Taberna, stories of women, displacement<br />
and belong<strong>in</strong>g, Studies <strong>in</strong> European C<strong>in</strong>ema, 4.2, 85-98.<br />
Gustavo Costant<strong>in</strong>i is Professor of Sound Design and Film Edit<strong>in</strong>g at<br />
the University of Buenos Aires, where he was also a director of<br />
<strong>research</strong> projects. He has published many articles and essays on sound<br />
design and c<strong>in</strong>ema <strong>in</strong> Argent<strong>in</strong>a, England, Mexico, Germany and<br />
Brazil.<br />
› No hay banda!, The Soundtrack, 1.1, 71-72.<br />
› Walter Murch <strong>in</strong>terviewed by Gustavo Costant<strong>in</strong>i, The Soundtrack, 3.1, 33-<br />
46.<br />
Lisa Coulthard is associate professor of film studies <strong>in</strong> the Department<br />
of Theatre and Film at the University of British Columbia. Her <strong>research</strong><br />
focuses on film theory, philosophy, sound and violence. She has<br />
published widely on European and American c<strong>in</strong>emas, visual arts and<br />
television. She is currently a regular columnist for FlowTV journal, is<br />
complet<strong>in</strong>g a book on Tarant<strong>in</strong>o and film sound (titled The Super<br />
Sounds of Quent<strong>in</strong> Tarant<strong>in</strong>o) and is on the editorial boards for The<br />
Soundtrack and The International Journal of Zizek Studies.<br />
› Negative ethics: The missed event <strong>in</strong> the French films of Michael Haneke,<br />
Studies <strong>in</strong> French C<strong>in</strong>ema, 11.1, 71-82.
Gérard Courant<br />
Keywords avant-garde, festivals,<br />
cooperatives, history, transmission of<br />
knowledge<br />
Jennie Cous<strong>in</strong>s<br />
University of Exeter, Centre for Film<br />
Studies, Queen’s Drive, Exeter, EX4<br />
4QJ, United K<strong>in</strong>gdom<br />
Keywords Besson, Le C<strong>in</strong>quième<br />
élément, rag-pick<strong>in</strong>g, fabric and<br />
sexuality, showpiece, Annenkov<br />
Michael Cowan<br />
McGill University, German Studies,<br />
World C<strong>in</strong>emas, Montreal, Canada<br />
Keywords mov<strong>in</strong>g image media,<br />
history of the body, European film<br />
Geoffrey Cox<br />
The University of Huddersfield, 4<br />
Gérard Courant is a film critic and film-maker. S<strong>in</strong>ce 1978 he has been<br />
mak<strong>in</strong>g C<strong>in</strong>ématons, the longest film <strong>in</strong> the world (2100 portraits of<br />
personalities from the perform<strong>in</strong>g arts, 150 hours), 15 l<strong>in</strong>ked series (,<br />
Portrait de groupe, Couple, De ma chambre d’hôtel, etc.), and 17<br />
features, amongst them Coeur bleu (1981), Les Aventures d’Eddie<br />
Turley (1989), and 24 Passions (2003), and has received many awards<br />
<strong>in</strong> film festivals. He has published several books on c<strong>in</strong>ema, as well as<br />
collections of poems.<br />
› French experimental c<strong>in</strong>ema: the richness of the 1970s, Studies <strong>in</strong> French<br />
C<strong>in</strong>ema, 4.3, 165-174.<br />
Jennie Cous<strong>in</strong>s recently completed her Ph.D. at the University of<br />
Exeter. Her <strong>research</strong> looks at the politics of costume <strong>in</strong> the work of four<br />
costume designers work<strong>in</strong>g <strong>in</strong> French costume dramas of the 1950s.<br />
› Flesh and fabric: the five elements of Jean-Paul Gaultier's costume design <strong>in</strong><br />
Luc Besson's Le C<strong>in</strong>quième élément (1997), Studies <strong>in</strong> French C<strong>in</strong>ema, 8.1,<br />
75-88.<br />
› Mechanised corsetry: Annenkov, Ophüls and La Ronde (1950), Studies <strong>in</strong><br />
French C<strong>in</strong>ema, 9.2, 127-146.<br />
Michael Cowan is associate professor of German Studies and World<br />
C<strong>in</strong>emas at McGill University. He works broadly <strong>in</strong> film and visual<br />
media studies, with particular emphasis on the role of mov<strong>in</strong>g image<br />
media <strong>in</strong> modernity, the history of the body, and European film and<br />
film theory. His work on film has been published <strong>in</strong> journals such<br />
as Screen, October, Studies <strong>in</strong> European C<strong>in</strong>ema, Intermédialités,<br />
C<strong>in</strong>ema & Cie and Modernism/modernity.<br />
› Between the street and the apartment:disturb<strong>in</strong>g the space of fortress Europe<br />
<strong>in</strong> Michael Haneke, Studies <strong>in</strong> European C<strong>in</strong>ema, 5.2, 117-129.<br />
Geoffrey Cox studied Music at Liverpool Community College, and<br />
then at Huddersfield, graduat<strong>in</strong>g with a first degree <strong>in</strong> Music <strong>in</strong> 1999<br />
and a Ph.D. <strong>in</strong> Composition <strong>in</strong> 2007, which explores the use of
Mount Pleasant, Golcar,<br />
Huddersfield, West Yorkshire, HD7<br />
4AG, United K<strong>in</strong>gdom<br />
Keywords music, avant-garde,<br />
popular musicology, visual<br />
L<strong>in</strong>da Craig<br />
University of East London, School of<br />
Humanities and Social Sciences,<br />
University of East London,<br />
Docklands Campus, 4-6 University<br />
Way, London, E16 2RD, United<br />
K<strong>in</strong>gdom<br />
Keywords <strong>in</strong>tertextuality, film music,<br />
Spanish film, transnationalism<br />
Ian Craven<br />
University of Glasgow, Theatre, Film<br />
& Television Studies, Glasgow,<br />
Scotland, G12 8QQ, United K<strong>in</strong>gdom<br />
Keywords David Williamson,<br />
Australian c<strong>in</strong>ema, film policy,<br />
commercial c<strong>in</strong>ema<br />
contemporary musical borrow<strong>in</strong>g practices. He is a composer of both<br />
acoustic and electronic music <strong>in</strong> a variety of genres from avant-garde to<br />
more popular styles. Other specialisms <strong>in</strong>clude Popular Musicology<br />
(the history and effect of technological developments on popular<br />
music) and work<strong>in</strong>g with visual images <strong>in</strong> a musical context, work that<br />
has become <strong>in</strong>creas<strong>in</strong>gly important to his output.<br />
› ‘Connect<strong>in</strong>g hear<strong>in</strong>g to view<strong>in</strong>g and know<strong>in</strong>g to feel<strong>in</strong>g’: Sound as evocation<br />
<strong>in</strong> non-fiction film with particular reference to No Escape (Cox, 2009), The<br />
Soundtrack, 4.1, 43-62.<br />
Dr L<strong>in</strong>da Craig is Senior Lecturer <strong>in</strong> Film and Literature at the<br />
University of East London. A specialist <strong>in</strong> Lat<strong>in</strong> American literature<br />
and Spanish and Lat<strong>in</strong> American film, her <strong>research</strong> <strong>in</strong>terests <strong>in</strong>clude all<br />
of these fields, with a particular focus on both gender and<br />
transnationalism. Her publications <strong>in</strong>clude a monograph on Lat<strong>in</strong><br />
American literature, Juan Carlos Onetti, Manuel Puig and Luisa<br />
Valenzuela: Marg<strong>in</strong>ality and Gender (Woodbridge: Tamesis, 2005),<br />
and numerous articles on Lat<strong>in</strong> American literature and film.<br />
› From national to transnational <strong>in</strong> Pedro Almodvar's All About My Mother,<br />
Transnational C<strong>in</strong>emas, 1.2, 161-174.<br />
Ian Craven teaches Film and Television Studies at the University of<br />
Glasgow, Scotland. He is editor of Australian Popular Culture<br />
(Cambridge University Press, 1994), Australian C<strong>in</strong>ema <strong>in</strong> the 1990s<br />
(Frank Cass, 2001), and Movies on Home Ground: Explorations <strong>in</strong><br />
Amateur C<strong>in</strong>ema (Cambridge Scholars, 2009). He is currently coedit<strong>in</strong>g<br />
Small-Gauge Storytell<strong>in</strong>g: The Amateur Fiction Film, and<br />
prepar<strong>in</strong>g a monograph study of British amateur filmmak<strong>in</strong>g <strong>in</strong> the<br />
1930s.<br />
› Historiciz<strong>in</strong>g transition <strong>in</strong> Australian c<strong>in</strong>ema: the moment of Emerald City,<br />
Studies <strong>in</strong> Australasian C<strong>in</strong>ema, 1.1, 29-46.<br />
Allison Craven Allison Craven is a Senior Lecturer <strong>in</strong> Screen Studies, <strong>in</strong> the School of<br />
Arts and Social Sciences, James Cook University, <strong>in</strong> Townsville. Her
James Cook University, School of<br />
Arts and Social Sciences, Townsville<br />
Queensland, 4811, Australia<br />
Keywords Australian c<strong>in</strong>ema,<br />
<strong>in</strong>ternational c<strong>in</strong>ema<br />
Robert Crawford<br />
United K<strong>in</strong>gdom<br />
Keywords advertis<strong>in</strong>g, globalization,<br />
ocker, radio, television<br />
Roger Crittenden<br />
Station Road, National Film and TV<br />
School, Beaconsfield, Bucks, HP9<br />
1LG, United K<strong>in</strong>gdom<br />
Keywords sound edit<strong>in</strong>g, non-l<strong>in</strong>ear,<br />
track-lay, silence<br />
Ruth Cruickshank<br />
Royal Holloway - University of<br />
London, Egham, Surrey, TW20 0EX,<br />
United K<strong>in</strong>gdom<br />
Keywords colonialism,<br />
postcolonialism, consumption,<br />
<strong>research</strong> project, ‘Paradise Post-National’ concerns Australian and<br />
<strong>in</strong>ternational films.<br />
› Period features, heritage c<strong>in</strong>ema: Region, gender and race <strong>in</strong> The Irishman,<br />
Studies <strong>in</strong> Australasian C<strong>in</strong>ema, 5.1, 31-42.<br />
Dr Robert Crawford is a Research Fellow at both the Menzies Centre<br />
for Australian Studies, K<strong>in</strong>g’s College London and Monash University,<br />
Melbourne. He is the author of But Wait, There’s More: A History of<br />
Australian Advertis<strong>in</strong>g 1900–2000 (Melbourne University Press 2008).<br />
He is currently exam<strong>in</strong><strong>in</strong>g images of identity <strong>in</strong> the migrant press.<br />
› Old debts: the unsung relationship between Australia’s film and advertis<strong>in</strong>g<br />
<strong>in</strong>dustries, Studies <strong>in</strong> Australasian C<strong>in</strong>ema, 2.1, 33-45.<br />
After graduat<strong>in</strong>g from Exeter University with a degree <strong>in</strong> Sociology,<br />
Roger was chosen by the BBC to tra<strong>in</strong> as a film editor. After ten years<br />
<strong>in</strong> the BBC cutt<strong>in</strong>g rooms, dur<strong>in</strong>g which time he received a special<br />
award for ‘susta<strong>in</strong>ed excellence as a film editor’, Roger was appo<strong>in</strong>ted<br />
as Head of Edit<strong>in</strong>g when the National Film School opened <strong>in</strong> 1971. He<br />
has been associated with the NFTS ever s<strong>in</strong>ce, eventually becom<strong>in</strong>g<br />
Director of the Full-time Programme, a post he held until three years<br />
ago. He is now a consultant and senior visit<strong>in</strong>g tutor. He has taught<br />
around the world and <strong>in</strong> other British <strong>in</strong>stitutions. He has published<br />
several books, most recently F<strong>in</strong>e Cuts- the Art of European Film<br />
Edit<strong>in</strong>g. Roger is a Fellow of the Royal Society of Arts.<br />
› Conceiv<strong>in</strong>g the rhythms of silence, The Soundtrack, 1.2, 87-94.<br />
Ruth Cruickshank is Lecturer <strong>in</strong> French at The Queen’s College,<br />
Oxford. Her <strong>research</strong> exam<strong>in</strong>es the impact of consumer society on<br />
cultural identity <strong>in</strong> post-war France through an <strong>in</strong>vestigation of<br />
narratives of consumption <strong>in</strong> French film and prose fiction. She<br />
explores how representations of comestibles and consumer culture <strong>in</strong><br />
c<strong>in</strong>ema and literature not only reflect the development of consumerism<br />
<strong>in</strong> France, but also operate as means of negotiat<strong>in</strong>g change and<br />
develop<strong>in</strong>g critical discourses. She is also the author of a forthcom<strong>in</strong>g
European c<strong>in</strong>ema, global economy monograph on the aesthetics of crisis <strong>in</strong> f<strong>in</strong> de millénaire French<br />
fiction.<br />
Denis Cryle<br />
Central Queensland University,<br />
Faculty of Arts, Humanities and<br />
Education, Communication School,<br />
Rockhampton, Queensland, 4072,<br />
Australia<br />
Keywords audience, rural, c<strong>in</strong>emago<strong>in</strong>g,<br />
Queensland, exhibition<br />
Sean Cubitt<br />
University of Southampton,<br />
W<strong>in</strong>chester School of Art, Park<br />
Avenue, W<strong>in</strong>chester SO23 8DL,<br />
United K<strong>in</strong>gdom<br />
Keywords transnational, c<strong>in</strong>ema,<br />
technology, globalization, public<br />
sphere<br />
Nicholas J. Cull<br />
University of Southern California,<br />
› Colonial, postcolonial and global economies: Questions of consumption <strong>in</strong><br />
Claire Denis's Chocolat, Studies <strong>in</strong> European C<strong>in</strong>ema, 3.1, 55-66.<br />
Denis Cryle lectures <strong>in</strong> Communication and Media Studies at Central<br />
Queensland University and has published widely on Queensland<br />
culture and on the history of media. He is the co-author of The<br />
Rockhampton W<strong>in</strong>tergarden Theatre: A Heritage Study (2001) and has<br />
s<strong>in</strong>ce co-authored a number of articles on the Queensland-based Birch,<br />
Carroll and Coyle film theatre consortium, <strong>in</strong>clud<strong>in</strong>g a piece <strong>in</strong><br />
<strong>Intellect</strong>. S<strong>in</strong>ce 2001, Denis has also been <strong>research</strong><strong>in</strong>g the press, and<br />
published on the Murdoch national newspaper, The Australian (MUP,<br />
2008), and is presently co-author<strong>in</strong>g a history of the<br />
Empire/Commonwealth Press Union, with special emphasis on<br />
Australia, New Zealand and India.<br />
› Exploit<strong>in</strong>g the regional Queensland audience: Birch Carroll and Coyle's<br />
W<strong>in</strong>tergarden theatres, 1925–35, Studies <strong>in</strong> Australasian C<strong>in</strong>ema, 1.3, 333-<br />
352.<br />
Professor Sean Cubitt is Professor of Global Media and<br />
Communication at W<strong>in</strong>chester School of Art, University of<br />
Southampton. He is Professorial Fellow <strong>in</strong> Media and Communications<br />
at the University of Melbourne, and an Honorary Professor of the<br />
University of Dundee. His publications <strong>in</strong>clude Timeshift (1991),<br />
Videography (1993), Digital Aesthetics (1998), Simulation and Social<br />
Theory (2001), The C<strong>in</strong>ema Effect (2004) and EcoMedia (2005). He is<br />
series editor for Leonardo Books at The MIT Press.<br />
› Database economy and transnational c<strong>in</strong>ema, Studies <strong>in</strong> Australasian<br />
C<strong>in</strong>ema, 3.2, 155-166.<br />
Professor Nicholas J. Cull is a historian and the director of the Master's<br />
<strong>in</strong> Public Diplomacy programme at the University of Southern<br />
California. From 1997 to 2005 Cull was based at the University of
USC Center on Public Diplomacy,<br />
3502 Watt Way, USC Annenberg<br />
School, Los Angeles, CA 90089,<br />
United States of America<br />
Keywords propaganda, public<br />
diplomacy, film as evidence, history,<br />
war, imperialism, science fiction,<br />
Culloden, British television, 1960s,<br />
BBC, Brita<strong>in</strong>, ‘Bonnie Pr<strong>in</strong>ce Charlie’<br />
Marco Cupolo<br />
University of Hartford, Department of<br />
Modern Languages and Cultures, 200<br />
Bloomfield Avenue, West Hartford,<br />
CT, 6117, United States of America<br />
Keywords Giordana, The Best of<br />
Youth, Petraglia, Rulli, Italian culture<br />
Klemens Czyzydlo<br />
University of Leeds, Department of<br />
German, Department of German,<br />
University of Leeds, Leeds, LS2 9JT,<br />
United K<strong>in</strong>gdom<br />
Keywords transnational c<strong>in</strong>ema,<br />
auteurism, engaged film-mak<strong>in</strong>g,<br />
Romantic anti-capitalism, Tom<br />
Tykwer, Krzysztof Kieslowski<br />
Marv<strong>in</strong> D'Lugo<br />
Clark University, Department of<br />
Leicester <strong>in</strong> the United K<strong>in</strong>gdom, where he held the chair <strong>in</strong> American<br />
Studies and served as Director of the Centre for American Studies. He<br />
has also worked on film, television and radio history and the role of the<br />
mass media as a source for historical study. He is president of the<br />
International Association for Media and History. Cull was born <strong>in</strong> the<br />
United K<strong>in</strong>gdom and earned both his BA and Ph.D. at the University of<br />
Leeds. While a graduate student he studied at Pr<strong>in</strong>ceton University as a<br />
Harkness Fellow of the Commonwealth Fund of New York. From 1992<br />
to 1997 he was lecturer <strong>in</strong> American History at the University of<br />
Birm<strong>in</strong>gham.<br />
› Peter Watk<strong>in</strong>s' Culloden x 2, Film International, 1.1, 48-56.<br />
› Kennedy on Film, Film International, 1.6, 16-19.<br />
Marco Cupolo studied and worked <strong>in</strong> Italy, Mexico, United States and<br />
Venezuela. Now he is Associate Professor of Hispanic Studies at the<br />
Department of Modern Languages & Cultures of the University of<br />
Hartford (Connecticut). His <strong>research</strong> <strong>in</strong>terests <strong>in</strong>clude Lat<strong>in</strong> American<br />
and European cultures and politics.<br />
› Other youths: Italian cultural changes through Pasol<strong>in</strong>i, Giordana, Petraglia<br />
and Rulli, Studies <strong>in</strong> European C<strong>in</strong>ema, 6.2&3, 127-140.<br />
Klemens Czyzydlo is a Ph.D. candidate at the Department of German,<br />
University of Leeds, and the Centre for World C<strong>in</strong>emas. He has been<br />
teach<strong>in</strong>g film at the University of Leeds, Royal Holloway University of<br />
London, University of Southampton and the Northern Film School <strong>in</strong><br />
Leeds.<br />
› Transnational auteurism: Tom Tykwer’s and Krzysztof Kieślowski’s Heaven<br />
(2002) between political engagement and Romantic anti-capitalism,<br />
Transnational C<strong>in</strong>emas, 2.1, 37-55.<br />
Marv<strong>in</strong> D'Lugo is Professor of Spanish and Screen Studies at Clark<br />
University (Worcester, Massachusetts, USA), where he teaches courses<br />
on Spanish and Lat<strong>in</strong> American film. He is author of various
Foreign Languages, Clark University,<br />
Worcester, Massachusetts, 01610-<br />
1477, United States of America<br />
Keywords Carlos Gardel, Libertad<br />
Lamarque, national c<strong>in</strong>ema,<br />
melodrama, tango<br />
Nevena Daković<br />
Keywords Serbian c<strong>in</strong>ema, European<br />
Union, cultural identity<br />
Tanya Dalziell<br />
University of Western Australia,<br />
English and Cultural Studies,<br />
Australia<br />
Keywords The Proposition, settler<br />
society, white women, gardens,<br />
sexual violence<br />
Debbie Danielpour<br />
Boston University, Department of<br />
Film and Television, 640<br />
Commonwealth Avenue, Boston, MA<br />
monographic studies on Spanish and Lat<strong>in</strong> American c<strong>in</strong>emas,<br />
<strong>in</strong>clud<strong>in</strong>g books on the c<strong>in</strong>ema of Carlos Saura and Pedro Almodóvar.<br />
Editor of Studies <strong>in</strong> Hispanic C<strong>in</strong>emas, he is currently complet<strong>in</strong>g a<br />
book on auditory culture <strong>in</strong> Hispanic c<strong>in</strong>emas.<br />
› Across the Hispanic Atlantic: c<strong>in</strong>ema and its symbolic relocations, Studies <strong>in</strong><br />
Hispanic C<strong>in</strong>emas, 5.1&2, 3-7.<br />
› Early c<strong>in</strong>ematic tangos: audiovisual culture and transnational film aesthetics,<br />
Studies <strong>in</strong> Hispanic C<strong>in</strong>emas, 5.1&2, 9-23.<br />
› Report from San Sebastián: Historical Memories, Studies <strong>in</strong> Hispanic<br />
C<strong>in</strong>emas, 7.2, 147-156.<br />
Nevena Dakovic is professor of Film Theory. She is the author of a<br />
number of books and articles, and publishes widely <strong>in</strong> the issues of<br />
identity (ma<strong>in</strong>ly national, multicultural) representations <strong>in</strong> c<strong>in</strong>ema. She<br />
participates at conferences and is a frequent visit<strong>in</strong>g professor at many<br />
universities.<br />
› Europe lost and found: Serbian c<strong>in</strong>ema and EU <strong>in</strong>tegration, New C<strong>in</strong>emas:<br />
Journal of Contemporary Film, 4.2, 93-104.<br />
Tanya Dalziell is Associate Professor <strong>in</strong> English and Cultural Studies at<br />
the University of Western Australia. She is the author of Settler<br />
Romances and the Australian Girl (University of Western Australia<br />
Press, 2004) and co-editor of Cultural Seeds: Essays on the Work of<br />
Nick Cave (Ashgate Press, 2009).<br />
› Compulsory Screen<strong>in</strong>g: border protection, migration and the Australian<br />
screen, Studies <strong>in</strong> Australasian C<strong>in</strong>ema, 3.1, 7-14.<br />
› Gunpowder and gardens: read<strong>in</strong>g women <strong>in</strong> The Proposition, Studies <strong>in</strong><br />
Australasian C<strong>in</strong>ema, 3.1, 121-131.<br />
Debbie Danielpour writes screenplays, fiction, libretti and essays. She<br />
has been a professor of fiction and film writ<strong>in</strong>g for over twenty years –<br />
at San Francisco State University, Emerson College, Harvard<br />
University Extension and now at Boston University, where she
02215, United States of America<br />
Keywords fiction, libretti,<br />
screenwrit<strong>in</strong>g, adaptation<br />
Adrian Danks<br />
RMIT University, Blg 9, Level 4, 124<br />
La Trobe St, Melbourne, Victoria,<br />
3000, Australia<br />
Keywords film-mak<strong>in</strong>g, community,<br />
place, Jacques Demy, Agnès Varda<br />
Gerard Dapena<br />
New York University, 232 East 26 St,<br />
New York, 10010, United States of<br />
America<br />
Keywords Spanish c<strong>in</strong>ema, Francoist<br />
c<strong>in</strong>ema, surrealism <strong>in</strong> Spa<strong>in</strong>, Lat<strong>in</strong><br />
American filmmakers, María Félix<br />
received the 2011 Becker Family Teacher of the Year award. Her<br />
recent adaptation is slated for production <strong>in</strong> late 2011.<br />
› Imitation and adaptation: A screenwrit<strong>in</strong>g pedagogy, Journal of<br />
Screenwrit<strong>in</strong>g, 3.1, 103-118.<br />
Adrian Danks is Senior Lecturer and Head of C<strong>in</strong>ema Studies <strong>in</strong> the<br />
School of Media and Communication, Royal Melbourne Institute of<br />
Technology (University). He is Co-curator of the Melbourne<br />
C<strong>in</strong>émathèque, and Co-editor of Senses of C<strong>in</strong>ema. He has published<br />
widely <strong>in</strong> a range of books and journals <strong>in</strong>clud<strong>in</strong>g: Senses of C<strong>in</strong>ema, ,<br />
Screen<strong>in</strong>g the Past, Real-Time, Screen Education, 1001 Movies You<br />
Must See Before You Die, Traditions <strong>in</strong> World C<strong>in</strong>ema, Melbourne <strong>in</strong><br />
the 60s, 24 Frames: Australia and New Zealand, Cultural Seeds:<br />
Essays on the Work of Nick Cave and Tw<strong>in</strong> Peeks: Australian and New<br />
Zealand Feature Films.<br />
› Australian International Pictures, Studies <strong>in</strong> Australasian C<strong>in</strong>ema, 4.3, 195-<br />
198.<br />
› Liv<strong>in</strong>g c<strong>in</strong>ema: The Demy Films of Agns Varda, Studies <strong>in</strong> Documentary<br />
Film, 4.2, 159-172.<br />
Gerard Dapena is a scholar of Hispanic C<strong>in</strong>emas and Visual Culture.<br />
He received his Ph.D. <strong>in</strong> Art History at the Graduate Center, CUNY<br />
with a dissertation that exam<strong>in</strong>ed the <strong>in</strong>terface of film and pa<strong>in</strong>t<strong>in</strong>g <strong>in</strong><br />
post-Civil War Spanish c<strong>in</strong>ema. He has published and lectured on<br />
different aspects of Spanish and Lat<strong>in</strong> American film and art history.<br />
He has taught courses <strong>in</strong> art history and film studies at Bard College,<br />
Macalester College, The New School and The School of Visual Arts,<br />
among other <strong>in</strong>stitutions. Currently, he is work<strong>in</strong>g on a book-length<br />
study of early Francoist c<strong>in</strong>ema. For the academic year 2010–11, Dr.<br />
Dapena is a Visit<strong>in</strong>g Scholar <strong>in</strong> the department of Spanish and<br />
Portuguese at New York University.<br />
› La corona negra: the <strong>in</strong>ternational face of Francoist c<strong>in</strong>ema, Studies <strong>in</strong><br />
Hispanic C<strong>in</strong>emas, 1.2, 119-.<br />
› Reviews, Studies <strong>in</strong> Hispanic C<strong>in</strong>emas, 6.1, 77-96.<br />
› Rumbas, Tangos, Boleros and Cupls: Perform<strong>in</strong>g and cross<strong>in</strong>g musical<br />
borders <strong>in</strong> Una cubana en Espaa (1951), Studies <strong>in</strong> Hispanic C<strong>in</strong>emas, 7.1, 9-<br />
21.
Susan Daruvala<br />
University of Cambridge, Faculty of<br />
Asian and Middle Eastern Studies,<br />
Sidgwick Avenue, Cambridge,<br />
Cambridgeshire, CB3 9DA, United<br />
K<strong>in</strong>gdom<br />
Keywords Spr<strong>in</strong>g <strong>in</strong> a Small Town,<br />
aesthetics, emotion, Confucian<br />
morality, Brief Encounter<br />
Paul Dave<br />
University of East London<br />
Keywords Brita<strong>in</strong>, class, Jubilee,<br />
Derek Jarman, punk, apocalypse,<br />
politics, 1980s, The Last of England,<br />
London Orbital<br />
John E. Davidson<br />
Ohio State University, Germanic<br />
Languages and Literatures, United<br />
States of America<br />
Keywords Wenders, Kracauer,<br />
Frontier thesis, aesthetics<br />
Ann Davies<br />
University of Newcastle, School of<br />
Susan Daruvala teaches modern Ch<strong>in</strong>ese literature and film at the<br />
University of Cambridge. She is the author of Zhou Zuoren and an<br />
Alternative Ch<strong>in</strong>ese Response to Modernity (Harvard University Press,<br />
2000). Her current <strong>research</strong> and teach<strong>in</strong>g <strong>in</strong>terests <strong>in</strong>clude the modern<br />
Ch<strong>in</strong>ese essay and its precursors, the literary scene <strong>in</strong> Republican<br />
Ch<strong>in</strong>a, and film.<br />
› The aesthetics and moral politics of Fei Mu's Spr<strong>in</strong>g <strong>in</strong> a Small Town,<br />
Journal of Ch<strong>in</strong>ese C<strong>in</strong>emas, 1.3, 171-188.<br />
Paul Dave is a Senior Lecturer <strong>in</strong> Film and Video at the University of<br />
East London. He has lectured at a variety of <strong>in</strong>stitutions <strong>in</strong> Film<br />
Production, Television, Media, Edit<strong>in</strong>g, C<strong>in</strong>ematography and Film<br />
Theory. Paul is also a writer and director of his own projects.<br />
› Apocalypse, Millennium, Jubilee: Images of Class and Capitalism <strong>in</strong><br />
Contemporary English C<strong>in</strong>ema, Film International, 2.10, 14-25.<br />
John E. Davidson is Associate Professor of Germanic Languages and<br />
Literatures at the Ohio State University, where he teaches film,<br />
literature, and cultural theory. He is author of Deterritorializ<strong>in</strong>g the<br />
New German C<strong>in</strong>ema (University of M<strong>in</strong>nesota Press, 1999) and is<br />
currently work<strong>in</strong>g on a book entitled Cross<strong>in</strong>g Over: GermanC<strong>in</strong>ema<br />
from 1924 to 1954. He is also co-editor of the forthcom<strong>in</strong>g German<br />
C<strong>in</strong>ema of the 1950s (with Sab<strong>in</strong>e Hake), (Berghahn, 2004).<br />
› ‘Aga<strong>in</strong>st Rush<strong>in</strong>g through Places that Ought To Be Dwelt <strong>in</strong>’. Kracauer,<br />
Wenders, and the post- Turnerian impulse, Studies <strong>in</strong> European C<strong>in</strong>ema, 1.2,<br />
91-104.<br />
› Introduction: The Limits of Collection, Studies <strong>in</strong> European C<strong>in</strong>ema, 5.2, 85-<br />
89.<br />
Ann Davies is a lecturer <strong>in</strong> Spanish at the University of Newcastle. She<br />
has published widely on aspects of Spanish film, <strong>in</strong>clud<strong>in</strong>g the recent<br />
study (with Chris Perriam) Carmen: from Silent Film to MTV (Rodopi,
Modern Languages, Old Library<br />
Build<strong>in</strong>g, Newcastle upon Tyne, NE1<br />
7RU, United K<strong>in</strong>gdom<br />
Keywords Spanish c<strong>in</strong>ema, femme<br />
fatale, Spanishness, Carmen,<br />
Almodóvar<br />
Rosamund Davies<br />
School of Humanities and Social<br />
Sciences, Old Royal Naval College,<br />
Park Row, London, SE10 9LS, United<br />
K<strong>in</strong>gdom<br />
Keywords screenwrit<strong>in</strong>g, Marguerite<br />
Duras, Hiroshima, Mon Amour,<br />
script, memory, narrative<br />
Therese Davis<br />
University of Newcastle, Convenor<br />
for Film and Television Studies,<br />
School of Language and Media,<br />
Callaghan, NSW, 2308, Australia<br />
Keywords cross-cultural,<br />
collaboration, cultural memory,<br />
Aborig<strong>in</strong>al, authorship<br />
2005). She is presently work<strong>in</strong>g on the Basque/Spanish film director<br />
Daniel Calparsoro.<br />
› The Spanish femme fatale and the c<strong>in</strong>ematic negotiation of Spanishness,<br />
Studies <strong>in</strong> Hispanic C<strong>in</strong>emas, 1.1, 5-16.<br />
› The Beautiful and the Monstrous Mascul<strong>in</strong>e: The Male Body and Horror <strong>in</strong><br />
El esp<strong>in</strong>azo del diablo (Guillermo del Toro 2001), Studies <strong>in</strong> Hispanic<br />
C<strong>in</strong>emas, 3.3, 135-148.<br />
› Reviews, Studies <strong>in</strong> Hispanic C<strong>in</strong>emas, 4.1, 63-70.<br />
› Reviews, Studies <strong>in</strong> Hispanic C<strong>in</strong>emas, 4.2, 131-135.<br />
› Can the contemporary crime thriller be Spanish?, Studies <strong>in</strong> European<br />
C<strong>in</strong>ema, 2.3, 173-184.<br />
› Introduction, Studies <strong>in</strong> European C<strong>in</strong>ema, 4.2, 81-84.<br />
Rosamund Davies has a background of professional practice <strong>in</strong> the film<br />
and television <strong>in</strong>dustries. As script and story editor for Film London,<br />
she oversaw the development and production of over 50 short feature<br />
films. Her specialist area of practice is screen narrative and, as senior<br />
lecturer <strong>in</strong> media writ<strong>in</strong>g and creative <strong>in</strong>dustries, she lectures <strong>in</strong><br />
screenwrit<strong>in</strong>g and visual narrative at the University of Greenwich.<br />
Rosamund’s <strong>research</strong> <strong>in</strong>terests <strong>in</strong>clude screenwrit<strong>in</strong>g practices and<br />
methods and cross art-form practice <strong>in</strong> the context of media<br />
convergence. Her recent visual media work explores the <strong>in</strong>tersection<br />
between narrative and archive as cultural forms. Rosamund has<br />
published <strong>in</strong> academic journals and worked with <strong>in</strong>dependent<br />
production companies, writers and producers.<br />
› Screenwrit<strong>in</strong>g strategies <strong>in</strong> Marguerite Duras’s script for Hiroshima, Mon<br />
Amour (1960), Journal of Screenwrit<strong>in</strong>g, 1.1, 149-173.<br />
Therese Davis is Senior Lecturer <strong>in</strong> Film and Cultural Studies at the<br />
University of Newcastle (Australia). She is the author of The Face on<br />
the Screen: Death Recognition and Spectatorship (<strong>Intellect</strong>, 2004) and<br />
co-author with Felicity Coll<strong>in</strong>s of Australian C<strong>in</strong>ema After Mabo<br />
(Cambridge University Press, 2004). She is currently work<strong>in</strong>g with<br />
Nancy Wright and Brooke Coll<strong>in</strong>s-Gear<strong>in</strong>g on a cultural history of<br />
collaborations between Indigenous and non-Indigenous film-makers<br />
and writers <strong>in</strong> Australia s<strong>in</strong>ce 1960, funded by an Australia Research<br />
Council Discovery Grant 2005–08.
Col<strong>in</strong> Davis<br />
Royal Holloway, University of<br />
London, School of Modern<br />
Languages, Literatures and Cultures,<br />
Egham, Surrey, TW20 0EX, United<br />
K<strong>in</strong>gdom<br />
Keywords Algeria, Third Republic,<br />
Boulanger, colonialism, Renoir<br />
Darrell William Davis<br />
University of New South Wales,<br />
English, Media and Perform<strong>in</strong>g Arts,<br />
Australia<br />
Keywords film marketization, Ch<strong>in</strong>a<br />
Film Group Corporation, market<br />
reforms, CEPA, re-nationalization<br />
Charles H. Davis<br />
Ryerson University, School of Radio<br />
and Television Arts, Rogers<br />
Communications Centre, 350 Victoria<br />
Street, Toronto, ON, M5B 2K3,<br />
› Remember<strong>in</strong>g our ancestors: cross-cultural collaboration and the mediation<br />
of Aborig<strong>in</strong>al culture and history <strong>in</strong> Ten Canoes (Rolf de Heer, 2006),<br />
Studies <strong>in</strong> Australasian C<strong>in</strong>ema, 1.1, 5-14.<br />
› Surrender<strong>in</strong>g control: Two Laws as collaborative community film-mak<strong>in</strong>g:<br />
an <strong>in</strong>terview with Carolyn Strachan and Alessandro Cavad<strong>in</strong>i, Studies <strong>in</strong><br />
Documentary Film, 2.2, 149-168.<br />
› Book Review, Studies <strong>in</strong> Documentary Film, 2.2, 219-221.<br />
Col<strong>in</strong> Davis is Professor of French at Royal Holloway, University of<br />
London. His <strong>research</strong> falls pr<strong>in</strong>cipally <strong>in</strong> the area of post-war French<br />
fiction and thought, with a particular <strong>in</strong>terest <strong>in</strong> the connections<br />
between philosophy, literature and film. His most recent books are<br />
Scenes of Love and Murder: Renoir, Film and Philosophy (2009) and<br />
Critical Excess: Overread<strong>in</strong>g <strong>in</strong> Derrida, Deleuze, Lev<strong>in</strong>as, Žižek and<br />
Cavell (2010).<br />
› Jean Renoir's Elena et les hommes (1956) and the shadow of imperialism,<br />
Studies <strong>in</strong> French C<strong>in</strong>ema, 11.1, 17-29.<br />
Darrell William Davis is Senior Lecturer <strong>in</strong> the School of English,<br />
Media & Perform<strong>in</strong>g Arts at the University of New South Wales,<br />
Sydney. He is author of Pictur<strong>in</strong>g Japaneseness: Monumental Style,<br />
National Identity, Japanese Film (Columbia University Press), coauthor<br />
of Taiwan Film Directors: A Treasure Island (Columbia<br />
University Press, 2005), East Asian Screen Industries (British Film<br />
Institute, 2008) and co-editor of C<strong>in</strong>ema Taiwan: Politics, Popularity<br />
and State of the Arts (Routledge, 2007).<br />
› Re-nationaliz<strong>in</strong>g Ch<strong>in</strong>a's film <strong>in</strong>dustry: case study on the Ch<strong>in</strong>a Film Group<br />
and film marketization, Journal of Ch<strong>in</strong>ese C<strong>in</strong>emas, 2.1, 37-51.<br />
Charles H. Davis, Ph.D., is a Professor at the School of Radio and<br />
Television Arts (Faculty of Communication & Design) and <strong>in</strong> the<br />
Entrepreneurship and Strategy Department of the Ted Rogers School of<br />
Management at Ryerson University <strong>in</strong> Toronto, where he holds the<br />
Edward S. Rogers Sr. Chair <strong>in</strong> Media Management and<br />
Entrepreneurship. He teaches graduate courses <strong>in</strong> media management
Canada<br />
Keywords Canadian identity, national<br />
c<strong>in</strong>ema, Canadian c<strong>in</strong>ema,<br />
screenwrit<strong>in</strong>g<br />
Annette Davison<br />
University of Ed<strong>in</strong>burgh<br />
Keywords film music, musicology<br />
Ludmila Moreira Macedo<br />
de Carvalho<br />
University of Montreal, Comparative<br />
Literature Department, Pavillon<br />
Lionel-Groulx, 3150 Jean-Brillant,<br />
Montreal, Canada<br />
Keywords Wong Kar-wai, Gilles<br />
Deleuze, Ch<strong>in</strong>ese c<strong>in</strong>ema, history,<br />
melodrama<br />
and political economy, and his current <strong>research</strong> <strong>in</strong>terests concern new<br />
product development and organizational <strong>in</strong>novation <strong>in</strong> the media and<br />
other experience <strong>in</strong>dustries. Dr. Davis holds an MA from the<br />
University of Notre Dame (Indiana) and a Ph.D. from the Université de<br />
Montréal. He is the author or co-author of approximately 100 scholarly<br />
papers or book chapters.<br />
› If it a<strong>in</strong>'t on the page, it a<strong>in</strong>'t on the stage: screenwrit<strong>in</strong>g, national specificity<br />
and the English-Canadian feature film, Journal of Screenwrit<strong>in</strong>g, 2.1, 61-83.<br />
Annette Davison first studied Music at City University, then spent a<br />
year at Exeter University focus<strong>in</strong>g on twentieth-century music and<br />
aesthetics, receiv<strong>in</strong>g an MA <strong>in</strong> Historical Musicology. She studied for<br />
her Ph.D. on film music theory and analysis at the University of<br />
Sheffield. Her first full-time post was as a lecturer of Media and<br />
Cultural Studies at University College, Warr<strong>in</strong>gton. This was followed<br />
by four years as a lecturer <strong>in</strong> music at the University of Leeds where<br />
she ga<strong>in</strong>ed a PGCLTHE (Post-Graduate Certification <strong>in</strong> Learn<strong>in</strong>g and<br />
Teach<strong>in</strong>g <strong>in</strong> Higher Education) and was also programme manager of<br />
the MA <strong>in</strong> Film Music Studies. She jo<strong>in</strong>ed the University of Ed<strong>in</strong>burgh<br />
<strong>in</strong> September 2004.<br />
› Reviews, Studies <strong>in</strong> Hispanic C<strong>in</strong>emas, 4.1, 63-70.<br />
Ludmila Moreira Macedo de Carvalho has a Masters Degree <strong>in</strong><br />
Communication and Contemporary Cultures from the Federal<br />
University of Bahia, Brazil, and a Ph.D. <strong>in</strong> Comparative Literature<br />
from the University of Montreal, Canada, where she developed a thesis<br />
on Wong Kar-wai's c<strong>in</strong>ema. Her <strong>research</strong> focuses on ch<strong>in</strong>ese language<br />
c<strong>in</strong>emas, film history, melodrama and narrative. She is currently a<br />
fellow reseacher at the Federal University of Bahia, Brazil.<br />
› Memories of sound and light: musical discourse <strong>in</strong> the films of Wong Karwai,<br />
Journal of Ch<strong>in</strong>ese C<strong>in</strong>emas, 2.3, 197-210.<br />
Jeroen de Kloet Jeroen de Kloet is Assistant Professor of Media Studies at the<br />
University of Amsterdam and is affiliated to the International Institute
University of Amsterdam, Faculty of<br />
Humanities, Dept. of Media Studies,<br />
Turfdraagsterpad 9, Amsterdam, 1012<br />
XT, Netherlands<br />
Keywords cosmopolitanism, cultural<br />
production, reception, vernacular<br />
c<strong>in</strong>ema, materiality, tangibility<br />
Yuna De Lannoy<br />
Antwerp University, Belgium<br />
Keywords Eisenste<strong>in</strong>, Post-war<br />
Japanese society, The Idiot,<br />
Dostoevsky<br />
Jason De Santolo<br />
University of Technology Sydney,<br />
Jumbunna Research Unit, Level 17,<br />
Tower Build<strong>in</strong>g, Ultimo, NSW, PO<br />
Box 123, Australia<br />
Keywords collaboration, Aborig<strong>in</strong>al,<br />
colonialism, <strong>in</strong>justice, Borroloola<br />
story<br />
Pascale De Souza<br />
George Mason University, Modern<br />
and Classical Languages, MCL Aquia<br />
Build<strong>in</strong>g Room 334, 4400 University<br />
Drive, Fairfax, Virg<strong>in</strong>ia, 22030,<br />
United States of America<br />
Keywords mornes, volcanoes,<br />
for Asian Studies (IIAS) as well as to the Amsterdam School for<br />
Cultural Analysis (ASCA). His <strong>research</strong> <strong>in</strong>terests <strong>in</strong>clude the<br />
globalization of contemporary popular culture; <strong>in</strong> particular, music and<br />
c<strong>in</strong>ema, and the emergence of new digital subcultures.<br />
› Issues and Debates Cross<strong>in</strong>g the threshold: Ch<strong>in</strong>ese c<strong>in</strong>ema studies <strong>in</strong> the<br />
twenty-first century, Journal of Ch<strong>in</strong>ese C<strong>in</strong>emas, 1.1, 63-70.<br />
› All that has melted <strong>in</strong>to bits and bytes becomes solid, Journal of Ch<strong>in</strong>ese<br />
C<strong>in</strong>emas, 3.1, 79-82.<br />
Yuna received her Ph.D. <strong>in</strong> Film Studies from Birkbeck College,<br />
University of London, <strong>in</strong> 2009. She taught Japanese c<strong>in</strong>ema and manga<br />
at Oxford Brookes University between 2006 and 2009. She is currently<br />
an associate <strong>research</strong> member of Antwerp University and a member of<br />
Russian C<strong>in</strong>ema Research Group at University College, London.<br />
› Revisit<strong>in</strong>g Kurosawa Akira's The Idiot: A comparison with Sergei Eisenste<strong>in</strong>,<br />
Journal of Japanese & Korean C<strong>in</strong>ema, 2.1, 3-20.<br />
Jason is a Garrwa and Barunggam descendent. He has a background <strong>in</strong><br />
Law, a Research Masters <strong>in</strong> Social Science and is currently based at<br />
Jumbunna Research Unit, UTS. Jason cont<strong>in</strong>ues to pursue collaborative<br />
potential for enhancement of <strong>research</strong> and project outcomes with<strong>in</strong><br />
communities.<br />
› Two Laws still: notes on resonance, Studies <strong>in</strong> Documentary Film, 2.2, 185-<br />
189.<br />
Pascale De Souza holds a Ph.D. <strong>in</strong> Francophone Studies, a DEA <strong>in</strong><br />
Commonwealth Literature and an Agrégation d’anglais. She currently<br />
leads the French Program at SAIS- Johns Hopk<strong>in</strong>s University. The<br />
focus of her <strong>research</strong> is Island studies. She has published essays <strong>in</strong><br />
journals such as Comparative Literature Studies, French Studies (UK),<br />
Oeuvres et Critiques, Studies <strong>in</strong> Twentieth-Century Literature, Studies<br />
<strong>in</strong> Australasian C<strong>in</strong>ema. She has co-edited three special series for the<br />
Journal of Caribbean Literatures, focus<strong>in</strong>g on comparative and French
esistance, pla<strong>in</strong>s, opposition Caribbean literatures and two issues of the International Journal of<br />
Francophone Studies focus<strong>in</strong>g respectively on the Black Atlantic <strong>in</strong><br />
French overseas literatures and on migration <strong>in</strong> South Pacific<br />
literatures.<br />
Marijke de Valck<br />
University of Amsterdam,<br />
Department of Media Studies,<br />
Turfdraagsterpad 9, Amsterdam, 1012<br />
XT, Netherlands<br />
Keywords Explod<strong>in</strong>g C<strong>in</strong>ema,<br />
digitization, film distribution, film<br />
exhibition, ‘The Long Tail’<br />
Alyssa DeBlasio<br />
University of Pittsburgh, Department<br />
of Slavic Languages and Literatures,<br />
702 Old Eng<strong>in</strong>eer<strong>in</strong>g Hall, Pittsburgh,<br />
Pennsylvania, PA 15260, United<br />
States of America<br />
Keywords genre, New-Year film,<br />
fairy tale, post-Soviet c<strong>in</strong>ema,<br />
television films<br />
Greg DeCuir, Jr.<br />
Faculty of Dramatic Arts, Dramatic<br />
› Maoritanga <strong>in</strong> Whale Rider and Once Were Warriors: a problematic rebirth<br />
through female leaders, Studies <strong>in</strong> Australasian C<strong>in</strong>ema, 1.1, 15-28.<br />
Marijke de Valck studied Theatre, Film and Television Studies at<br />
Utrecht University. She graduated cum laude with a thesis on<br />
transmedial storytell<strong>in</strong>g <strong>in</strong> film, television and new media. After hav<strong>in</strong>g<br />
worked two years for an <strong>in</strong>ternet company, she jo<strong>in</strong>ed the University of<br />
Amsterdam to conduct her Ph.D. on <strong>in</strong>ternational film festivals, which<br />
she completed cum laude <strong>in</strong> 2006. Afterwards she taught courses <strong>in</strong> the<br />
film programme and the MA programme Preservation and Presentation<br />
of the Mov<strong>in</strong>g Image at UvA, while work<strong>in</strong>g on a CMI-studies<br />
(communication, media and <strong>in</strong>formation) project for the Royal<br />
Netherlands Academy of Arts and Sciences. Marijke now works as an<br />
assistant professor <strong>in</strong> the department of Media Studies.<br />
› ‘Screen<strong>in</strong>g’ the Future of Film Festivals? A long tale of convergence and<br />
digitization, Film International, 6.4, 15-23.<br />
Alyssa DeBlasio is a Ph.D. student <strong>in</strong> the Department of Slavic<br />
Languages and Literatures at the University of Pittsburgh. Her <strong>research</strong><br />
<strong>in</strong>terests <strong>in</strong>clude perestroika and post-Soviet-era philosophy <strong>in</strong> Russia,<br />
as well as the work of filmmaker Evgenii Bauer.<br />
› The New-Year film as a genre of post-war Russian c<strong>in</strong>ema, Studies <strong>in</strong><br />
Russian and Soviet C<strong>in</strong>ema, 2.1, 43-62.<br />
Greg DeCuir, Jr. is a doctoral candidate at the Faculty of Dramatic<br />
Arts, Belgrade. His writ<strong>in</strong>g has appeared <strong>in</strong> the journals C<strong>in</strong>easte,<br />
K<strong>in</strong>oKultura, Prelom, Kultura and his most recent book Yugoslav<br />
Black Wave: Polemical C<strong>in</strong>ema from 1963-72 <strong>in</strong> the Socialist Federal
Art, Media and Cultural Theory,<br />
Bulevar umetnosti 20, Beograd,<br />
11070, Republic of Serbia<br />
Keywords Yugoslav c<strong>in</strong>ema, early<br />
c<strong>in</strong>e-club culture, film festival, hiphop<br />
culture<br />
Jeannette Delamoir<br />
CQ University, Faculty of Arts,<br />
Bus<strong>in</strong>ess, Informatics and Education,<br />
Rockhampton Campus, Bruce<br />
Highway, North Rockhampton, QLD<br />
4702, Australia<br />
Keywords modernity, audiences,<br />
exhibition, distribution, regional<br />
Queensland, Royal Commission<br />
Daniel Deshays<br />
United K<strong>in</strong>gdom<br />
Keywords theatre, fixed sounds,<br />
voices, silence<br />
Shekhar Deshpande<br />
Communications, 450 S. Easton<br />
Road, Glenside, PA, 19038, United<br />
States of America<br />
Keywords governance, European<br />
identity, cosmopolitanism, omnibus<br />
film, anthology<br />
Republic of Yugoslavia was published by Film Center Serbia <strong>in</strong> 2011.<br />
Current <strong>research</strong> <strong>in</strong>terests <strong>in</strong>clude the history of Yugoslav c<strong>in</strong>ema, early<br />
c<strong>in</strong>e-club culture, film festival culture and hip-hop culture. Mr DeCuir<br />
works as a freelance writer and <strong>in</strong>dependent documentary film-maker.<br />
› Black Wave polemics: rhetoric as aesthetic, Studies <strong>in</strong> Eastern European<br />
C<strong>in</strong>ema, 1.1, 85-96.<br />
Jeannette Delamoir has a Ph.D. <strong>in</strong> Media Studies from La Trobe<br />
University, and is currently embark<strong>in</strong>g on a Ph.D <strong>in</strong> creative writ<strong>in</strong>g<br />
through CQUniversity. She completed a one-month fellowship dur<strong>in</strong>g<br />
May 2011 at the National Filmand Sound Archive, Canberra.<br />
› Sweet dreams: Queensland, sugar and the 1927 Royal Commission <strong>in</strong>to the<br />
Mov<strong>in</strong>g Picture Industry, Studies <strong>in</strong> Australasian C<strong>in</strong>ema, 5.2, 107-119.<br />
Daniel Deshays is a sound recordist and sound director with numerous<br />
stage and dance credits. He has also worked <strong>in</strong> film and produced over<br />
250 record<strong>in</strong>gs, as well as be<strong>in</strong>g <strong>in</strong>volved <strong>in</strong> the creation of various<br />
museographic sound spaces.<br />
› Stag<strong>in</strong>g Sound: A Matter of Dissociation, The Soundtrack, 2.1, 57-62.<br />
Shekhar Deshpande is Associate Professor and the Director of the<br />
Communication Program at Arcadia University, where he held Frank<br />
and Evelyn Ste<strong>in</strong>brucker Endowed Chair from 2005 to 2008. His ma<strong>in</strong><br />
<strong>in</strong>terests are world c<strong>in</strong>ema, visual culture and cultural/media studies.<br />
He writes regularly on issues of cultural encounters, diversity and<br />
diasporic experience for Little India magaz<strong>in</strong>e. He is currently work<strong>in</strong>g<br />
on a project on anthology films.<br />
› Anthology films <strong>in</strong> European c<strong>in</strong>ema: New frontiers of collective identities,<br />
Studies <strong>in</strong> European C<strong>in</strong>ema, 7.1, 77-88.
Stephen Deutsch<br />
Bournemouth Media School,<br />
Bournemouth University, Talbot<br />
Campus, Fern Barrow, Poole, Dorset,<br />
BH12 5BB, United K<strong>in</strong>gdom<br />
Keywords music, animation,<br />
synchrony, narrative, actuality<br />
television, hear<strong>in</strong>g-impaired viewers<br />
Mar<strong>in</strong>a Díaz López<br />
Instituto Cervantes, Cultural<br />
Department, Spa<strong>in</strong><br />
Keywords Spanish music, popular<br />
culture, Hispanicity, Jorge Negrete,<br />
Carmen Sevilla<br />
Stephanie Dickison<br />
Writerscramp, Writ<strong>in</strong>g/Edit<strong>in</strong>g<br />
Stephen Deutsch has had his concert music performed by em<strong>in</strong>ent<br />
artists, <strong>in</strong>clud<strong>in</strong>g the Medici Quartet, David Campbell, The Gaudier<br />
Ensemble, Andrew Ball, The London Mozart Players and many others.<br />
He has composed over 30 scores for film, theatre, radio & television.<br />
His many collaborations with the playwright Peter Barnes <strong>in</strong>clude<br />
Jubilee (2001), the Olivier Award-w<strong>in</strong>n<strong>in</strong>g play, Red Noses (1985) and<br />
the feature film Hard Times (1994). He has significant expertise <strong>in</strong> the<br />
fields of Electronic Music (<strong>in</strong>cl. sampl<strong>in</strong>g and synthesis), twentiethcentury<br />
music techniques; the composer <strong>in</strong> the marketplace; and issues<br />
hav<strong>in</strong>g to do with film, TV, broadcast<strong>in</strong>g and related subjects.<br />
› Editorial, The Soundtrack, 1.1, 3-13.<br />
› Aspects of synchrony <strong>in</strong> animation, The Soundtrack, 1.2, 95-105.<br />
› Editorial, The Soundtrack, 1.3, 161-162.<br />
› The problem of music <strong>in</strong> actuality television, The Soundtrack, 1.3, 183-191.<br />
› A Concise History of Western Music for Film-makers, The Soundtrack, 2.1,<br />
23-38.<br />
› Reviews:Three collections, The Soundtrack, 2.2, 153-157.<br />
› Psycho and the orchestration of anxiety, The Soundtrack, 3.1, 53-66.<br />
› Review, The Soundtrack, 3.2, 151-154.<br />
Mar<strong>in</strong>a Díaz López holds a doctorate <strong>in</strong> Film History from the<br />
Universidad Autónoma de Madrid. She was a member of the editorial<br />
board of Secuencias: Revista de Historia del c<strong>in</strong>e from 1996 to 2010.<br />
She is <strong>in</strong> charge of the film and audiovisual office of the Instituto<br />
Cervantes (Madrid). In collaboration with Alberto Elena, she had<br />
edited two collections of essays on Lat<strong>in</strong> American c<strong>in</strong>ema: Tierra en<br />
trance. Elc<strong>in</strong>e lat<strong>in</strong>oamericano en 100 películas/Lat<strong>in</strong>-American<br />
C<strong>in</strong>ema <strong>in</strong> 100 Films (Alianza Editorial, 1999) and The C<strong>in</strong>ema of<br />
Lat<strong>in</strong> America (Wallflower Press, 2000). She has also authored various<br />
articles on Mexican musical c<strong>in</strong>ema. She is currently <strong>in</strong> the <strong>in</strong>itial<br />
stages of develop<strong>in</strong>g a history of ‘C<strong>in</strong>ema <strong>in</strong> Spanish’.<br />
› Connect<strong>in</strong>g Spa<strong>in</strong> and the Americas <strong>in</strong> the cold war: the transnational careers<br />
of Jorge Negrete and Carmen Sevilla, Studies <strong>in</strong> Hispanic C<strong>in</strong>emas, 5.1&2,<br />
25-42.<br />
Journalist, essayist and cultural critic Stephanie Dickison has<br />
contributed to several non-fiction books and encyclopaedias and<br />
hundreds of articles for national and <strong>in</strong>ternational magaz<strong>in</strong>es and
Keywords author, journalist, blogger,<br />
writer<br />
David Scott Diffrient<br />
Colorado State University,<br />
Department of Communication<br />
Studies, 213-D Eddy Hall, Fort<br />
Coll<strong>in</strong>s, CO, 80523-1783, United<br />
States of America<br />
Keywords William Fox, Tokyo<br />
Story, Over the Hill, Korean golden<br />
age c<strong>in</strong>ema, cross-cultural, adaptation<br />
Mike Dillon<br />
University of Southern California,<br />
School of C<strong>in</strong>ematic Arts, 900 West<br />
34th Street, Los Angeles, CA 90089-<br />
2211, United States of America<br />
Keywords terrorism, suicide<br />
bombers, Foucault, necropolitics, art<br />
c<strong>in</strong>ema<br />
newspapers. A book on her career as pop culture, book and restaurant<br />
critic was released <strong>in</strong> 2009 from ECW Press - The 30-Second<br />
Commute: A Non-Fiction Comedy About Writ<strong>in</strong>g & Work<strong>in</strong>g From<br />
Home.<br />
› Book Reviews, Film International, 5.3, 77-.<br />
› Anita Loos Rediscovered: Full Treatments and Fiction, Film International,<br />
5.2, 67-69.<br />
› Book Reviews, Film International, 9.1, 79-89.<br />
David Scott Diffrient is Assistant Professor of Film and Media Studies<br />
at Colorado State University. He has published articles <strong>in</strong> C<strong>in</strong>ema<br />
Journal, Film & History,Historical Journal of Film, Radio, and<br />
Television, Journal of Popular Film and Television, and Post Script,<br />
and has recently written a book on the television series M*A*S*H<br />
(Wayne State University Press).<br />
› Over That Hill: C<strong>in</strong>ematic adaptations and cross-cultural remakes, from<br />
Depression-era America to post-war Korea, Journal of Japanese & Korean<br />
C<strong>in</strong>ema, 1.2, 105-127.<br />
Mike Dillon is a Ph.D. candidate <strong>in</strong> Critical Studies at the University of<br />
Southern California School of C<strong>in</strong>ematic Arts. His <strong>research</strong> <strong>in</strong>terests<br />
<strong>in</strong>clude concepts of sovereign power and trends of transnational<br />
violence that emerge <strong>in</strong> neo-liberal polities. His dissertation explores<br />
representations of violence <strong>in</strong> the American ‘torture porn’ and Japanese<br />
yakuza genres that allegorize xenophobic anxieties and <strong>in</strong>tersect<strong>in</strong>g<br />
policies of militarism and neo-liberalism <strong>in</strong> their respective cultural<br />
contexts.<br />
› Book Reviews, Film International, 6.5, 75-89.<br />
› ‘Patriotism and valor are <strong>in</strong> your blood’: necropolitical subjectivities <strong>in</strong> The<br />
Terrorist (1999), Studies <strong>in</strong> South Asian Film & Media, 1.2, 209-226.<br />
Samba Diop Samba Diop teaches African literatures <strong>in</strong> French and English as well<br />
as African c<strong>in</strong>ema. His special <strong>research</strong> <strong>in</strong>terest is African epics <strong>in</strong>
Universite de Paris, 61 Avenue du<br />
General de Gaulle, Creteil, 94010,<br />
France<br />
Keywords Sembène, music, sound,<br />
environment, narrative<br />
Dom<strong>in</strong>ica Dipio<br />
Makerere University, Department of<br />
Literature, P. O. Box 7062, Makerere<br />
University, Kampala, Uganda<br />
Keywords conflict, culture, religion,<br />
gender, Sembene<br />
Robert Dixon<br />
Chair of Australian Literature,<br />
University of Sydney, Woolley<br />
Build<strong>in</strong>g, A20, Sydney, NSW, 2006,<br />
Australia<br />
Keywords commodity culture,<br />
consumerism, cultural politics, Bliss,<br />
Peter Carey<br />
Senegal and Gambia. He has edited and translated versions of the epics<br />
of Ndiadiane Ndiaye and of El Hadj Omar Tall. He has also edited two<br />
books on postcolonial studies (Fictions africa<strong>in</strong>es et postcolonialisme;<br />
L’Écriva<strong>in</strong> peut-il créer une civilisation?). He is the author of two<br />
books on African studies (Discours nationaliste et identité ethnique à<br />
travers le roman sénégalais and African Francophone C<strong>in</strong>ema) and of<br />
one volume of short stories (À Bondowé, les lueurs de l’aube).<br />
› Music and narrative <strong>in</strong> five films by Ousmane Sembène, Journal of African<br />
C<strong>in</strong>emas, 1.2, 207-224.<br />
Dom<strong>in</strong>ica Dipio is Senior Lecturer and Head of Literature Department<br />
at Makerere University and has a Ph.D. <strong>in</strong> film criticism from the<br />
Gregorian University, Rome. She coord<strong>in</strong>ates collaborative Uganda<br />
Folklore <strong>research</strong> funded by the Norwegian Programme for Research<br />
and Education (NUFU), (2007–2011) that <strong>in</strong>volves the tra<strong>in</strong><strong>in</strong>g of<br />
graduate students; and she has co-authored two books, Perform<strong>in</strong>g<br />
Community (2008) and Perform<strong>in</strong>g Change (2009), out of this project.<br />
She has published several articles on gender, film and folklore. Gender<br />
and Religion <strong>in</strong> Nigerian Popular Films (2009), Faces of Mascul<strong>in</strong>ity<br />
<strong>in</strong> African C<strong>in</strong>ema (2010), A Historical Overview of Ugandan “Film<br />
Industry" (2010) and Gender Position<strong>in</strong>g and Roles <strong>in</strong> Madi Folktales<br />
(2008) are among her recent publications.<br />
› Gender wars around religion and tradition <strong>in</strong> Sembene Ousmane's Moolaade,<br />
Journal of African C<strong>in</strong>emas, 2.2, 121-135.<br />
Robert Dixon is Professor of Australian Literature at The University of<br />
Sydney. He is a past-President of the Association for the Study of<br />
Australian Literature (ASAL) and a Fellow of the Australian Academy<br />
of the Humanities. His <strong>research</strong> <strong>in</strong>terests <strong>in</strong>clude colonialism and its<br />
culture, Australian literature and literary criticism, Australian cultural<br />
studies, postcolonial studies and Australian art history. His current<br />
<strong>research</strong> <strong>in</strong>cludes an illustrated edition of Frank Hurley's diaries, and<br />
the book Travell<strong>in</strong>g Mass-Media Circus: Frank Hurley and Colonial<br />
Modernity.<br />
› Peter Carey's and Ray Lawrence's Bliss (1985): fiction, film and power,<br />
Studies <strong>in</strong> Australasian C<strong>in</strong>ema, 3.3, 279-294.
Evgeny Dobrenko<br />
University of Sheffield, Department<br />
of Russian & Slavonic Studies,<br />
Western Bank, Sheffield, South<br />
Yorkshire, S10 2TN, United K<strong>in</strong>gdom<br />
Keywords history, bio-pic, Civil<br />
War, Chapaev, Dovzhenko<br />
Julia Dobson<br />
University of Sheffield, School of<br />
Modern Languages and L<strong>in</strong>guistics, 1<br />
Upper Hanover Street, Sheffield, S3<br />
7RA, United K<strong>in</strong>gdom<br />
Keywords Audiard, De battre mon<br />
cœur s'est arrêté, filiation, puppet,<br />
alterity, theatre<br />
Jonathan Dockney<br />
University of Kwazulu-Natal, Proto<br />
Centre for Communication, Media<br />
and Society, Howard College<br />
Campus, Durban, 4041, South Africa<br />
Keywords audience, ethics,<br />
aesthetics, circuit of culture,<br />
participatory film-mak<strong>in</strong>g,<br />
representation, media freedom, civil<br />
society, activism, social media<br />
Evgeny Dobrenko is professor <strong>in</strong> the Department of Russian and<br />
Slavonic Studies at the University of Sheffield. He is author, editor or<br />
co-editor of fifteen books, <strong>in</strong>clud<strong>in</strong>g Political Economy of Socialist<br />
Realism (2007), Aesthetics of Alienation: Reassessment of Early Soviet<br />
Cultural Theories (2005), The Mak<strong>in</strong>g of the State Writer: Social and<br />
Aesthetic Orig<strong>in</strong>s of Soviet Literary Culture (2001), The Mak<strong>in</strong>g of the<br />
State Reader: Social and Aesthetic Contexts of the Reception of Soviet<br />
Literature (1997).<br />
› Creation myth and myth creation <strong>in</strong> Stal<strong>in</strong>ist c<strong>in</strong>ema, Studies <strong>in</strong> Russian and<br />
Soviet C<strong>in</strong>ema, 1.3, 239-264.<br />
Julia Dobson is Senior Lecturer <strong>in</strong> French at the University of<br />
Sheffield, UK. She has published widely on contemporary French<br />
c<strong>in</strong>ema <strong>in</strong>clud<strong>in</strong>g articles on Kieslowski, the remake, first person<br />
documentary and Jacques Audiard. She is currently complet<strong>in</strong>g a book<br />
on Cabrera, Lvovsky, Masson and Vernoux. Her other area of <strong>research</strong><br />
is contemporary French theatre - particularly the theatre of Cixous and<br />
perform<strong>in</strong>g objects.<br />
› Jacques Audiard and the filial challenge, Studies <strong>in</strong> French C<strong>in</strong>ema, 7.3, 179-<br />
190.<br />
› Retrospectives and projections: celebrat<strong>in</strong>g ten years of Studies <strong>in</strong> French<br />
C<strong>in</strong>ema, Studies <strong>in</strong> French C<strong>in</strong>ema, 10.1, 3-9.<br />
Jonathan Dockney is a Masters student at the Centre for Culture, Media<br />
and Society. He has published widely on the impact of the cellphone on<br />
the film and television <strong>in</strong>dustry, and has presented on the topic at<br />
conferences <strong>in</strong> the United K<strong>in</strong>gdom, Zanzibar and South Africa. His<br />
latest publication is Cellphilms, mobile platforms and prodsumers:<br />
hyper-<strong>in</strong>dividuality and film (Dockney et al. 2010). His <strong>research</strong><br />
<strong>in</strong>terests are media, communication, economics, politics, satire and<br />
development communication.<br />
› Reviews, Journal of African C<strong>in</strong>emas, 1.1, 113-134.<br />
› Bump<strong>in</strong>g <strong>in</strong>to Reality, Brutal Realism and Bafundi 2009: Some Thoughts on<br />
a Student Film Festival, Journal of African C<strong>in</strong>emas, 1.2, 225-234.<br />
› Festival Reviews, Journal of African C<strong>in</strong>emas, 2.2, 167-193.
Greg Dolgopolov<br />
The University of South Wales,<br />
School of English, Media and<br />
Perform<strong>in</strong>g Arts, Sydney, NSW 2052,<br />
Australia<br />
Keywords Petrov Affair, migration,<br />
modernity, ambivalence, m<strong>in</strong>iseries,<br />
multiculturalism, television<br />
Kieran Dol<strong>in</strong><br />
University of Western Australia,<br />
English and Cultural Studies,<br />
Australia<br />
Keywords Australian c<strong>in</strong>ema,<br />
<strong>in</strong>digenous people, property, Border<br />
theory, law<br />
Ruth Doughty<br />
University of Portsmouth, School of<br />
Creative Arts, Film and Media, St<br />
George's Build<strong>in</strong>g, 141 High Street,<br />
Portsmouth, Hampshire, PO1 2HY,<br />
United K<strong>in</strong>gdom<br />
Keywords transnational c<strong>in</strong>ema,<br />
borrow<strong>in</strong>g, orig<strong>in</strong>, mirrors, Mathieu<br />
Kassovitz, Spike Lee, Lars von Trier<br />
Greg Dolgopolov teaches Film Studies at the University of New South<br />
Wales. Greg’s analysis of the representation of Russians <strong>in</strong> Australian<br />
c<strong>in</strong>ema appeared <strong>in</strong> Diasporas of Australian C<strong>in</strong>ema (<strong>Intellect</strong> Press,<br />
2009). He is the curator of the Russian Resurrection Film Festival.<br />
Greg is currently work<strong>in</strong>g on a book (with Mark Ryan) about<br />
Australian crime representations <strong>in</strong> film and television.<br />
› The Petrov Affair: An ambivalent migrant narrative, Studies <strong>in</strong> Australasian<br />
C<strong>in</strong>ema, 5.2, 121-130.<br />
› C<strong>in</strong>ema, modernity, modernism: Selected papers from the XVth Biennial<br />
Conference of the Film and History Association of Australia and New<br />
Zealand (FHAANZ), University of New South Wales, Sydney, Australia,<br />
Studies <strong>in</strong> Australasian C<strong>in</strong>ema, 5.2, 101-105.<br />
Kieran Dol<strong>in</strong> is a Senior Lecturer <strong>in</strong> English and Cultural Studies at the<br />
University of Western Australia. He is the author of Fiction and the<br />
Law: Legal Discourse <strong>in</strong> Victorian and Modernist Literature<br />
(Cambridge University Press, 1999) and A Critical Introduction to Law<br />
and Literature (Cambridge University Press, 2007). He co-edited, with<br />
Tanya Dalziell and Tony Hughes-d'Aeth, the special issue of Studies <strong>in</strong><br />
Australasian C<strong>in</strong>ema on 'Compulsory Screen<strong>in</strong>g: Border Protection,<br />
Migration and the Australian Screen' (2009). He is currently<br />
<strong>research</strong><strong>in</strong>g the representation of Indigenous land rights and native title<br />
<strong>in</strong> Australian Literature.<br />
› Compulsory Screen<strong>in</strong>g: border protection, migration and the Australian<br />
screen, Studies <strong>in</strong> Australasian C<strong>in</strong>ema, 3.1, 7-14.<br />
› Law and identity at the fence, Studies <strong>in</strong> Australasian C<strong>in</strong>ema, 3.1, 133-146.<br />
Ruth Doughty is Senior Lecturer <strong>in</strong> Film at Portsmouth University<br />
specializ<strong>in</strong>g <strong>in</strong> Black American c<strong>in</strong>ema, contemporary European<br />
directors and film music. She is presently <strong>in</strong>volved <strong>in</strong> co-edit<strong>in</strong>g the<br />
Cont<strong>in</strong>uum Companion to Sound <strong>in</strong> Film and the Visual Media. Her<br />
thesis considered the political and cultural implications of the music<br />
used by Spike Lee with close musical analysis of both orchestral scores<br />
and popular music.<br />
› Racial reflection: La Ha<strong>in</strong>e and the art of borrow<strong>in</strong>g, Studies <strong>in</strong> European<br />
C<strong>in</strong>ema, 3.2, 117-128.<br />
› Manderlay (2005): Lars von Trier's narrative of pass<strong>in</strong>g, New C<strong>in</strong>emas:<br />
Journal of Contemporary Film, 5.2, 153-162.
Peter Doyle<br />
Macquarie University, Department of<br />
Media, Balaclava Road, North Ryde,<br />
Sydney, New South Wales, 2109,<br />
Australia<br />
Keywords Bob Dylan: Chronicles,<br />
c<strong>in</strong>ematic time, documentary<br />
Jonathan Driskell<br />
K<strong>in</strong>g’s College London, Film Studies,<br />
Strand, London, WC2R 2LS, United<br />
K<strong>in</strong>gdom<br />
Keywords poetic realism, body,<br />
stardom, performance, metaphysical<br />
Natascha Drubek-Meyer<br />
Universität Regensburg, Institut für<br />
Slavistik, Universitätsstr. 27,<br />
Regensburg, 93040, Germany<br />
Keywords Hyperk<strong>in</strong>o, methodology,<br />
DVD, digital technology, reference<br />
Peter Doyle is Lecturer <strong>in</strong> the Department of Media, Macquarie<br />
University, Sydney. He is an author of three prize-w<strong>in</strong>n<strong>in</strong>g historicallybased<br />
Australian crime novels (Get Rich Quick, Amaze Your Friends,<br />
The Devilʹ′s Jump) and has worked as a guest curator at the Justice and<br />
Police Museum <strong>in</strong> Sydney, where he produced the Crimes of Passion<br />
exhibition (2002–2003). He is author of City of Shadows, which<br />
exam<strong>in</strong>es <strong>in</strong>ner-Sydney <strong>in</strong> the first half of the twentieth century ma<strong>in</strong>ly<br />
via police crime and accident scene photographs. His book Echo and<br />
Reverb: Fabricat<strong>in</strong>g Space <strong>in</strong> Popular Music record<strong>in</strong>g 1900–1960<br />
appeared <strong>in</strong> 2005 from Wesleyan Press.<br />
› Citizen Dylan, Studies <strong>in</strong> Documentary Film, 1.1, 67-76.<br />
Jonathan Driskell has recently completed a Ph.D. at K<strong>in</strong>g’s College<br />
London on female stardom <strong>in</strong> 1930s French c<strong>in</strong>ema. He is now writ<strong>in</strong>g<br />
a monograph on the films of Marcel Carné, which is to be published by<br />
Manchester University Press as part of their French Film Directors<br />
series. He is currently teach<strong>in</strong>g part-time at K<strong>in</strong>g’s College London.<br />
› The female ‘metaphysical’ body <strong>in</strong> poetic realist film, Studies <strong>in</strong> French<br />
C<strong>in</strong>ema, 8.1, 57-73.<br />
Natascha Drubek-Meyer works <strong>in</strong> the <strong>research</strong> area of Film and<br />
Slavonic Studies. After graduat<strong>in</strong>g from the Ludwig-Maximilians-<br />
Universität, Munich, she held teach<strong>in</strong>g positions at the universities of<br />
Munich, Potsdam and Charles University, Prague. From 2006-08 she<br />
was Marie Curie Scholar at FAMU, Prague. Currently she is<br />
Heisenberg Fellow at the University of Regensburg. She is editor of the<br />
Film & Screen Media section of the onl<strong>in</strong>e journal ArtMarg<strong>in</strong>s.com,<br />
and co-editor of the series osteuropa medial (Böhlau Verlag), for<br />
which she has co-edited, with Jurij Murašov, the first volume Das Zeit-<br />
Bild im osteuropäischen Film nach 1945 (2010). Her book Russisches<br />
Licht: Von der Ikone zum vorrevolutionären K<strong>in</strong>o will be published<br />
<strong>in</strong> 2012.<br />
› Critical editions of films <strong>in</strong> digital formats, Studies <strong>in</strong> Russian and Soviet<br />
C<strong>in</strong>ema, 2.2, 205-216.<br />
› Annotations for the Hyperk<strong>in</strong>o edition of Lev Kuleshov's Eng<strong>in</strong>eer Prite's<br />
Project (1918), Academia series, RUSCICO, 2010, Studies <strong>in</strong> Russian and
Zoë Druick<br />
Simon Fraser University, School of<br />
Communication, 8888 University<br />
Drive, Burnaby, British Columbia,<br />
V5A 1S6, Canada<br />
Keywords non-fiction film-mak<strong>in</strong>g,<br />
media and citizenship, media<br />
historiography, radical media<br />
Raj<strong>in</strong>der Dudrah<br />
University of Manchester, Drama,<br />
Mart<strong>in</strong> Harris Build<strong>in</strong>g, Oxford Road,<br />
Manchester, M13 9PL, United<br />
K<strong>in</strong>gdom<br />
Keywords Bollywood, Black British,<br />
popular music, Bhangra, diasporic<br />
media, television, film theory,<br />
cultural theory, <strong>research</strong> methods<br />
Derek Duncan<br />
University of Bristol, Department of<br />
Italian, 19 Woodland Road, Bristol,<br />
BS8 1TE, United K<strong>in</strong>gdom<br />
Keywords national c<strong>in</strong>ema, Queer<br />
Soviet C<strong>in</strong>ema, 4.1, 65-93.<br />
Zoë Druick is Associate Professor <strong>in</strong> the School of Communication,<br />
Simon Fraser University. She has published widely on the history of<br />
documentary film and educational media. Her resesarch addresses the<br />
<strong>in</strong>terrelationship of documentary film and educational media with<br />
discourses and practices of democracy. Her books <strong>in</strong>clude Project<strong>in</strong>g<br />
Canada: Government Policy and Documentary Film at the National<br />
Film Board (2007), Programm<strong>in</strong>g Reality: Perspectives on English-<br />
Canadian Television (with Aspa Kotsopoulos) (2008), and Allan<br />
K<strong>in</strong>g's A Married Couple (2010).<br />
› Document<strong>in</strong>g false history: Errol Morris and Mr. Death, Studies <strong>in</strong><br />
Documentary Film, 1.3, 207-220.<br />
Dr. Raj<strong>in</strong>der Dudrah is Senior Lecturer <strong>in</strong> Screen Studies and Director<br />
of the Centre for Screen Studies at the University of Manchester, UK,<br />
where he also served as Head of Department of Drama, 2007-10 . He<br />
has <strong>research</strong>ed and published widely <strong>in</strong> film, media, and cultural<br />
studies. His books <strong>in</strong>clude Bollywood: Sociology Goes to the Movies<br />
(Sage Publications, 2006); Bhangra: Birm<strong>in</strong>gham and Beyond<br />
(Birm<strong>in</strong>gham City Council and Punch Records, 2007); The Bollywood<br />
Reader (Open University Press, 2008); and Theoris<strong>in</strong>g World C<strong>in</strong>ema<br />
(with Lucia Nagib and Chris Perriam, IB Tauris, 2011). He is also the<br />
found<strong>in</strong>g co-editor of the journal South Asian Popular Culture<br />
(Routledge).<br />
› The haptic codes of Bollywood c<strong>in</strong>ema <strong>in</strong> New York City, New C<strong>in</strong>emas:<br />
Journal of Contemporary Film, 3.3, 143-158.<br />
Derek Duncan is Senior Lecturer <strong>in</strong> Italian at the University of Bristol.<br />
He has published widely on sexuality and gender <strong>in</strong> twentieth-century<br />
Italian literature and film, and is author of Read<strong>in</strong>g and Writ<strong>in</strong>g Italian<br />
Homosexuality (Ashgate, 2005).<br />
› Stairway to heaven: Ferzan Özpetek and the revision of Italy, New C<strong>in</strong>emas:
Theory, Özpetek, accented c<strong>in</strong>ema,<br />
sexuality Journal of Contemporary Film, 3.2, 101-114.<br />
Carolyn A. Durham<br />
The College of Wooster, Department<br />
of French, Wooster, OH, 44691,<br />
United States of America<br />
Keywords French c<strong>in</strong>ema, American<br />
c<strong>in</strong>ema, women's studies, gender<br />
John Edmond<br />
University of Queensland, Media<br />
Studies and Art History, St. Lucia,<br />
Brisbane, QLD 4702, Australia<br />
Keywords landscape, space, vehicle,<br />
movement, Phantom Ride, travell<strong>in</strong>g<br />
shot<br />
Richard Edwards<br />
Indiana University, New Media,<br />
United States of America<br />
Keywords activism, antiglobalization,<br />
anti-capitalism, Seattle,<br />
World Trade Organization (WTO),<br />
Independent Media Center (IMC),<br />
› Introduction, New C<strong>in</strong>emas: Journal of Contemporary Film, 6.3, 163-166.<br />
› ‘Lov<strong>in</strong>g Geographies’: queer<strong>in</strong>g straight migration to Italy, New C<strong>in</strong>emas:<br />
Journal of Contemporary Film, 6.3, 167-182.<br />
Carolyn A. Durham is the Inez K<strong>in</strong>ney Gaylord Professor of French at<br />
the College of Wooster, where she also teaches Film Studies and<br />
Comparative Literature. Her books <strong>in</strong>clude Double Takes: Culture and<br />
Gender <strong>in</strong> French Films and their American Remakes and Literary<br />
Globalism: Anglo-American Fiction Set <strong>in</strong> France. Her articles on film<br />
have appeared <strong>in</strong> a number of journals, <strong>in</strong>clud<strong>in</strong>g Studies <strong>in</strong> French<br />
C<strong>in</strong>ema, PostScript, Jump Cut, Quarterly Review of Film and Video,<br />
French Review and French Cultural Studies.<br />
› Strategies of subversion <strong>in</strong> colonial nostalgia film: militarism and marriage <strong>in</strong><br />
Brigitte Roüan's Outremer, Studies <strong>in</strong> French C<strong>in</strong>ema, 1.2, 89-97.<br />
› Bridg<strong>in</strong>g the gaps: The construction of Paris <strong>in</strong> Luc Besson's Angel-A<br />
(2005), Studies <strong>in</strong> French C<strong>in</strong>ema, 11.2, 139-150.<br />
John Edmond is a Rh.D. student at the University of Queensland. His<br />
current <strong>research</strong> is focused on the <strong>in</strong>tersection between vehicle,<br />
landscape and film.<br />
› Mov<strong>in</strong>g landscapes: Film, vehicles and the travell<strong>in</strong>g shot, Studies <strong>in</strong><br />
Australasian C<strong>in</strong>ema, 5.2, 131-143.<br />
Richard Edwards earned his Ph.D. <strong>in</strong> Critical Studies from University<br />
of Southern California's School of C<strong>in</strong>ema-Television. He has taught<br />
film and digital media production courses at USC, Loyola Marymount<br />
and Sa<strong>in</strong>t Mary's College of California. He is currently an Assistant<br />
Professor of Media Arts and Sciences at Indiana University's School of<br />
Informatics <strong>in</strong> the Division of New Media.<br />
› Torrents of Resistance: Onl<strong>in</strong>e Video Activism <strong>in</strong> the Anti-globalization
P2P file shar<strong>in</strong>g, OneWorld TV, The<br />
Globalisation Tapes movement, Film International, 2.10, 38-47.<br />
Robert Efird<br />
Virg<strong>in</strong>ia Tech, Department of Foreign<br />
Languages and Literatures, 331 Major<br />
Williams Hall, Blacksburg, VA<br />
24061, United States of America<br />
Keywords Ivan's Childhood, Andrei<br />
Tarkovsky, Soviet c<strong>in</strong>ema, dreams,<br />
narration<br />
Mart<strong>in</strong> Eide<br />
Department of Information Science<br />
and Media Studies, POB 7800, N-<br />
5020, Bergen, Norway<br />
Keywords professionalism,<br />
journalism, democracy, conversation,<br />
audience, participation<br />
Daniel Eisenberg<br />
Australian National University,<br />
School of Cultural Inquiry, Level 1,<br />
A.D. Hope Build<strong>in</strong>g, Canberra, ACT<br />
0200, Australia<br />
Keywords national identity, frontier<br />
outlaws, Ned Kelly, Jesse James,<br />
Australian c<strong>in</strong>ema, American c<strong>in</strong>ema<br />
Robert Efird is Assistant Professor of Russian at Virg<strong>in</strong>ia Tech. He is<br />
currently writ<strong>in</strong>g a book-length study of Ivan’s Childhood and an<br />
article exam<strong>in</strong><strong>in</strong>g narration <strong>in</strong> Alexander Sokurov’s Russian Ark.<br />
› Dreams, mirrors and subjective filtration <strong>in</strong> Ivan's Childhood, Studies <strong>in</strong><br />
Russian and Soviet C<strong>in</strong>ema, 3.3, 289-308.<br />
Mart<strong>in</strong> Eide, Ph.D., is Professor at Department of Information Science<br />
and Media Studies, University of Bergen, Norway. Eide’s ma<strong>in</strong> area of<br />
<strong>research</strong> has been on the role and power media and journalists have <strong>in</strong><br />
society. He has also done extensive work on political communication<br />
and the political role of media as well as on sociological aspects of<br />
news-production. Eide has written several books and articles about<br />
Norwegian popular journalism. He has also conducted several <strong>research</strong><br />
projects focus<strong>in</strong>g on journalism and media history, e.g. on the<br />
popularization of Norway's largest newspaper and on the history of an<br />
editorial role <strong>in</strong> a Norwegian context.<br />
› Dialogical ambiguities: journalism, professionalism and flattery, Northern<br />
Lights: Film & Media Studies Yearbook, 8.1, 9-23.<br />
Daniel Eisenberg is currently a Ph.D. candidate at the School of<br />
Cultural Inquiry, the Australian National University. His thesis is a<br />
comparative study of American outlaws and Australian bushrangers on<br />
film. He is <strong>in</strong>terrogat<strong>in</strong>g the contrast<strong>in</strong>g issues of history, identity and<br />
legend that arise from these c<strong>in</strong>ematic frontier outlaws.<br />
› Shoot<strong>in</strong>g c<strong>in</strong>ematic outlaws: Ned Kelly and Jesse James as viewed through<br />
film, Studies <strong>in</strong> Australasian C<strong>in</strong>ema, 5.2, 145-154.
Hyg<strong>in</strong>us Ekwuazi<br />
University of Ibadan, Department of<br />
Theatre Arts, Ibadan, Nigeria<br />
Keywords Kano State, Islam, Hausa<br />
film culture, India<br />
Alberto Elena Díaz<br />
Universidad Carlos III de Madrid,<br />
Departamento de Periodismo y<br />
Comunicacion Audiovisual, Getafe,<br />
Madrid, 28903, Spa<strong>in</strong><br />
Keywords The Spirit of the<br />
Beehive/El esptitu de la colmena,<br />
Antonio López, Abbas Kiarostami,<br />
films of childhood, Victor Erice<br />
Jonathan Ellis<br />
Sheffield University, School of<br />
English Literature, Language and<br />
L<strong>in</strong>guistics, Jessop West, 1 Upper<br />
Hanover Street, Sheffield, S3 7RA,<br />
United K<strong>in</strong>gdom<br />
Keywords Disney, representations of<br />
family, Studio Ghibli, anime<br />
Dr. Hyg<strong>in</strong>us Ekwuazi teaches Film and Media Studies at the<br />
Department of Theatre Arts, University of Ibadan, Nigeria. Until<br />
recently, he was the Manag<strong>in</strong>g Director of the Nigerian Film<br />
Corporation, Jos, Nigeria. He was <strong>in</strong>strumental <strong>in</strong> the sett<strong>in</strong>g up of the<br />
Film School as part of the Nigerian Film Corporation. A scholar and<br />
film historian, Dr. Ekwuazi has published widely <strong>in</strong> the area of African<br />
c<strong>in</strong>ema.<br />
› The Hausa video film: the call of the muezz<strong>in</strong>, Film International, 5.4, 64-70.<br />
Alberto Elena Díaz is Professor of Film Studies <strong>in</strong> the Department of<br />
Audiovisual Communication at the Universidad Carlos III de Madrid.<br />
One of the lead<strong>in</strong>g Spanish specialists <strong>in</strong> c<strong>in</strong>emas of the periphery, he<br />
is also found<strong>in</strong>g editor of the journal Secuencia: Revista de Historia del<br />
C<strong>in</strong>e. Among his published books are The C<strong>in</strong>ema of Abbas<br />
Kiarostami, El c<strong>in</strong>e del Tercer Mundo: diccionario de realizadores,<br />
C<strong>in</strong>e e Islam; Los c<strong>in</strong>es periféricos: África, Oriente Medio, India o La<br />
<strong>in</strong>vención del subdesarrollo: c<strong>in</strong>e, tecnología y modernidad. He has<br />
also coedited with Mar<strong>in</strong>a Díaz López two anthologies of essays on<br />
Lat<strong>in</strong>–American C<strong>in</strong>ema Tierra en trance: el c<strong>in</strong>e lat<strong>in</strong>oamericano en<br />
100 películas (1999) and The C<strong>in</strong>ema of Lat<strong>in</strong> America.<br />
› Dream of Light: Erice, Kiarostami and the history of c<strong>in</strong>ema, Studies <strong>in</strong><br />
Hispanic C<strong>in</strong>emas, 6.2, 99-110.<br />
Jonathan Ellis is Senior Lecturer <strong>in</strong> American Literature at the<br />
University of Sheffield. He is the author of Art and Memory <strong>in</strong> the<br />
Work of Elizabeth Bishop (2006), as well as articles and essays on<br />
Woody Allen, Paul Muldoon, Sylvia Plath and Anne Stevenson. In<br />
2005 his <strong>in</strong>terview with the Japanese writer Murakami Haruki appeared<br />
<strong>in</strong> The Georgia Review. His next book is on twentieth-century letter<br />
writ<strong>in</strong>g. He has been the recipient of a Leverhulme Early Career<br />
Fellowship and, more recently, a British Academy Research<br />
Development Award.<br />
› The art of anime: Freeze-frames and mov<strong>in</strong>g pictures <strong>in</strong> Miyazaki Hayao's<br />
Kiki's Delivery Service, Journal of Japanese & Korean C<strong>in</strong>ema, 2.1, 21-34.
Thomas Elsaesser<br />
University of Amsterdam,<br />
Netherlands<br />
Keywords Aki Kaurismäki, Mies<br />
vailla menneisyyttä/The Man without<br />
a Past, double occupancy, European<br />
c<strong>in</strong>ema, transnational c<strong>in</strong>ema<br />
community<br />
Leen Engelen<br />
Catholic University of Leuven,<br />
Belgium<br />
Keywords television, film fund<strong>in</strong>g,<br />
regional c<strong>in</strong>ema, Flanders, Belgium<br />
Audun Engelstad<br />
Faculty of television production and<br />
film studies (TVF), Lillehammer<br />
University College, 2604<br />
Lillehammer, Norway<br />
Keywords Norwegian neo-noir,<br />
crim<strong>in</strong>al <strong>in</strong>vestigator, cyclic changes<br />
Nezih Erdoğan<br />
Santralistanbul, Eski Silahtarag˘a<br />
Elektrik Santralı, Silahtarag˘a Mah,<br />
Kazım Karabekir Cad. No: 1 34060<br />
Eyüp, Istanbul, Turkey<br />
Keywords reception, Turkish media,<br />
national identity, cultural identity,<br />
identity<br />
Thomas Elsaesser is Professor Emeritus at the University of<br />
Amsterdam. His <strong>research</strong> and publications cover a great number of<br />
areas, rang<strong>in</strong>g from New German C<strong>in</strong>ema: A History (1989) to<br />
European C<strong>in</strong>ema: Face to Face with Hollywood (2005). Elsaesser was<br />
appo<strong>in</strong>ted the first Ingmar Bergman Professor (Stockholm) <strong>in</strong> 2005.<br />
› Hitt<strong>in</strong>g bottom: Aki Kaurismäki and the abject subject, Journal of<br />
Scand<strong>in</strong>avian C<strong>in</strong>ema, 1.1, 105-122.<br />
Leen Engelen is a lecturer at the Media and Design Academy (KHLim)<br />
and <strong>research</strong>er at the Catholic University of Leuven. The <strong>research</strong><br />
presented here was carried out <strong>in</strong> the framework of ‘Optique belge’, a<br />
jo<strong>in</strong>t <strong>research</strong> project supported by S<strong>in</strong>t Lukas Brussels and by the<br />
Media and Design Academy.<br />
› Made <strong>in</strong> Flanders (Redux): Film Production, Government Fund<strong>in</strong>g and<br />
Television Participation <strong>in</strong> Flanders, Belgium, Film International, 8.6, 50-59.<br />
Associate professor of film and television studies at Lillehammer<br />
University College.<br />
› Deal<strong>in</strong>g with crime: cyclic changes <strong>in</strong> Norwegian crime films, Journal of<br />
Scand<strong>in</strong>avian C<strong>in</strong>ema, 1.2, 205-221.<br />
Nezih Erdoğan is Professor of Film Studies and Dean of the Faculty of<br />
Communication at Istanbul Bilgi University. He has widely published<br />
on Turkish popular c<strong>in</strong>ema, Hollywood <strong>in</strong> Turkey, censorship and<br />
Turkish Trash, and his book-length studies <strong>in</strong>clude S<strong>in</strong>ema Kitabi/Book<br />
of C<strong>in</strong>ema (1992), Seyirci ve S<strong>in</strong>ema/Film and Spectator (1994). He is<br />
currently work<strong>in</strong>g on a number of projects <strong>in</strong> digital resources on early<br />
years of c<strong>in</strong>ema <strong>in</strong> Istanbul and film censorship reports <strong>in</strong> Turkey.<br />
› Star director as symptom: reflections on the reception of Fatih Akın <strong>in</strong> the
Susan Ericsson<br />
Concordia University, 7400 Augusta<br />
St, River Forest, IL, 60305, United<br />
States of America<br />
Keywords adolescent sexuality,<br />
female youth, confession, sexually<br />
transmitted disease, female adolescent<br />
desire<br />
Claudia Esposito<br />
University of Massachusetts-Boston,<br />
Department of Modern Languages,<br />
100 Morrissey Blvd, Boston, MA<br />
02125, United States of America<br />
Keywords Kechiche, quotidian,<br />
space, language, contemporary<br />
France, Beur and banlieue<br />
Alexander Etk<strong>in</strong>d<br />
Cambridge University, K<strong>in</strong>g’s<br />
College, Cambridge, CB2 1ST,<br />
United K<strong>in</strong>gdom<br />
Keywords Aleksei Iu. German,<br />
Stal<strong>in</strong>ism, mourn<strong>in</strong>g, memory, post-<br />
Soviet film<br />
Turkish media, New C<strong>in</strong>emas: Journal of Contemporary Film, 7.1, 27-38.<br />
Susan Ericsson is an assistant professor <strong>in</strong> the Art, Communication,<br />
and Theatre Department at Concordia University, Chicago. Dr.<br />
Ericsson teaches digital video production, film history and mass media<br />
communication courses. Among Dr. Ericsson's <strong>research</strong> <strong>in</strong>terests are<br />
c<strong>in</strong>ema <strong>in</strong> the United States, <strong>in</strong>ternational film, documentary film and<br />
video, media product placements and cultural criticism.<br />
› Raw Exposure: Portrayals of Youth Sexuality <strong>in</strong> Contemporary US<br />
Documentary, Film International, 6.6, 51-61.<br />
Claudia Esposito is Assistant Professor of French at the University of<br />
Massachusetts-Boston. She has published articles on Francophone<br />
literature and film from France and the Maghreb, which <strong>in</strong>clude essays<br />
on Abdellatif Kechiche and Karim Dridi, Tahar Ben Jelloun, Am<strong>in</strong><br />
Maalouf and Albert Memmi. She is currently complet<strong>in</strong>g a monograph<br />
on the postcolonial Mediterranean.<br />
› Ronsard <strong>in</strong> the metro: Abdellatif Kechiche and the poetics of space, Studies<br />
<strong>in</strong> French C<strong>in</strong>ema, 11.3, 223-234.<br />
Alexander Etk<strong>in</strong>d is Reader <strong>in</strong> Russian Literature and Cultural History<br />
at the University of Cambridge and a Fellow of K<strong>in</strong>g’s College,<br />
Cambridge. He is also the head of a large European project, Memory at<br />
War: Cultural Dynamics <strong>in</strong> Russia, Poland, and Ukra<strong>in</strong>e, which is<br />
f<strong>in</strong>anced by the HERA Foundation (2010–13). Before com<strong>in</strong>g to<br />
Cambridge, he taught at the European University at St Petersburg and<br />
was a visit<strong>in</strong>g scholar or professor at Hels<strong>in</strong>ki, Harvard, Georgetown<br />
and New York Universities, as well as at the Wissenschaftskolleg <strong>in</strong><br />
Berl<strong>in</strong> and the Woodrow Wilson Center <strong>in</strong> Wash<strong>in</strong>gton DC. His books<br />
<strong>in</strong>clude Eros of the Impossible: The History of Psychoanalysis <strong>in</strong><br />
Russia (1993), Khlyst. Sekty, literatura i revolitsiia (1998) and Nonfiction<br />
po-russki pravda (2007).<br />
› The tale of two turns: Khrustalev, My Car! and the c<strong>in</strong>ematic memory of the
Jo Evans<br />
University College London -<br />
University of London, Department of<br />
Spanish, Gower Street, London,<br />
WC1E 6BT, United K<strong>in</strong>gdom<br />
Keywords Lacan, femme fatale,<br />
homme fatal, heterosexual gaze,<br />
homosexual gaze, Basque<br />
Claude Evans<br />
University of Toronto Mississauga,<br />
Language Studies, 29 Oriole Gardens,<br />
Toronto, Ontario, M4V 1V8, Canada<br />
Keywords Patrice Leconte, Le Mari<br />
de la coiffeuse, La Fille sur le pont,<br />
gender, fantasy<br />
Georg<strong>in</strong>a Evans<br />
St John’s College, University of<br />
Cambridge, United K<strong>in</strong>gdom<br />
Soviet past, Studies <strong>in</strong> Russian and Soviet C<strong>in</strong>ema, 4.1, 45-63.<br />
Dr. Evans is the author of Mov<strong>in</strong>g Reflections: Gender, Faith and<br />
Aesthetics <strong>in</strong> the work Ángela Figuera Aymerich (London: Tamesis,<br />
1996). Her <strong>research</strong> is <strong>in</strong> the area of contemporary Spanish literature<br />
and film, gender studies, and psychoanalysis. She has published work<br />
on Spanish and Lat<strong>in</strong> American poetry and narrative, as well as on<br />
Spanish directors Ramón Salazar, Víctor Erice, Imanol Uribe, Juanma<br />
Bajo Ulloa, Julio Medem, and Juan Antonio Bardem: she is currently<br />
work<strong>in</strong>g on <strong>in</strong>tertextuality and transnationality <strong>in</strong> Amenábar and<br />
complet<strong>in</strong>g a second monograph on Julio Medem.<br />
› Piedras and the fetish: ‘Don't look now’, Studies <strong>in</strong> Hispanic C<strong>in</strong>emas, 2.2,<br />
69-82.<br />
› La madre muerta (The Dead Mother, 1993) and Tierra (Earth, 1995): Basque<br />
identity, or just the other?, New C<strong>in</strong>emas: Journal of Contemporary Film,<br />
4.3, 173-184.<br />
Claude Lucette Evans is Senior Lecturer <strong>in</strong> French at the University of<br />
Toronto at Mississauga (Canada), where she teaches courses on<br />
francophone culture and c<strong>in</strong>ema. Her degrees <strong>in</strong>clude a Licence-ès-<br />
Lettres from the University of Rennes (France), an MA <strong>in</strong> L<strong>in</strong>guistics<br />
from the University of Rochester, NY (USA) and a Ph.D. <strong>in</strong> Medieval<br />
Studies from the University of Toronto (Canada). She has published <strong>in</strong><br />
the area of Breton onomastics and popular religion, the Celtic church<br />
and society, Celtic mythology and its representations <strong>in</strong> literature, art<br />
and Robert Flaherty’s Man of Aran. Her current <strong>research</strong> <strong>in</strong>terests<br />
<strong>in</strong>clude the films of Patrice Leconte and Claude Chabrol.<br />
› Fantasies and ambiguous sexuality <strong>in</strong> Patrice Leconte’s Le Mari de la<br />
coiffeuse and La Fille sur le pont, Studies <strong>in</strong> French C<strong>in</strong>ema, 4.2, 135-146.<br />
Georg<strong>in</strong>a Evans is a Ph.D. student at St John’s College, Cambridge.<br />
Her work exam<strong>in</strong>es <strong>in</strong>teractions between the senses <strong>in</strong> contemporary<br />
French c<strong>in</strong>ema, with special attention to Kieslowski’s French-language<br />
films. She is the w<strong>in</strong>ner of the 2004 Studies <strong>in</strong> French C<strong>in</strong>ema
Keywords synaesthesia, Trois<br />
couleurs: Bleu/Three Colours: Blue,<br />
senses, perception<br />
Owen Evans<br />
Edge Hill University, Department of<br />
Media, St Helens Road, Ormskirk,<br />
L39 4QP, United K<strong>in</strong>gdom<br />
Keywords Lola, Franka Potente,<br />
post-modernism, German c<strong>in</strong>ema,<br />
fairy tale<br />
Wendy Everett<br />
University of Bath, European Studies<br />
and Modern Languages, Claverton<br />
Down, Bath, BA2 7AY, United<br />
K<strong>in</strong>gdom<br />
postgraduate essay prize.<br />
› Synaesthesia <strong>in</strong> Kieslowski’s Trois couleurs: Bleu, Studies <strong>in</strong> French<br />
C<strong>in</strong>ema, 5.2, 77-86.<br />
Dr. Owen Evans is Senior Lecturer <strong>in</strong> the School of Arts. His ma<strong>in</strong><br />
<strong>research</strong> <strong>in</strong>terests are currently centred on German and European<br />
c<strong>in</strong>ema, but he has published widely on East German society and<br />
culture, as well as contemporary German society and culture. His most<br />
recent book is entitled Mapp<strong>in</strong>g the Contours of Oppression:<br />
Subjectivity, Truth and Fiction <strong>in</strong> Recent German Autobiographical<br />
Treatments of Totalitarianism (Rodopi, 2006).<br />
› Editorial, Studies <strong>in</strong> European C<strong>in</strong>ema, 1.1, 3-6.<br />
› Tom Tykwer’s Run Lola Run: Postmodern, posthuman or ‘post-theory’?,<br />
Studies <strong>in</strong> European C<strong>in</strong>ema, 1.2, 105-116.<br />
› Editorial, Studies <strong>in</strong> European C<strong>in</strong>ema, 2.1, 3-6.<br />
› Editorial, Studies <strong>in</strong> European C<strong>in</strong>ema, 2.2, 77-80.<br />
› Editorial, Studies <strong>in</strong> European C<strong>in</strong>ema, 3.1, 3-6.<br />
› Editorial, Studies <strong>in</strong> European C<strong>in</strong>ema, 3.2, 89-92.<br />
› Introduction: ‘Films without Frontiers’, Studies <strong>in</strong> European C<strong>in</strong>ema, 4.3,<br />
163-166.<br />
› Editorial, Studies <strong>in</strong> European C<strong>in</strong>ema, 5.1, 3-6.<br />
› Editorial, Studies <strong>in</strong> European C<strong>in</strong>ema, 5.3, 157-159.<br />
› Editorial: A European imag<strong>in</strong>ary, Studies <strong>in</strong> European C<strong>in</strong>ema, 6.1, 3-6.<br />
› Editorial, Studies <strong>in</strong> European C<strong>in</strong>ema, 6.2&3, 93-96.<br />
› Introduction, Studies <strong>in</strong> European C<strong>in</strong>ema, 7.1, 3-4.<br />
› Editorial, Studies <strong>in</strong> European C<strong>in</strong>ema, 7.2, 91-93.<br />
› Editorial, Studies <strong>in</strong> European C<strong>in</strong>ema, 7.3, 173-175.<br />
› Editorial: The Death of the Auteur?, Studies <strong>in</strong> European C<strong>in</strong>ema, 8.1, 3-6.<br />
Wendy Everett graduated from the University of Wales, Cardiff and<br />
did postgraduate <strong>research</strong> at K<strong>in</strong>g's College, University of London, and<br />
<strong>in</strong> Paris. Here, she also lectured before mov<strong>in</strong>g to the University of<br />
Bath where she teaches Film at both undergraduate and postgraduate<br />
levels. She has given several lectures and conference papers <strong>in</strong> both the<br />
United K<strong>in</strong>gdom and the United States, and has recently been<br />
appo<strong>in</strong>ted to the Editorial Board of Literature/Film Quarterly.
Keywords space, fractal film, chaos,<br />
networks, autobiography, women's<br />
voices<br />
Elizabeth Ezra<br />
University of Stirl<strong>in</strong>g, School of<br />
Languages, Cultures and Religions,<br />
Stirl<strong>in</strong>g, FK9 4LA, United K<strong>in</strong>gdom<br />
Keywords dismemberment, extreme<br />
c<strong>in</strong>ema, restra<strong>in</strong>t, transnational<br />
Europe<br />
Am<strong>in</strong>u Fagge<br />
Mohammad<br />
Bayero University, Chair of the<br />
Department of Sociology, Kano,<br />
Nigeria<br />
Keywords Kano State, Islam, gender,<br />
family, fem<strong>in</strong>ism<br />
› Fractal films and the architecture of complexity, Studies <strong>in</strong> European<br />
C<strong>in</strong>ema, 2.3, 159-172.<br />
› Through the I of the camera: Women and autobiography <strong>in</strong> contemporary<br />
European film, Studies <strong>in</strong> European C<strong>in</strong>ema, 4.2, 125-136.<br />
› Image, Music, Film, Studies <strong>in</strong> European C<strong>in</strong>ema, 5.1, 7-16.<br />
Elizabeth Ezra teaches <strong>in</strong> the French section of the School of Modern<br />
Languages and Cultures at the University of Stirl<strong>in</strong>g. She is the author<br />
of The Colonial Unconscious (Cornell University Press, 2000) and<br />
Georges Melies (Manchester University Press, 2000); editor of<br />
European C<strong>in</strong>ema (Oxford University Press, 2003); and co-editor of<br />
France <strong>in</strong> Focus: Film and National Identity (Berg, 2000) and<br />
Transnational C<strong>in</strong>ema: The Film Reader.<br />
› Apocalypse Then: French Disaster Films of the 1920s, Studies <strong>in</strong> French<br />
C<strong>in</strong>ema, 1.1, 5-12.<br />
› Traces of the modern: an alternative history of French c<strong>in</strong>ema, Studies <strong>in</strong><br />
French C<strong>in</strong>ema, 10.1, 11-38.<br />
› L'Auberge espagnole (2002): transnational departure or domestic crash<br />
land<strong>in</strong>g?, Studies <strong>in</strong> European C<strong>in</strong>ema, 2.2, 137-.<br />
› Resurrect<strong>in</strong>g the Alien Director: Jean-Pierre Jeunet <strong>in</strong> Hollywood, New<br />
C<strong>in</strong>emas: Journal of Contemporary Film, 1.1, 54-.<br />
Professor Am<strong>in</strong>u Fagge Mohammad teaches Sociology at the Bayero<br />
University Kano. He is currently Chair of the Department of Sociology.<br />
His ma<strong>in</strong> <strong>research</strong> <strong>in</strong>terest is gender and the transformation of the<br />
Hausa Muslim community of Northern Nigeria. He is currently<br />
conduct<strong>in</strong>g <strong>research</strong> on the transformation of agricultural labour <strong>in</strong><br />
Kano State. His major publications are: Economy and Society <strong>in</strong> Hausa<br />
Home Video and Cooperative Society <strong>in</strong> Nigeria: genesis and current<br />
trends.<br />
› Women, religion and guilt <strong>in</strong> Hausa home video: an assessment, Film<br />
International, 5.4, 98-105.
Jan<strong>in</strong>a Falkowska<br />
University College 75, 1138<br />
Richmond Street, London, Ontario,<br />
N6A 3K7, Canada<br />
Keywords Michael Haneke, Andrzej<br />
Wajda, European c<strong>in</strong>ema, fatherhood,<br />
Melancholia<br />
Brett Farmer<br />
Chulalongkorn University, BALAC,<br />
Faculty of Arts, Boromrajakumari<br />
Bldg, Pathumwan, BKK 10330,<br />
Thailand<br />
Keywords celebrity, moral panic,<br />
Internet, transnational stardom,<br />
Edison Chen<br />
Mary Farquhar<br />
Griffith University, Department of<br />
International Bus<strong>in</strong>ess and Asian<br />
Studies, Nathan, Queensland, 4111,<br />
Australia<br />
Keywords martial arts, stardom,<br />
adolescence, opera, comedy<br />
Professor Jan<strong>in</strong>a Falkowska teaches East-Central European and<br />
Western European c<strong>in</strong>emas at the Department of Film Studies, the<br />
University of Western Ontario <strong>in</strong> London, Canada. She is the author of<br />
two books on Andrzej Wajda, The Political Films of Andrzej Wajda.<br />
Dialogism <strong>in</strong> Man of Marble, Man of Iron and Danton and Andrzej<br />
Wajda: History, Politics and Nostalgia <strong>in</strong> Polish C<strong>in</strong>ema. At present,<br />
Professor Falkowska is work<strong>in</strong>g on two new projects, melancholia <strong>in</strong><br />
European c<strong>in</strong>emas and the <strong>in</strong>terpretations of European c<strong>in</strong>emas <strong>in</strong> the<br />
context of Mikhail Bakht<strong>in</strong>'s notions of carnivalesque.<br />
› The myth of the father: Melancholia <strong>in</strong> the films of Andrzej Wajda from<br />
Poland, Michael Haneke from Austria and Aleksandr Sokurov from Russia,<br />
Studies <strong>in</strong> European C<strong>in</strong>ema, 7.1, 67-76.<br />
Brett Farmer is Lecturer <strong>in</strong> the Faculty of Arts at Chulalongkorn<br />
University, Thailand. He is the author of Spectacular Passions: Film,<br />
Fantasy, Gay Male Spectatorships (Duke University Press, 2000) and<br />
numerous essays <strong>in</strong> film, media, cultural and queer studies.<br />
› Cross<strong>in</strong>g the l<strong>in</strong>e: Read<strong>in</strong>g the Edison Chen scandal, Journal of Ch<strong>in</strong>ese<br />
C<strong>in</strong>emas, 3.1, 73-77.<br />
Mary Farquhar is a professor at Griffith University, Australia. She<br />
specializes <strong>in</strong> Ch<strong>in</strong>a studies and studied at Beij<strong>in</strong>g University. Her<br />
publications <strong>in</strong>clude Children’s Literature <strong>in</strong> Ch<strong>in</strong>a: From Lu Xun to<br />
Mao Zedong (New York: M.E. Sharpe, 1999), which won the annual<br />
International Children’s Literature Association Award for the most<br />
dist<strong>in</strong>guished, scholarly book published <strong>in</strong> the field. Her recent work on<br />
Ch<strong>in</strong>ese c<strong>in</strong>emas <strong>in</strong>cludes a book with Chris Berry, Ch<strong>in</strong>a Onscreen:<br />
C<strong>in</strong>ema and Nation (New York: Columbia University Press, 2006), an<br />
edited book with Y<strong>in</strong>gj<strong>in</strong> Zhang, Ch<strong>in</strong>ese Film Stars (Milton Park and<br />
New York: Routledge, 2010), and numerous book chapters and journal<br />
articles. She is also work<strong>in</strong>g as a writer with Rolex on the Rolex<br />
Mentor and Protege Arts Initiative (film cycle 2010-2011). The mentor<br />
is Ch<strong>in</strong>ese filmmaker Zhang Yimou and the protege is Palest<strong>in</strong>ian film<br />
director Annemarie Jacir.<br />
› Jackie Chan: a new dragon for a new generation, Journal of Ch<strong>in</strong>ese<br />
C<strong>in</strong>emas, 2.2, 137-146.
Monika Farukuoye<br />
University of F<strong>in</strong>e Arts, F<strong>in</strong>e Arts<br />
Film Department, Hamburg, Germany<br />
Keywords dramaturgy, existential<br />
phenomenology, embodiment,<br />
visuality, valuation<br />
Sally Faulkner<br />
University of Exeter, Hispanic<br />
Studies, Modern Languages, Exeter,<br />
United K<strong>in</strong>gdom<br />
Keywords Spanish c<strong>in</strong>ema,<br />
adaptation, New Spanish C<strong>in</strong>ema,<br />
history, cultural memory, Mario<br />
Camus, Vicente Aranda, Ricardo<br />
Franco, Montxo Armendariz, Ventura<br />
Pons, Angel<strong>in</strong>o Fons, Gonzalo<br />
Suarez, Fernando Mendez Leite, Luis<br />
Bunuel, Fernando Palacios, Pedro<br />
Lazaga, Miguel Picazo, Basilio<br />
Mart<strong>in</strong> Pat<strong>in</strong>o, Carlos Saura<br />
Maryse Fauvel<br />
College of William and Mary,<br />
Williamsburg, Virg<strong>in</strong>ia, VA 23185,<br />
United States of America<br />
Keywords Maghrebi c<strong>in</strong>ema,<br />
multiculturalism, hybridity,<br />
modernity, France, digital technology<br />
Monika Farukuoye was born <strong>in</strong> Vienna and earned a Masters degree <strong>in</strong><br />
Computer Science at the Technical University of Vienna <strong>in</strong> 2002. In<br />
2005, she completed the programme ‘Film-craft <strong>in</strong> Four Semesters’ <strong>in</strong><br />
Vienna, and enrolled <strong>in</strong> the Masters programme <strong>in</strong> Film Direct<strong>in</strong>g at<br />
Hamburg Media School <strong>in</strong> 2008. In 2009 she started her present studies<br />
<strong>in</strong> the Masters programme at the Hamburg University of F<strong>in</strong>e Arts Film<br />
Department with Professor Wim Wenders.<br />
› Portrayed beyond exposure, Short Film Studies, 1.1, 99-102.<br />
Dr Sally Faulkner is a Senior Lecturer <strong>in</strong> Hispanic Studies and Film<br />
Studies at the University of Exeter, and author of Literary Adaptations<br />
<strong>in</strong> Spanish C<strong>in</strong>ema (London: Támesis, 2004) and A C<strong>in</strong>ema of<br />
Contradiction: Spanish Film <strong>in</strong> the 1960s (Ed<strong>in</strong>burgh: Ed<strong>in</strong>burgh<br />
University Press, 2006). She is currently complet<strong>in</strong>g a history of<br />
Spanish C<strong>in</strong>ema for Cont<strong>in</strong>uum.<br />
› The question of authenticity: Camus’s film adaptation of Cela’s La colmena,<br />
Studies <strong>in</strong> Hispanic C<strong>in</strong>emas, 1.1, 17-26.<br />
› New Spanish C<strong>in</strong>ema <strong>in</strong> the 1960s: Interviews with Antxón Eceiza and Julio<br />
Diamante, Studies <strong>in</strong> Hispanic C<strong>in</strong>emas, 2.3, 205-.<br />
› Reviews, Studies <strong>in</strong> Hispanic C<strong>in</strong>emas, 3.1, 65-.<br />
› Reviews, Studies <strong>in</strong> Hispanic C<strong>in</strong>emas, 7.1, 73-75.<br />
› Reviews, Studies <strong>in</strong> European C<strong>in</strong>ema, 7.2, 163-169.<br />
› Catalan city c<strong>in</strong>ema, New C<strong>in</strong>emas: Journal of Contemporary Film, 1.3, 141-<br />
148.<br />
Maryse Fauvel is Professor of French/Francophone Studies at the<br />
College of William and Mary (Virg<strong>in</strong>ia, USA). Her book on<br />
contemporary Francophone novels Scenes d'<strong>in</strong>terieur. Six romanciers<br />
des annees 80-90 came out <strong>in</strong> 2007 (Birm<strong>in</strong>gham,AL:Summa) and the<br />
first volume of her co-written book A vous de voir ! (Paris : Casteilla) –<br />
with a DVD – came out <strong>in</strong> 2010, and a second volume forthcom<strong>in</strong>g.<br />
She has published articles on contemporary French/Francophone<br />
literature, culture and c<strong>in</strong>ema <strong>in</strong> The French Review, The Romanic<br />
Review, Studies <strong>in</strong> Twentieth-Century French Literature, Romance<br />
Notes, Sites: The Journal of Twentieth Century/Contemporary French<br />
Studies, Studies <strong>in</strong> French C<strong>in</strong>ema and Contemporary French<br />
Civilization.
Rossella Ferrari<br />
SOAS, University of London,<br />
Department of Ch<strong>in</strong>a & Inner Asia,<br />
Thornhaugh Street, Russell Square,<br />
London, WC1H 0XG, United<br />
K<strong>in</strong>gdom<br />
Keywords Ch<strong>in</strong>ese c<strong>in</strong>ema, Ch<strong>in</strong>ese<br />
theatre, experimental performance,<br />
avant-garde, transnationalism,<br />
transmediality<br />
Carol<strong>in</strong> Overhoff<br />
Ferreira<br />
Universidade Catolica Portuguesa,<br />
Rua Nova do Rochio, 125, Sao Fylix<br />
da Mar<strong>in</strong>ha, 4410-113, Portugal<br />
Keywords war, trauma,<br />
postcolonialism, double<br />
consciousness, Portuguese c<strong>in</strong>ema,<br />
Africa, immigration<br />
Arild Fetveit<br />
University of Copenhagen,<br />
› Yam<strong>in</strong>a Benguigui’s Inch’Allah dimanche: unveil<strong>in</strong>g hybrid identities,<br />
Studies <strong>in</strong> French C<strong>in</strong>ema, 4.2, 147-.<br />
› Nostalgia and digital technology: The Gleaners and I (Varda, 2000) and The<br />
Triplets of Belleville (Chomet, 2003) as reflective genres, Studies <strong>in</strong> French<br />
C<strong>in</strong>ema, 5.3, 219-.<br />
Rossella Ferrari is Lecturer <strong>in</strong> Modern Ch<strong>in</strong>ese Culture and Language<br />
at the School of Oriental and African Studies, University of London.<br />
Her <strong>research</strong> <strong>in</strong>terests focus on Ch<strong>in</strong>ese-language theatre and film,<br />
cross-cultural performance, and avant-garde theory. She has recently<br />
completed a book-length manuscript entitled Pop Goes The Avant-<br />
Garde: Experimental Theatre <strong>in</strong> Contemporary Ch<strong>in</strong>a.<br />
› Transnation/transmedia/transtext: border-cross<strong>in</strong>g from screen to stage <strong>in</strong><br />
Greater Ch<strong>in</strong>a, Journal of Ch<strong>in</strong>ese C<strong>in</strong>emas, 2.1, 53-65.<br />
Carol<strong>in</strong> Overhoff Ferreira is Assistant Professor and teaches film, script<br />
analysis and scriptwrit<strong>in</strong>g at the Portuguese Catholic University <strong>in</strong><br />
Porto and Brazilian film at the University of Coimbra. She studied film<br />
and theatre studies <strong>in</strong> Vienna, Bristol and Berl<strong>in</strong> and wrote her doctoral<br />
thesis on contemporary Lat<strong>in</strong> American drama. She has taught<br />
dramaturgy, film and theatre history at the Applied University of Art<br />
and Design <strong>in</strong> Hanover, and contemporary Lat<strong>in</strong> American drama at<br />
the Free University of Berl<strong>in</strong>. Current key <strong>in</strong>terests of <strong>in</strong>vestigation are<br />
questions of identity, postcolonialism, migration, the representation of<br />
women and literary adaptation <strong>in</strong> Portuguese-speak<strong>in</strong>g films.<br />
› Decoloniz<strong>in</strong>g the m<strong>in</strong>d? The representation of the African Colonial War <strong>in</strong><br />
Portuguese c<strong>in</strong>ema, Studies <strong>in</strong> European C<strong>in</strong>ema, 2.3, 227-.<br />
› No future – The Luso-African generation <strong>in</strong> Portuguese C<strong>in</strong>ema, Studies <strong>in</strong><br />
European C<strong>in</strong>ema, 4.1, 49-60.<br />
Arild Fetveit is associate professor <strong>in</strong> the Department for Media,<br />
Cognition and Communication, University of Copenhagen. He has<br />
published <strong>in</strong> the field of reception studies, reality TV, convergence,
Department of Media, Cognition and<br />
Communication, Njalsgade 88,<br />
Copenhagen S, DK-2300, Denmark<br />
Keywords remediation, digitalization,<br />
post-medium condition, new media,<br />
media aesthetics<br />
Allyson Fiddler<br />
Lancaster University, Department of<br />
European Languages and Cultures,<br />
Lancaster, Lancashire, LA1 4YN,<br />
United K<strong>in</strong>gdom<br />
Keywords identity politics, Austria,<br />
Yugoslavia, memory, nostalgia,<br />
nationalism, drama, novels, European<br />
c<strong>in</strong>ema, Elfriede Jel<strong>in</strong>ek<br />
Joshua First<br />
University of Mississippi, Department<br />
of History, Oxford, Mississippi,<br />
38655, United States of America<br />
Keywords women's film, genre, post-<br />
Thaw, Brezhnev era, 1970s<br />
Jaimey Fisher<br />
University of California, Davis,<br />
Department of German, 209 Sproul<br />
Hall, Davis, CA 95616, United States<br />
of America<br />
medial noise, music video and digitalization of film and photography<br />
as well as written a dissertation on the discursive possibilities between<br />
documentary and fiction film.<br />
› Introduction, Northern Lights: Film & Media Studies Yearbook, 5.1, 3-6.<br />
› Convergence by means of globalized remediation, Northern Lights: Film &<br />
Media Studies Yearbook, 5.1, 57-74.<br />
› Onl<strong>in</strong>e debate on digital aesthetics and communication, Northern Lights:<br />
Film & Media Studies Yearbook, 5.1, 141-158.<br />
Allyson Fiddler is a Professor of German and Austrian Studies at<br />
Lancaster University. Her recent publications <strong>in</strong>clude articles on<br />
Car<strong>in</strong>thia and <strong>in</strong>terculturalism, sport and national identity <strong>in</strong><br />
contemporary Austria drama, and on Elfriede Jel<strong>in</strong>ek’s plays Das<br />
Lebewohl and . Allyson is a member of the <strong>in</strong>ternational advisory<br />
boards of Austrian Studies, Modern Austrian Literature and the<br />
Elfriede Jel<strong>in</strong>ek-Forschungszentrum at the University of Vienna.<br />
› ‘Remember me, but ah! forget my fate’: Goran Rebić's picture of ‘Balkan<br />
Vienna’ <strong>in</strong> Jugofilm (1997), Studies <strong>in</strong> European C<strong>in</strong>ema, 3.3, 201-210.<br />
Joshua First is Croft Assistant Professor of History and International<br />
Studies at the University of Mississippi <strong>in</strong> Oxford, MS. Dr. First is<br />
<strong>in</strong>terested <strong>in</strong> Soviet c<strong>in</strong>ema and visual culture dur<strong>in</strong>g the Brezhnev era.<br />
He is work<strong>in</strong>g on a book on Ukra<strong>in</strong>ian 'poetic c<strong>in</strong>ema' and its<br />
engagement with nationalist discourses dur<strong>in</strong>g the 1960s and 1970s.<br />
› Mak<strong>in</strong>g Soviet melodrama contemporary: convey<strong>in</strong>g ‘emotional <strong>in</strong>formation’<br />
<strong>in</strong> the era of Stagnation, Studies <strong>in</strong> Russian and Soviet C<strong>in</strong>ema, 2.1, 21-42.<br />
Jaimey Fisher is currently Assistant Professor of German at the<br />
University of California, Davis. He has co-edited the volume Critical<br />
Theory: Current State and Future Prospects, and has published essays<br />
on German c<strong>in</strong>ema, on German literature, and on the Frankfurt School.<br />
His current project re-exam<strong>in</strong>es and refigures some of the recurr<strong>in</strong>g<br />
themes of German Studies scholarship via a critical exam<strong>in</strong>ation of
Keywords Munich Film Festival<br />
2004, Regie-Förderpreis der<br />
HypoVere<strong>in</strong>sbank, German c<strong>in</strong>ema,<br />
Schlöndorff, The N<strong>in</strong>th Day/Der<br />
neunte Tag<br />
Alexander Fisher<br />
Queen’s University, Lecturer <strong>in</strong> Film<br />
Studies, School of Languages,<br />
Literatures, and Perform<strong>in</strong>g Art,<br />
Queen’s University Belfast, Belfast,<br />
BT7 1NN, United K<strong>in</strong>gdom<br />
Keywords hybridity, culture,<br />
development, Africa, c<strong>in</strong>ema<br />
Michael Fitzhenry<br />
Zhongshan University,<br />
Communication and Design, Ch<strong>in</strong>a<br />
Keywords Gus Van Sant, Elephant,<br />
Jia Zhang Ke, Platform, <strong>in</strong>dependent<br />
c<strong>in</strong>ema, Ch<strong>in</strong>ese c<strong>in</strong>ema, Beij<strong>in</strong>g Film<br />
Academy, ‘Sixth Generation’, digital<br />
technology<br />
Lorna Fitzsimmons<br />
Calfornia State University,<br />
Dom<strong>in</strong>guez Hills, Department of<br />
Interdiscipl<strong>in</strong>ary Studies, United<br />
States of America<br />
Keywords Faust, literature, music<br />
post-1989 c<strong>in</strong>ema.<br />
› Report on the Munich Film Festival 2004, New C<strong>in</strong>emas: Journal of<br />
Contemporary Film, 2.3, 199-.<br />
Alexander Fisher is Lecturer <strong>in</strong> Film Studies at Queens University<br />
Belfast, where he teaches modules on world c<strong>in</strong>emas and film music.<br />
› Fund<strong>in</strong>g, ideology and the aesthetics of the development film <strong>in</strong> postcolonial<br />
Zimbabwe, Journal of African C<strong>in</strong>emas, 2.2, 111-120.<br />
Michael Fitzhenry teaches <strong>in</strong> the School of Communication and Design<br />
at Zhongshan University. He is <strong>in</strong>terested <strong>in</strong> what is loosely referred to<br />
as film and ethics; however, his recent <strong>research</strong> concentrates on the<br />
impact of digital technology on the film <strong>in</strong>dustry, and he is <strong>in</strong>terested <strong>in</strong><br />
East Asian c<strong>in</strong>emas <strong>in</strong> particular.<br />
› nternal Screen<strong>in</strong>g: the new <strong>in</strong>dependent c<strong>in</strong>ema between Hollywood and<br />
Ch<strong>in</strong>a, Film International, 5.1, 45-57.<br />
Lorna Fitzsimmons is Associate Professor <strong>in</strong> the Department of<br />
Interdiscipl<strong>in</strong>ary Studies at Calfornia State University, Dom<strong>in</strong>guez<br />
Hills. Her publications <strong>in</strong>clude International Faust Studies:<br />
Adaptation, Reception, Translation (London & New York: Cont<strong>in</strong>uum)<br />
(ed) and Lives of Faust: The Faust Theme <strong>in</strong> Literature and Music. A<br />
Reader (Berl<strong>in</strong> and New York: De Gruyter) (ed).<br />
› Hermes and the jeu fem<strong>in</strong><strong>in</strong>e: L'Herbier's Don Juan et Faust, Studies <strong>in</strong><br />
French C<strong>in</strong>ema, 2.2, 98-108.
Trish FitzSimons<br />
Griffith Film School, Queensland<br />
College of Art, Griffith University,<br />
PO Box 3370, South Brisbane, 4101,<br />
Australia<br />
Keywords voice, choric, dialogic,<br />
ventriloquic, Bill Nichols<br />
Daniela Flesler<br />
SUNY Stony Brook, Melville Library<br />
N-3017, Department. of Hispanic<br />
Languages and Literature, N3014<br />
Melville Library, Stony Brook, New<br />
York, NY 11794-3371, United States<br />
of America<br />
Keywords romance, racism,<br />
Europeanization, Tomándote,<br />
Susanna<br />
Margaret C. Fl<strong>in</strong>n<br />
University of Ill<strong>in</strong>ois, Department of<br />
French, 2090 Foreign Languages<br />
Build<strong>in</strong>g MC-158, 707 S. Mathews<br />
Avenue, Urbana, Ill<strong>in</strong>ois, United<br />
States of America<br />
Keywords adaptation, document, new<br />
media art, <strong>in</strong>teractive c<strong>in</strong>ema, Boissier<br />
Trish FitzSimons is Associate Professor at the Griffith Film School,<br />
Brisbane. She is a documentary filmmaker <strong>who</strong> also has <strong>research</strong><br />
<strong>in</strong>terests <strong>in</strong> documentary theory, policy and history. She teaches screen<br />
produc<strong>in</strong>g and screen distribution and is <strong>in</strong>terested <strong>in</strong> the impact of<br />
digital c<strong>in</strong>ema exhibition on national c<strong>in</strong>emas and the <strong>in</strong>tegration of<br />
screen media and museums. She has recently completed Australian<br />
Documentary: History, Practice, Genres (Cambridge University Press,<br />
forthcom<strong>in</strong>g) with Dugald Williamson and Pat Laughren.<br />
› Braided Channels: A Genealogy of the Voice of Documentary, Studies <strong>in</strong><br />
Documentary Film, 3.2, 131-146.<br />
Daniela Flesler is Assistant Professor of Spanish at the State University<br />
of New York, Stony Brook with a specialization <strong>in</strong> contemporary<br />
pen<strong>in</strong>sular studies. She has published essays <strong>in</strong> Revista de Estudios<br />
Hispánicos, Arizona Journal of Hispanic Cultural Studies, Journal of<br />
Spanish Cultural Studies, Dieciocho and Crítica Hispánica, and is<br />
currently complet<strong>in</strong>g a book manuscript entitled The Return of the<br />
Moor: Spanish Responses to Contemporary Moroccan Immigration.<br />
› New racism, <strong>in</strong>tercultural romance, and the immigration question <strong>in</strong><br />
contemporary Spanish c<strong>in</strong>ema, Studies <strong>in</strong> Hispanic C<strong>in</strong>emas, 1.2, 103-118.<br />
Margaret C. Fl<strong>in</strong>n is Assistant Professor <strong>in</strong> the Departments of French<br />
and of Media and C<strong>in</strong>ema Studies at the University of Ill<strong>in</strong>ois at<br />
Urbana-Champaign. She has authored articles on Chris Marker,<br />
Nicolas Philibert, the film theory of Elie Faure, women <strong>in</strong> North<br />
African c<strong>in</strong>ema and the documentaire romancé for journals such as<br />
SubStance and Yale French Studies. She is currently complet<strong>in</strong>g a book<br />
entitled Bodies <strong>in</strong> Space: The Social Architecture of French C<strong>in</strong>ema,<br />
1929–1939. The above article comes from a book project tentatively<br />
titled New Limits of the Real: Arts of the Mov<strong>in</strong>g Image and the<br />
Politics of the Contemporary Everyday.<br />
› Jean-Louis's Moments of Jean-Jacques, Studies <strong>in</strong> French C<strong>in</strong>ema, 10.2, 141-<br />
154.
Stephen Forcer<br />
University of Birm<strong>in</strong>gham,<br />
Department of French Studies,<br />
Birm<strong>in</strong>gham, B15 2TT, United<br />
K<strong>in</strong>gdom<br />
Keywords Miéville, Numéro deux,<br />
game, form, philosophy, Buñuel<br />
Hamish Ford<br />
The University of Newcastle, School<br />
of Humanities and Social Science,<br />
Room MC127, McMull<strong>in</strong> Build<strong>in</strong>g,<br />
Callaghan Campus, Newcastle, New<br />
South Wales, 2308 NSW, Australia<br />
Keywords post-war modernism,<br />
1960s, return, past, temporality,<br />
aesthetic form<br />
Serena Formica<br />
The University of Derby, Faculty of<br />
Arts, Design and Technology,<br />
Department of Film and Media<br />
Studies, Kedleston Road, Derby,<br />
DE22 1GB, United K<strong>in</strong>gdom<br />
Keywords Australian national<br />
c<strong>in</strong>ema, policy, film <strong>in</strong>dustry,<br />
production, revival<br />
Stephen Forcer wrote his D.Phil. on the poetry of Tristan Tzara at<br />
Wadham College, Oxford. He is a lecturer <strong>in</strong> French at Birm<strong>in</strong>gham<br />
University. His primary <strong>research</strong> <strong>in</strong>terests <strong>in</strong>clude Dada and Surrealism<br />
<strong>in</strong> French film and literature. He has written on Luis Buñuel’s Belle de<br />
jour (1967), and contributed translations of six essays to Christ<strong>in</strong>a<br />
Howells (ed.), French Women Philosophers: A Contemporary Reader<br />
(London: Routledge, 2003).<br />
› Word games and space <strong>in</strong>vaders: play, form and philosophy <strong>in</strong> Jean-Luc<br />
Godard and Anne-Marie Miéville’s Numéro deux (1975), Studies <strong>in</strong> French<br />
C<strong>in</strong>ema, 5.2, 87-98.<br />
› Trust me, I'm a director: sex, sadomasochism and <strong>in</strong>stitutionalization <strong>in</strong> Luis<br />
Buñuel's Belle de Jour (1967), Studies <strong>in</strong> European C<strong>in</strong>ema, 1.1, 19-30.<br />
Hamish Ford lectures <strong>in</strong> Film, Media and Cultural Studies at the School<br />
of Humanities and Social Science, University of Newcastle.<br />
› The return of 1960s modernist c<strong>in</strong>ema, Studies <strong>in</strong> Australasian C<strong>in</strong>ema, 5.2,<br />
155-170.<br />
Serena Formica is Associate Lecturer <strong>in</strong> Film Studies at the University<br />
of Derby, UK. She is author of the book Peter Weir: A Creative<br />
Journey from Australia to Hollywood.<br />
› When it all started: Politics and policies of the Australian film <strong>in</strong>dustry from<br />
the revival to the <strong>in</strong>ternational breakthrough, Studies <strong>in</strong> Australasian C<strong>in</strong>ema,<br />
5.1, 43-57.<br />
David Forrest David Forrest is Faculty Project Officer and Honorary Research<br />
Associate at the School of English Literature, Language and
The University of Sheffield, The<br />
School of English Literature,<br />
Language and L<strong>in</strong>guistics, Jessop<br />
West, Sheffield, South Yorkshire, S3<br />
7RA, United K<strong>in</strong>gdom<br />
Keywords British New Wave, Shane<br />
Meadows, art c<strong>in</strong>ema, Bordwell,<br />
Poetic realism, British Social<br />
Realism<br />
Till Förster<br />
Universitet Basel, Institute of Social<br />
Anthropology, Ethnologisches<br />
Sem<strong>in</strong>ar, Munsterplatz 19, Basel, CH-<br />
4051, Switzerland<br />
Keywords visual perception,<br />
practices of see<strong>in</strong>g, practices of<br />
look<strong>in</strong>g, Senufo marriage ceremonies,<br />
‘Ivorian wedd<strong>in</strong>g’<br />
David Foster<br />
University of Manitoba, Department<br />
of English, Film and Theatre<br />
L<strong>in</strong>guistics at the University of Sheffield. His Ph.D. (2009) was<br />
entitled ‘Social realism: A British art c<strong>in</strong>ema’ and constituted a<br />
formalist analysis of British realist c<strong>in</strong>ema, <strong>in</strong> l<strong>in</strong>e with theories of Art<br />
C<strong>in</strong>ema. He has produced articles and presented conference papers on<br />
various aspects of British film and television, <strong>in</strong>clud<strong>in</strong>g contemporary<br />
British realism; the work of Shane Meadows; the British New Wave;<br />
the relationship between text and screen treatments of work<strong>in</strong>g-class<br />
themes and subjects; realist television drama; and the documentary<br />
movement.<br />
› Shane Meadows and the British New Wave: Brita<strong>in</strong>'s hidden art c<strong>in</strong>ema,<br />
Studies <strong>in</strong> European C<strong>in</strong>ema, 6.2&3, 191-201.<br />
› Better Th<strong>in</strong>gs (Duane Hopk<strong>in</strong>s, 2008) and new British realism, New<br />
C<strong>in</strong>emas: Journal of Contemporary Film, 8.1, 31-43.<br />
› Straight Outta Uttoxeter: Study<strong>in</strong>g Shane Meadows University of East<br />
Anglia, 1516 April 2010, New C<strong>in</strong>emas: Journal of Contemporary Film, 8.2,<br />
137-140.<br />
› REVIEWS, Journal of Screenwrit<strong>in</strong>g, 3.1, 119-128.<br />
Till Förster has been a Professor for Social Anthropology at the<br />
University of Basel s<strong>in</strong>ce 2001. Previously, he has been Professor and<br />
Director of the Africa Center of the University of Beyreuth and<br />
Associate Professor for Social Anthropology at the University of<br />
Cologne. Prior to pursu<strong>in</strong>g his academic career, Till Förster gathered<br />
extensive experience <strong>in</strong> development work through his <strong>in</strong>volvement <strong>in</strong><br />
a variety of projects <strong>in</strong> Côte d'Ivoire, Burk<strong>in</strong>a Faso, or Niger. These<br />
dealt with such diverse issues as the implementation of biogas plants,<br />
irrigated rice cultivation, land use and land ownership, or <strong>in</strong>tegrated<br />
rural and urban development. His particular <strong>research</strong> <strong>in</strong>terests lie <strong>in</strong> the<br />
analysis of statehood, the risks of the fail<strong>in</strong>g states, and the grow<strong>in</strong>g<br />
importance of non-state actors, as well as questions of cultural identity<br />
and new forms of cultural <strong>in</strong>teraction, participation and representation<br />
<strong>in</strong> African societies.<br />
› The act and art of see<strong>in</strong>g visual media <strong>in</strong> West Africa: TV and video <strong>in</strong><br />
northern Côte d'Ivoire, Film International, 5.4, 44-50.<br />
David Foster teaches English and Film Studies at the University of<br />
Manitoba. He recently completed his Ph.D. at the University of<br />
Alberta. His dissertation ‘K<strong>in</strong>o-Poiêsis: Towards a Poetics of Poetic<br />
Film’ theorized the possibility of poetic film by exam<strong>in</strong><strong>in</strong>g the work of
University of Manitoba, 641 Fletcher<br />
Argue, W<strong>in</strong>nipeg, Manitoba, R3T<br />
5V5, Canada<br />
Keywords reflexivity, poetic film,<br />
space, Stalker, Andrei Tarkovsky<br />
Santiago Fouz-Hernández<br />
Durham University, School of<br />
Modern Languages and Cultures,<br />
United K<strong>in</strong>gdom<br />
Keywords gender, stereotypes, queer<br />
politics, male, body, GLBT, Spanish<br />
c<strong>in</strong>ema, British c<strong>in</strong>ema, Javier<br />
Bardem<br />
Babak Fozooni<br />
Open University, United K<strong>in</strong>gdom<br />
Keywords Iran, capitalism, c<strong>in</strong>ema,<br />
politics, philosophy<br />
Chris Marker, Andrei Tarkovsky, Stan Brakhage and Guy Madd<strong>in</strong>. His<br />
<strong>research</strong> <strong>in</strong>terests <strong>in</strong>clude poetic and essayistic film, the work of Chris<br />
Marker and film adaptation. His work has appeared <strong>in</strong> Scope: An<br />
Onl<strong>in</strong>e Journal of Film and TV Studies and Image [&] Narrative.<br />
› Where flowers bloom but have no scent: the c<strong>in</strong>ematic space of the Zone <strong>in</strong><br />
Andrei Tarkovsky's Stalker, Studies <strong>in</strong> Russian and Soviet C<strong>in</strong>ema, 4.3, 307-<br />
320.<br />
› Book Reviews, Film International, 7.5, 71-90.<br />
› DVD Reviews, Film International, 7.6, 76-78.<br />
Santiago Fouz-Hernández is reviews editor of Studies <strong>in</strong> Hispanic<br />
C<strong>in</strong>emas. He is senior lecturer <strong>in</strong> Spanish c<strong>in</strong>ema at Durham University<br />
and is the author of various articles on issues of mascul<strong>in</strong>ity, sexuality<br />
and the body <strong>in</strong> contemporary Spanish and British c<strong>in</strong>ema. He is the<br />
co-author of Live Flesh: The Male Body <strong>in</strong> Contemporary Spanish<br />
C<strong>in</strong>ema (I.B. Tauris, 2007), editor of Mysterious Sk<strong>in</strong> Male Bodies <strong>in</strong><br />
Contemporary C<strong>in</strong>ema (I.B. Tauris, 2009) and co-editor of Madonna’s<br />
Drowned Worlds: New Approaches to Her Cultural Transformations<br />
1983–2003 (Ashgate 2004). He is currently complet<strong>in</strong>g a manuscript<br />
entitled Cuerpos de c<strong>in</strong>e about men and mascul<strong>in</strong>ities <strong>in</strong> contemporary<br />
c<strong>in</strong>ema and popular culture.<br />
› Editorial, Studies <strong>in</strong> Hispanic C<strong>in</strong>emas, 3.3, 131-134.<br />
› Reviews, Studies <strong>in</strong> Hispanic C<strong>in</strong>emas, 3.3, 205-.<br />
› School is out, New C<strong>in</strong>emas: Journal of Contemporary Film, 1.3, 149-164.<br />
Babak Fozooni is an associate lecturer at the Open University. He<br />
obta<strong>in</strong>ed his BSc <strong>in</strong> psychology (University of Keele). He completed<br />
his MSc <strong>in</strong> <strong>research</strong> methods <strong>in</strong> psychology (University of Read<strong>in</strong>g),<br />
followed by an MSc <strong>in</strong> critical psychology (University of Bolton) and<br />
an MA <strong>in</strong> film and television studies (University of Westm<strong>in</strong>ster). He<br />
received his Ph.D. <strong>in</strong> psychology (Manchester Metropolitan<br />
University). He has taught at Manchester Metropolitan University, the<br />
University of East London, the University of Westm<strong>in</strong>ster, Birkbeck<br />
College and the Open University.<br />
› Kiarostami debunked!, New C<strong>in</strong>emas: Journal of Contemporary Film, 2.2,<br />
73-90.
Benjam<strong>in</strong> Fraser<br />
The College of Charleston,<br />
Department of Hispanic Studies, 66<br />
George St., Charleston, SC 29424,<br />
United States of America<br />
Keywords Madrid, Retiro Park,<br />
Lefebvre, sell<strong>in</strong>g place, filmspace<br />
Carl Freedman<br />
Louisiana State University,<br />
Department of English, Department<br />
of English, LSU, Baton Rouge,<br />
Louisiana, LA 70803, United States<br />
of America<br />
Keywords Oliver Stone, Richard<br />
Nixon, American politics, tragedy,<br />
Death of a Salesman<br />
Lisa French<br />
RMIT University, C<strong>in</strong>ema Studies,<br />
School of Media and Communication,<br />
Bld 9, Level 4, 124 La Trobe St.,<br />
Melbourne, Vic 3000, Australia<br />
Keywords Australian c<strong>in</strong>ema, gender,<br />
amateurism<br />
Benjam<strong>in</strong> Fraser (Ph.D.; University of Arizona, 2006) is Assistant<br />
Professor of Spanish at the College of Charleston and the current<br />
Manag<strong>in</strong>g Editor of the Arizona Journal of Hispanic Cultural Studies.<br />
He is the author of Encounters with Bergson(ism) <strong>in</strong> Spa<strong>in</strong> (University<br />
of North Carol<strong>in</strong>a Press, 2010) and Henri Lefebvre and the Spanish<br />
Urban Experience (Bucknell University Press, 2011), and the<br />
editor/translator of Deaf History and Culture <strong>in</strong> Spa<strong>in</strong> (Gallaudet<br />
University Press, 2009). He has also published over 30 peer-reviewed<br />
articles, many of which focus on topics related to urban studies.<br />
› The space <strong>in</strong> film and the film <strong>in</strong> space: Madrid's Retiro Park and Carlos<br />
Saura's Taxi, Studies <strong>in</strong> Hispanic C<strong>in</strong>emas, 3.1, 15-32.<br />
Carl Freedman is Professor of English at Louisiana State University.<br />
He is the author of several books, <strong>in</strong>clud<strong>in</strong>g Critical Theory and<br />
Science Fiction (2000), The Incomplete Projects: Marxism, Modernity,<br />
and the Politics of Culture (2002), and The Age of Nixon: A Study <strong>in</strong><br />
Cultural Power (forthcom<strong>in</strong>g), and of dozens of articles. His work <strong>in</strong><br />
film and media studies is devoted ma<strong>in</strong>ly to science-fiction films,<br />
Westerns, crime films, and television.<br />
› Versions of the American Imperium <strong>in</strong> Three Westerns by John Ford, Film<br />
International, 3.18, 14-25.<br />
› An American Tragedy: On Oliver Stone's… Nixon, Film International, 4.19,<br />
14-23.<br />
› Post-Hetero Sexuality: John Wayne and the construction of American, Film<br />
International, 5.1, 16-31.<br />
› The Supplement of Coppola: Primitive Accumulation and the Godfather<br />
Trilogy, Film International, 9.1, 8-41.<br />
› Hobbes After Marx, Scorsese after Coppola: on GoodFellas, Film<br />
International, 9.1, 42-62.<br />
Lisa French is Associate Professor <strong>in</strong> C<strong>in</strong>ema Studies, Media and<br />
Communication at RMIT. She is the co-author of the books Sh<strong>in</strong><strong>in</strong>g a<br />
Light: 50 Years of the Australian Film Institute (2009) and<br />
Womenvision: Women andthe Mov<strong>in</strong>g Image <strong>in</strong> Australia (2003), and<br />
producer of Birth of a Film Festival (2003), a film about the first<br />
Melbourne International Film Festival. She is currently undertak<strong>in</strong>g a<br />
major <strong>research</strong> project exam<strong>in</strong><strong>in</strong>g women’s participation<strong>in</strong> Australia’s<br />
film, television, video and multimedia <strong>in</strong>dustries.
Paloma Fresno-Calleja<br />
Griffith University, School of<br />
Humanities, Nathan Campus, 170<br />
Kessels Road, Nathan, QLD 4111,<br />
Australia<br />
Keywords New Zealand c<strong>in</strong>ema,<br />
multiculturalism, Ch<strong>in</strong>ese New<br />
Zealanders, Asian stereotypes,<br />
Roseanne Liang<br />
Mattias Frey<br />
University of Kent, School of Arts -<br />
Film Studies, Canterbury, Kent, CT2<br />
7UG, United K<strong>in</strong>gdom<br />
Keywords national history <strong>in</strong> German<br />
film, German c<strong>in</strong>ema, Austrian<br />
c<strong>in</strong>ema, media reception, movie<br />
criticism, c<strong>in</strong>ephilia<br />
Bert Fridlund<br />
Keywords Sabata, Gianfranco<br />
Parol<strong>in</strong>i, Frank Kramer, Giuliano<br />
› Passionate amateurs: The xperimental film and television fund and modernist<br />
film practice <strong>in</strong> Australia, Studies <strong>in</strong> Australasian C<strong>in</strong>ema, 5.2, 171-183.<br />
Kar<strong>in</strong>a Aveyard is a Ph.D. candidate <strong>in</strong> the School of Humanities at<br />
Griffith University. Her doctoral <strong>research</strong> exam<strong>in</strong>es contemporary<br />
c<strong>in</strong>ema exhibition <strong>in</strong> rural locations. This <strong>research</strong> is funded by an<br />
Australian Research Council L<strong>in</strong>kage Grant <strong>in</strong> partnership with the<br />
Australian government film agencies, the National Film and Sound<br />
Archive and Screen Australia.<br />
› Reel New Zealanders: Contest<strong>in</strong>g tokenism and ethnic stereotyp<strong>in</strong>g <strong>in</strong><br />
Roseanne Liang s Take 3, Studies <strong>in</strong> Australasian C<strong>in</strong>ema, 5.1, 19-29.<br />
Mattias Frey is Lecturer <strong>in</strong> Film Studies at the University of Kent. His<br />
book on the new understand<strong>in</strong>g of national history <strong>in</strong> German film, to<br />
be entitled Goodbye Hitler: Postwall German C<strong>in</strong>ema and History, will<br />
appear with Berghahn Books. His numerous articles have appeared <strong>in</strong> a<br />
host of edited anthologies, reference works and journals such as<br />
C<strong>in</strong>ema Journal, Screen, Quarterly Review of Film and Video,<br />
Framework, Jump Cut and Senses of C<strong>in</strong>ema. Previously, he reviewed<br />
movies for the Boston Phoenix. His ongo<strong>in</strong>g <strong>research</strong> concentrates on<br />
European c<strong>in</strong>ema (with particular emphasis on German and Austrian<br />
film), historiography, matters of media reception and consumption, the<br />
history of ‘classical’ and contemporary film theory, movie criticism and<br />
c<strong>in</strong>ephilia.<br />
› Book Reviews, Film International, 5.5, 87-93.<br />
› The New European C<strong>in</strong>ema: Redraw<strong>in</strong>g the Map Rosal<strong>in</strong>d Galt (2006), Film<br />
International, 5.2, 70-71.<br />
Bert Fridlund was born <strong>in</strong> the backwoods of Sweden <strong>in</strong> 1947 and<br />
currently lives <strong>in</strong> the city of Uppsala. He graduated <strong>in</strong> the Department<br />
of C<strong>in</strong>ema Studies at Stockholm University, with a doctoral<br />
dissertation on the spaghetti western. He has had a book published on<br />
the same subject.
Carm<strong>in</strong>eo, Anthony Ascot<br />
Unni From<br />
Aarhus University, Department of<br />
Information and Media Studies,<br />
Hels<strong>in</strong>gforsgade 14, Århus N, 8200,<br />
Denmark<br />
Keywords readership, newspapers,<br />
qualitative audience studies, lifestyle<br />
journalism, cultural journalism<br />
Yelena Furman<br />
University of California, Russian<br />
Studies, United States of America<br />
Keywords female sexuality, violence,<br />
Ukra<strong>in</strong>ian c<strong>in</strong>ema, Natal'ia<br />
Andreichenko, Svetlana Vasilenko<br />
Yuriko Furuhata<br />
McGill University <strong>in</strong> Montréal,<br />
Department of East Asian Studies,<br />
Canada<br />
Keywords Japanese c<strong>in</strong>ema, avantgarde,<br />
<strong>in</strong>dependent c<strong>in</strong>ema, film<br />
theory, media, cont<strong>in</strong>ental philosophy,<br />
political activism<br />
› ‘A First Class Pall-bearer!’: The Sartana/Sabata Cycle <strong>in</strong> Spaghetti Westerns,<br />
Film International, 6.3, 44-55.<br />
Unni From, Ph.D., is Associate Professor and Head of Studies at<br />
Department of Information and Media Studies, Aarhus University,<br />
Denmark. Her ongo<strong>in</strong>g <strong>research</strong> on cultural journalism is conducted <strong>in</strong><br />
collaboration with Associate Professor Nete Nørgaard Kristensen,<br />
University of Copenhagen and was published as a monograph <strong>in</strong> 2010.<br />
She has also published articles on lifestyle journalism, consumer<br />
journalism, audiences and television fiction.<br />
› The read<strong>in</strong>g of cultural and lifestyle journalism, Northern Lights: Film &<br />
Media Studies Yearbook, 8.1, 157-175.<br />
Yelena Furman is currently a lecturer <strong>in</strong> the Program <strong>in</strong> Russian<br />
Studies at the University of California. Her dissertation was titled<br />
'Writ<strong>in</strong>g the Body <strong>in</strong> New Women's Prose: Sexuality and Textuality <strong>in</strong><br />
Contemporary Russian Fiction'. Her areas of <strong>in</strong>terest <strong>in</strong>clude Russian<br />
literature from glasnost to the present, fem<strong>in</strong>ist theory, and Chekhov.<br />
Currently, she is work<strong>in</strong>g on Virg<strong>in</strong>ia Woolf's collaboration with<br />
Koteliansky on the translation of Dostoevsky's Stavrog<strong>in</strong>'s Confession.<br />
› Shamara: writ<strong>in</strong>g and screen<strong>in</strong>g the female body, Studies <strong>in</strong> Russian and<br />
Soviet C<strong>in</strong>ema, 2.2, 167-181.<br />
Yuriko Furuhata is Assistant Professor of film and visual culture <strong>in</strong> the<br />
Department of East Asian Studies at McGill University <strong>in</strong> Montréal,<br />
Canada. Her work explores theories of the image, the avant-garde,<br />
politics, and film-mak<strong>in</strong>g practice with an emphasis on Japan. She has<br />
published on Japanese film theory and the c<strong>in</strong>ematic experiments of the<br />
1960s, the work of p<strong>in</strong>k filmmaker Wakamatsu Kôji, the theory of<br />
fûkeiron, the discourse of <strong>in</strong>dexicality and photography, and the trope<br />
of resistance. Current projects <strong>in</strong>clude analyses of the relation between<br />
plasticity and political activism; the image economies of c<strong>in</strong>ema and<br />
the news media; and the emergence of eizô as a film theoretical<br />
concept. Her <strong>research</strong> also aims to foreground the <strong>in</strong>termedial<br />
connections among writers, filmmakers, and photographers, such as
Ehab Galal<br />
University of Copenhagen,<br />
Department of Cross-Cultural and<br />
Regional Studies, Snorresgade 17-19,<br />
DK-2300 Copenhagen S, Denmark<br />
Keywords Islamic media, Qur'an,<br />
heal<strong>in</strong>g, magic, Qur'an recitation<br />
Jérôme Game<br />
American Universiy of Paris, Film<br />
Studies, France<br />
Keywords philosophy, subjectivity,<br />
French culture<br />
Hanada Kiyoteru, Matsumoto Toshio, Oshima Nagisa, Adachi Masao,<br />
and Nakahira Takuma.<br />
› Desir<strong>in</strong>g resistance <strong>in</strong> the age of globalization, New C<strong>in</strong>emas: Journal of<br />
Contemporary Film, 2.2, 91-106.<br />
Ehab Galal is Assistant Professor <strong>in</strong> Modern Islam and Middle East<br />
Studies and Education Coord<strong>in</strong>ator <strong>in</strong> the Department of Cross-Cultural<br />
and Regional Studies, University of Copenhagen. He has published<br />
several articles on Arab media <strong>in</strong> both English and Danish and is the<br />
author of Media <strong>in</strong> global conflict zones, with Mette Thunø<br />
(Copenhagen: Museum Tusculanum Press, 2009).<br />
› Magic spells and recitation contests: the Quran as enterta<strong>in</strong>ment on Arab<br />
satellite television, Northern Lights: Film & Media Studies Yearbook, 6.1,<br />
165-179.<br />
Jérôme Game jo<strong>in</strong>ed the American University of Paris <strong>in</strong> 2004. After<br />
receiv<strong>in</strong>g his Ph.D. <strong>in</strong> French literature and philosophy from<br />
Cambridge University. In 2002 he was appo<strong>in</strong>ted Andrew W. Mellon<br />
Post-Doctoral Fellow <strong>in</strong> the Humanities at University College London,<br />
where he carried out <strong>research</strong> for two years. He teaches courses <strong>in</strong><br />
Philosophy and Film Studies, notably History of Modern Philosophy,<br />
Philosophy of Aesthetics, Modern Critical Theory, History of Narrative<br />
C<strong>in</strong>ema, Film and the Body, and Asian C<strong>in</strong>ema. His <strong>research</strong> <strong>in</strong>terests<br />
focus on a theoretical and critical exam<strong>in</strong>ation of modern culture<br />
(c<strong>in</strong>ema, literature, visual arts) around a philosophical rework<strong>in</strong>g of<br />
subjectivity and time. These concerns are addressed <strong>in</strong> numerous<br />
publications, often with<strong>in</strong> an <strong>in</strong>terdiscipl<strong>in</strong>ary context, and<br />
problematized around issues such as the body, desire and power. He<br />
has recently edited volumes on text/image relations <strong>in</strong> twentiethcentury<br />
French culture and on the work of Jacques Rancière.<br />
› C<strong>in</strong>ematic Bodies: The bl<strong>in</strong>d spot <strong>in</strong> Contemporary French Theory on<br />
Corporeal C<strong>in</strong>ema, Studies <strong>in</strong> French C<strong>in</strong>ema, 1.1, 47-53.<br />
Susanne Gannon Dr Susanne Gannon is an Associate Professor <strong>in</strong> the School of
University of Western Sydney,<br />
School of Education, Locked Bag<br />
1797, Penrith South, NSW, 2751,<br />
Australia<br />
Keywords refugee films, narrative,<br />
the other, Australia<br />
Adam Ganz<br />
Royal Holloway - University of<br />
London, Department of Media Art,<br />
Egham, Surrey, TW20 0EX, United<br />
K<strong>in</strong>gdom<br />
Keywords commission<strong>in</strong>g process,<br />
Channel 4, reality television, practice,<br />
writ<strong>in</strong>g for television, digital c<strong>in</strong>ema,<br />
screenwrit<strong>in</strong>g, narrative<br />
Clara Garavelli<br />
Universidad Autónoma de Madrid,<br />
Departamento de Educación artística,<br />
plástica y visual, Universidad<br />
Autónoma de Madrid, Calle Carlos<br />
IV 2A, 3ro E, 28037, Spa<strong>in</strong><br />
Keywords Jorge Gaggero, social<br />
class displacements, crisis, New<br />
Argent<strong>in</strong>e c<strong>in</strong>ema<br />
Education at the University of Western Sydney, Australia. She is<br />
<strong>in</strong>terested <strong>in</strong> representations of gender and race <strong>in</strong> media and popular<br />
culture texts; <strong>in</strong> writ<strong>in</strong>g pedagogy and narrative, and <strong>in</strong> how aesthetic<br />
and affective literary texts operate <strong>in</strong> political spheres.<br />
› Do<strong>in</strong>g ‘the other’ over: narrative conservatism <strong>in</strong> radical popular films,<br />
Studies <strong>in</strong> Australasian C<strong>in</strong>ema, 3.1, 29-45.<br />
Adam Ganz is a lecturer at Royal Holloway University of London. He<br />
studied at Cambridge and Bristol and the National Film and Television<br />
School. He has written a number of screenplays for different<br />
production companies <strong>in</strong>clud<strong>in</strong>g the BBC, Redwave Films, Kismet<br />
Films, APT Films, and IWC Media for Channel 4. He has directed a<br />
number of short films, which have been shown at festivals around the<br />
world. Threesome, which he wrote and directed, starr<strong>in</strong>g Lesley<br />
Vickerage and Stuart La<strong>in</strong>g was shown at Telluride, Newport Rhode<br />
Island, Foyle and on Sky television. He directed Pillow Talk written by<br />
William Sutcliffe and starr<strong>in</strong>g Daisy Donovan and Cavan Clerk<strong>in</strong> for<br />
Channel 4’s 'Com<strong>in</strong>g Up' strand.<br />
› Digital c<strong>in</strong>ema: The transformation of film practice and aesthetics, New<br />
C<strong>in</strong>emas: Journal of Contemporary Film, 4.1, 21-36.<br />
› Reviews: Screenwrit<strong>in</strong>g: History Theory and Practice, Steven Maras (2009),<br />
Journal of Screenwrit<strong>in</strong>g, 1.1, 203-206.<br />
› Time, space and movement: screenplay as oral narrative, Journal of<br />
Screenwrit<strong>in</strong>g, 1.2, 225-236.<br />
Clara Garavelli is a lecturer and Ph.D. candidate at the Universidad<br />
Autónoma de Madrid (Spa<strong>in</strong>). She has been work<strong>in</strong>g on subjects<br />
related to cultural studies, Lat<strong>in</strong> American studies, visual culture,<br />
Argent<strong>in</strong>e c<strong>in</strong>ema and literature and is currently writ<strong>in</strong>g her thesis on<br />
experimental video <strong>in</strong> contemporary Argent<strong>in</strong>a.<br />
› Post-crisis Argent<strong>in</strong>e films: De-localiz<strong>in</strong>g daily life through the lens of Jorge<br />
Gaggero, Studies <strong>in</strong> Hispanic C<strong>in</strong>emas, 7.1, 35-46.
Jared Gardner<br />
The Ohio State University,<br />
Department of English, 164 W 17th<br />
Avenue, Columbus, Ohio, 43210,<br />
United States of America<br />
Keywords seriality, American<br />
literature, identity, citizenship<br />
Verónica Garibotto<br />
University of Kansas, Department of<br />
Spanish and Portuguese, 2650<br />
Wescoe Hall, Lawrence, KS, 66045,<br />
United States of America<br />
Keywords documentary, Third<br />
C<strong>in</strong>ema, Social Genocide, The Hour<br />
of the Furnaces, Fernando Solanas<br />
Daniel Garrett<br />
Freelance writer<br />
Keywords community music, Wales,<br />
disaffected youth<br />
Jared Gardner is Associate Professor of English and Film at The Ohio<br />
State University. He is currently work<strong>in</strong>g on a study of seriality <strong>in</strong> film<br />
and popular culture. He is author of Master Plots: Race and the<br />
Found<strong>in</strong>g of an American Literature, 1787-1845 and articles and<br />
reviews on identity, citizenship and media <strong>in</strong> American literature and<br />
culture. He is currently work<strong>in</strong>g on studies of early American<br />
magaz<strong>in</strong>es, myths of orig<strong>in</strong>s <strong>in</strong> popular culture of the 1920s and 1930s,<br />
and the <strong>in</strong>tersections between film and comics at the turn of the<br />
twentieth century. He also serves as director of the Popular Culture<br />
Studies program at OSU.<br />
› Greenaway’s suitcase c<strong>in</strong>ema and new media archaeology, Studies <strong>in</strong><br />
European C<strong>in</strong>ema, 5.2, 143-153.<br />
Verónica Garibotto is Assistant Professor <strong>in</strong> the Department of Spanish<br />
and Italian at Queen’s University. Her <strong>research</strong> focuses primarily <strong>in</strong> the<br />
l<strong>in</strong>k between narrative (literature and film), history and politics <strong>in</strong> Lat<strong>in</strong><br />
America. She has recently been work<strong>in</strong>g on the contemporary<br />
representation of the n<strong>in</strong>eteenth century <strong>in</strong> Argent<strong>in</strong>a, Chile and<br />
Uruguay; and on the relation between aesthetics and politics <strong>in</strong> postdictatorial<br />
literature, film and testimonio.<br />
› Historical stasis: Solanas and the restoration of political film after the 2001<br />
Argent<strong>in</strong>e crisis, Studies <strong>in</strong> Hispanic C<strong>in</strong>emas, 6.2, 125-138.<br />
Daniel Garrett is a writer of journalism, fiction, poetry and drama; and<br />
his work has appeared <strong>in</strong> The African, AIM/America’s Intercultural<br />
Magaz<strong>in</strong>e, AltRap.com, American Book Review, Black American<br />
Literature Forum, Chang<strong>in</strong>g Men, The City Sun,<br />
Frictionmagaz<strong>in</strong>e.com, The Humanist, Hyphen, Illum<strong>in</strong>ations, Muse-<br />
Apprentice-Guild.com, Offscreen.com, Option, The Quarterly Black<br />
Review of Books, Ra<strong>in</strong> Taxi, Red River Review, The Review of<br />
Contemporary Fiction, The St Mark’s Poetry Project Newsletter,<br />
24FramesPerSecond.com, UnlikelyStories.org, WaxPoetics.com, and<br />
World Literature Today.<br />
› Brokeback Mounta<strong>in</strong>, Film International, 4.21, 48-67.
Roberta Garrett<br />
University of East London,<br />
Department of Arts and Digital<br />
Industries at the University of East<br />
London, The school of Arts and<br />
Digital Industries, University of East<br />
London, Docklands Campus, London<br />
E16 2RD, UK<br />
Keywords<br />
John P. Garry III<br />
United States of America<br />
Keywords Kathryn Bigelow,<br />
American politics, revisionist films,<br />
post-revisionist films, 1990s<br />
Ian Garwood<br />
University of Glasgow, Theatre, Film<br />
and Television Studies, Room 332,<br />
Gilmorehill Centre, 9 University<br />
Avenue, Glasgow, G12 BQQ, United<br />
K<strong>in</strong>gdom<br />
Keywords I'm Not There, the<br />
Romantic voice of the artist, Bob<br />
Dylan, popular music <strong>in</strong> film, ‘Visions<br />
of Johanna’<br />
Lisa Gaughan<br />
University of L<strong>in</strong>coln, Department of<br />
Drama, L<strong>in</strong>coln School of Perform<strong>in</strong>g<br />
Arts, Brayford Pool, L<strong>in</strong>coln, LN6<br />
7TS, United K<strong>in</strong>gdom<br />
Dr Roberta Garrett is a senior lecturer <strong>in</strong> the department of Arts and<br />
Digital Industries at the University of East London. She is currently<br />
teach<strong>in</strong>g on the literature programme at UEL and has published articles<br />
on literature, film and gender studies. She is the author of PostModern<br />
Chick-Flicks: The Return of the Woman's Film (Palgrave, 2005) and is<br />
currently <strong>research</strong><strong>in</strong>g literary culture and the politicization of parent<strong>in</strong>g<br />
<strong>in</strong> the twenty-first century.<br />
› Female fantasy and post-fem<strong>in</strong>ist politics <strong>in</strong> Nora Ephron's screenplays,<br />
Journal of Screenwrit<strong>in</strong>g, 3.2, 177-196.<br />
John P. Garry III is a film editor liv<strong>in</strong>g <strong>in</strong> Los Angeles, California. He<br />
has been published <strong>in</strong> Jump Cut and Bright Lights Film Journal. He<br />
has contributed an essay to the collection Gerry-Elephant-Last Days by<br />
Les Editions de La Transparence (forthcom<strong>in</strong>g).<br />
› Strange Days and the post-revisionist era: The possibility of redemption,<br />
Film International, 7.3, 36-49.<br />
Ian Garwood is a lecturer <strong>in</strong> film and television studies at University of<br />
Glasgow. He has written a number of articles on the film soundtrack,<br />
<strong>in</strong>clud<strong>in</strong>g ‘The Pop Song <strong>in</strong> Film’ conta<strong>in</strong>ed <strong>in</strong> Close-Up 01 (2005,<br />
Wallflower). He is currently writ<strong>in</strong>g a book for Ed<strong>in</strong>burgh University<br />
Press on the sensuous qualities of storytell<strong>in</strong>g <strong>in</strong> film.<br />
› Great art on a jukebox: the Romantic(ized) voice of Bob Dylan <strong>in</strong> I'm Not<br />
There, Film International, 7.6, 6-22.<br />
Lisa Gaughan is a Lecturer <strong>in</strong> the Department of Drama at the<br />
University of L<strong>in</strong>coln and a Ph.D. candidate <strong>in</strong> the Department of<br />
Drama at the University of Hull. She is currently work<strong>in</strong>g on her Ph.D.,<br />
which is an exam<strong>in</strong>ation of the study of travesty via the work of<br />
Alistair Beaton.
Keywords politics, imitation,<br />
transformation, travesty, satire › It's no time for sound bites: The praxis of travesty via the New Labour of<br />
political comedy, Studies <strong>in</strong> Documentary Film, 4.3, 241-252.<br />
Stephen Gaunson<br />
RMIT University, School of Media<br />
and Communication, Build<strong>in</strong>g<br />
36.4.10, Melbourne, Victoria, GPO<br />
Box 2476, Australia<br />
Keywords Ned Kelly films,<br />
Australian c<strong>in</strong>ema<br />
Kathe Geist<br />
Showa Boston Institute, 551<br />
Brookl<strong>in</strong>e Av, Brookl<strong>in</strong>e, MA 02445,<br />
United States of America<br />
Keywords Ozu Yasujiro, Nihonga,<br />
Japanese modernity, A Story of<br />
Float<strong>in</strong>g Weeds, What Did the Lady<br />
Forget?, Pass<strong>in</strong>g Fancy, Tokyo<br />
Chorus<br />
David George<br />
Bates College, Romance Languages<br />
& Literatures<br />
Keywords silent c<strong>in</strong>ema, literary<br />
adaptation, celebrity, TV, Spa<strong>in</strong><br />
Dr Stephen Gaunson is an Early Career Research Fellow <strong>in</strong> the School<br />
of Media and Communication at RMIT University. His thesis studied<br />
the Ned Kelly films, made <strong>in</strong> Australia between 1906 and 2003. In<br />
2008, Stephen was the recipient of the AGL Shaw Research Fellowship<br />
at the State Library of Victoria. Stephen has also taught courses on film<br />
and communication at a number of universities <strong>in</strong>clud<strong>in</strong>g the<br />
University of Melbourne, RMIT University and Victoria University.<br />
› International outlaws: Tony Richardson, Mick Jagger and Ned Kelly, Studies<br />
<strong>in</strong> Australasian C<strong>in</strong>ema, 4.3, 255-265.<br />
Kathe Geist is an art and film historian, <strong>who</strong> lives and writes <strong>in</strong><br />
Brookl<strong>in</strong>e, Massachusetts. She is the author of The C<strong>in</strong>ema of Wim<br />
Wenders: From Paris France to Paris, Texas and numerous articles on<br />
Japanese c<strong>in</strong>ema.<br />
› Seek<strong>in</strong>g a Japanese modernity: Ozu and Nihonga pa<strong>in</strong>ters <strong>in</strong> the pre-war era,<br />
Journal of Japanese & Korean C<strong>in</strong>ema, 2.2, 97-108.<br />
David R. George has been a lecturer <strong>in</strong> Spanish at Bates College s<strong>in</strong>ce<br />
2000 and received his Ph.D. from the University of M<strong>in</strong>nesota <strong>in</strong> 2003.<br />
His <strong>research</strong> and teach<strong>in</strong>g <strong>in</strong>terests <strong>in</strong>clude Spanish realism, travel<br />
writ<strong>in</strong>g, historical fiction and film studies. He has read and published<br />
papers on various aspects of n<strong>in</strong>eteenth-century Pen<strong>in</strong>sular literature, as<br />
well as on film and popular culture <strong>in</strong> the early twentieth century. He<br />
recently f<strong>in</strong>ished an annotated edition of Leopoldo Alas's Dona Berta,<br />
and is currently co-edit<strong>in</strong>g a volume titles Historias de la pequena<br />
pantalla.<br />
› Dis<strong>in</strong>tegrat<strong>in</strong>g pictures: Studies <strong>in</strong> early Spanish film, Studies <strong>in</strong> Hispanic<br />
C<strong>in</strong>emas, 4.2, 73-78.
Gabor Gergely<br />
University of Exeter, Modern<br />
Languages, United K<strong>in</strong>gdom<br />
Keywords Godard, Baz<strong>in</strong>, Kracauer,<br />
realism, exile, émigré, Hollywood<br />
c<strong>in</strong>ema, Chabrol, bourgeois,<br />
melodrama, space<br />
Ilana Gershon<br />
Indiana University, Department of<br />
Communication and Culture, 800 East<br />
Third Street, Bloom<strong>in</strong>gton, Indiana,<br />
47405, United States of America<br />
Keywords truth, <strong>in</strong>dexicality,<br />
circulation, actor network theory,<br />
science studies<br />
Germán Gil Curiel<br />
University of Nott<strong>in</strong>gham N<strong>in</strong>gbo,<br />
International Communications, 199<br />
Taikang East Road, N<strong>in</strong>gbo,<br />
Zhejiang, 315100, Ch<strong>in</strong>a<br />
Keywords music <strong>in</strong> film, supernatural<br />
› C<strong>in</strong>ematis<strong>in</strong>g the crowd: V. Blasco Ibañez's Silent Sangre y arena (1916),<br />
Studies <strong>in</strong> Hispanic C<strong>in</strong>emas, 4.2, 91-106.<br />
Gabor Gergely is an MA student at the University of Exeter. In<br />
addition to the Studies <strong>in</strong> French C<strong>in</strong>ema Prize, he won the Gapper<br />
Undergraduate Prize with the same essay. He is currently work<strong>in</strong>g on a<br />
paper on the Child <strong>in</strong> Neo-Realism, which he will present at the<br />
upcom<strong>in</strong>g 'Child <strong>in</strong> Italian Film' conference at the University of Exeter.<br />
His planned doctoral <strong>research</strong> project is an <strong>in</strong>vestigation of the<br />
representation of the exilic/diasporic experience <strong>in</strong> Hollywood films<br />
from 1930-1950.<br />
› Jean-Luc Godard's film essays of the 1960s: the virtues and limitations of<br />
realism theories, Studies <strong>in</strong> French C<strong>in</strong>ema, 8.2, 111-121.<br />
Ilana Gershon is Assistant Professor <strong>in</strong> the Department of<br />
Communication and Culture at Indiana University. She is a cultural<br />
anthropologist <strong>who</strong> studies how people’s media ideologies affect their<br />
use of new media. She writes and teaches about anthropology of<br />
democracy, multiculturalism and ethnographies of new media <strong>in</strong> the<br />
United States, Oceania, and New Zealand. In her book The Break-Up<br />
2.0 she analyses an ethically charged practice: how people use new<br />
media <strong>in</strong> romantic break-ups. She also <strong>research</strong>es how Māori<br />
politicians have contributed to the current legal structures affect<strong>in</strong>g<br />
Māori, the <strong>in</strong>digenous population <strong>in</strong> New Zealand.<br />
› Actor-network theory and documentary studies, Studies <strong>in</strong> Documentary<br />
Film, 4.1, 65-78.<br />
Germán Gil Curiel is a Lecturer <strong>in</strong> International Communication at the<br />
University of Nott<strong>in</strong>gham <strong>in</strong> its N<strong>in</strong>gbo campus, where he teaches<br />
modules entitled ‘Film Narratives and Cultures’ and ‘C<strong>in</strong>ema and<br />
National Identity <strong>in</strong> Lat<strong>in</strong> America’. His <strong>research</strong> <strong>in</strong>terests <strong>in</strong>clude film<br />
music and the supernatural <strong>in</strong> film and literature.<br />
› Reviews - World C<strong>in</strong>emas, transnational perspectives, Edited by Natasa
literature, adaptation, total c<strong>in</strong>ema,<br />
film and fashion, hybridity <strong>in</strong> c<strong>in</strong>ema,<br />
mixed c<strong>in</strong>ema, c<strong>in</strong>ema and the arts<br />
Nikica Gilic<br />
Filozofski fakultet-komparativna<br />
književnost, Ivana Lucicaa 3, 10000<br />
Zagreb, Croatia<br />
Keywords Tomislav Gotovac,<br />
experimental c<strong>in</strong>ema, edit<strong>in</strong>g,<br />
conceptual art, images, genre<br />
David Gillespie<br />
University of Bath, Modern Language<br />
Department, Claverton Down, Bath,<br />
Bath and North East Somerset, BA2<br />
7AY, United K<strong>in</strong>gdom<br />
Keywords Russian Ark, Russian<br />
history, Russian art, Hermitage, St<br />
Petersburg<br />
Durovicova and Kathleen Newman (2010), Transnational C<strong>in</strong>emas, 1.1, 103-<br />
104.<br />
Nikica Gilic received his Ph.D. <strong>in</strong> Film Studies at the Faculty of<br />
Humanities and Social Sciences, University of Zagreb where he is<br />
currently Assistant Professor <strong>in</strong> the Department of Comparative<br />
Literature and the Chair of Film Studies. He teaches various courses <strong>in</strong><br />
film theory and film history as well as courses at the Academy of<br />
dramatic arts. He co-edited Filmski leksikon/Film Lexicon (2003) with<br />
Bruno Kragic’. His <strong>in</strong>terests <strong>in</strong>clude the history of Croatian and South-<br />
East European (post-Yugoslav) c<strong>in</strong>ema, theory of c<strong>in</strong>ema genres,<br />
methodology of c<strong>in</strong>ema studies and the problems of c<strong>in</strong>ematic<br />
postmodernism. He is editor-<strong>in</strong>-chief of Hrvatski filmski ljetopis<br />
(Croatian c<strong>in</strong>ema chronicle), a film journal published <strong>in</strong> Zagreb.<br />
› Revolution, c<strong>in</strong>ema, pa<strong>in</strong>t<strong>in</strong>g: creative recycl<strong>in</strong>g of images <strong>in</strong> the films of<br />
Tom Gotovac (Antonio Lauer), Studies <strong>in</strong> Eastern European C<strong>in</strong>ema, 1.1,<br />
71-84.<br />
David Gillespie has recently been appo<strong>in</strong>ted Professor <strong>in</strong> Russian at the<br />
University of Bath, where he has taught s<strong>in</strong>ce 1985. He has published<br />
critical studies of the writers Valent<strong>in</strong> Rasput<strong>in</strong>, Iurii Trifonov and<br />
Fedor Abramov, and his book Russian C<strong>in</strong>ema was published by<br />
Longman <strong>in</strong> 2002. Recent and ongo<strong>in</strong>g <strong>research</strong> <strong>in</strong>cludes: Russian<br />
science fiction movies; Russian film adaptations of Shakespeare;<br />
surrealist motifs <strong>in</strong> Russian film; postmodernist irony <strong>in</strong> the prose of<br />
Evgenii Popov; mascul<strong>in</strong>ity <strong>in</strong> the films of Sergei Eisenste<strong>in</strong>; the<br />
transformation of landscape <strong>in</strong> Russian film and art; Renata Litv<strong>in</strong>ova<br />
and fem<strong>in</strong><strong>in</strong>ity <strong>in</strong> post-Soviet film.<br />
› Alexander Sokurov and the Russian soul, Studies <strong>in</strong> European C<strong>in</strong>ema, 1.1,<br />
57-.<br />
› Reconfigur<strong>in</strong>g the Past: The Return of History <strong>in</strong> Recent Russian Film, New<br />
C<strong>in</strong>emas: Journal of Contemporary Film, 1.1, 14-23.<br />
Frédéric Gimello- Dr Frédéric Gimello-Mesplomb is Associate Professor (Senior<br />
lecturer) of Film Studies at the University of Metz (France) and
Mesplomb<br />
Universite de Metz, Departement Arts<br />
et Culture, UFR Sciences Huma<strong>in</strong>es<br />
et Arts, Ile du Saul'y, Metz, lorra<strong>in</strong>e,<br />
57000, France<br />
Keywords 1950s, popular c<strong>in</strong>ema,<br />
film support policy<br />
Faye G<strong>in</strong>sburg<br />
New York University, Center for<br />
Media, Culture and History, Rufus D.<br />
Smith Hall, Room 501, 25 Waverly<br />
Place, New York, NY 10003, United<br />
States of America<br />
Keywords documentary, Two Laws,<br />
<strong>in</strong>digenous, Australia<br />
Elisabetta Girelli<br />
University of St Andrews,<br />
Department of Film Studies, 99 North<br />
Street, St Andrews, Fife, KY16 9AD,<br />
United K<strong>in</strong>gdom<br />
Keywords Brita<strong>in</strong>, identity, British<br />
c<strong>in</strong>ema, heritage, stereotypes,<br />
transnationality<br />
Associate Professor of Political Science and contemporary French<br />
Cultural Studies at the Paris Institute of Political Studies (Sciences-Po).<br />
He is also <strong>research</strong>er for the French National Centre for Scientific<br />
Research and works s<strong>in</strong>ce 2003 as an expert commissioned for the<br />
European Commission (Research Directorate General, Brussels) and<br />
the Luxembourg M<strong>in</strong>istry of national Education (Leonardo da V<strong>in</strong>ci<br />
European programme). Former Visit<strong>in</strong>g Scholar, University of<br />
California, Berkeley (1999). Professor Gimello's publications <strong>in</strong>clude<br />
numerous articles and academic papers <strong>in</strong> his specialized area:<br />
Economic history of French c<strong>in</strong>ema, European Film policies, cultural<br />
policies.<br />
› The economy of 1950s popular French c<strong>in</strong>ema, Studies <strong>in</strong> French C<strong>in</strong>ema,<br />
6.2, 141-.<br />
Faye G<strong>in</strong>sburg is David B. Kriser Professor of Anthropology; Director<br />
of Graduate Program <strong>in</strong> Culture and Media; Director, Center for Media,<br />
Culture & History; Co-Director, Center for Religion and Media;<br />
Director, Graduate Program <strong>in</strong> Culture and Media Director, Center for<br />
Media, Culture & History Co-Director, Center for Religion and Media,<br />
New York University. She holds a Ph.D. from CUNY (1986) and a BA<br />
from Barnard (1976). Her <strong>research</strong> <strong>in</strong>terests <strong>in</strong>clude social<br />
anthropology; ethnographic film; <strong>in</strong>digenous media; social movements<br />
<strong>in</strong> the United States; gender and reproduction.<br />
› Break<strong>in</strong>g the law with Two Laws: reflections on a paradigm shift, Studies <strong>in</strong><br />
Documentary Film, 2.2, 169-174.<br />
Elisabetta Girelli is a Lecturer <strong>in</strong> Film Studies at the University of St<br />
Andrews. She has published articles on British and European c<strong>in</strong>ema,<br />
and is currently work<strong>in</strong>g on a monograph on Montgomery Clift. Her<br />
<strong>research</strong> focuses on the representation of identity on screen,<br />
specifically <strong>in</strong> terms of sexuality, gender, and nationality. She is very<br />
<strong>in</strong>terested <strong>in</strong> cultural analysis, particularly <strong>in</strong> queer theory and <strong>in</strong><br />
theories of representation; <strong>in</strong> the study of <strong>in</strong>dividual stars and auteurs;<br />
and <strong>in</strong> theories of space applied to spatial relationships <strong>in</strong> film texts.<br />
› Beauty and the Beast: The construction of Italianness <strong>in</strong> A Room With A View<br />
and Where Angels Fear To Tread, Studies <strong>in</strong> European C<strong>in</strong>ema, 3.1, 25-36.<br />
› Transnational Orientalism: Ferzan Özpetek's Turkish dream <strong>in</strong> Hamam<br />
(1997), New C<strong>in</strong>emas: Journal of Contemporary Film, 5.1, 23-38.
Cecilie Givskov<br />
University of Copenhagen,<br />
Department of Media, Cognition and<br />
Communication, Njalsgade 80,<br />
Copenhagen S, 2300, Denmark<br />
Keywords modern Danish fiction<br />
film, European film policies, Nordic<br />
cultural politics, film policies, media,<br />
globalization<br />
Michael Goddard<br />
University of Salford, Greater<br />
Manchester, United K<strong>in</strong>gdom<br />
Keywords cross-cultural,<br />
transvergence, East-West,<br />
superposition, outside<br />
Jill Godmilow<br />
University of Notre Dame,<br />
Deptartment of Film, Television, and<br />
Theatre, Notre Dame, IN 46556,<br />
United States of America<br />
Keywords documentary c<strong>in</strong>ema, Two<br />
› Subvert<strong>in</strong>g space: Private, public and power <strong>in</strong> three Czechoslovak films<br />
from the 1960s and ‘70s, Studies <strong>in</strong> Eastern European C<strong>in</strong>ema, 2.1, 49-59.<br />
Cecilie Givskov, MA(ed.) from the Danish Pedagogical University<br />
(2004), s<strong>in</strong>ce 2008 Ph.D. scholar at the Department of Media,<br />
Cognition and Communication, Section of Film and Media Studies,<br />
University of Copenhagen. Her current <strong>research</strong> concerns the<br />
globalization of Danish film culture and film policies. She is the leader<br />
of the <strong>research</strong> group of young <strong>research</strong>ers (CYS) under the Centre for<br />
Modern European Studies (CEMES).<br />
› Genre on time. Fiction film fram<strong>in</strong>gs of scandalous politics <strong>in</strong> Denmark s<strong>in</strong>ce<br />
2001, Northern Lights: Film & Media Studies Yearbook, 7.1, 153-172.<br />
Michael Goddard is Professor of English, Cultural and Media Studies<br />
at the University of Lódz, Poland. He has published on Polish and<br />
<strong>in</strong>ternational c<strong>in</strong>ema, Deleuze’s aesthetic theories and radical Italian<br />
thought. He is currently prepar<strong>in</strong>g a book on the c<strong>in</strong>ema of Raul Ruiz<br />
and conduct<strong>in</strong>g <strong>research</strong> <strong>in</strong>to East European postmodern audio-visual<br />
cultures.<br />
› East-West European superpositions as transvergent c<strong>in</strong>ema: Greg Zgl<strong>in</strong>ski's<br />
Tout un hiver sans feu (2005), Studies <strong>in</strong> French C<strong>in</strong>ema, 7.2, 107-118.<br />
› Plus Camerimage leaves Łódź, Studies <strong>in</strong> Eastern European C<strong>in</strong>ema, 1.2,<br />
247-250.<br />
› Editorial, Studies <strong>in</strong> Eastern European C<strong>in</strong>ema, 2.1, 3-5.<br />
› REVIEWS, Studies <strong>in</strong> Eastern European C<strong>in</strong>ema, 2.2, 227-246.<br />
Jill Godmilow is a work<strong>in</strong>g <strong>in</strong>dependent film and video-maker and a<br />
Professor <strong>in</strong> the Department of Film, Television, and Theatre at the<br />
University of Notre Dame, where she teaches courses <strong>in</strong> film-mak<strong>in</strong>g<br />
and c<strong>in</strong>ema studies. Her films <strong>in</strong>clude: Antonia: A Portrait of the<br />
Woman (1974), Far From Poland (1984), Roy Cohn/Jack Smith<br />
(1995), What Farocki Taught (1997). For about twelve years she has<br />
been teach<strong>in</strong>g a course called ‘Deconstruct<strong>in</strong>g the Documentary’, <strong>in</strong><br />
which she discusses the film Two Laws.
Laws, <strong>in</strong>digenous, Australia<br />
Antonio Gómez<br />
Tulane University, 302 Newcomb<br />
Hall, New Orleans, LA, 70118,<br />
United States of America<br />
Keywords documentary, Third<br />
C<strong>in</strong>ema, Social Genocide, The Hour<br />
of the Furnaces, Fernando Solanas<br />
Haom<strong>in</strong> Gong<br />
St. Mary’s College of Maryland,<br />
Department of International<br />
Languages and Cultures, St. Mary’s<br />
City, MD, 20686, United States of<br />
America<br />
Keywords postsocialist condition,<br />
commercial c<strong>in</strong>ema, cultural<br />
<strong>in</strong>tervention, critical edge, negotiation<br />
Robert S.C. Gordon<br />
University of Cambridge, Gonville<br />
and Caius College, Cambridge,<br />
Cambridgeshire, CB2 1TA, United<br />
K<strong>in</strong>gdom<br />
Keywords Holocaust c<strong>in</strong>ema, fable,<br />
game, father-son narratives, P<strong>in</strong>occhio<br />
› Two Laws: DVD release film commentary, Studies <strong>in</strong> Documentary Film,<br />
2.2, 191-217.<br />
Antonio Gómez is Assistant Professor of Lat<strong>in</strong> American literature and<br />
film at Tulane University. His <strong>research</strong> <strong>in</strong>terests <strong>in</strong>clude the discourse<br />
of exile <strong>in</strong> Lat<strong>in</strong> American culture, especially <strong>in</strong> Cuba and Argent<strong>in</strong>a,<br />
c<strong>in</strong>ematic representations of trauma <strong>in</strong> Argent<strong>in</strong>e c<strong>in</strong>ema, and the<br />
writ<strong>in</strong>g of recent history <strong>in</strong> a postnational context.<br />
› Historical stasis: Solanas and the restoration of political film after the 2001<br />
Argent<strong>in</strong>e crisis, Studies <strong>in</strong> Hispanic C<strong>in</strong>emas, 6.2, 125-138.<br />
Haom<strong>in</strong> Gong is assistant professor of Ch<strong>in</strong>ese and Asian Studies at St.<br />
Mary’s College of Maryland. His article on Wang Xiaoshuai’s<br />
filmmak<strong>in</strong>g appears <strong>in</strong> Quarterly Review of Film and Video. He has a<br />
Ph.D. <strong>in</strong> Comparative Literature from the University of California at<br />
Davis, July 2008. His major field of study was Modern and<br />
Contemporary Ch<strong>in</strong>ese Literature and Film. He also has an MA <strong>in</strong><br />
English Language Literature from Beij<strong>in</strong>g Foreign Studies University,<br />
March 2001.<br />
› Commerce and the critical edge: negotiat<strong>in</strong>g the politics of postsocialist film,<br />
the case of Feng Xiaogang, Journal of Ch<strong>in</strong>ese C<strong>in</strong>emas, 3.3, 193-214.<br />
› New horizons of transnational Ch<strong>in</strong>ese-language film studies: An <strong>in</strong>terview<br />
with Sheldon H. Lu, Journal of Ch<strong>in</strong>ese C<strong>in</strong>emas, 4.3, 245-260.<br />
Robert S.C. Gordon is Reader <strong>in</strong> Modern Italian Culture at Cambridge<br />
University. His work on c<strong>in</strong>ema <strong>in</strong>cludes Pasol<strong>in</strong>i: Forms of<br />
Subjectivity (Oxford University Press, 1996), Bicycle Thieves (BFI<br />
FIlm Classics, 2008), Theorem (audio commentary, BFI DVD, 2007),<br />
and articles on Holocaust c<strong>in</strong>ema, silent c<strong>in</strong>ema and <strong>in</strong>tellectuals, and<br />
'postcard' movies.<br />
› Real tanks and toy tanks: play<strong>in</strong>g games with history <strong>in</strong> Roberto Benigni's La<br />
vita è bella/Life is Beautiful, Studies <strong>in</strong> European C<strong>in</strong>ema, 2.1, 31-44.
Andrew Gordon<br />
University of Florida, Department of<br />
English, United States of America<br />
Keywords THX 1138, George Lucas,<br />
dystopia, science fiction, robotics, the<br />
mach<strong>in</strong>e state, 1960s, dehumanization<br />
Kristyn Gorton<br />
University of York, Department of<br />
Theatre, Film & Television,<br />
Hesl<strong>in</strong>gton, York, North Yorkshire,<br />
YO10 5DD, United K<strong>in</strong>gdom<br />
Keywords shame, affect, fem<strong>in</strong>ism,<br />
French c<strong>in</strong>ema, Cather<strong>in</strong>e Breillat<br />
Helena Goscilo<br />
The Ohio State University, Slavic<br />
Department, 400 Hagerty Hall, 1775<br />
College Road, Columbus, Columbus<br />
OH, 43210-1340, United States of<br />
America<br />
Keywords reason, vigilante justice,<br />
Biblical/juridical <strong>in</strong>junctions,<br />
mimesis/nemesi<br />
Andrew Gordon taught at University of Florida from 1975-2010,<br />
specializ<strong>in</strong>g <strong>in</strong> contemporary American Fiction, Jewish-American<br />
Fiction, and Science Fiction Literature and Film. He is now Professor<br />
Emeritus of English. He organizes the annual International Conference<br />
on Psychology and the Arts, co-edits Studies <strong>in</strong> American Jewish<br />
Literature, and is on the Editorial Board of Journal of American<br />
Culture. His publications <strong>in</strong>clude An American Dreamer: A<br />
Psychoanalytic Study of the Fiction of Norman Mailer, Empire of<br />
Dreams: The Science Fiction and Fantasy Films of Steven Spielberg,<br />
and, with Hernan Vera, Screen Saviors: Hollywood Fictions of<br />
Whiteness.<br />
› THX 1138: Portrait of the Artist as an Angry Young Man, Film<br />
International, 3.15, 12-21.<br />
Kristyn Gorton is Lecturer <strong>in</strong> the Department of Theatre, Film and<br />
Television at the University of York. She has published articles on<br />
fem<strong>in</strong>ist theory, television studies and c<strong>in</strong>ema <strong>in</strong> a number of journals<br />
<strong>in</strong>clud<strong>in</strong>g the Journal of Popular British C<strong>in</strong>ema and Television,<br />
Diegesis, and Fem<strong>in</strong>ist Theory. She has just completed a monograph<br />
titled Theoris<strong>in</strong>g Desire: From Freud to Fem<strong>in</strong>ism to Film (Palgrave)<br />
and is currently work<strong>in</strong>g on Media Audiences: Television, Mean<strong>in</strong>g and<br />
Emotion (Ed<strong>in</strong>burgh University Press).<br />
› ‘“The Po<strong>in</strong>t of View of Shame”: Re-view<strong>in</strong>g female desire <strong>in</strong> Cather<strong>in</strong>e<br />
Breillat's Romance (1999) and Anatomy of Hell (2004)’, Studies <strong>in</strong> European<br />
C<strong>in</strong>ema, 4.2, 111-124.<br />
Professor and Chair of the Slavic Department at the Ohio State<br />
University, Helena Goscilo specializes primarily <strong>in</strong> gender and culture,<br />
hav<strong>in</strong>g written on art, film, folklore, literature, media, music, popular<br />
culture and the politics of cultural production and reception. Her latest<br />
publications <strong>in</strong>clude Preserv<strong>in</strong>g Petersburg: History, Memory,<br />
Nostalgia (2008) (co-edited with Stephen M. Norris), C<strong>in</strong>epaternity:<br />
Fathers and Sons <strong>in</strong> Soviet and Post-Soviet Film (2009) (co-edited with<br />
Yana Hashamova) and Celebrity and Culture <strong>in</strong> Contemporary Russia:<br />
Shock<strong>in</strong>g Chic (2010) (co-edited with Vlad Strukov).<br />
› Between the sword and the scales, or celluloid justice, Studies <strong>in</strong> Russian and<br />
Soviet C<strong>in</strong>ema, 4.2, 137-145.
Brian Michael Goss<br />
Sa<strong>in</strong>t Louis University-Madrid Spa<strong>in</strong><br />
Campus, Avenida del valle, 34, 28003<br />
Madrid, Spa<strong>in</strong><br />
Keywords politics and media,<br />
popular culture, theory of ideology,<br />
critique of journalism<br />
Isabelle Gourd<strong>in</strong>-<br />
Sangouard<br />
The University of Stirl<strong>in</strong>g,<br />
Deptartment of Film, Media &<br />
Journalism, Office J12, Pathfoot<br />
Build<strong>in</strong>g, Stirl<strong>in</strong>g, FK9 4LA, United<br />
K<strong>in</strong>gdom<br />
Keywords authorship, collaboration,<br />
David Sherw<strong>in</strong>, L<strong>in</strong>dsay Anderson,<br />
sequence 5, script to screen transition,<br />
process of equivalence, François<br />
Truffaut, ‘une certa<strong>in</strong>e tendance du<br />
c<strong>in</strong>éma français’<br />
Charlotte Govaert<br />
Keywords reflexivity, reception<br />
study, representation<br />
Brian Michael Goss is appo<strong>in</strong>ted as Professor <strong>in</strong> the Department of<br />
Bus<strong>in</strong>ess and Social Sciences at Sa<strong>in</strong>t Louis University – Madrid,<br />
Spa<strong>in</strong> Campus. S<strong>in</strong>ce earn<strong>in</strong>g his doctorate <strong>in</strong> 2000 (Institute of<br />
Communications Research, University of Ill<strong>in</strong>ois at Urbana-<br />
Champaign), his teach<strong>in</strong>g and <strong>research</strong> have <strong>in</strong>vestigated mass media <strong>in</strong><br />
a wide array of channels. Beyond exam<strong>in</strong>ations of film, his published<br />
scholarship has addressed issues with respect to journalism, flak,<br />
cartoons, blogs, pundits and women’s magaz<strong>in</strong>es. His first book,<br />
Global Auteurs: Politics <strong>in</strong> the Films of Almodóvar, von Trier and<br />
W<strong>in</strong>terbottom, was published <strong>in</strong> 2009 (New York: Peter Lang).<br />
› Te doy mis ojos (2003) and Hable con ella (2002): gender <strong>in</strong> context <strong>in</strong> two<br />
recent Spanish films, Studies <strong>in</strong> European C<strong>in</strong>ema, 5.1, 31-44.<br />
› REBEL YELL: The politics of The Celebration/Festen (1998), Studies <strong>in</strong><br />
European C<strong>in</strong>ema, 6.2&3, 215-227.<br />
Isabelle Gourd<strong>in</strong>-Sangouard, MPhil., is a doctoral candidate at Stirl<strong>in</strong>g<br />
University and part of the AHRC-funded project ‘The C<strong>in</strong>ema<br />
Authorship of L<strong>in</strong>dsay Anderson’. She taught film, media and French<br />
language and culture, as a lecturer at Aberdeen Bus<strong>in</strong>ess School, The<br />
Robert Gordon University, Aberdeen (2004-07) and as a teach<strong>in</strong>g<br />
assistant at the University of Aberdeen (2000-06). Her ma<strong>in</strong> <strong>research</strong><br />
area is the work of L<strong>in</strong>dsay Anderson as a film critic and film, TV and<br />
theatre director (1946-1994). Her <strong>research</strong> <strong>in</strong>terests also lie <strong>in</strong><br />
Authorship <strong>in</strong> Film, the British, French, Polish and Czechoslovak New<br />
Waves of the 1960s, Freudian and Lacanian psychoanalysis applied to<br />
screen analysis, screenwrit<strong>in</strong>g for film and television, media and<br />
education, with presentations and a workshop at IAMCR 2006 and<br />
ECREA (2007 European Media and Communication Doctoral Summer<br />
School).<br />
› Creat<strong>in</strong>g Authorship? L<strong>in</strong>dsay Anderson and David Sherw<strong>in</strong>’s collaboration<br />
on If.... (1968), Journal of Screenwrit<strong>in</strong>g, 1.1, 131-148.<br />
For ten years Charlotte Govaert worked as a director and producer for<br />
factual programm<strong>in</strong>g on public television <strong>in</strong> The Netherlands. She is<br />
currently undertak<strong>in</strong>g her Ph.D. <strong>research</strong> at the University of Aberdeen.<br />
› How reflexive documentaries engage audiences <strong>in</strong> issues of representation:
Helen Grace<br />
Keywords Asian Australian c<strong>in</strong>ema,<br />
Little Fish, The F<strong>in</strong>ished People,<br />
Lucky Miles, <strong>in</strong>action c<strong>in</strong>ema<br />
Julian Graffy<br />
University College London, School of<br />
Slavonic and East European, 16<br />
Taviton Street, London, WC1H 0BW,<br />
United K<strong>in</strong>gdom<br />
Keywords Georgian culture, Black<br />
Sea, memory, swimm<strong>in</strong>g, Stal<strong>in</strong><br />
Seth Graham<br />
University College London, School of<br />
Slavonic and Eastern European<br />
apologia for a reception study, Studies <strong>in</strong> Documentary Film, 1.3, 245-264.<br />
Helen Grace is a film-maker, photographer and multi-media producer.<br />
Before jo<strong>in</strong><strong>in</strong>g the Ch<strong>in</strong>ese University of Hong Kong as Associate<br />
Professor <strong>in</strong> the Department of Cultural and Religious Studies, she<br />
established the Theoretical Studies Department and the Postgraduate<br />
Studies Unit <strong>in</strong> the (then) Faculty of Visual and Perform<strong>in</strong>g Arts at the<br />
University of Western Sydney (Nepean). She is the author of the CD-<br />
Rom, Before Utopia: A Non-Official Prehistory of the Present (Pluto<br />
Press, 2000). She edited Aesthesia and the Economy of the Senses<br />
(UWS, 1996) and co-edited Planet Diana: Cultural Studies and Global<br />
Mourn<strong>in</strong>g (Research Centre <strong>in</strong> Intercommunal Studies, 1997).<br />
› ‘Small-fry’: suburban decl<strong>in</strong>e and the global outback <strong>in</strong> recent Asian<br />
Australian c<strong>in</strong>ema, Studies <strong>in</strong> Australasian C<strong>in</strong>ema, 2.3, 195-212.<br />
› Introduction, Studies <strong>in</strong> Documentary Film, 2.2, 101-102.<br />
Julian Graffy is Professor of Russian Literature and C<strong>in</strong>ema at the<br />
School of Slavonic and East European Studies, University College<br />
London, where he has worked s<strong>in</strong>ce 1976. He is the author of Gogol's<br />
The Overcoat (2000), Bed and Sofa: The Film Companion (2001), and<br />
several articles on Russian literature and film. He is currently<br />
<strong>research</strong><strong>in</strong>g a study of the representation of foreign characters <strong>in</strong><br />
Russian film.<br />
› History, memory, water: the reclamation of Georgian identity <strong>in</strong> Irakli<br />
Kvirikadze's The Swimmer, Studies <strong>in</strong> Russian and Soviet C<strong>in</strong>ema, 1.3, 299-<br />
328.<br />
› Special Feature: Russian C<strong>in</strong>ema Centenary, Studies <strong>in</strong> Russian and Soviet<br />
C<strong>in</strong>ema, 2.3, 327-354.<br />
› DVD Reviews, Studies <strong>in</strong> Russian and Soviet C<strong>in</strong>ema, 4.3, 345-354.<br />
Seth Graham, lecturer <strong>in</strong> the School of Slavonic and Eastern European<br />
Studies (SSEES) at University College London, author of articles on<br />
Russian c<strong>in</strong>ema and author of Resonant Dissonance, The Russian Joke<br />
<strong>in</strong> Cultural Context (2009). He completed his Ph.D. <strong>in</strong> Russian
Studies, 16 Taviton Street, London,<br />
WC1H 0BW, United K<strong>in</strong>gdom<br />
Keywords Russian c<strong>in</strong>ema, Russian<br />
and Soviet culture, gender studies,<br />
humour theory, Central Asian c<strong>in</strong>ema,<br />
language pedagogy<br />
Florian Grandena<br />
University of Ottawa, Department of<br />
Communication, 554 K<strong>in</strong>g Edward,<br />
Ottawa, ON K1N 6N5, Canada<br />
Keywords Y aura-t-il de la neige à<br />
Noël?, Provence, Rhônes-Alpes<br />
C<strong>in</strong>ema, French prov<strong>in</strong>ces, folklore,<br />
Ma vraie vie à Rouen, French gay<br />
c<strong>in</strong>ema<br />
Barry Keith Grant<br />
Brock University, Communications,<br />
Popular Culture/Film, 500 Glenridge<br />
Avenue, St. Cathar<strong>in</strong>es, Ontario, L2S<br />
3A1, Canada<br />
Keywords genre, science fiction,<br />
horror, documentary, authorship,<br />
Hollywood<br />
literature at the University of Pittsburgh <strong>in</strong> 2003. The title of his thesis<br />
is 'A Cultural Analysis of the Russo-Soviet Anekdot'. He subsequently<br />
taught at the University of Wash<strong>in</strong>gton, Seattle (2003-2004) and held a<br />
post-doctoral Humanities Fellowship at Stanford University (2004-<br />
2006) before jo<strong>in</strong><strong>in</strong>g SSEES as a Lecturer <strong>in</strong> Russian <strong>in</strong> September<br />
2006. His current <strong>in</strong>terests are contemporary Russian and Soviet<br />
culture (especially film), cultural studies, gender studies, humour<br />
theory, Central Asian film, and language pedagogy.<br />
› Contemporary Uzbek C<strong>in</strong>ema: The Case of Yusup Razykov, Studies <strong>in</strong><br />
Russian and Soviet C<strong>in</strong>ema, 4.2, 227-233.<br />
Florian Grandena is Assistant Professor <strong>in</strong> the Department of<br />
Communication at the University of Ottawa (Canada), where he<br />
teaches Film Studies. He <strong>research</strong>es gay-themed French-speak<strong>in</strong>g<br />
films, particularly the films of Olivier Ducastel and Jacques Mart<strong>in</strong>eau<br />
on which he is currently writ<strong>in</strong>g a book. He is the author of Show<strong>in</strong>g<br />
the World to the World: Political Fictions <strong>in</strong> French C<strong>in</strong>ema of the<br />
1980s and the early 2000s (2008). He has also published articles on<br />
French contemporary c<strong>in</strong>ema <strong>in</strong> Studies <strong>in</strong> French C<strong>in</strong>ema and<br />
Contemporary French Civilization. He is the <strong>in</strong>itiator of the<br />
‘Hypervisibility’ cycle of conferences that concentrate on the<br />
representation of homosexualities <strong>in</strong> contemporary Francophone visual<br />
cultures.<br />
› The prov<strong>in</strong>ces <strong>in</strong> contemporary French c<strong>in</strong>ema: the case of Y aura-t-il de la<br />
neige à Noël?, Studies <strong>in</strong> French C<strong>in</strong>ema, 4.2, 113-120.<br />
› Zoom<strong>in</strong>g In, Com<strong>in</strong>g Out: Languages <strong>in</strong> Olivier Ducastel and Jacques<br />
Mart<strong>in</strong>eau's Ma vraie vie à Rouen/The True Story of My Life <strong>in</strong> Rouen<br />
(2003), Studies <strong>in</strong> French C<strong>in</strong>ema, 9.1, 75-86.<br />
Barry Keith Grant is Professor of Film Studies and Popular Culture at<br />
Brock University <strong>in</strong> St. Cathar<strong>in</strong>es, Ontario, Canada. He is the author,<br />
co-author, or editor of more than twenty books, <strong>in</strong>clud<strong>in</strong>g Invasion of<br />
the Body Snatchers (BFI), Shadows of Doubt: Negotiations of<br />
Mascul<strong>in</strong>ity <strong>in</strong> American Genre Films (Wayne State UP), Film Genre:<br />
From Iconography to Ideology (Wallflower Press), The Dread Of<br />
Difference: Gender And The Horror Film (U Texas Press), Film Genre<br />
Reader (U Texas Press), Document<strong>in</strong>g The Documentary: Close<br />
Read<strong>in</strong>gs Of Documentary Film And Video (Wayne State UP),<br />
Auteurism And Authorship: A Film Reader (Blackwell), and The Film<br />
Studies Dictionary (Arnold).
Liz Greene<br />
Queen's University Belfast, Belfast,<br />
United K<strong>in</strong>gdom<br />
Keywords voice, s<strong>in</strong>g<strong>in</strong>g, female<br />
voice, S<strong>in</strong>g<strong>in</strong>' <strong>in</strong> the Ra<strong>in</strong>, Mulholland<br />
Drive<br />
Erika Gregor<br />
Keywords Ulrich Gregor, Berl<strong>in</strong>ale<br />
Forum, Arsenal, Freunde der<br />
Deutschen K<strong>in</strong>emathek<br />
› Genre Films and Cultural Myth, Film International, 1.1, 27-35.<br />
› Film Festivals, Film International, 4.19, 95-.<br />
› Toronto International Film Festival; Take Two, Film International, 5.1, 91-<br />
94.<br />
› Toronto International Film Festival 2007, Film International, 5.6, 92-96.<br />
› New Zealand Film and Questions of Genre, Film International, 6.2, 14-22.<br />
› Around the Circuit: Toronto International Film Festival 2009, Film<br />
International, 7.6, 88-96.<br />
› Around the Circuit: Toronto International Film Festival 2010, Film<br />
International, 8.6, 95-97.<br />
Liz Greene studied sound design for film as an undergraduate at the<br />
National Film School, Dun Laoghaire (Ireland) <strong>in</strong> 2001. S<strong>in</strong>ce then she<br />
has worked as a boom operator <strong>in</strong> the Irish film and television <strong>in</strong>dustry.<br />
Her work on the television series Pure Mule won an Irish Film and<br />
Television Award (IFTA) for best sound <strong>in</strong> 2005. She studied for an<br />
MA <strong>in</strong> Film Studies at University College Dubl<strong>in</strong> <strong>in</strong> 2003. She<br />
completed a Ph.D. at the University of Ulster <strong>in</strong> 2008. Her thesis was<br />
entitled Alan Splet and Sound Design: an archival study, which<br />
<strong>in</strong>vestigates the sound effects library Sound Mounta<strong>in</strong>. <strong>in</strong> 2008-09 she<br />
worked as a Lecturer <strong>in</strong> Film and Television Production at York St<br />
John University, but took up a new post as Lecturer <strong>in</strong> Film Studies <strong>in</strong><br />
September 2009 at Queen’s University Belfast.<br />
› Speak<strong>in</strong>g, S<strong>in</strong>g<strong>in</strong>g, Scream<strong>in</strong>g: Controll<strong>in</strong>g the Female Voice <strong>in</strong> American<br />
C<strong>in</strong>ema, The Soundtrack, 2.1, 63-76.<br />
Erika Gregor studied German and English literature, history and<br />
philosophy <strong>in</strong> Gött<strong>in</strong>gen, London, Munich and Berl<strong>in</strong>. In 1963 she cofounded<br />
and s<strong>in</strong>ce then has been an active member of the association<br />
Freunde der Deutschen K<strong>in</strong>emathek (‘Friends of the German<br />
C<strong>in</strong>ematheque’). She has been the programmer and organizer for the<br />
Arsenal c<strong>in</strong>ema s<strong>in</strong>ce its launch <strong>in</strong> 1970, and from 1971 to 2004 a<br />
member of the selection committee of the International Forum of New<br />
C<strong>in</strong>ema of the Berl<strong>in</strong> Film Festival. Erika also curated retrospectives<br />
and thematic film programmes (‘Stations of Modernism’, ‘Jewish<br />
Lifestyles’, ‘Japan and Europe’, ‘Moscow–Berl<strong>in</strong>’, ‘German Images’) <strong>in</strong><br />
the 1980s and 1990s. She has published books and catalogues and<br />
(together with Ulrich Gregor) the ongo<strong>in</strong>g series K<strong>in</strong>emathek (99<br />
volumes, latest issues on Satyajit Ray, Yasujiro Ozu and Im Kwon-
Ulrich Gregor<br />
Keywords Berl<strong>in</strong>ale Forum, Arsenal,<br />
Freunde der Deutschen K<strong>in</strong>emathek<br />
Kate Griffiths<br />
University of Cardiff, School of<br />
European Studies, 55-58 Park Place,<br />
Cardiff, CF24 0DE, United K<strong>in</strong>gdom<br />
Keywords borrow<strong>in</strong>g, La Curée, The<br />
Game is Over, Zola, authorship<br />
taek).<br />
› Every Time the Curta<strong>in</strong> is Go<strong>in</strong>g Up, We are Hop<strong>in</strong>g and Long<strong>in</strong>g…, Film<br />
International, 6.4, 72-76.<br />
Ulrich Gregor was born <strong>in</strong> Hamburg and studied film and literature <strong>in</strong><br />
Hamburg and Berl<strong>in</strong>. In 1954–56 he undertook a film studies course at<br />
C<strong>in</strong>émathèque Française, Paris. He has been an active film critic s<strong>in</strong>ce<br />
1955. In 1963 the co-founded and became chair of the Freunde der<br />
Deutschen K<strong>in</strong>emathek (until 2005). From 1966 to 1972 and aga<strong>in</strong><br />
s<strong>in</strong>ce 2006 he teaches film history at the German Film and TV<br />
Academy <strong>in</strong> Berl<strong>in</strong>. He is the author of History of C<strong>in</strong>ema (with Enno<br />
Patalas, 1962, new edition 1982), and History of C<strong>in</strong>ema s<strong>in</strong>ce 1960<br />
(1978, new edition 1982, translated <strong>in</strong>to Ch<strong>in</strong>ese). From 1971 to 2001<br />
he was the director of the International Forum of New C<strong>in</strong>ema at the<br />
Berl<strong>in</strong> Film Festival, a showcase of <strong>in</strong>dependent and experimental<br />
c<strong>in</strong>ema. He is a curator of retrospectives and festival catalogues, editor<br />
of the monograph series K<strong>in</strong>emathek (with Erika<br />
› Every Time the Curta<strong>in</strong> is Go<strong>in</strong>g Up, We are Hop<strong>in</strong>g and Long<strong>in</strong>g…, Film<br />
International, 6.4, 72-76.<br />
Kate Griffiths is a Lecturer <strong>in</strong> French at the University of Wales,<br />
Bangor. She has published a variety of articles on n<strong>in</strong>eteenth-century<br />
French Naturalism, c<strong>in</strong>ematic adaptation, authorship and citation.<br />
Thanks to an AHRC <strong>research</strong> leave grant, she is currently work<strong>in</strong>g on a<br />
monograph entitled Emile Zola: Authorship, Imitation and Adaptation.<br />
› Hunt the author: Zola, Vadim and La Curée, Studies <strong>in</strong> European C<strong>in</strong>ema,<br />
2.1, 7-18.<br />
› Racial reflection: La Ha<strong>in</strong>e and the art of borrow<strong>in</strong>g, Studies <strong>in</strong> European<br />
C<strong>in</strong>ema, 3.2, 117-128.<br />
› Borrowed identities: Mathieu Kassovitz and Djamel Bensalah, New<br />
C<strong>in</strong>emas: Journal of Contemporary Film, 4.3, 185-196.<br />
Torben Grodal Torben Kragh Grodal is Professor <strong>in</strong> the Department of Film and
University of Copenhagen,<br />
Department of Film and Media<br />
Studies, Njalsgade 76, Copenhagen S,<br />
2300, Denmark<br />
Keywords supernatural, enchantment,<br />
horror, fantasy, melodrama<br />
Asbjørn Grønstad<br />
University of Bergen, Department of<br />
English, Sydnesplassen 7, N-5007<br />
Bergen, Norway<br />
Keywords Anatomie de l'enfer,<br />
transgression, sexuality, repulsion,<br />
decommodification<br />
Emanuela Guano<br />
Georgia State University, Department<br />
of Anthropology, Sparks Hall 339A,<br />
Atlanta, GA 30303, United States of<br />
America<br />
Keywords anthropology, Urban<br />
studies, visual culture, Italy<br />
Media Studies, University of Copenhagen. His primary <strong>research</strong><br />
<strong>in</strong>terests are currently located <strong>in</strong> the fields of cognitive film theory with<br />
special focus on the relation between cognition and emotions <strong>in</strong> the<br />
viewer’s process<strong>in</strong>g of films, as well as media <strong>in</strong> an evolutionary<br />
perspective. He is the author of Mov<strong>in</strong>g Pictures: A New Theory of<br />
Film Genres, Feel<strong>in</strong>gs and Cognition (1997, 1999) Oxford:<br />
OUP/Clarendon, ‘Emotions, Cognition and Narrative Patterns <strong>in</strong> Film’<br />
(1999) and ‘Subjectivity, Realism and Narrative Structures <strong>in</strong> Film.’<br />
› Born aga<strong>in</strong> heathenism – enchanted worlds on film, Northern Lights: Film &<br />
Media Studies Yearbook, 6.1, 45-58.<br />
› Crime fiction and moral emotions: How context lures the moral attitudes of<br />
viewers and readers, Northern Lights: Film & Media Studies Yearbook, 9.,<br />
143-157.<br />
› Tales from the Crypt: A debate between Torben Grodal and Christer<br />
Mattsson, Film International, 1.4, 36-41.<br />
Asbjørn Grønstad is a professor of Visual Culture <strong>in</strong> the Department of<br />
Information Science and Media Studies, University of Bergen. He is<br />
also director of Nomadikon and the <strong>research</strong> project 'New Ecologies of<br />
the Image.' The author of numerous articles and essays on film theory<br />
and on American and European c<strong>in</strong>ema, Grønstad's most recent books<br />
are ransfigurations: Violence, Death and Mascul<strong>in</strong>ity <strong>in</strong> American<br />
C<strong>in</strong>ema (Amsterdam University Press 2008) and Coverscap<strong>in</strong>g:<br />
Discover<strong>in</strong>g Album Aesthetics (co-edited with Øyv<strong>in</strong>d Vågnes,<br />
Museum Tusculanum Press 2010). He is currently complet<strong>in</strong>g a book<br />
on contemporary transgressive art c<strong>in</strong>ema for Palgrave. Grønstad is<br />
also a found<strong>in</strong>g editor of the peer-reviewed (and Scand<strong>in</strong>avian<br />
language only) journal Ekphrasis: Nordic Journal of Visual Culture.<br />
› Abject desire: Anatomie de l'enfer and the unwatchable, Studies <strong>in</strong> French<br />
C<strong>in</strong>ema, 6.3, 161-170.<br />
Emanuela Guano is associate professor of sociocultural anthropology at<br />
Georgia State University. She is currently work<strong>in</strong>g on a book on public<br />
culture and political discourse <strong>in</strong> contemporary Italy. Her previous<br />
<strong>research</strong> spanned issues of visual and public culture, ideology and the<br />
social production of space, and public performances of class and<br />
gender identities <strong>in</strong> Argent<strong>in</strong>a and Italy.<br />
› Social immobility and the poetics of contentment <strong>in</strong> Paolo Virz's Cater<strong>in</strong>a <strong>in</strong>
Renate Günther<br />
University of Sheffield, Department<br />
of French, Jessop West, Upper<br />
Hanover Street, Sheffield, S3 7RA,<br />
United K<strong>in</strong>gdom<br />
Keywords Duras, Wittig, fem<strong>in</strong>ism,<br />
gender, sexuality, twentieth-century<br />
French literature, psychoanalysis,<br />
Jung, Kle<strong>in</strong>, identity, alterity<br />
Anna Gural-Migdal<br />
University of Alberta, Department of<br />
Modern Languages and Cultural<br />
Studies, 200 Arts Build<strong>in</strong>g,<br />
Edmonton, T6G 2E6, Canada<br />
Keywords provocation, image,<br />
horror, pornography, Haneke<br />
Oliver Haag<br />
University of Vienna, Austrian<br />
Research Center for Transcultural<br />
Studies, Mariahilfer Strasse 119/13,<br />
Vienna, A-1060, Austria<br />
Keywords Australian c<strong>in</strong>ema,<br />
German c<strong>in</strong>ema, national socialism<br />
the Big City, Studies <strong>in</strong> European C<strong>in</strong>ema, 7.2, 149-161.<br />
Renate Günther lectures <strong>in</strong> French at the University of Sheffield. Her<br />
<strong>research</strong> <strong>in</strong>terests are the work of Marguerite Duras, Monique Wittig,<br />
fem<strong>in</strong>ist theory, studies <strong>in</strong> gender and sexuality, twentieth-century<br />
French literature and psychoanalysis. She has published two books on<br />
Duras, the first on two of her novels and the second on her c<strong>in</strong>ema. She<br />
has also published articles on Duras and on fem<strong>in</strong>ist studies (Wittig,<br />
Irigaray and Beauvoir).<br />
› Archetypal figures <strong>in</strong> Marguerite Duras’s India Song: a Jungian perspective,<br />
Studies <strong>in</strong> French C<strong>in</strong>ema, 3.2, 83-92.<br />
Anna Gural-Migdal is Professor of French Literature and Film <strong>in</strong> the<br />
Department of Modern Languages and Cultural Studies at the<br />
University of Alberta. She has published extensively <strong>in</strong> the field of<br />
French and Italian c<strong>in</strong>ema, and served as the Editor-<strong>in</strong>-chief of the<br />
Canadian film magaz<strong>in</strong>e 24 Images. Her ma<strong>in</strong> works are Zola et le<br />
texte naturaliste en Europe et aux Amériques: Généricité,<br />
<strong>in</strong>tertextualité et <strong>in</strong>fluences (with Carolyn Snipes-Hoyt, Edw<strong>in</strong> Mellen<br />
Press, 2006), Zola and Film: Essays <strong>in</strong> the Art of adaptation (with<br />
Robert S<strong>in</strong>ger, McFarland, 2005), Writ<strong>in</strong>g the Fem<strong>in</strong><strong>in</strong>e <strong>in</strong> Zola and<br />
Naturalist Fiction (Peter Lang, 2004, 2nd ed.) and Le C<strong>in</strong>éma de Paul<br />
Tana: parcours critiques (with Filippo Salvatore Balzac, 1997).<br />
› The ghost image of horror and pornography <strong>in</strong> Michael Haneke's La Pianiste<br />
(2001), Studies <strong>in</strong> French C<strong>in</strong>ema, 11.1, 57-69.<br />
Oliver Haag is a Research Fellow at the Austrian Research Center for<br />
Transcultural Studies, Vienna. Oliver studied History and Political<br />
Science at the University of Vienna, Austria. His <strong>research</strong> <strong>in</strong>terests are<br />
<strong>in</strong> the areas of German reception of Indigenous cultures, politics of<br />
diversity, and theories of nation-build<strong>in</strong>g, with particular <strong>in</strong>terest <strong>in</strong><br />
Australia, the South Pacific and Germany. Oliver is the author of<br />
academic writ<strong>in</strong>gs on published Indigenous Australian autobiographies<br />
and (Indigenous) Australian literature translated <strong>in</strong>to German.
Christ<strong>in</strong>e Haase<br />
University of Georgia, Department of<br />
German and Slavic Languages, 110<br />
Joseph Brown Hall, Athens, Georgia,<br />
GA 30602, United States of America<br />
Keywords Third Reich, Hitler,<br />
German c<strong>in</strong>ema, Holocaust, comedy,<br />
<strong>in</strong>ternationalism, German-American<br />
c<strong>in</strong>ema<br />
Helle Kannik Haastrup<br />
University of Roskilde, Department<br />
of Culture and Identity, Build<strong>in</strong>g 3,<br />
Roskilde, DK-4000, Denmark<br />
Keywords celebrity, star, media<br />
event, mediated ritual, religion<br />
Markos Hadjioannou<br />
K<strong>in</strong>g's College London, Film Studies<br />
Department, Strand, London, WC2R<br />
2LS, United K<strong>in</strong>gdom<br />
Keywords new media, digital arts,<br />
ontology, <strong>in</strong>termediality,<br />
spectatorship, Nietzschean ethics,<br />
› Tasteless, romantic and full of history: The German reception of Australia<br />
and Rabbit-Proof Fence, Studies <strong>in</strong> Australasian C<strong>in</strong>ema, 4.2, 115-129.<br />
Dr. Haase is an assistant professor of German <strong>in</strong> the Department of<br />
Germanic and Slavic Languages at the University of Georgia, Athens,<br />
US. Her primary <strong>research</strong> <strong>in</strong>terests are German c<strong>in</strong>ema, especially <strong>in</strong> its<br />
relationship to US film and Hollywood, and Holocaust studies, <strong>in</strong><br />
particular c<strong>in</strong>ematic representations of the Holocaust and the Third<br />
Reich. Dr. Haase is the author of When Heimat Meets Hollywood:<br />
German Filmmakers and America 1985-2005 (Rochester/NY: Camden<br />
House, 2007), a book on German directors work<strong>in</strong>g <strong>in</strong> Hollywood and<br />
the United States.<br />
› Ready for his close-up? Represent<strong>in</strong>g Hitler <strong>in</strong> Der Untergang (Downfall,<br />
2004), Studies <strong>in</strong> European C<strong>in</strong>ema, 3.3, 189-200.<br />
Helle Kannik Haastrup is Associate Professor <strong>in</strong> the Department of<br />
Culture and Identity, University of Roskilde. Areas of expertise <strong>in</strong>clude<br />
the European art film after 1990, film aesthetics and film culture.<br />
Research <strong>in</strong>terests cover film aesthetics and culture, with a special<br />
focus on the analysis of the European and American art film and film<br />
culture.<br />
› One re-enchanted even<strong>in</strong>g – the Academy Awards as a mediated ritual with<strong>in</strong><br />
celebrity culture, Northern Lights: Film & Media Studies Yearbook, 6.1, 127-<br />
142.<br />
› Book Reviews, Film International, 8.2, 82-94.<br />
Markos Hadjioannou is a part-time lecturer <strong>in</strong> Film Studies at K<strong>in</strong>g's<br />
College London. His <strong>research</strong> <strong>in</strong>terests <strong>in</strong>clude c<strong>in</strong>ema technologies,<br />
especially the relationship between celluloid and digital c<strong>in</strong>ema;<br />
contemporary film theory; and cont<strong>in</strong>ental philosophy, especially poststructuralism<br />
and Nietzschean ethics.<br />
› How does the digital matter? Envision<strong>in</strong>g corporeality through Christian<br />
Volckman's Renaissance, Studies <strong>in</strong> French C<strong>in</strong>ema, 8.2, 123-136.
contemporary arts, c<strong>in</strong>ema, film<br />
theory<br />
Berber Hagedoorn<br />
Utrecht University, Media and<br />
Culture Studies, Faculty of<br />
Humanities, Muntstraat 2A, Utrecht,<br />
3512 EV, Netherlands<br />
Keywords found footage,<br />
documentary, public/private history,<br />
shared textual authority, voice<br />
Kev<strong>in</strong> Hagopian<br />
Penn State University, Cultural<br />
Studies, C<strong>in</strong>ema Studies, United<br />
States of America<br />
Keywords Caché (2005), mentorship,<br />
McNair Scholar, Penn State, Frank<br />
Capra<br />
Greg Ha<strong>in</strong>ge<br />
University of Queensland, School of<br />
Languages and Comparative Cultural<br />
Studies, Brisbane, Queensland, 4072,<br />
Australia<br />
Berber Hagedoorn, MA is a junior lecturer and Ph.D. student <strong>in</strong> Media<br />
and Culture Studies at Utrecht University, the Netherlands. She studied<br />
Media Studies at Utrecht University and the University of California,<br />
Santa Barbara, and graduated cum laude <strong>in</strong> 2007. Her thesis 'Shared<br />
Textual Authority <strong>in</strong> the Found Footage Documentary: A Historical<br />
and Theoretical Analysis of The Maelstrom, Grizzly Man and My<br />
Architect' was shortlisted for the 2007–8 UU Faculty of Humanities<br />
Master Thesis Prize. She is currently work<strong>in</strong>g with the project<br />
'EUscreen: Explor<strong>in</strong>g Europe's Television Heritage <strong>in</strong> Chang<strong>in</strong>g<br />
Contexts' and <strong>research</strong>es the topic of 'Repurpos<strong>in</strong>g Television's Past:<br />
Re-Screen<strong>in</strong>g, History and Memory <strong>in</strong> the Multi-Platform Era.' Her<br />
<strong>research</strong> <strong>in</strong>terests <strong>in</strong>clude the topics of the re-use of archival and<br />
historical footage <strong>in</strong> a variety of media platforms, television <strong>in</strong><br />
transition, public/private history, memory, and the auto/biographical<br />
documentary.<br />
› ‘Look what I found!’: (Re-)cross<strong>in</strong>g boundaries between public/private<br />
history and biography/autobiography <strong>in</strong> Péter Forgács' The Maelstrom,<br />
Studies <strong>in</strong> Documentary Film, 3.2, 177-192.<br />
Kev<strong>in</strong> Hagopian teaches C<strong>in</strong>ema Studies and Cultural Studies at Penn<br />
State University, where he is on the Graduate and Honors faculties. He<br />
is complet<strong>in</strong>g a manuscript entitled ‘Hollywood Restoration: Genre,<br />
Ideology and the Film Industry <strong>in</strong> the Age of American Affirmation,<br />
1936–1945’.<br />
› (Introduction to Capra Award W<strong>in</strong>ner) Faculty Perspective, Film<br />
International, 7.1, 54-54.<br />
Greg Ha<strong>in</strong>ge is Reader <strong>in</strong> French at the University of Queensland. He<br />
has published extensively <strong>in</strong> the fields of film studies, twentiethcentury<br />
French literature, cont<strong>in</strong>ental philosophy, cultural studies and<br />
experimental music. He is president of the Australian Society for<br />
French Studies and serves on the editorial boards of Culture, Theory<br />
and Critique, Contemporary French Civilization, Études Cél<strong>in</strong>iennes
Keywords French c<strong>in</strong>ema, David<br />
Lynch, Coen Brothers, Grandrieux,<br />
new extremism, spectatorship, c<strong>in</strong>ema<br />
sound<br />
Sab<strong>in</strong>e Hake<br />
University of Texas at Aust<strong>in</strong>,<br />
Department of Germanic Studies,<br />
C3300, Aust<strong>in</strong>, TX, 78712-0304,<br />
United States of America<br />
Keywords Fascism, aesthetics,<br />
Nazism, Italian film, 1970s,<br />
exploitation c<strong>in</strong>ema<br />
Judith Halberstam<br />
University of Southern California,<br />
Department of English, United States<br />
of America<br />
Keywords Bride of Chucky, Ronnie<br />
Yu, neo-splatter film, horror film, The<br />
F<strong>in</strong>al Girl, gender, sexual politics,<br />
Child’s Play series, heteronormativity<br />
Ciara Haley<br />
Keywords borders, identities,<br />
European C<strong>in</strong>ema, depictions of<br />
Germany, Cold War period<br />
and the editorial advisory board of Altitudes. In addition he is the<br />
Australasian Officer for Studies <strong>in</strong> French C<strong>in</strong>ema.<br />
› Airport music: Muzak, ‘Non-lieux’ and film sound <strong>in</strong> Stéphanik's Stand-by<br />
and Lioret's Tombés du ciel, Studies <strong>in</strong> French C<strong>in</strong>ema, 9.3, 201-214.<br />
Sab<strong>in</strong>e Hake is the Texas Chair of German Literature and Culture <strong>in</strong><br />
the Department of Germanic Studies at the University of Texas at<br />
Aust<strong>in</strong>. She is the author of five books, <strong>in</strong>clud<strong>in</strong>g German National<br />
C<strong>in</strong>ema (2008, second revised edition) and Topographies of Class:<br />
Modern Architecture and Mass Society <strong>in</strong> Weimar Berl<strong>in</strong> (2008). Her<br />
new book project deals with the fascist imag<strong>in</strong>ary <strong>in</strong> post-fascist<br />
c<strong>in</strong>ema.<br />
› Art and exploitation: On the fascist imag<strong>in</strong>ary <strong>in</strong> 1970s Italian c<strong>in</strong>ema,<br />
Studies <strong>in</strong> European C<strong>in</strong>ema, 7.1, 11-19.<br />
Judith Halberstam is a Professor of English and Director of the Centre<br />
for Fem<strong>in</strong>ist Research at the University of Southern California. She<br />
teaches courses <strong>in</strong> queer studies, gender theory, art, literature and film.<br />
She has written books such as Sk<strong>in</strong> Shows: Gothic Horror and the<br />
Technology of Monsters (Durham N.C: Duke University Press, 1995),<br />
Female Mascul<strong>in</strong>ity (Durham N.C: Duke University Press, 1998) and<br />
In A Queer Time and Place: Transgender Bodies, Subcultural Lives<br />
(New York University Press, 2005).<br />
› NeoSplatter: Bride of Chucky and the Horror of Heteronormativity, Film<br />
International, 3.15, 32-41.<br />
Margot Black and Ciara Haley are both students, study<strong>in</strong>g for degrees<br />
<strong>in</strong> French & Italian and Spanish & Italian respectively at Cardiff<br />
University, Wales. They are currently <strong>in</strong> their second year and do<strong>in</strong>g a<br />
module on Borders and Identities <strong>in</strong> European C<strong>in</strong>ema. It is through<br />
this module, and the guidance of their lecturer Ryan Prout, that they<br />
came to be <strong>in</strong>terested <strong>in</strong> depictions of Germany <strong>in</strong> film throughout the<br />
Cold War period.
Randall Halle<br />
University of Pittsburgh, German<br />
Department, 1409 Cathedral of<br />
Learn<strong>in</strong>g, Pittsburgh, PA 15206,<br />
United States of America<br />
Keywords migrant c<strong>in</strong>ema, Ayse<br />
Polat, Neco Çelik, Kutluğ Ataman,<br />
Kanak-TV<br />
Benjam<strong>in</strong> Halligan<br />
University of Salford, School of<br />
Media, Music and Performance,<br />
Adelphi Build<strong>in</strong>g, Peru Street,<br />
Salford, M5 4WT, United K<strong>in</strong>gdom<br />
Keywords John Travolta, Mike<br />
Nichols, bio-pic, Democratic Party,<br />
politics<br />
› Counterculture <strong>in</strong> the GDR: Remember<strong>in</strong>g the GDR through Film, Film<br />
Matters, 2.1, 30-32.<br />
Randall Halle is the Klaus W. Jonas Professor of German Film Studies<br />
at the University of Pittsburgh. In addition to numerous articles, he is<br />
the author of German Film after Germany: Toward a Transnational<br />
Aesthetic and co-editor of After the Avant-Garde.<br />
› Experiments <strong>in</strong> Turkish–German film-mak<strong>in</strong>g: Ayşe Polat, Kutluğ Ataman,<br />
Neco Çelik, Aysun Bademsoy and Kanak Attak, New C<strong>in</strong>emas: Journal of<br />
Contemporary Film, 7.1, 39-53.<br />
Benjam<strong>in</strong> Halligan completed his MPhil and Ph.D. <strong>in</strong> the Department<br />
of Theatre, Film and Television Studies at Aberystwyth University and<br />
is Director of the Graduate School of Media, Music and Performance at<br />
the University of Salford. His critical biography Michael Reeves<br />
(Manchester University Press, 2003) is currently <strong>in</strong> development for a<br />
biopic. Other publications <strong>in</strong>clude considerations of Andrei<br />
Tarkovsky’s aesthetics, disco and 1970s’ television sci-fi, and Mark E.<br />
Smith and The Fall: Art, Music and Politics (Ashgate, 2010), co-edited<br />
with Michael Goddard.<br />
› Conference Report, New C<strong>in</strong>emas: Journal of Contemporary Film, 6.2, 145-<br />
151.<br />
› Sloths of Office: The Mid-life Crisis of Hollywood's Democrats, Part 1, Film<br />
International, 8.4, 19-31.<br />
› Sloths of Office: The Midlife Crisis of Hollywood's Democrats, Part 2, Film<br />
International, 8.5, 40-53.<br />
› Idylls of socialism: The Sarajevo Documentary School and the problem of<br />
the Bosnian sub-proletariat, Studies <strong>in</strong> Eastern European C<strong>in</strong>ema, 1.2, 197-<br />
216.<br />
› Reviews, Studies <strong>in</strong> Eastern European C<strong>in</strong>ema, 2.1, 91-111.<br />
Louise Hamby Louise Hamby is a Research Fellow at the Research School of<br />
Humanities and the Arts, Australian National University. Her current<br />
Australian Research Council Discovery Grant is Contexts of Collection
Australian National University,<br />
Research School of Humanities, 37<br />
WEH Stanner Build<strong>in</strong>g, Lennox<br />
Cross<strong>in</strong>g, Canberra, Acton, 200,<br />
Australia<br />
Keywords Ten Canoes, Arnhem<br />
Land, Aborig<strong>in</strong>al, Rolf de Heer,<br />
<strong>in</strong>terpretation<br />
Petra Hanakova<br />
Charles University, Katedra<br />
filmových studií FF UK, nám J.<br />
Palacha 2, Praha 1, Prague, 118 36,<br />
Czech Republic<br />
Keywords Czech visual culture,<br />
Eastern European c<strong>in</strong>ema<br />
Czechoslovak New Wave, Socialist<br />
realism, images of women, fem<strong>in</strong>ism<br />
Amy R Handler<br />
Keywords C<strong>in</strong>mathque Franaise,<br />
Italian c<strong>in</strong>ema, T<strong>in</strong>to Brass<br />
- a dialogic approach to understand<strong>in</strong>g the mak<strong>in</strong>g of the material<br />
record of Yolngu cultures (2008-2011). Louise has a strong <strong>in</strong>terest <strong>in</strong><br />
historic and contemporary material culture from Arnhem Land. Her<br />
<strong>in</strong>volvement with eastern Arnhem Land women lead to the<br />
development of the exhibition that she co-curated with Diana Young,<br />
Art on a Str<strong>in</strong>g. Research <strong>in</strong> western Arnhem Land fibre resulted <strong>in</strong> the<br />
exhibition and book called Tw<strong>in</strong>ed Together: Kunmadj Njalehnjaleken.<br />
› Thomson Times and Ten Canoes (de Heer and Djigirr, 2006), Studies <strong>in</strong><br />
Australasian C<strong>in</strong>ema, 1.2, 127-146.<br />
Petra Hanáková is assistant professor at the Film Studies Department<br />
of the Charles University <strong>in</strong> Prague. Her <strong>research</strong> focuses on the theory<br />
of film and visual culture, gender analysis and the representation of<br />
national identity <strong>in</strong> film. She is the author of Pandoř<strong>in</strong>a skřínka aneb<br />
Co fem<strong>in</strong>istky provedly filmu?/ Pandora’s Box or What Have Fem<strong>in</strong>ists<br />
Done to C<strong>in</strong>ema?, 2007], editor of Výzva perspektivy. Obraz a jeho<br />
divák od malby quattrocenta k filmu a zpět/The Challenge of<br />
Perspective. Image and its Spectator from Quattrocento Pant<strong>in</strong>g to<br />
Film and Back, 2008, and the co-editor of Visegrad C<strong>in</strong>ema: Po<strong>in</strong>ts of<br />
Contact from the New Waves to the Present (2010, with Kev<strong>in</strong><br />
Johnson). She is currently work<strong>in</strong>g on a book on national imag<strong>in</strong>g <strong>in</strong><br />
Czech visual culture.<br />
› From Mařka the Bricklayer to Black and White Sylva: Images of women <strong>in</strong><br />
Czech visual culture and the Eastern European visual paradox, Studies <strong>in</strong><br />
Eastern European C<strong>in</strong>ema, 2.2, 145-160.<br />
Amy R Handler, MFA, is a Boston-based filmmaker, film scholar,<br />
writer and critic. Her work is speculative – exam<strong>in</strong><strong>in</strong>g time, fate,<br />
co<strong>in</strong>cidence and our capacity for good and evil. Aside from Film<br />
International, her work appears at C<strong>in</strong>easte, Film Threat, Mov<strong>in</strong>g<br />
Pictures Magaz<strong>in</strong>e and other magaz<strong>in</strong>es throughout the world. She is<br />
presently writ<strong>in</strong>g several chapters <strong>in</strong> the books: German C<strong>in</strong>ema: A<br />
Critical Filmography to 1945, and World C<strong>in</strong>ema France.<br />
› If History Runs, C<strong>in</strong>ema Can't Keep Walk<strong>in</strong>g: An Interview with T<strong>in</strong>to<br />
Brass, Film International, 8.2, 30-36.<br />
› Wait<strong>in</strong>g for Armageddon: An Interview with Film-maker Kate Davis, Film<br />
International, 8.4, 32-41.
Fiona Handyside<br />
Queen's University of Belfast, School<br />
Of Languages, Literatures and Arts,<br />
Belfast, Northern Ireland, BT7 1NN,<br />
United K<strong>in</strong>gdom<br />
Keywords genre, Gouttes d'eau sur<br />
pierres brûlantes, melodrama, Ozon,<br />
Sirkbeach<br />
Jane Hanley<br />
Macquarie University, New South<br />
Wales, NSW2019, Australia<br />
Keywords fantasy, violence, Del<br />
Toro, childhood, Civil War<br />
Kim Toft Hansen<br />
Aalborg University, Department of<br />
Culture and Global Studies,<br />
Kroghstraede 3, 9220 Aalborg Øst,<br />
Denmark<br />
Keywords Ch<strong>in</strong>ese crime fiction,<br />
history of detective fiction, revision of<br />
genre history, s<strong>in</strong>ology, genre<br />
reception, supernaturalism<br />
Fiona Handyside is Lecturer <strong>in</strong> Film Studies at Queen’s University of<br />
Belfast. Her <strong>research</strong> <strong>in</strong>terests <strong>in</strong>clude c<strong>in</strong>ema and female stardom;<br />
cross-cultural read<strong>in</strong>gs of French and Hollywood c<strong>in</strong>ema; and the<br />
relations between c<strong>in</strong>ema and tourism. She has published articles on all<br />
of these topics.<br />
› Stardom and nationality: the strange case of Jean Seberg, Studies <strong>in</strong> French<br />
C<strong>in</strong>ema, 2.3, 165-176.<br />
› Melodrama and ethics <strong>in</strong> François Ozon's Gouttes d'eau sur pierres<br />
brûlantes/Water Drops on Burn<strong>in</strong>g Rocks (2000), Studies <strong>in</strong> French C<strong>in</strong>ema,<br />
7.3, 207-218.<br />
› Rohmer à la plage: The role of the beach <strong>in</strong> three films by Eric Rohmer,<br />
Studies <strong>in</strong> French C<strong>in</strong>ema, 9.2, 147-160.<br />
› Beyond Hollywood, <strong>in</strong>to Europe: The tourist gaze <strong>in</strong> Gentlemen Prefer<br />
Blondes (Hawks, 1953) and Funny Face (Donen, 1957), Studies <strong>in</strong> European<br />
C<strong>in</strong>ema, 1.2, 77-90.<br />
Jane Hanley is pursu<strong>in</strong>g a Ph.D. <strong>in</strong> the Department of International<br />
Studies at Macquarie University. Her thesis exam<strong>in</strong>es travel writ<strong>in</strong>g<br />
between Spa<strong>in</strong> and Mexico. Other <strong>research</strong> <strong>in</strong>terests <strong>in</strong>clude<br />
transatlantic Spanish-Mexican relations more generally and gender and<br />
representation <strong>in</strong> literature, and sexuality and popular culture.<br />
› The walls fall down: Fantasy and power <strong>in</strong> El laber<strong>in</strong>to del fauno, Studies <strong>in</strong><br />
Hispanic C<strong>in</strong>emas, 4.1, 35-45.<br />
Kim Toft Hansen is Teach<strong>in</strong>g Assistant Professor and Ph.D. student at<br />
Department of Culture and Global Studies, Aalborg University. Hansen<br />
has <strong>in</strong> connection with the cross-discipl<strong>in</strong>ary <strong>research</strong> programme<br />
Crime Fiction and Crime Journalism <strong>in</strong> Scand<strong>in</strong>avia published<br />
extensively about crime fiction. He has co-edited the two anthologies<br />
F<strong>in</strong>geraftryk – studier i krimi og det krim<strong>in</strong>elle and Kulturtrafik –<br />
Æstetiske udtryk i en global verden as well as the first issue of the<br />
academic journal Academic Quarter about Flesh. He is theco-editor <strong>in</strong><br />
chief of Academic Quarter and the editor <strong>in</strong> chief of the onl<strong>in</strong>e review<br />
journal Kulturkapellet. Recent publications range from articles about<br />
Ch<strong>in</strong>ese crime fiction as well as religion and metaphysics <strong>in</strong> crime<br />
fiction to specific articles about authors such as Henn<strong>in</strong>g Mortensen<br />
and Philip Kerr. Hansen has published many reviews of
Frances Hard<strong>in</strong>g<br />
University of London, Department of<br />
African Languages and Cultures,<br />
Thornhaugh Street, Russell Square,<br />
London, WC1H 0XG, United<br />
K<strong>in</strong>gdom<br />
Keywords public morality, soap<br />
opera, representations of sexuality,<br />
scopophilia, supernatural<br />
Joe Hardwick<br />
University of Queensland, School of<br />
Languages and Comparative Cultural<br />
Studies, Queensland, 4072, Australia<br />
Keywords identity, le jeune c<strong>in</strong>éma,<br />
marg<strong>in</strong>ality, parasitism, wander<strong>in</strong>g<br />
› Ch<strong>in</strong>ese court case fiction: A corrective for the history of crime fiction,<br />
Northern Lights: Film & Media Studies Yearbook, 9., 63-77.<br />
Dr Frances Hard<strong>in</strong>g is Lecturer <strong>in</strong> African Drama <strong>in</strong> the Department of<br />
African Languages and Cultures at the School of Oriental and African<br />
Studies, University of London. She has written on several aspects of<br />
the performance arts and the media <strong>in</strong> Africa. Amongst her specialist<br />
<strong>research</strong> and practice <strong>in</strong>terests is the use and application of theatre and<br />
media to development contexts. She has worked <strong>in</strong> several countries of<br />
Africa and recently returned from central Nigeria where she was<br />
cont<strong>in</strong>u<strong>in</strong>g her work on the village theatre of the Tiv people of Benue<br />
State. Amongst her publications are The Performance Arts <strong>in</strong> Africa<br />
(ed) Routledge 2002, and a special issue of The Journal of African<br />
Cultural Studies: Media and Africa, 16:1, June 2003 Taylor & Francis.<br />
› Appear<strong>in</strong>g fabu-lous: from tender romance to horrify<strong>in</strong>g sex, Film<br />
International, 5.4, 10-19.<br />
Joe Hardwick is a French lecturer at the University of Queensland,<br />
Brisbane, Australia. He has published articles on French ‘existentialist’<br />
literature, le jeune c<strong>in</strong>éma français and the French critical reception of<br />
Australian c<strong>in</strong>ema. He is the co-editor with Barbara Hanna and Juliana<br />
de Nooy of Writ<strong>in</strong>g the Self <strong>in</strong> French (Delaware: University of<br />
Delaware Press, 2005) and Soi-Disant: Writ<strong>in</strong>g, Screen<strong>in</strong>g, Theoriz<strong>in</strong>g<br />
the Self <strong>in</strong> French, a special edition of the Australian Journal of French<br />
Studies (41: 3, 2004). He was also guest editor for an edition of the<br />
Australian Journal of French Studies entitled '(Rétro)projections:<br />
French c<strong>in</strong>ema <strong>in</strong> the Twenty-First Century' (45: 3, 2008). He is<br />
currently prepar<strong>in</strong>g a monograph on wander<strong>in</strong>g protagonists <strong>in</strong> le jeune<br />
c<strong>in</strong>éma.<br />
› Fallen angels and flawed saviours: marg<strong>in</strong>ality and exclusion <strong>in</strong> La Vie de<br />
Jésus and La Vie rêvée des anges, Studies <strong>in</strong> French C<strong>in</strong>ema, 7.3, 219-230.<br />
Graeme Harper Professor Graeme Harper is Associate Editor of the Creative Industries<br />
Journal. Now Director of the Honors College at Oakland University,<br />
Michigan, he has worked at universities <strong>in</strong> the United States, Australia
Oakland University, Director, The<br />
Honors College, Vandenberg Hall,<br />
Oakland University, MI 48309, USA<br />
Keywords Welsh culture,<br />
nationalism, performance, Wales,<br />
Australia, ontology<br />
Sue Harper<br />
University of Portsmouth, School of<br />
Creative Arts, Film and Media, Park<br />
Build<strong>in</strong>g, K<strong>in</strong>g Henry 1 Street,<br />
Portsmouth, Hampshire, PO1 2DZ,<br />
United K<strong>in</strong>gdom<br />
Keywords Transylvania, hammer<br />
films, horror, Europe, costume<br />
c<strong>in</strong>ema<br />
Stephen Harper<br />
University of Portsmouth, UK, School<br />
of Creative Arts, Film and Media,<br />
University of Portsmouth, St George’s<br />
and the United K<strong>in</strong>gdom, where he established the National Institute<br />
for Excellence <strong>in</strong> the Creative Industries. He rema<strong>in</strong>s an Honorary<br />
Professor <strong>in</strong> the UK. Also a Professor of Creative Writ<strong>in</strong>g, he has<br />
published creative and critical work, <strong>in</strong>clud<strong>in</strong>g On Creative Writ<strong>in</strong>g<br />
(MLM, 2010), Moon Dance (Parlor, 2010) and Sound and Music <strong>in</strong><br />
Film and the Visual Media: A Critical Overview (Cont<strong>in</strong>uum, 2009).<br />
› Editorial, Studies <strong>in</strong> European C<strong>in</strong>ema, 1.1, 3-6.<br />
› Editorial, Studies <strong>in</strong> European C<strong>in</strong>ema, 2.1, 3-6.<br />
› Editorial, Studies <strong>in</strong> European C<strong>in</strong>ema, 2.2, 77-80.<br />
› Editorial, Studies <strong>in</strong> European C<strong>in</strong>ema, 3.1, 3-6.<br />
› Editorial, Studies <strong>in</strong> European C<strong>in</strong>ema, 3.2, 89-92.<br />
› Editorial, Studies <strong>in</strong> European C<strong>in</strong>ema, 5.1, 3-6.<br />
› Editorial: A European imag<strong>in</strong>ary, Studies <strong>in</strong> European C<strong>in</strong>ema, 6.1, 3-6.<br />
› Editorial, Studies <strong>in</strong> European C<strong>in</strong>ema, 6.2&3, 93-96.<br />
› Introduction, Studies <strong>in</strong> European C<strong>in</strong>ema, 7.1, 3-4.<br />
› Editorial, Studies <strong>in</strong> European C<strong>in</strong>ema, 7.2, 91-93.<br />
› Editorial, Studies <strong>in</strong> European C<strong>in</strong>ema, 7.3, 173-175.<br />
› Editorial: The Death of the Auteur?, Studies <strong>in</strong> European C<strong>in</strong>ema, 8.1, 3-6.<br />
Sue Harper is Emeritus Professor of Film History at the University of<br />
Portsmouth. She has published widely on British c<strong>in</strong>ema. Her books<br />
<strong>in</strong>clude Pictur<strong>in</strong>g the Past: the Rise and Fall of the British Costume<br />
Film (1994), Women <strong>in</strong> British C<strong>in</strong>ema: Mad, Bad and Dangerous to<br />
Know (2000) and, with V<strong>in</strong>cent Porter, British C<strong>in</strong>ema of the 1950s:<br />
the Decl<strong>in</strong>e of Deference (2003). She has published on Portsmouth film<br />
taste <strong>in</strong> the 1930s and 1940s, and led a major AHRC <strong>research</strong> project<br />
on British c<strong>in</strong>ema <strong>in</strong> the 1970s. She edited The New Film History with<br />
Professor James Chapman and Dr Mark Glancy, and British Culture<br />
and Society <strong>in</strong> the 1970s: the Lost Decade with Dr Laurel Forster.<br />
› Beyond the forest: Terence Fisher and Transylvania, Studies <strong>in</strong> European<br />
C<strong>in</strong>ema, 3.2, 143-152.<br />
Stephen Harper is Senior Lecturer <strong>in</strong> Media Studies at the University of<br />
Portsmouth. His <strong>research</strong> <strong>in</strong>terests <strong>in</strong>clude the politics of British<br />
television drama, Marxism and critical theory, media images of war<br />
and media representations of mental distress. He is the author of<br />
Beyond the Left: The Communist Critique of the Media (Zero Books,
Build<strong>in</strong>g, 141 High Street,<br />
Portsmouth PO1 2HY<br />
Keywords<br />
Sophie Harper<br />
European Film College, Carl Th<br />
Dreyers vej, 8400 Ebeltoft, Denmark<br />
Keywords ethics, documentary,<br />
power balance, film-maker <strong>in</strong>tegrity<br />
Scott Jordan Harris<br />
Keywords The Big Picture, The<br />
Spectator, The Spectator Arts Blog,<br />
criticism, Film International<br />
2012) and Madness, Power and the Media: Class, Gender and Race <strong>in</strong><br />
Popular Representations of Mental Distress (Palgrave, 2009).<br />
› REVIEWS, Journal of Screenwrit<strong>in</strong>g, 3.2, 249-256.<br />
Sophie Harper worked as a video producer, director and editor after<br />
graduat<strong>in</strong>g with a Bachelor of Arts (Film History) degree from the<br />
Australian National University. She spent five years as Research<br />
Coord<strong>in</strong>ator at the Australian Film Commission and was Governance<br />
Manager at Screen Australia for the agency’s first year of operation,<br />
assist<strong>in</strong>g with the transition process. In 2008 she produced a<br />
documentary entitled Project<strong>in</strong>g the Body (director Walter McIntosh),<br />
which screened at film festivals <strong>in</strong> Australia, America and Europe. She<br />
is now a faculty member of the European Film College, teach<strong>in</strong>g<br />
Documentary and Production Management.<br />
› Balanc<strong>in</strong>g responsibilities <strong>in</strong> Undress<strong>in</strong>g My Mother, Short Film Studies, 1.1,<br />
67-70.<br />
Scott Jordan Harris writes for The Spectator and co-edits its arts blog.<br />
He is also the editor of The Big Picture magaz<strong>in</strong>e and the book World<br />
Film Locations: New York. He has contributed to several books on<br />
c<strong>in</strong>ema and has written for numerous other publications, <strong>in</strong>clud<strong>in</strong>g<br />
Fangoria, , PopMatters and Rugby World. His blog –<br />
http://apetrifiedfounta<strong>in</strong>.blogspot.com/ – was named by Runn<strong>in</strong>g <strong>in</strong><br />
Heels as one of the world’s 12 ‘best movie blogs’.<br />
› Book Reviews, Film International, 7.2, 74-83.<br />
› DVD Reviews, Film International, 7.5, 58-69.<br />
› Book Reviews, Film International, 8.4, 78-86.<br />
› DVD Reviews, Film International, 9.1, 63-77.<br />
› DVD Reviews, Film International, 9.3, 70-73.<br />
Nicholas Harrison Nick Harrison studied at the University of Cambridge, worked as a<br />
lecturer <strong>in</strong> Tunis, Quebec and Paris, and taught at Cambridge and UCL
Keywords modern literature, film,<br />
post-colonial literature, francophone<br />
literature, Maghreb, literary theory,<br />
comparative literature, cultural<br />
history, censorship, freedom of<br />
expression<br />
Daisy Hasan<br />
University of Leeds, School of<br />
English, Leeds, LS2 9JT, United<br />
K<strong>in</strong>gdom<br />
Keywords Doordarshan, civil society,<br />
media, <strong>in</strong>surgency, <strong>in</strong>digenous<br />
Yana Hashamova<br />
Ohio State University, 400 Hagerty<br />
Hall, 1775 College Road, Columbus,<br />
OH 43210, United States of America<br />
Keywords Russia c<strong>in</strong>ema, gender,<br />
national identities, Muslims, Bulgar<strong>in</strong><br />
m<strong>in</strong>orities, Other, Bulgarian c<strong>in</strong>ema<br />
before mov<strong>in</strong>g to K<strong>in</strong>g’s <strong>in</strong> 2005. He has carried out and supervised<br />
<strong>research</strong> <strong>in</strong> diverse areas <strong>in</strong>clud<strong>in</strong>g modern literature, film and thought<br />
<strong>in</strong> French; postcolonial and francophone literature, especially of and<br />
about the Maghreb; literary theory; comparative literature; and<br />
<strong>in</strong>tellectual and cultural history, particularly <strong>in</strong> relation to censorship<br />
and freedom of expression. Authors on <strong>who</strong>se work he has written<br />
<strong>in</strong>clude Djebar, Chraïbi, Camus, Conrad, Fanon, Said, Sade, Breton,<br />
Cixous and Freud.Current <strong>in</strong>terests <strong>in</strong>clude Djebar, and notions of the<br />
literary; cultural memory and the ‘dark cont<strong>in</strong>ent’; representations and<br />
‘echoes’ of the Algerian war of <strong>in</strong>dependence; and a larger project on<br />
colonial education, with particular emphasis on issues around<br />
secularism and literary education.<br />
› Readers as résistants: Fahrenheit 451, censorship, and identification, Studies<br />
<strong>in</strong> French C<strong>in</strong>ema, 1.1, 54-.<br />
Dr Daisy Hasan completed her Ph.D. <strong>in</strong> Media Studies from Swansea<br />
University <strong>in</strong> 2007. She is currently a post-doctoral <strong>research</strong> assistant<br />
on an AHRC funded knowledge transfer project look<strong>in</strong>g at South Asian<br />
women artists and conflict <strong>in</strong> the School of English, University of<br />
Leeds. Her <strong>research</strong> is <strong>in</strong> areas related to <strong>in</strong>ternational communication,<br />
media globalization, public service broadcast<strong>in</strong>g, film studies, media<br />
and identity, and folklore and ethnicity with particular emphasis on the<br />
contemporary and traditional cultures of North-East India.<br />
› ‘Guns and guys <strong>in</strong> the jungle; news and terrorism <strong>in</strong> north-east India’, Studies<br />
<strong>in</strong> South Asian Film & Media, 1.2, 265-284.<br />
Yana Hashamova, Associate Professor of Slavic Studies, is Director of<br />
the Center for Slavic and East European Studies at the Ohio State<br />
University. She is also Associate Faculty member of the Departments<br />
of Comparative Studies, Film Studies, Women’s Studies, and the<br />
Mershon Center for International Security. Her co-edited (with Helena<br />
Goscilo) volume C<strong>in</strong>epaternity: Fathers and Sons <strong>in</strong> Soviet and Post-<br />
Soviet Film came out from Indiana University Press (March 2010). She<br />
has also co-edited (wiith Helena Goscilo) a special section 'Women <strong>in</strong><br />
War: Mobilisation, Manipulation, and Marg<strong>in</strong>alisation on the Eastern<br />
Front', ASPASIA: International Yearbook of Central, Eastern, and<br />
South Easterneuropean Gender and Women's History (April 2010). In<br />
addition, she has published numerous articles <strong>in</strong> the areas of Russian<br />
and East European film, drama, comperative literature and the arts,<br />
critical theory and gender studies.
Omar Hassan<br />
Keywords Egyptian c<strong>in</strong>ema,<br />
censorship, colonialism, Midaq<br />
Alley/Zouqaq al-Midaq, Yousef<br />
Chah<strong>in</strong>e<br />
Brian Hauser<br />
Union College, Shenectady, New<br />
York, United States of America<br />
Keywords European c<strong>in</strong>ema,<br />
detectives, supernatural, The X Files<br />
› Reviews, Studies <strong>in</strong> Russian and Soviet C<strong>in</strong>ema, 3.3, 353-385.<br />
› (Re)negotiat<strong>in</strong>g Identities: Representations of Muslim M<strong>in</strong>orities <strong>in</strong><br />
Bulgarian Film, Film International, 8.3, 49-61.<br />
Omar is a writer and film programmer. Born <strong>in</strong> Cairo, Egypt, he has<br />
lived <strong>in</strong> the United States and Saudi Arabia and currently resides <strong>in</strong> the<br />
United K<strong>in</strong>gdom. He is an Inspire fellow at FACT (The Foundation for<br />
Art and Creative Technology), and the Royal College of Art, London.<br />
He is a graduate of the University of Glasgow, and Screen Academy<br />
Scotland. His dramatic writ<strong>in</strong>g has been performed professionally, and<br />
developed with the support of the UK Film Council. Omar also<br />
contributes to the Document film festival <strong>in</strong> Glasgow, and his writ<strong>in</strong>g<br />
has appeared <strong>in</strong> The Guardian, What’s On Stage, Scope, The Advocate,<br />
and P<strong>in</strong>k News, to name but a few.<br />
› Real Queer Arabs: The Tension between Colonialism and Homosexuality <strong>in</strong><br />
Egyptian C<strong>in</strong>ema, Film International, 8.1, 18-24.<br />
Brian R. Hauser is an assistant professor of film studies <strong>in</strong> the English<br />
Department at Union College <strong>in</strong> Schenectady, New York. He is also<br />
one of the co-editors of the quarterly DVD, The Journal of Short Film.<br />
He won the H.P. Lovecraft Film Festival Screenwrit<strong>in</strong>g Competition<br />
(2010) for his feature-length screenplay Cult Flick and his short<br />
screenplay The Curfew has also garnered attention at multiple festivals,<br />
<strong>in</strong>clud<strong>in</strong>g 2011 Slamdance (semi-f<strong>in</strong>alist), 2010 Creative World<br />
Awards (honorable mention/second place), 2010 SoCal Film Festival<br />
(semi-f<strong>in</strong>alist) and the 2010 Golden Brad Awards (top 75 shorts). Brian<br />
Hauser has published on The X-Files, and he has co-edited a journal<br />
special issue devoted to the aesthetics of European c<strong>in</strong>ema. His<br />
<strong>research</strong> focuses on film and television narratives <strong>in</strong> which detectives<br />
encounter the supernatural.<br />
› Introduction: The Limits of Collection, Studies <strong>in</strong> European C<strong>in</strong>ema, 5.2, 85-<br />
89.<br />
Iben Have Iben Have’s ma<strong>in</strong> <strong>research</strong> <strong>in</strong>terest is music and sound as aesthetic and
Aarhus University, Department of<br />
Information and Media Studies<br />
Keywords sound, music, aesthetics,<br />
emotion, narration<br />
Jimmy Hay<br />
Keywords melodrama, European<br />
<strong>in</strong>dependent c<strong>in</strong>ema, American<br />
<strong>in</strong>dependent c<strong>in</strong>ema<br />
Graeme Hayes<br />
Aston University, French Studies,<br />
Birm<strong>in</strong>gham, United K<strong>in</strong>gdom<br />
Keywords French c<strong>in</strong>ema, politics of<br />
protest, civil disobedience campaigns<br />
communicative devices <strong>in</strong> public media. She addresses questions about<br />
how reality, knowledge and emotions are realized, mediated and<br />
experienced through sound and music <strong>in</strong> audio-visual media. Among<br />
her publications are Lyt til tv/Listen<strong>in</strong>g to Television (2008),<br />
‘Aestheticiz<strong>in</strong>g Politics. Non-verbal Political Communication <strong>in</strong> Danish<br />
Television Documentaries’ (2008), ‘Background Music and<br />
Background Feel<strong>in</strong>gs – background music <strong>in</strong> audio-visual media’<br />
(2008) and ‘Underlægn<strong>in</strong>gsmusik i dokumentariske<br />
politikerportrætter’/‘Underscore Music <strong>in</strong> Documentary Portraits of<br />
Politicians’ (2009).<br />
› Communicative and narrative sound <strong>in</strong> Village, Short Film Studies, 1.1, 131-<br />
134.<br />
› A soundtrack between allurement and repulsion: Gentle and threaten<strong>in</strong>g<br />
tones, Short Film Studies, 2.1, 87-90.<br />
Jimmy Hay is a second year Ph.D. <strong>research</strong> student at Swansea<br />
University, where he atta<strong>in</strong>ed a first class Screen Studies degree before<br />
atta<strong>in</strong><strong>in</strong>g a Masters dist<strong>in</strong>ction <strong>in</strong> Film Studies at Queen Mary’s<br />
University, London. He has three forthcom<strong>in</strong>g publications on the<br />
subject of melodrama <strong>in</strong> contemporary European and American<br />
<strong>in</strong>dependent c<strong>in</strong>ema.<br />
› Suffer<strong>in</strong>g <strong>in</strong> silence: Alumbramiento as a melodramatic text, Short Film<br />
Studies, 1.2, 199-202.<br />
Graeme Hayes studied Modern European Studies as an undergraduate<br />
at Loughborough University, before spend<strong>in</strong>g a couple of years as an<br />
English language assistant (lecteur) at Nancy University <strong>in</strong> France. In<br />
1992, He got a job lectur<strong>in</strong>g <strong>in</strong> French at the University of<br />
Wolverhampton, and started a part-time Ph.D. at the University of<br />
Manchester on French environmental protests. He was awarded a Ph.D.<br />
<strong>in</strong> 2000, and the follow<strong>in</strong>g year the Political Studies Association<br />
awarded him the Walter Bagehot prize for best dissertation <strong>in</strong><br />
Government and Public Adm<strong>in</strong>istration. In 2001 Graeme moved from<br />
Wolverhampton to Nott<strong>in</strong>gham Trent University, where he became<br />
French subject leader <strong>in</strong> 2003. Graeme moved to Aston University <strong>in</strong><br />
2007.<br />
› Resistancialism revisited: mascul<strong>in</strong>ity and national identity <strong>in</strong> Claude Berri's<br />
Lucie Aubrac (1997), Studies <strong>in</strong> French C<strong>in</strong>ema, 1.2, 108-117.
Kev<strong>in</strong> J. Hayes<br />
University of Central Oklahoma,<br />
United States of America<br />
Keywords Godard, graffiti,<br />
magaz<strong>in</strong>es, One Plus One,<br />
pornography<br />
Jonathan Haynes<br />
Long Island University, English<br />
Department, One University Plaza,<br />
Brooklyn, New York, NY 11201-<br />
5372, United States of America<br />
Keywords Nollywood, Nigerian<br />
video films, African c<strong>in</strong>ema, African<br />
literature<br />
Susan Hayward<br />
University of Exeter<br />
Keywords Simone Signoret,<br />
adaptation, lesbian text, star body,<br />
Zola, French c<strong>in</strong>ema<br />
Kev<strong>in</strong> J. Hayes is Professor of English at the University of Central<br />
Oklahoma, where he teaches courses <strong>in</strong> film and literature. He has<br />
published essays on film <strong>in</strong> C<strong>in</strong>ema Journal, Film Criticism,<br />
Interdiscipl<strong>in</strong>ary Literary Studies, Literature/Film Quarterly,<br />
Quarterly Review of Film and Video, Studies <strong>in</strong> French C<strong>in</strong>ema, and<br />
Visible Language. He is currently work<strong>in</strong>g on a book about Charlie<br />
Chapl<strong>in</strong>.<br />
› The Newspaper and the Novel <strong>in</strong> À bout de souffle, Studies <strong>in</strong> French<br />
C<strong>in</strong>ema, 1.3, 183-.<br />
› The book as motif <strong>in</strong> One Plus One, Studies <strong>in</strong> French C<strong>in</strong>ema, 4.3, 219-228.<br />
› The body and the book <strong>in</strong> Contempt, Studies <strong>in</strong> European C<strong>in</strong>ema, 1.1, 31-<br />
42.<br />
Jonathan Haynes was educated at McGill University (BA with honors,<br />
1974) and Yale (MA, 1976; Ph.D., 1980). He has taught at the<br />
American University <strong>in</strong> Cairo (Egypt), Tufts University, Albion<br />
College, Benn<strong>in</strong>gton College, the University of Nigeria-Nsukka,<br />
Ahmadu Bello University (Nigeria), Columbia University, New York<br />
University and the University of Ibadan (Nigeria). S<strong>in</strong>ce 1998 Dr.<br />
Haynes has been at Long Island University, first at Southampton<br />
College and then, s<strong>in</strong>ce 2004, <strong>in</strong> the English Department at the<br />
Brooklyn Campus. In 2001-2002 he was director of the Friends World<br />
Program’s West African Center <strong>in</strong> Kumasi, Ghana.<br />
› Nnebue: the anatomy of power, Film International, 5.4, 30-43.<br />
› ‘NOLLYWOOD’: what's <strong>in</strong> a name?, Film International, 5.4, 106-108.<br />
Susan Hayward is Chair of C<strong>in</strong>ema Studies and Director of Film<br />
Studies at the University of Exeter. She is the author of numerous<br />
books on French C<strong>in</strong>ema <strong>in</strong>clud<strong>in</strong>g Les Diaboliques (2006), French<br />
National C<strong>in</strong>ema (2005); Simone Signoret: The Star as Cultural Sign<br />
(2004), Luc Besson (1998). She is also the author of the successful<br />
C<strong>in</strong>ema Studies: The Key Concepts (2005 – now <strong>in</strong> its third edition).<br />
› Claire Denis' Films and the Post-colonial Body - with special reference to<br />
Beau travail (1999), Studies <strong>in</strong> French C<strong>in</strong>ema, 1.3, 159-165.<br />
› Editorial, Studies <strong>in</strong> French C<strong>in</strong>ema, 3.1, 4-4.
Erik Hedl<strong>in</strong>g<br />
Lund University, Department of<br />
Comparative Literature, Box 201,<br />
Lund, 221 00, Sweden<br />
Keywords Sweden, welfare state,<br />
utopian landscapes, post-utopian<br />
landscapes, faith, knowledge, auteur,<br />
culture<br />
› Literary adaptations of the 1950s Thérèse Raqu<strong>in</strong> (1953) and Les<br />
Diaboliques (1955), Studies <strong>in</strong> French C<strong>in</strong>ema, 3.1, 5-14.<br />
› Editorial, Studies <strong>in</strong> French C<strong>in</strong>ema, 3.2, 70-70.<br />
› Editorial, Studies <strong>in</strong> French C<strong>in</strong>ema, 3.3, 136-136.<br />
› Editorial, Studies <strong>in</strong> French C<strong>in</strong>ema, 4.1, 3-4.<br />
› Signoret’s star persona and redress<strong>in</strong>g the costume c<strong>in</strong>ema, Studies <strong>in</strong> French<br />
C<strong>in</strong>ema, 4.1, 15-28.<br />
› Editorial, Studies <strong>in</strong> French C<strong>in</strong>ema, 4.2, 91-92.<br />
› Editorial, Studies <strong>in</strong> French C<strong>in</strong>ema, 4.3, 163-164.<br />
› Editorial, Studies <strong>in</strong> French C<strong>in</strong>ema, 5.1, 3-4.<br />
› Editorial, Studies <strong>in</strong> French C<strong>in</strong>ema, 5.2, 75-76.<br />
› Editorial, Studies <strong>in</strong> French C<strong>in</strong>ema, 5.3, 155-156.<br />
› Editorial, Studies <strong>in</strong> French C<strong>in</strong>ema, 6.1, 3-4.<br />
› Editorial, Studies <strong>in</strong> French C<strong>in</strong>ema, 6.3, 159-160.<br />
› Editorial, Studies <strong>in</strong> French C<strong>in</strong>ema, 7.3, 177-178.<br />
› Editorial, Studies <strong>in</strong> French C<strong>in</strong>ema, 7.1, 3-4.<br />
› Editorial, Studies <strong>in</strong> French C<strong>in</strong>ema, 7.2, 77-78.<br />
› Editorial, Studies <strong>in</strong> French C<strong>in</strong>ema, 8.1, 3-4.<br />
› Editorial, Studies <strong>in</strong> French C<strong>in</strong>ema, 8.2, 97-98.<br />
› Editorial, Studies <strong>in</strong> French C<strong>in</strong>ema, 8.3, 187-187.<br />
› Review<strong>in</strong>g quality c<strong>in</strong>ema: French costume drama of the 1950s, Studies <strong>in</strong><br />
French C<strong>in</strong>ema, 8.3, 229-244.<br />
› Editorial, Studies <strong>in</strong> French C<strong>in</strong>ema, 9.1, 3-4.<br />
› Editorial, Studies <strong>in</strong> French C<strong>in</strong>ema, 9.2, 95-96.<br />
› Editorial, Studies <strong>in</strong> French C<strong>in</strong>ema, 9.3, 199-200.<br />
› A fond farewell from Susan, Studies <strong>in</strong> French C<strong>in</strong>ema, 10.3, 199-200.<br />
› Read<strong>in</strong>g mascul<strong>in</strong>ities <strong>in</strong> Claire Denis's Chocolat, New C<strong>in</strong>emas: Journal of<br />
Contemporary Film, 1.2, 120-.<br />
Erik Hedl<strong>in</strong>g is Professor of Comparative Literature at Lund<br />
University, Sweden, where he teaches film and literature. He is, among<br />
other th<strong>in</strong>gs, the author of L<strong>in</strong>dsay Anderson: Maverick Film-Maker<br />
(London: Cassell, 1998) and British Fictions: Intermedial Studies <strong>in</strong><br />
Film, Television, Drama, Prose and Poetry (Stockholm: 2001). He is<br />
the co-editor of Interart Poetics: Essays on the Interrelations of the<br />
Arts and Media (Amsterdam: Rodopi, 1997), Cultural Functions of<br />
Intermedial Exploration (Amsterdam: 2002) and Regional Aesthetics:<br />
Locat<strong>in</strong>g Swedish Media (Stockholm: Royal Library, 2010). He is also<br />
the editor of several anthologies <strong>in</strong> Swedish. He has published<br />
numerous essays on film <strong>in</strong> English and the Scand<strong>in</strong>avian languages.<br />
His major <strong>research</strong> <strong>in</strong>terest is film and society.
Olof Hedl<strong>in</strong>g<br />
Lund university, SOL-Centrum, Box<br />
201, Lund, 211 00, Sweden<br />
Keywords European c<strong>in</strong>ema,<br />
Swedish c<strong>in</strong>ema, production, runaway<br />
production, regional production,<br />
contemporary film<br />
Wai Siam Hee<br />
School of Humanities and Social<br />
Sciences, Nanyang Technological<br />
University, 14 Nanyang Drive, HSS-<br />
03-11, S<strong>in</strong>gapore, 637332, S<strong>in</strong>gapore<br />
Keywords Tsai M<strong>in</strong>g-liang, gender,<br />
sexuality, Ch<strong>in</strong>ese c<strong>in</strong>ema<br />
› Bergman and the welfare state, Film International, 4.19, 50-59.<br />
› Editorial, Film International, 6.5, 4-6.<br />
› The Arn Franchise: Launch<strong>in</strong>g a Small Country Blockbuster, Film<br />
International, 6.5, 60-67.<br />
› Break<strong>in</strong>g the Swedish Sex Barrier: Pa<strong>in</strong>ful Lustfulness <strong>in</strong> Ingmar Bergman's<br />
The Silence, Film International, 6.6, 17-27.<br />
Olof Hedl<strong>in</strong>g teaches Film Studies at Växjö University and at Lund<br />
University, <strong>in</strong> Sweden. Currently he is <strong>in</strong>volved <strong>in</strong> a <strong>research</strong> project<br />
that concerns European regional film production. He also co-ord<strong>in</strong>ates<br />
Lund University's Master's Program <strong>in</strong> Film and Media Production<br />
which is located <strong>in</strong> Ystad. He has written a book on film critic Rob<strong>in</strong><br />
Wood and edited several special issues of Film International as well as<br />
a collection called Regional Aesthetics: Locat<strong>in</strong>g Swedish Media.<br />
› A New Deal <strong>in</strong> European Film? Notes on the Swedish Regional Production<br />
Turn, Film International, 6.5, 8-17.<br />
› Editorial Issue 36, Film International, 6.6, 4-6.<br />
› A Film-friendly Town? Assess<strong>in</strong>g a Decade at a Small Swedish Production<br />
Centre, Film International, 8.6, 70-78.<br />
› Editorial Issue 48: Mak<strong>in</strong>g Movies <strong>in</strong> Europe: An Open<strong>in</strong>g Note, Film<br />
International, 8.6, 4-7.<br />
Wai Siam Hee is Assistant Professor <strong>in</strong> the Division of Ch<strong>in</strong>ese,<br />
Nanyang Technological University, S<strong>in</strong>gapore. His <strong>research</strong> <strong>in</strong>terests<br />
<strong>in</strong>clude gender and sexuality <strong>in</strong> Ch<strong>in</strong>ese culture, Ch<strong>in</strong>ese film studies<br />
and modern Ch<strong>in</strong>ese pr<strong>in</strong>tculture. He is currently work<strong>in</strong>g on a project<br />
on the <strong>in</strong>dependent Ch<strong>in</strong>ese film culture <strong>in</strong> S<strong>in</strong>gapore and Malaysia,<br />
<strong>in</strong>clud<strong>in</strong>g its relation to Tsai M<strong>in</strong>g-liang.<br />
› ‘You must believe there is an author beh<strong>in</strong>d every film’: An <strong>in</strong>terview with<br />
Tsai M<strong>in</strong>g-liang, Journal of Ch<strong>in</strong>ese C<strong>in</strong>emas, 5.2, 181-191.<br />
Nick Heffernan Nick Heffernan is Senior Lecturer <strong>in</strong> American Studies at University<br />
College Northampton. He has published on literature, cultural history
University of Nott<strong>in</strong>gham, School of<br />
American and Canadian Studies,<br />
Nott<strong>in</strong>gham, United K<strong>in</strong>gdom<br />
Keywords cultural history, American<br />
culture<br />
Kerry Hegarty<br />
Miami University, Department of<br />
Spanish and Portuguese, Irv<strong>in</strong> Hall,<br />
Oxford, OH, 45056, United States of<br />
America<br />
Keywords youth culture, La Onda,<br />
mod film, Tlaltelolco, Canoa<br />
Maike Helmers<br />
Bournemouth University, Media<br />
School, Talbot Campus, Fern Barrow,<br />
Poole, Dorset, United K<strong>in</strong>gdom<br />
Keywords sound design, German<br />
c<strong>in</strong>ema, film sound, film edit<strong>in</strong>g<br />
Ian Henderson<br />
Keywords Australian literature,<br />
Australian c<strong>in</strong>ema, Aborig<strong>in</strong>al<br />
Australians, <strong>in</strong>digenous modernity<br />
and critical theory, <strong>in</strong>clud<strong>in</strong>g the book Capital, Class and Technology<br />
<strong>in</strong> Contemporary American Culture (Pluto, 2000).<br />
› The Last Movie and the critique of imperialism, Film International, 4.21, 12-<br />
22.<br />
Kerry Hegarty is assistant professor of Lat<strong>in</strong> American Film, Theatre<br />
and Culture at Miami University of Ohio. Her current <strong>research</strong> is<br />
focused on the Mexican film <strong>in</strong>dustry, and she has published articles on<br />
youth culture c<strong>in</strong>ema, the ranchera genre and c<strong>in</strong>ematographers Gabriel<br />
Figueroa and Gregg Toland. She is also work<strong>in</strong>g on a book-length<br />
project about Mexican film <strong>in</strong> the 1960s and 1970s.<br />
› Youth culture on film: an analysis of post-1968 Mexican c<strong>in</strong>ema, Studies <strong>in</strong><br />
Hispanic C<strong>in</strong>emas, 4.3, 165-182.<br />
Maike Helmers jo<strong>in</strong>ed Bournemouth University <strong>in</strong> 1997, where she is<br />
now Senior Lecturer <strong>in</strong> Sound Design. Prior to this she worked <strong>in</strong> the<br />
film cutt<strong>in</strong>g rooms at BBC Television for ten years, where she was<br />
<strong>in</strong>volved with a number of award-w<strong>in</strong>n<strong>in</strong>g programmes. She is a<br />
Fellow of the Higher Education Academy and of the Royal Society of<br />
Arts.<br />
› ‘Kol Nidre’ to ‘Toot, Toot, Tootsie,’ (The Jazz S<strong>in</strong>ger on DVD), The<br />
Soundtrack, 1.2, 135-145.<br />
Dr. Ian Henderson was foundation editor of Studies <strong>in</strong> Australasian<br />
C<strong>in</strong>ema (2007-2010) and lectures <strong>in</strong> Australian literature and film at<br />
K<strong>in</strong>g's College London. His current film-studies <strong>research</strong> focuses on<br />
the representation of Aborig<strong>in</strong>al Australians and concepts of<br />
Indigenous modernity.<br />
› Editorial, Studies <strong>in</strong> Australasian C<strong>in</strong>ema, 1.2, 125-126.<br />
› Review, Studies <strong>in</strong> Australasian C<strong>in</strong>ema, 1.2, 235-.<br />
› Editorial, Studies <strong>in</strong> Australasian C<strong>in</strong>ema, 1.1, 3-4.
Daniel Herbert<br />
University of Michigan, Screen Arts<br />
and Cultures, 1145 Pomona Rd., Ann<br />
Arbor, MI 48103, United States of<br />
America<br />
Keywords contemporary<br />
transnational remakes, transnational<br />
c<strong>in</strong>ema<br />
Ute Hermanns<br />
Freie Universitaet Berl<strong>in</strong>,<br />
Late<strong>in</strong>amerika-Institut, Ruedesheimer<br />
Str. 54 56, Berl<strong>in</strong>, 14197, Germany<br />
Keywords Copacabana, urban<br />
history, violence, old-age love affairs,<br />
Marcos Bernste<strong>in</strong><br />
Carmen Herrero<br />
Manchester Metropolitan University,<br />
Department of Languages, Mabel<br />
Tylecote Build<strong>in</strong>g, Cavendish Street,<br />
Manchester, M15 6BG, United<br />
K<strong>in</strong>gdom<br />
Keywords transnational, genre,<br />
auteur c<strong>in</strong>ema, thriller, Spanish<br />
c<strong>in</strong>ema<br />
› Editorial, Studies <strong>in</strong> Australasian C<strong>in</strong>ema, 2.1, 3-4.<br />
› Editorial, Studies <strong>in</strong> Australasian C<strong>in</strong>ema, 3.1, 5-6.<br />
› Editorial, Studies <strong>in</strong> Australasian C<strong>in</strong>ema, 3.3, 227-228.<br />
Daniel Herbert is currently a visit<strong>in</strong>g lecturer <strong>in</strong> Screen Arts and<br />
Cultures at the University of Michigan. He is Ph.D. candidate <strong>in</strong><br />
Critical Studies at the University of Southern California, work<strong>in</strong>g on<br />
contemporary transnational remakes.<br />
› Book Reviews, Film International, 6.1, 62-64.<br />
› DVD Reviews, Film International, 8.3, 62-71.<br />
Ute Hermanns was born <strong>in</strong> Detmold on 21 December, 1957. She<br />
studied Brazilian literature and film <strong>in</strong> Gießen, Berl<strong>in</strong> and Rio de<br />
Janeiro. She completed her MA with a thesis on Ignacio de Loyola<br />
Brandão's novel and specialized <strong>in</strong> the relationship between film and<br />
literature at the Freie Universität Berl<strong>in</strong>, where she acquired her Ph.D.<br />
and currently teaches Lat<strong>in</strong> American Film (Argent<strong>in</strong>a, Chile, Brazil,<br />
Uruguay).<br />
› Copacabana's other side: Marcos Bernste<strong>in</strong> and The Other Side of the Street<br />
at the Berl<strong>in</strong> Film Festival 2004, New C<strong>in</strong>emas: Journal of Contemporary<br />
Film, 2.3, 189-198.<br />
Dr Carmen Herrero is a pr<strong>in</strong>cipal lecturer <strong>in</strong> Spanish studies at the<br />
Manchester Metropolitan University. Her more recent articles deal with<br />
genre, particularly thriller, and representations of motherhood, city and<br />
nostalgia <strong>in</strong> contemporary Spanish c<strong>in</strong>ema.<br />
› Edgy art c<strong>in</strong>ema: c<strong>in</strong>ephilia and genre negotiations <strong>in</strong> recent Spanish rural<br />
thrillers, Studies <strong>in</strong> European C<strong>in</strong>ema, 7.2, 123-134.
Nicholas Hewitt<br />
University of Nott<strong>in</strong>gham,<br />
Department of French, University<br />
Park, Nott<strong>in</strong>gham, Nott<strong>in</strong>ghamshire,<br />
NG7 2RD<br />
Keywords adaptation, Montmartre,<br />
French popular culture, mass media<br />
Melvyn P. Heyes<br />
Ph.D., MSW, 1444 Shore Drive,<br />
Edgewater, MD 21037, USA<br />
Keywords<br />
Miriam Heywood<br />
University College London, French<br />
Department, 59A Barrett's Grove,<br />
London, N16 8AP, United K<strong>in</strong>gdom<br />
Keywords Holocaust, image, archive,<br />
resurrection, redemption<br />
Nicholas Hewitt is Professor of French at the University of<br />
Nott<strong>in</strong>gham. He is the author of books on Henri Troyat, <strong>in</strong>tellectual<br />
malaise <strong>in</strong> the <strong>in</strong>terwar years, Cél<strong>in</strong>e, and the ‘Hussards’, and the editor<br />
of volumes on European post-war reconstruction, the rise of the mass<br />
media <strong>in</strong> France, access and control <strong>in</strong> broadcast<strong>in</strong>g, European and<br />
French popular culture, the culture of the Liberation and France and<br />
Eastern Europe. His latest book is the Cambridge Companion to<br />
Modern Culture and he has recently completed a cultural history of<br />
Montmartre.<br />
› Gab<strong>in</strong>, Grisbi and 1950s France, Studies <strong>in</strong> French C<strong>in</strong>ema, 4.1, 65-76.<br />
Melvyn P. Heyes is a biomedical <strong>research</strong> scientist and psychotherapist<br />
with 26 years of laboratory and consult<strong>in</strong>g experience at the National<br />
Institute of Mental Health, the biotechnology <strong>in</strong>dustry and patient<br />
advocacy organizations. His work focuses on the recognition of<br />
patterns of disturbances <strong>in</strong> psychological and neurological disorders.<br />
He is also a graduate of Columbia University School of Social Work<br />
with <strong>in</strong>ternships <strong>in</strong> the Employee Development Center and the Institute<br />
of Contemporary Psychotherapy <strong>in</strong> New York City. Currently, he is a<br />
cl<strong>in</strong>ical psychotherapist for children, adolescents, adults and families at<br />
the Center for Children and Second Genesis <strong>in</strong> Maryland.<br />
› Development of a fundamental '19-Sequence Model' of screenplay and<br />
narrative film structure, Journal of Screenwrit<strong>in</strong>g, 3.2, 215-238.<br />
Miriam Heywood is work<strong>in</strong>g on a Ph.D. at University College London.<br />
Her article, ‘World literature as video: Literary quotation <strong>in</strong> Jean-Luc<br />
Godard’s Histoire(s) du c<strong>in</strong>éma' was published <strong>in</strong> an edited volume,<br />
World Literature, World Culture: History, Theory, Analysis (Aarhus<br />
University Press, 2008).<br />
› Holocaust and image: Debates surround<strong>in</strong>g Jean-Luc Godard's Histoire(s) du<br />
c<strong>in</strong>éma (1988–98), Studies <strong>in</strong> French C<strong>in</strong>ema, 9.3, 273-283.
Jochen Hick<br />
Galeria Alaska Productions, D-20206<br />
Hamburg, P.O. Box 201620,<br />
Germany<br />
Keywords low-budget, coproduction,<br />
film fund<strong>in</strong>g, Germany<br />
Jeremy Hicks<br />
Queen Mary University of London,<br />
School of Languages, L<strong>in</strong>guistics and<br />
Film, QMUL, Mile End Road,<br />
London, E1 4NS, United K<strong>in</strong>gdom<br />
Keywords Donskoi, Soviet c<strong>in</strong>ema,<br />
Babii Iar, war films, reconstruction,<br />
Soviet and Russian documentary film<br />
Will Higbee<br />
University of Exeter, Department of<br />
Modern Languages, Streatham<br />
Campus, Room BG31, Queen's<br />
Build<strong>in</strong>g, Queen's Drive, Exeter,<br />
Devon, EX4 4QJ, United K<strong>in</strong>gdom<br />
Keywords diaspora, digital c<strong>in</strong>ema,<br />
new media, criticism, representation<br />
Jochen Hick studied visual communications at the Academy Of F<strong>in</strong>e<br />
Arts Hamburg, Germany, where he did his MA <strong>in</strong> film <strong>in</strong> 1997. As an<br />
addition he studied various topics at University of Hamburg, Germany,<br />
University of Florence, University of Perugia and University of<br />
Bologna (DAMS). He is a German film director and producer of<br />
ma<strong>in</strong>ly <strong>in</strong>dependent feature and documentary films. In 1994 he founded<br />
the film and TV production company GALERIA ALASKA<br />
PRODUCTIONS. He worked and produced for several production<br />
companies and TV channels and contributed to documentary<br />
programmes such as ARD–Exclusiv or SPIEGEL TV Reportage. From<br />
2007 till now he is editor–<strong>in</strong>–chief, head of program acquisitions and<br />
co-programm<strong>in</strong>g director of TIMM, the first TV channel for gay male<br />
audiences <strong>in</strong> German-speak<strong>in</strong>g countries.<br />
› The <strong>in</strong>fluence of TV and film fund<strong>in</strong>g on current European (low budget) art<br />
house film, Studies <strong>in</strong> European C<strong>in</strong>ema, 7.1, 31-36.<br />
Jeremy Hicks is a senior lecturer <strong>in</strong> Russian at Queen Mary University<br />
of London, where he teaches courses <strong>in</strong> film and <strong>in</strong> Russian studies.<br />
His <strong>research</strong> <strong>in</strong>terests centre on questions of documentary and<br />
Soviet/Russian film representations of the Holocaust. He is the author<br />
of Dziga Vertov: Def<strong>in</strong><strong>in</strong>g Documentary Film (2007) and is currently<br />
complet<strong>in</strong>g a book for Pittsburgh University Press on Soviet wartime<br />
representations of the Holocaust, provisionally entitled C<strong>in</strong>ema's Black<br />
Book: Soviet Film and the Holocaust, 1938-46.<br />
› Confront<strong>in</strong>g the Holocaust: Mark Donskoi’s The Unvanquished, Studies <strong>in</strong><br />
Russian and Soviet C<strong>in</strong>ema, 3.1, 33-51.<br />
› Reviews, Studies <strong>in</strong> Russian and Soviet C<strong>in</strong>ema, 3.3, 353-385.<br />
Will Higbee is Senior Lecturer and Assistant Director of CRIFS<br />
(Centre for Research <strong>in</strong>to Film Studies) at the University of Exeter. He<br />
has published a number of articles on contemporary French c<strong>in</strong>ema (<strong>in</strong><br />
particular Beur and banlieue filmmak<strong>in</strong>g). He has published a<br />
monograph with Manchester University Press on actor and director<br />
Mathieu Kassovitz (2006) and is currently work<strong>in</strong>g on <strong>research</strong> related<br />
to national, transnational and ‘transvergent’ c<strong>in</strong>emas, us<strong>in</strong>g as a case<br />
study the films of Algerian émigré directors <strong>in</strong> France. He is also<br />
general editor of the <strong>in</strong>ternational refereed journal Studies <strong>in</strong> French<br />
C<strong>in</strong>ema (<strong>Intellect</strong>) and a member of the Centre for Interdiscipl<strong>in</strong>ary<br />
Reasearch <strong>in</strong> Film (CIFR) at the University of Exeter.
Craig Hight<br />
Screen and Media Studies, University<br />
of Waikato, Hamilton Campus, Gate<br />
1 Knighton Road Private Bag 3105,<br />
Hamilton, New Zealand<br />
Keywords documentary, animation,<br />
computer-mediated imag<strong>in</strong>g,<br />
photorealism, evidentiary layer<strong>in</strong>g<br />
Andrew Higson<br />
University of York, Department of<br />
Theatre, Film and Television,<br />
Hesl<strong>in</strong>gton, York, YO10 5DD, United<br />
K<strong>in</strong>gdom<br />
Keywords European c<strong>in</strong>ema, Film<br />
Europe, British c<strong>in</strong>ema, 1920s,<br />
› Yves Boisset's Dupont Lajoie (1974): racism, civic c<strong>in</strong>ema and the<br />
'immigrant question', Studies <strong>in</strong> French C<strong>in</strong>ema, 2.3, 147-156.<br />
› The return of the political, or designer visions of exclusion? The case for<br />
Mathieu Kassovitz’s ‘ fracture sociale’ trilogy, Studies <strong>in</strong> French C<strong>in</strong>ema,<br />
5.2, 123-136.<br />
› Beyond the (trans)national: towards a c<strong>in</strong>ema of transvergence <strong>in</strong><br />
postcolonial and diasporic francophone c<strong>in</strong>ema(s), Studies <strong>in</strong> French<br />
C<strong>in</strong>ema, 7.2, 79-92.<br />
› Displaced audio: Explor<strong>in</strong>g soundscapes <strong>in</strong> Maghrebi-French film-mak<strong>in</strong>g,<br />
Studies <strong>in</strong> French C<strong>in</strong>ema, 9.3, 225-241.<br />
› Celebrat<strong>in</strong>g the first decade of Studies <strong>in</strong> French C<strong>in</strong>ema, Studies <strong>in</strong> French<br />
C<strong>in</strong>ema, 10.3, 197-197.<br />
› Concepts of transnational c<strong>in</strong>ema: towards a critical transnationalism <strong>in</strong> film<br />
studies, Transnational C<strong>in</strong>emas, 1.1, 7-21.<br />
Dr Craig Hight is a senior lecturer with the Screen and Media Studies<br />
Department at the University of Waikato. His <strong>research</strong> <strong>in</strong>terests focus<br />
on documentary theory, <strong>in</strong>clud<strong>in</strong>g aspects of the production,<br />
construction and reception of documentary hybrids and the relationship<br />
of digital media technologies to documentary practice. With Dr Jane<br />
Roscoe he has co-written a book on mockumentary entitled Fak<strong>in</strong>g It:<br />
mock-documentary and the subversion of factuality (Manchester<br />
University Press, 2001). He is currently writ<strong>in</strong>g a book on television<br />
mockumentary series.<br />
› Reviews, Studies <strong>in</strong> Documentary Film, 1.2, 189-.<br />
› The field of digital documentary: a challenge to documentary theorists,<br />
Studies <strong>in</strong> Documentary Film, 2.1, 3-7.<br />
› Primetime digital documentary animation: the photographic and graphic<br />
with<strong>in</strong> play, Studies <strong>in</strong> Documentary Film, 2.1, 9-31.<br />
› BOOK REVIEWS, Studies <strong>in</strong> Documentary Film, 5.1, 75-77.<br />
Andrew Higson is the Greg Dyke Professor of Film and Television <strong>in</strong><br />
the recently established Department of Theatre, Film and Television at<br />
the University of York, UK. He previously taught for 22 years at the<br />
University of East Anglia. He has published widely on the history of<br />
British c<strong>in</strong>ema, from the silent period to the present, and on the<br />
concepts of national and transnational c<strong>in</strong>ema.<br />
› Transnational developments <strong>in</strong> European c<strong>in</strong>ema <strong>in</strong> the 1920s, Transnational
Michael Kertész/Curtiz<br />
Roger Hillman<br />
Australian National University,<br />
School of Cultural Inquiry, Bldg 014,<br />
Canberra, ACT 0200, Australia<br />
Keywords European film, history,<br />
narrative, music, Turkish-German<br />
c<strong>in</strong>ema, Spanish Civil War, amnesia,<br />
transnational, Trueba, Riefenstahl<br />
Danielle Hipk<strong>in</strong>s<br />
University of Exeter, Department of<br />
Italian, School of Modern Languages,<br />
The Queens Build<strong>in</strong>g, Queens Drive,<br />
Exeter, Devon, EX4 4QH, United<br />
K<strong>in</strong>gdom<br />
Keywords postwar Italian c<strong>in</strong>ema,<br />
melodrama, representations of<br />
prostitution, post-fem<strong>in</strong>ism, audience<br />
Mar<strong>in</strong> Hirschfeld<br />
University of Oxford, Modern<br />
Languages, Merton College, Merton<br />
Street, Oxford, Oxon, OX1 4JD,<br />
United K<strong>in</strong>gdom<br />
Keywords <strong>in</strong>timacy, amateur filmmak<strong>in</strong>g,<br />
contemporary digital c<strong>in</strong>ema<br />
C<strong>in</strong>emas, 1.1, 69-82.<br />
Roger Hillman teaches <strong>in</strong> the areas of Film Studies (School of<br />
Humanities) and German Studies (School of Languages) at the<br />
Australian National University, Canberra. His <strong>research</strong> ranges across<br />
European C<strong>in</strong>ema movements, film and music, and film and history<br />
issues. He is the author of Unsettl<strong>in</strong>g Scores: German Film, Music,<br />
Ideology (Indiana UP, 2005) and co-editor of Fields of Vision<br />
(University of California Press, 1995).<br />
› Trueba’s La niña de tus ojos (The Girl of Your Dreams) (1998): the German<br />
connection, Studies <strong>in</strong> European C<strong>in</strong>ema, 5.1, 67-76.<br />
Danielle Hipk<strong>in</strong>s is Lecturer <strong>in</strong> Italian at the University of Exeter. She<br />
has <strong>research</strong> <strong>in</strong>terests <strong>in</strong> gender and postwar Italian fiction and c<strong>in</strong>ema.<br />
She is currently work<strong>in</strong>g on a study of the representation of prostitution<br />
<strong>in</strong> Italian c<strong>in</strong>ema.<br />
› Francesca's salvation or damnation?: Resist<strong>in</strong>g recognition of the prostitute<br />
<strong>in</strong> Roberto Rossell<strong>in</strong>i's Paisà (1946), Studies <strong>in</strong> European C<strong>in</strong>ema, 3.2, 153-.<br />
› Introduction: Realism <strong>in</strong> European c<strong>in</strong>ema and beyond, Studies <strong>in</strong> European<br />
C<strong>in</strong>ema, 3.3, 171-174.<br />
› Reviews, New C<strong>in</strong>emas: Journal of Contemporary Film, 5.2, 163-.<br />
Mar<strong>in</strong> Hirschfeld is a f<strong>in</strong>al year DPhil candidate and teaches film at the<br />
Modern Languages Faculty at the University of Oxford. His doctoral<br />
thesis focuses on <strong>in</strong>timacy and the <strong>in</strong>fluence of amateur film-mak<strong>in</strong>g<br />
practices on contemporary digital c<strong>in</strong>ema. He studied English, Russian<br />
and Croatian at the University of Cologne; holds a BA from the<br />
University of York <strong>in</strong> English, Writ<strong>in</strong>g & Performance; and an MSt<br />
from the University of Oxford <strong>in</strong> Film Aesthetics.<br />
› Croatian c<strong>in</strong>ematic identity: A Balkan entity or a European <strong>in</strong>dividual?,<br />
Studies <strong>in</strong> Eastern European C<strong>in</strong>ema, 2.1, 21-36.
Stig Hjarvard<br />
University of Copenhagen,<br />
Deptartment of Media, Cognition and<br />
Communication, Njalsgade 80,<br />
Copenhagen, 2300, Denmark<br />
Keywords journalism, media history,<br />
news, popular culture, survey,<br />
mediatization, media, religion<br />
Mette Hjort<br />
L<strong>in</strong>gnan University, Visual Studies,<br />
General Education Build<strong>in</strong>g, 8 Castle<br />
Peak Road, Tuen Mun, Hong Kong,<br />
SAR, Ch<strong>in</strong>a<br />
Keywords globalization,<br />
multiculturalism, cultural policy,<br />
Danish c<strong>in</strong>ema<br />
Stig Hjarvard, Ph.D., is Professor and vice-chair at Department of<br />
Media, Cognition and Communication at University of Copenhagen,<br />
Denmark. He has published books and articles on media history,<br />
journalism, globalization, rat<strong>in</strong>gs analysis, media and religion, and<br />
mediatization theory. He is editor of Northern Lights and head of the<br />
<strong>research</strong> programme Newspapers and Journalism <strong>in</strong> Transition (2007–<br />
10) f<strong>in</strong>anced by the Danish Research Council for Culture and<br />
Communication. Books <strong>in</strong> English <strong>in</strong>clude News <strong>in</strong> a Globalized<br />
Society (editor, Nordicom 2001) and Media <strong>in</strong> a Globalized Society<br />
(editor, MTP 2003).<br />
› Introduction: The mediatization of religion: enchantment, media and popular<br />
culture, Northern Lights: Film & Media Studies Yearbook, 6.1, 3-8.<br />
› The mediatization of religion: A theory of the media as agents of religious<br />
change, Northern Lights: Film & Media Studies Yearbook, 6.1, 9-26.<br />
› Introduction: newspapers and journalism <strong>in</strong> transition, Northern Lights: Film<br />
& Media Studies Yearbook, 8.1, 3-7.<br />
› The views of the news: The role of political newspapers <strong>in</strong> a chang<strong>in</strong>g media<br />
landscape, Northern Lights: Film & Media Studies Yearbook, 8.1, 25-48.<br />
Mette Hjort is Chair Professor of Visual Studies at L<strong>in</strong>gnan University<br />
<strong>in</strong> Hong Kong and Affiliate Professor of Scand<strong>in</strong>avian Studies at the<br />
University of Wash<strong>in</strong>gton, Seattle. Previous appo<strong>in</strong>tments <strong>in</strong>clude<br />
Head of Comparative Literature at the University of Hong Kong,<br />
Director of Cultural Studies/Film and Communications at McGill<br />
University <strong>in</strong> Montreal, Canada, and Professor of Intercultural Studies<br />
at Aalborg University <strong>in</strong> Denmark. Mette was a Visit<strong>in</strong>g Researcher at<br />
Kyoto University <strong>in</strong> 1996, a Visit<strong>in</strong>g Professor of Scand<strong>in</strong>avian Studies<br />
at University College London <strong>in</strong> the Spr<strong>in</strong>g of 2007 and a Leverhulme<br />
Visit<strong>in</strong>g Professor of Film Studies at St Andrews University <strong>in</strong><br />
Scotland dur<strong>in</strong>g the Fall of 2007. She regularly contributes to the<br />
University of Wash<strong>in</strong>gton, Seattle’s Scan-Design-funded summer<br />
school <strong>in</strong> Copenhagen, where she <strong>in</strong>troduces students to the Zentropa<strong>in</strong>itiated<br />
film town <strong>in</strong> Avedøre, the film school, key cultural policy<br />
figures, and various filmmakers, scriptwriters, editors, and producers.<br />
› Reviews, Studies <strong>in</strong> Documentary Film, 1.2, 189-.<br />
› Liv<strong>in</strong>g with diversity: what difference can film-mak<strong>in</strong>g make?, Northern<br />
Lights: Film & Media Studies Yearbook, 7.1, 9-27.<br />
Laura Pontieri Hlavacek Laura Pontieri Hlavacek’s <strong>research</strong> <strong>in</strong>terests <strong>in</strong>clude Russian c<strong>in</strong>ema,
Keywords animation, Khrushchev,<br />
Thaw, Khitruk, collective <strong>in</strong>dividual<br />
Tobias Hochscherf<br />
University of Applied Sciences Kiel,<br />
Fachbereich Medien, Grenzstr. 3,<br />
Kiel, 24149, Germany<br />
Keywords Cold War, genre, film<br />
history, television, Amber Films,<br />
German Democratic Republic (GDR),<br />
workshop movement<br />
Stella Hockenhull<br />
University of Wolverhampton, School<br />
of Law, Social Sciences and<br />
Communications, Millennium City<br />
Build<strong>in</strong>g, Wolverhampton, WV1<br />
1LY, United K<strong>in</strong>gdom<br />
Keywords Emeric Pressburger, I<br />
Know Where I'm Go<strong>in</strong>g!, Black<br />
Narcissus, Neo-Romantic landscape<br />
pa<strong>in</strong>t<strong>in</strong>g, Brita<strong>in</strong>, World War II<br />
animation and theatre. Her Ph.D. dissertation, Russian Animation of the<br />
1960s and the Khrushchev Thaw (Yale, 2006), exam<strong>in</strong>ed the evolv<strong>in</strong>g<br />
functions and styles of Soviet animation dur<strong>in</strong>g the Thaw period,<br />
provid<strong>in</strong>g a case study of the dynamics of <strong>in</strong>teraction between art and<br />
power. She is currently writ<strong>in</strong>g a book on Russian animation.<br />
› Russian animated films of the 1960s as a reflection of the Thaw: ambiguities<br />
and violation of boundaries <strong>in</strong> Story of a Crime, Studies <strong>in</strong> Russian and<br />
Soviet C<strong>in</strong>ema, 3.1, 53-70.<br />
› From Marks and Spencer to Marx and Engels: a transnational DEFA and<br />
Amber Film documentary project across the Iron Curta<strong>in</strong>, Studies <strong>in</strong><br />
Documentary Film, 2.2, 123-135.<br />
› Work<strong>in</strong>g Title Films: From Mid-Atlantic to the Heart of Europe?, Film<br />
International, 8.6, 8-20.<br />
Dr. Stella Hockenhull is Senior Lecturer <strong>in</strong> Film Studies at the<br />
University of Wolverhampton, <strong>in</strong> the United K<strong>in</strong>gdom. With a<br />
background <strong>in</strong> art history, her areas of <strong>in</strong>terest lie <strong>in</strong> an <strong>in</strong>terdiscipl<strong>in</strong>ary<br />
approach to c<strong>in</strong>ema, particularly <strong>in</strong> the correlation between<br />
film and pa<strong>in</strong>t<strong>in</strong>g. Neo-Romantic Landscapes: An Aesthetic Approach<br />
to the Films of Powell and Pressburger was published <strong>in</strong> 2008, and<br />
draws comparisons between wartime c<strong>in</strong>ema and World War II<br />
pa<strong>in</strong>t<strong>in</strong>g. S<strong>in</strong>ce then Stella has published widely <strong>in</strong> various journals on<br />
the subject.<br />
› Neo-Romantic landscapes: aesthetic approaches to the wartime films of<br />
Michael Powell and Emeric Pressburger, Film International, 4.23, 38-47.<br />
› An aesthetic approach to contemporary British social realism: London to<br />
Brighton, Film International, 7.6, 65-74.<br />
Jens Hoff Jens Hoff is professor at the Department for Political Science,<br />
University of Copenhagen and an expert <strong>in</strong> media, governance, <strong>in</strong>ternet<br />
and democracy. He is the editor <strong>in</strong> chief of the journal Politik. He was
University of Copenhagen,<br />
Department of Political Science, Øster<br />
Farimagsgade 5, Copenhagen K,<br />
1353, Denmark<br />
Keywords media, governance,<br />
<strong>in</strong>ternet, democracy<br />
Bert Hogenkamp<br />
Nederlands Instituut voor Beeld en<br />
Geluid, Mediapark - Sumatralaan 45,<br />
Postbus 1060- Postvak B49,<br />
Hilversum, 1200 BB, Netherlands<br />
Keywords film history, work<strong>in</strong>g<br />
class, labour movement<br />
Helen Hok-sze Leung<br />
Simon Fraser University, Department<br />
of Womens Studies, British<br />
Columbia, Canada<br />
Keywords criticism, collaboration,<br />
post-c<strong>in</strong>ema, Ch<strong>in</strong>ese c<strong>in</strong>ema, new<br />
media, special effects<br />
David Hollands<br />
York University, Toronto, Canada<br />
Keywords connoisseur, sequel,<br />
c<strong>in</strong>ephilia, auteur, reboot, horror,<br />
science fiction, semiotics<br />
the chairman of the COST-program. Government and Democracy <strong>in</strong><br />
the recent books <strong>in</strong> English are: Democratic Governance and New<br />
Technology (2000), Citizenship and Democracy <strong>in</strong> Scand<strong>in</strong>avia (2001).<br />
› Introduction, Northern Lights: Film & Media Studies Yearbook, 7.1, 3-7.<br />
Bert Hogenkamp is Head of Research at the Nederlands Instituut voor<br />
Beeld en Geluid and also teaches at the University of Utrecht. He is a<br />
film historian and has written extensively on the relationship between<br />
film, the work<strong>in</strong>g class and the labour movement.<br />
› Léon Mouss<strong>in</strong>ac and the Spectators’ Criticism, Film International, 1.2, 4-13.<br />
Helen Hok-Sze Leung is currently Assistant Professor of Women’s<br />
Studies at Simon Fraser University, Canada. She has published<br />
numerous articles on queer issues <strong>in</strong> c<strong>in</strong>ema, literature and culture. Her<br />
book Undercurrents: Queer Culture and Postcolonial Hong Kong is<br />
under review with UBC Press.<br />
› Issues and Debates Unth<strong>in</strong>k<strong>in</strong>g: Ch<strong>in</strong>ese • C<strong>in</strong>ema • Criticism, Journal of<br />
Ch<strong>in</strong>ese C<strong>in</strong>emas, 1.1, 71-74.<br />
› Introduction: Ch<strong>in</strong>ese c<strong>in</strong>emas as new media, Journal of Ch<strong>in</strong>ese C<strong>in</strong>emas,<br />
3.1, 0-14.<br />
David Hollands was born and raised <strong>in</strong> Ottawa, Ontario, Canada. He<br />
developed an <strong>in</strong>terest <strong>in</strong> films at a young age, which eventually led him<br />
to York University’s undergraduate Film/C<strong>in</strong>ema Studies BA program.<br />
David’s <strong>in</strong>terests <strong>in</strong>clude the horror and science fiction genres,<br />
semiotics, psychoanalytic film theory, anthropology, and screenwrit<strong>in</strong>g.<br />
› Toward a New Category of Remake: A First Analysis of the Reboot, Film<br />
Matters, 1.3, 9-13.
Jerod Ra’Del Hollyfield<br />
Louisiana State University, Baton<br />
Rouge, Louisiana, United States of<br />
America<br />
Keywords Hollywood, studio,<br />
<strong>in</strong>terstate highway system, labour,<br />
trucker, Raoul Walsh<br />
Nancy Graham Holm<br />
Professor Emeritus Danish School of<br />
Media and Journalism, Head of<br />
Department for Television Journalism<br />
at the Danish School of Media,<br />
Denmark<br />
Keywords motivation, credibility,<br />
sens<strong>in</strong>g-<strong>in</strong>tuitive, th<strong>in</strong>k<strong>in</strong>g, feel<strong>in</strong>g<br />
Conn Holohan<br />
NUI Galway, Huston School of Film<br />
& Digital Media, NUI Galway,<br />
Galway, Ireland<br />
Keywords art c<strong>in</strong>ema, temporality,<br />
narrative structure, exhibition,<br />
documentary<br />
Matthew Holtmeier<br />
University of St Andrews, Film<br />
Studies, 99 North Street, St Andrews,<br />
Fife, KY16 9AD, United K<strong>in</strong>gdom<br />
Jerod Ra’Del Hollyfield is a Ph.D. candidate <strong>in</strong> English at Louisiana<br />
State University <strong>in</strong> Baton Rouge, Louisiana. His <strong>research</strong> <strong>in</strong>terests are<br />
film theory, film adaptation, postcolonial studies and Victorian novels.<br />
› Driv<strong>in</strong>g Deadhead off the Big Road: Pre-<strong>in</strong>terstate Representations of the<br />
American Trucker <strong>in</strong> Raoul Walsh's They Drive By Night and Jules Dass<strong>in</strong>'s<br />
Thieves' Highway, Film International, 8.3, 21-35.<br />
From 1972–91 Nancy Graham Holmwas television journalist <strong>in</strong> San<br />
Francisco, California and is recipient of four regional Emmy awards.<br />
From 1991–2007 she was Head of Department for Television<br />
Journalism at the Danish School of Media and Journalism, Aarhus. She<br />
is the author of Fasc<strong>in</strong>ation: Viewer Friendly TV Journalism (2007,<br />
Ajour; 2010, Elsevier).<br />
› Village, a case study <strong>in</strong> effective communication, Short Film Studies, 1.1,<br />
139-142.<br />
Conn Holohan is a Lecturer <strong>in</strong> film at the Huston School of Film and<br />
Digital Media NUI Galway. His <strong>research</strong> focuses on the relationship<br />
between space and desire <strong>in</strong> migrant c<strong>in</strong>ema. His previous publications<br />
<strong>in</strong>clude C<strong>in</strong>ema on the Periphery: Contemporary Irish and Spanish<br />
C<strong>in</strong>ema.<br />
› Wrong turns: Radical spaces <strong>in</strong> the road movies of Tony Gatlif,<br />
Transnational C<strong>in</strong>emas, 2.1, 21-35.<br />
› Aesthetics of <strong>in</strong>timacy, Short Film Studies, 1.1, 87-90.<br />
› Disturb<strong>in</strong>g types: gender stereotypes and the short film, Short Film Studies,<br />
1.2, 287-290.<br />
Matthew Holtmeier is a Ph.D. candidate at the University of St<br />
Andrews. He has previously published on film and the philosophies of<br />
Gilles Deleuze and Felix Guattari. His other <strong>in</strong>terests <strong>in</strong>clude film<br />
philosophy, film ecologies, and media censorship.
Keywords Gilles Deleuze, Felix<br />
Guattari, film philosophy, film<br />
ecologies, media censorship<br />
Chris Homewood<br />
University of Leeds, Department of<br />
German, Russian and Slavonic<br />
Studies, School of Modern Languages<br />
and Cultures, Leeds, West Yorkshire,<br />
LS2 9JT, United K<strong>in</strong>gdom<br />
Keywords Von Trotta, Petzold, Die<br />
<strong>in</strong>nere Sicherheit, Die bleierne Zeit,<br />
Mythos-RAF, Red Army Faction<br />
Annabelle Honess Roe<br />
University of Surrey, Department of<br />
Dance, Film and Theatre, Guildford,<br />
Surrey, United K<strong>in</strong>gdom<br />
Keywords animation and<br />
documentary, screenwrit<strong>in</strong>g,<br />
documentary film<br />
› The Sunday religious revival and a horse named Desire, Short Film Studies,<br />
1.2, 303-306.<br />
Chris Homewood was educated at the University of Wales, Bangor<br />
(BA) and the University of Nott<strong>in</strong>gham (MA), and is currently work<strong>in</strong>g<br />
towards the completion of his doctoral thesis at the University of Leeds<br />
where he was recently appo<strong>in</strong>ted as Lecturer <strong>in</strong> German. His <strong>research</strong><br />
focuses on the representation of terrorism <strong>in</strong> German c<strong>in</strong>ema s<strong>in</strong>ce<br />
unification.<br />
› Von Trotta's The German Sisters and Petzold's The State I Am In: discursive<br />
boundaries <strong>in</strong> the films of the New German C<strong>in</strong>ema to the present day,<br />
Studies <strong>in</strong> European C<strong>in</strong>ema, 2.2, 93-102.<br />
› Challeng<strong>in</strong>g the taboo: the memory of West Germany's terrorist past <strong>in</strong><br />
Andres Veiel's Black Box BRD (2001), New C<strong>in</strong>emas: Journal of<br />
Contemporary Film, 5.2, 115-126.<br />
Bella has both an MA and a Ph.D. <strong>in</strong> Critical Studies from the<br />
University of Southern California (2005, 2009). She received her BA <strong>in</strong><br />
Philosophy from the University of Cambridge <strong>in</strong> 1997. She now<br />
lectures <strong>in</strong> Film Studies at the University of Surrey. Her Ph.D. thesis,<br />
entitled 'Animat<strong>in</strong>g Documentary', is on the epistemological and<br />
phenomenological implications of the convergence of animation and<br />
documentary. Between her BA and MA, she spent six years work<strong>in</strong>g <strong>in</strong><br />
the film <strong>in</strong>dustry <strong>in</strong> Los Angeles and London, <strong>in</strong>clud<strong>in</strong>g roles <strong>in</strong> the<br />
development departments at Lakeshore Enterta<strong>in</strong>ment (Los Angeles),<br />
MGM (Los Angeles), and Granada Film (London). Subsequently, she<br />
tutored writers and script editors on screenwrit<strong>in</strong>g workshops <strong>in</strong> Italy,<br />
Australia and New Zealand. More recently, she worked with the nonprofit<br />
London-based DocHouse, an organization devoted to the<br />
promotion and exhibition of <strong>in</strong>dependent UK and <strong>in</strong>ternational<br />
documentary film.<br />
› Realer Than Reel: Global Directions <strong>in</strong> Documentary David Hogarth (2006),<br />
Film International, 5.2, 72-72.<br />
› Book Reviews, Film International, 8.2, 82-94.
Guo-Ju<strong>in</strong> Hong<br />
Duke University, Department of<br />
Asian and Middle Eastern Studies,<br />
2204 Erw<strong>in</strong> Road, Room 220, Box<br />
90414, Durham, North Carol<strong>in</strong>a,<br />
27708, United States of America<br />
Keywords 1930s, Ch<strong>in</strong>a, melodrama,<br />
space, film historiography,<br />
colonialism, realism, Taiwanese<br />
dialect<br />
Sun Hongyun<br />
Beij<strong>in</strong>g Union University, College of<br />
Arts and Science, Ch<strong>in</strong>a<br />
Keywords Michelangelo Antonioni,<br />
Yukong, Ch<strong>in</strong>a, the Cultural<br />
Revolution, documentary<br />
Dong Hoon Kim<br />
University of Southern California,<br />
School of C<strong>in</strong>ematic Arts<br />
Keywords history, Japan, Korea,<br />
motion pictures, motion picture<br />
<strong>in</strong>dustry<br />
Guo-Ju<strong>in</strong> Hong is Andrew W. Mellon Assistant Professor of Ch<strong>in</strong>ese<br />
Cultural Studies at Duke University. His forthcom<strong>in</strong>g book focuses on<br />
the question of national c<strong>in</strong>ema <strong>in</strong> the case of post-1945 Taiwan. Hong<br />
has published on 1930s Shanghai c<strong>in</strong>ema, New Taiwan C<strong>in</strong>ema, and<br />
queer documentary <strong>in</strong> Taiwan.<br />
› Meet me <strong>in</strong> Shanghai: melodrama and the c<strong>in</strong>ematic production of space <strong>in</strong><br />
1930s Shanghai leftist films, Journal of Ch<strong>in</strong>ese C<strong>in</strong>emas, 3.3, 215-230.<br />
› Historiography of absence: Taiwan c<strong>in</strong>ema before New C<strong>in</strong>ema 1982,<br />
Journal of Ch<strong>in</strong>ese C<strong>in</strong>emas, 4.1, 5-14.<br />
Dr Sun Hongyun is a senior lecturer <strong>in</strong> the college of Arts and Science<br />
of Beij<strong>in</strong>g Union University. Her ma<strong>in</strong> <strong>research</strong> <strong>in</strong>terests focus on<br />
documentary theory and production. She has published a number of<br />
articles on Joris Ivens and on contemporary documentary study and is<br />
lead<strong>in</strong>g the project: ‘Document<strong>in</strong>g Reform and Open<strong>in</strong>g <strong>in</strong> Ch<strong>in</strong>a for<br />
Social Science Research and Ideological Work Department of the<br />
M<strong>in</strong>istry of Education’. She also directed cooperatively Ch<strong>in</strong>a <strong>in</strong> the<br />
eyes of Ivens and Joris Ivens for CCTV.<br />
› Editorial, Studies <strong>in</strong> Documentary Film, 3.1, 5-6.<br />
› Two Ch<strong>in</strong>a? Joris Ivens' Yukong and Antonioni's Ch<strong>in</strong>a, Studies <strong>in</strong><br />
Documentary Film, 3.1, 45-59.<br />
Dong Hoon Kim is a post-doctoral fellow <strong>in</strong> the Critical Studies<br />
Division of the School of C<strong>in</strong>ematic Arts at the University of Southern<br />
California. His <strong>research</strong> <strong>in</strong>terests <strong>in</strong>clude early c<strong>in</strong>ema, visual culture,<br />
media spectatorship and East Asian film and popular culture. He is<br />
currently work<strong>in</strong>g on a book manuscript that exam<strong>in</strong>es colonial<br />
modernity and film cultures <strong>in</strong> Korea under Japanese colonial rule.<br />
› Segregated c<strong>in</strong>emas, <strong>in</strong>tertw<strong>in</strong>ed histories: the ethnically segregated film<br />
cultures <strong>in</strong> 1920s Korea under Japanese colonial rule, Journal of Japanese &<br />
Korean C<strong>in</strong>ema, 1.1, 7-25.<br />
William Hope William Hope is a lecturer <strong>in</strong> Italian language and film at the<br />
University of Salford. He authored Giuseppe Tornatore: Emotion,
University of Salford, Centre for<br />
Languages and Culture, Salford,<br />
Manchester, M5 4WT, United<br />
K<strong>in</strong>gdom<br />
Keywords Puerto Escondido,<br />
Nirvana, Marxism, class,<br />
commodification<br />
Ryan G. Hornbeck<br />
University of Oxford, Centre for<br />
Anthropology and M<strong>in</strong>d, Oxford,<br />
United K<strong>in</strong>gdom<br />
Keywords virtual, cognition, religion,<br />
Second Life, touch<br />
Menghs<strong>in</strong> C. Horng<br />
University of California, Berkeley,<br />
Department of East Asian Languages<br />
& Cultures, 3413 Dw<strong>in</strong>elle, Berkeley,<br />
CA, 94720–2230, United States of<br />
America<br />
Keywords Tang Pao-yun, domestic<br />
space, film star, Lee Hs<strong>in</strong>g, Bai<br />
J<strong>in</strong>grui, Ch<strong>in</strong>ese popular music,<br />
Taiwanese popular music, film<br />
festival, Ch<strong>in</strong>ese theatre, Ch<strong>in</strong>ese<br />
c<strong>in</strong>ema, film circulation, film<br />
magaz<strong>in</strong>es, Taiwan, documentary,<br />
realism, Taipei Film Festivals, Golden<br />
Horse Film Festival, silent c<strong>in</strong>ema<br />
Cognition, C<strong>in</strong>ema (2006), and edited and contributed to the volume<br />
Italian C<strong>in</strong>ema – New Directions (2005).<br />
› The c<strong>in</strong>ema of Gabriele Salvatores: the discreet alienation of the bourgeoisie,<br />
Studies <strong>in</strong> European C<strong>in</strong>ema, 5.3, 185-195.<br />
Ryan G. Hornbeck is a D.Phil. student at the University of Oxford’s<br />
Centre for Anthropology and M<strong>in</strong>d. He earned an undergraduate degree<br />
<strong>in</strong> social anthropology (BA) from Wash<strong>in</strong>gton University <strong>in</strong> St. Louis<br />
and a MSc <strong>in</strong> social anthropology from the University of Oxford. His<br />
<strong>research</strong> <strong>in</strong>terests <strong>in</strong>clude social relationships <strong>in</strong> Second Life.<br />
› Virtual reality as a ‘spiritual’ experience: a perspective from the cognitive<br />
science of religion, Northern Lights: Film & Media Studies Yearbook, 6.1,<br />
75-90.<br />
Menghs<strong>in</strong> C. Horng is a graduate student <strong>in</strong> Ch<strong>in</strong>ese <strong>in</strong> the Department<br />
of East Asian Languages & Cultures at the University of California,<br />
Berkeley, where she is also pursu<strong>in</strong>g a Designated Emphasis <strong>in</strong> Film<br />
Studies. Her <strong>research</strong> <strong>in</strong>terests, aside from Taiwanese c<strong>in</strong>ema, <strong>in</strong>clude<br />
documentary filmmak<strong>in</strong>g with<strong>in</strong> the broader scope of historiographic<br />
practices, the role of film festivals <strong>in</strong> circulat<strong>in</strong>g S<strong>in</strong>ophone c<strong>in</strong>emas,<br />
and the <strong>in</strong>tertextual relationships between c<strong>in</strong>ema stars, popular music,<br />
and other contemporary media.<br />
› Domestic Dislocations: Healthy Realism, stardom, and the c<strong>in</strong>ematic<br />
projection of home <strong>in</strong> postwar Taiwan, Journal of Ch<strong>in</strong>ese C<strong>in</strong>emas, 4.1, 27-<br />
43.<br />
Adrian Horrocks Adrian Horrocks is about to beg<strong>in</strong> a Ph.D. at Anglia Rusk<strong>in</strong> University,<br />
Cambridge. He has a BA <strong>in</strong> Scriptwrit<strong>in</strong>g for Film and TV from<br />
Bournemouth University, and an MA <strong>in</strong> Film Studies from the<br />
University of Exeter. He has contributed a chapter on Argento’s<br />
Suspiria for Necronomicon Book Four and a chapter on Buffy the
Keywords Sturm und Drang, the<br />
outsider, act<strong>in</strong>g, stardom, Germany<br />
Brian Hoyle<br />
University of Dundee, English and<br />
Film Studies Programme, Dundee,<br />
DD1 4HN, United K<strong>in</strong>gdom<br />
Keywords queer c<strong>in</strong>ema, British<br />
c<strong>in</strong>ema, biopic, documentary, Isaac<br />
Julien<br />
Brian Hu<br />
University of California, Department<br />
of Film, Television, and Digital<br />
Media, 11372 Bunche Hall, Los<br />
Angeles, California, 90095-1487,<br />
United States of America<br />
Keywords genre, cycle, imitation,<br />
star discourse, martial arts film<br />
Chua Beng Huat<br />
National University of S<strong>in</strong>gapore,<br />
Asia Research Institute, 469A Tower<br />
Block, #09-05 Bukit Timah Rd,<br />
259770, S<strong>in</strong>gapore<br />
Keywords cultural studies, Asian<br />
c<strong>in</strong>ema, Asian culture<br />
Vampire Slayer for Book Five.<br />
› Klaus K<strong>in</strong>ski (192691): The Outsider, Decadent and Libert<strong>in</strong>e Reduced to<br />
the Status of Play<strong>in</strong>g Genre Villa<strong>in</strong>s, Film International, 8.2, 37-48.<br />
Brian Hoyle is a Lecturer <strong>in</strong> Film Studies and English Literature at the<br />
University of Dundee, Scotland. He is the author of articles and<br />
chapters on the works of Derek Jarman, Ken Russell, Sally Potter,<br />
Chris Petit, Joseph H. Lewis, Orson Welles and Belà Tarr. He is<br />
currently prepar<strong>in</strong>g a monograph on the films of John Boorman.<br />
› Derek: Portrait of a sa<strong>in</strong>t, Studies <strong>in</strong> Documentary Film, 4.2, 137-147.<br />
Brian Hu is a Ph.D. candidate <strong>in</strong> the Department of Film, Television,<br />
and Digital Media at the University of California, Los Angeles. His<br />
<strong>research</strong> <strong>in</strong>terests <strong>in</strong>clude Ch<strong>in</strong>ese c<strong>in</strong>ema, global media <strong>in</strong>dustries, and<br />
diasporic film networks. His writ<strong>in</strong>gs have appeared <strong>in</strong> Screen,<br />
Cont<strong>in</strong>uum, Senses of C<strong>in</strong>ema, and Post Script.<br />
› ‘Bruce Lee’ after Bruce Lee: A life <strong>in</strong> conjectures, Journal of Ch<strong>in</strong>ese<br />
C<strong>in</strong>emas, 2.2, 123-135.<br />
› Star discourse and the cosmopolitan Ch<strong>in</strong>ese: L<strong>in</strong>da L<strong>in</strong> Dai takes on the<br />
world, Journal of Ch<strong>in</strong>ese C<strong>in</strong>emas, 4.3, 183-209.<br />
Chua Beng Huat is Provost Professor and Chair of the Department of<br />
Sociology at the National University of S<strong>in</strong>gapore. He is concurrently<br />
the leader of the Cultural Studies Research Cluster at the National<br />
University of S<strong>in</strong>gapore's Asia Research Institute. He is a found<strong>in</strong>g coexecutive<br />
editor of the Inter-Asia Cultural Studies journal.<br />
› Introduction: Violence <strong>in</strong> contemporary Asian c<strong>in</strong>ema, New C<strong>in</strong>emas:<br />
Journal of Contemporary Film, 8.3, 147-153.
Laura Hubner<br />
University of W<strong>in</strong>chester, Media and<br />
Film Studies, Sparkford Road,<br />
W<strong>in</strong>chester, Hampshire, SO22 4NR,<br />
United K<strong>in</strong>gdom<br />
Keywords Summer with Monika,<br />
gender, dreams, Swedish c<strong>in</strong>ema, star<br />
Dale Hudson<br />
New York University Abu Dhabi,<br />
Film and New Media, PO Box 903,<br />
New York, NY, 10276-0903, United<br />
States of America<br />
Keywords transnational c<strong>in</strong>emas,<br />
globalization, new media,<br />
immigration histories, postcolonial<br />
film theory<br />
Nancy Huggett<br />
University of Wollongong, Social<br />
Science, Media and Communications,<br />
Wollongong, New South Wales,<br />
2522, Australia<br />
Keywords audience, reception, oral<br />
history, segregation<br />
John Hughes<br />
Keywords documentary, Australian<br />
c<strong>in</strong>ema, Australian culture, Australian<br />
Laura Hubner is a Senior Lecturer <strong>in</strong> Film Studies and Director of Film<br />
Studies at the University of W<strong>in</strong>chester, UK. She is the author of The<br />
Films of Ingmar Bergman: Illusions of Light and Darkness (Palgrave<br />
Macmillian, 2007), the editor of Valu<strong>in</strong>g Films: Shift<strong>in</strong>g Perceptions of<br />
Worth (Palgrave Macmillan, 2011) and co-editor (with Steven Allen)<br />
of Fram<strong>in</strong>g Film: C<strong>in</strong>ema and the Visual Arts (<strong>Intellect</strong>, forthcom<strong>in</strong>g<br />
2012).<br />
› Her defiant stare: dreams of another world <strong>in</strong> Summer with Monika, Studies<br />
<strong>in</strong> European C<strong>in</strong>ema, 2.2, 103-114.<br />
Dale Hudson is presently a Faculty Fellow at New York University<br />
Abu Dhabi (NYUAD) and a Digital Curator for the F<strong>in</strong>ger Lakes<br />
Environmental Film Festival (FLEFF). His work on transnational,<br />
postcolonial, and global c<strong>in</strong>ema and new media appears <strong>in</strong> journals,<br />
such as AfterImage,<strong>in</strong>ema Journal, French Cultural Studies, Journal of<br />
Film and Videoand Screen, and <strong>in</strong> anthologies. His book-<strong>in</strong>-progress is<br />
entitled Blood, Bodies, and Borders.<br />
› Undisclosed Recipients, Studies <strong>in</strong> Documentary Film, 2.1, 79-98.<br />
Nancy Huggett is Manager of Corporate Governance at the University<br />
of Wollongong where she also lectures on c<strong>in</strong>ema studies. Nancy is an<br />
oral historian and is currently a <strong>research</strong> fellow on the ARC project,<br />
‘Regional Markets and Local Audiences: Case Studies <strong>in</strong> Australian<br />
C<strong>in</strong>ema Consumption, 1928–1980’.<br />
› Everyone was watch<strong>in</strong>g! Strategies of self-presentation <strong>in</strong> oral histories of<br />
c<strong>in</strong>ema-go<strong>in</strong>g, Studies <strong>in</strong> Australasian C<strong>in</strong>ema, 1.3, 261-274.<br />
Writer, director and producer <strong>in</strong> creative documentary, John Hughes’<br />
work is usually Australian <strong>in</strong> orientation, exam<strong>in</strong><strong>in</strong>g art, cultural<br />
politics and history. Driven by creative exploration and engagement <strong>in</strong><br />
the social world, his documentary work <strong>in</strong>volves film-mak<strong>in</strong>g,<br />
teach<strong>in</strong>g, commission<strong>in</strong>g (SBS Independent 1998–2001), and<br />
advocacy. Recent awards: Australian Writer’s Guild, Best broadcast
history documentary 2010 (Indonesia Call<strong>in</strong>g […] ), F<strong>in</strong>alist Australian<br />
Directors Guild, Feature Documentary 2010 (Indonesia Call<strong>in</strong>g […] )<br />
NSW Premier’s History Prize (audio-visual) 2007, Critics Circle, ‘Best<br />
FeatureDocumentary’ 2006 (The Archive Project), ‘Joan Long Award,<br />
Australian film history’, 2006 ‘Stanley Hawes Award commitment to<br />
Australian documentary’. His most recent film Indonesia Call<strong>in</strong>g: Joris<br />
Ivens <strong>in</strong> Australia, completes an accidental trilogy on Australian<br />
documentary film culture and the Cold War (see Film-Work, and The<br />
Archive Project).<br />
John Hughes<br />
Keywords folk, prophet, music,<br />
visions, God<br />
Tony Hughes-d'Aeth<br />
University of Western Australia,<br />
English and Cultural M202, 335<br />
Stirl<strong>in</strong>g Highway, Perth, Crawley,<br />
Western Australia, 6009, Australia<br />
Keywords migration, psychoanalysis,<br />
citizenship, mascul<strong>in</strong>ity,<br />
multiculturalism<br />
› The (heterogeneous) voice of Indonesia Call<strong>in</strong>g, Studies <strong>in</strong> Australasian<br />
C<strong>in</strong>ema, 4.3, 283-300.<br />
John Hughes’ first book, The Idea of Home, was published by<br />
Giramondo <strong>in</strong> 2004 and won the 2005 NSW Premier’s Award for Non-<br />
Fiction and the 2006 National Biography Award. His second book,<br />
Someone Else: Fictional Essays, was published by Giramondo <strong>in</strong> 2007<br />
and won the Adelaide 2008 Festival Award for Innovation and the<br />
2008 Queensland Premier’s Award for Short Stories. It was also<br />
shortlisted for the <strong>in</strong>augural 2009 Warwick International Prize for<br />
Writ<strong>in</strong>g.<br />
› Blues, Studies <strong>in</strong> Documentary Film, 1.1, 61-66.<br />
› Everybody knows this is nowhere: adventures <strong>in</strong> the back row of the c<strong>in</strong>ema<br />
of the m<strong>in</strong>d, Studies <strong>in</strong> Documentary Film, 2.3, 279-286.<br />
Tony Hughes-d’Aeth is a Lecturer <strong>in</strong> English and Cultural Studies at<br />
the University of Western Australia, where he teaches courses on<br />
comparative media and cultural theory. He <strong>research</strong>es <strong>in</strong> the area of<br />
Australian literary and cultural history and ma<strong>in</strong>ta<strong>in</strong>s an <strong>in</strong>terest <strong>in</strong><br />
psychoanalysis. His book Paper Nation: The Story of the Picturesque<br />
Atlas of Australasia, 1886–1888 (Melbourne University Press, 2001)<br />
won the Ernest Scott and Keith Hancock prizes for history. Currently,<br />
he is writ<strong>in</strong>g a literary history of the Western Australian wheatbelt.<br />
› Compulsory Screen<strong>in</strong>g: border protection, migration and the Australian<br />
screen, Studies <strong>in</strong> Australasian C<strong>in</strong>ema, 3.1, 7-14.<br />
› Stowaways on their father's ships: European immigration and Australian<br />
film, Studies <strong>in</strong> Australasian C<strong>in</strong>ema, 3.1, 75-92.
Brigitte E. Humbert<br />
Middlebury College, French<br />
Department, Middlebury, Vermont,<br />
5753, United States of America<br />
Keywords Laclos, liaisons<br />
dangereuses, Patrice Leconte, Three<br />
Men and a Cradle, Col<strong>in</strong>e Serreau,<br />
Mart<strong>in</strong> Guerre, Queen Margot, Patrice<br />
Chéreau, Cédric Klapisch, remake,<br />
adaptation<br />
Leon Hunt<br />
Brunel University, Film & Television<br />
Studies, Brunel University, Uxbridge,<br />
Uxbridge, Middlesex, UB8 3PH,<br />
United K<strong>in</strong>gdom<br />
Keywords Thai c<strong>in</strong>ema, martial arts,<br />
real<br />
Ian Q. Hunter<br />
DeMontfort University, Department<br />
of Media, Film and Journaliasm,<br />
Leicester, United K<strong>in</strong>gdom<br />
Keywords K<strong>in</strong>g Kong, censorship,<br />
copyright laws, 1970s, British<br />
c<strong>in</strong>ema, low-budget film, low-brow<br />
humour, pastiche, fem<strong>in</strong>ism, race<br />
politics<br />
Brigitte E. Humbert is an Associate Professor of French at Middlebury<br />
College <strong>in</strong> Vermont. Her publications <strong>in</strong>clude a book on the film<br />
adaptations of Les Liaisons dangereuses and various articles on French<br />
films or about the relationship between French c<strong>in</strong>ema and literature,<br />
history and/or American remakes.<br />
› Patrice Leconte's Ridicule - Women <strong>in</strong> the political sphere: transform<strong>in</strong>g<br />
memory <strong>in</strong>to modernity?, Studies <strong>in</strong> French C<strong>in</strong>ema, 3.3, 137-148.<br />
Leon Hunt is a senior lecturer <strong>in</strong> Film and Television Studies at Brunel<br />
University. He is the author of British Low Culture: From Safari Suits<br />
to Sexploitation (Routledge 1998), Kung Fu Cult Masters: From Bruce<br />
Lee to Crouch<strong>in</strong>g Tiger (Wallflower Press 2003/Pek<strong>in</strong>g University<br />
Press 2010), and the BFI TV Classics volume on The League of<br />
Gentlemen (BFI/Palgrave Macmillan 2008), and co-editor of East<br />
Asian C<strong>in</strong>emas: Explor<strong>in</strong>g Transnational Connections on Film (I.B.<br />
Tauris 2008). He is currently writ<strong>in</strong>g a book on cult British comedy for<br />
Manchester University Press.<br />
› Ong-Bak: New Thai C<strong>in</strong>ema, Hong Kong and the cult of the ‘real’, New<br />
C<strong>in</strong>emas: Journal of Contemporary Film, 3.2, 69-84.<br />
Dr Ian Hunter teaches and <strong>research</strong>es popular British and American<br />
genre c<strong>in</strong>ema, especially cult, exploitation, horror and science fiction<br />
films. He also writes on literary adaptations, most recently on The Lord<br />
of the R<strong>in</strong>gs, A Clockwork Orange, and . As I.Q. Hunter, he edited<br />
British Science Fiction C<strong>in</strong>ema (Routledge, 1999) and co-edited<br />
Pulp<strong>in</strong>g Fictions (1996), Trash Aesthetics (1997), Sisterhoods (1998),<br />
Alien Identities (1999), Classics (2000), Retrovisions (2001) and Brit-<br />
Invaders! (2005). Ian co-edits two book series, British Popular C<strong>in</strong>ema<br />
(Routledge) and Screen Adaptations (A & C Black / Methuen) and is<br />
also on the steer<strong>in</strong>g committee of the Association of Adaptation<br />
Studies.<br />
› The Irrational Enlargement of Queen Kong, Film International, 3.15, 42-49.
Eleanor Hunt<strong>in</strong>gton<br />
Keywords gender, race,<br />
displacement, development.<br />
Andrew W Hurley<br />
Sydney University of Technology,<br />
Faculty of Arts and Social Sciences,<br />
PO BOX 123, Broadway, New South<br />
Wales, 2007, Australia<br />
Keywords Aborig<strong>in</strong>al, authorship,<br />
cross-cultural, collaboration,<br />
docufiction<br />
Mart<strong>in</strong>e Huvenne<br />
Keywords sound, auditory<br />
experience, Michel Chion, audiovisual,<br />
auditory field, poetics of<br />
space, Gaston Bachelard<br />
Eleanor Hunt<strong>in</strong>gton graduated from the University of Notre Dame <strong>in</strong><br />
2010 hav<strong>in</strong>g earned a BA <strong>in</strong> History and Film. Eleanor studied <strong>in</strong><br />
Uganda and Ghana as an undergraduate and is currently teach<strong>in</strong>g<br />
English at Assumption University <strong>in</strong> Bangkok, Thailand. She hopes to<br />
pursue graduate studies <strong>in</strong> film, focus<strong>in</strong>g on issues of gender, race,<br />
displacement, and development.<br />
› Individual vs. Collective Resistance: Portrayal of Women <strong>in</strong> Ousmane<br />
Sembene's La Noire de and Emitai, Film Matters, 1.4, 11-14.<br />
Andrew W. Hurley holds a degree <strong>in</strong> Law and a Ph.D. <strong>in</strong> German<br />
Cultural Studies (University of Melbourne). He is a lecturer <strong>in</strong> German<br />
Studies, with<strong>in</strong> the Cultural Studies academic group at the University<br />
of Technology, Sydney. He is the author of The Return of Jazz:<br />
Joachim-Ernst Berendt and his Role <strong>in</strong> West German Cultural Change<br />
(Berghahn Books, 2009), and has published various articles on music<br />
and film <strong>in</strong> Germany, Australia and elsewhere. He is currently work<strong>in</strong>g<br />
on an ARC-funded project on representations of music <strong>in</strong> recent<br />
German literature and film.<br />
› Whose Dream<strong>in</strong>g? Intercultural appropriation, representations of<br />
Aborig<strong>in</strong>ality, and the process of film-mak<strong>in</strong>g <strong>in</strong> Werner Herzog's Where the<br />
Green Ants Dream (1983), Studies <strong>in</strong> Australasian C<strong>in</strong>ema, 1.2, 175-190.<br />
› Three takes on <strong>in</strong>tercultural film: Michael Edols’ trilogy of Aborig<strong>in</strong>al films:<br />
Lalai Dreamtime; Float<strong>in</strong>g, Like W<strong>in</strong>d Blow ’em About – This Time; and<br />
When the Snake Bites the Sun, Studies <strong>in</strong> Australasian C<strong>in</strong>ema, 2.1, 73-93.<br />
› From Aborig<strong>in</strong>al Australia to German autumn: on the West German<br />
reception of thirteen films from Black Australia, Studies <strong>in</strong> Australasian<br />
C<strong>in</strong>ema, 3.3, 251-263.<br />
Mart<strong>in</strong>e Huvenne is lecturer of Sound and Music for Film and<br />
Animation and a <strong>research</strong>er at University College Ghent. Hav<strong>in</strong>g a<br />
background <strong>in</strong> musicology and dance, Mart<strong>in</strong>e Huvenne is currently<br />
work<strong>in</strong>g on a Ph.D. about a phenomenological approach of sound <strong>in</strong><br />
film as an audio visual composition at the University of Amsterdam.<br />
Her <strong>research</strong> is funded by the Research Fund University College Ghent<br />
and she is an affiliated <strong>research</strong>er at the University of Ghent. The<br />
practice based <strong>research</strong> project, Surrounded, is funded by the<br />
University College Ghent and University Art College S<strong>in</strong>t-Lukas<br />
Brussels.
Timothy Iles<br />
University of Victoria, Department of<br />
Pacific and Asian Studies, Victoria,<br />
British Columbia, Canada<br />
Keywords Kenji Mizoguchi, Sansho<br />
the Bailiff, political allegory, national<br />
identity, collective memory, Japan,<br />
revisionism, avant-garde, humanism<br />
Kate Ince<br />
University of Birm<strong>in</strong>gham,<br />
Department of French, Edgbaston,<br />
Birm<strong>in</strong>gham, B15 2TT, United<br />
K<strong>in</strong>gdom<br />
Keywords French c<strong>in</strong>ema, auteur,<br />
women's c<strong>in</strong>ema, philosophy,<br />
phenomenology, psychoanalysis<br />
› Towards a radically different understand<strong>in</strong>g of experience: Look<strong>in</strong>g for an<br />
heautonomous auditory field <strong>in</strong> film, The Soundtrack, 3.2, 139-149.<br />
Timothy Iles is Assistant Professor <strong>in</strong> the Department of Pacific and<br />
Asian Studies at the University of Victoria, Canada. Timothy Iles has<br />
both a BA and an MA from the University of British Columbia, where<br />
he focused on the Japanese language and modern Japanese literature,<br />
writ<strong>in</strong>g his thesis on Akutagawa Ryūnosuke. He holds a Ph.D. from the<br />
University of Toronto, writ<strong>in</strong>g his dissertation on the avant-garde<br />
novelist, Abe Kōbō. He later published his dissertation as 'Abe Kōbō:<br />
An Exploration of his Prose, Drama, and Theatre' (Fucheccio:<br />
European Press Academic Publishers, 2000). He has taught Japanese<br />
literature, culture, theatre, c<strong>in</strong>ema, and language <strong>in</strong> both Canada and<br />
the United States, at both the undergraduate and graduate levels.<br />
› Political Allegory <strong>in</strong> Kenji Mizoguchi’s Sansho the Bailiff, Film<br />
International, 3.16, 38-45.<br />
Kate Ince is Reader <strong>in</strong> French Film and Gender Studies at the<br />
University of Birm<strong>in</strong>gham. She has co-edited books on women’s erotic<br />
writ<strong>in</strong>g, Samuel Beckett, and Marguerite Duras, written a study of the<br />
performance artist Orlan, published a monograph on filmmaker<br />
Georges Franju, and edited a collection of essays on<br />
contemporary European filmmakers to which her own contribution is<br />
on Francois Ozon. She has also published numerous essays on other<br />
contemporary filmmakers such as Cather<strong>in</strong>e Breillat and Michael<br />
Haneke and Sally Potter.<br />
› Queer<strong>in</strong>g the Family? Fantasy and the performance of sexuality and gay<br />
relations <strong>in</strong> French c<strong>in</strong>ema 1995–2000, Studies <strong>in</strong> French C<strong>in</strong>ema, 2.2, 90-<br />
97.<br />
› Surviv<strong>in</strong>g the reign of the father: the family and the law <strong>in</strong> Georges Franju’s<br />
feature films, Studies <strong>in</strong> French C<strong>in</strong>ema, 4.3, 209-218.<br />
› ‘Disunited Nations’: c<strong>in</strong>ema beyond the nation-state, New C<strong>in</strong>emas: Journal<br />
of Contemporary Film, 6.2, 71-73.
Mike Ingham<br />
University of L<strong>in</strong>gnan, Department of<br />
English, Tuen Mun,, Hong Kong<br />
Keywords Evans Chan, essay film,<br />
Hong Kong, transnational, Tiananmen<br />
Square<br />
Susan Ingram<br />
York University, Department of<br />
Humanities, European Studies, York<br />
University, 262 Vanier College, 4700<br />
Keele Street, Toronto, Ontario, M3J<br />
1P3, Canada<br />
Keywords fashion, urban studies,<br />
Berl<strong>in</strong>, European imag<strong>in</strong>aries, new<br />
Europe<br />
Charles Shir Inouye<br />
Tufts University, Department of<br />
German, Russian & Asian Languags<br />
and Literatures, Ol<strong>in</strong> 306, Medford,<br />
Massachusetts, 2155, United States of<br />
America<br />
Keywords The Hidden Blade,<br />
Twilight Samurai, giri/n<strong>in</strong>j, Yamada<br />
Yji, samurai<br />
Mike Ingham has a Modern Languages tertiary background <strong>in</strong> the<br />
United K<strong>in</strong>gdom. He now teaches <strong>in</strong> the English Studies programme at<br />
the Department of English <strong>in</strong> L<strong>in</strong>gnan University, Hong Kong. He is<br />
<strong>in</strong>terested <strong>in</strong> many aspects of perform<strong>in</strong>g, particularly drama, poetry<br />
and music, and is a founder member of Theatre Action, a Hong Kongbased<br />
theatre group that specializes <strong>in</strong> action <strong>research</strong> on more literary<br />
drama texts. As well as do<strong>in</strong>g scholarly work on theatre <strong>in</strong> performance<br />
and c<strong>in</strong>ema, he directs theatre <strong>in</strong> Hong Kong and writes perform<strong>in</strong>g arts<br />
criticism for local media. His books <strong>in</strong>clude Stag<strong>in</strong>g Fictions (Edw<strong>in</strong><br />
Mellen Press, 2004) and Hong Kong: A Cultural and Literary History<br />
(Signal/HKU Press/OUP, 2007).<br />
› ‘Cross<strong>in</strong>gs’: Documentary elements and essayistic devices <strong>in</strong> the fiction and<br />
non-fiction films of Evans Chan, Studies <strong>in</strong> Documentary Film, 1.1, 21-34.<br />
Susan Ingram is Associate Professor at York University, where she is<br />
affiliated with the Canadian Centre for German and European Studies<br />
and the Research Group on Translation and Transcultural Contact.<br />
Before mov<strong>in</strong>g to York, she was a Lecturer <strong>in</strong> the Department of<br />
Comparative Literature at the University of Hong Kong, and she has<br />
also taught <strong>in</strong> Germany and Poland. Publications such as Zarathustra’s<br />
Sisters: Women’s Autobiography and the Shap<strong>in</strong>g of Cultural History<br />
and a series of co-edited volumes on the mutually constitutive<br />
crosscultural constructions of Central Europe and North America<br />
reflect her <strong>in</strong>terest <strong>in</strong> the <strong>in</strong>stitutions of European cultural modernity.<br />
› Polariz<strong>in</strong>g Avalon: The European virtuosity and global virtuality of Mamoru<br />
Oshii's filmic imag<strong>in</strong>ary, New C<strong>in</strong>emas: Journal of Contemporary Film, 4.2,<br />
129-.<br />
Charles Shiro Inouye is a translator of Izumi Kyo ka’s stories and<br />
novellas. He is also the author of Evanescence and Form, An<br />
Introduction to Japanese Culture (Palgrave, 2008), and co-founder and<br />
director of the International Letters and Visual Studies programme at<br />
Tufts University. He has written on Itami Juzo’s Tanpopo, and Quent<strong>in</strong><br />
Tarant<strong>in</strong>o’s Kill Bill.<br />
› Yamada Yji, and the k<strong>in</strong>der, gentler samurai: The Twilight Samurai, The<br />
Hidden Blade, and Love and Honor, Journal of Japanese & Korean C<strong>in</strong>ema,<br />
1.2, 157-165.
D<strong>in</strong>a Iordanova<br />
University of St. Andrews, School of<br />
Modern Languages, Department of<br />
Film Studies, 99 North Street, Fife,<br />
Scotland, KY16 9AJ, United<br />
K<strong>in</strong>gdom<br />
Keywords Ulrich Gregor, Berl<strong>in</strong>ale<br />
Forum, Arsenal, Freunde der<br />
Deutschen K<strong>in</strong>emathek, Friends of<br />
the German Film Archive, c<strong>in</strong>ephiles<br />
Volha Isakava<br />
University of Alberta, Department of<br />
Modern Languages and Cultural<br />
Studies, Edmondon, Alberta, Canada<br />
Keywords perestroika c<strong>in</strong>ema,<br />
trauma, body, sexuality, affect<br />
Nikolai Izvolov<br />
Research Institute for<br />
C<strong>in</strong>ematography (NII K<strong>in</strong>oiskusstva),<br />
Moscow, Russia<br />
Keywords methodology, DVD,<br />
digital technology, reference,<br />
Soiuzdetfil'm, Margarita Barskaia<br />
D<strong>in</strong>a Iordanova (born 1960) is Professor of Film Studies at the<br />
University of St. Andrews. A specialist <strong>in</strong> world c<strong>in</strong>ema, her special<br />
expertise is <strong>in</strong> the c<strong>in</strong>ema of the Balkans, Eastern Europe, and Europe<br />
<strong>in</strong> general. Her <strong>research</strong> approaches c<strong>in</strong>ema on a meta-national level<br />
and focuses on the dynamics of transnational film; she has special<br />
<strong>in</strong>terest <strong>in</strong> issues related to c<strong>in</strong>ema at the periphery and <strong>in</strong> alternative<br />
historiography. She has published extensively on <strong>in</strong>ternational and<br />
transnational film art and film <strong>in</strong>dustry, and convenes <strong>research</strong><br />
networks on film festivals and on the dynamics of World C<strong>in</strong>ema, with<br />
fund<strong>in</strong>g from the Leverhulme Trust.<br />
› Showdown of the festivals: clash<strong>in</strong>g entrepreneurships and post-communist<br />
management of culture, Film International, 4.23, 25-37.<br />
› Every Time the Curta<strong>in</strong> is Go<strong>in</strong>g Up, We are Hop<strong>in</strong>g and Long<strong>in</strong>g…, Film<br />
International, 6.4, 72-76.<br />
› Around the Circuit Paris C<strong>in</strong>éma: added value through repackag<strong>in</strong>g and<br />
subsidies, Film International, 7.5, 92-95.<br />
› Around the Circuit: From the Source C<strong>in</strong>emas of the South, Film<br />
International, 8.5, 95-98.<br />
Volha Isakava is a doctoral student <strong>in</strong> the Department of Modern<br />
Languages and Cultural Studies at the University of Alberta,<br />
Edmonton, Canada. Her <strong>research</strong> <strong>in</strong>terests <strong>in</strong>clude contemporary and<br />
perestroika Russian c<strong>in</strong>ema and culture, specifically the ‘dark’ films,<br />
otherwise known as chernukha, which explore transgressive topics and<br />
impose an extremely bleak world-view. Her <strong>research</strong> <strong>in</strong>vestigates the<br />
grounds for comparison of the ‘dark’ c<strong>in</strong>ema of Russia and American<br />
film noir through the lens of trauma theory and problematization of<br />
ethics <strong>in</strong> c<strong>in</strong>ema.<br />
› The body <strong>in</strong> the dark: body, sexuality and trauma <strong>in</strong> perestroika c<strong>in</strong>ema,<br />
Studies <strong>in</strong> Russian and Soviet C<strong>in</strong>ema, 3.2, 201-214.<br />
Nikolai Izvolov graduated <strong>in</strong> Film Studies at the Moscow Film Institute<br />
VGIK, where he also received his Ph.D. In the early 1990s he worked<br />
at the Museum of C<strong>in</strong>ema (Moscow) as deputy director of <strong>research</strong>;<br />
from 1996-97 he was deputy head of <strong>research</strong> at the Film Institute<br />
VGIK. S<strong>in</strong>ce 1997 he has been <strong>in</strong> charge of the historico-theoretical<br />
section of the Research Institute for C<strong>in</strong>ematography (NII<br />
K<strong>in</strong>oiskusstva) <strong>in</strong> Moscow. He is the author of Fenomen k<strong>in</strong>o: istoriia i<br />
teoriia, and engages <strong>in</strong> the reconstruction and restoration of films of the
Helen Jacey<br />
University of the Arts London,<br />
London, United K<strong>in</strong>gdom<br />
Keywords journey paradigm,<br />
archetype, Vogler, Murdock, P<strong>in</strong>kola<br />
Estes<br />
Jacob U. U. Jacob<br />
University of Leeds, Institute of<br />
Communication Studies,<br />
Clothworkers North Build<strong>in</strong>g, Leeds,<br />
LS2 9JT, United K<strong>in</strong>gdom<br />
Keywords global change,<br />
communications, early British<br />
screenplays<br />
Brian R. Jacobson<br />
University of Southern California,<br />
Division of Critical Studies, School of<br />
1920s and 1930s.<br />
› Critical editions of films <strong>in</strong> digital formats, Studies <strong>in</strong> Russian and Soviet<br />
C<strong>in</strong>ema, 2.2, 205-216.<br />
› Margarita Barskaia and the emergence of Soviet children's c<strong>in</strong>ema, Studies <strong>in</strong><br />
Russian and Soviet C<strong>in</strong>ema, 3.2, 229-262.<br />
› Annotations for the Hyperk<strong>in</strong>o edition of Lev Kuleshov's Eng<strong>in</strong>eer Prite's<br />
Project (1918), Academia series, RUSCICO, 2010, Studies <strong>in</strong> Russian and<br />
Soviet C<strong>in</strong>ema, 4.1, 65-93.<br />
Helen Jacey is a screenwriter, story consultant and screenwrit<strong>in</strong>g<br />
teacher. She ga<strong>in</strong>ed her MA <strong>in</strong> Screenwrit<strong>in</strong>g from the London Institute<br />
(London College of Pr<strong>in</strong>t<strong>in</strong>g) and is currently complet<strong>in</strong>g her doctorate<br />
at University of the Arts London. As a writer she has written numerous<br />
screenplays for UK and European production companies. Her first<br />
book on screenwrit<strong>in</strong>g, The Woman <strong>in</strong> the Story: Writ<strong>in</strong>g Memorable<br />
Female Characters was published by Michael Wiese Productions <strong>in</strong><br />
2010.<br />
› The hero and hero<strong>in</strong>e's journey and the writ<strong>in</strong>g of Loy, Journal of<br />
Screenwrit<strong>in</strong>g, 1.2, 309-323.<br />
Jacob Udo-Udo Jacob teaches ‘Communications and Global Change’<br />
and ‘Communications and Conflict’ at the Institute of Communications<br />
Studies, University of Leeds. His Ph.D. thesis, completed <strong>in</strong> August<br />
2010, <strong>in</strong>vestigated the nature and impacts of the UN’s Public<br />
Information Operations <strong>in</strong> the Democratic Republic of Congo. Jacob<br />
worked on the Early British Screenplays project as a Research<br />
Assistant while study<strong>in</strong>g for his Ph.D.<br />
› Lost and gone for ever?The search for early Britishscreenplays, Journal of<br />
Screenwrit<strong>in</strong>g, 2.2, 161-177.<br />
Brian R. Jacobson is a Ph.D. Candidate <strong>in</strong> Critical Studies at the<br />
University of Southern California School of C<strong>in</strong>ematic Arts and a<br />
member of the Visual Studies Graduate Certificate programme. He is a<br />
graduate of the masters programme <strong>in</strong> Comparative Media Studies at
C<strong>in</strong>ematic Arts, 9309 Smoke Glen<br />
Rd., Kernersville, North Carol<strong>in</strong>a,<br />
27284, United States of America<br />
Keywords c<strong>in</strong>ema, architecture,<br />
technology, early c<strong>in</strong>ema<br />
Ira Jaffe<br />
University of New Mexico,<br />
Department of Media Arts, New<br />
Mexico, United States of America<br />
Keywords Errol Morris, The Fog of<br />
War, Mr. Death, Fast, Cheap and Out<br />
of Control, film as art, documentary,<br />
Robert S. McNamara, Cold War<br />
Debbie James<br />
Wayne State University, Deptartment<br />
of Communication, 585 Manoogian<br />
Hall, Detroit, Michigan, 48201,<br />
United States of America<br />
Keywords documentary, filmmak<strong>in</strong>g,<br />
social justice media, children<br />
the Massachusetts Institute of Technology. Dur<strong>in</strong>g the 2009-2010<br />
academic year, Brian was a Fulbright Advanced Student Fellow to<br />
France. Dur<strong>in</strong>g summer and autumn 2010, he is a Fellow of the Social<br />
Science Research Council's 2009 International Dissertation Research<br />
Fellowship (IDRF). While <strong>in</strong> France, he is affiliated with the Institut<br />
d'histoire du temps présent (IHTP). Brian is currently complet<strong>in</strong>g<br />
<strong>research</strong> for his dissertation, 'Studios Before the System: Architecture,<br />
Technology and Early C<strong>in</strong>ema', which exam<strong>in</strong>es the orig<strong>in</strong>s of the<br />
relationship between c<strong>in</strong>ema, architecture, and technology <strong>in</strong> the<br />
world's first film studios.<br />
› An Amorous History of the Silver Screen: Shanghai C<strong>in</strong>ema, 1896–1937,<br />
Zhang Zhen (2005), Film International, 5.2, 81-82.<br />
Ira Jaffe is professor emeritus and former chair of the Department of<br />
Media Arts at the University of New Mexico. He is also a former<br />
presidential lecturer and associate dean <strong>in</strong> UNM's College of F<strong>in</strong>e Arts,<br />
which he jo<strong>in</strong>ed after teach<strong>in</strong>g at the University of Southern California<br />
School of C<strong>in</strong>ema. He is co-editor of Redirect<strong>in</strong>g the Gaze: Gender,<br />
Theory, and C<strong>in</strong>ema <strong>in</strong> the Third World, and author of essays about<br />
Robert Altman, Charlie Chapl<strong>in</strong>, Errol Morris, and Orson Welles. His<br />
writ<strong>in</strong>g appears <strong>in</strong> Perspectives on Citizen Kane and Hollywood as<br />
Historian: American Film <strong>in</strong> a Cultural Context, as well as <strong>in</strong><br />
periodicals <strong>in</strong>clud<strong>in</strong>g ARTSPACE, Film International and Film<br />
Quarterly.<br />
› Errol Morris, Film International, 3.14, 4-19.<br />
Debbie is a doctoral candidate <strong>in</strong> the Department of Communication at<br />
Wayne State University. Debbie’s <strong>research</strong> <strong>in</strong>terests <strong>in</strong>clude fem<strong>in</strong>ist<br />
perspectives on transnational documentary, and community digital<br />
media practices that challenge our ideas of gender, civil discourse and<br />
political action. Her dissertation is the study of the <strong>in</strong>stitutional<br />
<strong>in</strong>fluence of UNESCO’s onl<strong>in</strong>e media and content development<br />
activities on locally produced documentary media and production<br />
practice. Her future <strong>research</strong> <strong>in</strong>terests <strong>in</strong>clude a proposed <strong>in</strong>vestigation<br />
<strong>in</strong>to the role of grassroots-driven community media, digital storytell<strong>in</strong>g,<br />
and community cohesion at the Conta<strong>in</strong>er Project 2 <strong>in</strong> Jamaica.<br />
› Big-eyed, wide-eyed, sad-eyed children: Construct<strong>in</strong>g the humanitarian space<br />
<strong>in</strong> social justice documentaries, Studies <strong>in</strong> Documentary Film, 3.2, 159-175.
Mark Jancovich<br />
University of East Anglia, School of<br />
Film and Television Studies,<br />
Norwich, uu, United K<strong>in</strong>gdom<br />
Keywords genre, horror, film noir,<br />
femme fatale, World War II<br />
Laleen Jayamanne<br />
University of Sydney, Department of<br />
Art History and Film Studies, New<br />
South Wales, 2006, Australia<br />
Keywords preposterous, texture, epic,<br />
burlesque, strobe act<strong>in</strong>g<br />
Henrik Jensen<br />
Keywords mediated crime, CSI<br />
effect, television, newspapers, web<br />
media, content analysis, journalism<br />
studies<br />
Mark Jancovich is Professor of Film Studies at the School of Film and<br />
Television Studies, University of East Anglia, Norwich (UK). He is the<br />
co-editor of two book series and a found<strong>in</strong>g member of Scope: An<br />
Onl<strong>in</strong>e Journal of Film Studies.<br />
› ‘Master of Concentrated Suspense’: horror, gender and fantasy <strong>in</strong> the critical<br />
reception of Fritz Lang dur<strong>in</strong>g the 1940s, Studies <strong>in</strong> European C<strong>in</strong>ema, 5.3,<br />
171-183.<br />
› The Mean<strong>in</strong>g of Mystery: Genre, Market<strong>in</strong>g and the Universal Sherlock<br />
Holmes Series of the 1940s, Film International, 3.17, 34-45.<br />
› ‘The English Master of Movie Melodrama’: Hitchcock, Horror and the<br />
Woman’s Film, Film International, 9.3, 51-67.<br />
Laleen Jayamanne teaches C<strong>in</strong>ema Studies at the University of Sydney.<br />
She directed the film A Song of Ceylon (1985); edited Kiss Me Deadly:<br />
Fem<strong>in</strong>ism and C<strong>in</strong>ema for the Moment (Power Publications, 1995); and<br />
is the author of Towards C<strong>in</strong>ema and Its Double: Crosscultural<br />
Mimesis, (Indiana University Press, 2001). She is currently writ<strong>in</strong>g a<br />
book on the Indian avant-garde director Kumar Shahani and epic<br />
c<strong>in</strong>ema for Indiana University Press.<br />
› The drover's wives and camp couture: Baz Luhrmann's preposterous national<br />
epic, Studies <strong>in</strong> Australasian C<strong>in</strong>ema, 4.2, 131-143.<br />
Henrik Jensen, Master-student of Science (MSc) <strong>in</strong> Bus<strong>in</strong>ess<br />
Adm<strong>in</strong>istration and Philosophy, is <strong>research</strong> assistant at Copenhagen<br />
Bus<strong>in</strong>ess School, Department of Bus<strong>in</strong>ess and Politics. He has done the<br />
content analysis and statistics of cross media analysis of crime content<br />
<strong>in</strong> press, television and web media, based on comparative data from the<br />
<strong>research</strong> project One Week of News <strong>in</strong> 2003, and 2008<br />
(www.fbc/nyhedsugen), managed by professor Anker Br<strong>in</strong>k Lund,<br />
Copenhagen Bus<strong>in</strong>ess School, Department of Bus<strong>in</strong>ess and Politics.<br />
› Cont<strong>in</strong>uity and change <strong>in</strong> mass-mediated crime coverage: Content analyses<br />
of newspapers, television and web media, Northern Lights: Film & Media<br />
Studies Yearbook, 9., 159-177.
Joyce Jesionowski<br />
B<strong>in</strong>ghamton University, Box 6000,<br />
B<strong>in</strong>ghamton, New York, 13902,<br />
United States of America<br />
Keywords spectatorial experience,<br />
counter-discourse, female voice<br />
Carolyn Jess-Cooke<br />
University of Sunderland, Faculty of<br />
Arts, Design and Media, Sunderland,<br />
United K<strong>in</strong>gdom<br />
Keywords sequel, Dogme 95, auteur,<br />
new wave<br />
Sonora Jha<br />
Seattle University, Department of<br />
Communication & Journalism, 901<br />
12th Ave., Seattle, Wash<strong>in</strong>gton,<br />
98122, United States of America<br />
Keywords Internet, match-mak<strong>in</strong>g,<br />
colourism, Indian marriage market,<br />
technology, women, sk<strong>in</strong> colour<br />
Joyce Jesionowski is a Lecturer <strong>in</strong> C<strong>in</strong>ema at B<strong>in</strong>ghamton University <strong>in</strong><br />
New York. She received her Ph.D. from Columbia University and is<br />
the author of Th<strong>in</strong>k<strong>in</strong>g <strong>in</strong> Pictures: Dramatic Structure <strong>in</strong> D.W.<br />
Griffiths' Biographic Films (University of California Press). She is also<br />
a member of The Griffith Project, an <strong>in</strong>ternational group of scholars<br />
<strong>who</strong>se twelve volumes of essays cover<strong>in</strong>g the span of D.W. Griffith's<br />
career have been published by the British Film Institute <strong>in</strong> connection<br />
with the Giornate del C<strong>in</strong>ema Muto <strong>in</strong> Pordenone, Italy.<br />
› Speak<strong>in</strong>g Bach: Strategies of alienation and <strong>in</strong>timacy <strong>in</strong> StraubHuillet's<br />
Chronik der Anna Magadelena Bach/Chronicle of Anna Magdalena Bach<br />
(1968), Studies <strong>in</strong> European C<strong>in</strong>ema, 7.1, 61-65.<br />
Carolyn Jess-Cooke is a Lecturer <strong>in</strong> Film Studies at the University of<br />
Sunderland. Her recent <strong>research</strong> is devoted to operations of sequel<br />
theory <strong>in</strong> twenty-first-century c<strong>in</strong>ema culture.<br />
› New-ness, Sequelization, and Dogme logic <strong>in</strong> Kristian Levr<strong>in</strong>g’s The K<strong>in</strong>g is<br />
Alive, New C<strong>in</strong>emas: Journal of Contemporary Film, 3.1, 3-16.<br />
Sonora Jha, Ph.D., is Associate Professor <strong>in</strong> the Department of<br />
Communication at Seattle University. Dr. Jha’s <strong>research</strong> is on the<br />
<strong>in</strong>tersection of journalism, social movements, and the Internet as well<br />
as on issues of communication justice. Her <strong>research</strong> has been published<br />
<strong>in</strong> Journalism & Mass Communication Quarterly, Journalism: Theory,<br />
Practice & Criticism, Electronic Journal of Communication, The<br />
Journal of Networks & Civil Society and The Seattle Journal of Social<br />
Justice, among others. Prior to her academic career, Dr. Jha was a<br />
journalist for over a decade <strong>in</strong> India and S<strong>in</strong>gapore, cover<strong>in</strong>g politics,<br />
crime and issues of social justice. Her last assignment was as special<br />
correspondent and a chief of bureau with The Times of India.<br />
› Look<strong>in</strong>g for Love <strong>in</strong> All the White Places: A Study of Sk<strong>in</strong> Color Preferences<br />
on Indian Matrimonial and Mate-Seek<strong>in</strong>g Websites, Studies <strong>in</strong> South Asian<br />
Film & Media, 1.1, 65-83.
Rebecca Joh<strong>in</strong>ke<br />
University of Sydney, Department of<br />
English, Sydney, Australia<br />
Keywords mascul<strong>in</strong>ity, car culture,<br />
Dead End Drive-In, Ozploitation,<br />
Australian c<strong>in</strong>ema<br />
Mariana Johnson<br />
University of North Carol<strong>in</strong>a at<br />
Wilm<strong>in</strong>gton, Department of Film<br />
Studies, 601 South College Road,<br />
Wilm<strong>in</strong>gton, North Carol<strong>in</strong>a, 28403,<br />
United States of America<br />
Keywords performance, homeland,<br />
transnationalism, exile, Cuba<br />
Matthew D Johnson<br />
Gr<strong>in</strong>nell College, Department of<br />
History, 1213 Sixth Avenue, Gr<strong>in</strong>nell,<br />
Iowa, IA 50112, United States of<br />
America<br />
Keywords Ch<strong>in</strong>atowns, colonialism,<br />
early c<strong>in</strong>ema, mass media<br />
Rebecca Joh<strong>in</strong>ke is a Lecturer <strong>in</strong> the Department of English at the<br />
University of Sydney. She has a long-stand<strong>in</strong>g <strong>in</strong>terest <strong>in</strong><br />
representations of mascul<strong>in</strong>ity <strong>in</strong> Australian films and a particular<br />
<strong>in</strong>terest <strong>in</strong> car crash films. She is currently work<strong>in</strong>g on a number of<br />
articles <strong>in</strong> that area and one essay about Nick Cave and Ghosts … of the<br />
Civil Dead. She also teaches and writes about street culture, writ<strong>in</strong>g<br />
and rhetoric.<br />
› Not quite Mad Max: Brian Trenchard-Smith's Dead End Drive-In, Studies <strong>in</strong><br />
Australasian C<strong>in</strong>ema, 3.3, 309-320.<br />
Mariana Johnson is Assistant Professor of film studies at the University<br />
of North Carol<strong>in</strong>a at Wilm<strong>in</strong>gton. She holds a Ph.D. <strong>in</strong> C<strong>in</strong>ema Studies<br />
from New York University, 2006 entitled 'Imperfect Distance:<br />
Contemporary Cuban Film and Media Across the Florida Straitt'. Her<br />
teach<strong>in</strong>g and <strong>research</strong> <strong>in</strong>terests <strong>in</strong>clude Lat<strong>in</strong> American c<strong>in</strong>ema, film<br />
theory, third world and post-colonial c<strong>in</strong>emas, documentary,<br />
transnationalism <strong>in</strong> film and media studies, cultural theory, film and<br />
activism.<br />
› Document<strong>in</strong>g Cuban transnationalism: Our House <strong>in</strong> Havana, Cuban<br />
Roots/Bronx Stories and 90 Miles, Studies <strong>in</strong> Hispanic C<strong>in</strong>emas, 6.2, 153-<br />
166.<br />
Matthew D. Johnson (Ph.D., University of California, San Diego) is an<br />
assistant professor of history at Gr<strong>in</strong>nell College, and an affiliated<br />
<strong>research</strong>er with the Leverhulme Ch<strong>in</strong>a’s War with Japan Programme,<br />
University of Oxford. He has written articles, chapters, reviews and<br />
encyclopaedia entries on the history of film and propaganda, and is<br />
complet<strong>in</strong>g a dissertation-based monograph titled 'Propaganda: The<br />
Orig<strong>in</strong>s and Organization of Mass Politics <strong>in</strong> Revolutionary Ch<strong>in</strong>a',<br />
based on <strong>in</strong>terviews and archival visits conducted while he was a U.S.<br />
Fulbright student fellow <strong>in</strong> 2004–2005. Other current scholarly projects<br />
<strong>in</strong>clude a forthcom<strong>in</strong>g co-edited volume on local history and statesociety<br />
relations <strong>in</strong> the PRC dur<strong>in</strong>g the Mao years, an article on the<br />
Office of War Information <strong>in</strong> 1940s Ch<strong>in</strong>a (appear<strong>in</strong>g <strong>in</strong> Modern Asian<br />
Studies), and a history of engagement between the CCP and American<br />
public figures dur<strong>in</strong>g the Cold War.<br />
› ‘Journey to the seat of war’: the <strong>in</strong>ternational exhibition of Ch<strong>in</strong>a <strong>in</strong> early<br />
c<strong>in</strong>ema, Journal of Ch<strong>in</strong>ese C<strong>in</strong>emas, 3.2, 109-122.
Meg Johnston<br />
Monash University, Department of<br />
Film and Television, Australia<br />
Keywords nationhood, refugees,<br />
Clara Law, Letters to Ali,<br />
transcultural vision<br />
Crist<strong>in</strong>a Johnston<br />
University of Stirl<strong>in</strong>g, School of<br />
Languages, Cultures and Religions,<br />
Pathfoot Build<strong>in</strong>g, Stirl<strong>in</strong>g, FK9 4LA,<br />
United K<strong>in</strong>gdom<br />
Keywords French c<strong>in</strong>ema, banlieue<br />
c<strong>in</strong>ema, gay c<strong>in</strong>ema, transnationalism,<br />
transculturalism, language, sexualities<br />
Julie Jones<br />
University of New Orleans,<br />
Department of Foreign, New Orleans,<br />
Louisiana, 70148, United States of<br />
America<br />
Keywords Bible films, pilgrimage,<br />
French c<strong>in</strong>ema, national identity,<br />
Francoism<br />
› The science education film: C<strong>in</strong>ematiz<strong>in</strong>g technocracy and <strong>in</strong>ternationaliz<strong>in</strong>g<br />
development, Journal of Ch<strong>in</strong>ese C<strong>in</strong>emas, 5.1, 31-53.<br />
Meg Johnston is a Ph.D. candidate <strong>in</strong> the Film and Television<br />
Department at Monash University. Her dissertation focuses on<br />
representations of nationhood and otherness through the proliferation<br />
of refugee-focused documentary films <strong>in</strong> the Howard years.<br />
› Unsettl<strong>in</strong>g whiteness: the slippage of race and nation <strong>in</strong> Clara Law’s Letters<br />
to Ali, Studies <strong>in</strong> Australasian C<strong>in</strong>ema, 2.2, 103-119.<br />
Crist<strong>in</strong>a Johnston is a lecturer <strong>in</strong> the School of Languages, Cultures and<br />
Religions at the University of Stirl<strong>in</strong>g. Crist<strong>in</strong>a has published on<br />
contemporary French c<strong>in</strong>ema (particularly m<strong>in</strong>ority c<strong>in</strong>emas, with a<br />
monograph on French M<strong>in</strong>ority C<strong>in</strong>ema to be published by Rodopi <strong>in</strong><br />
late 2010), transatlantic c<strong>in</strong>ema, and sexuality and citizenship <strong>in</strong><br />
Republican France. She has also co-edited two bil<strong>in</strong>gual volumes of<br />
essays on the ‘hypervisibility’ of homosexualities <strong>in</strong> French and<br />
francophone visual cultures with Dr Florian Grandena (University of<br />
Ottawa) which will be published by Peter Lang.<br />
› Representations of homosexuality <strong>in</strong> 1990s ma<strong>in</strong>stream French c<strong>in</strong>ema,<br />
Studies <strong>in</strong> French C<strong>in</strong>ema, 2.1, 23-31.<br />
› Sav<strong>in</strong>g Robert de Niro: Jean Reno as Francophone all-American action hero,<br />
Studies <strong>in</strong> European C<strong>in</strong>ema, 4.3, 167-176.<br />
Julie Jones is Professor of Spanish at the University of New Orleans,<br />
where she teaches courses <strong>in</strong> twentieth-century narrative and film and<br />
on which she has published numerous articles (specifically on the work<br />
of Luis Buñuel) <strong>in</strong> journals such as C<strong>in</strong>éaste, C<strong>in</strong>ema Journal, The<br />
Journal of Film and Video, Romanic Review and Comparative<br />
Literature. She is currently work<strong>in</strong>g on a study of Buñuel’s<br />
manipulations of <strong>in</strong>terviews, press releases and other forms of publicity<br />
<strong>in</strong> order to shape public perceptions of his films and his career.<br />
› The sa<strong>in</strong>t and the general: Buñuel cocks a snook at authority on the Road to
Helen Jones<br />
University of Wales, Aberystwyth,<br />
United K<strong>in</strong>gdom<br />
Keywords gender, Basque c<strong>in</strong>ema,<br />
ETA, separatism, identity<br />
Steve Jones<br />
Northumbria University, Department<br />
of Media, Squires Build<strong>in</strong>g,<br />
Sandyford Road, Newcastle-Upon-<br />
Tyne, Tyne and Wear, NE1 8ST,<br />
United K<strong>in</strong>gdom<br />
Keywords horror, pornography,<br />
torture porn, gender studies, identity<br />
Barry Jordan<br />
De Montfort University, Media &<br />
Cultural Production, Clephan Bldg -<br />
The Gateway, Leicester, LE1 9BH,<br />
United K<strong>in</strong>gdom<br />
Keywords Spanish c<strong>in</strong>ema,<br />
commercial c<strong>in</strong>ema, 'comedia sexy<br />
ibérica', 'landismo'<br />
Santiago, Studies <strong>in</strong> Hispanic C<strong>in</strong>emas, 6.1, 19-30.<br />
Helen Jones is <strong>in</strong> the process of complet<strong>in</strong>g her doctoral thesis on the<br />
Basque author Bernardo Atxaga at the University of Wales,<br />
Aberystwyth, where she lectures on Basque and Spanish literature and<br />
film. She has also lectured on contemporary Basque studies at the<br />
University of the Basque Country and has acted as correspondent for<br />
BBC Radio Cymru on Basque Affairs.<br />
› Mapp<strong>in</strong>g the gendered space of the Basque Country, Studies <strong>in</strong> European<br />
C<strong>in</strong>ema, 1.1, 43-56.<br />
Dr. Steve Jones is a lecturer <strong>in</strong> Media with Northumbria University,<br />
UK. His <strong>research</strong> <strong>in</strong>terests are focused primarily around the topics of<br />
representation and gender, particularly <strong>in</strong> relation to portrayals of sex<br />
and violence. His recent work has focused on zombie pornography,<br />
torture porn and Japanese horror.<br />
› Death of the image/the image of death: Temporality, torture and transience <strong>in</strong><br />
Sunohara Yuuri and Akita Masami’s Harakiri Cycle, Journal of Japanese &<br />
Korean C<strong>in</strong>ema, 2.2, 163-177.<br />
Barry Jordan teaches Film Studies with<strong>in</strong> the Department of Media,<br />
Film and Journalism at De Montfort University, Leicester. His specific<br />
areas of academic <strong>in</strong>terest are Hispanic C<strong>in</strong>emas. On the Spanish side,<br />
his <strong>in</strong>terests <strong>in</strong>clude film history, contemporary pen<strong>in</strong>sular Spanish<br />
c<strong>in</strong>ema, the politics of the contemporary Spanish film <strong>in</strong>dustry, popular<br />
Francoist c<strong>in</strong>ema, art c<strong>in</strong>ema, the period blockbuster and the works of<br />
Pedro Almodóvar, Alejandro Aménabar, Fernando Trueba, Santiago<br />
Segura, Agust<strong>in</strong> Díaz Yanes, Jaume Balagueró, Paco Plaza and Juan<br />
Antonio Bayona. On the Lat<strong>in</strong> American side, he has both <strong>research</strong> and<br />
teach<strong>in</strong>g <strong>in</strong>terests <strong>in</strong> Third C<strong>in</strong>ema, Uruguayan and Mexican C<strong>in</strong>ema,<br />
with a more specific focus on Luis Buñuel, Alfonso Cuarón, Alejandro<br />
González Iñárritu and Guillermo del Toro. His wider academic<br />
<strong>in</strong>terests also <strong>in</strong>clude classical and modern French C<strong>in</strong>ema (1920s<br />
avant-gardes, Surrealism, Baz<strong>in</strong>, Godard), European C<strong>in</strong>ema (German<br />
Fantastic and Expressionism, Italian Neo-realism and 1970s/80s Italian
Nebojša Jovanović<br />
Central European University, Azize<br />
Šaćirbegović 106, Sarajevo, 71000,<br />
Bosnia & Herzegov<strong>in</strong>a<br />
Keywords Bosnia and Herzegov<strong>in</strong>a<br />
c<strong>in</strong>ema, psychoanalysis, gender<br />
theory<br />
Hester Joyce<br />
La Trobe University, C<strong>in</strong>ema Studies,<br />
Bundoora, Victoria, 3068, Australia<br />
Keywords Maori, Pakeha,<br />
postcolonial culture, New Zealand<br />
c<strong>in</strong>ema, <strong>in</strong>digenous c<strong>in</strong>ema<br />
horror) and Film Theory.<br />
› Editorial, Studies <strong>in</strong> Hispanic C<strong>in</strong>emas, 1.1, 3-4.<br />
› Late-Francoist popular comedy and the ‘reactionary’ film text, Studies <strong>in</strong><br />
Hispanic C<strong>in</strong>emas, 2.2, 83-104.<br />
› Review, Studies <strong>in</strong> Hispanic C<strong>in</strong>emas, 4.3, 199-212.<br />
› Editorial, New C<strong>in</strong>emas: Journal of Contemporary Film, 1.3, 137-140.<br />
› Spa<strong>in</strong>’s ‘new c<strong>in</strong>ema’ of the 1990s, New C<strong>in</strong>emas: Journal of Contemporary<br />
Film, 1.3, 191-.<br />
Nebojša Jovanović is a doctoral student at Central European University<br />
<strong>in</strong> Budapest (Department of Gender Studies), where he is writ<strong>in</strong>g a<br />
thesis on the c<strong>in</strong>ema of Bosnia and Herzegov<strong>in</strong>a. He holds a B.A. <strong>in</strong><br />
Psychology from the University of Sarajevo and an M.A. <strong>in</strong> Gender<br />
Theory from Central European University. He works as an adjunct<br />
lecturer <strong>in</strong> psychoanalysis and film theory at the University of<br />
Sarajevo’s Centre for Interdiscipl<strong>in</strong>ary Postgraduate Studies.<br />
› Break<strong>in</strong>g the wave: A commentary on ‘Black Wave polemics: Rhetoric as<br />
aesthetic’ by Greg DeCuir, Jr, Studies <strong>in</strong> Eastern European C<strong>in</strong>ema, 2.2, 161-<br />
171.<br />
Dr. Hester Joyce is a senior lecturer <strong>in</strong> C<strong>in</strong>ema Studies at La Trobe<br />
University, Melbourne. She has professional credits <strong>in</strong> act<strong>in</strong>g, writ<strong>in</strong>g<br />
and direct<strong>in</strong>g <strong>in</strong> theatre and <strong>in</strong> act<strong>in</strong>g, script edit<strong>in</strong>g and consult<strong>in</strong>g <strong>in</strong><br />
film and television. Her <strong>research</strong> <strong>in</strong>terests <strong>in</strong>clude National<br />
c<strong>in</strong>emas/<strong>in</strong>digenous c<strong>in</strong>ema; New Zealand c<strong>in</strong>ema; scriptwrit<strong>in</strong>g<br />
theory, policy and practice; scriptwrit<strong>in</strong>g; screenplay narrative,<br />
aesthetics and formal analysis; and creative project assessment.<br />
› Out from nowhere: Pakeha anxieties <strong>in</strong> Ngati (Barclay, 1987), Once Were<br />
Warriors (Tamahori, 1994) and Whale Rider (Caro, 2002), Studies <strong>in</strong><br />
Australasian C<strong>in</strong>ema, 3.3, 239-250.<br />
Myriam Juan Myriam Juan is prepar<strong>in</strong>g a doctorate on the star-system <strong>in</strong> France<br />
dur<strong>in</strong>g the <strong>in</strong>ter-war period at Paris 1 University (Panthéon-Sorbonne).
Université Paris 1 (Panthéon-<br />
Sorbonne), École doctorale d’Histoire,<br />
17 rue de la Sorbonne, Paris, 75005,<br />
France<br />
Keywords star, twenties, crisis,<br />
critics, model, Hollywood<br />
Laurent Jullier<br />
Institut de Recherches sur le C<strong>in</strong>éma<br />
et l’Audiovisuel Université Sorbonne<br />
Nouvelle – Paris 3/ Institut Européen<br />
de C<strong>in</strong>éma et d’Audiovisuel<br />
Université de Nancy II, IRCAV,<br />
Ecole doctorale Arts et Médias,<br />
Centre Bièvre, 1 rue Censier, Paris,<br />
75005, France<br />
Keywords film read<strong>in</strong>g, ideology,<br />
post-modernity, irony, parody<br />
Krist<strong>in</strong>e Jørgensen<br />
University of Bergen, Department of<br />
Information Science and Media<br />
Studies, Bergen, Norway<br />
Keywords computer game,<br />
transdiegetic, diegetic, extradiegetic,<br />
meta-communication<br />
Pietari Kääpä<br />
University of Hels<strong>in</strong>ki, Leiviskätie 2<br />
A D 52, Hels<strong>in</strong>ki, 440, F<strong>in</strong>land<br />
She is a teach<strong>in</strong>g assistant <strong>in</strong> History at the University of Versailles<br />
Sa<strong>in</strong>t-Quent<strong>in</strong>-en-Yvel<strong>in</strong>es. She belongs to the French Association for<br />
Research <strong>in</strong>to the History of C<strong>in</strong>ema (AFRHC).<br />
› Étoiles en manque de lumière: les difficultés du vedettariat français dans les<br />
années v<strong>in</strong>gt, Studies <strong>in</strong> French C<strong>in</strong>ema, 11.3, 181-193.<br />
Laurent Jullier is Director of Research at the Institut de Recherches sur<br />
le C<strong>in</strong>éma et l’Audiovisuel (IRCAV) at the Université Sorbonne<br />
Nouvelle – Paris 3, and Professor of Film Studies at the Institut<br />
Européen de C<strong>in</strong>éma et d’Audiovisuel (IECA) at the Université de<br />
Nancy 2. He has published widely on c<strong>in</strong>ema.<br />
› Politiquement (<strong>in</strong>)correct: OSS 117 dans les forums de discussion d'AlloC<strong>in</strong>,<br />
Studies <strong>in</strong> French C<strong>in</strong>ema, 10.3, 289-301.<br />
Krist<strong>in</strong>e Jørgensen is a <strong>research</strong>er at the Department of Information<br />
Science and Media Studies at the University of Bergen, and focuses on<br />
computer games <strong>research</strong>. She is particularly <strong>in</strong>terested <strong>in</strong> questions<br />
about audio, spatiality, and player actions, <strong>in</strong> addition to comparative<br />
perspectives between computer games and the film medium. Krist<strong>in</strong>e<br />
Jørgensen’s Ph.D. dissertation from Copenhagen University is an<br />
<strong>in</strong>vestigation of the functionality of computer game audio, and focuses<br />
on the relationship between game audio and player actions.<br />
› On transdiegetic sounds <strong>in</strong> computer games, Northern Lights: Film & Media<br />
Studies Yearbook, 5.1, 105-117.<br />
Pietari Kääpä completed his Ph.D. focus<strong>in</strong>g on the globalization of<br />
F<strong>in</strong>nish c<strong>in</strong>ema <strong>in</strong> the films of Aki and Mika Kaurismäki at University<br />
of East Anglia <strong>in</strong> 2008. He was then based at Institute for Comparative<br />
Cultural Studies at University of Nott<strong>in</strong>gham N<strong>in</strong>gbo <strong>in</strong> Ch<strong>in</strong>a. In<br />
addition to multiple articles, he has published two monographs, the first
Keywords transnationalism,<br />
transnational c<strong>in</strong>ema, ecophilosophy,<br />
ecoc<strong>in</strong>ema, environmental media<br />
Daria Kabanova<br />
University of Ill<strong>in</strong>ois at Urbana-<br />
Champaign, Comparative and World<br />
Literature, 707 S. Mathews Ave,<br />
Urbana, Ill<strong>in</strong>ois, 61801, United States<br />
of America<br />
Keywords post-Soviet Russian<br />
fiction, post-Soviet Russian film,<br />
national history<br />
Ananya Jahanara Kabir<br />
University of Leeds, School of<br />
English, Leeds, LS2 9JT, United<br />
K<strong>in</strong>gdom<br />
Keywords political conflict, cultural<br />
belong<strong>in</strong>g, the Kashmir conflict,<br />
South Asia<br />
The National and Beyond: the Globalisation of F<strong>in</strong>nish C<strong>in</strong>ema <strong>in</strong> the<br />
Films of Aki and Mika Kaurismäki (Oxford: Peter Lang Ltd, 2010),<br />
reworks his doctoral thesis. The second, The C<strong>in</strong>ema of Mika<br />
Kaurismäki: Transvergent C<strong>in</strong>escapes, Emergent Identities (Bristol:<br />
<strong>Intellect</strong>, 2011), explores Mika Kaurismäki’s films <strong>in</strong> a range of<br />
thematic frameworks, <strong>in</strong>corporat<strong>in</strong>g theoretical advances from<br />
transnationalism to ecophilosophy. He is currently a postdoctoral<br />
fellow at the University of Hels<strong>in</strong>ki.<br />
› REVIEWS - CRIME AND FANTASY IN SCANDINAVIA: FICTION,<br />
<strong>FILM</strong> AND SOCIAL CHANGE, ANDREW NESTINGEN (2008),<br />
Transnational C<strong>in</strong>emas, 1.1, 99-101.<br />
Daria Kabanova is a Ph.D. candidate <strong>in</strong> Comparative Literature at the<br />
University of Ill<strong>in</strong>ois, Urbana-Champaign. Her current <strong>research</strong> focuses<br />
on the ways post-Soviet Russian fiction and film reimag<strong>in</strong>e cont<strong>in</strong>uities<br />
and discont<strong>in</strong>uities of national history through appeal<strong>in</strong>g to a variety of<br />
nostalgic cultural myths and aesthetic conventions.<br />
› Book Reviews, Film International, 8.1, 78-88.<br />
Ananya Jahanara Kabir is the author of Paradise, Death and<br />
Doomsday <strong>in</strong> Anglo-Saxon England (Cambridge: Cambridge<br />
University Press, 2002). She is a Senior Lecturer <strong>in</strong> Commonwealth<br />
and Postcolonial Literatures at the University of Leeds and her <strong>research</strong><br />
and teach<strong>in</strong>g <strong>in</strong>terests <strong>in</strong>clude: Political conflict and cultural belong<strong>in</strong>g<br />
<strong>in</strong> South Asia; The Kashmir conflict; The memorial repercussions of<br />
the Partition of India; The postcolonial metropolis/South Asian<br />
vernacular modernities; The cultures of global and local Islam,<br />
<strong>in</strong>clud<strong>in</strong>g Sufi music and performance; Cultural and identity politics <strong>in</strong><br />
South Asian diasporas; Medievalism and (post)colonial modernity.<br />
› Book Reviews, Studies <strong>in</strong> South Asian Film & Media, 1.1, 189-191.
Lilya Kaganovsky<br />
University of Ill<strong>in</strong>ois, Urbana-<br />
Champaign, Urbana, Ill<strong>in</strong>ois, United<br />
States of America<br />
Keywords Eikhenbaum, Althusser,<br />
sound film, avant-garde, gender, late<br />
socialism<br />
Nick Kaldis<br />
State University of New York,<br />
B<strong>in</strong>ghamton, 305 Burd Drive, Vestal,<br />
New York, NY, 13850-3201, United<br />
States of America<br />
Keywords authoritarianism, b<strong>in</strong>arism,<br />
ideology, aesthetics, globalization<br />
Jasm<strong>in</strong>a Kallay<br />
National Film School, Dubl<strong>in</strong>, Ireland<br />
Keywords <strong>in</strong>teractive c<strong>in</strong>ema,<br />
screenwrit<strong>in</strong>g, poetics, Aristotle,<br />
narrative, architecture, cyber drama,<br />
new media, digital media<br />
Lilya Kaganovsky is Associate Professor of Slavic, Comparative<br />
Literature, and C<strong>in</strong>ema Studies at the University of Ill<strong>in</strong>ois. She is the<br />
author of How the Soviet Man Was Unmade (2008), and articles on<br />
gender and mascul<strong>in</strong>ity <strong>in</strong> Soviet and post- Soviet film. Her current<br />
project focuses on Soviet c<strong>in</strong>ema’s transition to sound.<br />
› The voice of technology and the end of Soviet silent film: Grigorii Koz<strong>in</strong>tsev<br />
and Leonid Trauberg's Alone, Studies <strong>in</strong> Russian and Soviet C<strong>in</strong>ema, 1.3,<br />
265-282.<br />
› The cultural logic of late socialism, Studies <strong>in</strong> Russian and Soviet C<strong>in</strong>ema,<br />
3.2, 185-199.<br />
› Book Reviews, Studies <strong>in</strong> Russian and Soviet C<strong>in</strong>ema, 4.3, 355-377.<br />
Nick Kaldis is Director of Ch<strong>in</strong>ese Studies and Associate Professor of<br />
Ch<strong>in</strong>ese Studies <strong>in</strong> the Department of Asian & Asian-American Studies<br />
at B<strong>in</strong>ghamton University (S.U.N.Y.). He received his BA <strong>in</strong> English<br />
from Ohio University, an MA <strong>in</strong> English from Purdue University, and<br />
an MA and Ph.D. <strong>in</strong> East Asian Languages and Literatures from The<br />
Ohio State University. He serves on the editorial boards of Journal of<br />
Ch<strong>in</strong>ese C<strong>in</strong>emas and Modern Ch<strong>in</strong>ese Literature & Culture, and is<br />
Literature Book Review Editor for the latter. His teach<strong>in</strong>g and<br />
scholarship focus on the areas of Ch<strong>in</strong>ese c<strong>in</strong>ema, literature, and<br />
language. He has published essays on modern Ch<strong>in</strong>ese literature,<br />
contemporary Ch<strong>in</strong>ese-language film, and numerous translations.<br />
› A Brief Response to Wendy Larson's ‘Zhang Yimou's Hero: dismantl<strong>in</strong>g the<br />
myth of cultural power’, Journal of Ch<strong>in</strong>ese C<strong>in</strong>emas, 3.1, 83-88.<br />
Jasm<strong>in</strong>a Kallay is a Lecturer at the National Film School (IADT),<br />
Dubl<strong>in</strong>, and is <strong>in</strong> the f<strong>in</strong>al stages of complet<strong>in</strong>g her Ph.D. <strong>in</strong> Interactive<br />
Screenwrit<strong>in</strong>g at University College Dubl<strong>in</strong>. Jasm<strong>in</strong>a regularly<br />
contributes to film and digital media publications and conferences.<br />
Apart from her academic output, Jasm<strong>in</strong>a also works as a freelance<br />
script consultant and editor for a number of broadcast<strong>in</strong>g and<br />
production companies <strong>in</strong> Ireland and the United K<strong>in</strong>gdom.<br />
› Cyber-Aristotle: towards a poetics for <strong>in</strong>teractive screenwrit<strong>in</strong>g, Journal of<br />
Screenwrit<strong>in</strong>g, 1.1, 99-112.
Amar Kanwar<br />
Keywords contemporary art, South<br />
Asian film<br />
Sergei Kapterev<br />
Moscow Research Insitute of Film<br />
Art, (NII K<strong>in</strong>oiskusstva), Degtiarnyi<br />
per. 8, Moscow, 103050, Russia<br />
Keywords Soviet c<strong>in</strong>ema,<br />
propaganda, Cold War, Russian<br />
c<strong>in</strong>ema<br />
Jyotsna Kapur<br />
Southern Ill<strong>in</strong>ois University,<br />
Department of C<strong>in</strong>ema and<br />
Photography, Carbondale, Ill<strong>in</strong>ois,<br />
62901-6610, United States of<br />
America<br />
Keywords children as consumers,<br />
documentary film, ethnographic film,<br />
Japanese new wave, German new<br />
wave, Marxism, socialist-fem<strong>in</strong>ism,<br />
race<br />
Amar Kanwar lives and works <strong>in</strong> New Delhi. His films have been<br />
screened <strong>in</strong> several film festivals and museums <strong>in</strong>clud<strong>in</strong>g Documenta<br />
11 and Documenta 1, Germany. His awards <strong>in</strong>clude: the 1st Edvard<br />
Munch Award for Contemporary Art, Norway; the Golden Gate<br />
Award, San Francisco International Film Festival; and the Golden<br />
Conch, Mumbai International Film Festival.<br />
› The <strong>in</strong>visible image A photo essay by Amar Kanwar, Studies <strong>in</strong> South Asian<br />
Film & Media, 1.2, 203-208.<br />
Sergei Kapterev is Senior Researcher at Moscow’s Research Institute<br />
of Film Art (NIIK). He received his Ph.D. <strong>in</strong> C<strong>in</strong>ema Studies from<br />
New York University <strong>in</strong> 2005. He specializes <strong>in</strong> the <strong>in</strong>tellectual and<br />
political aspects of the <strong>in</strong>teraction between Soviet and American<br />
c<strong>in</strong>emas. Other <strong>in</strong>terests <strong>in</strong>clude Soviet film propaganda; c<strong>in</strong>ema of the<br />
late Stal<strong>in</strong> period, the Thaw and the Cold War; Russian and Soviet<br />
films about the Far East; practice and theory of film edit<strong>in</strong>g and sound;<br />
unattributed and 'lost' Russian and Soviet films held <strong>in</strong> world archives.<br />
› Sergei Eisenste<strong>in</strong>'s letters to Hollywood film-makers, Studies <strong>in</strong> Russian and<br />
Soviet C<strong>in</strong>ema, 4.2, 245-253.<br />
Jyotsna Kapur teaches <strong>in</strong> the department of C<strong>in</strong>ema and Photography,<br />
Southern Ill<strong>in</strong>ois University. She is currently f<strong>in</strong>ish<strong>in</strong>g a book, Out of<br />
Control: Children’s Consumer Culture, American C<strong>in</strong>ema, and the<br />
Transformation of Childhood <strong>in</strong> Late Capitalism (Wayne State<br />
University Press) which exam<strong>in</strong>es the <strong>in</strong>vention of children as<br />
consumers <strong>in</strong> Hollywood films produced for children <strong>in</strong> the 1990s and<br />
<strong>in</strong> children’s market<strong>in</strong>g literature. Her <strong>research</strong> and teach<strong>in</strong>g <strong>in</strong>terests<br />
are documentary and ethnographic film, the Japanese and German New<br />
Wave, postmodernity and globalization of media <strong>in</strong>dustry, and critical<br />
theory based on Marxism, socialist-fem<strong>in</strong>ism, and race.<br />
› Editorial, Studies <strong>in</strong> South Asian Film & Media, 1.1, 5-8.<br />
› Editorial, Studies <strong>in</strong> South Asian Film & Media, 1.2, 199-202.
Selm<strong>in</strong> Kara<br />
Wayne State University, English<br />
Department, Film and Media Studies,<br />
Detroit, Michigan, 48202, United<br />
States of America<br />
Keywords assemblages, reassembly,<br />
sound, fragmentation, Iraq<br />
Sanna Karkulehto<br />
University of Jyväskylä, Raivaajantie<br />
13, FIN-90140 Oulu, F<strong>in</strong>land<br />
Keywords animation, F<strong>in</strong>land,<br />
Mannerheim, media reception,<br />
sexuality, queer, nationality, Michel<br />
Foucault<br />
Suvir Kaul<br />
University of Pennsylvania,<br />
Department of English, Fisher-<br />
Bennett Hall, Room 127, 3340<br />
Walnut St., Philadelphia,<br />
Pennsylvania, 19104-6273, United<br />
States of America<br />
Keywords eighteenth-century<br />
literature, postcolonial studies<br />
Selm<strong>in</strong> Kara is an Assistant Professor at OCAD University <strong>in</strong> Toronto.<br />
She received her BA and MA <strong>in</strong> Istanbul, Turkey, where she worked as<br />
an assistant producer <strong>in</strong> an <strong>in</strong>dependent documentary film production<br />
agency for four years, and completed her Ph.D. <strong>in</strong> Film and Media<br />
Studies at Wayne State University <strong>in</strong> Detroit, Michigan. Her academic<br />
areas of <strong>in</strong>terest <strong>in</strong>clude modes of assembly, technics, and sound <strong>in</strong><br />
documentary film and media.<br />
› Reassembl<strong>in</strong>g the nation: Iraq <strong>in</strong> Fragments and the acoustics of occupation,<br />
Studies <strong>in</strong> Documentary Film, 3.3, 259-274.<br />
Sanna Karkulehto, Ph.D., is Professor of F<strong>in</strong>nish Literature at the<br />
University of Jyväskylä, Docent of Literature and Cultural Studies at<br />
the University of Oulu, and Docent of Women’s Studies at the<br />
University of Lapland, F<strong>in</strong>land.<br />
› The ‘Greatest F<strong>in</strong>n’ meets the ‘Gay Marshal’: Foucault’s cycle, national<br />
narratives and The Butterfly of the Urals, Journal of Scand<strong>in</strong>avian C<strong>in</strong>ema,<br />
1.2, 177-197.<br />
Suvir Kaul is AM Rosenthal Professor of the English Department at the<br />
University of Pennsylvania. He has published three books, Eighteenthcentury<br />
British Literature and Postcolonial Studies (Ed<strong>in</strong>burgh<br />
University Press, 2009), Poems of Nation, Anthems of Empire: English<br />
Verse <strong>in</strong> the Long Eighteenth Century (Charlottesville: The University<br />
Press of Virg<strong>in</strong>ia, 2000; Delhi: Oxford University Press, 2001) which<br />
won the Walker Cowen Prize awarded biennially to a scholarly<br />
manuscript <strong>in</strong> 'Eighteenth Century Studies <strong>in</strong> history, literature,<br />
philosophy, or the arts' and Thomas Gray and Literary Authority:<br />
Ideology and Poetics <strong>in</strong> Eighteenth-Century England (New Delhi:<br />
Oxford University Press, 1992; Stanford: Stanford University Press,<br />
1992).<br />
› Book Reviews, Studies <strong>in</strong> South Asian Film & Media, 1.1, 192-194.<br />
Janice Kaye Janice Kaye received her Ph.D. <strong>in</strong> 2007 from the University of<br />
Southern California’s School of C<strong>in</strong>ema-Television <strong>in</strong> Los Angeles. In
Ryerson University, 350 Victoria St.,<br />
Toronto, Ontario, M5B 2K3, Canada<br />
Keywords Canadian c<strong>in</strong>ema,<br />
Canadian identity, nation-specific<br />
screenwrit<strong>in</strong>g, national c<strong>in</strong>emas,<br />
screenwrit<strong>in</strong>g, television<br />
Leslie Kealhofer<br />
Westm<strong>in</strong>ster College (Pennsylvania),<br />
Department of Modern Languages,<br />
319 South Market Street, New<br />
Wilm<strong>in</strong>gton, PA 16172, United States<br />
of America<br />
Keywords Yam<strong>in</strong>a Benguigui, Islam,<br />
headscarf, Femmes d’Islam,<br />
Mémoires d’immigrés: l’héritage<br />
maghréb<strong>in</strong>, Aïcha<br />
Abigail Keat<strong>in</strong>g<br />
University College Cork, Film<br />
Studies/Italian, Room 1.09 First Floor<br />
Block A West, O’ Rahilly Build<strong>in</strong>g,<br />
Cork, Ireland<br />
Keywords transnational,<br />
documentary, documusical, Italy<br />
2001–06, immigration, national<br />
identity<br />
addition to earn<strong>in</strong>g a Graduate Certificate <strong>in</strong> Gender Studies there, Dr.<br />
Kaye is the w<strong>in</strong>ner of the Cagney and Lacey Fellowship, the<br />
MGM/Ray Stark Foundation Scholarship, the Phi Beta Kappa Southern<br />
California Alumni Association Scholarship <strong>in</strong> the United States, as well<br />
as the Gerald Pratley Award and the Queen’s University Medal <strong>in</strong> Film<br />
Studies <strong>in</strong> Canada. She has presented papers at universities across the<br />
United States and Canada as well as <strong>in</strong> the United K<strong>in</strong>gdom and Italy,<br />
and has had articles, book reviews, encyclopaedia entries and a chapter<br />
published. Formerly a communications professional <strong>in</strong> the Canadian<br />
and American film and television <strong>in</strong>dustries, she is a found<strong>in</strong>g member<br />
of the Academy of Canadian C<strong>in</strong>ema and Television.<br />
› If it a<strong>in</strong>'t on the page, it a<strong>in</strong>'t on the stage: screenwrit<strong>in</strong>g, national specificity<br />
and the English-Canadian feature film, Journal of Screenwrit<strong>in</strong>g, 2.1, 61-83.<br />
Leslie Kealhofer is Visit<strong>in</strong>g Assistant Professor of French at<br />
Westm<strong>in</strong>ster College (Pennsylvania). She completed her doctoral<br />
dissertation on 'C<strong>in</strong>ematic Voices of Maghrebi Migrant Women <strong>in</strong><br />
France' at Florida State University <strong>in</strong> 2011 and is currently prepar<strong>in</strong>g a<br />
book manuscript on this subject.<br />
› Veiled voices <strong>in</strong> the films of Yam<strong>in</strong>a Benguigui, Studies <strong>in</strong> French C<strong>in</strong>ema,<br />
11.3, 207-221.<br />
Abigail Keat<strong>in</strong>g is a Ph.D. candidate <strong>in</strong> Film Studies at University<br />
College Cork, Ireland. Her doctoral thesis is entitled 'Locat<strong>in</strong>g the<br />
Transnational: Representations and Aesthetics of the City <strong>in</strong><br />
Contemporary European C<strong>in</strong>ema'. Her publications (past and<br />
forthcom<strong>in</strong>g) <strong>in</strong>clude essays on transnational film, c<strong>in</strong>ematic Dubl<strong>in</strong>,<br />
‘<strong>in</strong>teractive’ home movies and Web 2.0, along with contributions to<br />
<strong>Intellect</strong>’s Directory of World C<strong>in</strong>ema series. She is also co-founder<br />
and co-editor of the <strong>in</strong>augural issue of Alphaville: Journal of Film and<br />
Screen Media. She has worked as a <strong>research</strong> assistant and video editor<br />
on the nationally funded project, Captur<strong>in</strong>g the Nation: Irish Home<br />
Movies, 1930–1970, and teaches on the M.A. <strong>in</strong> Film Studies at UCC.<br />
Her <strong>research</strong> <strong>in</strong>terests <strong>in</strong>clude space, place and the city <strong>in</strong> film;<br />
European c<strong>in</strong>ema(s); the practice and aesthetics of digital media; nonfiction;<br />
and Web 2.0.
Patrick Keat<strong>in</strong>g<br />
Tr<strong>in</strong>ity University, Department of<br />
Communication, One Tr<strong>in</strong>ity Place,<br />
San Antonio, TX 78212, United<br />
States of America<br />
Keywords emotion, causality,<br />
screenplay manuals, three-act<br />
structure<br />
Douglas Keesey<br />
California Polytechnic State<br />
University, English Department, San<br />
Luis Obispo, California, CA 93407,<br />
United States of America<br />
Keywords censorship, fem<strong>in</strong>ism,<br />
rape, Breillat<br />
Dom<strong>in</strong>ic Keown<br />
University of Cambridge, Fitzwilliam<br />
College, Hunt<strong>in</strong>gdon Road,<br />
Cambridge, Cambridgeshire, CB3<br />
0DG, United K<strong>in</strong>gdom<br />
Keywords resistance, post-war<br />
Spanish c<strong>in</strong>ema, smugglers,<br />
Calabuch, Berlanga, Teta i la lluna,<br />
Bigas Luna, L'illa de l'holandès,<br />
Formentera, landscape<br />
› All roads lead to Piazza Vittorio: Transnational spaces <strong>in</strong> Agost<strong>in</strong>o Ferrente’s<br />
documusical, Studies <strong>in</strong> Documentary Film, 5.2-3, 197-209.<br />
Patrick Keat<strong>in</strong>g is an Assistant Professor <strong>in</strong> the Department of<br />
Communication at Tr<strong>in</strong>ity University <strong>in</strong> the United States, where he<br />
teaches courses <strong>in</strong> film and media studies. He is the author of the book<br />
Hollywood Light<strong>in</strong>g from the Silent Era to Film Noir, published by<br />
Columbia University Press. In addition to his <strong>research</strong> on the history of<br />
c<strong>in</strong>ematography, he has written several articles <strong>in</strong> film history and<br />
theory, <strong>in</strong>clud<strong>in</strong>g ‘Emotional Curves and L<strong>in</strong>ear Narratives’, a study of<br />
the structure of classical Hollywood narrative.<br />
› The plot po<strong>in</strong>t, the darkest moment, and the answered question: three ways of<br />
modell<strong>in</strong>g the three-quarter-po<strong>in</strong>t, Journal of Screenwrit<strong>in</strong>g, 2.1, 85-98.<br />
Douglas Keesey is Professor of Film and Literature at California<br />
Polytechnic State University. His publications <strong>in</strong>clude books on<br />
Cather<strong>in</strong>e Breillat, Don DeLillo, Peter Greenaway, Paul Verhoeven,<br />
erotic c<strong>in</strong>ema and neo-noir, along with articles on James Dickey,<br />
Stephen K<strong>in</strong>g, Thomas Pynchon, Aaron Sork<strong>in</strong> and Peter Weir.<br />
› Split identification: Representations of rape <strong>in</strong> Gaspar No's Irrversible and<br />
Cather<strong>in</strong>e Breillat's A ma sur!/Fat Girl, Studies <strong>in</strong> European C<strong>in</strong>ema, 7.2, 95-<br />
107.<br />
Dr. Dom<strong>in</strong>ic Keown is Reader <strong>in</strong> Catalan Studies <strong>in</strong> the Department of<br />
Spanish and Portuguese at the University of Cambridge. He specializes<br />
<strong>in</strong> contemporary Hispanic culture. He has published on the ideological<br />
dimension of Catalan literature, Sobre la poesia catalana<br />
contemporània (Valencia: 1996), Polifonia de la subversió: la veu<br />
collectiva de Vicent Andrés Estellés (Valencia: Tandem, 2000), and on<br />
Spanish and Catalan c<strong>in</strong>ema, with particular reference to Buñuel,<br />
Berlanga, Bigas Luna and Sigfrid Monleón. He is the editor/translator<br />
of Salvat-Papasseit (1982), Ausiàs March (3 vols: 1986, 1989, 1993),<br />
Valle-Inclán (1991), Joan Fuster (1992, 2006) and J. V. Foix (1998),<br />
director of the Journal of Catalan Studies and the Occasional Papers of<br />
the Anglo-Catalan Society (ACSOP).
Aaron Kerner<br />
San Francisco State University,<br />
United States of America<br />
Keywords represent<strong>in</strong>g catastrophic<br />
events, history, memory<br />
Paul Kerr<br />
London Metropolitan University,<br />
Department of Applied Social<br />
Sciences, Ladbroke House, 62-66<br />
Highbury Grove, London, N5 2AD,<br />
United K<strong>in</strong>gdom<br />
Keywords superstructure, homology,<br />
package-unit production, art c<strong>in</strong>ema,<br />
globalization<br />
Dimitra Kessenides<br />
Barnard College, New York, NY,<br />
United States of America<br />
Keywords scriptwrit<strong>in</strong>g,<br />
screenwriter's strike, unions, credits,<br />
multil<strong>in</strong>gual writ<strong>in</strong>g<br />
› A view from the edge: Transgression and dissidence <strong>in</strong> Berlanga's Calabuch,<br />
Studies <strong>in</strong> Hispanic C<strong>in</strong>emas, 2.3, 155-168.<br />
Aaron Kerner is an associate professor <strong>in</strong> the C<strong>in</strong>ema Department at<br />
San Francisco State University. His curatorial and <strong>research</strong> work<br />
exam<strong>in</strong>es the problems of representations, explor<strong>in</strong>g the difficulty of<br />
represent<strong>in</strong>g catastrophic events and the uneasy transfiguration of<br />
history and memory <strong>in</strong>to narrative form. He is the author of Film and<br />
the Holocaust (Cont<strong>in</strong>uum, 2011).<br />
› The cartoon logic <strong>in</strong> Mitko Panov’s With Raised Hands, Short Film Studies,<br />
2.1, 29-32.<br />
S<strong>in</strong>ce summer 2007 Paul Kerr has been Senior Lecturer <strong>in</strong> Broadcast<br />
Media at London Metropolitan University. For the previous twenty<br />
years he was a television producer, mak<strong>in</strong>g dozens of programmes for<br />
the BBC and Channel Four aswell as a number of <strong>in</strong>ternational coproductions.<br />
He is the author and editor of a number of books and<br />
articles on television and film. His <strong>research</strong> <strong>in</strong>terests <strong>in</strong>clude<br />
documentary, drama documentary, ‘quality’ television, arts<br />
programm<strong>in</strong>g, the <strong>in</strong>dependent production sector <strong>in</strong> film and television,<br />
Hollywood, and <strong>in</strong>ternational art c<strong>in</strong>ema. He is a former member of the<br />
Screen editorial board and was a producer-director at October Films <strong>in</strong><br />
London from 1999 to 2007.<br />
› Babel’s network narrative: packag<strong>in</strong>g a globalized art c<strong>in</strong>ema, Transnational<br />
C<strong>in</strong>emas, 1.1, 37-51.<br />
Dimitra Kessenides is a New York-based writer and editor, and the<br />
editorial director at Barnard College. She has <strong>in</strong>terviewed film-makers<br />
and written about film for Salon, <strong>in</strong>dieWire, Mov<strong>in</strong>g Pictures and the<br />
now-defunct Brill's Content magaz<strong>in</strong>e.<br />
› Lone Star: American Indie Icon John Sayles at the 48th Thessaloniki<br />
International Film Festival, Film International, 6.1, 6-12.<br />
› Festivals, Film International, 6.2, 76-97.
Cather<strong>in</strong>e Kev<strong>in</strong><br />
Fl<strong>in</strong>ders University, History<br />
Department, GPO Box 2100,<br />
Adelaide, Australia<br />
Keywords stolen generations,<br />
maternal, history, Jedda, Australia<br />
Shahnaz Khan<br />
Wilfrid Laurier University, 75<br />
University Avenue West, Waterloo,<br />
Ontario, N2L 3C5, Canada<br />
Keywords Muslim women, Bombay<br />
c<strong>in</strong>ema, diaspora, women studies<br />
L<strong>in</strong>a Khatib<br />
Stanford University, Center on<br />
Democracy, Development and the<br />
Rule of Law, 616 Serra St. Enc<strong>in</strong>a<br />
Hall, C151 Stanford, Palo Alto,<br />
California, CA 94305-6055, United<br />
States of America<br />
Keywords Middle East, c<strong>in</strong>emas,<br />
politics, media<br />
Cather<strong>in</strong>e Kev<strong>in</strong> lectures <strong>in</strong> Australian history, body politics and<br />
memory at Fl<strong>in</strong>ders University. She has recently edited Fem<strong>in</strong>ism and<br />
the Body: <strong>in</strong>terdiscipl<strong>in</strong>ary perspectives (2009) and co-edited rand<strong>in</strong>g<br />
Cities: cosmopolitanism, parochialism and social change (2009). She<br />
has published on the history of pregnancy, fem<strong>in</strong>ism and immigration.<br />
› Solv<strong>in</strong>g the problem of the motherless <strong>in</strong>digenous child <strong>in</strong> Jedda and<br />
Australia: white maternal desire <strong>in</strong> the Australian epic before and after<br />
Br<strong>in</strong>g<strong>in</strong>g Them Home, Studies <strong>in</strong> Australasian C<strong>in</strong>ema, 4.2, 145-157.<br />
Shahnaz Khan is Associate Professor of Women’s Studies and Global<br />
Studies at Wilfrid Laurier University. She is the author of Aversion and<br />
Desire: negotiat<strong>in</strong>g Muslim female identity <strong>in</strong> the diaspora, and Z<strong>in</strong>a,<br />
Transnational Fem<strong>in</strong>ism and the Moral Regulation of Pakistani<br />
Women. She has written on Muslim women <strong>in</strong> the diaspora and the<br />
Z<strong>in</strong>a Ord<strong>in</strong>ance <strong>in</strong> Pakistan. Her current <strong>research</strong> <strong>in</strong>terests <strong>in</strong>clude<br />
representations of Muslims <strong>in</strong> Bombay C<strong>in</strong>ema and their <strong>in</strong>fluence on<br />
audiences <strong>in</strong> Canada and <strong>in</strong> Pakistan.<br />
› Nationalism and H<strong>in</strong>di C<strong>in</strong>ema: Narrative Strategies <strong>in</strong> Fanaa, Studies <strong>in</strong><br />
South Asian Film & Media, 1.1, 85-99.<br />
L<strong>in</strong>a Khatib is Programme Manager at the Centre on Democracy,<br />
Development, and the Rule of Law at Stanford University. She jo<strong>in</strong>ed<br />
Stanford University from the University of London where she was<br />
Associate Professor. Her <strong>research</strong> is firmly <strong>in</strong>terdiscipl<strong>in</strong>ary and<br />
focuses on the <strong>in</strong>tersections of politics, media and social factors <strong>in</strong><br />
relation to the politics of the Middle East. She is also a consultant on<br />
Middle East politics and media and has published widely on topics<br />
such as new media and Islamism, US public diplomacy towards the<br />
Middle East, and political media and conflict <strong>in</strong> the Arab world. She<br />
has an active <strong>in</strong>terest <strong>in</strong> the l<strong>in</strong>k between track two dialogue and<br />
democratization policy. She is also Research Associate at SOAS,<br />
University of London, and, from 2010-2012, Research Fellow at the<br />
USC Centre on Public Diplomacy at the Annenberg School.<br />
› Digital c<strong>in</strong>ema: The transformation of film practice and aesthetics, New<br />
C<strong>in</strong>emas: Journal of Contemporary Film, 4.1, 21-36.
Daria Khitrova<br />
University of Chicago, Slavic<br />
Department, 1130 East 59th Street,<br />
Foster Hall Room 406, University of<br />
Chicago, Chicago, IL 60637, United<br />
States of America<br />
Keywords Russian poetry, Russian<br />
literature, ballet, relationship between<br />
film and dance<br />
Liew Kai Khiun<br />
Nanyang Technological University,<br />
Division of Broadcast and C<strong>in</strong>ema<br />
Studies, Wee Kim Wee School of<br />
Communication and Information SCI<br />
02-13, 31 Nanyang L<strong>in</strong>k, 637718,<br />
S<strong>in</strong>gapore<br />
Keywords Pacific War, militarism,<br />
World War II, Japanese c<strong>in</strong>ema<br />
Omar Kholeif<br />
Foundation for Art and Creative<br />
Technology, 88 Wood Street,<br />
Liverpool, L1 4DQ, United K<strong>in</strong>gdom<br />
Keywords Arabic c<strong>in</strong>ema, politics,<br />
dissidence and identity, experimental<br />
narrative, new media<br />
Daria Khitrova is currently a Mellon Postdoctoral Fellow <strong>in</strong> the Slavic<br />
Department at the University of Chicago. She received her Ph.D. <strong>in</strong><br />
Russian Literature <strong>in</strong> 2005 from the Russian State University for the<br />
Humanities (RGGU, Moscow). Alongside <strong>research</strong> on n<strong>in</strong>eteenthcentury<br />
Russian poetry, she is writ<strong>in</strong>g on the history of ballet and other<br />
forms of dance, specifically on ballet <strong>in</strong> other arts, from literature to<br />
film. The relationship between film and dance is the subject of a book<br />
project planned <strong>in</strong> collaboration with Yuri Tsivian.<br />
› Eisenste<strong>in</strong>’s choreography<strong>in</strong> Ivan the Terrible, Studies <strong>in</strong> Russian and Soviet<br />
C<strong>in</strong>ema, 5.1, 55-71.<br />
Liew Kai Khiun is assistant professor <strong>in</strong> the Division of Broadcast<strong>in</strong>g<br />
and C<strong>in</strong>ema Studies at Nanyang Technological University's Wee Kim<br />
Wee School of Communication and Information. His recent<br />
publications <strong>in</strong>clude the edited anthologies Liberaliz<strong>in</strong>g, Fem<strong>in</strong>iz<strong>in</strong>g<br />
and Populariz<strong>in</strong>g Health Communications <strong>in</strong> Asia (Ashgate, 2010) and<br />
The Makers & Keepers of S<strong>in</strong>gapore History (Ethos Books, 2010).<br />
› Self-<strong>in</strong>flicted pa<strong>in</strong>: Japanese c<strong>in</strong>ema on the Pacific War, New C<strong>in</strong>emas:<br />
Journal of Contemporary Film, 8.3, 189-201.<br />
Omar is an Egyptian-born, UK-based writer, curator and producer with<br />
a cross-discipl<strong>in</strong>ary practice that focuses on the presentation of film,<br />
video and new media. He is Curator at FACT Liverpool and Visit<strong>in</strong>g<br />
Curator at Cornerhouse, Manchester. Core to his practice is an <strong>in</strong>terest<br />
<strong>in</strong> collaborative tools and <strong>in</strong>terfaces of authorship and production.<br />
Omar is the founder of the Arabic Film Festival (UK), Director of<br />
Queerfest Liverpool, co-founder of The Centre of Cultural Confusion,<br />
and the Arab Fr<strong>in</strong>ge. Recent projects <strong>in</strong>clude produc<strong>in</strong>g<br />
Semiconductor: Worlds <strong>in</strong> the Mak<strong>in</strong>g, work<strong>in</strong>g with animatorfilmmaker,<br />
Chris Shepherd, as well as Abandon Normal Devices 2011<br />
and Rewire 2011. Omar is also a prolific writer appear<strong>in</strong>g <strong>in</strong> Art<br />
Monthly, Frieze, Film International, The Guardian, and PopMatters.<br />
› DVD Reviews, Film International, 7.5, 58-69.<br />
› Book Reviews, Film International, 8.4, 78-86.<br />
› DVD Reviews, Film International, 8.5, 70-81.<br />
› Book Reviews, Film International, 8.6, 85-92.<br />
› Reviews, Transnational C<strong>in</strong>emas, 1.2, 181-191.
Olivia Khoo<br />
Monash Univeristy, School of<br />
English, Communications and<br />
Performance Studies, Monash<br />
University, Clayton, Victoria, 3800,<br />
Australia<br />
Keywords multiculturalism, realism,<br />
Asian Australian c<strong>in</strong>ema, Australian<br />
c<strong>in</strong>ema, ethics, values<br />
Gaik Cheng Khoo<br />
Australian National University,<br />
Faculty of Arts, Canberra, ACT 0200,<br />
Australia<br />
Keywords Southeast Asian filmmakers,<br />
<strong>in</strong>dependent c<strong>in</strong>ema, South<br />
East Asian <strong>in</strong>dies, cosmopolitanism,<br />
c<strong>in</strong>ema, space, daily life<br />
Barış Kılıçbay<br />
Keywords melancholy, Turkish-<br />
German c<strong>in</strong>ema, drag, mother,<br />
motherland<br />
Olivia Khoo is a Lecturer <strong>in</strong> Film and Television Studies at Monash<br />
University <strong>in</strong> Victoria, Australia. She is the author of The Ch<strong>in</strong>ese<br />
Exotic: Modern Diasporic Fem<strong>in</strong><strong>in</strong>ity (Hong Kong University<br />
Press) and co-author (with Sean Metzger) of Futures of Ch<strong>in</strong>ese<br />
C<strong>in</strong>ema: Technologies and Temporalities <strong>in</strong> Ch<strong>in</strong>ese Screen Cultures<br />
(<strong>Intellect</strong>). She has published widely on Asian film and media.<br />
› Editorial:, Studies <strong>in</strong> Australasian C<strong>in</strong>ema, 2.2, 97-102.<br />
› C<strong>in</strong>emas of value: multicultural realism <strong>in</strong> Asian Australian c<strong>in</strong>ema, Studies<br />
<strong>in</strong> Australasian C<strong>in</strong>ema, 2.2, 141-156.<br />
› Editorial: Transnational Asian Australian c<strong>in</strong>ema, Part 2, Studies <strong>in</strong><br />
Australasian C<strong>in</strong>ema, 2.3, 173-175.<br />
› Tokyo drift<strong>in</strong>g: Toei Corporation's The Drift<strong>in</strong>g Avenger and the<br />
<strong>in</strong>ternationalization of the Australian western, Studies <strong>in</strong> Australasian<br />
C<strong>in</strong>ema, 4.3, 231-241.<br />
› Special Issue on From Diasporic C<strong>in</strong>emas to S<strong>in</strong>ophone C<strong>in</strong>emas, Journal of<br />
Ch<strong>in</strong>ese C<strong>in</strong>emas, 4.2, 169-170.<br />
Gaik Cheng Khoo <strong>research</strong>es South East Asian c<strong>in</strong>ema, specializ<strong>in</strong>g <strong>in</strong><br />
<strong>in</strong>dependent film-mak<strong>in</strong>g <strong>in</strong> Malaysia. She is a member of the Annual<br />
South East Asian C<strong>in</strong>emas Conference which rotates through different<br />
cities <strong>in</strong> South East Asia. Her other <strong>in</strong>terests <strong>in</strong>clude cosmopolitanism<br />
through food, space and identity. She teaches cultural studies and<br />
gender at the Australian National University.<br />
› What is Diasporic Ch<strong>in</strong>ese c<strong>in</strong>ema <strong>in</strong> Southeast Asia?, Journal of Ch<strong>in</strong>ese<br />
C<strong>in</strong>emas, 3.1, 69-71.<br />
Barıs¸ Kılıçbay is a scholar based at Gazi University, Ankara. His<br />
current <strong>research</strong> focuses on transnational c<strong>in</strong>ema (Turkish-German<br />
c<strong>in</strong>ema <strong>in</strong> particular), postmemory and melancholy as national<br />
identification, Turkish c<strong>in</strong>ema with an emphasis on gender, and reality<br />
programm<strong>in</strong>g. He is currently work<strong>in</strong>g on a co-authored book on<br />
Turkish-German c<strong>in</strong>ema.<br />
› Impossible cross<strong>in</strong>gs: Gender melancholy <strong>in</strong> Lola + Bilidikid and<br />
Auslandstournee, New C<strong>in</strong>emas: Journal of Contemporary Film, 4.2, 105-<br />
116.
Lee-Von Kim<br />
University of Western Australia,<br />
English and Cultural Studies, M202,<br />
35 Stirl<strong>in</strong>g Highway, Crawley,<br />
Western Australia, 6009, Australia<br />
Keywords hospitality, homeland,<br />
diaspora, transnational<br />
communication<br />
Noel K<strong>in</strong>g<br />
Macquarie University, Department of<br />
Media, Music, Communication and<br />
Cultural Studies, Sydney, New South<br />
Wales, 2109, Australia<br />
Keywords Scorsese, Don DeLillo,<br />
Greil Marcus, The Great Gatsby, self<strong>in</strong>vention<br />
Laurian Kipeja<br />
Zanzibar International Film Festival<br />
(ZIFF), PO Box 3032, Zanziba,<br />
Tanzania<br />
Keywords Porter's Five Forces<br />
Model, market<strong>in</strong>g, video halls,<br />
distribution<br />
Neil Kirkham<br />
University of the Arts, The University<br />
Lee-Von Kim is a doctoral candidate <strong>in</strong> English and Cultural Studies at<br />
the University of Western Australia. Her thesis exam<strong>in</strong>es postcolonial<br />
haunt<strong>in</strong>g <strong>in</strong> cultural productions from Australia and South Africa.<br />
› Giv<strong>in</strong>g spaces/spaces of giv<strong>in</strong>g: accommodation <strong>in</strong> Float<strong>in</strong>g Life, Studies <strong>in</strong><br />
Australasian C<strong>in</strong>ema, 3.1, 107-119.<br />
Noel K<strong>in</strong>g teaches Film and Literary-cultural Criticism <strong>in</strong> the<br />
Department of Media, Music, Communication, and Cultural Studies at<br />
Macquarie University, Sydney, NSW, Australia. His current <strong>research</strong><br />
concerns the literature–film relationship of two US writers, poet<br />
Richard Hugo and novelist Don DeLillo.<br />
› ‘The entire panorama of what America is to me’: Dylan and the American<br />
idiom, Studies <strong>in</strong> Documentary Film, 1.1, 35-48.<br />
› ‘You don't command the enterprise’, Studies <strong>in</strong> Documentary Film, 2.3, 227-<br />
232.<br />
› At Least a Witness to Myself: On watch<strong>in</strong>g The American Dreamer after<br />
learn<strong>in</strong>g of the death of Dennis Hopper, Studies <strong>in</strong> Documentary Film, 4.2,<br />
109-118.<br />
Laurian Kipeja is a Market<strong>in</strong>g and Resources Manager at the Zanzibar<br />
International Film Festival (ZIFF). Kipeja holds a Master’s Degree <strong>in</strong><br />
events management and market<strong>in</strong>g from the Norwegian University of<br />
Sport. He is also the director of a market<strong>in</strong>g services company,<br />
Micronet Tanzania Ltd. His <strong>in</strong>terests <strong>in</strong>clude film market<strong>in</strong>g and<br />
distribution and festival management.<br />
› Creative/Cultural <strong>in</strong>dustries f<strong>in</strong>anc<strong>in</strong>g <strong>in</strong> Africa: A Tanzanian film value<br />
cha<strong>in</strong> study, Journal of African C<strong>in</strong>emas, 2.1, 3-25.<br />
Neil Kirkham is Lecturer <strong>in</strong> Cultural and Historical Studies at the<br />
University of the Arts, London, UK. He has recently completed his<br />
Ph.D., entitled 'Simple pornographers? Sade, libert<strong>in</strong>age and the
of the Arts, 272 High Holborn,<br />
London WC1V 7EY<br />
Keywords<br />
Signe Kjær Jørgensen<br />
University of Copenhagen,<br />
Department for Political Science,<br />
Øster Farigmagsgade 5, opg. E,<br />
Copenhagen K, 1353, Denmark<br />
Keywords public, governance,<br />
rhetoric, policy-politics, legitimacy<br />
Naum Kleiman<br />
Museum of C<strong>in</strong>ema, Film Museum,<br />
Smolenskaya ulitsa 10, Moscow,<br />
121009, Russia<br />
Keywords Eisenste<strong>in</strong>, Russian<br />
c<strong>in</strong>ema, Soviet c<strong>in</strong>ema<br />
Christ<strong>in</strong>a Kle<strong>in</strong><br />
Boston College, English Department,<br />
140 Commonwealth Avenue,<br />
Chestnut Hill, Boston, Massachusetts,<br />
02467-3859, United States of<br />
America<br />
Keywords Kung Fu Hustle,<br />
transnational, globalization, Hong<br />
Kong, Hollywood<br />
evolution of the hard-core pornographic film narrative' and is prepar<strong>in</strong>g<br />
a series of journal articles that are based on his doctoral <strong>research</strong>. His<br />
publications <strong>in</strong>clude articles on the role of costume <strong>in</strong> hard-core<br />
pornography (Fashionably Laid: The Styl<strong>in</strong>g of Hard-Core, 2011).<br />
› The new 'porno-chic'? Fashion, consumption and film pornography, Film,<br />
Fashion & Consumption, 1.2, 203-220.<br />
Signe Kjær Jørgensen is a Ph.D. Fellow at the Department for Political<br />
Science, University of Copenhagen. Her dissertation deals with the<br />
representation of Muslims <strong>in</strong> Danish society from 2005 onwards. Her<br />
major <strong>in</strong>terests are theories of new public spheres, political<br />
communication, citizenship and critical discourse analysis of texts,<br />
symbols and images. She has published on these issues from 2001<br />
onwards.<br />
› Political authority as genu<strong>in</strong>eness – how to transgress new public spheres,<br />
Northern Lights: Film & Media Studies Yearbook, 7.1, 73-94.<br />
Naum Kleiman is the world’s lead<strong>in</strong>g Eisenste<strong>in</strong> scholar and director of<br />
the Museum of C<strong>in</strong>ema <strong>in</strong> Moscow. He serves on the editorial board of<br />
Studies <strong>in</strong> Russian and Soviet C<strong>in</strong>ema.<br />
› Fergana Canal andTamburla<strong>in</strong>e’s Tower, Studies <strong>in</strong> Russian and Soviet<br />
C<strong>in</strong>ema, 5.1, 103-122.<br />
Christ<strong>in</strong>a Kle<strong>in</strong> is Associate Professor of English and American Studies<br />
at Boston College. She is the author of Cold War Orientalism: Asia <strong>in</strong><br />
the Middlebrow Imag<strong>in</strong>ation, 1945–1963 (Berkeley: University of<br />
California Press, 2003) and has published articles about contemporary<br />
Asian c<strong>in</strong>ema <strong>in</strong> C<strong>in</strong>ema Journal, Comparative American Studies and<br />
the Los Angeles Times.<br />
› Kung Fu Hustle: Transnational production and the global Ch<strong>in</strong>ese-language<br />
film, Journal of Ch<strong>in</strong>ese C<strong>in</strong>emas, 1.3, 189-208.
T. Jefferson Kl<strong>in</strong>e<br />
Boston University, Deptartment of<br />
Modern Foreign Languages &<br />
Literatures, 718 Commonwealth<br />
Avenue, Boston, Massachusetts,<br />
2215, United States of America<br />
Keywords repetition, <strong>in</strong>tertextuality,<br />
Deneuveseduction theory,<br />
psychoanalysis, Freud<br />
Jason E Klodt<br />
University of Mississippi, Modern<br />
Languages, 3071 David Drive,<br />
Oxford, Mississippi, 38655, United<br />
States of America<br />
Keywords violence, gaze, real<br />
Barbara Klonowska<br />
Catholic University of Lubl<strong>in</strong>,<br />
Department of English Literature and<br />
Culture, Al. Racławickie 14, Lubl<strong>in</strong>,<br />
20-950, Poland<br />
Keywords Polish history, idyll,<br />
magical realism, Polish c<strong>in</strong>ema<br />
T. Jefferson Kl<strong>in</strong>e is currently Professor of French <strong>in</strong> the Department of<br />
Romance Studies at Boston University. His publications <strong>in</strong>clude André<br />
Malraux and the Metamorphosis of Death (Columbia University Press,<br />
1973), Bertolucci’s Dream Loom: A Psychoanalytic Study of C<strong>in</strong>ema<br />
(University of Massachusetts Press, 1987), I film di Bertolucci (Rome:<br />
Gremese, 1992), Screen<strong>in</strong>g the Text: Intertextuality <strong>in</strong> New Wave<br />
French Film (Johns Hopk<strong>in</strong>s, 1992), Bernardo Bertolucci Interviews<br />
(co-edited with Fabien Gerard, University of Mississippi Press, 2000),<br />
Unravel<strong>in</strong>g the French C<strong>in</strong>ema (Blackwell, 2009), and a number of<br />
articles on the French novel, French theatre and European c<strong>in</strong>ema.<br />
› Benoît Jacquot's Septième ciel: Revisit<strong>in</strong>g the boundaries between c<strong>in</strong>ema<br />
and hypnosis, Studies <strong>in</strong> French C<strong>in</strong>ema, 1.1, 37-46.<br />
› Recuperat<strong>in</strong>g Hitchcock’s doubles, Studies <strong>in</strong> French C<strong>in</strong>ema, 3.1, 35-46.<br />
› Freud's family romance with Pr<strong>in</strong>cess Marie: Benot Jacquot resurrects the<br />
childhood seduction theory, Studies <strong>in</strong> French C<strong>in</strong>ema, 10.2, 155-168.<br />
Jason E. Klodt teaches at the University of Mississippi. His <strong>research</strong><br />
Interests are Modern Spanish Literature; Spanish Cultural Studies;<br />
Contemporary Spanish Film; Generation X Literature and Literary<br />
Theory.<br />
› En el fondo te gusta: Titillation, desire, and the spectator's gaze <strong>in</strong> Alejandro<br />
Amenábar's Tesis, Studies <strong>in</strong> Hispanic C<strong>in</strong>emas, 4.1, 3-17.<br />
Barbara Klonowska is an assistant professor <strong>in</strong> the Institute of English<br />
at the Catholic University of Lubl<strong>in</strong>, Poland. She teaches British<br />
literature and culture and has published articles on contemporary<br />
British fiction; her study Contam<strong>in</strong>ations: Magic Realism <strong>in</strong><br />
Contemporary British Fiction was published <strong>in</strong> 2006. Her academic<br />
<strong>in</strong>terests <strong>in</strong>clude magic realism <strong>in</strong> film and c<strong>in</strong>ematic utopias and<br />
dystopias.<br />
› Far away from the present: Magical realism <strong>in</strong> Polish film, Studies <strong>in</strong> Eastern<br />
European C<strong>in</strong>ema, 1.2, 183-196.<br />
› Reviews, Studies <strong>in</strong> Eastern European C<strong>in</strong>ema, 2.1, 91-111.
Marit Knollmueller<br />
Keywords surrealism, oneirism,<br />
Spanish literature, Cervantes,<br />
Calderón de la Barca<br />
Jane Knox-Vo<strong>in</strong>a<br />
Bowdo<strong>in</strong> College, Brunswick, Ma<strong>in</strong>e,<br />
United States of America<br />
Keywords Central Asian c<strong>in</strong>ema,<br />
Russian c<strong>in</strong>ema<br />
Erik Knudsen<br />
University of Salford, School of<br />
Music, Media and Performance,<br />
Adelphi House, The Crescent,<br />
Manchester, M3 6EN, United<br />
K<strong>in</strong>gdom<br />
Keywords practice <strong>research</strong>,<br />
storytell<strong>in</strong>g, fact, fiction, Africa<br />
Marit Knollmueller has a Ph.D. <strong>in</strong> film studies from the University of<br />
Kent at Canterbury. Her thesis is entitled ‘A C<strong>in</strong>ema under the<br />
Influence? Contemporary European Auteurism beyond the<br />
Postmodern’. She also has an MA <strong>in</strong> c<strong>in</strong>ema studies from NYU. Her<br />
<strong>research</strong> <strong>in</strong>terests <strong>in</strong>clude <strong>in</strong>fluence theory, contemporary perspectives<br />
on authorship and such film-makers as Amenábar, François<br />
Ozon,Thomas V<strong>in</strong>terberg, Tom Tykwer and Danis Tanovic. In addition<br />
to European c<strong>in</strong>ema topics, she has published work on the <strong>in</strong>tersection<br />
of film and museums. She has taught European C<strong>in</strong>ema at The<br />
University of Cambridge, The University of Kent, and London<br />
Southbank University.<br />
› Death is a dream: Plac<strong>in</strong>g Abre los ojos <strong>in</strong> a Spanish tradition, Studies <strong>in</strong><br />
European C<strong>in</strong>ema, 6.2&3, 203-214.<br />
Jane Knox-Vo<strong>in</strong>a is professor of Russian at Bowdo<strong>in</strong> College. She is a<br />
specialist <strong>in</strong> Russian, and especially, Central Asian c<strong>in</strong>ema. She has<br />
received multiple grants to do <strong>research</strong> on film as a tool <strong>in</strong> nation<br />
build<strong>in</strong>g <strong>in</strong> the former Soviet republics, Kazakhstan and Kyrgyzstan.<br />
She received a Lecture-Research Fulbright Fellowship <strong>in</strong> the spr<strong>in</strong>g of<br />
2006 to focus on the youth of Kazakhstan and taught a four-month<br />
master class, The History of American C<strong>in</strong>ema, to students at the<br />
Kazakhstan National Academy of the Arts, <strong>in</strong> the Department of the<br />
History and Theory of Film, Almaty, Kazakhstan. Her latest success<br />
with filmmakers <strong>in</strong> Kazakhstan came <strong>in</strong> the summer of 2009 when she<br />
received an award from IREX (International Research Exchange) as an<br />
American Embassy Policy Specialist <strong>in</strong> the capital of Kazakhstan,<br />
Astana. There she conducted <strong>research</strong> on Russian-Kazakh <strong>in</strong>terethnic<br />
relations.<br />
› The Kazakh New New Wave, Studies <strong>in</strong> Russian and Soviet C<strong>in</strong>ema, 4.2,<br />
195-203.<br />
Erik Knudsen is Professor of Film Practice and the Head of the School<br />
of Media Music and Performance. Formerly the Director of Graduate<br />
Studies at the University of Salford, Manchester, UK, earlier roles at<br />
the University of Salford have <strong>in</strong>cluded programme lead<strong>in</strong>g the MA <strong>in</strong><br />
Wildlife Documentary Production, the MA <strong>in</strong> Television Documentary<br />
Production and the MA <strong>in</strong> Fiction Film Production. He is also visit<strong>in</strong>g<br />
professor, and the former head of the edit<strong>in</strong>g department at the Escuela<br />
Internacional de C<strong>in</strong>e y Television <strong>in</strong> Cuba. Amongst a range of<br />
commitments, Erik is a member of the editorial board of the Journal of
Mika Ko<br />
The University of Sheffield,<br />
Sheffield, United K<strong>in</strong>gdom<br />
Keywords Miike Takashi,<br />
multiculturalism, body, kokutai<br />
ideology, Japan<br />
Lauren Kogen<br />
University of Pennsylvania,<br />
Annenberg School for<br />
Communication, Philidelphia,<br />
Pennsylvania, United States of<br />
America<br />
Keywords media studies, television<br />
studies<br />
M.R. Koivumäki<br />
Aalto University, Department of<br />
Motion Picture, Hämeentie 135 C,<br />
P.O. Box 31000, Aalto, FI-00076,<br />
Media Practice, an AHRC Peer Review College member and a board<br />
director of the film and visual arts centre, Cornerhouse, <strong>in</strong> Manchester.<br />
He also runs his own production company, One Day Films Limited.<br />
His latest feature film is The Silent Accomplice.<br />
› Zen and the art of film narrative: towards a transcendental realism <strong>in</strong> film,<br />
Journal of Screenwrit<strong>in</strong>g, 1.2, 343-355.<br />
Mika Ko jo<strong>in</strong>ed the School of East Asian Studies <strong>in</strong> 2006 after work<strong>in</strong>g<br />
as a Japanese teach<strong>in</strong>g fellow at the University of Leeds. Her <strong>research</strong><br />
<strong>in</strong>terests are <strong>in</strong> the fields of Film, Media and Cultural Studies. Her<br />
Ph.D. thesis was entitled 'Otherness <strong>in</strong> Contemporary Japanese<br />
C<strong>in</strong>ema: Nationalism, Multiculturalism and the Problem of<br />
Japaneseness' <strong>in</strong> which she analysed the representation of m<strong>in</strong>ority<br />
groups <strong>in</strong> Japanese c<strong>in</strong>ema and how these related to images of Japanese<br />
national identity. Dr. Ko's <strong>research</strong> <strong>in</strong>terests also extend to East-Asian<br />
c<strong>in</strong>ema more generally and she is particularly <strong>in</strong>terested <strong>in</strong> the<br />
development of transnational East-Asian c<strong>in</strong>ema and its potential to<br />
challenge traditional forms of national c<strong>in</strong>ema.<br />
› The break-up of the national body, New C<strong>in</strong>emas: Journal of Contemporary<br />
Film, 2.1, 29-40.<br />
Lauren Kogen graduated from Stanford University with a BA <strong>in</strong><br />
Economics, and has recently f<strong>in</strong>ished a project funded by a Fulbright<br />
<strong>research</strong> grant on the effects of digital technologies on Spa<strong>in</strong>’s film<br />
<strong>in</strong>dustry. She is currently <strong>in</strong> the Doctoral Program <strong>in</strong> Communication at<br />
the Annenberg School at the University of Pennsylvania.<br />
› Once or twice upon a time: Temporal simultaneity and the Lost phenomenon,<br />
Film International, 4.20, 44-55.<br />
Marja-Riitta Koivumäki is a senior lecturer <strong>in</strong> Screenwrit<strong>in</strong>g at Aalto<br />
University, School of Art and Design, Department of Film, TV and<br />
Production Design, Hels<strong>in</strong>ki. She has studied at the Moscow film<br />
school VGIK and has worked as a screenwriter, script editor and<br />
screenwrit<strong>in</strong>g tutor <strong>in</strong> the United K<strong>in</strong>gdom and Denmark. She is a
F<strong>in</strong>land<br />
Keywords performance, mental<br />
artwork, dramaturgy, aesthetics<br />
Karol<strong>in</strong>a Kos<strong>in</strong>ska<br />
Institute of Art, Polish Academy of<br />
Sciences, Institute of Art, Polish<br />
Academy of Sciences, Warsaw,<br />
Poland, UL, Warsaw, Długa 2800-<br />
950, Poland<br />
Keywords social realism, socialist<br />
realism, Free C<strong>in</strong>ema, Black Series,<br />
British c<strong>in</strong>ema, Polish c<strong>in</strong>ema<br />
Maaret Kosk<strong>in</strong>en<br />
Stockholm University, Department of<br />
C<strong>in</strong>ema Studies, Box 270 62,<br />
Stockholm, SE-102 51, Sweden<br />
Keywords In the Beg<strong>in</strong>n<strong>in</strong>g Was the<br />
Word, Bergman’s childhood,<br />
autobiography, The Magic Lantern,<br />
Swedish modernism<br />
Krist<strong>in</strong>e Kotecki<br />
University of Texas at Aust<strong>in</strong>,<br />
Department of English, 1 University<br />
Station B5000, Aust<strong>in</strong>, TX 78712-<br />
1164, United States of America<br />
Keywords Lebanon, genre,<br />
articulation of presence, collective<br />
member of a screenwrit<strong>in</strong>g <strong>research</strong> team, ‘Aristotle <strong>in</strong> Change’, funded<br />
by the Academy of F<strong>in</strong>land.<br />
› The aesthetic <strong>in</strong>dependence of the screenplay, Journal of Screenwrit<strong>in</strong>g, 2.1,<br />
25-40.<br />
› Poetic dramaturgy <strong>in</strong> Andrey Tarkovsky’s Ivan’s Childhood (1962): Conflict<br />
and contrast, two types of narrative pr<strong>in</strong>ciples, Journal of Screenwrit<strong>in</strong>g, 3.1,<br />
27-43.<br />
Karol<strong>in</strong>a Kos<strong>in</strong>ska, Ph.D., is a graduate of Film Studies at the<br />
Jagiellonian University. She is Assistant Professor <strong>in</strong> Institute of Art,<br />
Polish Academy of Sciences (IS PAN) and editor of an academic film<br />
journal, Kwartalnik Filmowy. Her <strong>in</strong>terests lie <strong>in</strong> British c<strong>in</strong>ema and<br />
the notion of c<strong>in</strong>ematic modes of realism.<br />
› Style and attitude: Social(ist) realism <strong>in</strong> the Polish Black Series and British<br />
Free C<strong>in</strong>ema, Studies <strong>in</strong> Eastern European C<strong>in</strong>ema, 2.2, 193-209.<br />
› From Short Story to Film Autobiography, Film International, 1.1, 5-11.<br />
Krist<strong>in</strong>e Kotecki is a doctoral student <strong>in</strong> English at the University of<br />
Texas at Aust<strong>in</strong>. She received her MA <strong>in</strong> English: Cultural Studies<br />
from the University of Hawai'i. Her current <strong>research</strong> <strong>in</strong>terests <strong>in</strong>clude<br />
cultural memory and the collection as form (short story collection, film<br />
festival, etc.), especially <strong>in</strong> the aftermath of violence.<br />
› Articulations of presence: The explosions and rubble of Philippe Aract<strong>in</strong>gi's<br />
Sous les Bombes, New C<strong>in</strong>emas: Journal of Contemporary Film, 8.2, 87-
mourn<strong>in</strong>g, aesthetics<br />
Gary M. Kramer<br />
Keywords film festival, queer film,<br />
Lat<strong>in</strong> American c<strong>in</strong>ema, documentary,<br />
Toronto, Telluride, Miami, New York<br />
Film Festival, Jean-Marc Barr<br />
Coonoor Kripalani<br />
University of Hong Kong, HK<br />
101.<br />
› Film Reviews, Film International, 8.5, 91-94.<br />
Gary M. Kramer is a contribut<strong>in</strong>g writer to the alternative weeklies Gay<br />
City News (NY), Philadelphia Gay News, The Philadelphia City Paper,<br />
San Francisco Bay Times, Frontiers/In Los Angeles, as well<br />
as Inst<strong>in</strong>ct magaz<strong>in</strong>e and the websites aroundphilly.com and <strong>in</strong>dieWire.<br />
He is the author of Independent Queer C<strong>in</strong>ema: Reviews and<br />
Interviews. His <strong>research</strong> <strong>in</strong>terests <strong>in</strong>clude queer films and filmmakers,<br />
Lat<strong>in</strong> American c<strong>in</strong>ema, and film festival coverage.<br />
› Laurent Cantet heads south: an <strong>in</strong>terview, Film International, 4.23, 62-.<br />
› Jean-Marc Barr and ‘impossible love’: love, sex and spirituality <strong>in</strong> the Free<br />
Trilogy, Film International, 5.5, 63-71.<br />
› Toronto International Film Festival; Take One, Film International, 5.1, 87-<br />
90.<br />
› Popular C<strong>in</strong>ema <strong>in</strong> Brazil, Film International, 5.2, 73-74.<br />
› Festivals, Film International, 6.1, 69-95.<br />
› Festival Reviews, Film International, 6.4, 86-93.<br />
› Festivals, Film International, 7.2, 84-97.<br />
› Festivals, Film International, 7.3, 85-97.<br />
› DVD Reviews, Film International, 7.5, 58-69.<br />
› Around the Circuit: Toronto International Film Festival, 10–19 September<br />
2009, Film International, 8.1, 92-96.<br />
› DVD Reviews, Film International, 8.2, 63-81.<br />
› Around the Circuit: Tribeca Film Festival, 22 April2 May 2010, Film<br />
International, 8.3, 92-96.<br />
› Around the Circuit: The New York Film Festival, 24 September10 October<br />
2010, Film International, 9.1, 91-96.<br />
› DVD Reviews, Film International, 9.2, 71-82.<br />
› Around the Circuit: Tribeca Film Festival, 20 April–1 May 2011, Film<br />
International, 9.3, 94-97.<br />
› Interviews, Film International, 9.4, 84-91.<br />
Coonoor Kripalani is Honorary Research Fellow at the HK Institute for<br />
the Humanities & Social Sciences (<strong>in</strong>c. the Centre of Asian Studies<br />
[CAS]), the University of Hong Kong (1997-present). A student of
Institute for the Humanities & Social<br />
Sciences (<strong>in</strong>c.Centre of Asian<br />
Studies), 2A Bishopsgate, S<strong>in</strong>gapo,<br />
249965, S<strong>in</strong>gapore<br />
Keywords advertis<strong>in</strong>g, consumerism,<br />
consumption, H<strong>in</strong>di c<strong>in</strong>ema<br />
Nete Nørgaard<br />
Kristensen<br />
University of Copenhagen,<br />
Department of Media, Cognition and<br />
Communication, Njalsgade 80,<br />
Copenhagen, 2300, Denmark<br />
Keywords mediatization, press<br />
history, culture wars,cultural<br />
journalism<br />
James H Krukones<br />
John Carroll University, Department<br />
of History, AD 133, 20700 North<br />
Park Blvd, University Heights, Ohio,<br />
OH 44118, United States of America<br />
Keywords cultural exchange,<br />
widescreen films, C<strong>in</strong>erama,<br />
K<strong>in</strong>opanorama<br />
Indian and Ch<strong>in</strong>ese modern history, she wrote her thesis on a<br />
comparison of Gandhi & Mao. Coonoor is the author of Mahatma<br />
Gandhi: Apostle of Non-violence (New Delhi: Rupa & Co., 2003). She<br />
is currently based <strong>in</strong> S<strong>in</strong>gapore and has published several articles on<br />
popular H<strong>in</strong>di film. At present she is engaged on a project on radio<br />
broadcast<strong>in</strong>g <strong>in</strong> India.<br />
› Trendsett<strong>in</strong>g and product placement <strong>in</strong> Bollywood film: Consumerism<br />
through consumption, New C<strong>in</strong>emas: Journal of Contemporary Film, 4.3,<br />
197-.<br />
Nete Nørgaard Kristensen, Ph.D., is Associate Professor and Head of<br />
Studies at the Department of Media, Cognition and Communication at<br />
the University of Copenhagen, Denmark. Her ongo<strong>in</strong>g <strong>research</strong> on<br />
cultural journalism is conducted <strong>in</strong> collaboration with Associate<br />
Professor Unni From, University of Aarhus published as a monograph<br />
<strong>in</strong> 2010. She has also published books and articles on journalism-<br />
source-relations, strategic communication, journalism as profession,<br />
media coverage of war and political communication.<br />
› The historical transformation of cultural journalism, Northern Lights: Film &<br />
Media Studies Yearbook, 8.1, 69-92.<br />
James H. Krukones received his Ph.D. <strong>in</strong> Russian history from the<br />
University of Wiscons<strong>in</strong>-Madison <strong>in</strong> 1983. He jo<strong>in</strong>ed the Department<br />
of History at John Carroll University <strong>in</strong> 1988 and has taught a variety<br />
of courses on Russia, modern Europe and history on film. S<strong>in</strong>ce 2001,<br />
he has also served as an associate academic vice-president. His most<br />
recent publication is an article on Artk<strong>in</strong>o and its distribution of Soviet<br />
films <strong>in</strong> America that appeared <strong>in</strong> the Historical Journal of Film, Radio<br />
and Television.<br />
› Peacefully coexist<strong>in</strong>g on a wide screen: K<strong>in</strong>opanorama vs. C<strong>in</strong>erama,<br />
195266, Studies <strong>in</strong> Russian and Soviet C<strong>in</strong>ema, 4.3, 283-305.<br />
Ilya Kukul<strong>in</strong> Ilya Kukul<strong>in</strong> is Assistant Professor at the Moscow Pedagogical<br />
Institute of the Humanities and of the Higher School of Economics.
Moscow Pedagogical Institute of the<br />
Humanities and of the Higher School<br />
of Economics, Filologicheskii<br />
fakultet, Khodynskii Blvd 21a, Room<br />
203, Moscow, 125252, Russia<br />
Keywords Russian literature, Russian<br />
culture<br />
Alka Kurian<br />
Centre for Research <strong>in</strong> Media and<br />
Cultural Studies, University of<br />
Sunderland, St. Peter's Campus,<br />
Sunderland, SR6 0DD, United<br />
K<strong>in</strong>gdom<br />
Keywords South Asian anglophone<br />
literature, World literatures <strong>in</strong><br />
English, Gender theory, Postcolonial<br />
theory,diaspora studies, South Asian<br />
c<strong>in</strong>ema<br />
Morten Kyndrup<br />
Aarhus University, Dept. of Aesthetic<br />
Studies, Langelandsgade 139, Aarhus<br />
C, DK-8000, Denmark<br />
Keywords art theory, aesthetics,<br />
narratology, comparative arts studies<br />
Armida De La Garza<br />
Xian Jiaotong - Liverpool University,<br />
Department of Language and Culture,<br />
Author of articles on the history of Russian twentieth-century literature<br />
and on the sociology of contemporary Russian culture.<br />
› A prolonged revanche:Solzhenitsyn and Eisenste<strong>in</strong>, Studies <strong>in</strong> Russian and<br />
Soviet C<strong>in</strong>ema, 5.1, 73-101.<br />
Alka Kurian's <strong>research</strong> <strong>in</strong>terests lie <strong>in</strong> South Asian Anglophone<br />
literature, subaltern Literature <strong>in</strong> India, World literatures <strong>in</strong> English,<br />
gender and postcolonial theory, comparative literatures <strong>in</strong> English,<br />
South Asian film, culture, diaspora studies and the European<br />
enlightenment.<br />
› Editorial, Studies <strong>in</strong> South Asian Film & Media, 1.1, 5-8.<br />
› Editorial, Studies <strong>in</strong> South Asian Film & Media, 1.2, 199-202.<br />
Morten Kyndrup, D.Phil., is Professor of Aesthetics and Culture at the<br />
Institute of Aesthetic Studies, University of Aarhus, Denmark. His<br />
work <strong>in</strong>cludes such books as Det Postmoderne (1986), Fram<strong>in</strong>g and<br />
Fiction (1992), Riften og sløret (1998), Den æstetiske relation (2008)<br />
and numerous articles on art theory, aesthetics, narratology, and<br />
comparative arts studies, <strong>in</strong>clud<strong>in</strong>g film, theatre, pa<strong>in</strong>t<strong>in</strong>g, and<br />
literature. He is currently director of the Doctoral School <strong>in</strong> Arts and<br />
Aesthetics, University of Aarhus, chairman of the Nordic Society of<br />
Aesthetics and member of director’s board, The New Carlsberg<br />
Foundation.<br />
› He, she, the camera, the movie: cha<strong>in</strong>s of enunciation and spaces of<br />
undecidability <strong>in</strong> Derailment, Short Film Studies, 1.2, 251-255.<br />
Armida de la Garza is Associate Professor at the University of Xian<br />
Jiaotong - Liverpool, where she is currently sett<strong>in</strong>g up Communication<br />
and Media Studies. Prior to that she was Deputy Head of Division for 4<br />
years at the University of Nott<strong>in</strong>gham N<strong>in</strong>gbo, and before that Lecturer
Jiangsu, Ch<strong>in</strong>a<br />
Keywords transnational c<strong>in</strong>ema, film<br />
and identity, film and museums,<br />
practice-based education, cultural<br />
<strong>in</strong>dustries<br />
Jo Labanyi<br />
New York University, Department of<br />
Spanish and Portuguese, 13-19<br />
University Place, New York, NY,<br />
10003-4556, United States of<br />
America<br />
Keywords mediation, oral history,<br />
early Francoism, audience, reception,<br />
film<br />
Yves Laberge<br />
Université Laval, Department of<br />
Sociology, Institut Quebecois des<br />
Hautes Etudes Internationales, Bureau<br />
3469, Pavillon Charles-De Kon<strong>in</strong>ck,<br />
Québec, G1K 7P4, Canada<br />
Keywords film history, sociology<br />
<strong>in</strong> the UK campus. Her <strong>research</strong> <strong>in</strong>terests are ma<strong>in</strong>ly on national and<br />
transnational c<strong>in</strong>ema, but also screen media more broadly, and their<br />
relation to culture, <strong>in</strong>dustry and education. She has published on the<br />
l<strong>in</strong>ks between documentary and diaspora, and also on Realism <strong>in</strong> Lat<strong>in</strong><br />
American c<strong>in</strong>ema. Her current <strong>research</strong> projects <strong>in</strong>clude the exploration<br />
of synergies between screen media and fashion for aesthetic, creative<br />
and market<strong>in</strong>g purposes; c<strong>in</strong>ema and the museum, and experiential<br />
learn<strong>in</strong>g.<br />
› Editorial-Introduc<strong>in</strong>g Transnational C<strong>in</strong>emas, Transnational C<strong>in</strong>emas, 1.1, 3-<br />
6.<br />
Jo Labanyi is Professor <strong>in</strong> the Department of Spanish and Portuguese at<br />
New York University. She was co-editor of Spanish Cultural Studies:<br />
An Introduction (Oxford University Press) and found<strong>in</strong>g editor of the<br />
Journal of Spanish Cultural Studies. Her most recent books are Gender<br />
and Modernization <strong>in</strong> the Spanish Realist Novel (Oxford University<br />
Press, 2002) and the edited volume Construct<strong>in</strong>g Identity <strong>in</strong><br />
Contemporary Spa<strong>in</strong> (Oxford University Press, 2002). She is director<br />
of the AHRB funded collaborative project ‘An Oral History of C<strong>in</strong>ema-<br />
Go<strong>in</strong>g <strong>in</strong> 1940s and 1950s Spa<strong>in</strong>’ (1999-2004) and the British<br />
Academy follow-up ‘Film Magaz<strong>in</strong>es, Fashion and Photography <strong>in</strong><br />
1940s and 1950s Spa<strong>in</strong>’ (2004-07). She is writ<strong>in</strong>g a book on Spanish<br />
c<strong>in</strong>ema of the 1940s.<br />
› The mediation of everyday life: an oral history of c<strong>in</strong>ema-go<strong>in</strong>g <strong>in</strong> 1940s and<br />
1950s Spa<strong>in</strong>, Studies <strong>in</strong> Hispanic C<strong>in</strong>emas, 2.2, 105-108.<br />
Dr. Yves Laberge is sociologist and film historian. He serves as a<br />
Series editor for the Book series L'espace public and C<strong>in</strong>éma et société<br />
at 'Les Presses de l'Université Laval', and also for a Parisian publisher,<br />
L'Harmattan. Among various publications, Yves Laberge has<br />
contributed more than 100 articles and entries on film studies <strong>in</strong> a<br />
dozen of encyclopedias and reference books published <strong>in</strong> the United<br />
States, <strong>in</strong>clud<strong>in</strong>g Men and Mascul<strong>in</strong>ities: A Social, Cultural, and<br />
Historical Encyclopedia (ABC-Clio, 2004), edited by Michael Kimmel<br />
and Amy Aronson.<br />
› Review, New C<strong>in</strong>emas: Journal of Contemporary Film, 5.3, 245-.
Roland-François Lack<br />
University College London,<br />
Department of French, London,<br />
United K<strong>in</strong>gdom<br />
Keywords locale, French c<strong>in</strong>ema,<br />
Godard, Cocteau, early c<strong>in</strong>ema<br />
Tarja La<strong>in</strong>e<br />
University of Amsterdam,<br />
Department of Media Studies,<br />
Turfdraagsterpad 9, Amsterdam, 1012<br />
XT, Netherlands<br />
Keywords hodological space, space,<br />
time, <strong>in</strong>ter-subjectivity, body<br />
Anthony Lambert<br />
Macquarie University, Media, Music,<br />
Communication and CulturalStudies,<br />
Room Y3A 149, Sydney, NSW 2109,<br />
Australia<br />
Keywords Australia, cultural studies,<br />
Identity, space<br />
Roland-François Lack teaches French literature and film at University<br />
College, London. He is the author of Poetics of the Pretext (Exeter<br />
University Press). He has published several articles on Jean-Luc<br />
Godard, as well as DVD commentaries for Bande à part and Cocteau’s<br />
Orphée. He is currently writ<strong>in</strong>g a book on c<strong>in</strong>ema and locale (re:<br />
London, Paris and Geneva), and prepar<strong>in</strong>g an edited volume on Godard<br />
and his Books.<br />
› The po<strong>in</strong>t <strong>in</strong> time: precise chronology <strong>in</strong> early Godard, Studies <strong>in</strong> French<br />
C<strong>in</strong>ema, 3.2, 101-110.<br />
Dr. Tarja La<strong>in</strong>e is Assistant Professor of Film Studies at the Media<br />
Studies department of the University of Amsterdam, giv<strong>in</strong>g classes on<br />
film theory and aesthetics, among other th<strong>in</strong>gs. In 2004 she received<br />
her Ph.D. with<strong>in</strong> the 'C<strong>in</strong>ema Europe' <strong>research</strong> project at the<br />
Amsterdam School for Cultural Analysis (ASCA). She is the author of<br />
Shame and Desire: Emotion, Intersubjectivity, C<strong>in</strong>ema (2007), and her<br />
essays on emotions and sensations <strong>in</strong> c<strong>in</strong>ema have been published <strong>in</strong><br />
journals such as Midwest Studies <strong>in</strong> Philosophy, Media, Culture &<br />
Society, Discourse: Journal for Theoretical Studies <strong>in</strong> Media and<br />
Culture, Studies of European C<strong>in</strong>ema, New Review of Film and<br />
Television Studies, PostScript, and Film and Philosophy.<br />
› Lars von Trier, Dogville and the hodological space of c<strong>in</strong>ema, Studies <strong>in</strong><br />
European C<strong>in</strong>ema, 3.2, 129-142.<br />
Anthony Lambert is Senior Lecturer <strong>in</strong> Critical and Cultural Studies at<br />
Macquarie University, Sydney. Publications <strong>in</strong>clude the co-edited book<br />
Diasporas of Australian C<strong>in</strong>ema (<strong>Intellect</strong>) and articles and chapters <strong>in</strong><br />
Interpretations, Balayi, YGCL, Metro, Reconstruction, Postcolonial<br />
Text, MIA, SCAN, Space and Culture, and <strong>in</strong> books<br />
<strong>in</strong>clud<strong>in</strong>g Gendered Outcasts and Diasporas of Australian C<strong>in</strong>ema. He<br />
is editor of and Studies <strong>in</strong> Australasian C<strong>in</strong>ema (<strong>Intellect</strong>). His <strong>research</strong><br />
and teach<strong>in</strong>g <strong>in</strong>terests <strong>in</strong>clude: Australian film and culture,<br />
representations of gender and sexuality, cultural studies methodologies,<br />
theories of identity and the poetics of space.<br />
› EDITORIAL, Studies <strong>in</strong> Australasian C<strong>in</strong>ema, 5.1, 3-5.<br />
› The search for Capta<strong>in</strong> Thunderbolt: An <strong>in</strong>terview with David Donaldson,<br />
Studies <strong>in</strong> Australasian C<strong>in</strong>ema, 5.1, 81-87.
Julieanne Lamond<br />
University of Sydney, Department of<br />
English, John Woolley Build<strong>in</strong>g, A20,<br />
Science Road, Sydney, Australia<br />
Keywords American c<strong>in</strong>ema, Ken G.<br />
Hall, Steele Rudd, nationalism,<br />
politics and c<strong>in</strong>ema<br />
Ohad Landesman<br />
New York University, C<strong>in</strong>ema<br />
Studies, New York, NY, United<br />
States of America<br />
Keywords digital technology,<br />
realism, truth, <strong>in</strong>dexicality,<br />
technology<br />
Jane Landman<br />
Victoria University, Department of<br />
Communication and the Arts,<br />
Melbourne, Victoria, Australia<br />
Keywords Australia, history,<br />
colonialism, Australian c<strong>in</strong>ema,<br />
documentary<br />
› REVIEWS, Studies <strong>in</strong> Australasian C<strong>in</strong>ema, 5.1, 89-93.<br />
› ‘Modern’ c<strong>in</strong>ematic encounters: Border cross<strong>in</strong>g and environmental<br />
transformation <strong>in</strong> some recent Australian films, Studies <strong>in</strong> Australasian<br />
C<strong>in</strong>ema, 5.2, 185-192.<br />
› C<strong>in</strong>ema, modernity, modernism: Selected papers from the XVth Biennial<br />
Conference of the Film and History Association of Australia and New<br />
Zealand (FHAANZ), University of New South Wales, Sydney, Australia,<br />
Studies <strong>in</strong> Australasian C<strong>in</strong>ema, 5.2, 101-105.<br />
Julieanne Lamond is a postgraduate <strong>research</strong> student <strong>in</strong> the Department<br />
of English at the University of Sydney, currently writ<strong>in</strong>g up her Ph.D.<br />
thesis on the role of popular and literary culture <strong>in</strong> <strong>in</strong>fluenc<strong>in</strong>g public<br />
conceptions of community, politics and citizenship <strong>in</strong> Australia.<br />
› Dad Rudd, M.P. and the mak<strong>in</strong>g of a national audience, Studies <strong>in</strong><br />
Australasian C<strong>in</strong>ema, 1.1, 91-106.<br />
Ohad Landesman is a Ph.D. candidate <strong>in</strong> the Department of C<strong>in</strong>ema<br />
Studies at New York University, where he also obta<strong>in</strong>ed his Master's<br />
degree. He also has a Bachelor degree <strong>in</strong> Film and Television and a<br />
Bachelor of Law from Tel Aviv University. His dissertation project<br />
explores digital video aesthetics <strong>in</strong> contemporary documentaries and he<br />
has written extensively, be<strong>in</strong>g published <strong>in</strong> Film Comment, C<strong>in</strong>easte,<br />
Reverse Shot, IndieWIRE, and the Israeli daily newspaper Calcalist.<br />
› In and out of this world: digital video and the aesthetics of realism <strong>in</strong> the new<br />
hybrid documentary, Studies <strong>in</strong> Documentary Film, 2.1, 33-45.<br />
Jane Landman is a Senior Lecturer at Victoria University <strong>in</strong><br />
Melbourne, where she teaches Media Studies <strong>in</strong> the School of<br />
Communication, Culture and Languages. Her <strong>research</strong> <strong>in</strong>cludes work<br />
on popular television and Australian c<strong>in</strong>ema and she is the author of<br />
'The Tread of a White Man’s Foot’: Australian Pacific Colonialism and<br />
the C<strong>in</strong>ema, (Pandanus Press, Research School of Pacific and Asian<br />
Studies, Australian National University).
L<strong>in</strong>e Langebek<br />
Bournemouth University, The Media<br />
School, Fern Barrow, Poole, BH12<br />
5BB, United K<strong>in</strong>gdom<br />
Keywords screenwrit<strong>in</strong>g, fictional<br />
political narratives<br />
Rachael Langford<br />
Cardiff University, School of<br />
European Studies, 65-68 Park Place,<br />
Cardiff, Wales, CF10 3AS, United<br />
K<strong>in</strong>gdom<br />
Keywords F<strong>in</strong>yé (1982), Yeelen<br />
(1987), Waati (1995), political<br />
c<strong>in</strong>ema, African francophone<br />
Birger Langkjær<br />
University of Copenhagen,<br />
Department of Nordic Studies and<br />
L<strong>in</strong>guistics, Njalsgade 76,<br />
Copenhagen, DK-2300, Denmark<br />
› Borders of the national family <strong>in</strong> K<strong>in</strong>g of the Coral Sea (1954), Studies <strong>in</strong><br />
Australasian C<strong>in</strong>ema, 3.1, 61-73.<br />
Screenwriter L<strong>in</strong>e Langebek has had numerous feature film<br />
commissions, short films produced as well as contribut<strong>in</strong>g to<br />
ScriptWriter UK, Broadcast Magaz<strong>in</strong>e and Norwegian Radio’s<br />
Pullover programme. Her first produced feature, I’ll Come Runn<strong>in</strong>g<br />
(co-written with American director Spencer Parsons), premiered at the<br />
Los Angeles Film Festival <strong>in</strong> 2008. She lectures <strong>in</strong> scriptwrit<strong>in</strong>g at<br />
Bournemouth University, where she is currently undertak<strong>in</strong>g a<br />
practice-based Ph.D. explor<strong>in</strong>g the work<strong>in</strong>g processes and <strong>in</strong>fluences of<br />
the writer of fictional political narratives.<br />
› Screenwrit<strong>in</strong>g Conference, Copenhagen, September 2010 Conference<br />
Review, Journal of Screenwrit<strong>in</strong>g, 2.2, 287-289.<br />
Rachael Langford is a lecturer <strong>in</strong> French <strong>in</strong> the School of European<br />
Studies at Cardiff University. She <strong>research</strong>es and teaches on<br />
n<strong>in</strong>eteenth-century French culture and literature, and on francophone<br />
African literature and film, particularly on discourses of time, space<br />
and the self <strong>in</strong> French colonial ideology and representations of time,<br />
space and the self <strong>in</strong> post-<strong>in</strong>dependence francophone African film and<br />
literature.<br />
› Black and White <strong>in</strong> Black and White: Identity and C<strong>in</strong>ematography <strong>in</strong><br />
Ousmane Sembène's La Noire de.../Black Girl (1966), Studies <strong>in</strong> French<br />
C<strong>in</strong>ema, 1.1, 13-21.<br />
› Colonial false memory syndrome? The C<strong>in</strong>émémoire archive of French<br />
colonial films and Mémoire d’Outremer (Claude Bossion, 1997), Studies <strong>in</strong><br />
French C<strong>in</strong>ema, 5.2, 99-110.<br />
Birger Langkjær is an associate professor at the Department of Nordic<br />
Studies and L<strong>in</strong>guistics at the University of Copenhagen. Born <strong>in</strong> 1965,<br />
he teaches media analysis and film aesthetics. He has written two<br />
books on film sound and film music – Filmlyd & filmmusik (1997), and<br />
Den lyttende tilskuer (2000) – and numerous articles <strong>in</strong> an array of<br />
journals, <strong>in</strong>clud<strong>in</strong>g Convergence, Sekvens, MedieKultur, Norsk
Keywords Lars von Trier, Thomas<br />
V<strong>in</strong>terberg, avant-garde, realitystatus,<br />
Festen/The Celebration<br />
George S. Larke-Walsh<br />
University of North Texas, Radio, TV<br />
and Film, PO Box 310589, Denton,<br />
TX, 76203, United States of America<br />
Keywords Mafia <strong>in</strong> film, Mafia<br />
mythologies<br />
Brian Lark<strong>in</strong><br />
Barnard College, Department of<br />
Anthropology, 1200 Amsterdam Ave.<br />
& W. 119th St., New York, New<br />
York, 10027-7054, United States of<br />
America<br />
Keywords Nigerian video films<br />
(NVF), African film market, Zach<br />
Orji, Nigerian film export, embassy<br />
films<br />
Medietidsskrift, Kosmorama, Montage a/v, Filmhäftet, Northern Lights<br />
and. He has also written <strong>in</strong> a set of anthologies – Byens konkyliesang,<br />
Ru<strong>in</strong>øs modernitet, I billedet er alt muligt, Film Style and Story, Made<br />
<strong>in</strong> America, and Nøgne billeder. Currently, he is work<strong>in</strong>g on a book<br />
about realism, genre and contemporary Danish film.<br />
› What was Dogme 95?, Film International, 4.19, 34-43.<br />
Dr George Larke-Walsh is part of the Department of Radio, TV and<br />
Film at the University of North Texas. She jo<strong>in</strong>ed the University of<br />
North Texas <strong>in</strong> January 2004 as an adjunct <strong>in</strong>structor and later a fulltime<br />
lecturer. Born <strong>in</strong> England, George studied at Loughborough<br />
University and the University of East Anglia. She obta<strong>in</strong>ed her Ph.D.<br />
from the University of Sunderland and worked for a few years at the<br />
University of Northumbria <strong>in</strong> Newcastle Upon Tyne before mov<strong>in</strong>g to<br />
Texas. Larke-Walsh’s <strong>research</strong> <strong>in</strong>terests <strong>in</strong>clude mythologies of the<br />
Mafia <strong>in</strong> film. Her new book is titled Screen<strong>in</strong>g the Mafia: Mascul<strong>in</strong>ity,<br />
Ethnicity and Mobsters from The Godfather to The Sopranos. She is<br />
currently <strong>research</strong><strong>in</strong>g new areas of Mafia mythologies and extend<strong>in</strong>g<br />
her focus from fiction to non-fiction film.<br />
› Book Reviews, Film International, 6.5, 75-89.<br />
› Book Reviews, Film International, 8.1, 78-88.<br />
Brian Lark<strong>in</strong>, associate professor of anthropology and chair of the<br />
Department of Anthropology, jo<strong>in</strong>ed the faculty of Barnard <strong>in</strong> 1998. In<br />
addition to his teach<strong>in</strong>g duties for the department of anthropology,<br />
Professor Lark<strong>in</strong> is affiliated with Barnard's Africana studies<br />
programme. His <strong>research</strong> exam<strong>in</strong>es the ways <strong>in</strong> which media<br />
technologies shape secular and Muslim modernities <strong>in</strong> northern<br />
Nigeria. He is especially <strong>in</strong>terested <strong>in</strong> the material culture of<br />
technologies and how these <strong>in</strong>teract with local religious and social<br />
beliefs. He exam<strong>in</strong>es the imag<strong>in</strong>ative worlds made available to Hausa<br />
youth by the circulation of transnational media flows—from Indian<br />
films to Islamic media—and the connections thus created with<strong>in</strong> and<br />
between non-Western countries.<br />
› The Nollywood Ris<strong>in</strong>g Conference, Film International, 5.4, 109-111.
Pierre Larrivée<br />
Aston University, School of<br />
Languages and Social Sciences,<br />
Aston Triangle, Birm<strong>in</strong>gham, B4<br />
7ET, United K<strong>in</strong>gdom<br />
Keywords language varieties, Quebec<br />
French, identity, fragmentation,<br />
dom<strong>in</strong>ation<br />
Lisbeth Richter Larsen<br />
Danish Film Institute, Archive &<br />
C<strong>in</strong>ematheque, Gothersgade 55, 1123<br />
København K, Denmark<br />
Keywords Danish silent c<strong>in</strong>ema, Carl<br />
Th. Dreyer, Nordisk Film, Jørgen<br />
Leth<br />
Susan Larson<br />
University of Kentucky, Department<br />
of Hispanic Studies, 1131 Patterson<br />
Office Tower, Lex<strong>in</strong>gton, Kentucky,<br />
United States of America<br />
Keywords Nemesio Sobrevila,<br />
Walter Benjam<strong>in</strong>, El sexto sentido,<br />
Spanish silent c<strong>in</strong>ema, philosophy<br />
Wendy Larson<br />
University of Oregon, 70 NW Couch<br />
Street, Portland, Oregon, 97209,<br />
United States of America<br />
Pierre Larrivée is Senior Lecturer <strong>in</strong> the School of Languages and<br />
Social Sciences at Aston University. He completed a Ph.D. at Laval<br />
University <strong>in</strong> Quebec City <strong>in</strong> 1998, and his Habilitation at Marc Bloch<br />
University <strong>in</strong> Strasbourg <strong>in</strong> 2003, and has published widely on French<br />
l<strong>in</strong>guistics.<br />
› Identities and oppressions: Jean-Claude Lauzon's Léolo (1992), New<br />
C<strong>in</strong>emas: Journal of Contemporary Film, 6.2, 85-96.<br />
Lisbeth Richter Larsen works at the Danish Film Institute <strong>in</strong><br />
Copenhagen. She is editor of the Danish National Filmography and the<br />
Carl Th. Dreyer website as well as other projects such as the release of<br />
the Jørgen Leth Collection (DVD).<br />
› Carl Th. Dreyer: the man andhis work, Journal of Scand<strong>in</strong>avian C<strong>in</strong>ema, 1.1,<br />
75-78.<br />
Susan Larson is an assistant professor of Spanish at the University of<br />
Kentucky and teaches courses <strong>in</strong> the the field of Cultural Geography,<br />
Cultural Studies and Film. Her recent publications <strong>in</strong>clude an edited<br />
collection of essays entitled Visualis<strong>in</strong>g Spanish Modernity and a<br />
critical edition of Carmen de Burgos's 1917 novel La rampa. She is<br />
also the manag<strong>in</strong>g editor of the Arizona Journal of Hispanic Cultural<br />
Studies.<br />
› Dis<strong>in</strong>tegrat<strong>in</strong>g pictures: Studies <strong>in</strong> early Spanish film, Studies <strong>in</strong> Hispanic<br />
C<strong>in</strong>emas, 4.2, 73-78.<br />
› Nemesio M. Sobrevila, Walter Benjam<strong>in</strong>, and the provocation of film,<br />
Studies <strong>in</strong> Hispanic C<strong>in</strong>emas, 4.2, 107-119.<br />
Wendy Larson is Professor of East Asian Languages and Literatures at<br />
the University of Oregon, with a speciality <strong>in</strong> modern Ch<strong>in</strong>ese<br />
literature and film. Her most recent publications <strong>in</strong>clude From Ah Q to<br />
Lei Feng: Freud and Revolutionary Spirit <strong>in</strong> 20th Century Ch<strong>in</strong>a<br />
(Stanford, 2008), and ‘Zhang Yimou’s Hero: dismantl<strong>in</strong>g the myth of<br />
cultural power’.
Keywords hero, modernity, culture,<br />
fascism, aesthetics, Ch<strong>in</strong>ese c<strong>in</strong>ema,<br />
Zhang Yimou<br />
Mariah Larsson<br />
Malmö University, Department of<br />
Health and Society, 20506, Malmö,<br />
Sweden<br />
Keywords European c<strong>in</strong>ema, 1970s,<br />
sexploitation, pornography, sex film<br />
Patrizia LaTrecchia<br />
University of South Florida,<br />
Deptartment of World Languages,<br />
College of Arts and Sciences, 4202<br />
East Fowler Avenue, CPR 107,<br />
Tampa, Florida, 33620, United States<br />
of America<br />
Keywords Capuano, flâneur,<br />
Benjam<strong>in</strong>, Neomelodici, globalization<br />
› Zhang Yimou's Hero: dismantl<strong>in</strong>g the myth of cultural power, Journal of<br />
Ch<strong>in</strong>ese C<strong>in</strong>emas, 2.3, 181-196.<br />
› On Zhang Yimou's Hero: Counter-response, Journal of Ch<strong>in</strong>ese C<strong>in</strong>emas,<br />
3.1, 89-91.<br />
Mariah Larsson is a senior lecturer at Malmö University, where she is<br />
programme co-ord<strong>in</strong>ator for the masters programme <strong>in</strong> Sexology and<br />
works on her <strong>research</strong> project 'The Exhibition of Pornographic Films <strong>in</strong><br />
Malmö 1971- c.1980'. She received her Ph.D. <strong>in</strong> Film Studies from<br />
Lund University <strong>in</strong> 2006.<br />
› Editorial Issue 36, Film International, 6.6, 4-6.<br />
› Practice Makes Perfect? The Production of the Swedish Sex Film <strong>in</strong> the<br />
1970s, Film International, 8.6, 40-49.<br />
› Editorial Issue 48: Mak<strong>in</strong>g Movies <strong>in</strong> Europe: An Open<strong>in</strong>g Note, Film<br />
International, 8.6, 4-7.<br />
Patrizia La Trecchia is Assistant Professor of Italian Studies and serves<br />
as Director of the Italian Program at the University of South Florida <strong>in</strong><br />
Tampa, FL. She received a Ph.D. <strong>in</strong> Italian Studies and Comparative<br />
Literature from the University of Pennsylvania. Her <strong>research</strong> <strong>in</strong>terests<br />
<strong>in</strong>clude film studies, cultural studies, Italian-American studies,<br />
migration studies, and the impact of globalization on cultural<br />
representations of Italian identity. Her work <strong>in</strong>cludes publications on<br />
Italian and European film, music and globalization, Italian literature<br />
and theatre, and audio visual translation. In 2009, she published a film<br />
study textbook on the film Il Post<strong>in</strong>o. She is complet<strong>in</strong>g a book-length<br />
manuscript on the idea of the Italian South, focus<strong>in</strong>g specifically on the<br />
representative case study of the contemporary city of Naples.<br />
› Sites of ‘glocal’ representations and artistic resistance: the Neapolitan urban<br />
imag<strong>in</strong>ary <strong>in</strong> Antonio Capuano's Sacred Silence, Studies <strong>in</strong> European<br />
C<strong>in</strong>ema, 6.1, 31-45.<br />
Clara Laurent Clara Laurent is a <strong>research</strong> student at the University of Paris-Ouest-<br />
Nanterre-La Défense (formerly Paris X). She is currently complet<strong>in</strong>g
Paris West University Nanterre La<br />
Defense, UFR Literature, Languages<br />
and Philosophy, Nanterre, France<br />
Keywords Feuillère, Stroheim,<br />
espionage, female emancipation,<br />
mythologization<br />
Palle Schantz Lauridsen<br />
University of Copenhagen, Institut for<br />
Nordiske Studier og Sprogvidenskab,<br />
Njalsgade 120, DK-2300 Kobenhavn<br />
S, Denmark<br />
Keywords genre, generic modulation,<br />
popular culture, popular hero,<br />
Sherlock Holmes, crime fiction,<br />
media history<br />
Flavia Laviosa<br />
Wellesley College, Department of<br />
Italian Studies, 106 Central St.,<br />
Wellesley, Massachusetts, MA 02481,<br />
United States of America<br />
Keywords<br />
her dissertation on spy films <strong>in</strong> the 1930s. She is also a lecturer at Paris<br />
VII Diderot and Paris X Nanterre.<br />
› Marthe Richard vs. Mata Hari: The (De)mythologiz<strong>in</strong>g of a French Spy,<br />
Studies <strong>in</strong> French C<strong>in</strong>ema, 9.1, 63-73.<br />
Palle Schantz Lauridsen, Ph.D., is Associate Professor at the<br />
Department of Scand<strong>in</strong>avian Studies, University of Copenhagen.<br />
Lauridsen has published Danish language books on film theory and has<br />
done <strong>research</strong> with<strong>in</strong> <strong>in</strong> the field of popular media culture: From the<br />
James Bond phenomenon through film sound, urbanity and aesthetics,<br />
and more recently Dogma films, television drama, Suburbia <strong>in</strong> Danish<br />
Film and Television Culture, and Sherlock Holmes.Lauridsen is also a<br />
film critic at the Danish daily newspaper Kristeligt Dagblad. Among<br />
his publications <strong>in</strong> English are: ‘Reel Cities And Soundscapes’ (1997);<br />
‘Film & variety theatre <strong>in</strong> Denmark: Media Interaction at the Turn of<br />
the Century’ (1997); ‘Def<strong>in</strong><strong>in</strong>g a New Media. The Discourse on and<br />
Technology of Sound Film <strong>in</strong> Denmark and the USA, 1923–1930.’<br />
(1995); ‘"A Considerable Repertoire was Necessary”. Sound <strong>in</strong> Danish<br />
Silent C<strong>in</strong>ema’ (1994).<br />
› The mak<strong>in</strong>g of a popular hero: Sherlock Holmes <strong>in</strong> early Danish media<br />
culture, Northern Lights: Film & Media Studies Yearbook, 9., 45-61.<br />
Flavia Laviosa holds a Ph.D. <strong>in</strong> Foreign Language Education and an<br />
M.A. <strong>in</strong> Humanities from SUNY Buffalo. She also earned an M.Sc. <strong>in</strong><br />
European Film Studies and Criticism at the University of Ed<strong>in</strong>burgh <strong>in</strong><br />
Scotland; and completed a B.A. Honors <strong>in</strong> Foreign Languages and<br />
Literatures at the University of Bari <strong>in</strong> Italy.
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Her current <strong>research</strong><br />
is on representations of<br />
honor kill<strong>in</strong>gs <strong>in</strong> world<br />
c<strong>in</strong>ema." Italian<br />
c<strong>in</strong>ema, transnational<br />
c<strong>in</strong>ema, crimes of honor<br />
Francesca Archibugi's c<strong>in</strong>ema:<br />
M<strong>in</strong>imalism or micro-history? Italian<br />
c<strong>in</strong>ema: 1980s–2000s, Studies <strong>in</strong><br />
European C<strong>in</strong>ema, 4.2, 99-110.<br />
Keywords<br />
Fiona Yuk-wa Law<br />
The University of Hong Kong,<br />
Department of Comparative<br />
Literature, Pokfulam, Hong Kong<br />
Keywords Ch<strong>in</strong>eseness, diasporic<br />
c<strong>in</strong>ema, Cantonese c<strong>in</strong>ema, Mandar<strong>in</strong><br />
c<strong>in</strong>ema, festive films, Ch<strong>in</strong>ese New<br />
Year<br />
Novotny Lawrence<br />
Southern Ill<strong>in</strong>ois University<br />
Fiona Yuk-wa Law teaches <strong>in</strong> the Department of Comparative<br />
Literature, The University of Hong Kong. Her <strong>research</strong> <strong>in</strong>terests<br />
<strong>in</strong>clude visual cultures, film genres, audience reception, film<br />
exhibition, Ch<strong>in</strong>ese-language c<strong>in</strong>emas, Asian c<strong>in</strong>emas <strong>in</strong> the context of<br />
globalization, c<strong>in</strong>ematic nostalgia, and Hong Kong cultural studies. She<br />
is work<strong>in</strong>g on a book manuscript about the cultural history of Ch<strong>in</strong>ese<br />
New Year films made <strong>in</strong> Hong Kong and the People’s Republic of<br />
Ch<strong>in</strong>a from the 1950s to the present.<br />
› Timely festivity: Ch<strong>in</strong>ese new year films (hesui pian) <strong>in</strong> the 1950s1960s,<br />
Journal of Ch<strong>in</strong>ese C<strong>in</strong>emas, 4.2, 105-126.<br />
Novotny Lawrence received his Ph.D. <strong>in</strong> Film Studies from the<br />
Department of Theatre and Film at the University of Kansas. He is<br />
currently an Assistant Professor of Race, Media, and Popular Culture <strong>in</strong>
Carbondale, Radio-Television<br />
Department, Ill<strong>in</strong>ois, United States of<br />
America<br />
Keywords blaxploitation, Cotton<br />
Comes to Harlem, 1970s, Hollywood<br />
c<strong>in</strong>ema, horror, Dracula<br />
Anna Lawton<br />
Georgetown University, School of<br />
Foreign Service, 37th and O St.,<br />
N.W., Wash<strong>in</strong>gton, DC 20057-1047,<br />
United States of America<br />
Keywords Russian c<strong>in</strong>ema, Soviet<br />
c<strong>in</strong>ema,<br />
Halldór Laxness<br />
Translated and annotated by Björn<br />
Þór Vilhjálmsson<br />
Keywords studio system, Hollywood<br />
and ideology, Cecil B. DeMille,<br />
Charles Chapl<strong>in</strong><br />
the Radio-Television Department at Southern Ill<strong>in</strong>ois University<br />
Carbondale where he teaches a range of courses <strong>in</strong>clud<strong>in</strong>g Media and<br />
Society, Document<strong>in</strong>g the Black Experience, and the History of<br />
African American Images <strong>in</strong> Film and Television. He is also the author<br />
of ‘The Detective Film as Genre’, which was published <strong>in</strong> Screen<strong>in</strong>g<br />
Noir, and his book BlaxploitationFilms of the 1970s: Blackness and<br />
Genre was recently released by Routledge Press.<br />
› Fear of a blaxploitation monster: blackness as generic revision <strong>in</strong> AIP's<br />
Blacula, Film International, 7.3, 14-27.<br />
Anna Lawton received her Ph.D. <strong>in</strong> Slavic Languages and Literatures<br />
from UCLA <strong>in</strong> 1976. She has been an Associate Professor at Purdue<br />
University for fifteen years, and s<strong>in</strong>ce 1987 she has taught at the<br />
School of Foreign Service at Georgetown University as an adjunct<br />
professor. Currently she teaches courses <strong>in</strong> visual culture and film<br />
studies with a focus on Russian c<strong>in</strong>ema. She is a member of the Film<br />
Advisory Board at the National Gallery of Art, and has contributed to<br />
several of the Gallery’s film programmes. Her publications <strong>in</strong>clude<br />
numerous articles, book chapters, and books such as K<strong>in</strong>oglasnost:<br />
Soviet C<strong>in</strong>ema <strong>in</strong> Our Time (Cambridge University Press, 1992),<br />
recently reissued as Before the Fall: Soviet C<strong>in</strong>ema <strong>in</strong> the Gorbachev<br />
Years (NAP, 2004); The Red Screen: Politics, Society, Art <strong>in</strong> the Soviet<br />
Union, ed. (Routledge,1992); Russian, with Herbert Eagle, eds.<br />
(Cornell University Press, 1988).<br />
› Russian C<strong>in</strong>ema <strong>in</strong> troubled times, New C<strong>in</strong>emas: Journal of Contemporary<br />
Film, 1.2, 98-112.<br />
› Richard Stites 19312010, Studies <strong>in</strong> Russian and Soviet C<strong>in</strong>ema, 4.2, 129-<br />
134.<br />
Halldór Laxness (1902–98) was an Icelandic novelist, poet and<br />
playwright. His novels <strong>in</strong>clude Sjálfstætt fólk/Independent People<br />
(1934–35), Heimsljós/World’s Ligh (1937–40),<br />
Íslandsklukkan/Iceland’s Bell (1943–46) and Kristnihald undir<br />
Jökli/Under the Glacier (1968). He was awarded the Nobel Prize for<br />
Literature <strong>in</strong> 1955. In 1927 he moved to Los Angeles hop<strong>in</strong>g to become<br />
a screenwriter. He stayed for two years and the essay published here,<br />
‘Kvikmynd<strong>in</strong> ameríska 1928’/‘The American Film <strong>in</strong> 1928’, was written<br />
dur<strong>in</strong>g that period and appeared orig<strong>in</strong>ally <strong>in</strong> 1929 <strong>in</strong> his essay<br />
collection 'Alþýðubók<strong>in</strong>/‘The Commoner’s Book’.'
Samantha Lay<br />
University of Bedforshire, Reserach<br />
Institute for Media, Arts and Design,<br />
Luton, Bedfordshire, United K<strong>in</strong>gdom<br />
Keywords British c<strong>in</strong>ema,<br />
production, representation<br />
Matthew Lazen<br />
Pr<strong>in</strong>ceton University, Wu Hall, Butler<br />
College, Pr<strong>in</strong>ceton, New Jersey, 8544,<br />
United States of America<br />
Keywords Demy, new wave, place,<br />
nostalgia, <strong>in</strong>tertextuality<br />
Gwénaëlle Le Gras<br />
Université Michel de Montaigne –<br />
Bordeaux 3, Département Arts du<br />
Spectacle, Bordeaux 3, Doma<strong>in</strong>e<br />
universitaire, Pessac Cedex, 33607,<br />
France<br />
Keywords Peau d'âne, Tristana, Belle<br />
de Jour, Jacques Demy, Luis<br />
Buñuelclever<br />
› The American Film <strong>in</strong> 1928, Journal of Scand<strong>in</strong>avian C<strong>in</strong>ema, 1.2, 145-158.<br />
Samantha Lay is a post-doctoral <strong>research</strong> fellow at the Research<br />
Institute for Media Arts and Design, University of Bedfordshire. Her<br />
current <strong>research</strong> project at RIMAD centres on films fans <strong>in</strong> cyberspace<br />
and explores the <strong>in</strong>stitutionalisation, commercialisation and<br />
standardisation of the <strong>in</strong>ternet. She has also recently completed a<br />
<strong>research</strong> paper on audience responses to game-to-film adaptations. She<br />
has a long-stand<strong>in</strong>g <strong>in</strong>terest <strong>in</strong> British social realism and is the author of<br />
British Social Realism: from Documentary to Brit Grit, (2002),<br />
London: Wallflower Press.<br />
› Good <strong>in</strong>tentions, high hopes and low budgets: Contemporary social realist<br />
film-mak<strong>in</strong>g <strong>in</strong> Brita<strong>in</strong>, New C<strong>in</strong>emas: Journal of Contemporary Film, 5.3,<br />
231-244.<br />
Matthew Lazen served three years as a lecturer <strong>in</strong> history and literature<br />
at Harvard University and is currently a teach<strong>in</strong>g fellow <strong>in</strong> film at<br />
Harvard. He has previously published articles on French regional<br />
culture <strong>in</strong> French Cultural Studies and the French journal Plurial. He<br />
received his Ph.D. <strong>in</strong> 1998 from the Literature Program at Duke<br />
University.<br />
› ‘En perme à Nantes’: Jacques Demy and new wave place, Studies <strong>in</strong> French<br />
C<strong>in</strong>ema, 4.3, 187-196.<br />
Gwénaëlle Le Gras is Maîtresse de conférences at l’Université de<br />
Bordeaux 3. She specializes <strong>in</strong> 'star studies' and classic and<br />
contemporary French c<strong>in</strong>ema. She has published many articles on<br />
Cather<strong>in</strong>e Deneuve, Michel Simon, Sacha Guitry, Erich von Stroheim<br />
and the hero<strong>in</strong>es from policier/crime <strong>in</strong> French c<strong>in</strong>ema. In 2010 she<br />
published two works: Le Mythe Deneuve: une « star » française entre<br />
classicisme et modernité (Nouveau Monde), and Michel Simon: l’art de<br />
la disgrâce (Scope).<br />
› Soft and hard: Cather<strong>in</strong>e Deneuve <strong>in</strong> 1970, Studies <strong>in</strong> French C<strong>in</strong>ema, 5.1,
Michael Leader<br />
Keywords video games, comic<br />
books, history of film<br />
Sarah Leahy<br />
Newcastle University, School of<br />
Modern Languages, Newcastle upon<br />
Tyne, NE1 7RU, United K<strong>in</strong>gdom<br />
Keywords stardom, sexuality,<br />
women, France, patriotism, Signoret<br />
James Leahy<br />
United K<strong>in</strong>gdom<br />
Keywords sound, France, Jean<br />
Renoir<br />
27-36.<br />
› Annie Girardot de la Comdie-Franaise au film policier des annes 50: le<br />
brouillage des strotypes genrs, Studies <strong>in</strong> French C<strong>in</strong>ema, 10.3, 235-249.<br />
Michael Leader is a freelance writer based <strong>in</strong> London. He has written<br />
about c<strong>in</strong>ema, video games and other areas of culture for outlets such<br />
as Sight & Sound, The Guardian, Little White Lies, Den of Geek and<br />
Film4.com. He also hosts a radio show for the We Are Words +<br />
Pictures collective, which promotes the comic book medium through<br />
workshops, publish<strong>in</strong>g and curatorial <strong>in</strong>itiatives. He is currently<br />
study<strong>in</strong>g for an MA <strong>in</strong> History of Film and Visual Media at Birkbeck<br />
College, University of London.<br />
› DVD Reviews, Film International, 8.1, 64-77.<br />
Sarah Leahy is Lecturer <strong>in</strong> French Film at the University of Newcastle<br />
upon Tyne. She has published several articles on stardom and gender <strong>in</strong><br />
French c<strong>in</strong>ema, and her book on Casque d’or (Jacques Becker, 1952) is<br />
shortly to be published with I.B. Tauris. Current <strong>research</strong> <strong>in</strong>terests<br />
<strong>in</strong>clude film audiences and theories of spectatorship, film<br />
representations of the city, and film adaptation.<br />
› The matter of myth: Brigitte Bardot, stardom and sex, Studies <strong>in</strong> French<br />
C<strong>in</strong>ema, 3.2, 71-82.<br />
› ‘Neither charm nor sex appeal...’ Just what is the appeal of Simone Signoret?,<br />
Studies <strong>in</strong> French C<strong>in</strong>ema, 4.1, 29-40.<br />
› Celebrat<strong>in</strong>g the first decade of Studies <strong>in</strong> French C<strong>in</strong>ema, Studies <strong>in</strong> French<br />
C<strong>in</strong>ema, 10.3, 197-197.<br />
› Introduction, Studies <strong>in</strong> European C<strong>in</strong>ema, 2.3, 155-158.<br />
James Leahy is a film historian and screenwriter. He was one of the<br />
found<strong>in</strong>g editors of Vertigo, and now also writes regularly for Senses of<br />
C<strong>in</strong>ema. He co-wrote Ken McMullen’s feature (Cannes, Karlovy Vary<br />
and Ed<strong>in</strong>burgh 1990). He is conv<strong>in</strong>ced his experience shoot<strong>in</strong>g<br />
documentary footage for Nicholas Ray <strong>in</strong> the w<strong>in</strong>ter of 1969–70<br />
qualifies him for the title of the world’s worst sound-recordist.
Charles Leary<br />
National University of S<strong>in</strong>gapore,<br />
Asia Research Institute, National<br />
University of S<strong>in</strong>gapore, 469A Tower<br />
Block #09-10, Bukit Timah Road,<br />
259770, S<strong>in</strong>gapore<br />
Keywords Ch<strong>in</strong>ese c<strong>in</strong>ema, Asian<br />
c<strong>in</strong>ema<br />
Vivian Lee<br />
City University of Hong Kong,<br />
Department of Ch<strong>in</strong>ese, Translation<br />
and L<strong>in</strong>guistics, Kowloon, Hong<br />
Kong<br />
Keywords Ch<strong>in</strong>ese c<strong>in</strong>ema, East<br />
Asian c<strong>in</strong>ema, cultural studies, global<br />
culture, visual culture, Ch<strong>in</strong>ese<br />
literature<br />
James Leggott<br />
University of Northumbria, School of<br />
Arts & Social Sciences, Lipman<br />
Build<strong>in</strong>g, Sandyford Road, Newcastle<br />
Upon Tyne, Tyne and Wear, NE1<br />
8ST, United K<strong>in</strong>gdom<br />
Keywords British c<strong>in</strong>ema, British<br />
television, comedy, Amber Films,<br />
documentary, workshop movement,<br />
› Reviews, The Soundtrack, 1.3, 217-227.<br />
Charles Leary is a postdoctoral fellow at the National University of<br />
S<strong>in</strong>gapore's Asia Research Institute. He received his doctorate from the<br />
Department of C<strong>in</strong>ema Studies at New York University's Tisch School<br />
of the Arts, and has written on Ch<strong>in</strong>ese-language c<strong>in</strong>emas for various<br />
publications.<br />
› Introduction: Violence <strong>in</strong> contemporary Asian c<strong>in</strong>ema, New C<strong>in</strong>emas:<br />
Journal of Contemporary Film, 8.3, 147-153.<br />
Vivian Lee teaches <strong>in</strong> the Department of Ch<strong>in</strong>ese, Translation and<br />
L<strong>in</strong>guistics, City University of Hong Kong. Her work on Ch<strong>in</strong>ese<br />
c<strong>in</strong>ema and modern Ch<strong>in</strong>ese literature has been published <strong>in</strong> Ch<strong>in</strong>ese<br />
Films <strong>in</strong> Focus 2 (ed. Chris Berry, BFI/Palgrave, 2008), Journal of<br />
Ch<strong>in</strong>ese C<strong>in</strong>emas, MCLC, Asian C<strong>in</strong>ema, and . She is the author of<br />
Hong Kong C<strong>in</strong>ema s<strong>in</strong>ce 1997: the Post-nostalgic Imag<strong>in</strong>ation<br />
(Palgrave, 2009).<br />
› Pornography, musical, drag, and the art film: perform<strong>in</strong>g ‘queer’ <strong>in</strong> Tsai<br />
M<strong>in</strong>g-liang's The Wayward Cloud, Journal of Ch<strong>in</strong>ese C<strong>in</strong>emas, 1.2, 117-<br />
138.<br />
› Virtual bodies, fly<strong>in</strong>g objects, Journal of Ch<strong>in</strong>ese C<strong>in</strong>emas, 1.1, 9-26.<br />
› Introduction: Plac<strong>in</strong>g Value <strong>in</strong> the Miss<strong>in</strong>g and the Lost, Journal of Ch<strong>in</strong>ese<br />
C<strong>in</strong>emas, 4.2, 83-87.<br />
James Leggott (Ph.D.) lectures <strong>in</strong> Film and Television Studies at<br />
Northumbria University (UK). His doctoral dissertation was concerned<br />
with traditions of British realist c<strong>in</strong>ema. He is the author of<br />
Contemporary British C<strong>in</strong>ema (Wallflower, 2008). His <strong>research</strong><br />
<strong>in</strong>terests <strong>in</strong>clude the films of the Amber Collective, television comedy,<br />
reality television, and British science fiction film and television.<br />
› From Marks and Spencer to Marx and Engels: a transnational DEFA and<br />
Amber Film documentary project across the Iron Curta<strong>in</strong>, Studies <strong>in</strong>
eality television, science fiction<br />
Barbara Leh<strong>in</strong><br />
Keywords French c<strong>in</strong>ema, British<br />
c<strong>in</strong>ema, ethnic m<strong>in</strong>orities, 1980s<br />
Ulrik Lehrmann<br />
Syddansk Universitet, Department of<br />
Literature, Culture, and Media,<br />
Campusvej 55, 5230 Odense M,<br />
Denmark<br />
Keywords crime journalism, tabloid<br />
press, Danish press history, narrative<br />
structure<br />
John A. Lent<br />
Temple University Philidelphia,<br />
School of Communication and<br />
Theatre, Philidelphia, Pennsylvania,<br />
United States of America<br />
Keywords pioneers, comics, Europe,<br />
Ch<strong>in</strong>a<br />
Documentary Film, 2.2, 123-135.<br />
› Work<strong>in</strong>g Title Films: From Mid-Atlantic to the Heart of Europe?, Film<br />
International, 8.6, 8-20.<br />
After a DEA on Indian c<strong>in</strong>ema at the Université de Rennes II, Barbara<br />
Leh<strong>in</strong> was awarded a Ph.D. for her work entitled 'C<strong>in</strong>ema and Society:<br />
Thatcher’s Brita<strong>in</strong> and Mitterrand’s France' at the University of<br />
Warwick. She has published several articles on the c<strong>in</strong>ema of<br />
immigration, the question of work and the family on screen <strong>in</strong> French<br />
and British c<strong>in</strong>emas.<br />
› Giv<strong>in</strong>g a voice to the ethnic m<strong>in</strong>orities <strong>in</strong> 1980s French and British c<strong>in</strong>emas,<br />
Studies <strong>in</strong> European C<strong>in</strong>ema, 2.3, 213-226.<br />
Ulrik Lehrmann, MA, is Associate Professor at Department of<br />
Literature, Culture and Media, University of Southern Denmark.<br />
Lehrmann has been a member of the <strong>research</strong> programme ‘Crime<br />
Fiction and Crime Journalism <strong>in</strong> Scand<strong>in</strong>avia’, funded by the Danish<br />
Research Council for Culture and Communication. His current <strong>research</strong><br />
<strong>in</strong>terests <strong>in</strong>clude tabloid crime journalism, literary read<strong>in</strong>g cultures,<br />
history of journalism and the press. He has published a number of<br />
articles on Danish literature, read<strong>in</strong>g cultures 1860–1960, journalism<br />
and history of the media.<br />
› Tabloid crime journalism: Writ<strong>in</strong>g on the edge of existence, Northern Lights:<br />
Film & Media Studies Yearbook, 9., 179-192.<br />
John A. Lent has been teach<strong>in</strong>g at the college/university level s<strong>in</strong>ce<br />
1960, <strong>in</strong>clud<strong>in</strong>g st<strong>in</strong>ts as the organizer of the first journalism courses at<br />
De La Salle College <strong>in</strong> Manila; founder and coord<strong>in</strong>ator of Universiti<br />
Sa<strong>in</strong>s Malaysia communications program; Rogers Dist<strong>in</strong>guished Chair<br />
at University of Western Ontario; visit<strong>in</strong>g professor at Shanghai<br />
University, Communication University of Ch<strong>in</strong>a, Jil<strong>in</strong> College of the<br />
Arts Animation School, and Universiti Kebangsaan Malaysia. Prof.<br />
Lent pioneered <strong>in</strong> the study of mass communication and popular<br />
culture <strong>in</strong> Asia (s<strong>in</strong>ce 1964) and Caribbean (s<strong>in</strong>ce 1968), comic art and
Alfio Leotta<br />
Victoria University, School of<br />
English, Film, Theatre and Media<br />
Studies, 83, Fairlee Terrace,<br />
Well<strong>in</strong>gton, New Zealand<br />
Keywords tourism, New Zealand,<br />
Italy, landscape, semiotics<br />
Esther Leslie<br />
Birkbeck University, 21 Crowndale<br />
Court, Crowndale Road, London,<br />
NW1 1TY, United K<strong>in</strong>gdom<br />
Keywords surveillance film, CCTV,<br />
documentary, Harun Farocki, Ia<strong>in</strong><br />
S<strong>in</strong>clair, Sergei Eisenste<strong>in</strong>, Chris<br />
Petit, Videogramme e<strong>in</strong>er Revolution,<br />
London Orbital<br />
Pierre Lethier<br />
K<strong>in</strong>g’s College London, War Studies<br />
Department, Strand, London, United<br />
K<strong>in</strong>gdom<br />
Keywords Feuillère, Stroheim,<br />
animation, and development communication.<br />
› Animation <strong>in</strong> South Asia, Studies <strong>in</strong> South Asian Film & Media, 1.1, 101-<br />
117.<br />
Dr. Alfio Leotta teaches Film Studies at Victoria University of<br />
Well<strong>in</strong>gton. His primary <strong>research</strong> <strong>in</strong>terests focus on the relation<br />
between film and landscape, the history of New Zealand c<strong>in</strong>ema, and<br />
New Italian C<strong>in</strong>ema. He has recently completed a Ph.D. thesis about<br />
film-<strong>in</strong>duced tourism <strong>in</strong> New Zealand.<br />
› Fram<strong>in</strong>g the beach: a tourist read<strong>in</strong>g of The Piano, Studies <strong>in</strong> Australasian<br />
C<strong>in</strong>ema, 3.3, 229-238.<br />
Esther Leslie is Professor of Political Aesthetics <strong>in</strong> the School of<br />
English and Humanities at Birkbeck, University of London. She<br />
studied German and Critical Theory at the University of Sussex and <strong>in</strong><br />
Berl<strong>in</strong>. She is the author of Synthetic Worlds: Nature, Art and the<br />
Chemical Industry (Reaktion, 2005), Hollywood Flatlands: Animation,<br />
Critical Theory and the Avant Garde (Verso, 2002) and Walter<br />
Benjam<strong>in</strong>: Overpower<strong>in</strong>g Conformism (Pluto, 2000). She is on the<br />
editorial boards of the journals Historical Materialism, Radical<br />
Philosophy and Revolutionary History. Together with Ben Watson, she<br />
runs a website of polemics, rants and pictures called Militant Esthetix<br />
(www.militantesthetix.co.uk).<br />
› Documents of Revolution, Incompetence and Resistance: Rubbish Images of<br />
Film, Television, Video and Surveillance <strong>in</strong> Recent Documentaries, Film<br />
International, 2.10, 26-37.<br />
Pierre Lethier is a graduate of the London Film School and the E.S.M<br />
de Sa<strong>in</strong>t-Cyr. He is currently complet<strong>in</strong>g his dissertation on espionage<br />
<strong>in</strong>tertextuality at K<strong>in</strong>g’s College London. He is also a Visit<strong>in</strong>g Lecturer<br />
at the Centre for Intelligence and Security Studies at Brunel University<br />
(BCISS).<br />
› Marthe Richard vs. Mata Hari: The (De)mythologiz<strong>in</strong>g of a French Spy,
espionage, female emancipation,<br />
mythologization Studies <strong>in</strong> French C<strong>in</strong>ema, 9.1, 63-73.<br />
Alison J. Murray Lev<strong>in</strong>e<br />
University of Virg<strong>in</strong>ia, Department of<br />
French, VA 22904-4770, P.O. Box<br />
400770, Charlottesville, VA, United<br />
States of America<br />
Keywords rural and colonial France,<br />
French documentary film, colonial<br />
tourism, colonial memory, Maghrebi-<br />
French c<strong>in</strong>ema<br />
Randolph Lewis<br />
University of Texas at Aust<strong>in</strong>,<br />
American Studies, 1 University<br />
Station B7100, Aust<strong>in</strong>, Texas, 78712,<br />
United States of America<br />
Keywords <strong>in</strong>tentionality, authorial<br />
fallacy, Arlene Bowman, Luis<br />
Buñuel, semantic autonomy,<br />
documentary, American studies,<br />
Native American studies<br />
Evan Lieberman<br />
Cleveland State University, School of<br />
Communication, 2121 Euclid<br />
Avenue, MU225, Cleveland, OH,<br />
44115, United States of America<br />
Keywords Lucha Libre, Mexican<br />
Popular C<strong>in</strong>ema, masks, mascul<strong>in</strong>ity,<br />
wrestl<strong>in</strong>g films<br />
Alison J. Murray Lev<strong>in</strong>e is Assistant Professor of French at the<br />
University of Virg<strong>in</strong>ia. Her book, Fram<strong>in</strong>g the Nation: Documentary<br />
Film <strong>in</strong> Interwar France (New York: Cont<strong>in</strong>uum Press, 2010),<br />
exam<strong>in</strong>es the representation of rural and colonial France <strong>in</strong> early<br />
French documentary film. Other recent publications <strong>in</strong>clude articles on<br />
colonial tourism, colonial memory, contemporary Maghrebi-French<br />
film and Chris Marker.<br />
› ‘Provok<strong>in</strong>g situations’: Abderrahmane Sissako’s documentary fiction,<br />
Journal of African C<strong>in</strong>emas, 3.1, 93-107.<br />
Randolph Lewis is an Associate Professor of American Studies at the<br />
University of Oklahoma. In addition to co-edit<strong>in</strong>g a series on<br />
<strong>in</strong>digenous media for the University of Nebraska Press, he is the author<br />
of two books on nonfiction c<strong>in</strong>ema: Emile de Antonio: Radical<br />
Filmmaker <strong>in</strong> Cold War America (2000) and Alanis Obomsaw<strong>in</strong>: The<br />
Vision of a Native Filmmaker (2006).<br />
› Questionable Intent: Documentary C<strong>in</strong>ema and the Authorial Fallacy, Studies<br />
<strong>in</strong> Documentary Film, 1.3, 265-278.<br />
Evan Lieberman is an Associate Professor of Film at Cleveland State<br />
University. Recent publications <strong>in</strong>clude work on film and telepresence,<br />
on c<strong>in</strong>ematographers Gregg Toland and Gabriel Figueroa,<br />
narratology and the American situation comedy. Evan Lieberman is coauthor<br />
with David Cook of The Mov<strong>in</strong>g Image, forthcom<strong>in</strong>g from<br />
Oxford University Press.<br />
› Mask and Mascul<strong>in</strong>ity: Culture, Modernity, and Gender Identity <strong>in</strong> the<br />
Mexican Lucha Libre films of El Santo, Studies <strong>in</strong> Hispanic C<strong>in</strong>emas, 6.1, 3-<br />
17.
Torey Liepa<br />
Keywords screenwrit<strong>in</strong>g, copyright,<br />
Library of Congress, c<strong>in</strong>ema history,<br />
regulatory capture, commercialization<br />
Song Hwee Lim<br />
University of Exeter, Department of<br />
English, Queen's Build<strong>in</strong>g, The<br />
Queen's Drive, Exeter, Devon, EX4<br />
4QH, United K<strong>in</strong>gdom<br />
Keywords Ch<strong>in</strong>ese c<strong>in</strong>ema,<br />
transnational c<strong>in</strong>emas, Taiwan, Tsai<br />
M<strong>in</strong>g-liang, queer c<strong>in</strong>ema, S<strong>in</strong>gapore<br />
and Malaysian c<strong>in</strong>ema<br />
Torey Liepa has published articles on silent film, <strong>in</strong>clud<strong>in</strong>g dialogue <strong>in</strong><br />
the films of D. W. Griffith and Thomas Ince, as well as the emergence<br />
of screenwrit<strong>in</strong>g <strong>in</strong> the silent era. He has taught film studies and<br />
American cultural studies <strong>in</strong> Ankara, Turkey, College Park, Maryland<br />
and New York City.<br />
› An uneven marketplaceof ideas: Amateurscreenwrit<strong>in</strong>g, the Libraryof<br />
Congress and the strugglefor copyright, Journal of Screenwrit<strong>in</strong>g, 2.2, 179-<br />
193.<br />
Song Hwee Lim is Senior Lecturer <strong>in</strong> Film Studies at the University of<br />
Exeter. He is the author of Celluloid Comrades: Representations of<br />
Male Homosexuality <strong>in</strong> Contemporary Ch<strong>in</strong>ese C<strong>in</strong>emas (University of<br />
Hawaii Press, 2006), co-editor of Remapp<strong>in</strong>g World C<strong>in</strong>ema: Identity,<br />
Culture and Politics <strong>in</strong> Film (Wallflower Press, 2006), and found<strong>in</strong>g<br />
editor of the Journal of Ch<strong>in</strong>ese C<strong>in</strong>emas. He recently completed a<br />
book manuscript entitled Tsai M<strong>in</strong>g-liang and a C<strong>in</strong>ema of Slowness,<br />
and a co-edited volume, The Ch<strong>in</strong>ese C<strong>in</strong>ema Book (BFI/Palgrave<br />
Macmillan).<br />
› New World Order, New C<strong>in</strong>emas: Journal of Contemporary Film, 2.1, 3-16.<br />
› New c<strong>in</strong>emas from Asia, New C<strong>in</strong>emas: Journal of Contemporary Film, 2.2,<br />
71-72.<br />
› Is the trans- <strong>in</strong> transnational the trans<strong>in</strong> transgender?, New C<strong>in</strong>emas: Journal<br />
of Contemporary Film, 5.1, 39-52.<br />
› Position<strong>in</strong>g auteur theory <strong>in</strong> Ch<strong>in</strong>ese c<strong>in</strong>emas studies: <strong>in</strong>tratextuality,<br />
<strong>in</strong>tertextuality and paratextuality <strong>in</strong> the films of Tsai M<strong>in</strong>g-liang, Journal of<br />
Ch<strong>in</strong>ese C<strong>in</strong>emas, 1.3, 223-.<br />
› Editorial, Journal of Ch<strong>in</strong>ese C<strong>in</strong>emas, 1.2, 81-82.<br />
› Editorial, Journal of Ch<strong>in</strong>ese C<strong>in</strong>emas, 1.1, 3-8.<br />
› Editorial, Journal of Ch<strong>in</strong>ese C<strong>in</strong>emas, 2.3, 161-161.<br />
› Editorial, Journal of Ch<strong>in</strong>ese C<strong>in</strong>emas, 3.3, 191-192.<br />
› Editorial, Journal of Ch<strong>in</strong>ese C<strong>in</strong>emas, 4.1, 3-4.<br />
› Editorial, Journal of Ch<strong>in</strong>ese C<strong>in</strong>emas, 4.2, 81-81.<br />
› Editorial, Journal of Ch<strong>in</strong>ese C<strong>in</strong>emas, 4.3, 181-181.<br />
› Manufactur<strong>in</strong>g orgasm: Visuality, aurality and female sexual pleasure <strong>in</strong> Tsai<br />
M<strong>in</strong>gliang’s The Wayward Cloud, Journal of Ch<strong>in</strong>ese C<strong>in</strong>emas, 5.2, 141-<br />
155.<br />
› ‘You must believe there is an author beh<strong>in</strong>d every film’: An <strong>in</strong>terview with<br />
Tsai M<strong>in</strong>g-liang, Journal of Ch<strong>in</strong>ese C<strong>in</strong>emas, 5.2, 181-191.<br />
› , Journal of Ch<strong>in</strong>ese C<strong>in</strong>emas, 5.2, 101-102.<br />
› Concepts of transnational c<strong>in</strong>ema: towards a critical transnationalism <strong>in</strong> film<br />
studies, Transnational C<strong>in</strong>emas, 1.1, 7-21.
Wenchi L<strong>in</strong><br />
National Central University, English<br />
Department, No. 300, Zhongda Rd,<br />
Zhongli City, Taoyuan County,<br />
32001, Taiwan<br />
Keywords Lee Hs<strong>in</strong>g, Bai J<strong>in</strong>grui,<br />
Romantic film, Work<strong>in</strong>g Girl, 1970s<br />
Daniel L<strong>in</strong>dvall<br />
Keywords marxism, class, realism,<br />
modernism, avant-garde, cultural<br />
politics, imperialism, labour<br />
movement<br />
Wenchi L<strong>in</strong> teaches at the English Department of National Central<br />
University <strong>in</strong> Taiwan. He has published several articles on Ch<strong>in</strong>ese<br />
c<strong>in</strong>ema <strong>in</strong> Ch<strong>in</strong>ese and co-edited Xilian rensheng: Hou Xiaoxian<br />
diany<strong>in</strong>g yanjiu/Passionate Detachment: Critical Essays on Hou<br />
Hsiao-Hsien . He is also the editor-<strong>in</strong>-chief of the onl<strong>in</strong>e film magaz<strong>in</strong>e<br />
Fangy<strong>in</strong>g zhoubao/FunScreen Weekly.<br />
› More than escapist romantic fantasies: Revisit<strong>in</strong>g Qiong Yao films of the<br />
1970s, Journal of Ch<strong>in</strong>ese C<strong>in</strong>emas, 4.1, 45-50.<br />
› Editorial, Film International, 1.2, 3-3.<br />
› Futurist Fears of The Mach<strong>in</strong>e, Film International, 1.3, 16-24.<br />
› Editorial, Film International, 2.10, 3-3.<br />
› Editorial, Film International, 3.18, 3-3.<br />
› Editorial Issue 21, Film International, 4.21, 4-5.<br />
› Editorial, Film International, 4.24, 4-5.<br />
› Editorial, Film International, 4.19, 4-5.<br />
› Editorial Issue 29, Film International, 5.5, 4-5.<br />
› Editorial Issue 27, Film International, 5.3, 4-5.<br />
› Editorial Issue 25, Film International, 5.1, 4-6.<br />
› Editorial Issue 31, Film International, 6.1, 4-5.<br />
› Editorial Issue 32, Film International, 6.2, 4-5.<br />
› Editorial, Film International, 7.1, 4-5.<br />
› Editorial Issue 39, Film International, 7.3, 4-5.<br />
› Editorial Issue 41, Film International, 7.4, 4-5.<br />
› Editorial Issue 41, Film International, 7.5, 4-5.<br />
› Editorial Issue 43, Film International, 8.1, 4-6.<br />
› Editorial Issue 44, Film International, 8.2, 4-6.<br />
› Editorial Issue 45, Film International, 8.3, 4-6.<br />
› Editorial Issue 46, Film International, 8.4, 4-6.<br />
› Editorial Issue 47, Film International, 8.5, 4-6.<br />
› Editorial Issue 49, Film International, 9.1, 4-6.<br />
› EDITORIAL, Film International, 9.3, 4-6.<br />
› EDITORIAL, Film International, 9.4, 4-5.
Consuelo L<strong>in</strong>s<br />
Federal University of Rio de Janeiro,<br />
Rio de Janeiro, Brazil<br />
Keywords documentary, Brazilian<br />
c<strong>in</strong>ema, television<br />
Kar<strong>in</strong> Ljusl<strong>in</strong>der<br />
University of Umea, SE-901, 87<br />
Umea, Sweden<br />
Keywords Mental illness, violent<br />
crime, media representation, crime<br />
journalism, Lithuania-Scand<strong>in</strong>avia<br />
Kwai-Cheung Lo<br />
Hong Kong Baptist University,<br />
Department of English Language and<br />
Literature, Kowloon Tong, Kowloon,<br />
Hong Kong<br />
Keywords Tian Zhuangzhuang,<br />
ethnic m<strong>in</strong>orities, post-cultural<br />
revolution, Delamu, capitalism<br />
Consuelo L<strong>in</strong>s is a director of documentary films and professor at the<br />
Federal University of Rio de Janeiro, Brazil. She has a Ph.D. from<br />
Université Paris 3 (Sorbonne Nouvelle), hav<strong>in</strong>g written her dissertation<br />
on documentary films, focus<strong>in</strong>g on the work of Robert Kramer. In<br />
1999, she produced and directed Chapéu Mangueira e Babilônia:<br />
histórias do morro, a documentary on the history and day-to-day life of<br />
two slums located <strong>in</strong> Copacabana, Rio de Janeiro. In 2001, she directed<br />
Julliu ́s Bar, a film centered on transvestites from the peripheral areas<br />
of Rio de Janeiro which was selected to participate <strong>in</strong> several festivals,<br />
<strong>in</strong>clud<strong>in</strong>g the Brazilian Competition of the International Documentary<br />
Film Festival 'É Tudo Verdade'.<br />
› The c<strong>in</strong>ema of Eduardo Cout<strong>in</strong>ho, Studies <strong>in</strong> Documentary Film, 1.3, 199-<br />
206.<br />
Kar<strong>in</strong> Ljusl<strong>in</strong>der, PhD, is Senior Lecturer <strong>in</strong> Media and<br />
Communication Studies, University of Umeå, formerly Head of<br />
Department of Culture and Media at University of Umeå 2003–2010.<br />
Research areas: Media representations of people with disabilities and<br />
Life conditions for disabled women <strong>in</strong> develop<strong>in</strong>g countries <strong>in</strong> Lat<strong>in</strong><br />
America.<br />
› The victim, the wicked and the ignored: Representation of mentally ill<br />
perpetrators of violent crime <strong>in</strong> news reports <strong>in</strong> the Norwegian, Swedish and<br />
Lithuanian press, Northern Lights: Film & Media Studies Yearbook, 9., 193-<br />
209.<br />
Kwai-Cheung Lo teaches <strong>in</strong> the Humanities Program at Hong Kong<br />
Baptist University. He is the author of Ch<strong>in</strong>ese Face/Off: The<br />
Transnational Popular Culture of Hong Kong (Urbana and Chicago:<br />
University of Ill<strong>in</strong>ois Press, 2005) and Excess and Mascul<strong>in</strong>ity <strong>in</strong> Asian<br />
Cultural Productions (Albany: SUNY Press, 2010).<br />
› Two moments of ethnic representation <strong>in</strong> Tian Zhuangzhuang's m<strong>in</strong>ority<br />
films, Journal of Ch<strong>in</strong>ese C<strong>in</strong>emas, 3.3, 231-247.
Ramon Lobato<br />
Sw<strong>in</strong>burne University of Technology,<br />
Institute for Social Research,<br />
Hawthorn, Victoria, 3122, Australia<br />
Keywords media <strong>in</strong>dustries,<br />
distribution, cultural policy, cultural<br />
theory<br />
Elena Lombardi<br />
University of Bristol, School of<br />
Modern Languages, 17 Woodland<br />
Road, Bristol, BS8 1TE, United<br />
K<strong>in</strong>gdom<br />
Keywords Bicycle Thieves,<br />
neorealism, picaresque novel,<br />
alienation, fetishism<br />
Ignacio López-Vicuña<br />
University of Vermont, Department<br />
of Romance Languages, Burl<strong>in</strong>gton,<br />
Vermont, United States of America<br />
Keywords memory, history, Lat<strong>in</strong><br />
America, politics, Chilean c<strong>in</strong>ema,<br />
Raul Ruiz<br />
Ramon Lobato is a postdoctoral <strong>research</strong> fellow at the Institute for<br />
Social Research, Sw<strong>in</strong>burne University of Technology. Ramon's<br />
<strong>research</strong> focuses on distribution networks for film, video and music,<br />
especially pirate networks. His book Subc<strong>in</strong>ema: Mapp<strong>in</strong>g Informal<br />
Film Distribution (under contract to the British Film Institute/Palgrave)<br />
analyses a series of film circuits <strong>in</strong> Africa, the US, Lat<strong>in</strong> America and<br />
the Asia-Pacific and demonstrates the centrality of the <strong>in</strong>formal<br />
economy as a driver of global film distribution. Ramon has taught film,<br />
media and global studies at Melbourne University and RMIT, and has<br />
worked as a freelance writer and editor.<br />
› Secret lives of Asian Australian c<strong>in</strong>ema: offshore labour <strong>in</strong> transnational film<br />
<strong>in</strong>dustries, Studies <strong>in</strong> Australasian C<strong>in</strong>ema, 2.3, 213-227.<br />
› The politics of digital distribution: exclusionary structures <strong>in</strong> onl<strong>in</strong>e c<strong>in</strong>ema,<br />
Studies <strong>in</strong> Australasian C<strong>in</strong>ema, 3.2, 167-178.<br />
Elena Lombardi is Senior Lecturer <strong>in</strong> Italian at the University of<br />
Bristol. She has published a book entitled The Syntax of Desire:<br />
Language and Love <strong>in</strong> August<strong>in</strong>e, the Modistae, Dante (Toronto 2007),<br />
and articles on Dante, early Italian poetry and D’Annunzio. Other<br />
<strong>research</strong> <strong>in</strong>terests are the Italian Renaissance, the turn-of-the-century<br />
European novel, and Italian film.<br />
› Of Bikes and Men: The <strong>in</strong>tersection of three narratives <strong>in</strong> Vittorio De Sica's<br />
Ladri di biciclette, Studies <strong>in</strong> European C<strong>in</strong>ema, 6.2&3, 113-126.<br />
Ignacio López-Vicuña is Assistant Professor of Spanish at the<br />
University of Vermont. His areas of expertise <strong>in</strong>clude contemporary<br />
Lat<strong>in</strong> American literature and cultural studies with a focus on Southern<br />
Cone, representations of urban space, queer theory and Lat<strong>in</strong> American<br />
film. López-Vicuña earned his Ph.D. <strong>in</strong> Hispanic literature and cultural<br />
studies at the University of Pittsburgh. He has published articles on<br />
Diamela Eltit and Roberto Bolaño, and on film-makers Adrián Caetano<br />
and Raúl Ruiz. His work has appeared <strong>in</strong> journals such as Lat<strong>in</strong><br />
American Research Review, Journal of Lat<strong>in</strong> American Cultural<br />
Studies and Revista Chilena de Literatura.<br />
› Ral Ruiz's lost Chilean film: memory and multiplicity <strong>in</strong> Palomita Blanca,<br />
Studies <strong>in</strong> Hispanic C<strong>in</strong>emas, 6.2, 111-124.
Matt Losada<br />
San Diego State University,<br />
Department of Spanish and<br />
Portuguese, 5500 Campanile Drive,<br />
San Diego, CA 92182-6010, United<br />
States of America<br />
Keywords Spanish literature,<br />
Hispanic c<strong>in</strong>ema, Lat<strong>in</strong> American<br />
literature<br />
Yosefa Loshitzky<br />
University of East London, Film,<br />
Media and Cultural Studies, London,<br />
United K<strong>in</strong>gdom<br />
Keywords holocaust,<br />
postcolonialism, French identity, beur<br />
c<strong>in</strong>ema, banlieue c<strong>in</strong>ema<br />
Victoria Lowe<br />
University of Manchester, 83<br />
Foxbench Walk, Manchester, M21<br />
7RE, United K<strong>in</strong>gdom<br />
Keywords theatre, British arts,<br />
stardom, voice<br />
Matt Losada received his doctorate from the University of California,<br />
Berkeley. He lectures at San Diego State University on Spanish and<br />
Lat<strong>in</strong> American literature.<br />
› San Juan de la Cruz <strong>in</strong> Tactilvisión: The technological mysticism of José Val<br />
del Omar's Tríptico elemental de España, Studies <strong>in</strong> Hispanic C<strong>in</strong>emas, 7.2,<br />
101-115.<br />
Yosefa Loshitzky is Professor of Film, Media and Cultural Studies <strong>in</strong><br />
the School of Humanities and Social Sciences at the University of East<br />
London. Author of some 40 articles and book chapters, Loshitzky’s<br />
work has been translated <strong>in</strong>to French, German, Swedish and Hebrew.<br />
She has been a Visit<strong>in</strong>g Research Fellow at The Institute of Germanic<br />
and Romance Studies, School of Advanced Study, University of<br />
London, The Annenberg School of Communication, University of<br />
Pennsylvania, USA, The Yitzhak Rab<strong>in</strong> Centre for Israel Studies, The<br />
Jerusalem Van Leer Institute, The French CNRS, and The Italian CNR.<br />
From 2004-5 she was a Leverhulme Trust Visit<strong>in</strong>g Professor at<br />
University College London (UCL). From 1994-2003 she served on the<br />
editorial board of C<strong>in</strong>ema Journal.<br />
› The post-Holocaust Jew <strong>in</strong> the age of postcolonialism: La Ha<strong>in</strong>e revisited,<br />
Studies <strong>in</strong> French C<strong>in</strong>ema, 5.2, 137-.<br />
Victoria Lowe is a lecturer <strong>in</strong> Drama and Screen Studies at the<br />
University of Manchester, UK. Her Ph.D. thesis, ‘The mat<strong>in</strong>ee idol and<br />
the false beard’ (2004) exam<strong>in</strong>ed the relationship between performance<br />
and stardom <strong>in</strong> British C<strong>in</strong>ema <strong>in</strong> the 1930s. She is currently<br />
conduct<strong>in</strong>g <strong>research</strong> <strong>in</strong>to the actor’s voice <strong>in</strong> British C<strong>in</strong>ema.<br />
› Escape from the stage? Fromplay to screenplay <strong>in</strong> Britishc<strong>in</strong>ema’s early<br />
sound period, Journal of Screenwrit<strong>in</strong>g, 2.2, 215-228.<br />
Xiaon<strong>in</strong>g Lu Xiaon<strong>in</strong>g Lu is Lecturer <strong>in</strong> Modern Ch<strong>in</strong>ese Culture and Language at<br />
the Department of Ch<strong>in</strong>a and Inner Asia, SOAS, University of London.
School of Oriental and African<br />
Studies, Department of Ch<strong>in</strong>a and<br />
Inner Asia, London, United K<strong>in</strong>gdom<br />
Keywords socialist c<strong>in</strong>ema, film star,<br />
performance, spectatorship<br />
Tongl<strong>in</strong> Lu<br />
Universite de Montreal, Comparative<br />
Literature, Montreal, Canada<br />
Keywords dispositif, contredispositif,<br />
profanation, localization,<br />
globalization<br />
Nikolaj Lübecker<br />
St John’s College, St Giles, Oxford,<br />
OX1 3JP, United K<strong>in</strong>gdom<br />
Keywords Bruno Dumont, avantgarde,<br />
New Extremism, Zabriskie<br />
Po<strong>in</strong>t, culture of redemption<br />
Tiago de Luca<br />
Keywords everyday, realism,<br />
materiality, corporeal, sensory,<br />
domestic privacy, s<strong>in</strong>gularity<br />
Her <strong>research</strong> areas <strong>in</strong>clude socialist c<strong>in</strong>ema, star studies, spectatorship<br />
and popular culture.<br />
› Zhang Ruifang: modell<strong>in</strong>g the socialist Red Star, Journal of Ch<strong>in</strong>ese<br />
C<strong>in</strong>emas, 2.2, 113-122.<br />
After her Ph.D. degree <strong>in</strong> Comparative Literature from Pr<strong>in</strong>ceton <strong>in</strong><br />
1988, Tongl<strong>in</strong> Lu worked at American universities, <strong>in</strong>clud<strong>in</strong>g a oneyear<br />
<strong>research</strong> grant at UC Berkeley, before mov<strong>in</strong>g to Canada <strong>in</strong> 2003.<br />
Currently, she teaches Ch<strong>in</strong>ese literature and c<strong>in</strong>ema and cultural<br />
theory <strong>in</strong> Comparative Literature at the University of Montreal. She<br />
published several monographs, an anthology and a series of articles<br />
concern<strong>in</strong>g gender, sexuality, modernity, Ch<strong>in</strong>ese literature and<br />
c<strong>in</strong>ema. She is author of Confront<strong>in</strong>g Modernity: Contemporary<br />
C<strong>in</strong>ema <strong>in</strong> Taiwan and Ma<strong>in</strong>land Ch<strong>in</strong>a.<br />
› Fantasy and reality of a virtual Ch<strong>in</strong>a <strong>in</strong> Jia Zhangke's film The World,<br />
Journal of Ch<strong>in</strong>ese C<strong>in</strong>emas, 2.3, 163-179.<br />
Nikolaj Lübecker is Fellow <strong>in</strong> French at St John’s College, University<br />
of Oxford. He has previously published articles on Claire Denis, Lars<br />
von Trier and various aspects of (ma<strong>in</strong>ly French) avant-garde culture;<br />
his most recent monograph, published by Cont<strong>in</strong>uum <strong>in</strong> 2009,<br />
concerned the notion of community <strong>in</strong> texts by Breton, Bataille, Sartre<br />
and Barthes.<br />
› Bruno Dumont’s Twentyn<strong>in</strong>e Palms: The avant-garde as tragedy?, Studies <strong>in</strong><br />
French C<strong>in</strong>ema, 11.3, 235-247.<br />
Tiago de Luca was recently awarded his Ph.D. <strong>in</strong> World C<strong>in</strong>emas at the<br />
University of Leeds. He has published <strong>in</strong> academic journals such as<br />
Senses of C<strong>in</strong>ema and New C<strong>in</strong>emas: Journal of Contemporary Film<br />
and has most recently written a chapter on realism and world c<strong>in</strong>ema <strong>in</strong><br />
the anthology Theoriz<strong>in</strong>g World C<strong>in</strong>ema (I. B. Tauris, 2011).<br />
› Reviews, New C<strong>in</strong>emas: Journal of Contemporary Film, 8.1, 59-67.
Bernadette Luciano<br />
University of Auckland, School of<br />
European Languages & Literatures,<br />
Level 7, Arts 1, Build<strong>in</strong>g 206, 14a<br />
Symonds Street, Auckland, New<br />
Zealand<br />
Keywords Italy, Italian c<strong>in</strong>ema,<br />
Italian women filmmakers, mother–<br />
daughter relationship, fem<strong>in</strong>ist film<br />
criticism<br />
Alexandra Ludewig<br />
University of Western Australia,<br />
Faculty of Arts, Humanities and<br />
Social Science<br />
Keywords Tykwer, Wortmann,<br />
German c<strong>in</strong>ema,<br />
Vergangenheitsbewältigung, genre<br />
Jan Lumholdt<br />
Keywords Terry Gilliam, film<br />
festival, Bobcat Goldthwait, Lars von<br />
Trier, Max von Sydow, The Italian<br />
Job (1969), Robert Aldrich<br />
› Sensory everyday: Space, materiality and the body <strong>in</strong> the films of Tsai M<strong>in</strong>gliang,<br />
Journal of Ch<strong>in</strong>ese C<strong>in</strong>emas, 5.2, 157-179.<br />
Bernadette Luciano is Associate Professor of Italian at the University<br />
of Auckland. She has published articles and book chapters on Italian<br />
women’s historical novels, women’s autobiographical writ<strong>in</strong>g; Italian<br />
c<strong>in</strong>ema; film adaptation; and literary translation. She has co-edited an<br />
<strong>in</strong>terdiscipl<strong>in</strong>ary book on NZ/European cross-cultural encounters and<br />
has published a book on Italian filmmaker Silvio Sold<strong>in</strong>i. She is<br />
currently co-author<strong>in</strong>g a book on contemporary Italian women<br />
filmmakers with Dr. Susanna Scarparo.<br />
› Back to the future: The Comenc<strong>in</strong>i sisters and their search for a c<strong>in</strong>ematic<br />
language, Studies <strong>in</strong> European C<strong>in</strong>ema, 4.2, 137-148.<br />
› ‘I bamb<strong>in</strong>i si guardano’: The documentaries of Costanza Quatriglio, Studies<br />
<strong>in</strong> Documentary Film, 5.2-3, 183-196.<br />
Alexandra Ludewig, Associate Dean (Education) and Convenor of<br />
German Studies at The University of Western Australia, has studied<br />
and worked at a variety of universities <strong>in</strong> England, Germany, South<br />
Africa and Australia. Her <strong>research</strong> <strong>in</strong>terests <strong>in</strong>clude questions of<br />
Heimat and identity <strong>in</strong> European film and contemporary German<br />
speak<strong>in</strong>g literature.<br />
› ‘Heimat, Heimat, über alles’: Heimat <strong>in</strong> two contemporary German films,<br />
Studies <strong>in</strong> European C<strong>in</strong>ema, 5.3, 219-232.<br />
Jan Lumholdt was born <strong>in</strong> 1961. He is the Swedish-Danish film critic<br />
for Svenska Dagbladet and author/editor of books on Lars von Trier,<br />
Harriet Anersson, and Per Fly. Other contributions <strong>in</strong>clude: Film<br />
Comment, Ingmar, Film & TV, and Filmkonst. He also does radio and<br />
television work.<br />
› Venetian l<strong>in</strong>es, Film International, 5.1, 79-83.<br />
› Great c<strong>in</strong>ema, great food, Max Von Sydow's real voice and Goddag from<br />
Copenhagen via satellite, Film International, 5.1, 84-86.
Anker Br<strong>in</strong>k Lund<br />
Keywords mediated crime, CSI<br />
effect, television, newspapers, web<br />
media, content analysis, journalism<br />
studies<br />
Arne Lunde<br />
University of California<br />
Keywords Benjam<strong>in</strong> Christensen,<br />
First National, Seven Footpr<strong>in</strong>ts to<br />
Satan, Häxan, émigré, film-mak<strong>in</strong>g,<br />
› Treasure-hunt<strong>in</strong>g at the Tor<strong>in</strong>o Film Festival 10–18 November 2006, Film<br />
International, 5.2, 85-87.<br />
› Marrakech International Film Festival 1–9 December 2006, Film<br />
International, 5.2, 88-89.<br />
› Festivals, Film International, 6.1, 69-95.<br />
› Festivals, Film International, 6.2, 76-97.<br />
› Festivals, Film International, 6.3, 88-96.<br />
› Festivals, Film International, 6.5, 90-97.<br />
› Around the Circuit, Film International, 7.4, 93-96.<br />
› Around the Circuit: Toronto International Film Festival 2009, Film<br />
International, 7.6, 88-96.<br />
› Around the Circuit: San Sebastián, Film International, 7.6, 92-93.<br />
› Around the Circuit: Berl<strong>in</strong> International Film Festival, 1121 February 2010,<br />
Film International, 8.2, 95-97.<br />
› Around the Circuit: Cannes 2010, Film International, 8.4, 96-98.<br />
› Around the Circuit: Around the Circuit: Berl<strong>in</strong> International Film Festival,<br />
1020 February 2011, Film International, 9.2, 95-97.<br />
› Around the Circuit: Cannes 2011, Film International, 9.4, 92-95.<br />
Henrik Jensen, Master-student of Science (MSc) <strong>in</strong> Bus<strong>in</strong>ess<br />
Adm<strong>in</strong>istration and Philosophy, is <strong>research</strong> assistant at Copenhagen<br />
Bus<strong>in</strong>ess School, Department of Bus<strong>in</strong>ess and Politics. He has done the<br />
content analysis and statistics of cross media analysis of crime content<br />
<strong>in</strong> press, television and web media, based on comparative data from the<br />
<strong>research</strong> project One Week of News <strong>in</strong> 2003, and 2008<br />
(www.fbc/nyhedsugen), managed by professor Anker Br<strong>in</strong>kLund,<br />
Copenhagen Bus<strong>in</strong>ess School, Department of Bus<strong>in</strong>ess and Politics.<br />
› Cont<strong>in</strong>uity and change <strong>in</strong> mass-mediated crime coverage: Content analyses<br />
of newspapers, television and web media, Northern Lights: Film & Media<br />
Studies Yearbook, 9., 159-177.<br />
Arne Lunde is Assistant Professor <strong>in</strong> the Scand<strong>in</strong>avian Section at<br />
UCLA. He teaches courses on Nordic c<strong>in</strong>ema as well as on<br />
Scand<strong>in</strong>avian literature. His current <strong>research</strong> focuses on Norwegian<br />
film history and on Scand<strong>in</strong>avian ethnicity <strong>in</strong> American film and<br />
television. His book Nordic Exposures: Scand<strong>in</strong>avian Identities <strong>in</strong><br />
Classical Hollywood C<strong>in</strong>ema is forthcom<strong>in</strong>g from the University of<br />
Wash<strong>in</strong>gton Press.
studio<br />
Wa<strong>in</strong>er Lusoli<br />
JRC Institute for Prospective<br />
Technological Studies, Edificio Expo,<br />
C, Inca Garcilaso 3, Sevilla, 41092,<br />
Spa<strong>in</strong><br />
Keywords Internet, onl<strong>in</strong>e media,<br />
political communication, media,<br />
democracy<br />
Garry Lyons<br />
University of Leeds, School of<br />
Perfomance & Cultural Industries,<br />
Leeds, LS2 9JT, United K<strong>in</strong>gdom<br />
Keywords screenwrit<strong>in</strong>g, playwright,<br />
writ<strong>in</strong>g for performance<br />
Jean Ma<br />
Department of Art and Art History,<br />
Stanford University, 435 Lasuen<br />
Mall, Stanford, California, 94305,<br />
United States of America<br />
Keywords Tsai M<strong>in</strong>g-liang, Grace<br />
Chang, <strong>in</strong>tertextuality, gender, film<br />
music, post-war Ch<strong>in</strong>ese c<strong>in</strong>ema<br />
› After The Celebration: Thomas V<strong>in</strong>terberg's It's All About Love, Film<br />
International, 9.2, 20-29.<br />
› Scand<strong>in</strong>avian auteur as chameleon: how Benjam<strong>in</strong> Christensen re<strong>in</strong>vented<br />
himself <strong>in</strong> Hollywood, 1925–29, Journal of Scand<strong>in</strong>avian C<strong>in</strong>ema, 1.1, 7-23.<br />
Wa<strong>in</strong>er Lusoli is Scientific Officer at the European Commission JRC,<br />
Institute for Prospective Technological Studies. He works on <strong>research</strong><br />
and policy issues related to the Information Society, eGovernance,<br />
digital identity (eID), technological foresight, cloud comput<strong>in</strong>g and<br />
social comput<strong>in</strong>g. He holds an honorary Visit<strong>in</strong>g Research Fellowship<br />
at the University of Chester (2008–2011). More <strong>in</strong>formation on his<br />
<strong>research</strong> is available at http://lusoli.<strong>in</strong>fo.<br />
› What's the story…? Onl<strong>in</strong>e news consumption <strong>in</strong> the 2005 UK election,<br />
Northern Lights: Film & Media Studies Yearbook, 7.1, 51-71.<br />
Garry Lyons is an award-w<strong>in</strong>n<strong>in</strong>g screenwriter, playwright and<br />
producer with more than 25 years professional drama-mak<strong>in</strong>g<br />
experience. His television work has been broadcast <strong>in</strong> more than 60<br />
countries, <strong>in</strong>clud<strong>in</strong>g on HBO <strong>in</strong> the United States. S<strong>in</strong>ce 2003 he has<br />
been Lecturer <strong>in</strong> Writ<strong>in</strong>g for Performance at the University of Leeds.<br />
› Brita<strong>in</strong>’s First SuicideBombers – The script and thescreenwriter <strong>in</strong><br />
dramatizeddocumentary for television, Journal of Screenwrit<strong>in</strong>g, 2.2, 249-<br />
262.<br />
vJean Ma is Assistant Professor of Art and Art History at Stanford<br />
University, where she teaches <strong>in</strong> the Film and Media Studies program.<br />
She is the author of Melancholy Drift: Mark<strong>in</strong>g Time <strong>in</strong> Ch<strong>in</strong>ese<br />
C<strong>in</strong>ema (2010) and coeditor (with Karen Beckman) of Still Mov<strong>in</strong>g:<br />
Between C<strong>in</strong>ema and Photography (2008). Her work has appeared <strong>in</strong><br />
Post Script, Grey Room, Global Art C<strong>in</strong>ema: New Theories and<br />
Histories and A Companion to Michael Haneke.<br />
› Delayed voices: Intertextuality, music and gender <strong>in</strong> The Hole, Journal of<br />
Ch<strong>in</strong>ese C<strong>in</strong>emas, 5.2, 123-139.
Ian W. Macdonald<br />
University of Leeds, Institute of<br />
Communication Studies,<br />
Clothworkers North Build<strong>in</strong>g, Leeds,<br />
LS2 9JT, United K<strong>in</strong>gdom<br />
Keywords screenplay, screenwrit<strong>in</strong>g,<br />
read<strong>in</strong>g, adaptation, evaluation,<br />
proposition, scenario, photoplay<br />
David MacFadyen<br />
University of California, Department<br />
of Slavic Languages and Literatures,<br />
322 Humanities Build<strong>in</strong>g, BOX<br />
951502, Los Angeles, California,<br />
90095-1502, United States of<br />
America<br />
Keywords Soviet c<strong>in</strong>ema, Oscar,<br />
stagnation, official press, fairy tale<br />
Dr. Ian Macdonald is Director, Louis Le Pr<strong>in</strong>ce Centre for C<strong>in</strong>ema,<br />
Photography and Television, Institute of Communication Studies,<br />
University of Leeds. Research <strong>in</strong>terests <strong>in</strong>clude screenwrit<strong>in</strong>g, narrative<br />
and the mov<strong>in</strong>g image, film and television practice, film and television<br />
history and education with<strong>in</strong> these subjects. Formerly Head of the<br />
Northern Film School (1992–2001), he has broadcast TV experience at<br />
LWT and as a freelance, and has taught screenwrit<strong>in</strong>g s<strong>in</strong>ce 1993. He is<br />
currently Course Leader for the BA <strong>in</strong> TV Production, on which he<br />
teaches screen fiction and screenwrit<strong>in</strong>g. Publications <strong>in</strong>clude<br />
articles <strong>in</strong> the Journal of Media Practice and the Journal of<br />
Screenwrit<strong>in</strong>g (of which he is co-editor). Has served as Chairman and<br />
Treasurer of AMPE, and on the Executive Board of MeCCSA, and is<br />
Co-ord<strong>in</strong>ator of the Screenwrit<strong>in</strong>g Research Network.<br />
› Editorial, Journal of Screenwrit<strong>in</strong>g, 1.1, 7-10.<br />
› ‘…So it’s not surpris<strong>in</strong>g I’m neurotic’ The Screenwriter and the Screen Idea<br />
Work Group, Journal of Screenwrit<strong>in</strong>g, 1.1, 45-58.<br />
› Book Reviews, Journal of Screenwrit<strong>in</strong>g, 2.1, 133-149.<br />
› Editorial, Journal of Screenwrit<strong>in</strong>g, 2.2, 155-160.<br />
› Lost and gone for ever?The search for early Britishscreenplays, Journal of<br />
Screenwrit<strong>in</strong>g, 2.2, 161-177.<br />
David MacFadyen is Professor of Slavic Languages and Literatures at<br />
the University of California, Los Angeles. He is a graduate of the<br />
University of London and UCLA and has authored books on subjects<br />
rang<strong>in</strong>g from the poetry of Joseph Brodsky (Joseph Brodsky and the<br />
Baroque, 1999; Joseph Brodsky and the Soviet Muse, 2000), to Russian<br />
popular songs (Red Stars: Personality and the Soviet Popular Song<br />
after 1955, 2001; Èstrada?! Grand Narratives and the Philosophy of<br />
the Russian Popular Song 1982–2000, 2001; Songs for Fat People:<br />
Affect, Emotion and Celebrity <strong>in</strong> the Soviet Popular Song, 1900 to<br />
1955, 2002), to animated and feature films of the Soviet Union (The<br />
Sad Comedy of Èl’dar Riazanov, 2003; Yellow Crocodiles and Blue<br />
Oranges: Russian Animated Film, 2004).<br />
› Moscow Does Not Believe <strong>in</strong> Tears:From Oscar to consolation prize, Studies<br />
<strong>in</strong> Russian and Soviet C<strong>in</strong>ema, 1.1, 45-68.<br />
Aaron Magnan-Park Aaron Han Joon Magnan-Park is Assistant Professor <strong>in</strong> the Department
University of Notre Dame,<br />
Department of Film, Television, and<br />
Theatre, Notre Dame, 46556, United<br />
States of America<br />
Keywords Asian c<strong>in</strong>ema, Chung<br />
Chang Wha, 5 F<strong>in</strong>gers of Death<br />
Joseph Mai<br />
Clemson University, Department of<br />
Languages, Clemson, South Carol<strong>in</strong>a,<br />
United States of America<br />
Keywords body, de-figuration,<br />
<strong>in</strong>fluence, representation, voice<br />
Ingeborg Majer-O’Sickey<br />
B<strong>in</strong>ghamton University, German and<br />
Women's Studies, B<strong>in</strong>ghamton, New<br />
York, United States of America<br />
Keywords women's studies, German<br />
studies, German visual culture<br />
Ir<strong>in</strong>a Makoveeva<br />
Vanderbilt University, Department of<br />
of Film, Television, and Theatre at the University of Notre Dame. He<br />
specializes <strong>in</strong> Asian c<strong>in</strong>ema, connect<strong>in</strong>g action with aesthetics, culture,<br />
history and theory <strong>in</strong> a global framework. His most recent essay is a<br />
study of director Chung Chang Wha and '5 F<strong>in</strong>gers of Death'<br />
forthcom<strong>in</strong>g <strong>in</strong> the Journal of Korean Studies.<br />
› Technologized tae kwon do millennialism: Robot Taekwon V and the<br />
assertion of a triumphant South Korean national identity, Journal of<br />
Japanese & Korean C<strong>in</strong>ema, 2.2, 109-130.<br />
Joseph Mai is an assistant professor, French and Film Studies at<br />
Clemson University (South Carol<strong>in</strong>a, USA). His publications <strong>in</strong>clude<br />
forthcom<strong>in</strong>g articles on the Dardenne Brothers and Julie Lopès-Curval.<br />
Dr. Mai earned his BA from Northern Ill<strong>in</strong>ois, his MA from the<br />
University of Ill<strong>in</strong>ois, and his Ph.D. <strong>in</strong> French from Yale University<br />
(2004). He has also studied at the École Normale Supérieure <strong>in</strong> Paris<br />
and taught at Tulane University. He completed a Ph.D. dissertation<br />
entitled 'Lost Order: Repercussions of Secularization on Literary and<br />
Film Rhetoric'. Research Interests <strong>in</strong>clude French c<strong>in</strong>ema, history and<br />
theory; religious/secular tensions <strong>in</strong> literature, film and culture.<br />
› ‘New(er) stories’: Narration and de-figuration <strong>in</strong> Robert Bresson's Mouchette<br />
(1967), Studies <strong>in</strong> French C<strong>in</strong>ema, 7.1, 31-42.<br />
An Associate Professor of German and Women’s Studies, Majer-<br />
O’Sickey teaches German film studies and literature at B<strong>in</strong>ghamton<br />
University. She is editor and co-editor of three anthologies, has<br />
published widely on German visual culture and is currently complet<strong>in</strong>g<br />
a study on representations of women <strong>in</strong> Weimar and Third Reich<br />
C<strong>in</strong>ema.<br />
› European C<strong>in</strong>ema: Experiment, ma<strong>in</strong>stream and praxis, Studies <strong>in</strong> European<br />
C<strong>in</strong>ema, 7.1, 5-10.<br />
Ir<strong>in</strong>a Makoveeva is Mellon Assistant Professor at Vanderbilt<br />
University. Her articles have appeared <strong>in</strong> Slavic and East European<br />
Journal, Tolstoy Studies Journal and Studies <strong>in</strong> Slavic Cultures.
Germanic and Slavic Languages,<br />
Nashville, United States of America<br />
Keywords gender, post-Soviet<br />
c<strong>in</strong>ema, female avenger, rape-revenge<br />
film<br />
Joshua Malitsky<br />
Indiana University, Department of<br />
Communication and Culture, 800 East<br />
Third Street, Bloom<strong>in</strong>gton, Indiana,<br />
47405, United States of America<br />
Keywords truth, <strong>in</strong>dexicality,<br />
circulation, actor network theory,<br />
science studies<br />
Tijana Mamula<br />
University of London, Department of<br />
Film Studies, K<strong>in</strong>g's College London,<br />
Strand, London, WC2R 2LS, United<br />
K<strong>in</strong>gdom<br />
Keywords l<strong>in</strong>guistics, European exile<br />
film-mak<strong>in</strong>g, French c<strong>in</strong>ema<br />
Currently she is work<strong>in</strong>g on two projects. While her first project,<br />
Mythologiz<strong>in</strong>g ‘Anna Karen<strong>in</strong>a’, exam<strong>in</strong>es the novel’s transfiguration<br />
<strong>in</strong>to the master narrative of adulterous love, her second project,<br />
Invad<strong>in</strong>g Male Territory, focuses on the issues of female agency as<br />
represented by women film-makers <strong>in</strong> post-Soviet c<strong>in</strong>ema.<br />
› The woman-avenger on the post-Soviet screen, Studies <strong>in</strong> Russian and Soviet<br />
C<strong>in</strong>ema, 4.2, 147-159.<br />
Joshua Malitsky is Assistant Professor <strong>in</strong> the Department of<br />
Communication and Culture at Indiana University. He is a film scholar<br />
<strong>who</strong> studies the role of documentaries <strong>in</strong> nation-build<strong>in</strong>g <strong>in</strong> postrevolutionary<br />
socialist states, <strong>in</strong> particular the USSR, Cuba and<br />
Yugoslavia. His teach<strong>in</strong>g and <strong>research</strong> <strong>in</strong>terests <strong>in</strong>clude documentary<br />
history, theory, and criticism; non-fiction film and nation-build<strong>in</strong>g;<br />
<strong>in</strong>tersections between documentary, ethnographic film, and the avantgarde;<br />
early Soviet c<strong>in</strong>ema; Cuban c<strong>in</strong>ema; West African c<strong>in</strong>ema;<br />
realism; and sports media. He is currently work<strong>in</strong>g on a book<br />
manuscript entitled Post-Revolution Non-Fiction Film: Build<strong>in</strong>g the<br />
Soviet, Yugoslav, and Cuban Nations. Professor Malitsky is affiliated<br />
faculty with the Russian and Eastern European Institute (REEI) and<br />
Center for Lat<strong>in</strong> American and Caribbean Studies (CLACS).<br />
› Actor-network theory and documentary studies, Studies <strong>in</strong> Documentary<br />
Film, 4.1, 65-78.<br />
Tijana Mamula is a Ph.D. candidate <strong>in</strong> Film Studies at K<strong>in</strong>g’s College,<br />
University of London. Her thesis focuses on the relationship between<br />
l<strong>in</strong>guistic displacement and visuality <strong>in</strong> European exile and émigré<br />
film-mak<strong>in</strong>g.<br />
› Matricide, <strong>in</strong>dexicality and abstraction <strong>in</strong> Chantal Akerman’s News from<br />
Home and Là-bas, Studies <strong>in</strong> French C<strong>in</strong>ema, 8.3, 265-275.<br />
› Reviews, Transnational C<strong>in</strong>emas, 1.2, 181-191.<br />
Franco Manai S<strong>in</strong>ce 1993 Franco Manai has been teach<strong>in</strong>g Italian culture at the<br />
University of Auckland, New Zealand. He has written monographs on
School of European Languages and<br />
Literatures, Department of Italian,<br />
Arts 1 Build<strong>in</strong>g, 14a Symonds Street,<br />
Auckland, Private Bag 92019, 1142,<br />
New Zealand<br />
Keywords globalization, American<br />
c<strong>in</strong>ema<br />
Krishna Manavalli<br />
Ill<strong>in</strong>ois State University, Department<br />
of English, Ill<strong>in</strong>ois, United States of<br />
America<br />
Keywords postcolonialism, diaspora,<br />
fem<strong>in</strong>ism, South Asian c<strong>in</strong>ema<br />
Sunil Manghani<br />
York St John University, Faculty of<br />
Arts, Lord Mayor's Walk, York,<br />
North Yorkshire, YO31 7EX, United<br />
K<strong>in</strong>gdom<br />
Keywords critical theory, cultural<br />
studies, image media neutral, new<br />
media, visual culture<br />
Christos Manolas<br />
University of York, Deaprtment of<br />
Italian writers Luigi Capuana and Giulio Angioni and various articles<br />
on Italian classical authors, such as Petrarch, Pietro Bembo, Niccolò<br />
Machiavelli and Carlo Goldoni, as well as on Italian authors of popular<br />
culture such as Loriano Macchiavelli, Andrea De Carlo and Fruttero &<br />
Lucent<strong>in</strong>i.<br />
› The movie P<strong>in</strong>occhio by Roberto Benigni and its reception <strong>in</strong> the United<br />
States, Studies <strong>in</strong> European C<strong>in</strong>ema, 6.2&3, 153-163.<br />
Krishna Manavalli is currently an assistant professor <strong>in</strong> the Department<br />
of English at Ill<strong>in</strong>ois State University. She specializes <strong>in</strong> Postcolonial<br />
Studies and Global Literatures. Her <strong>research</strong> <strong>in</strong>terests <strong>in</strong>clude<br />
contemporary British literature, diaspora studies, literatures <strong>in</strong> the<br />
regional languages of South India, fem<strong>in</strong>ism, South Asian film studies<br />
and translations.<br />
› Imag<strong>in</strong><strong>in</strong>g women and diaspora <strong>in</strong> the 1990s Bollywood film: A ‘close-up’<br />
look at the visual politics <strong>in</strong> Pardes, Studies <strong>in</strong> South Asian Film & Media,<br />
2.2, 71-84.<br />
Sunil Manghani is Reader <strong>in</strong> Critical & Cultural Theory at York St<br />
John University, United K<strong>in</strong>gdom. His publications appear <strong>in</strong> Theory,<br />
Culture & Society, Film International, Invisible Culture, Journal of<br />
Visual Art Practice and Culture, Theory and Critique. He is co-editor<br />
of Images: A Reader (Sage, 2006), an anthology of writ<strong>in</strong>gs on the<br />
image from Plato to the present. He is currently work<strong>in</strong>g on an Image<br />
Studies textbook, as well pursu<strong>in</strong>g a <strong>research</strong> <strong>in</strong>terest <strong>in</strong> aspects of<br />
neutrality.<br />
› Mak<strong>in</strong>g metapictures political: public screen<strong>in</strong>gs of the fall of the Berl<strong>in</strong><br />
Wall, Northern Lights: Film & Media Studies Yearbook, 7.1, 113-131.<br />
› Public (re)visions: critical pictures of the fall of the Berl<strong>in</strong> Wall, Film<br />
International, 4.24, 16-27.<br />
Christos Manolas is a graduate of the University of York (MSc <strong>in</strong><br />
Music Technology, MA <strong>in</strong> Postproduction/Sound Design) with<br />
undergraduate studies <strong>in</strong> music (Diploma <strong>in</strong> Music Performance
Theatre, Film and Television, Baird<br />
Lane, Hesl<strong>in</strong>gton (East), YO10 5GB,<br />
United K<strong>in</strong>gdom<br />
Keywords multi-channel sound,<br />
surround sound, narrative,<br />
spatialization, 3D, sound sources<br />
Lev Manovich<br />
University of California - San Diego,<br />
Visual Arts Department, 9500 Gilman<br />
Drive, La Jolla, California, CA<br />
92093-0327, United States of<br />
America<br />
Keywords remediation, metamedium,<br />
new-media theory<br />
Rebecca J. Manr<strong>in</strong>g<br />
Indiana University, Indiana, United<br />
States of America<br />
Keywords India, Sanskrit Indian<br />
literatures, South Asian c<strong>in</strong>ema,<br />
Gaudiya Vaisnavism<br />
Viol<strong>in</strong>) and Information Technology (Multimedia Programm<strong>in</strong>g,<br />
Comput<strong>in</strong>g). Christos’ <strong>in</strong>terests and previous work <strong>in</strong>clude music<br />
composition and performance, sound eng<strong>in</strong>eer<strong>in</strong>g, sound design and<br />
software development. Currently, he is study<strong>in</strong>g for a Ph.D. degree<br />
(related with the role of multichannel soundtracks <strong>in</strong> 3D c<strong>in</strong>ema) under<br />
the supervision of Dr. Sandra Pauletto <strong>in</strong> the department of Theatre,<br />
Film and TV <strong>in</strong> the University of York.<br />
› Enlarg<strong>in</strong>g the Diegetic Space: Uses of the Multi-channel Soundtrack <strong>in</strong><br />
C<strong>in</strong>ematic Narrative, The Soundtrack, 2.1, 39-55.<br />
Lev Manovich's books <strong>in</strong>clude Software Takes Command (released<br />
under CC license, 2008), Soft C<strong>in</strong>ema: Navigat<strong>in</strong>g the Database (The<br />
MIT Press, 2005), and The Language of New Media (The MIT Press,<br />
2001) which is hailed as 'the most suggestive and broad rang<strong>in</strong>g media<br />
history s<strong>in</strong>ce Marshall McLuhan.' He has written over 90 articles which<br />
have been repr<strong>in</strong>ted over 300 times <strong>in</strong> over 30 countries. Manovich is a<br />
Professor <strong>in</strong> Visual Arts Department, University of California, San<br />
Diego, a Director of the Software Studies Initiative at California<br />
Institute for Telecommunications and Information Technology (Calit2),<br />
and a Visit<strong>in</strong>g Research Professor at Godsmith College (University of<br />
London), De Montfort University (UK) and College of F<strong>in</strong>e Arts,<br />
University of New South Wales (Sydney).<br />
› Alan Kay's universal media mach<strong>in</strong>e, Northern Lights: Film & Media Studies<br />
Yearbook, 5.1, 39-56.<br />
Rebecca J. Manr<strong>in</strong>g is Associate Professor of India Studies and<br />
Religious Studies at Indiana University, where she teaches Sanskrit,<br />
Indian literatures, and courses on women <strong>in</strong> South Asian religions and<br />
South Asian c<strong>in</strong>ema. Her <strong>research</strong> <strong>in</strong>terests <strong>in</strong>clude Gaudiya<br />
Vaisnavism and sectarian grammars.<br />
› REVIEWS, Studies <strong>in</strong> South Asian Film & Media, 2.2, 119-136.<br />
Steven Maras Dr. Steven Maras is Senior Lecturer <strong>in</strong> Media and Communications at<br />
the University of Sydney. A graduate of Curt<strong>in</strong> University <strong>in</strong> Western
The University of Sydney, Media and<br />
Communications Department, Faculty<br />
of Arts and Social Sciences, Holme<br />
Build<strong>in</strong>g A09a, New South Wales<br />
2006, Australia<br />
Keywords video, production,<br />
screenwrit<strong>in</strong>g<br />
Steven Marchant<br />
Royal Holloway University of<br />
London, Media Arts Department,<br />
Egham, Surrey, TW20 0EX, United<br />
K<strong>in</strong>gdom<br />
Keywords shot, suture, Antonioni,<br />
Béla Tarr, Werckmeister Harmonies<br />
Silvia Marchetti<br />
University of Michigan, United States<br />
of America<br />
Keywords Kusturica, Italy, Gypsy<br />
community, culture, home<br />
G<strong>in</strong>a Marchetti<br />
University of Hong Kong,<br />
Department of Comparative<br />
Literature, Pokfulam Road, Hong<br />
Kong<br />
Keywords Edward Yang, Mahjong,<br />
Australia (1988), Steven studied Honours at Murdoch University, and<br />
received his Ph.D. <strong>in</strong> Communication Studies from Murdoch<br />
University (1994). He jo<strong>in</strong>ed the Media and Communications<br />
department <strong>in</strong> 2005 after ten years teach<strong>in</strong>g at the University of<br />
Western Sydney. He has published articles and essays <strong>in</strong> numerous<br />
journals <strong>in</strong> Australia and <strong>in</strong>ternationally, and is on the editorial<br />
advisory board of Cont<strong>in</strong>uum: Journal of Media and Cultural Studies<br />
and the Journal of Screenwrit<strong>in</strong>g.<br />
› Some attitudes andtrajectories <strong>in</strong> screenwrit<strong>in</strong>g<strong>research</strong>, Journal of<br />
Screenwrit<strong>in</strong>g, 2.2, 275-286.<br />
Steven Marchant teaches film history and film theory. His <strong>research</strong><br />
explores the way films give form to events, with special emphasis on<br />
1940s Hollywood (, Rebecca, Citizen Kane) and modern c<strong>in</strong>ema <strong>in</strong><br />
Europe (Antonioni, Béla Tarr, Godard, Rivette, Tarkovsky, Rossell<strong>in</strong>i).<br />
› Noth<strong>in</strong>g counts: shot and event <strong>in</strong> Werckmeister Harmonies, New C<strong>in</strong>emas:<br />
Journal of Contemporary Film, 7.2, 137-154.<br />
Silvia Marchetti is a doctoral student at the University of Michigan,<br />
where she also teaches Italian language, culture, and literature. Among<br />
her areas of <strong>research</strong> are contemporary Italian literature and film, and<br />
migration studies, and translation. Her dissertation focuses on the<br />
notion of ‘m<strong>in</strong>or’ <strong>in</strong> Italian literature and film.<br />
› Blend<strong>in</strong>g cultures, shift<strong>in</strong>g homes: Emir Kusturica's Time of the Gypsies,<br />
Studies <strong>in</strong> European C<strong>in</strong>ema, 5.3, 197-206.<br />
G<strong>in</strong>a Marchetti, Ph.D. (Northwestern) teaches <strong>in</strong> the Department of<br />
Comparative Literature, School of Humanities, at the University of<br />
Hong Kong. In 1995, her book, Romance and the 'Yellow Peril': Race,<br />
Sex and Discursive Strategies <strong>in</strong> Hollywood Fiction (University of<br />
California, 1993), won the award for best book <strong>in</strong> the area of cultural<br />
studies from the Association for Asian American Studies. Her recent<br />
books <strong>in</strong>clude Andrew Lau and Alan Mak's Infernal Affairs (2002-
Hou Hsiao-hsien, Good-Bye South,<br />
Taiwanese c<strong>in</strong>ema, Taiwanese<br />
gangster culture, youth subculture,<br />
national identity, Ang Lee, The<br />
Incredible Hulk, Fresh Kill, Shu Lea<br />
Cheang, Confucian morality<br />
Greil Marcus<br />
Keywords Greil Marcus, Mart<strong>in</strong><br />
Scorsese, D. A. Pennebaker Joan<br />
Baez, Telluride Film Festival<br />
Paola Margulis<br />
Instituto de Investigaciones G<strong>in</strong>o<br />
Germani, Facultad de Ciencias<br />
Sociales, Universidad de Buenos<br />
Aires, Uriburu 950, 6° piso, (1114)<br />
Capital Federal, Buenos Aires,<br />
Argent<strong>in</strong>a<br />
Keywords documentary film,<br />
archival images, visual depiction of<br />
the masses<br />
Matthew J. Marr<br />
Pennsylvania State University,<br />
Department of Spanish, Italian, and<br />
2003) (Hong Kong: Hong Kong University Press, 2007), From<br />
Tian'anmen to Times Square: Transnational Ch<strong>in</strong>a and the Ch<strong>in</strong>ese<br />
Diaspora on Global Screens (Philadelphia: Temple University Press,<br />
2006), and Hong Kong Film, Hollywood and the New Global C<strong>in</strong>ema,<br />
co-edited with Tan See-Kam (London: Routledge, 2007).<br />
› Race, Class, Gender, and Television Action, Film International, 1.2, 33-43.<br />
› Taiwanese Triads <strong>in</strong> the Transnational Imag<strong>in</strong>ation: Mahjong and Goodbye,<br />
South, Goodbye, Film International, 2.9, 28-41.<br />
› Hollywood/Taiwan: Connections, Countercurrents, and Ang Lee, Film<br />
International, 2.12, 42-50.<br />
Greil Marcus is the author of Lipstick Traces. His The Shape of Th<strong>in</strong>gs<br />
to Come: Prophecy and the American Voice, was published <strong>in</strong> August<br />
2006 by Faber & Faber. From 2006 he has taught at the University of<br />
California at Berkeley and at Pr<strong>in</strong>ceton University.<br />
› The World Premier of No Direction Home, Studies <strong>in</strong> Documentary Film,<br />
1.1, 49-52.<br />
Paola Margulis is complet<strong>in</strong>g her Ph.D. <strong>in</strong> social sciences at the<br />
Universidad de Buenos Aires – on Argent<strong>in</strong>a’s documentary c<strong>in</strong>ema<br />
dur<strong>in</strong>g the transition to democracy, with a scholarship for graduate<br />
studies from the CONICET. She teaches History of the Media at the<br />
School of Communications of the Universidad de Buenos Aires. Ms.<br />
Margulis has written several articles and book chapters on<br />
documentary c<strong>in</strong>ema, the status of archival images and the visual<br />
depiction of the masses, among other topics.<br />
› A professional without borders: The case of the documentary film-maker<br />
Carlos Echeverría <strong>in</strong> Germany and Argent<strong>in</strong>a, Studies <strong>in</strong> Documentary Film,<br />
5.1, 3-15.<br />
Matthew J. Marr is Assistant Professor of Spanish at The Pennsylvania<br />
State University. He is currently at work on a book that exam<strong>in</strong>es the<br />
politics of representation with regard to age and disability <strong>in</strong> recent<br />
Spanish c<strong>in</strong>ema. He specializes <strong>in</strong> contemporary Pen<strong>in</strong>sular studies,
Portuguese, 237 Burrowes Build<strong>in</strong>g,<br />
University Park, Pennsylvania, 16802,<br />
United States of America<br />
Keywords comedic horror, socialissue<br />
c<strong>in</strong>ema, ag<strong>in</strong>g, subjectivity,<br />
representation<br />
Adrian Mart<strong>in</strong><br />
Monash University, School of<br />
English, Communications and<br />
Performance Studies, Faculty of Arts,<br />
Victoria, 3800, Australia<br />
Keywords experimental c<strong>in</strong>ema,<br />
music, sound, rhythm digital c<strong>in</strong>ema,<br />
<strong>in</strong>termediality<br />
Florence Mart<strong>in</strong><br />
Goucher College, French and<br />
Francophone C<strong>in</strong>ema and Literature,<br />
2411 Everton Rd, Mount Wash<strong>in</strong>gton,<br />
with an emphasis on poetry, fiction, and c<strong>in</strong>ema produced from Spa<strong>in</strong>’s<br />
post-Franco transition to democracy through the present. In exam<strong>in</strong><strong>in</strong>g<br />
how literary and filmic texts reflect, promote, and negotiate this<br />
period’s dynamic turn toward a culture of pluralism, his scholarship<br />
engages with a host of theoretical debates (postmodernism,<br />
transnationalism, age and disability studies), topical and<br />
methodological <strong>in</strong>terests (humour <strong>in</strong> poetry, youth countercultures,<br />
<strong>in</strong>tertextuality, comparative approaches to the novel), aesthetic trends<br />
and movements ('Generation X', la poesía de la experiencia, socialissue<br />
c<strong>in</strong>ema), and authors/filmmakers (among others, Esther Tusquets,<br />
Antonio Muñoz Mol<strong>in</strong>a, Javier Cercas, José Ángel Mañas, Vicente<br />
Gallego, Luis García Montero, Alejandro Amenábar, and Pedro<br />
Almodóvar).<br />
› Representation and the cultural politics of ag<strong>in</strong>g <strong>in</strong> Just<strong>in</strong>o, un ases<strong>in</strong>o de la<br />
tercera edad (La Cuadrilla, 1994), Studies <strong>in</strong> Hispanic C<strong>in</strong>emas, 6.2, 139-<br />
152.<br />
Adrian Mart<strong>in</strong> is Associate Professor of Film and Television Studies<br />
and Co-Director of the Research Unit <strong>in</strong> Film Culture and Theory at<br />
Monash University, Melbourne, Australia. He is the author of five<br />
books and numerous articles and reviews translated <strong>in</strong>to many<br />
languages. He is currently complet<strong>in</strong>g A Secret C<strong>in</strong>ema and launch<strong>in</strong>g<br />
both his own website archive and a new onl<strong>in</strong>e film magaz<strong>in</strong>e, .<br />
› Lessons of noise and silence: avant-garde c<strong>in</strong>ema and experimental music <strong>in</strong><br />
Australia, Studies <strong>in</strong> Australasian C<strong>in</strong>ema, 1.2, 223-234.<br />
› The artist between images and across media: James Clayden, Studies <strong>in</strong><br />
Australasian C<strong>in</strong>ema, 3.2, 179-189.<br />
› Ozploitation compared to what? A challenge to contemporary Australian film<br />
studies, Studies <strong>in</strong> Australasian C<strong>in</strong>ema, 4.1, 9-21.<br />
› Another k<strong>in</strong>d of river, Studies <strong>in</strong> Documentary Film, 1.1, 53-58.<br />
› The Mislead<strong>in</strong>g Man: Dennis Hopper, Film International, 5.1, 32-44.<br />
› Mystery envelope: Kitchen S<strong>in</strong>k as Female Gothic, Short Film Studies, 2.1,<br />
75-78.<br />
Florence Mart<strong>in</strong> is Professor of French and Francophone C<strong>in</strong>ema and<br />
Literatures at Goucher College, Baltimore, USA. Her work on<br />
Maghrebi c<strong>in</strong>ema has been published <strong>in</strong> France, Tunisia, the United<br />
K<strong>in</strong>gdom and the United States, and her latest book is titled Screens<br />
and Veils: Maghrebi Women’s C<strong>in</strong>ema (Indiana University Press,
Baltimore, MD 21209, United States<br />
of America<br />
Keywords Malika Mokeddem,<br />
nomad, sedentary, Mediterranean,<br />
language<br />
Fran Mart<strong>in</strong><br />
University of Melbourne, Cultural<br />
Studies, Department of English with<br />
Cultural Studies, Victoria, Australia<br />
Keywords Ch<strong>in</strong>ese c<strong>in</strong>ema,<br />
Taiwanese c<strong>in</strong>ema, sexuality, gender<br />
Daniel Mart<strong>in</strong><br />
Queen's University Belfast, Film<br />
Studies, Belfast, Northern Ireland,<br />
BT7 1NN, United K<strong>in</strong>gdom<br />
Keywords genre, market<strong>in</strong>g, Fulltime<br />
Killer, Election, Exiled<br />
David Mart<strong>in</strong>-Jones<br />
University of St Andrews, Scotland,<br />
Department of Film Studies, 99 North<br />
St, St Andrews, Fife, KY16 9AD,<br />
2011).<br />
› Film<strong>in</strong>g the body Guiana: Ala<strong>in</strong> Mal<strong>in</strong>e's Jean Galmot aventurier (1990),<br />
Studies <strong>in</strong> French C<strong>in</strong>ema, 2.1, 32-40.<br />
› Silence and scream: Moufida Tlatli’s c<strong>in</strong>ematic suite, Studies <strong>in</strong> French<br />
C<strong>in</strong>ema, 4.3, 175-186.<br />
› Transvergence and cultural detours: Nadia El Fani's Bedw<strong>in</strong> Hacker (2002),<br />
Studies <strong>in</strong> French C<strong>in</strong>ema, 7.2, 119-130.<br />
Fran Mart<strong>in</strong> is Senior Lecturer <strong>in</strong> Cultural Studies at the University of<br />
Melbourne. Her publications <strong>in</strong>clude Backward Glances:<br />
Contemporary Ch<strong>in</strong>ese Cultures and the Female Homoerotic<br />
Imag<strong>in</strong>ary (Duke University Press, 2010) and Situat<strong>in</strong>g Sexualities:<br />
Queer Representation <strong>in</strong> Taiwanese Fiction, Film and Public Culture<br />
(Hong Kong University Press, 2003).<br />
› Introduction: Tsai M<strong>in</strong>g-liang's <strong>in</strong>timate public worlds, Journal of Ch<strong>in</strong>ese<br />
C<strong>in</strong>emas, 1.2, 83-88.<br />
Daniel Mart<strong>in</strong> is Lecturer <strong>in</strong> Film Studies at Queen’s University<br />
Belfast. He has a special <strong>in</strong>terest <strong>in</strong> South East Asian c<strong>in</strong>ema, and his<br />
<strong>research</strong> concerns the <strong>in</strong>ternational circulation of South Korean,<br />
Japanese and Hong Kong c<strong>in</strong>ema. His Ph.D. thesis was a study of the<br />
market<strong>in</strong>g and critical reception of cult Asian c<strong>in</strong>ema <strong>in</strong> the United<br />
K<strong>in</strong>gdom, with a particular focus on Tartan’s ‘Asia Extreme’ brand. He<br />
has published articles <strong>in</strong> C<strong>in</strong>ema Journal and Scope: An Onl<strong>in</strong>e Journal<br />
of Film Studies, and he has written reports for the Korean Film<br />
Council.<br />
› Another week, another Johnnie To film: the market<strong>in</strong>g and distribution of<br />
postcolonial Hong Kong action c<strong>in</strong>ema, Film International, 7.4, 30-39.<br />
Dr David Mart<strong>in</strong>-Jones lectures <strong>in</strong> Film Studies at The University of St<br />
Andrews, Scotland. He is the author of Deleuze, C<strong>in</strong>ema and National<br />
Identity (Ed<strong>in</strong>burgh University Press, 2006), has published articles <strong>in</strong> a<br />
number of <strong>in</strong>ternational journals (<strong>in</strong>clud<strong>in</strong>g C<strong>in</strong>ema Journal, Screen<br />
and C<strong>in</strong>eAction) and is on the editorial boards of Film-Philosophy and
United K<strong>in</strong>gdom<br />
Keywords world c<strong>in</strong>ema, national<br />
identity, transnational identity, Gilles<br />
Deleuze, tourism<br />
Susan Mart<strong>in</strong>-Márquez<br />
Rutgers University, Spanish &<br />
Portuguese, New Brunswick, New<br />
Jersey, United States of America<br />
Keywords oral history, Francoism,<br />
daily life, gender, sexuality<br />
Thomas Mart<strong>in</strong>ec<br />
University of Regensburg, German<br />
Studies, Institute for German Studies,<br />
D-93040 Regensburg, Germany<br />
Keywords adaptation of poetry,<br />
spontaneity, poetic coherence,<br />
describ<strong>in</strong>g the <strong>in</strong>visible, sound of<br />
language<br />
The Journal of Deleuzian Studies. His <strong>research</strong> <strong>in</strong>terests focus on<br />
questions of national identity <strong>in</strong> a range of c<strong>in</strong>emas from around the<br />
world.<br />
› Bicycle Thieves or Thieves on Bicycles? El Baño del Papa (2007), Studies <strong>in</strong><br />
Hispanic C<strong>in</strong>emas, 4.3, 183-198.<br />
Professor Mart<strong>in</strong>-Márquez's <strong>research</strong> and teach<strong>in</strong>g centre on modern<br />
Spanish Pen<strong>in</strong>sular cultural studies and Spanish-language film. She is<br />
also Director of Rutgers' Program <strong>in</strong> C<strong>in</strong>ema Studies, and teaches<br />
courses on world c<strong>in</strong>ema. Her film-related books <strong>in</strong>clude Fem<strong>in</strong>ist<br />
Discourse and Spanish C<strong>in</strong>ema: Sight Unseen (Oxford UP, 1999), and<br />
the collaborative project, C<strong>in</strong>ema and Everyday Life <strong>in</strong> 1940s and<br />
1950s Spa<strong>in</strong>: An Oral History (Berghahn Books, 2011). Other<br />
scholarly work focuses on questions of coloniality and identity.<br />
Disorientations: Spanish Colonialism <strong>in</strong> Africa and the Performance of<br />
Identity (Yale UP, 2008) exam<strong>in</strong>es the anxious reformulation of<br />
centralist and peripheral national identities result<strong>in</strong>g from Spaniards'<br />
post-Enlightenment rediscovery of their 'African <strong>in</strong>heritance', precisely<br />
at a time <strong>in</strong> which 'scientific racism' rose to dom<strong>in</strong>ance, and the<br />
Spanish nation began <strong>in</strong>vest<strong>in</strong>g <strong>in</strong> new colonial regimes <strong>in</strong> Africa.<br />
› Sex <strong>in</strong> the c<strong>in</strong>ema: film-go<strong>in</strong>g practices and the construction of sexuality and<br />
ideology <strong>in</strong> Franco's Spa<strong>in</strong>, Studies <strong>in</strong> Hispanic C<strong>in</strong>emas, 2.2, 117-124.<br />
Thomas Mart<strong>in</strong>ec was Fellow <strong>in</strong> German at L<strong>in</strong>coln College, Oxford,<br />
until he became Lecturer at the University of Regensburg. His <strong>research</strong><br />
focuses on the relationship between tragedy and philosophy <strong>in</strong> the<br />
eighteenth century, on the relationship between poetry and music<br />
around 1900, and on the period after 1945, <strong>in</strong>clud<strong>in</strong>g film. He<br />
published a monograph on Less<strong>in</strong>g’s theory of tragedy’s effect<br />
(Niemeyer 2003), co-edited a volume on family and identity <strong>in</strong> German<br />
literature (P. Lang 2009) and is currently work<strong>in</strong>g on a book about the<br />
functions of music <strong>in</strong> German modernist poetics.<br />
› ‘Some k<strong>in</strong>d of film-poem’: the poetry of Wim Wenders' Der Himmel Über<br />
Berl<strong>in</strong>/W<strong>in</strong>gs of Desire, Studies <strong>in</strong> European C<strong>in</strong>ema, 6.2&3, 165-178.
Lesley Marx<br />
University of Cape Town, Centre for<br />
Film and Media Studies, Rondebosch<br />
7701, Cape Town, South Africa<br />
Keywords Jews, Italian culture,<br />
diaspora, children, Classical<br />
Hollywood, Great Depression<br />
Jurga Mataityte-Dirziene<br />
Vilnius University, Universiteto st.<br />
9/1-206, 01513 Vilnius, Lithuania<br />
Keywords Mental illness, violent<br />
crime, media representation, crime<br />
journalism, Lithuania-Scand<strong>in</strong>avia<br />
Ernest Mathijs<br />
Univresity of British Columbia,<br />
Department of Theatre and Film,<br />
6354 Crescent Road, Vancouver, BC,<br />
V6T 1Z2, Canada<br />
Keywords teach<strong>in</strong>g film, media<br />
literacy, vernacular concepts, moral<br />
controversies<br />
Jill Julius Matthews<br />
Australian National University,<br />
School of Cultural Inquiry, Room<br />
Lesley Marx taught <strong>in</strong> the English Department at the University of<br />
Cape Town for many years, focus<strong>in</strong>g on American Studies. She chaired<br />
the department from 1997 to 2000, was Deputy Dean <strong>in</strong> the Faculty of<br />
Humanities from 2001 to 2002, and, from 2003 to 2004, was the<br />
Found<strong>in</strong>g Director of the Centre for Film and Media Studies. Her<br />
current <strong>research</strong> <strong>in</strong>terests <strong>in</strong>clude the c<strong>in</strong>emas of Ireland and Scotland,<br />
and Hollywood dur<strong>in</strong>g the Great Depression.<br />
› Mum, Dad and the Apocalypse: John Lawlor's Sunday, Short Film Studies,<br />
1.2, 299-302.<br />
› Freeze-frame: The death and life of a photograph <strong>in</strong> Mitko Panov’s With<br />
Raised Hands, Short Film Studies, 2.1, 17-20.<br />
Jurga Mataityte-Dirziene, Ph.D., is Lecturer <strong>in</strong> Social Work at Vilnius<br />
University. Her Research areas are Integration of people with mental<br />
disorders, Psychosocial rehabilitation, Self-help, Disability and mass<br />
media and Social enterprises of disabled.<br />
› The victim, the wicked and the ignored: Representation of mentally ill<br />
perpetrators of violent crime <strong>in</strong> news reports <strong>in</strong> the Norwegian, Swedish and<br />
Lithuanian press, Northern Lights: Film & Media Studies Yearbook, 9., 193-<br />
209.<br />
Ernest Mathijs is Associate Professor <strong>in</strong> Film Studies at the University<br />
of British Columbia, Canada. His books <strong>in</strong>clude Cult C<strong>in</strong>ema, The Cult<br />
Film Reader (co-editor), three books on the reception of The Lord of<br />
the R<strong>in</strong>gs, and The C<strong>in</strong>ema of David Cronenberg: From Baron of<br />
Blood to Cultural Hero. His <strong>research</strong> focuses on the reception of<br />
alternative and ‘problematic’ media (horror film, reality-TV, regional<br />
c<strong>in</strong>ema, and cultural resistance).<br />
› Menstrual Monsters, Film International, 4.21, 68-77.<br />
Professor Jill Julius Matthews is Head of the School of Cultural Inquiry<br />
at the Australian National University. She is currently <strong>research</strong><strong>in</strong>g the<br />
history of distribution and exhibition of adult and pornographic movies<br />
<strong>in</strong> Australia,1896–1984. She is also work<strong>in</strong>g on the ARC funded
139, A.D. Hope Build<strong>in</strong>g 14, College<br />
of Arts and Social Sciences, Canberra,<br />
ACT 0200, Australia<br />
Keywords pornographic film,<br />
modernity, sexuality/sexualization,<br />
masturbat<strong>in</strong>g reader,<br />
schaulust/voyeurism, consumer<br />
society<br />
Saër Maty Bâ<br />
University of Portsmouth, School of<br />
Creative Arts, Film and Media<br />
Studies, Portsmouth, PO1 2UP,<br />
United K<strong>in</strong>gdom<br />
Keywords diaspora, criticism,<br />
African c<strong>in</strong>ema, migration, festivals,<br />
representation, transnational c<strong>in</strong>ema,<br />
digital<br />
Judith Mayne<br />
Ohio State University, Department of<br />
French & Italian, 200 Hagerty Hall,<br />
Columbus, Ohio, United States of<br />
America<br />
Keywords lesbianism, Steeman,<br />
Delair, adaptation, music hall, French<br />
c<strong>in</strong>ema<br />
project, ‘Mapp<strong>in</strong>g the movies: The chang<strong>in</strong>g nature of Australia’s<br />
c<strong>in</strong>ema circuits and their audiences 1956–1984’. Among her books are<br />
Good and Mad Women (1984), Sex <strong>in</strong> Public (ed. 1994), Dance Hall<br />
and Picture Palace (2005).<br />
› The lust of the eye and the thrill of the flesh, Studies <strong>in</strong> Australasian C<strong>in</strong>ema,<br />
5.2, 193-202.<br />
Currently a co-editor on The Encyclopedia of Global Human Migration<br />
project (Wiley-Blackwell: 2012), Dr. Bâ’s <strong>research</strong> blurs boundaries<br />
between diaspora, film, media, and cultural studies and <strong>in</strong>cludes<br />
migration, film festivals, French c<strong>in</strong>ema, visual and sonic cultures of<br />
the Black Atlantic. He has held <strong>research</strong> and teach<strong>in</strong>g fellowships at<br />
Exeter, East London, Bangor, and St Andrews Universities.<br />
› Problematiz<strong>in</strong>g (black) documentary aesthetics: John Akomfrah's use of<br />
<strong>in</strong>tertextuality <strong>in</strong> Seven Songs for Malcolm X (1993), Studies <strong>in</strong><br />
Documentary Film, 1.3, 221-244.<br />
› Visualiz<strong>in</strong>g rhythm, transform<strong>in</strong>g relationship: jazz and Seven Songs for<br />
Malcolm X, Studies <strong>in</strong> Documentary Film, 2.2, 137-148.<br />
› Book Reviews, Film International, 8.4, 78-86.<br />
› Affective Power/Formal Knowledge: Diaspora, African C<strong>in</strong>ema and Film<br />
Festivals Outside Africa, Film International, 8.5, 54-69.<br />
› Book Reviews, Film International, 8.6, 85-92.<br />
› REVIEWS, Transnational C<strong>in</strong>emas, 2.1, 113-125.<br />
Judith Mayne is Dist<strong>in</strong>guished Humanities Professor of French at Ohio<br />
State University (Columbus). Her specialist areas of <strong>research</strong> are<br />
French c<strong>in</strong>ema and fem<strong>in</strong>ist film studies. Her most recent books are<br />
Claire Denis (University of Ill<strong>in</strong>ois Press 2005) and Le Corbeau (I.B.<br />
Tauris 2007). She recently guest-edited an issue of Studies <strong>in</strong> French<br />
C<strong>in</strong>ema on French film studies <strong>in</strong> the U.S. She is currently work<strong>in</strong>g on<br />
a book-length study of French fiction film dur<strong>in</strong>g World War II.<br />
› Dora the image-maker and Henri-Georges Clouzot’s Quai des orfèvres,<br />
Studies <strong>in</strong> French C<strong>in</strong>ema, 4.1, 41-52.<br />
› Tous les garçons and toutes les filles, Studies <strong>in</strong> French C<strong>in</strong>ema, 5.3, 207-<br />
218.<br />
› Danielle Darrieux, French female stardom, and the Occupation, Studies <strong>in</strong>
Ewa Mazierska<br />
University of Central Lancashire,<br />
School of Journalism, Media and<br />
Communication, Harr<strong>in</strong>gton Build<strong>in</strong>g<br />
244, Preston, Lancashire, PR1 2HE,<br />
United K<strong>in</strong>gdom<br />
Keywords travel, post-communism,<br />
capitalism, disappo<strong>in</strong>tment, Poland<br />
Ranjani Mazumdar<br />
The National Media Museum, 129<br />
Ankur Apts. 7, I.P Extension, Delhi,<br />
110092, India<br />
Keywords 1960s, globalization,<br />
Bombay film poster, urban cultures,<br />
French C<strong>in</strong>ema, 10.2, 169-187.<br />
› French Film Studies <strong>in</strong> the US, Studies <strong>in</strong> French C<strong>in</strong>ema, 10.2, 91-93.<br />
Ewa Mazierska is Professor of Contemporary C<strong>in</strong>ema at the School of<br />
Journalism, Media and Communication, University of Central<br />
Lancashire, UK. Her publications <strong>in</strong>clude over ten monographs and<br />
edited collections <strong>in</strong> Polish and English concern<strong>in</strong>g various aspects of<br />
European c<strong>in</strong>ema, <strong>in</strong>clud<strong>in</strong>g Nabokov's C<strong>in</strong>ematic Afterlife<br />
(McFarland, 2011), Jerzy Skolimowski: The C<strong>in</strong>ema of a<br />
Nonconformist (Berghahn, 2010), Mascul<strong>in</strong>ities <strong>in</strong> Polish, Czech and<br />
Slovak C<strong>in</strong>ema (Berghahn, 2008), Cross<strong>in</strong>g New Europe: The<br />
European Road Movie (Wallflower Press, 2006, co-author Laura<br />
Rascaroli), and Pasja: Filmy Jean-Luca Godarda (Ha!art, 2010).<br />
› Search<strong>in</strong>g for alternatives: The evolution of the motif of work <strong>in</strong> Jean-Luc<br />
Godard's c<strong>in</strong>ema <strong>in</strong> the years 1972–1982, Studies <strong>in</strong> European C<strong>in</strong>ema, 7.3,<br />
209-220.<br />
› The motif of escape <strong>in</strong> recent Polish films, New C<strong>in</strong>emas: Journal of<br />
Contemporary Film, 3.1, 17-28.<br />
› Polish martial law of 1981 seen from abroad, New C<strong>in</strong>emas: Journal of<br />
Contemporary Film, 7.3, 197-210.<br />
› Eastern European c<strong>in</strong>ema: old and new approaches, Studies <strong>in</strong> Eastern<br />
European C<strong>in</strong>ema, 1.1, 5-16.<br />
› Reviews, Studies <strong>in</strong> Eastern European C<strong>in</strong>ema, 1.2, 217-231.<br />
› Editorial, Studies <strong>in</strong> Eastern European C<strong>in</strong>ema, 1.2, 135-137.<br />
› 39th Lubuskie Lato Filmowe, agw, Poland, 2027 June 2010, Studies <strong>in</strong><br />
Eastern European C<strong>in</strong>ema, 2.1, 113-115.<br />
› Wojciech Jerzy Has at Era New Horizons International Film Festival,<br />
Wrocaw, Poland, 22 July1 August 2010, Studies <strong>in</strong> Eastern European<br />
C<strong>in</strong>ema, 2.1, 123-125.<br />
› REVIEWS, Studies <strong>in</strong> Eastern European C<strong>in</strong>ema, 2.2, 227-246.<br />
Ranjani Mazumdaris Associate Professor of C<strong>in</strong>ema Studies at the<br />
School of Arts & Aesthetics, Jawaharlal Nehru University, New Delhi.<br />
Her current <strong>research</strong> focuses on film culture of the 1960s, globalization<br />
and film culture, and the history of the Bombay film poster. Her<br />
publications focus on urban cultures, popular c<strong>in</strong>ema, gender and the<br />
c<strong>in</strong>ematic city. She is the author of Bombay C<strong>in</strong>ema: An Archive of the<br />
City published by the University of M<strong>in</strong>nesota Press (2007). Mazumdar<br />
has also worked as a documentary filmmaker and is a found<strong>in</strong>g
popular c<strong>in</strong>ema, gender c<strong>in</strong>ematic city member of Mediasorm, India’s first women’s film collective, which<br />
received the Chameli Devi Ja<strong>in</strong> Award for outstand<strong>in</strong>g media<br />
professionals among women.<br />
John C. McCall<br />
Southern Ill<strong>in</strong>ois University,<br />
Department of Anthropology,<br />
Mailcode 4502, Faner Hall 3543,<br />
Carbondale, IL 62901-4502, United<br />
States of America<br />
Keywords Nollywood, Nigeria,<br />
video-film, media, <strong>in</strong>formal<br />
economies, African culture, Pan-<br />
Africanism, Afrocentrism, Negritude,<br />
censorship, global economy, music,<br />
dance, performance arts, masquerade<br />
Ben McCann<br />
University of Adelaide, School of<br />
Humanities, North Terrace, SA 5005,<br />
Australia<br />
Keywords 1930s, French c<strong>in</strong>ema, set<br />
design, décor practices, Marcel<br />
Carné, horror<br />
Brian McDonnell<br />
Massey University, School of Social<br />
& Cultural Studies, Albany Campus,<br />
Private Bag 102904, North Shore<br />
MSC, Auckland, New Zealand<br />
› The Bombay Film Poster: A Journey from the Street to the Museums, Film<br />
International, 1.4, 13-18.<br />
John C. McCall is an Associate Professor of Anthropology and<br />
Africana Studies at Southern Ill<strong>in</strong>ois University, Carbondale. He has<br />
been publish<strong>in</strong>g <strong>research</strong> on Nigeria s<strong>in</strong>ce 1989. S<strong>in</strong>ce 2000 his work<br />
has focused on the Nigerian movie <strong>in</strong>dustry, popularly known as<br />
'Nollywood'.<br />
› The pan-Africanism we have: Nollywood's <strong>in</strong>vention of Africa, Film<br />
International, 5.4, 92-97.<br />
Ben McCann is Lecturer <strong>in</strong> French at the University of Adelaide. He is<br />
the author of recent book chapters on Les Enfants du Paradis and<br />
Jacques Tati’s dystopian visions and recent articles on Les Triplettes de<br />
Belleville, contemporary French horror films, and the Hollywood<br />
career of set designer Alexandre Trauner. He is currently complet<strong>in</strong>g a<br />
study of Le Jour se lève (I. B. Tauris) and is co-edit<strong>in</strong>g a collection of<br />
essays on Michael Haneke.<br />
› ‘(Under)Scor<strong>in</strong>g Poetic Realism’ – Maurice Jaubert and 1930s' French<br />
C<strong>in</strong>ema, Studies <strong>in</strong> French C<strong>in</strong>ema, 9.1, 37-48.<br />
Brian McDonnell has a Ph.D. <strong>in</strong> Film Studies from the University of<br />
Auckland. His doctoral thesis was on the l<strong>in</strong>ks between New Zealand<br />
fiction and New Zealand film. He has published a textbook called<br />
Fresh Approaches to Film (1998), he is the co-author (with Geoff<br />
Mayer of La Trobe University, Melbourne) of the Greenwood<br />
Encyclopedia of Film Noir (2007), and he has published widely on
Keywords Heavenly Creatures,<br />
narrative subjectivity, Peter Jackson,<br />
Frances Walsh, Kate W<strong>in</strong>slet<br />
Ruth McElroy<br />
University of Glamorgan, Cardiff<br />
School of Creative and Cultural<br />
Industries, University of Glamorgan,<br />
Cardiff, CF14 3NL, United K<strong>in</strong>gdom<br />
Keywords historical reality,<br />
documentary, act<strong>in</strong>g, performance<br />
Patrick McGilligan<br />
Marquette University, Department of<br />
Communication Studies, 2746 N.<br />
Frederick Avenue, Milwaukee,<br />
Wiscons<strong>in</strong>, WI 53211, United States<br />
of America<br />
Keywords Larry Cohen, City College<br />
of New York, 1950s, television,<br />
screenwrit<strong>in</strong>g, writer-director, Larry<br />
Gordon, Michael Eisner, producerwriter,<br />
genre<br />
New Zealand film and Hollywood C<strong>in</strong>ema, <strong>in</strong>clud<strong>in</strong>g chapters <strong>in</strong> the<br />
Italian encyclopaedia Storia del c<strong>in</strong>ema mondiale (E<strong>in</strong>audi, 2001) and<br />
The C<strong>in</strong>ema of Australia and New Zealand (Wallflower, 2007). He<br />
currently teaches film studies at Massey University <strong>in</strong> Auckland.<br />
› The physician <strong>who</strong> assumed his patient's fever: Peter Jackson's narrative<br />
strategy <strong>in</strong> Heavenly Creatures, Studies <strong>in</strong> Australasian C<strong>in</strong>ema, 1.2, 161-<br />
174.<br />
Ruth McElroy is Pr<strong>in</strong>cipal Lecturer <strong>in</strong> Communication, Cultural and<br />
Media Studies <strong>in</strong> the School of Creative and Cultural Industries,<br />
University of Glamorgan. She has published on lifestyle television, TV<br />
drama, Welsh media and cultural identity <strong>in</strong> journals such as Critical<br />
Studies <strong>in</strong> Television, Television and New Media and the European<br />
Journal of Cultural Studies for which she is book reviews editor.<br />
› Real performance: Ord<strong>in</strong>ary people and the problem of act<strong>in</strong>g <strong>in</strong> constructed<br />
documentaries, Studies <strong>in</strong> Documentary Film, 4.3, 253-266.<br />
Patrick McGilligan is the author of a number of well-known books<br />
about film <strong>in</strong>clud<strong>in</strong>g the New York Times Notable Books George<br />
Cukor: A Double Life and Fritz Lang: The Nature of the Beast, both<br />
film director biographies. His biography of Alfred Hitchcock, Alfred<br />
Hitchcock: A Life <strong>in</strong> Darkness and Light, published by HarperColl<strong>in</strong>s<br />
<strong>in</strong> 2003, was nom<strong>in</strong>ated for an Edgar Award by the Mystery Writers of<br />
America. His most recent book, Oscar Micheaux: The Great and Only,<br />
was published by HarperColl<strong>in</strong>s <strong>in</strong> June 2006. He is also the co-editor<br />
of Tender Comrades, a def<strong>in</strong>itive oral history of the Hollywood<br />
blacklist, and edits a cont<strong>in</strong>u<strong>in</strong>g series of books of <strong>in</strong>terviews with<br />
screenwriters called Backstory for the University of California Press.<br />
› Alv<strong>in</strong> Sargent: Pursuit and Dest<strong>in</strong>ation, Film International, 1.5, 24-31.<br />
› Film Crazy: An Interview with Larry Cohen, Film International, 2.11, 4-25.<br />
› Walter Hill:Last Man Stand<strong>in</strong>g, Film International, 2.12, 12-25.<br />
› DVD Reviews, Film International, 8.2, 63-81.<br />
› Interviews, Film International, 8.3, 82-90.
Joseph McGonagle<br />
University of Manchester, School of<br />
Languages, L<strong>in</strong>guistics & Cultures,<br />
Oxford Road, Manchester, M13 9PL,<br />
United K<strong>in</strong>gdom<br />
Keywords ethnicity, Marseilles,<br />
Mediterranean, Rai, Robert<br />
Guédiguian, France<br />
Andrew McGregor<br />
University of Melbourne, French<br />
Department, School of Languages &<br />
L<strong>in</strong>guistics, Babel Build<strong>in</strong>g, Parkville,<br />
Victoria, 3010, Australia<br />
Keywords nation-state, ethnography,<br />
transnational, orientalism, song<br />
Brian McIlroy<br />
University of British Columbia<br />
Keywords Northern Ireland<br />
'Troubles', transnationalism<br />
A Lecturer <strong>in</strong> Cultural Studies <strong>in</strong> the French-speak<strong>in</strong>g World, Dr<br />
Joseph McGonagle <strong>research</strong>es representations of ethnicity <strong>in</strong> French<br />
and francophone film and photography. He has published articles on<br />
French television and photography <strong>in</strong> French Cultural Studies (2002)<br />
and Modern and Contemporary France (2005) and an <strong>in</strong>terview with<br />
the British-based Franco-Algerian artist Z<strong>in</strong>eb Sedira <strong>in</strong> (2006). His<br />
Ph.D. thesis (The University of Manchester, 2006) considered<br />
representations of ethnicity <strong>in</strong> French film and photography s<strong>in</strong>ce the<br />
1980s and he is currently complet<strong>in</strong>g a monograph (under contract with<br />
Manchester University Press) that expands this <strong>research</strong> to consider<br />
representations of ethnicity with<strong>in</strong> contemporary French visual culture.<br />
› The end of an era: Marseilles at the millennium <strong>in</strong> Robert Guédiguian's La<br />
Ville est tranquille (2001), Studies <strong>in</strong> French C<strong>in</strong>ema, 7.3, 231-242.<br />
› ‘Gently does it: Ethnicity and cultural identity <strong>in</strong> Olivier Ducastel and<br />
Jacques Mart<strong>in</strong>eau's Drôle de Félix (2000)’, Studies <strong>in</strong> European C<strong>in</strong>ema,<br />
4.1, 21-34.<br />
Dr Andrew McGregor is Lecturer <strong>in</strong> French Studies at The University<br />
of Melbourne. He is the author of Film Criticism as Cultural Fantasy:<br />
The Perpetual French Discovery of Australian C<strong>in</strong>ema (Peter Lang,<br />
2010). Andrew is the found<strong>in</strong>g co-editor of the Film Cultures series for<br />
Peter Lang Publish<strong>in</strong>g, Bern. He holds a Master of C<strong>in</strong>ema Studies<br />
from the Université de Paris I – Panthéon-Sorbonne, and received a<br />
personal accreditation from the President of the Cannes International<br />
Film Festival. He lectures and publishes on European c<strong>in</strong>ema and<br />
particularly on the representation and <strong>in</strong>terpretation of cultural<br />
identities <strong>in</strong> film.<br />
› Home, sweet home: The significance of the apartment <strong>in</strong> the film Malen'kaia<br />
Vera/Little Vera, Studies <strong>in</strong> European C<strong>in</strong>ema, 8.1, 57-65.<br />
› French c<strong>in</strong>ema <strong>in</strong> exile: trans-national cultural representation <strong>in</strong> Tony Gatlif<br />
’s Gadjo Dilo, New C<strong>in</strong>emas: Journal of Contemporary Film, 6.2, 75-83.<br />
Dr. Brian McIlroy is Professor of Film Studies at the University of<br />
British Columbia. He is the author of Shoot<strong>in</strong>g to Kill: Filmmak<strong>in</strong>g and<br />
the 'Troubles' <strong>in</strong> Northern Ireland (Richmond: Steveston Press, 2001)<br />
and the editor of Genre and C<strong>in</strong>ema: Ireland and Transnationalism<br />
(London and New York: Routledge, 2007).<br />
› A Swiftian Sunday, Short Film Studies, 1.2, 283-286.
Tony McKibb<strong>in</strong><br />
University of Ed<strong>in</strong>burgh, Film, Media<br />
& Contemporary Cultures, 11<br />
Buccleuch Place, Ed<strong>in</strong>burgh, EH8<br />
9LW, United K<strong>in</strong>gdom<br />
Keywords film critic, French c<strong>in</strong>ema,<br />
Hollywood<br />
Kristi McKim<br />
Hendrix College, Fausett English<br />
Department 7, 1600 Wash<strong>in</strong>gton Ave,<br />
Conway, Arkansas, AR 72032,<br />
United States of America<br />
Keywords Japanese c<strong>in</strong>ema, French<br />
c<strong>in</strong>ema, time, environmental changes,<br />
emotion<br />
Laura McMahon<br />
University of Cambridge, Department<br />
of French, Faculty of Modern and<br />
Medieval Languages, Sidgwick<br />
Avenue, CB3 9DA, United K<strong>in</strong>gdom<br />
Keywords Nancy, Derrida, touch,<br />
community, politics, justice<br />
Tony McKibb<strong>in</strong> is an <strong>in</strong>dependent film critic <strong>in</strong> Ed<strong>in</strong>burgh. He teaches<br />
film courses <strong>in</strong> Open Studies at The University of Ed<strong>in</strong>burgh. He is<br />
also a regular contributor to the Scottish list<strong>in</strong>gs magaz<strong>in</strong>e The List, and<br />
writes frequently for various magaz<strong>in</strong>es and journals <strong>in</strong>clud<strong>in</strong>g Film<br />
Ireland and Senses of C<strong>in</strong>ema.<br />
› La Captive and the power of love, Studies <strong>in</strong> French C<strong>in</strong>ema, 3.2, 93-100.<br />
› The Chaos of the Organs: Isabelle Huppert's Reverse Pygmalionism, Studies<br />
<strong>in</strong> French C<strong>in</strong>ema, 5.1, 17-26.<br />
› Amplification over procrast<strong>in</strong>ation: search<strong>in</strong>g out the possible <strong>in</strong> Va savoir,<br />
Studies <strong>in</strong> French C<strong>in</strong>ema, 6.3, 195-206.<br />
Kristi McKim is an Assistant Professor of Film and English and<br />
Programme Chair of Film Studies at Hendrix College. Her recent<br />
article <strong>in</strong> Camera Obscura, ‘Learn<strong>in</strong>g to Love What Passes: Sensual<br />
Perception, Temporal Transformation, and Epistemic Production <strong>in</strong><br />
Hirokazu Kore-eda’s After Life (1998)’, comb<strong>in</strong>es analysis of classical<br />
Japanese film aesthetics and c<strong>in</strong>ematic, seasonal and gendered time to<br />
argue that film gives its viewers the time to learn a sensual and<br />
sensitive way of be<strong>in</strong>g <strong>in</strong> the world. Her work has appeared <strong>in</strong> Senses<br />
of C<strong>in</strong>ema, Film-Philosophy, Film International and Film Quarterly.<br />
› Time, scale and c<strong>in</strong>ephilia <strong>in</strong> the c<strong>in</strong>ematic elegy: Agnès Varda’s Jacquot de<br />
Nantes, Studies <strong>in</strong> French C<strong>in</strong>ema, 8.3, 211-227.<br />
› Book Reviews, Film International, 7.4, 73-89.<br />
› Book Reviews, Film International, 7.5, 71-90.<br />
Laura McMahon works on twentieth-century and contemporary French<br />
and francophone c<strong>in</strong>ema, philosophy and theory, with a particular<br />
focus on issues of community, relationality and responsibility. Her<br />
monograph, C<strong>in</strong>ema and Contact: The Withdrawal of Touch <strong>in</strong> Nancy,<br />
Bresson, Duras and Denis (Legenda, 2011), draws on the work of<br />
Jean-Luc Nancy <strong>in</strong> an <strong>in</strong>vestigation of the aesthetics and politics of<br />
touch <strong>in</strong> c<strong>in</strong>ema. Her current <strong>research</strong> project explores the idea of<br />
community <strong>in</strong> contemporary French and francophone film, <strong>in</strong>clud<strong>in</strong>g<br />
work by Godard, Varda, Klotz, the Dardennes, Assayas, des Pallières<br />
and Denis. She is the co-editor of Rhythms: Essays <strong>in</strong> French<br />
Literature, Thought and Culture (Peter Lang, 2008).
Isabelle McNeill<br />
University of Cambridge, Department<br />
of French, 6 Derby Rd, Cambridge,<br />
Cambridgeshire, CB1 7BU, United<br />
K<strong>in</strong>gdom<br />
Keywords Éloge de l’amour, Godard,<br />
Frodon, Freud, human memory,<br />
France<br />
Louise McReynolds<br />
University of North Carol<strong>in</strong>a at<br />
Chapel Hill, Department of History,<br />
North Carol<strong>in</strong>a, United States of<br />
America<br />
Keywords gaze, melodrama, Lacan,<br />
Mulvey, patriarchy<br />
Terence McSweeney<br />
Keywords Andrei Tarkovsky,<br />
memory, Russian C<strong>in</strong>ema, South East<br />
Asian C<strong>in</strong>emas, video game theory<br />
› The withdrawal of touch: Denis, Nancy and L'Intrus, Studies <strong>in</strong> French<br />
C<strong>in</strong>ema, 8.1, 29-39.<br />
Isabelle McNeill is Philomathia Fellow <strong>in</strong> French at Tr<strong>in</strong>ity Hall,<br />
University of Cambridge, where she teaches French film and literature.<br />
She is the author of Memory and the Mov<strong>in</strong>g Image: French Film <strong>in</strong><br />
the Digital Era (EUP, 2010).<br />
› Phrases, monuments and ru<strong>in</strong>s: melancholy history <strong>in</strong> Éloge de l’amour<br />
(2001), Studies <strong>in</strong> French C<strong>in</strong>ema, 3.2, 111-120.<br />
› Reviews, Studies <strong>in</strong> European C<strong>in</strong>ema, 7.2, 163-169.<br />
Louise McReynolds is Professor of History at the University of North<br />
Carol<strong>in</strong>a at Chapel Hill. Her primary <strong>research</strong> <strong>in</strong>terest lies <strong>in</strong> the<br />
middlebrow culture of late imperial Russia, as reflected <strong>in</strong> her major<br />
publications, The News Under Russia’s Old Regime: The Development<br />
of the Mass-Circulation Press (Pr<strong>in</strong>ceton University Press, 1991), and<br />
Russia at Play: Leisure Activities at the End of the Tsarist Era (Cornell<br />
University Press, 2003).<br />
› Demand<strong>in</strong>g men, desir<strong>in</strong>g women and social collapse <strong>in</strong> the films of Evgenii<br />
Bauer, 1913–17, Studies <strong>in</strong> Russian and Soviet C<strong>in</strong>ema, 3.2, 145-156.<br />
Dr Terence McSweeney is an <strong>in</strong>dependent <strong>research</strong>er <strong>who</strong> has<br />
published on a variety of film, history and literature topics. He<br />
completed his Ph.D. at the University of Essex on Andrei Tarkovsky <strong>in</strong><br />
2009. He is the co-editor of Millennial C<strong>in</strong>ema: Memory <strong>in</strong><br />
Contemporary Global Film (Wallflower Press, 2011). His most recent<br />
project is a full length book called Contemporary American C<strong>in</strong>ema:<br />
9/11 Frames per Second. His <strong>research</strong> specialisms are: Andrei<br />
Tarkovsky; Russian c<strong>in</strong>ema from pre-Soviet to post-Glasnost; South<br />
East Asian C<strong>in</strong>emas (especially South Korea); c<strong>in</strong>ematic<br />
representations of memory; film theory; video game theory; Gilles<br />
Deleuze.
Giusepp<strong>in</strong>a Mecchia<br />
University of Pittsburgh, Department<br />
of French and Italian, 1328 Cathedral<br />
of Learn<strong>in</strong>g, Pittsburgh, United States<br />
of America<br />
Keywords child-director, Gilles<br />
Deleuze, Jacques Rancière, Michael<br />
Haneke, <strong>in</strong>ternal<br />
Andy Medhurst<br />
University of Sussex, School of<br />
Humanities, Brighton, East Sussex,<br />
BN1 9RQ, United K<strong>in</strong>gdom<br />
Keywords Almodóvar, comedy,<br />
queer c<strong>in</strong>ema, art c<strong>in</strong>ema<br />
Monika Mehta<br />
B<strong>in</strong>ghamton University, Department<br />
of English, PO Box 6000,<br />
B<strong>in</strong>ghamton, New York, 13902-6000,<br />
United States of America<br />
Keywords postcolonial literature and<br />
film, globalization, diaspora, gender<br />
and sexuality, South Asian c<strong>in</strong>ema,<br />
Bombay c<strong>in</strong>ema<br />
› DVD Reviews, Film International, 6.3, 60-75.<br />
› Book Reviews, Film International, 8.6, 85-92.<br />
› Book Reviews, Film International, 9.1, 79-89.<br />
Giusepp<strong>in</strong>a Mecchia is associate professor of French and Italian at the<br />
University of Pittsburgh. She has published articles on political<br />
subjectivity and on sexual and national politics <strong>in</strong> French literature and<br />
culture. She has co-edited and translated a special issue of Sub-Stance<br />
on contemporary Italian political thought. She is currently work<strong>in</strong>g on<br />
a book about contemporary French and Italian political thought.<br />
› The Children Are Still Watch<strong>in</strong>g Us, Caché/Hidden <strong>in</strong> the folds of time,<br />
Studies <strong>in</strong> French C<strong>in</strong>ema, 7.2, 131-142.<br />
Andy Medhurst works <strong>in</strong> the Department of Media and Film at the<br />
University of Sussex. He is the co-editor of Lesbian and Gay Studies:<br />
A Critical Introduction (Cassell 1997) and the author of A National<br />
Joke: Popular Comedy and English Cultural Identities (Routledge<br />
2007).<br />
› Heart of farce: Almodóvar's comic complexities, New C<strong>in</strong>emas: Journal of<br />
Contemporary Film, 5.2, 127-138.<br />
Monika Mehta is an Assistant Professor <strong>in</strong> the Department of English<br />
at B<strong>in</strong>ghamton University. Her <strong>research</strong> and teach<strong>in</strong>g <strong>in</strong>terests <strong>in</strong>clude<br />
postcolonial literature and film; globalization, diaspora, and cultural<br />
production; gender and sexuality; c<strong>in</strong>ema <strong>in</strong> south Asia; the state and<br />
the enterta<strong>in</strong>ment <strong>in</strong>dustry. She is currently complet<strong>in</strong>g her bookmanuscript,<br />
Selections: Cutt<strong>in</strong>g, Classify<strong>in</strong>g, and Certify<strong>in</strong>g <strong>in</strong> Bombay<br />
C<strong>in</strong>ema, which exam<strong>in</strong>es censorship of sex <strong>in</strong> Bombay c<strong>in</strong>ema. She has<br />
also begun <strong>research</strong> on her next project, Disjunct Economies: Libid<strong>in</strong>al<br />
and Material Investments <strong>in</strong> Bombay C<strong>in</strong>ema, which explores how<br />
processes which go under the name of ‘globalization’ have<br />
reconfigured relations among Bombay c<strong>in</strong>ema, the Indian state, and<br />
Indian diasporic communities.
Glenda Mejía<br />
RMIT University, School of Global<br />
Studies, Social Science & Plann<strong>in</strong>g,<br />
Build<strong>in</strong>g 37, Level 5, Swanston<br />
Street, Melbourne, Victoria, 3000,<br />
Australia<br />
Keywords Fernando Pérez, women,<br />
Cuban c<strong>in</strong>ema, special period, identity<br />
Paul Melo e Castro<br />
University of Leeds, Department of<br />
Spanish, Portuguese and Lat<strong>in</strong><br />
American Studies, School of Modern<br />
Languages and Cultures, Leeds, LS2<br />
9JT, United K<strong>in</strong>gdom<br />
Keywords Portuguese c<strong>in</strong>ema,<br />
lusophone African c<strong>in</strong>ema, the city,<br />
Manoel de Oliveira, photography,<br />
photobooks<br />
Adam Melv<strong>in</strong><br />
University of Ulster, School of<br />
Creative Arts, Magee College, Room<br />
MQ209, Londonderry, BT48 7JL,<br />
› A Certification Anomaly: The Self- Sacrificial Female Body <strong>in</strong> Bombay<br />
C<strong>in</strong>ema, Studies <strong>in</strong> South Asian Film & Media, 1.1, 119-144.<br />
Dr. Glenda Mejía completed her Masters <strong>in</strong> Arts at The University of<br />
Queensland, Brisbane, Australia, <strong>in</strong> the field of Socio-l<strong>in</strong>guistics. She<br />
also completed her Ph.D. studies at The University of Queensland,<br />
Brisbane, Australia, <strong>in</strong> the field of Culture and C<strong>in</strong>ema Studies, with a<br />
dissertation entitled ‘The Representation of Women <strong>in</strong> Revolutionary<br />
Cuban C<strong>in</strong>ema’. She has taught Spanish language at The University of<br />
Queensland s<strong>in</strong>ce 1998 and also lectured <strong>in</strong> Spanish Language Studies<br />
at Griffith University, Brisbane, Australia. Her primary <strong>research</strong><br />
<strong>in</strong>terests <strong>in</strong>clude Cuban and Lat<strong>in</strong> American c<strong>in</strong>ema, women’s studies,<br />
and cross-cultural studies. Currently she lectures and coord<strong>in</strong>ates the<br />
Spanish Language Studies at RMIT University, Victoria, Australia.<br />
› Madagascar: Un viaje <strong>in</strong>terno, Studies <strong>in</strong> Hispanic C<strong>in</strong>emas, 3.2, 101-108.<br />
Paul Melo e Castro completed his Ph.D. entitled ‘Aspects of the<br />
Representation of 1960s Lisbon <strong>in</strong> the Novel, the Photobook and Film’<br />
<strong>in</strong> 2008. He is currently Leverhulme Early Career Fellow at the<br />
University of Leeds. His <strong>research</strong> <strong>in</strong>terests <strong>in</strong>clude twentieth-century<br />
Portuguese literature, film and photography, with a particular focus on<br />
the city <strong>in</strong> literature; detective fiction; documentary film; street<br />
photography; and the photobook. His current <strong>research</strong> concerns Goan<br />
literature <strong>in</strong> Portuguese, partly <strong>in</strong> relation to other Lusophone<br />
postcolonial literatures and to postcolonial theory more generally.<br />
› Circl<strong>in</strong>g the city <strong>in</strong> Fernando Lopes' Belarm<strong>in</strong>o (1964), Studies <strong>in</strong> European<br />
C<strong>in</strong>ema, 6.2&3, 179-189.<br />
› Reviews, New C<strong>in</strong>emas: Journal of Contemporary Film, 6.2, 153-160.<br />
Adam Melv<strong>in</strong> is a composer, saxophonist and <strong>research</strong>er, and is<br />
Lecturer <strong>in</strong> Popular and Contemporary Music at Magee College,<br />
University of Ulster, Derry, Northern Ireland. He studied Music at<br />
Queen’s University Belfast and Composition at the Guildhall School of<br />
Music and Drama and the Royal Academy of Music, London. He has
Ireland<br />
Keywords music, mov<strong>in</strong>g image,<br />
performance<br />
Germán Labrador<br />
Méndez<br />
Pr<strong>in</strong>ceton University, Department of<br />
Spanish and Portuguese Languages<br />
and Cultures, 347 East Pyne,<br />
Pr<strong>in</strong>ceton, NJ 08544, United States of<br />
America<br />
Keywords Spanish culture, Spanish<br />
literature, avant- garde, modernity<br />
Xavier Mendik<br />
Brunel University, Department of<br />
Screen Media, Gaskell Build<strong>in</strong>g 106,<br />
Uxbridge, UB8 3PH, United<br />
K<strong>in</strong>gdom<br />
Keywords Rottweiler, The Fantastic<br />
Factory, body, sexual taboos,<br />
Reaganite c<strong>in</strong>ema<br />
given <strong>research</strong> papers on music and mov<strong>in</strong>g image, site-specific<br />
performance and collaborative practice at conferences <strong>in</strong> London<br />
(Institute of Musical Research) and New York (NYU Ste<strong>in</strong>hardt),<br />
amongst others.<br />
› Sonic motifs, structure and identity <strong>in</strong> Steve McQueen’s Hunger, The<br />
Soundtrack, 4.1, 23-32.<br />
Germán Labrador Méndez (Ph.D. Spanish Literature, Universidad de<br />
Salamanca, Spa<strong>in</strong>) is an Assistant Professor <strong>in</strong> Modern and<br />
Contemporary Pen<strong>in</strong>sular Literature. His teach<strong>in</strong>g and <strong>research</strong><br />
<strong>in</strong>terests <strong>in</strong>clude post-dictatorial Spanish cultural studies, the avantgarde<br />
and modernity <strong>in</strong> Spa<strong>in</strong>, and twentieth-century Spanish literature.<br />
He has published Letras arrebatadas. Poesía y química en la transición<br />
española (Madrid: Devenir, 2008), a study of poetic and politic<br />
practices under the <strong>in</strong>fluence <strong>in</strong> the cultural atmosphere of the 1970’s <strong>in</strong><br />
Spa<strong>in</strong>.<br />
› The biopolitics of death <strong>in</strong> Chapero-Jackson's Alumbramiento, Short Film<br />
Studies, 1.2, 211-214.<br />
Xavier Mendik is Director of the Cult Film Archive and Convenor of<br />
the MA <strong>in</strong> Cult Film and TV at Brunel University. He has published<br />
widely on the subjects of cult, underground and Eurotrash c<strong>in</strong>ema. His<br />
key publications (as author/editor/coeditor) <strong>in</strong>clude Dario Argento’s<br />
Tenebrae (2000), Unruly Pleasures: The Cult Film and its Critics<br />
(2000), Shock<strong>in</strong>g C<strong>in</strong>ema of the Seventies (2002), Underground USA:<br />
Filmmak<strong>in</strong>g Beyond the Hollywood Canon (2002), Alternative Europe:<br />
Eurotrash and Exploitation C<strong>in</strong>ema S<strong>in</strong>ce 1945 (2004) and Fear<br />
Theory: Case Studies <strong>in</strong> European and American Horror C<strong>in</strong>ema<br />
(forthcom<strong>in</strong>g). He coord<strong>in</strong>ates two book series: AlterImage and<br />
Cultographies (with Ernest Mathijs and Jamie Sexton).<br />
› Blood, Buns and Body Humour:, Film International, 1.3, 29-31.<br />
› Resurrect<strong>in</strong>g Horror: Rottweiler and the Fantastic Films of Brian Yuzna,<br />
Film International, 3.17, 6-9.<br />
› Menstrual Monsters, Film International, 4.21, 68-77.<br />
› Menstrual mean<strong>in</strong>gs: Brett Sullivan discusses werewolves, hormonal horror<br />
& the G<strong>in</strong>ger Snaps audience <strong>research</strong> project, Film International, 4.21, 78-<br />
83.
Rajiv Kannan Menon<br />
George Wash<strong>in</strong>gton University,<br />
English and International Affairs,<br />
2401 H Street NW, Wash<strong>in</strong>gton DC,<br />
20037, United States of America<br />
Keywords gender, film, Chemmeen,<br />
Manichitrathazhu, violence<br />
Leigh Mercer<br />
University of Wash<strong>in</strong>gton, Spanish<br />
Literature and Culture, Seattle,<br />
Wash<strong>in</strong>gton, United States of<br />
America<br />
Keywords trick film, silent c<strong>in</strong>ema,<br />
Segundo de Chomón, modernity,<br />
surrealism<br />
Jason Merrill<br />
Michigan State University, A-643<br />
Wells Hall, East Lans<strong>in</strong>g, MI 48824,<br />
United States of America<br />
Keywords post-Soviet c<strong>in</strong>ema,<br />
gender, fem<strong>in</strong>ism, <strong>in</strong>tertextuality,<br />
Moscow<br />
Rajiv Kannan Menon is a fourth-year student of English and<br />
International Affairs at the George Wash<strong>in</strong>gton University <strong>in</strong><br />
Wash<strong>in</strong>gton DC. His <strong>research</strong> <strong>in</strong>terests <strong>in</strong>clude South Asian literary and<br />
cultural studies, with a focus on South India and its diaspora. His<br />
current <strong>research</strong> exam<strong>in</strong>es dynamics of regionalism and<br />
cosmopolitanism <strong>in</strong> south Indian literature and film.<br />
› Intimate terrors: chang<strong>in</strong>g representations of structural violence aga<strong>in</strong>st<br />
women <strong>in</strong> Malayali c<strong>in</strong>ema, Studies <strong>in</strong> South Asian Film & Media, 1.2, 285-<br />
302.<br />
Professor Leigh Mercer is Assistant Professor of eighteenth- to<br />
twentieth-century Spanish Literature and Culture at the University of<br />
Wash<strong>in</strong>gton. She has published articles on the role of the museum <strong>in</strong><br />
the formation of the middle class <strong>in</strong> n<strong>in</strong>eteenth-century Spa<strong>in</strong>, as well<br />
as on the evolution of duel<strong>in</strong>g <strong>in</strong> modern Spa<strong>in</strong>. Hav<strong>in</strong>g recently<br />
completed a book manuscript on the <strong>in</strong>tersections of class, gender and<br />
public space <strong>in</strong> n<strong>in</strong>eteenth-century Spa<strong>in</strong>, Mercer is work<strong>in</strong>g on a new<br />
project about the experimental films of the early silent era <strong>in</strong> Spa<strong>in</strong> and<br />
their impact on avant-garde filmmakers of the 1920s. These<br />
experimental films <strong>in</strong>clude trick films, radical city views, and the<br />
earliest Spanish pornographic c<strong>in</strong>ema.<br />
› Dis<strong>in</strong>tegrat<strong>in</strong>g pictures: Studies <strong>in</strong> early Spanish film, Studies <strong>in</strong> Hispanic<br />
C<strong>in</strong>emas, 4.2, 73-78.<br />
› Fear at the hands of technology: The proto-Surrealism of the films of<br />
Segundo de Chomón, Studies <strong>in</strong> Hispanic C<strong>in</strong>emas, 4.2, 79-90.<br />
Jason Merrill is Associate Professor of Russian at Michigan State<br />
University (East Lans<strong>in</strong>g, USA). In addition to Russian c<strong>in</strong>ema he<br />
<strong>research</strong>es questions of <strong>in</strong>tertextuality <strong>in</strong> the works of the Russian<br />
Symbolists. He is also a co-author of Russian Animation for<br />
Conversation (Focus, 2008).<br />
› Gender and nationality <strong>in</strong> Iurii Kuz<strong>in</strong>'s The Ark, Studies <strong>in</strong> Russian and<br />
Soviet C<strong>in</strong>ema, 3.3, 335-352.
Sergi Mesonero Burgos<br />
Keywords specialized festivals, video<br />
technologies, film distribution,<br />
European coord<strong>in</strong>ation of film<br />
festivals, High Def<strong>in</strong>ition<br />
Mart<strong>in</strong> Mhando<br />
Murdoch University, School of Media<br />
Communication & Culture, Murdoch,<br />
WA, 6150, Australia<br />
Keywords distribution, globalization,<br />
anglophone, reception, media, film<br />
value cha<strong>in</strong> study<br />
Nhamo Anthony<br />
Mhiripiri<br />
Midlands State University and<br />
University of KwaZulu-Natal, Media<br />
& Society Studies Department, Postal<br />
Bag 9055, Gweru, Masizi Kunene<br />
Ave, Zimbabwe<br />
Keywords music promoters, political<br />
economy of music, music policy,<br />
stardom, Zimbabwean music <strong>in</strong>dustry<br />
Sergi Mesonero Burgos works for the Cultural Promotion Unit of the<br />
Barcelona Autonomous University (UAB) where he co-directs the<br />
UAB’s International Film-Essay Award and runs a workshop on<br />
<strong>in</strong>dependent film promotion and distribution. He has directed two<br />
festivals (Mostra Lambda and the Barcelona International Gay and<br />
Lesbian Film Festival) and was a found<strong>in</strong>g member of Plataforma, the<br />
first film festival coord<strong>in</strong>ation body <strong>in</strong> Spa<strong>in</strong>. From 2005 he also runs<br />
an annual sem<strong>in</strong>ar on film festivals at Observatorio de C<strong>in</strong>e.<br />
› A Festival Epidemic <strong>in</strong> Spa<strong>in</strong>, Film International, 6.4, 8-13.<br />
Mart<strong>in</strong> Mhando is Associate Professor <strong>in</strong> Media Studies at Murdoch<br />
University <strong>in</strong> Australia. He heads the Participatory Media Hub of the<br />
National Academy for Screen and Sound (NASS) at Murdoch<br />
University and his areas of <strong>in</strong>terest <strong>in</strong>clude Indigenous knowledge,<br />
media and trauma, and African c<strong>in</strong>emas. His latest writ<strong>in</strong>g on<br />
Zimbabwean c<strong>in</strong>ema appears <strong>in</strong> the forthcom<strong>in</strong>g C<strong>in</strong>ema and<br />
Landscape edited by Graeme Harper. He is also an award w<strong>in</strong>n<strong>in</strong>g<br />
film-maker (Mama Tuma<strong>in</strong>i 1987, Maangamizi 2000, Liyarn Ngarn<br />
2007) and Festival Director of the Zanzibar International Film Festival.<br />
› Globalization and African c<strong>in</strong>ema: distribution and reception <strong>in</strong> the<br />
anglophone region, Journal of African C<strong>in</strong>emas, 1.1, 19-34.<br />
› Creative/Cultural <strong>in</strong>dustries f<strong>in</strong>anc<strong>in</strong>g <strong>in</strong> Africa: A Tanzanian film value<br />
cha<strong>in</strong> study, Journal of African C<strong>in</strong>emas, 2.1, 3-25.<br />
› Festival Reviews, Journal of African C<strong>in</strong>emas, 2.2, 167-193.<br />
Nhamo Anthony Mhiripiri is a Media and Cultural Studies scholar<br />
<strong>in</strong>terested <strong>in</strong> film studies, visual anthropology, political economy of the<br />
media, the music <strong>in</strong>dustry and copyright. He has published book<br />
chapters and articles <strong>in</strong> Emerg<strong>in</strong>g Perspectives on Dambudzo<br />
Marechera (Africa World Press 1999), he Hidden dimensions of<br />
Operation Murambatsv<strong>in</strong>a (Weaver 2008) and Visual Anthropology,<br />
Critical Arts, Screen<strong>in</strong>g the Past and Muziki. He has published fiction<br />
and poetry <strong>in</strong> Dreams, Miracles & Jazz (Picador 2008), No more<br />
plastic balls (College Press 2000), A Roof to Repair and Creatures<br />
Great and Small (Mambo Press 2005) and State of the Nation<br />
(Conversation Press 2010).<br />
› Thematic concerns <strong>in</strong> the emergent Zimbabwean short film genre, Journal of<br />
African C<strong>in</strong>emas, 2.2, 91-109.
Graciela Michelotti<br />
Haverford College, 370 Lancaster<br />
Ave, Haverford, PA, 19041, United<br />
States of America<br />
Keywords Lat<strong>in</strong> American literature,<br />
Lat<strong>in</strong> American c<strong>in</strong>ema, women,<br />
historical fiction<br />
Jeffrey Middents<br />
American University, Department of<br />
Literature, 4400 Massachusetts<br />
Avenue NW, Wash<strong>in</strong>gton, DC 20016-<br />
8047, United States of America<br />
Keywords Peruvian c<strong>in</strong>ema, national<br />
c<strong>in</strong>emas, genre, stardom, short films<br />
Robert J. Miles<br />
University of Hull, Department of<br />
Film, Hull, HU6 7RX, United<br />
K<strong>in</strong>gdom<br />
Keywords Mexico, virg<strong>in</strong>ity,<br />
nationality, Derrida, Freud<br />
Graciela Michelotti is Associate Professor of Spanish at Haverford<br />
College. She works primarily with Lat<strong>in</strong> American literature and film,<br />
with a special emphasis on women creators and subjects and historical<br />
fiction.<br />
› Contrasts <strong>in</strong> Alumbramiento, Short Film Studies, 1.2, 203-206.<br />
Jeffrey Middents teaches and studies world literature and film as<br />
Associate Professor of Literature at American University <strong>in</strong><br />
Wash<strong>in</strong>gton, DC. His book, Writ<strong>in</strong>g National C<strong>in</strong>ema: Film Journals<br />
and Film Culture <strong>in</strong> Peru (Dartmouth College Press, 2009) <strong>in</strong>vestigates<br />
the historical place of cultural writ<strong>in</strong>g with<strong>in</strong> a national discourse by<br />
trac<strong>in</strong>g how Peruvian c<strong>in</strong>ema was shaped by local film criticism. His<br />
film-oriented courses cover a wide range of concepts, <strong>in</strong>clud<strong>in</strong>g<br />
national c<strong>in</strong>emas, genre, the auteur, stardom, film criticism, and short<br />
films. Professor Middents also curates the Short Films Blog<br />
(http://shortfilmsblog.blogspot.com).<br />
› Not the same ones you sang when you were little: children, Spa<strong>in</strong> and<br />
Chapero-Jackson's Alumbramiento, Short Film Studies, 1.2, 187-190.<br />
Robert J. Miles is Lecturer <strong>in</strong> Spanish at the University of Hull. He is<br />
the author of articles on Picasso and Víctor Erice. He previously taught<br />
at the universities of Portsmouth and Leeds. He teaches literature art<br />
and film on all Hispanic culture modules as well as contribut<strong>in</strong>g to<br />
<strong>in</strong>terdiscipl<strong>in</strong>ary, cross-departmental modules such as Representations<br />
of the Past <strong>in</strong> European Film. He also teaches Spanish language and<br />
translation at all levels. His <strong>research</strong> <strong>in</strong>terests <strong>in</strong>clude theories of<br />
<strong>in</strong>fluence and trauma, modernity and cultural memory, especially<br />
representations of the Spanish Civil War and its aftermath, the<br />
experience of exile and Spa<strong>in</strong> under Franco <strong>in</strong> art and film.<br />
› Virg<strong>in</strong> on the edge: Luis Buñuel's transnational trope, Studies <strong>in</strong> Hispanic<br />
C<strong>in</strong>emas, 2.3, 169-188.<br />
› Book Reviews, New C<strong>in</strong>emas: Journal of Contemporary Film, 2.1, 61-.
Kathryn Millard<br />
Macquarie University, Media, Music,<br />
Communication and Cultural Studies,<br />
Build<strong>in</strong>g Y3A, North Ryde, Sydney,<br />
NSW 2109, Australia<br />
Keywords screenwrit<strong>in</strong>g, psychology,<br />
screen practice <strong>research</strong>, digital<br />
c<strong>in</strong>ema, <strong>in</strong>dependent c<strong>in</strong>ema, script<br />
development, colour theory,<br />
photography<br />
Benjam<strong>in</strong> Miller<br />
University of Sydney, Faculty of Arts<br />
and Social Sciences, Room 328B Old<br />
Teachers' College, Writ<strong>in</strong>g Hub,<br />
Sydney, New South Wales, 2006,<br />
Australia<br />
Keywords radiance, Aborig<strong>in</strong>al<br />
c<strong>in</strong>ema, Aborig<strong>in</strong>al, whiteness,<br />
blackface<br />
Jamie Miller<br />
Keywords repression, politics,<br />
Stal<strong>in</strong>ism, Association of<br />
Revolutionary C<strong>in</strong>ematography<br />
(ARRK), Soiuzdetfil'm, Margarita<br />
Barskaia<br />
Kathryn is a writer and filmmaker with a body of work that is highly<br />
awarded and <strong>in</strong>ternationally recognized. Kathryn’s current work<br />
focuses on how writ<strong>in</strong>g for the screen is shift<strong>in</strong>g <strong>in</strong> our digital era.<br />
Kathryn’s feature documentary about Chapl<strong>in</strong> imitators <strong>in</strong> India The<br />
Boot Cake premiered at the Pordenone Silent Film Festival <strong>in</strong> 2008. It<br />
was subsequently selected for Chicago International Film Festival’s<br />
feature documentary competition, Docfest, and has screened <strong>in</strong><br />
competitive festivals around the globe. Kathryn’s 2003 feature film<br />
Travell<strong>in</strong>g Light was nom<strong>in</strong>ated for four Australian Film Institute<br />
awards <strong>in</strong>clud<strong>in</strong>g Best Orig<strong>in</strong>al Screenplay (feature) and w<strong>in</strong>ner of Best<br />
Support<strong>in</strong>g Actress for Sacha Horler, as well as be<strong>in</strong>g nom<strong>in</strong>ated for<br />
Best Orig<strong>in</strong>al Screenplay (feature) at the AWGIES.<br />
› After the typewriter: the screenplay <strong>in</strong> a digital era, Journal of Screenwrit<strong>in</strong>g,<br />
1.1, 11-25.<br />
› Reviews, Journal of Screenwrit<strong>in</strong>g, 1.2, 389-399.<br />
Benjam<strong>in</strong> Miller is the Associate Director of the Writ<strong>in</strong>g Hub at the<br />
University of Sydney. He has published on authors/directors such as<br />
David Unaipon, Charles Chauvel and Rachel Perk<strong>in</strong>s, draw<strong>in</strong>g on<br />
theories of whiteness and performativity. His current <strong>research</strong> uses<br />
theories of rhetoric to <strong>in</strong>vestigate the communicative traditions (British,<br />
American, Aborig<strong>in</strong>al, etc) that have shaped Australian culture.<br />
› Australians <strong>in</strong> a vacuum: the socio-political ‘stuff’ <strong>in</strong> Rachel Perk<strong>in</strong>s’<br />
Radiance, Studies <strong>in</strong> Australasian C<strong>in</strong>ema, 2.1, 61-71.<br />
Jamie Miller specialises <strong>in</strong> the relationship between politics and film <strong>in</strong><br />
the USSR under Len<strong>in</strong> and Stal<strong>in</strong>. He is the author of Soviet C<strong>in</strong>ema:<br />
Politics and Persuasion under Stal<strong>in</strong>(London and New York, I.B.<br />
Tauris, 2010) and journal articles about Soviet film <strong>in</strong> the 1930s. He is<br />
currently <strong>research</strong><strong>in</strong>g the history of the Mezhrabpom film studio over<br />
the period 1923-1936.<br />
› The purges of Soviet c<strong>in</strong>ema,1929-38, Studies <strong>in</strong> Russian and Soviet C<strong>in</strong>ema,<br />
1.1, 5-26.<br />
› Margarita Barskaia and the emergence of Soviet children's c<strong>in</strong>ema, Studies <strong>in</strong><br />
Russian and Soviet C<strong>in</strong>ema, 3.2, 229-262.<br />
› Book Reviews, Studies <strong>in</strong> Russian and Soviet C<strong>in</strong>ema, 4.3, 355-377.
Toby Miller<br />
University of California Riverside,<br />
Media & Cultural Studies, Riverside,<br />
California, United States of America<br />
Keywords media, culture, sport,<br />
Marxism, globalization<br />
Janice Miller<br />
University of the Arts London,<br />
London College of Fashion,<br />
University of the Arts London, 272<br />
High Holborn, London WC1V 2EY<br />
Keywords<br />
Brett Mills<br />
University of East Anglia, School of<br />
Film and Television Studies,<br />
University of East Anglia, NR4 7TJ,<br />
UK<br />
Keywords textual analysis, pleasure,<br />
humour theory, Joan Rivers, stand-up<br />
comedy<br />
Toby Miller is the author and editor of over 30 books, has published<br />
essays <strong>in</strong> more than 100 journals and edited collections, and is a<br />
frequent guest commentator on television and radio programmes. His<br />
teach<strong>in</strong>g and <strong>research</strong> cover the media, sports, labour, gender, race,<br />
citizenship, politics, and cultural policy, as well as the success of<br />
Hollywood overseas and the adverse effects of electronic waste.<br />
Miller's work has been translated <strong>in</strong>to Ch<strong>in</strong>ese, Japanese, Swedish,<br />
German, Spanish and Portuguese. He has been Media Scholar <strong>in</strong><br />
Residence at Sarai, the Centre for the Study of Develop<strong>in</strong>g Societies <strong>in</strong><br />
India, Becker Lecturer at the University of Iowa, a Queensland Smart<br />
Returns Fellow <strong>in</strong> Australia, Honorary Professor at the Center for<br />
Critical and Cultural Studies, University of Queensland, CanWest<br />
Visit<strong>in</strong>g Fellow at the Alberta Global Forum <strong>in</strong> Canada, and an<br />
International Research collaborator at the Centre for Cultural Research<br />
<strong>in</strong> Australia.<br />
› Editorial, Film International, 1.4, 3-3.<br />
Janice Miller is Senior Lecturer <strong>in</strong> Cultural and Historical Studies at<br />
London College of Fashion, University of the Arts London. Recent<br />
published work <strong>in</strong>cludes the monograph Fashion and Music published<br />
by Berg <strong>in</strong> 2011.<br />
› The Runaways: Music, fashion and 'post-fem<strong>in</strong>ism', Film, Fashion &<br />
Consumption, 1.2, 187-201.<br />
Brett Mills is Head of the School of Film and Television Studies,<br />
University of East Anglia. He is the author of Television Sitcom (BFI,<br />
2005) and The Sitcom (Ed<strong>in</strong>burgh, 2009) and co-author of Read<strong>in</strong>g<br />
Media Theory: Th<strong>in</strong>kers, Approaches, Context (Pearson, 2009). He is<br />
currently undertak<strong>in</strong>g the three-year AHRC-funded project, Make Me<br />
Laugh: Creativity <strong>in</strong> the British Television Comedy Industry.<br />
› REVIEWS, Journal of Screenwrit<strong>in</strong>g, 3.2, 249-256.<br />
Andrea Mirabile Andrea Mirabile is assistant professor of Italian at Vanderbilt<br />
University. He is the author of two books: Le strutture e la storia
Vanderbilt University, VU Station B<br />
#356312, 2301 Vanderbilt Place,<br />
Nashville, TN 37235- 6312, United<br />
States of America<br />
Keywords documentary, Giuseppe<br />
Bertolucci, consumerism, fascism,<br />
Roberto Longhi, meta-c<strong>in</strong>ema, Pier<br />
Paolo Pasol<strong>in</strong>i, Donatien-Alphonse-<br />
François de Sade<br />
Anna Misiak<br />
University College Falmouth, Film,<br />
Tremough Old House, Tremough<br />
Campus, Falmouth, Cornwall, TR10<br />
9EZ, United K<strong>in</strong>gdom<br />
Keywords Polish c<strong>in</strong>ema, postcommunist<br />
film, Eastern European<br />
c<strong>in</strong>ema, cultural trauma<br />
Peta Mitchell<br />
University of Queensland, School of<br />
English, Media Studies and Art<br />
History, St Lucia, QLD 4072,<br />
Australia<br />
Keywords affective landscape,<br />
landscape, media geography, tourism,<br />
Australian c<strong>in</strong>ema<br />
(2006) on semiotics and historicism <strong>in</strong> Italy and Scrivere la pittura<br />
(2009) on Roberto Longhi and his <strong>in</strong>fluence. He is currently work<strong>in</strong>g<br />
on D’Annunzio and the birth of Italian c<strong>in</strong>ema.<br />
› Documentary film as equivalence: Giuseppe Bertolucci’s Pasol<strong>in</strong>i prossimo<br />
nostro (2006), Studies <strong>in</strong> Documentary Film, 5.2-3, 133-144.<br />
Anna Misiak is senior lecturer <strong>in</strong> Film at University College Falmouth<br />
<strong>in</strong> Cornwall. She holds a Ph.D. <strong>in</strong> Sociology from the Institute of<br />
Philosophy and Sociology, Polish Academy of Sciences, <strong>in</strong> Warsaw,<br />
Poland. She was a Fulbright grantee at the School of C<strong>in</strong>ema-<br />
Television at the University of Southern California <strong>in</strong> Los Angeles, and<br />
a Polish–Czech government grantee at Charles University <strong>in</strong> Prague.<br />
She worked for the American Studies Center, Warsaw University,<br />
where she taught several courses <strong>in</strong> film (history and theory),<br />
communication and social studies. She has published her book (<strong>in</strong><br />
Polish) on film censorship <strong>in</strong> various political regimes.<br />
› Our own courtyard: Post-traumatic Polish c<strong>in</strong>ema, New C<strong>in</strong>emas: Journal of<br />
Contemporary Film, 7.3, 237-256.<br />
Dr Peta Mitchell is Lecturer <strong>in</strong> Writ<strong>in</strong>g at the School of English, Media<br />
Studies and Art History, University of Queensland, and author of<br />
Cartographic Strategies of Postmodernity (Routledge, 2008) and a<br />
forthcom<strong>in</strong>g monograph, Contagious Metaphor (contracted by<br />
Cont<strong>in</strong>uum). Her current book project exam<strong>in</strong>es cross-discipl<strong>in</strong>ary uses<br />
of the metaphor of contagion, and she is also work<strong>in</strong>g on an ARCfunded<br />
collaborative <strong>research</strong> project, entitled 'A Cultural Atlas of<br />
Australia: Mediated Spaces <strong>in</strong> Theatre, Film, and Literature', with<br />
colleagues Jane Stadler and Stephen Carleton. Her <strong>research</strong> <strong>in</strong>terests<br />
<strong>in</strong>clude critical theory, contemporary fiction, metaphor, cartography,<br />
new media technologies, academic discourse, and open-access<br />
publish<strong>in</strong>g.<br />
› Never-Never Land: affective landscapes, the touristic gaze and heterotopic<br />
space <strong>in</strong> Australia, Studies <strong>in</strong> Australasian C<strong>in</strong>ema, 4.2, 173-187.
Lora Wheeler Mjolsness<br />
University of California, Irv<strong>in</strong>e,<br />
School of Humanities, 112<br />
Humanities Office Build<strong>in</strong>g, Irv<strong>in</strong>e,<br />
CA 92697, United States of America<br />
Keywords animation, Soviet Toys,<br />
Viktor Deni, advertis<strong>in</strong>g, agitational<br />
journalism<br />
Kristian Moen<br />
University of Bristol, Department of<br />
Drama, University of Bristol,<br />
Cantocks Close, Bristol, BS8 1UP,<br />
United K<strong>in</strong>gdom<br />
Keywords c<strong>in</strong>ema and modernity,<br />
c<strong>in</strong>ema and fantasy, film and fairy<br />
tales<br />
Raphaëlle Mo<strong>in</strong>e<br />
Université Sorbonne Nouvelle – Paris<br />
3, UFR c<strong>in</strong>éma et audiovisuel, Paris<br />
3, 13 rue de Santeuil, Paris Cedex 05,<br />
75231, France<br />
Keywords star, comédie de<br />
boulevard, historical film, national<br />
identity, theatre, Sacha Guitry<br />
Lora Wheeler Mjolsness is a lecturer <strong>in</strong> the programme of Russian<br />
Studies at the University of California, Irv<strong>in</strong>e. She received her Ph.D.<br />
<strong>in</strong> Slavic Languages and Literatures from the University of Southern<br />
California. Her dissertation 'Children <strong>in</strong> Transition: Popular Children's<br />
Magaz<strong>in</strong>es <strong>in</strong> Late Imperial and Early Soviet Russia, 1900-1932',<br />
explores the themes of the orphaned hero, the female protagonist, the<br />
role of education and the use of fantasy <strong>in</strong> these magaz<strong>in</strong>es. Her most<br />
recent publications have been on Russian and Soviet animation, both<br />
for children and adults. Her other <strong>in</strong>terests <strong>in</strong>clude n<strong>in</strong>eteenth- and<br />
twentieth-century Russian literature, Russian and Soviet c<strong>in</strong>ema,<br />
modern Russian art and Russian folklore.<br />
› Dziga Vertov’s Soviet Toys: Commerce, Commercialization and Cartoons,<br />
Studies <strong>in</strong> Russian and Soviet C<strong>in</strong>ema, 2.3, 247-267.<br />
Kristian Moen is a Lecturer <strong>in</strong> Screen Studies <strong>in</strong> the Department of<br />
Drama: Theatre, Film, Television at the University of Bristol. He has<br />
published and presented on topics <strong>in</strong>clud<strong>in</strong>g n<strong>in</strong>eteenth-century visual<br />
culture, c<strong>in</strong>ema and modernity, and the relationship between c<strong>in</strong>ema<br />
and fantasy. He is currently complet<strong>in</strong>g a monograph on film and fairy<br />
tales.<br />
› The ‘Education of the Eye’: Social aesthetics and Émile Vuillermoz’s early<br />
film criticism, Studies <strong>in</strong> French C<strong>in</strong>ema, 11.3, 169-180.<br />
Raphaëlle Mo<strong>in</strong>e is Professor of C<strong>in</strong>ema and Media Studies at<br />
l’Université Sorbonne Nouvelle – Paris 3. She has published Les<br />
Genres du c<strong>in</strong>éma (2002; translated <strong>in</strong>to English <strong>in</strong> 2008), Remakes:<br />
les films français à Hollywood (2007), and Les Femmes d’action au<br />
c<strong>in</strong>éma (2010). She has edited a number of volumes, <strong>in</strong>clud<strong>in</strong>g Fictions<br />
patrimoniales sur grand et petit écran (with Pierre Beylot, 2009). She<br />
is prepar<strong>in</strong>g a monograph on Sacha Guitry.<br />
› The star as the ‘great man’ <strong>in</strong> French c<strong>in</strong>ema: the example of Sacha Guitry,<br />
Studies <strong>in</strong> French C<strong>in</strong>ema, 4.1, 77-.<br />
› Le biopic la franaise: de l'ombre la lumire, Studies <strong>in</strong> French C<strong>in</strong>ema, 10.3,<br />
269-287.
Carol<strong>in</strong>e Mo<strong>in</strong>e<br />
University of Versailles Sa<strong>in</strong>t-<br />
Quent<strong>in</strong>-en-Yvel<strong>in</strong>es, History, 9 rue<br />
Edouard Manet, Paris, 75013, France<br />
Keywords Leipzig Documentary<br />
Film Festival, Glasnost, perestroika,<br />
USSR C<strong>in</strong>ema Association, Elem<br />
Klimov, COMECON prize, DEFA,<br />
history, German c<strong>in</strong>ema, film festival,<br />
documentary<br />
David Montero<br />
University of Bath, Department of<br />
European Studies and Modern<br />
Languages, Claverton Down, Bath,<br />
BA2 7AY, United K<strong>in</strong>gdom<br />
Keywords Chris Marker, Sans soleil,<br />
Deleuze, time, Vertigo<br />
Anna Morcom<br />
Royal Holloway, University of<br />
London, Music Department, Egham,<br />
Surrey, TW20 0EX, United K<strong>in</strong>gdom<br />
Keywords perform<strong>in</strong>g arts,<br />
modernity, nationalism, globalization,<br />
economic development<br />
Carol<strong>in</strong>e Mo<strong>in</strong>e is a film historian and Ph.D. student at the Paris<br />
1/Sorbonne University, though presently liv<strong>in</strong>g <strong>in</strong> Berl<strong>in</strong>. Her ma<strong>in</strong><br />
<strong>in</strong>terest is GDR fiction films and documentaries. The theme of her<br />
dissertation is the history of the <strong>in</strong>ternational documentary film festival<br />
<strong>in</strong> Leipzig between 1955 and 1990.<br />
› Gone with the Eastern W<strong>in</strong>d, Film International, 2.8, 6-13.<br />
David Montero is a part-time lecturer at the University of Bath. He has<br />
given several papers on transnational c<strong>in</strong>ema and new models <strong>in</strong> nonfiction<br />
film-mak<strong>in</strong>g. He is currently writ<strong>in</strong>g a Ph.D. on essayistic<br />
features <strong>in</strong> the work of Chris Marker, José Luis Guerín and Harun<br />
Farocki.<br />
› Film also ages: time and images <strong>in</strong> Chris Marker's Sans soleil, Studies <strong>in</strong><br />
French C<strong>in</strong>ema, 6.2, 107-116.<br />
Anna Morcom’s <strong>research</strong> focuses on popular and ‘traditional’<br />
perform<strong>in</strong>g arts <strong>in</strong> India and Tibet <strong>in</strong> the context of a range of issues<br />
related to the contemporary world, such as film, media, modernity,<br />
nationalism, globalization and economic development/marg<strong>in</strong>alization.<br />
Key publications are H<strong>in</strong>di film songs and the c<strong>in</strong>ema (2007), ‘Indian<br />
popular culture and its “others”: Bollywood dance and anti-nautch <strong>in</strong><br />
twenty-first century global India’ <strong>in</strong> K. Moti Gokuls<strong>in</strong>g and Wimal<br />
Dissanayake (eds.) Popular culture <strong>in</strong> a globalised India (2008), and<br />
‘Modernity, power and the reconstruction of dance <strong>in</strong> post 1950s Tibet’,<br />
<strong>in</strong> Journal of the International Association of Tibetan Studies, Vol. 3<br />
(2007).<br />
› Bollywood, Tibet, and the spatial and temporal dimensions of global<br />
modernity1, Studies <strong>in</strong> South Asian Film & Media, 1.1, 145-172.<br />
Davide Morena Davide Morena was born <strong>in</strong> Potenza and graduated <strong>in</strong> Naples (Italy),<br />
where he cultivated his passion for arts and c<strong>in</strong>ema. In 2000 he
Keywords Maurizio Nichetti,<br />
<strong>in</strong>termediality, commercial television,<br />
spectatorship, satire<br />
Ben Morgan<br />
Worcester College, Oxford<br />
University, Oxford, Oxfordshire, OX1<br />
2HB, United K<strong>in</strong>gdom<br />
Keywords German c<strong>in</strong>ema, music,<br />
Nazi, film policy, 1930s, Fritz Lang,<br />
Leni Riefenstahl, Heimat movies<br />
Lisbeth Morlandstø<br />
University of Nordland, 8049 Bodø,<br />
Norway<br />
Keywords mental illness, violent<br />
crime, media representation, crime<br />
journalism, Lithuania-Scand<strong>in</strong>avia<br />
mounted the Library of the Shoah Museum <strong>in</strong> Naples. He writes for<br />
many magaz<strong>in</strong>es as a c<strong>in</strong>ematographic critic, then he moved to<br />
Bradford (UK), where he received a Masters <strong>in</strong> Electronic Imag<strong>in</strong>g and<br />
Media Communication, and a specialization <strong>in</strong> British C<strong>in</strong>ema. There<br />
he published many essays on academic reviews and he produced and<br />
distributed some short movies. He has settled <strong>in</strong> Florence where he has<br />
become editor-<strong>in</strong>-chief of Mymovies.it, the most popular onl<strong>in</strong>e<br />
magaz<strong>in</strong>e about c<strong>in</strong>ema <strong>in</strong> Italy, and of MattoniGrandDr<strong>in</strong>k.com, an<br />
<strong>in</strong>ternational magaz<strong>in</strong>e on the beverage world. He is also author and<br />
producer of many events, as the Medicean Month, an annual festival on<br />
the Medici family, as well as of a wide number of works <strong>in</strong> the world<br />
of video and theatre.<br />
› Shift<strong>in</strong>g frames of reference, or what Maurizio Nichetti’s Ladri di<br />
saponette/The Icicle Thief can tell us about watch<strong>in</strong>g films on television,<br />
New C<strong>in</strong>emas: Journal of Contemporary Film, 1.3, 179-190.<br />
Ben Morgan is Fellow and Tutor <strong>in</strong> German at Worcester College,<br />
Oxford. He has published on a wide range of topics <strong>in</strong>clud<strong>in</strong>g German<br />
c<strong>in</strong>ema (Lang, Riefenstahl, the Heimat Film) and German <strong>in</strong>tellectual<br />
history (Medieval Mysticism, Nietzsche, early psychoanalysis,<br />
Heidegger, the Frankfurt School). He has also published on<br />
contemporary literature (Jel<strong>in</strong>ek, Trojanow).<br />
› Music <strong>in</strong> Nazi film: How different is Triumph of the Will?, Studies <strong>in</strong><br />
European C<strong>in</strong>ema, 3.1, 37-54.<br />
Lisbeth Morlandstø, Ph.D. is Senior Lecturer <strong>in</strong> Mass communication<br />
and Journalism at University of Nordland. Her <strong>research</strong> areas are<br />
Journalism and disability and Journalism and psychiatry.<br />
› The victim, the wicked and the ignored: Representation of mentally ill<br />
perpetrators of violent crime <strong>in</strong> news reports <strong>in</strong> the Norwegian, Swedish and<br />
Lithuanian press, Northern Lights: Film & Media Studies Yearbook, 9., 193-<br />
209.<br />
Douglas Morrey Douglas Morrey lectures <strong>in</strong> French C<strong>in</strong>ema at the University of
University of Warwick, Department<br />
of French Studies, Coventry, CV4<br />
7AL, United K<strong>in</strong>gdom<br />
Keywords Éloge de l’amour, Godard,<br />
Histoire(s) du c<strong>in</strong>éma, Rivette, New<br />
Wave, Nouvelle Vague<br />
Nathalie Morris<br />
British Film Institute, Special<br />
Collections, 21 Stephen Street,<br />
London, United K<strong>in</strong>gdom<br />
Keywords British c<strong>in</strong>ema, British<br />
Film Institute (BFI), women, silent<br />
c<strong>in</strong>ema<br />
Jim Morrissey<br />
Queen Mary, University of London,<br />
Film Studies, School of Languages,<br />
L<strong>in</strong>guistics and Film, E1 4NS, United<br />
K<strong>in</strong>gdom<br />
Keywords French c<strong>in</strong>ema, political<br />
engagement, Pierre Bourdieu, literary<br />
realism, popular<br />
Warwick. He has written a book survey<strong>in</strong>g the entire career of Jean-<br />
Luc Godard, and co-authored, with Alison Smith of the University of<br />
Liverpool, a study of Jacques Rivette. He is now develop<strong>in</strong>g <strong>research</strong><br />
<strong>in</strong>to the legacy of the New Wave <strong>in</strong> French c<strong>in</strong>ema. He has ma<strong>in</strong>ta<strong>in</strong>ed<br />
an <strong>in</strong>terest <strong>in</strong> contemporary French fiction and is currently complet<strong>in</strong>g<br />
a book about Michel Houellebecq for Liverpool University Press.<br />
› History of resistance/resistance of history: Godard’s Éloge de l’amour (2001),<br />
Studies <strong>in</strong> French C<strong>in</strong>ema, 3.2, 121-.<br />
Nathalie Morris is the BFI’s Curator of Special Collections. Her Ph.D.<br />
was on the Stoll Film Company and British C<strong>in</strong>ema (1918–28), and she<br />
has published on various aspects of British c<strong>in</strong>ema <strong>in</strong>clud<strong>in</strong>g women’s<br />
pictures of the 1920s and silent Sherlock Holmes adaptations. She is a<br />
member of the Women’s Film History project and is co-creator of the<br />
website Women and Silent British C<strong>in</strong>ema<br />
(http://womenandsilentbritishc<strong>in</strong>ema.wordpress.com/).<br />
› Research Resources, Journal of Screenwrit<strong>in</strong>g, 1.1, 197-202.<br />
Jim Morrissey’s Ph.D. thesis, submitted <strong>in</strong> 2010, establishes a dialogue<br />
between Pierre Bourdieu’s writ<strong>in</strong>gs on the French cultural field and the<br />
notion of political engagement <strong>in</strong> the French fiction film <strong>in</strong> the period<br />
s<strong>in</strong>ce 1968. Jim’s publications <strong>in</strong>clude a prizew<strong>in</strong>n<strong>in</strong>g study of ‘Parisian<br />
voyages of self-discovery’ <strong>in</strong> Varda’s Cléo de 5 à 7 and Jeunet’s Le<br />
Fabuleux dest<strong>in</strong> d’Amélie Poula<strong>in</strong> (2008) and a comparative study of<br />
French and British versions of the urban film as represented by<br />
Kassovitz’s La Ha<strong>in</strong>e and Saul Dibb’s Bullet Boy (2010). Jim has<br />
convened modules on The French New Wave and Contemporary<br />
French C<strong>in</strong>ema <strong>in</strong> the Department of Film Studies at Queen Mary,<br />
University of London.<br />
› Paris and voyages of self-discovery <strong>in</strong> Cléo de 5 à 7 and Le Fabuleux dest<strong>in</strong><br />
d'Amélie Poula<strong>in</strong>, Studies <strong>in</strong> French C<strong>in</strong>ema, 8.2, 99-110.<br />
John Morton John Morton is a Senior Lecturer <strong>in</strong> anthropology at La Trobe
La Trobe University, Anthropology,<br />
School of Social Sciences, Bundoora,<br />
Victoria, 3086, Australia<br />
Keywords myth, Aborig<strong>in</strong>al,<br />
sovereignty, Stolen Generations,<br />
Australian c<strong>in</strong>ema<br />
Anne Eak<strong>in</strong> Moss<br />
John Hopk<strong>in</strong>s University, Humanities<br />
Centre, Maryland, United States of<br />
America<br />
Keywords desire, sexuality, gaze,<br />
gender, spectator<br />
Miguel Mota<br />
The University of British Columbia,<br />
Department of English, Vancouver,<br />
B.C., V6T 1Z1, Canada<br />
Keywords British literature, British<br />
culture<br />
Matilda Mroz<br />
University of Cambridge, Department<br />
of Slavonic Studies, Sidgwick<br />
Avenue, Cambridge, CB3 9DA,<br />
United K<strong>in</strong>gdom<br />
Keywords postmodernism, film<br />
aesthetics, historical films, Polish<br />
University and has been <strong>in</strong>volved <strong>in</strong> Aborig<strong>in</strong>al studies for some 30<br />
years. Apart from <strong>research</strong><strong>in</strong>g and teach<strong>in</strong>g <strong>in</strong> the academy, he has also<br />
worked as a consultant <strong>in</strong> land rights, native title and Stolen<br />
Generations legal cases, ma<strong>in</strong>ly relat<strong>in</strong>g to central Australia, and as a<br />
senior curator at Museum Victoria. He has published widely <strong>in</strong><br />
anthropology and Aborig<strong>in</strong>al studies and his recent publications<br />
<strong>in</strong>clude The Photographs of Baldw<strong>in</strong> Spencer (jo<strong>in</strong>tly edited with<br />
Philip Batty and L<strong>in</strong>dy Allen, Miegunyah Press, 2005).<br />
› Redeem<strong>in</strong>g the bastard child: explor<strong>in</strong>g legitimacy and contradiction <strong>in</strong><br />
Australia, Studies <strong>in</strong> Australasian C<strong>in</strong>ema, 4.2, 159-172.<br />
Anne Eak<strong>in</strong> Moss is a Mellon Postdoctoral Fellow <strong>in</strong> the Humanities<br />
Center at the Johns Hopk<strong>in</strong>s University. She received her Ph.D. <strong>in</strong><br />
Slavic Languages and Literatures from Stanford University <strong>in</strong> 2005.<br />
She is currently work<strong>in</strong>g on a book entitled Women’s Community <strong>in</strong> the<br />
Russian Imag<strong>in</strong>ation: Realism, Utopianism, Modernity (1863–2003).<br />
› Stal<strong>in</strong>'s harem: the spectator's dilemma <strong>in</strong> late 1930s Soviet film, Studies <strong>in</strong><br />
Russian and Soviet C<strong>in</strong>ema, 3.2, 157-172.<br />
Miguel Mota is Associate Professor of English at The University of<br />
British Columbia <strong>in</strong> Vancouver, Canada, where he teaches <strong>in</strong> the area<br />
of contemporary British literature and culture.<br />
› Greenaway’s books: PeterGreenaway’s publishedscreenplays, Journal of<br />
Screenwrit<strong>in</strong>g, 2.2, 229-248.<br />
Dr. Matilda Mroz is a British Academy Postdoctoral Fellow <strong>in</strong> the<br />
Department of Slavonic Studies at the University of Cambridge, and<br />
the Charles and Kather<strong>in</strong>e Darw<strong>in</strong> Research Fellow at Darw<strong>in</strong> College.<br />
She has previously published on Andrzej Wajda (‘Fractur<strong>in</strong>g the<br />
marble façade: visceral excavation <strong>in</strong> Andrzej Wajda’s Man of Marble’,<br />
Senses of C<strong>in</strong>ema, 2007) and Jerzy Skolimowski (‘Walkover’, Senses of<br />
C<strong>in</strong>ema, 2009). Her monograph on c<strong>in</strong>ematic duration <strong>in</strong> the films of<br />
Andrei Tarkovsky, Michelangelo Antonioni, and Krzysztof Kieslowski
c<strong>in</strong>ema, Dariusz Baliszewski is forthcom<strong>in</strong>g. Her current <strong>research</strong> project exam<strong>in</strong>es post-war Polish<br />
war films and memorial practices <strong>in</strong> c<strong>in</strong>ema.<br />
Gabriele Mueller<br />
York University, Department of<br />
Languages, Literatures & L<strong>in</strong>guistics,<br />
4700 Keele Street, Toronto, Ontario,<br />
M3J 1P3, Canada<br />
Keywords city spaces, German<br />
identity, European Union, social<br />
divisions, history, musealization<br />
processes<br />
Ishani Mukherjee<br />
University of Ill<strong>in</strong>ois at Chicago,<br />
Department of Communication,<br />
Ill<strong>in</strong>ois, United States of America<br />
Keywords South Asian c<strong>in</strong>ema,<br />
blogg<strong>in</strong>g, social network<strong>in</strong>g,<br />
globalization, human rights issues<br />
Graham Murdock<br />
Loughborough University,<br />
Department of Social Sciences,<br />
Leicestershire, LE11 3TU, United<br />
K<strong>in</strong>gdom<br />
› Restless bodies, buried texts: Sikorski, The General, and the archive, Studies<br />
<strong>in</strong> Eastern European C<strong>in</strong>ema, 1.2, 153-165.<br />
Gabriele Mueller is Associate Professor of German at York University,<br />
Canada. Her ma<strong>in</strong> areas of <strong>research</strong> <strong>in</strong>terest <strong>in</strong>clude German c<strong>in</strong>ema<br />
and German cultural studies, <strong>in</strong> particular discourses on east German<br />
identity and their representations <strong>in</strong> German film and literature. She<br />
published on film censorship, DEFA films and contemporary German<br />
c<strong>in</strong>ema.<br />
› ‘Welcome to Reality’. Constructions of German identity <strong>in</strong> Lichter (Schmid,<br />
2003) and Halbe Treppe (Dresen, 2002), New C<strong>in</strong>emas: Journal of<br />
Contemporary Film, 4.2, 117-128.<br />
Ishani Mukherjee is currently a doctoral candidate <strong>in</strong> the Department of<br />
Communication at the University of Ill<strong>in</strong>ois at Chicago. Her areas of<br />
<strong>in</strong>terest cover <strong>in</strong>ter- and <strong>in</strong>tra-cultural communication; onl<strong>in</strong>e ethics;<br />
ethno-gender representations <strong>in</strong> onl<strong>in</strong>e communication and films (with<br />
particular emphasis on South Asian c<strong>in</strong>ema); and social uses of new<br />
media technologies, <strong>in</strong> particular blogg<strong>in</strong>g and social network<strong>in</strong>g. Her<br />
current <strong>research</strong> focuses on the exchange of <strong>in</strong>tersectional ethnocultural<br />
discourses <strong>in</strong> onl<strong>in</strong>e South Asian communities as it perta<strong>in</strong>s to<br />
human rights issues, globalization, immigration, and identity and<br />
gender negotiations onl<strong>in</strong>e/offl<strong>in</strong>e.<br />
› The masala of globalism: Reposition<strong>in</strong>g ‘dis/placement’ <strong>in</strong> the films of Mira<br />
Nair, Studies <strong>in</strong> South Asian Film & Media, 2.2, 85-106.<br />
Graham Murdock, Reader <strong>in</strong> the Sociology of Culture <strong>in</strong> the<br />
Department of Social Sciences at Loughborough University, has held<br />
the Bonnier Chair at the University of Stockholm and the Teach<strong>in</strong>g<br />
Chair at the Free University of Brussels, and been a Visit<strong>in</strong>g Professor<br />
at the Universities of California, Mexico City, Leuven, Hels<strong>in</strong>ki and<br />
Bergen, where he taught for a decade. His work is available <strong>in</strong> n<strong>in</strong>eteen
Keywords fate, risk, magic, media,<br />
networks<br />
Robert Murphy<br />
De Montfort University, Department<br />
of Media, Film and Journalism,<br />
Clephan Build<strong>in</strong>g, De Montfort<br />
University, Leicester, LE1 9BH,<br />
United K<strong>in</strong>gdom<br />
Keywords Britian, film noir,<br />
P<strong>in</strong>ewood, Eal<strong>in</strong>g, crime, fugitive<br />
films, damaged male protagonist,<br />
Robert Hamer, Brighton Rock, The<br />
Third Man, The Spider and the Fly<br />
J. J. Murphy<br />
University of Wiscons<strong>in</strong>-Madison,<br />
Department of Communication Arts,<br />
6035 Vilas Hall, 821 University<br />
Avenue, Madison, Wiscons<strong>in</strong>, 53726,<br />
United States of America<br />
Keywords <strong>in</strong>dependent c<strong>in</strong>ema,<br />
screenwrit<strong>in</strong>g, screenplays,<br />
improvisation, visual storytell<strong>in</strong>g<br />
Jill Murphy<br />
University College Cork, Film<br />
Studies, Dept. of Italian, Cork, Ireland<br />
languages, and major collections of his essays are currently <strong>in</strong> press <strong>in</strong><br />
Poland, South Korea and Ch<strong>in</strong>a. His recent works <strong>in</strong>clude the co-edited<br />
collections Media <strong>in</strong> the Age of Marketisation and Digital Dynamics<br />
and the co-authored monograph The GM Debate.<br />
› Re-enchantment and the popular imag<strong>in</strong>ation: fate, magic and purity,<br />
Northern Lights: Film & Media Studies Yearbook, 6.1, 27-44.<br />
Robert Murphy is Professor <strong>in</strong> Film Studies and course leader for the<br />
MA <strong>in</strong> Television Scriptwrit<strong>in</strong>g at De Montefort University, Leicester.<br />
Robert Murphy has written several books about British c<strong>in</strong>ema, and<br />
Smash and Grab, a history of the London underworld <strong>in</strong> the first half of<br />
the 20th century. He is also the editor of Directors <strong>in</strong> British and Irish<br />
C<strong>in</strong>ema and The British C<strong>in</strong>ema Book. He has taught a wide range of<br />
film-related subjects, from ‘The Australian New Wave’ to<br />
‘Experimental C<strong>in</strong>ema’ to ‘A History of the Media Industries’. He also<br />
teaches courses on ‘Directors <strong>in</strong> British C<strong>in</strong>ema’ and ‘The Ever-<br />
Grow<strong>in</strong>g Empire of Film Noir’.<br />
› Dark Shadows around P<strong>in</strong>ewood and Eal<strong>in</strong>g, Film International, 2.7, 28-35.<br />
J. J. Murphy is a film-maker. He has written articles that have appeared<br />
<strong>in</strong> Film Quarterly, Film Culture, Millennium Film Journal, Field of<br />
Vision and Film Studies: An International Review. He is the author of<br />
Me and You Memento and Fargo: How Independent Screenplays Work<br />
(Cont<strong>in</strong>uum, 2007). He teaches film production, screenwrit<strong>in</strong>g and<br />
c<strong>in</strong>ema studies <strong>in</strong> the Department of Communication Arts at the<br />
University of Wiscons<strong>in</strong>-Madison, USA.<br />
› No room for the fun stuff: the question of the screenplay <strong>in</strong> American <strong>in</strong>die<br />
c<strong>in</strong>ema, Journal of Screenwrit<strong>in</strong>g, 1.1, 175-196.<br />
Jill Murphy is a doctoral candidate at University College Cork and<br />
tutors on the MA programme <strong>in</strong> Film Studies at the college. Her<br />
<strong>research</strong> focuses on the <strong>in</strong>tersection between art and film, particularly<br />
as regards Passion iconography. Recent publications <strong>in</strong>clude an article<br />
<strong>in</strong> Artefact: Journal of the Irish Association of Art Historians (Issue 4
Keywords art and film, Passion<br />
iconography, Derek Jarman’s<br />
Caravaggio, Pier Paolo Pasol<strong>in</strong>i<br />
Stuart Murray<br />
Leeds University, School of English,<br />
Leeds, LS2 9JT, United K<strong>in</strong>gdom<br />
Keywords Maori culture,<br />
documentary, television, <strong>in</strong>digenous<br />
c<strong>in</strong>ema, politics, New Zealand<br />
c<strong>in</strong>ema, disability and film<br />
Leo Murray<br />
Murdoch University, School of Media<br />
Communication & Culture, South<br />
Street, Murdoch, WA 6150, Australia<br />
Keywords sound, authenticity,<br />
realism, documentary, drama,<br />
television<br />
Jonathan Murray<br />
Keywords Scottish culture, British<br />
c<strong>in</strong>ema, animated documentary film<br />
2010) on mimesis and identity <strong>in</strong> Derek Jarman’s Caravaggio, and a<br />
chapter on art-historical read<strong>in</strong>gs of the Sacred <strong>in</strong> the early films of Pier<br />
Paolo Pasol<strong>in</strong>i <strong>in</strong> Faith and Spirituality <strong>in</strong> Masters of World C<strong>in</strong>ema<br />
Volume II (Cambridge Scholars Press, Forthcom<strong>in</strong>g 2011).<br />
› ‘To see a script’: Jean-Luc Godard’s re-envision<strong>in</strong>g of screenwrit<strong>in</strong>g <strong>in</strong><br />
Passion (1982) and Scénario du film Passion (1982), Journal of<br />
Screenwrit<strong>in</strong>g, 3.1, 9-25.<br />
Stuart Murray teaches <strong>in</strong> the School of English at the University of<br />
Leeds <strong>in</strong> the United K<strong>in</strong>gdom. He has published on literature and<br />
cultural history from New Zealand, Australia and other postcolonial<br />
contexts, and is the co-editor of New Zealand Filmmakers (Wayne<br />
State University Press, 2007). He has recently completed a monograph<br />
on the films of Barry Barclay entitled Images of Dignity: Barry<br />
Barclay and Fourth C<strong>in</strong>ema.<br />
› Activism, community and governance: Barry Barclay's The Kaipara Affair<br />
(2005), Studies <strong>in</strong> Australasian C<strong>in</strong>ema, 1.2, 147-160.<br />
Leo Murray worked as a Broadcast Eng<strong>in</strong>eer with ‘BBC Radio’ <strong>in</strong><br />
London before mov<strong>in</strong>g to Australia and jo<strong>in</strong><strong>in</strong>g Murdoch University’s<br />
Media department. He is a Lecturer <strong>in</strong> Sound and Audio at Murdoch<br />
University <strong>in</strong> Perth and has also worked as a sound recordist and sound<br />
editor for drama and documentary films. He is currently do<strong>in</strong>g a Ph.D.<br />
<strong>in</strong> Film Sound Theory and Practice.<br />
› Authenticity and realism <strong>in</strong> documentary sound, The Soundtrack, 3.2, 131-<br />
137.<br />
Jonathan Murray teaches Film and Visual Culture <strong>in</strong> the School of<br />
Design at Ed<strong>in</strong>burgh College of Art. At present, his primary <strong>research</strong><br />
<strong>in</strong>terests are Scottish culture (visual or otherwise) and contemporary<br />
British c<strong>in</strong>ema and animated documentary film. He also writes<br />
regularly on contemporary world c<strong>in</strong>ema for a range of <strong>in</strong>ternational<br />
publications, <strong>in</strong>clud<strong>in</strong>g C<strong>in</strong>easte and Film International. In particular,<br />
He has published widely on Scottish film culture past and present.
Aaron Mushengyezi<br />
Makerere University, Department of<br />
Literature, Rm. 34 Faculty of Arts<br />
Bldg, P.O. Box 7062, Kampala,<br />
Uganda<br />
Keywords Islamic fundamentalism,<br />
terrorism, globalization,<br />
multiculturalism, Uganda, martyrs<br />
Charles Musser<br />
Yale University, Film Studies and<br />
American Studies, 53 Wall Street,<br />
New Haven, CT 06511, United States<br />
of America<br />
Keywords presidential elections,<br />
Barrack Obama, John McCa<strong>in</strong>,<br />
Hillary Cl<strong>in</strong>ton, YouTube<br />
Selected books <strong>in</strong>clude: Discomfort and Joy: the C<strong>in</strong>ema of Bill<br />
Forsyth (Peter Lang, 2010) and (co-edited with Fidelma Farley and<br />
Rod Stoneman) Scottish C<strong>in</strong>erma Now (Cambridge Scholars<br />
Publish<strong>in</strong>g, 2009).<br />
› Film Reviews, Film International, 6.2, 71-75.<br />
› Film Reviews, Film International, 6.3, 84-87.<br />
Aaron Mushengyezi holds a Ph.D. from the University of Connecticut,<br />
USA and currently lectures at Makerere University, Uganda. His recent<br />
<strong>research</strong>, sponsored by the International Fellowships Program of the<br />
Ford Foundation and the African Humanities Program, has focused on<br />
collect<strong>in</strong>g and translat<strong>in</strong>g children’s folklore forms <strong>in</strong>to texts for<br />
schools <strong>in</strong> Uganda. He is currently coord<strong>in</strong>at<strong>in</strong>g a children's literature<br />
project funded by Development Partnerships <strong>in</strong> Higher Education<br />
(DelPHE), which tra<strong>in</strong>s teachers to write bil<strong>in</strong>gual readers for use <strong>in</strong> the<br />
classroom. Aaron is the author of Twentieth Century Literary Theory<br />
(2003) and co-edited Africa <strong>in</strong> World Affairs (2004).<br />
› Problematiz<strong>in</strong>g a ‘fundamentalist’ ideology: A close analysis of Atef Hetata's<br />
The Closed Doors and Phil Mullaly's The Martyrs of Uganda, Journal of<br />
African C<strong>in</strong>emas, 1.2, 173-188.<br />
Charles Musser is a Professor of Film Studies and American Studies at<br />
Yale University. He has published extensively on early c<strong>in</strong>ema and his<br />
prize-w<strong>in</strong>n<strong>in</strong>g book The Emergence of C<strong>in</strong>ema: The American Screen<br />
to 1907 is available through University of California Press. His<br />
documentary Before the Nickelodeon: The Early C<strong>in</strong>ema of Edw<strong>in</strong> S.<br />
Porter is available on DVD from K<strong>in</strong>o International and the British<br />
Film Institute. He is currently complet<strong>in</strong>g a book entitled Truth and<br />
Documentary <strong>in</strong> the Age of George W. Bush and a documentary on<br />
Errol Morris.<br />
› Political documentary, YouTube and the 2008 US presidential election:<br />
Focus on Robert Greenwald and David N. Bossie, Studies <strong>in</strong> Documentary<br />
Film, 3.3, 199-218.
Dilek Kaya Mutlu<br />
Bilkent University, Turkey<br />
Keywords Turkey, Turkish c<strong>in</strong>ema,<br />
Middle East, reception, distribution,<br />
geopolitics, media franchise<br />
Jacquel<strong>in</strong>e Nacache<br />
Keywords jeune c<strong>in</strong>éma, stars, auteur<br />
c<strong>in</strong>ema, J'ai horreur de l'amour,<br />
political commitment<br />
Lúcia Nagib<br />
University of Leeds, Centre for World<br />
C<strong>in</strong>emas, Leeds, LS2 9JT, United<br />
K<strong>in</strong>gdom<br />
Keywords utopia, Rossell<strong>in</strong>i, neorealism,<br />
C<strong>in</strong>ema Novo, Walter Salles,<br />
Brazilian c<strong>in</strong>ema<br />
Dilek Kaya Mutlu is an assistant professor at the Department of<br />
Graphic Design at Bilkent University.<br />
› Beware of the Wolves! The Turkish versus the European Reception of Valley<br />
of the Wolves: Iraq (2006), Film International, 9.3, 19-34.<br />
Jacquel<strong>in</strong>e Nacache is Senior Lecturer <strong>in</strong> Film Studies at Paris 7-Denis<br />
Diderot. Her work focuses primarily on classical Hollywood c<strong>in</strong>ema.<br />
She is the author of Lubitsch (Edilig, 1987), Le Film hollywoodien<br />
classique (Nathan, 1995) and Hollywood, l’ellipse et l’<strong>in</strong>filmé<br />
(L’Harmattan, 2001). But it is as a film critic (for C<strong>in</strong>éma, La Revue du<br />
C<strong>in</strong>éma, , Positif) that she has broadened her <strong>in</strong>terests to encompass<br />
French c<strong>in</strong>ema as well. Presently she is work<strong>in</strong>g on the function of the<br />
actor. In this context she has published L’Acteur de c<strong>in</strong>éma (Nathan-<br />
Université, 2003).<br />
› Group Portrait with a Star: Jeanne Balibar and French ‘Jeune’ C<strong>in</strong>ema,<br />
Studies <strong>in</strong> French C<strong>in</strong>ema, 5.1, 49-60.<br />
Lúcia Nagib is Centenary Professor of World C<strong>in</strong>emas and Director of<br />
the Centre for World C<strong>in</strong>emas, University of Leeds. She is the author<br />
of Werner Herzog: Film as Reality (Estação Liberdade); Born of the<br />
Ashes: The Auteur and the Individual <strong>in</strong> Oshima’s Films (Edusp);<br />
Around the Japanese Nouvelle Vague (Editora da Unicamp); The<br />
Renaissance of Brazilian C<strong>in</strong>ema (Editora 34); Brazil on Screen:<br />
C<strong>in</strong>ema Novo, New C<strong>in</strong>ema, Utopia (I.B. Tauris); and World C<strong>in</strong>ema<br />
and the Ethics of Realism (Cont<strong>in</strong>uum, <strong>in</strong> press). She is the editor of the<br />
books (Navegar), Master Mizoguchi (Marco Zero), The New Brazilian<br />
C<strong>in</strong>ema (I.B. Tauris), Realism and the Audiovisual Media (with Cecília<br />
Mello, Palgrave) and Theoriz<strong>in</strong>g World C<strong>in</strong>ema (with Chris Perriam<br />
and Raj<strong>in</strong>der Dudrah, I.B. Tauris).<br />
› The zero, the centre and the empty utopia – From Rossell<strong>in</strong>i to Walter Salles,<br />
Studies <strong>in</strong> European C<strong>in</strong>ema, 3.3, 223-.<br />
› Is this really Brazil?, New C<strong>in</strong>emas: Journal of Contemporary Film, 2.1, 17-<br />
28.
Constant<strong>in</strong>e V. Nakassis<br />
University of Chicago, Department of<br />
Anthropology, 1126 E. 59th Street,<br />
Chicago, IL, 60637, United States of<br />
America<br />
Keywords realism, film theory,<br />
spectatorship, Tamil c<strong>in</strong>ema,<br />
anthropology, media<br />
Matilde Nardelli<br />
University College London, Film<br />
Programme, Centre for Intercultural<br />
Studies, c/o Department of Italian,<br />
Gower Street, London, WC1E 6BT,<br />
United K<strong>in</strong>gdom<br />
Keywords magnetic tape, John Cage,<br />
concert music, silence, Michelangelo<br />
Antonioni<br />
Eva Näripea<br />
The Estonian Academy of Arts,<br />
Research Library, Estonia pst 7, /<br />
Teatri väljak 1, Tall<strong>in</strong>n, Harjumaa,<br />
10143, Estonia<br />
Keywords Estonian c<strong>in</strong>ema, Eastern<br />
European c<strong>in</strong>ema, national space,<br />
architecture, c<strong>in</strong>ematic spaces<br />
Constant<strong>in</strong>e V. Nakassis received his Ph.D. from the Department of<br />
Anthropology at the University of Pennsylvania. His <strong>research</strong> deals<br />
with youth culture, mass media and concepts of gender and status <strong>in</strong><br />
contemporary Tamil Nadu, India.<br />
› Theoriz<strong>in</strong>g film realism empirically, New C<strong>in</strong>emas: Journal of<br />
Contemporary Film, 7.3, 211-236.<br />
Matilde Nardelli is a British Academy Post-doctoral Fellow at<br />
University College London, work<strong>in</strong>g on a project entitled 'Screens,<br />
Projections and Projectors: C<strong>in</strong>ema between Sculpture and<br />
Monumentality'. She wrote her Ph.D. thesis on Antonioni and<br />
experimental film-mak<strong>in</strong>g, and is <strong>in</strong>terested <strong>in</strong> the dialogue between<br />
‘commercial’ and ‘experimental’ c<strong>in</strong>ema, and between c<strong>in</strong>ema, art and<br />
other media. Her recent publications <strong>in</strong>clude 'Mov<strong>in</strong>g Pictures: C<strong>in</strong>ema<br />
and Its Obsolescence <strong>in</strong> Contemporary Art', Journal of Visual Culture<br />
(December 2009); 'Dream Houses', Sophia (June 2009) and 'The Cut:<br />
Interruptions of Consciousness <strong>in</strong> Zorns Lemma and Red Desert',<br />
Crash C<strong>in</strong>ema, ed. by Jill Good, Mark Goodall and Will Godfrey<br />
(Cambridge Scholars Press, 2007).<br />
› Some reflections on Antonioni, sound and the silence of La notte, The<br />
Soundtrack, 3.1, 11-23.<br />
Dr Eva Näripea is Visit<strong>in</strong>g Senior Research Fellow at the Estonian<br />
Academy of Arts. She has published a study on Estonian<br />
C<strong>in</strong>escapes: Spaces, Places and Sites <strong>in</strong> Soviet Estonian C<strong>in</strong>ema (and<br />
Beyond (2011), and a number of articles on representations of city and<br />
landscapes <strong>in</strong> Soviet Estonian c<strong>in</strong>ema <strong>in</strong> various Estonian and<br />
<strong>in</strong>ternational publications. She has co-edited Via Transversa: Lost<br />
C<strong>in</strong>ema of the Former Eastern Bloc (2008, with Andreas Trossek) and<br />
a special issue on Estonian c<strong>in</strong>ema <strong>in</strong> K<strong>in</strong>okultura: New Russian<br />
C<strong>in</strong>ema (2010, with Ewa Mazierska and Mari Laaniste). She is<br />
currently work<strong>in</strong>g on an edited volume Postcolonial Approaches to<br />
Eastern European C<strong>in</strong>ema: Portray<strong>in</strong>g Neighbours on Screen (with<br />
Ewa Mazierska and Lars Kristensen, I.B. Tauris, forthcom<strong>in</strong>g <strong>in</strong> 2012).<br />
Her <strong>research</strong> <strong>in</strong>terests <strong>in</strong>clude c<strong>in</strong>ematic spaces; Soviet, Baltic and East<br />
European c<strong>in</strong>emas; the shift<strong>in</strong>g dynamics of<br />
› Aliens and time travellers: Recycl<strong>in</strong>g national space <strong>in</strong> Estonian science-
Kate Nash<br />
University of Tasmania, Hobart<br />
Campus, Humanities Build<strong>in</strong>g, 561,<br />
Private Bag 82, Hobart, Tasmania,<br />
7001, Australia<br />
Keywords Foucault, ethics,<br />
documentary, trust, power<br />
Rebecca Naughten<br />
Keywords Spanish c<strong>in</strong>ema, stardom,<br />
national c<strong>in</strong>ema<br />
Christopher Neilan<br />
Keywords screenwrit<strong>in</strong>g, comedy,<br />
crime c<strong>in</strong>ema, sound, light<br />
fiction c<strong>in</strong>ema, Studies <strong>in</strong> Eastern European C<strong>in</strong>ema, 1.2, 167-182.<br />
Kate Nash is an Associate lecturer <strong>in</strong> Journalism, Media and<br />
Communications at the University of Tasmania. Her Ph.D. thesis,<br />
submitted <strong>in</strong> July 2009, 'Beyond the Frame', looks at the participant’s<br />
experience of documentary draw<strong>in</strong>g attention to issues of trust, power,<br />
consent and performance. Alongside her <strong>research</strong>, Kate has an active<br />
career as a media producer. She is currently work<strong>in</strong>g with primary<br />
school students on child-generated documentary projects.<br />
› Explor<strong>in</strong>g power and trust <strong>in</strong> documentary: A study of Tom Zubrycki's Molly<br />
and Mobarak, Studies <strong>in</strong> Documentary Film, 4.1, 21-33.<br />
Rebecca Naughten was awarded her Ph.D. <strong>in</strong> Film Studies at<br />
Newcastle University <strong>in</strong> 2010 with a doctoral thesis entitled 'Spa<strong>in</strong><br />
Made Flesh: Reflections and projections of the national <strong>in</strong><br />
contemporary Spanish stardom, 1992-2007.' Her ma<strong>in</strong> <strong>research</strong><br />
<strong>in</strong>terests <strong>in</strong>clude stardom, Spanish c<strong>in</strong>ema, national c<strong>in</strong>emas,<br />
performance, costume, the film <strong>in</strong>dustry and Hollywood c<strong>in</strong>ema. She<br />
writes the Spanish c<strong>in</strong>ema blog 'Nobody Knows Anybody'.<br />
› Comatose women <strong>in</strong> ‘El bosque’: Sleep<strong>in</strong>g beauty and other literary motifs <strong>in</strong><br />
Pedro Almodóvar's Hable con ella, Studies <strong>in</strong> Hispanic C<strong>in</strong>emas, 3.2, 77-88.<br />
Christopher Neilan is a screenwriter, author and creative producer. He<br />
has written comedy for TV and radio, and has worked with the<br />
producers of Peep Show and The Office. His debut novel Abattoir<br />
Jack was published by Punked books <strong>in</strong> 2009. His short stories have<br />
been published <strong>in</strong> Tall Tales magaz<strong>in</strong>e, and his work is currently<br />
available at http://www.authortrek.com. Current areas of <strong>research</strong><br />
<strong>in</strong>clude dramatic structure <strong>in</strong> crime c<strong>in</strong>ema, narrative construction <strong>in</strong><br />
the comedies of Simon Pegg and Edgar Wright, and the use of sound<br />
and light <strong>in</strong> the films of P.T. Anderson.<br />
› Film Reviews, Film International, 7.3, 79-84.
Jill Nelmes<br />
Keywords screenplay, creativity,<br />
craft, playwrit<strong>in</strong>g, poetry<br />
Hilary Neroni<br />
University of Vermon, Film and<br />
Television Studies, English<br />
Department, 400 Old Mill,<br />
Burl<strong>in</strong>gton, VT 05405, United States<br />
of America<br />
Keywords torture, enjoyment,<br />
psychoanalysis, Abu Ghraib,<br />
documentary<br />
Richard Neupert<br />
University of Georgia, Film Studies,<br />
0262a F<strong>in</strong>e Arts Build<strong>in</strong>g, 255<br />
› DVD Reviews, Film International, 8.2, 63-81.<br />
› DVD Reviews, Film International, 8.3, 62-71.<br />
› Editorial, Journal of Screenwrit<strong>in</strong>g, 1.1, 3-6.<br />
› Editorial, Journal of Screenwrit<strong>in</strong>g, 1.2, 221-222.<br />
› Collaboration and control <strong>in</strong> the development of Janet Green's screenplay<br />
Victim, Journal of Screenwrit<strong>in</strong>g, 1.2, 255-271.<br />
› Editorials, Journal of Screenwrit<strong>in</strong>g, 2.1, 3-3.<br />
› Editorial, Journal of Screenwrit<strong>in</strong>g, 2.2, 155-160.<br />
› Re-writ<strong>in</strong>g Paul Laverty’sscreenplay – The W<strong>in</strong>d thatShakes the Barley<br />
(2006), Journal of Screenwrit<strong>in</strong>g, 2.2, 263-274.<br />
› EDITORIALS, Journal of Screenwrit<strong>in</strong>g, 3.1, 3-3.<br />
› EDITORIALS, Journal of Screenwrit<strong>in</strong>g, 3.2, 137-137.<br />
Hilary Neroni is an Associate Professor of film and television studies<br />
<strong>in</strong> the English Department at the University of Vermont. She has<br />
published essays on women directors (<strong>in</strong> particular Jane Campion and<br />
Claire Denis) and a book, The Violent Woman: Fem<strong>in</strong><strong>in</strong>ity, Narrative,<br />
and Violence <strong>in</strong> Contemporary American C<strong>in</strong>ema, on the<br />
psychoanalysis of violence <strong>in</strong> c<strong>in</strong>ema. More recently, her essay<br />
‘Document<strong>in</strong>g the Gaze: Psychoanalysis and Judith Helfand’s Blue<br />
V<strong>in</strong>yl and Agnes Varda’s The Gleaners and I’ (<strong>in</strong> Quarterly Review of<br />
Film and Video 27.2, February 2010) explores the Lacanian gaze <strong>in</strong><br />
autobiographical documentary film.<br />
› The nonsensical smile of the torturer: documentary form and the logic of<br />
enjoyment, Studies <strong>in</strong> Documentary Film, 3.3, 245-257.<br />
Richard Neupert teaches Film Studies and is Wheatley Professor of the<br />
Arts at the University of Georgia. His latest books <strong>in</strong>clude French<br />
Animation History (2011) and A History of the French New Wave<br />
C<strong>in</strong>ema (2002).
Baldw<strong>in</strong> St, Athens, Georgia, GA<br />
30602, United States of America<br />
Keywords Michel Ocelot, Kirikou et<br />
la sorcière, Pr<strong>in</strong>ces et pr<strong>in</strong>cesses,<br />
Edgar Mor<strong>in</strong>, Jean Mitry<br />
Elizabeth Newton<br />
University of Leeds, Department of<br />
French, Leeds, United K<strong>in</strong>gdom<br />
Keywords embodiment, fem<strong>in</strong>ism,<br />
Merleau-Ponty, perception,<br />
phenomenology<br />
Kenny K. K. Ng<br />
Hong Kong University of Science and<br />
Technology, Division of Humanities,<br />
Clear Water Bay, Hong Kong, Ch<strong>in</strong>a<br />
Keywords Cold War, colonialism,<br />
film policy, Communist propaganda,<br />
censorship, Hong Kong<br />
Sunedria Nicholls-<br />
Gärtner<br />
International Film School of Cologne,<br />
Picture and Sound Edit<strong>in</strong>g, Werder<br />
Str. 1, Köln, 50672, Germany<br />
Keywords post-production, edit<strong>in</strong>g,<br />
sound<br />
› Kirikou and the animated figure/body, Studies <strong>in</strong> French C<strong>in</strong>ema, 8.1, 41-56.<br />
› Adieu Philipp<strong>in</strong>e and Rozier's alternative sound practice, Studies <strong>in</strong> French<br />
C<strong>in</strong>ema, 11.1, 31-41.<br />
Elizabeth Newton ga<strong>in</strong>ed a BA (Honours) degree <strong>in</strong> French and<br />
Philosophy from the University of Sheffield, UK. Follow<strong>in</strong>g this, she<br />
completed an MA <strong>in</strong> the Language and Philosophy of Criticism at the<br />
same <strong>in</strong>stitution. Her Ph.D. thesis on 'Phenomenology <strong>in</strong> the works of<br />
Robbe-Grillet' was awarded by the University of Leeds, UK. She<br />
teaches courses on French language and culture at the Universities of<br />
Leeds and Sheffield . She is the author of articles on c<strong>in</strong>ema, literature,<br />
phenomenology and sexuality.<br />
› The phenomenology of desire: Claire Denis's Vendredi soir (2002), Studies<br />
<strong>in</strong> French C<strong>in</strong>ema, 8.1, 17-28.<br />
Kenny K. K. Ng is Assistant Professor of the Humanities at the Hong<br />
Kong University of Science and Technology. He teaches Film and<br />
Comparative Literature with a focus on the Greater Ch<strong>in</strong>a regions. He<br />
is f<strong>in</strong>ish<strong>in</strong>g a book on modern Ch<strong>in</strong>ese fiction and historical<br />
imag<strong>in</strong>ation. His upcom<strong>in</strong>g project deals with Ch<strong>in</strong>ese c<strong>in</strong>ema <strong>in</strong> Cold<br />
War contexts and the cultural history of colonialism <strong>in</strong> Hong Kong.<br />
› Inhibition vs. exhibition: political censorship of Ch<strong>in</strong>ese and foreign c<strong>in</strong>emas<br />
<strong>in</strong> postwar Hong Kong, Journal of Ch<strong>in</strong>ese C<strong>in</strong>emas, 2.1, 23-35.<br />
Su Nicholls-Gärtner began her career <strong>in</strong> Vancouver Canada as a<br />
Production and Directors Assistant on TV and feature films. In 1993<br />
she immigrated to Germany and landed <strong>in</strong> film post-production. As an<br />
editor she worked on German film and TV productions <strong>in</strong>clud<strong>in</strong>g the<br />
TV Series The Partners and the feature film David <strong>in</strong> Wonderland.<br />
S<strong>in</strong>ce 2001 she has worked at the ifs Internationale Filmschule Köln, as<br />
Head of Department for Post-production, develop<strong>in</strong>g and organiz<strong>in</strong>g<br />
education for editors, <strong>in</strong>clud<strong>in</strong>g a two-year tra<strong>in</strong><strong>in</strong>g for Sound Design<br />
<strong>in</strong> Film and a three-year Bachelor of Arts programme for Edit<strong>in</strong>g <strong>in</strong>
Bill Nichols<br />
San Francisco State University,<br />
C<strong>in</strong>ema Studies, 1600 Holloway, San<br />
Francisco, California, CA 94132,<br />
United States of America<br />
Keywords documentary c<strong>in</strong>ema, Two<br />
Laws, <strong>in</strong>digenous Australia<br />
Jakob Isak Nielsen<br />
Aarhus University, Denmark,<br />
Department of Information and Media<br />
Studies, Denmark<br />
Keywords c<strong>in</strong>ematography, visual<br />
style, edit<strong>in</strong>g, <strong>in</strong>tensified cont<strong>in</strong>uity,<br />
discont<strong>in</strong>uity<br />
Ma N<strong>in</strong>g<br />
Shanghai University, School of Film<br />
and Television Technology,<br />
Shanghai, 200072, Ch<strong>in</strong>a<br />
Picture and Sound.<br />
› Review of ‘The Soundtrack’ – the School of Sound summer workshop,<br />
Napier Screen Academy, Ed<strong>in</strong>burgh, August 2008, The Soundtrack, 1.3, 228-<br />
235.<br />
Bill Nichols is Professor of C<strong>in</strong>ema and Director of the Graduate<br />
Program <strong>in</strong> C<strong>in</strong>ema Studies at San Francisco State University. He is the<br />
author of many books about documentary, <strong>in</strong>clud<strong>in</strong>g Ideology and the<br />
Image (1981); Represent<strong>in</strong>g Reality (1991); Blurred Boundaries:<br />
Questions of Mean<strong>in</strong>g <strong>in</strong> Contemporary C<strong>in</strong>ema (1994) and, most<br />
recently, a book called Introduction to Documentary (2001). He edited<br />
the standard collection, Movies and Methods (University of California<br />
Press, 1976–1985) and Maya Deren and the American Avant-Garde<br />
(University of California Press, 2001).<br />
› Two Laws: DVD release film commentary, Studies <strong>in</strong> Documentary Film,<br />
2.2, 191-217.<br />
Jakob Isak Nielsen is Assistant Professor, Department of Information<br />
and Media Studies, Aarhus University. His Ph.D. thesis is entitled<br />
‘Camera Movement <strong>in</strong> Narrative C<strong>in</strong>ema’ (2007). He is the found<strong>in</strong>g<br />
editor of – A Danish Onl<strong>in</strong>e Journal of Film Studies (http://www.16-<br />
9.dk) and co-author of the textbook Film i øjet (2005). He has<br />
published articles on a variety of topics <strong>in</strong>clud<strong>in</strong>g visual style, mobile<br />
phones <strong>in</strong> film and TV, stylistic history, comedy, westerns, art c<strong>in</strong>ema,<br />
short fiction films and commercials.<br />
› The War Is Over N<strong>in</strong>a Mimica short fiction film war Croatian culture Italian<br />
film arts counterpo<strong>in</strong>t, Short Film Studies, 1.1, 37-41.<br />
Ma N<strong>in</strong>g is professor <strong>in</strong> the School of Film and Television Technology<br />
at Shanghai University. He has published widely on the history of<br />
Ch<strong>in</strong>ese c<strong>in</strong>ema.<br />
› Rules of the forbidden game: Violence <strong>in</strong> contemporary Ch<strong>in</strong>ese c<strong>in</strong>ema,
Keywords globalization, Chen Kaige,<br />
Zhang Yimou, Ch<strong>in</strong>ese c<strong>in</strong>ema New C<strong>in</strong>emas: Journal of Contemporary Film, 8.3, 169-177.<br />
Eija Niskanen<br />
Keywords Taiwanese c<strong>in</strong>ema, The<br />
Wayward Cloud, Tian bian yi duo<br />
yun, Japan, audio-visual, long take,<br />
Kihachi Okamoto, The Other Half<br />
(2006)<br />
Obed Nkunzimana<br />
University of New Brunswick,<br />
Humanities and Languages, PO Box<br />
5050, Sa<strong>in</strong>t John, New Brunswick,<br />
E2L 4L5, Canada<br />
Keywords colonialism,<br />
postcolonialism, stereotypes,<br />
imag<strong>in</strong>ation, Africa<br />
Eija Margit Niskanen, native of F<strong>in</strong>land, received an MA from UCLA<br />
Critical Studies <strong>in</strong> Film and Television, writ<strong>in</strong>g a Ph.D. dissertation on<br />
Japanese anime <strong>in</strong>dustry and style for University of Wiscons<strong>in</strong>-<br />
Madison, Department of Communication Arts. Eija been a programmer<br />
for Hels<strong>in</strong>ki International Film Festival s<strong>in</strong>ce 1989. A freelance film<br />
writer, Eija is currently liv<strong>in</strong>g <strong>in</strong> Tokyo. Eija's <strong>in</strong>terests are East Asian<br />
and South East Asian c<strong>in</strong>ema and world animation <strong>in</strong> general, as well<br />
as documentary film.<br />
› The Corporation: Interview with the Filmmakers, Film International, 2.9, 4-<br />
7.<br />
› Editorial, Film International, 3.16, 3-3.<br />
› Tsai M<strong>in</strong>g-liang delves <strong>in</strong>to Japanese AV-culture, Film International, 4.19,<br />
70-74.<br />
› Tokyo Filmex premiers Mozart, Film International, 5.2, 90-92.<br />
› Hiroshima carries animation tradition forward 24–28 August 2006, Film<br />
International, 5.2, 93-.<br />
Dr. Obed Nkunzimana is Full Professor at the University of New<br />
Brunswick, Sa<strong>in</strong>t John campus (Canada). He teaches French,<br />
francophone literature and c<strong>in</strong>ema. In addition to his recent<br />
contributions to collective books on francophone literature (Peter Lang,<br />
2008; Nota Bene / Montréal, 2008) and on African c<strong>in</strong>ema (Mémoire<br />
d’encrier / Montréal, 2006), his other publications appeared <strong>in</strong> the<br />
journals Présence francophone, Études littéraires, Quebec Studies<br />
(American Council of Quebec Studies), Année Francophone<br />
Internationale and Africa Today. He is <strong>in</strong>terested <strong>in</strong><br />
postmodern/postcolonial theories and the francophone world. His<br />
upcom<strong>in</strong>g book, co-authored with Marie-Christ<strong>in</strong>e Rochmann<br />
(Montpellier, France) and Françoise Naudillon (Concordia, Canada), is<br />
titled L'Afrique noire dans les littératures et les imag<strong>in</strong>aires antilloguyanais<br />
to be published by Karthala.<br />
› Beyond colonial stereotypes: reflections on postcolonial c<strong>in</strong>ema <strong>in</strong> the<br />
African Great Lakes region, Journal of African C<strong>in</strong>emas, 1.1, 79-94.
Dom<strong>in</strong>ique Noguez<br />
Keywords avant-garde, festivals,<br />
cooperatives, history, transmission of<br />
knowledge<br />
Marguerite Nolan<br />
Australian Catholic University,<br />
Brisbane Campus, PO Box 456,<br />
Virg<strong>in</strong>ia, Queensland, 4014, Australia<br />
Keywords stolen generations, race,<br />
psychoanalysis, mothers,<br />
Stephen M. Norris<br />
Miami University, History<br />
Department, 250 Upham Hall,<br />
Oxford, Ohio, OH 45056, United<br />
States of America<br />
Keywords Great Patriotic War, post-<br />
Soviet film, television, historical<br />
narratives, memory<br />
Dom<strong>in</strong>ique Noguez is an agrégé <strong>in</strong> philosophy, and was a professor at<br />
the Universities of Montreal and Paris. He established practical and<br />
theoretical courses <strong>in</strong> experimental c<strong>in</strong>ema <strong>in</strong> Paris at that time (the<br />
early 1970s). He was awarded a Doctorat d’État on US underground<br />
c<strong>in</strong>ema. He has published, amongst many other reference books on the<br />
subject, Éloge du c<strong>in</strong>éma expérimental (1979), and made three short<br />
films, <strong>in</strong>clud<strong>in</strong>g Una Vita (1984). He is also an essayist and novelist;<br />
amongst others, he has published Les Trois Rimbaud (1986), L’Homme<br />
de l’humour (2003), and he was awarded the Prix Fem<strong>in</strong>a <strong>in</strong> 1997 for<br />
Amour noir.<br />
› French experimental c<strong>in</strong>ema: the richness of the 1970s, Studies <strong>in</strong> French<br />
C<strong>in</strong>ema, 4.3, 165-174.<br />
Marguerite Nolan is a lecturer <strong>in</strong> Australian Studies at the Brisbane<br />
campus of the Australian Catholic University National. She completed<br />
her Ph.D. on <strong>in</strong>digenous literatures as a Commonwealth Scholar to the<br />
United K<strong>in</strong>gdom at the University of Stirl<strong>in</strong>g. Her <strong>research</strong> <strong>in</strong>terests are<br />
dom<strong>in</strong>ated by questions of race and identity <strong>in</strong> Australian history and<br />
culture. She is currently co-edit<strong>in</strong>g an edition of Australian Literary<br />
Studies on frauds, hoaxes and imposture <strong>in</strong> Australian literature and is<br />
also work<strong>in</strong>g on a book on cross-racial identification <strong>in</strong> Australia.<br />
› Exorciz<strong>in</strong>g history: Radiance and the abject Aborig<strong>in</strong>al mother, New<br />
C<strong>in</strong>emas: Journal of Contemporary Film, 2.3, 175-188.<br />
Stephen M. Norris is Associate Professor of History at Miami<br />
University, Ohio. He is the author of A War of Images: Russian<br />
Popular Pr<strong>in</strong>ts, Wartime Culture, and National Identity, 1812–1945<br />
(2006) and the co-editor of Preserv<strong>in</strong>g Petersburg: History, Memory,<br />
Nostalgia (with Helena Goscilo, 2008) and Insiders and Outsiders <strong>in</strong><br />
Russian C<strong>in</strong>ema (with Zara Torlone, 2008). He is currently work<strong>in</strong>g on<br />
a monograph entitled Blockbuster History: Movies, Memory, and<br />
Patriotism <strong>in</strong> the Put<strong>in</strong> Era.<br />
› Guid<strong>in</strong>g stars: the comet-like rise of the war f ilm <strong>in</strong> Put<strong>in</strong>'s Russia: recent<br />
World War II f ilms and historical memories, Studies <strong>in</strong> Russian and Soviet<br />
C<strong>in</strong>ema, 1.2, 163-190.<br />
› Reviews, Studies <strong>in</strong> Russian and Soviet C<strong>in</strong>ema, 3.3, 353-385.
Dan North<br />
University of Exeter, Department of<br />
English, Queens Build<strong>in</strong>g, Exeter,<br />
Devon, EX4 4QH, United K<strong>in</strong>gdom<br />
Keywords c<strong>in</strong>ema, Hollywood,<br />
magic, special effects, visual effects,<br />
puppetry, technology<br />
Glen W. Norton<br />
Brock University, Department of<br />
Communication, Popular Culture &<br />
Film, 500 Glenridge Avenue, St<br />
Cathar<strong>in</strong>es, Ontario, Canada<br />
Keywords French c<strong>in</strong>ema, French<br />
new wave, contemporary c<strong>in</strong>ema,<br />
Canadian c<strong>in</strong>ema, philosophy<br />
Björn Norðfjörð<br />
Keywords Icelandic c<strong>in</strong>ema, Jar City,<br />
Baltasar, Kormákur, Arnaldur<br />
Indriðason, adaptation, crime fiction<br />
Most of Dan North's work is concerned with issues raised by special<br />
effects technologies <strong>in</strong> film. His Ph.D. thesis 'Special Effects and the<br />
Aesthetics of Illusion' connects discourses around n<strong>in</strong>eteenth-century<br />
magic theatre and the reception of early c<strong>in</strong>ema to the development of<br />
sophisticated mechanisms for the production of visual illusions up to<br />
the present day. A monograph on the subject of special effects, drawn<br />
<strong>in</strong> part from this <strong>research</strong> (Perform<strong>in</strong>g Illusions: C<strong>in</strong>ema, Special<br />
Effects and the Virtual Actor), was published by Wallflower Press <strong>in</strong><br />
2008. He is currently work<strong>in</strong>g on a book about c<strong>in</strong>ema and puppetry.<br />
› Magic and illusion <strong>in</strong> early c<strong>in</strong>ema, Studies <strong>in</strong> French C<strong>in</strong>ema, 1.2, 70-79.<br />
Glen W. Norton is an Instructor <strong>in</strong> Film Studies at the Department of<br />
Communication, Popular Culture and Film, Brock University, Canada.<br />
He has published <strong>in</strong> various journals <strong>in</strong>clud<strong>in</strong>g Studies <strong>in</strong> French<br />
C<strong>in</strong>ema, Post Script, Theory@Buffalo, Senses of C<strong>in</strong>ema and<br />
C<strong>in</strong>emaScope. S<strong>in</strong>ce 1996 he has ma<strong>in</strong>ta<strong>in</strong>ed and edited<br />
C<strong>in</strong>ema=Godard=C<strong>in</strong>ema, a primarily academic hub of <strong>in</strong>formation<br />
perta<strong>in</strong><strong>in</strong>g to the work of Jean-Luc Godard:<br />
http://c<strong>in</strong>emagodardc<strong>in</strong>ema.wordpress.com/. His <strong>research</strong> <strong>in</strong>terests are<br />
French new wave and contemporary c<strong>in</strong>ema, avant-garde c<strong>in</strong>ema,<br />
Canadian c<strong>in</strong>ema, Italian neorealist c<strong>in</strong>ema, documentary c<strong>in</strong>ema,<br />
phenomenological and existential thought, phenomenological<br />
approaches <strong>in</strong> film theory and criticism, philosophy of film, philosophy<br />
of time, moral theory, theories of the self, aesthetics, social and cultural<br />
theory, modernist/postmodernist debates, and creative writ<strong>in</strong>g.<br />
› Moral perfectionism <strong>in</strong> Eric Rohmer's Ma nuit chez Maud, Studies <strong>in</strong> French<br />
C<strong>in</strong>ema, 9.1, 25-36.<br />
Björn Norðfjörð is Assistant Professor and Director of the Film Studies<br />
programme at the University of Iceland. His publications <strong>in</strong> both<br />
Icelandic and English focus equally on Icelandic national c<strong>in</strong>ema and<br />
world c<strong>in</strong>ema. His most recent English publication is a monograph on<br />
Dagur Kári’s Nói the Alb<strong>in</strong>o (2010).<br />
› ‘A typical Icelandic murder?’ The ‘crim<strong>in</strong>al’ adaptation of Jar City, Journal<br />
of Scand<strong>in</strong>avian C<strong>in</strong>ema, 1.1, 37-49.
Eva Novrup Redvall<br />
University of Copenhagen, Film and<br />
Media Studies Department, Njalsgade<br />
80, Copenhagen, 2300, Denmark<br />
Keywords screenwrit<strong>in</strong>g, film<br />
schools, Danish c<strong>in</strong>ema,<br />
collaboration, authorship<br />
Charles O'Brien<br />
Carleton University, School for<br />
Studies <strong>in</strong> Art and Culture, 1125<br />
Colonel By Drive, Ottawa, Ontario,<br />
K1S5B6, Canada<br />
Keywords edit<strong>in</strong>g, René Clair, style,<br />
studio, statistics<br />
Daniel O'Brien<br />
Keywords Víctor Erice, Roy William<br />
Neill, Sherlock Holmes, childhood,<br />
autobiography, Spanish Civil War,<br />
horror films, mystery films<br />
Eva Novrup Redvall is Assistant Professor <strong>in</strong> the Film and Media<br />
Studies Section of the Department of Media, Cognition and<br />
Communication at the University of Copenhagen. She has contributed<br />
to a number of anthologies on Danish and Nordic film, among them<br />
Transnational C<strong>in</strong>ema <strong>in</strong> a Global North (Wayne State University<br />
Press, 2005), and she is the co-editor of a new edition of Danish<br />
Directors – Dialogues on a Contemporary National C<strong>in</strong>ema together<br />
with Mette Hjort and Eva Jørholt (<strong>Intellect</strong> Press, forthcom<strong>in</strong>g 2010).<br />
She is currently f<strong>in</strong>ish<strong>in</strong>g a Ph.D. thesis on creative collaborations<br />
beh<strong>in</strong>d screenwrit<strong>in</strong>g practices <strong>in</strong> Danish feature film production. She<br />
has been film critic for the daily newspaper Information s<strong>in</strong>ce 1999.<br />
› Teach<strong>in</strong>g screenwrit<strong>in</strong>g <strong>in</strong> a time of storytell<strong>in</strong>g bl<strong>in</strong>dness: the meet<strong>in</strong>g of the<br />
auteur and the screenwrit<strong>in</strong>g tradition <strong>in</strong> Danish film-mak<strong>in</strong>g, Journal of<br />
Screenwrit<strong>in</strong>g, 1.1, 59-81.<br />
› Book Reviews, Journal of Screenwrit<strong>in</strong>g, 2.2, 291-302.<br />
Charles O’Brien is an associate professor of film studies at Carleton<br />
University <strong>in</strong> Canada. He is the author of C<strong>in</strong>ema’s Conversion to<br />
Sound (2005) and various articles and book chapters on the artistic<br />
consequences of film-technological change. He is currently complet<strong>in</strong>g<br />
a book provisionally titled Enterta<strong>in</strong>ment for Export: Movies, Songs,<br />
and Electric Sound.<br />
› Sous les toits de Paris and transnational film style: An analysis of film<br />
edit<strong>in</strong>g statistics, Studies <strong>in</strong> French C<strong>in</strong>ema, 9.2, 111-125.<br />
› Songs <strong>in</strong> French-language c<strong>in</strong>ema: Coeur de Lilas (1932) <strong>in</strong> national and<br />
transnational context, Studies <strong>in</strong> French C<strong>in</strong>ema, 11.2, 101-110.<br />
Daniel O'Brien is a freelance writer and film historian. His work has<br />
appeared <strong>in</strong> The Independent, Shivers and The Dark Side. He has<br />
contributed to such reference works as The Hutch<strong>in</strong>son Encyclopedia,<br />
The International Dictionary of Films and Film-makers and Directors<br />
<strong>in</strong> British and Irish C<strong>in</strong>ema. His books <strong>in</strong>clude Cl<strong>in</strong>t Eastwood: Film-<br />
Maker (1995), The Frank S<strong>in</strong>atra Film Guide (1997), SF:UK – How<br />
British Science Fiction Changed the World (2000), The Hannibal Files<br />
(2001), Spooky Encounters (2003), Paul Newman (2004) and Daniel<br />
Craig: Ultimate Professional (2007). He is currently <strong>research</strong><strong>in</strong>g a<br />
Ph.D. thesis on the peplum or
Cather<strong>in</strong>e O'Rawe<br />
University of Bristol, Italian, 19<br />
Woodland Road, Bristol, BS8 1TE,<br />
United K<strong>in</strong>gdom<br />
Keywords Italian c<strong>in</strong>ema, neo-realist<br />
c<strong>in</strong>ema, Hollywood, gender<br />
Mart<strong>in</strong> O'Shaughnessy<br />
Nott<strong>in</strong>gham Trent University, School<br />
of Arts and Humanities, Clifton<br />
Campus, Nott<strong>in</strong>gham,<br />
Nott<strong>in</strong>ghamshire, NG1 4BU, United<br />
K<strong>in</strong>gdom<br />
Keywords violence, France,<br />
Rancière, Balibar, Žižek<br />
Stefano Odorico<br />
University College Cork, Film<br />
Studies<br />
Keywords new media, documentary,<br />
Web 2.0, pragmatics, film and media<br />
› Film Reviews, Film International, 6.1, 65-68.<br />
Cather<strong>in</strong>e O’Rawe graduated from Oxford with a BA <strong>in</strong> English and<br />
Italian. She completed an MA <strong>in</strong> Italian at the University of Toronto,<br />
and a Ph.D. <strong>in</strong> 2001 at Cambridge on the narrative of Luigi Pirandello.<br />
She was Lecturer <strong>in</strong> Italian at the University of Exeter from 2001 to<br />
2004, and at the University of Leeds from September 2004 to January<br />
2007. Her pr<strong>in</strong>cipal <strong>research</strong> area is Italian c<strong>in</strong>ema, focus<strong>in</strong>g <strong>in</strong><br />
particular on the relations between neo-realist c<strong>in</strong>ema (and Italian film<br />
culture more generally) and Hollywood, and also on the question of<br />
gender and neo-realism. She is currently work<strong>in</strong>g on a monograph on<br />
the dialogue between Italian c<strong>in</strong>ema and Hollywood.<br />
› Reviews, Studies <strong>in</strong> European C<strong>in</strong>ema, 5.1, 77-81.<br />
› Editorial, New C<strong>in</strong>emas: Journal of Contemporary Film, 6.1, 3-3.<br />
Mart<strong>in</strong> O'Shaughnessy is Reader <strong>in</strong> Film Studies at Nott<strong>in</strong>gham Trent<br />
University. He is the author of Jean Renoir (M.U.P. 2000) and The<br />
New Face of Political C<strong>in</strong>ema: Commitment <strong>in</strong> French Film s<strong>in</strong>ce 1995<br />
(Berghahn, 2007). He co-edited C<strong>in</strong>ema et Engagement (L'Harmattan,<br />
2005) with Graeme Hayes. He has written widely on French film and is<br />
currently work<strong>in</strong>g on a book on Renoir's La Grande Illusion.<br />
› The Parisian popular as reactionary modernization, Studies <strong>in</strong> French<br />
C<strong>in</strong>ema, 1.2, 80-88.<br />
› French c<strong>in</strong>ema and the political, Studies <strong>in</strong> French C<strong>in</strong>ema, 10.1, 39-56.<br />
› Silenc<strong>in</strong>g the war all the better to hear it: Renoir's La Grande Illusion (1937),<br />
Studies <strong>in</strong> French C<strong>in</strong>ema, 11.1, 5-16.<br />
Stefano Odorico is a doctor <strong>in</strong> film studies and a documentary film<br />
director. He has published a number of articles <strong>in</strong> <strong>in</strong>ternational journals<br />
and anthologies about film and media theory, film practice, c<strong>in</strong>ema<br />
technology, documentary studies, urban spaces <strong>in</strong> film, new media and<br />
<strong>in</strong>teractive productions.
theory, film technology<br />
Karla Oeler<br />
Emory University, Department<br />
of Film Studies, 109 Rich Build<strong>in</strong>g,<br />
Atlanta, GA, 30322, United States of<br />
America<br />
Keywords Philip Rosen, Death Every<br />
Afternoon, Soviet C<strong>in</strong>ema<br />
Onookome Okome<br />
University of Alberta, Department of<br />
English and Film Studies, 3-89<br />
Humanities Centre, Edmonton,<br />
Alberta, T6G 2E5, Canada<br />
Keywords Nigerian video film,<br />
Nollywood, video-parlor, city video<br />
film, glamour girls, End of the<br />
Wicked, Helen Ukpabio, Nigerian<br />
gender roles<br />
Chukwuma Okoye<br />
Department of Theatre Arts,<br />
University of Ibadan, Oyo State<br />
› Documentary on the web between realism and <strong>in</strong>teraction. A case study:<br />
From Zero – People Rebuild<strong>in</strong>g Life after the Emergency (2009), Studies <strong>in</strong><br />
Documentary Film, 5.2-3, 235-246.<br />
› Book Reviews, Film International, 8.2, 82-94.<br />
Karla Oeler is Associate Professor of Film Studies at Emory<br />
University, USA. Her <strong>research</strong> and teach<strong>in</strong>g focus on classical and<br />
contemporary film theory and aesthetics. She is the author of A<br />
Grammar of Murder: Violent Scenes and Film Form (forthcom<strong>in</strong>g,<br />
University of Chicago Press).<br />
› André Baz<strong>in</strong> and the preservation of loss, Film International, 5.6, 76-82.<br />
Onookome Okome is Professor of African Literature and C<strong>in</strong>ema at the<br />
Department of English and Film Studies, University of Alberta,<br />
Edmonton. He was educated at the University of Ibadan, Nigeria where<br />
he earned the BA (Hons), MA and Ph.D. <strong>in</strong> Theatre and C<strong>in</strong>ema<br />
Studies. He taught at the University of Calabar, Nigeria from 1989 to<br />
2002 when he moved to the Department of English and Film Studies of<br />
the University of Alberta, Canada. One of the foremost scholars on<br />
Nollywood and a frontl<strong>in</strong>e <strong>in</strong>tellectual of African popular culture, Dr.<br />
Okome had travelled widely and has given lectures <strong>in</strong> the United<br />
States, Canada, Israel, Ghana, Switzerland, Germany, Belgium and<br />
Holland. He has published several books, <strong>in</strong>clud<strong>in</strong>g Ogun's Children:<br />
The Literature and Politics of Wole Soy<strong>in</strong>ka S<strong>in</strong>ce the Nobel and<br />
Writ<strong>in</strong>g the Homeland: The Poetry and Politics of Tanure Ojaide.<br />
› Women, Religion and the Video Film <strong>in</strong> Nigeria, Film International, 2.7, 4-<br />
13.<br />
› Editorial, Film International, 5.4, 4-9.<br />
Chukwuma Okoye is a Senior Lecturer at the Department of Theatre<br />
Arts, University of Ibadan, Nigeria, where he teaches contemporary<br />
African theatre and performance. His current <strong>research</strong> <strong>in</strong>terest is <strong>in</strong><br />
critically marg<strong>in</strong>alized forms of contemporary African theatre,<br />
especially by young people, that are neither taught nor <strong>in</strong>vestigated <strong>in</strong>
Keywords African theatre,<br />
postcolonialism, cultural identity,<br />
self-writ<strong>in</strong>g<br />
Senayon Olaoluwa<br />
Osun State University, UI, Oyo State,<br />
Ibadan, Oyo State, P O Box 21156,<br />
Nigeria<br />
Keywords postcolonial literature,<br />
African c<strong>in</strong>ema, African culture<br />
Ranen Omer-Sherman<br />
University of Miami, 1252 Memorial<br />
Drive, Ashe Build<strong>in</strong>g, Room 227<br />
Coral Gables, Florida, FL 33146,<br />
United States of America<br />
Keywords Levant<strong>in</strong>e identities,<br />
Jewish American Literature, Jewish<br />
graphic novel<br />
conventional theatre scholarship. He has published critical essays on<br />
<strong>in</strong>digenous Igbo masquerade theatre <strong>in</strong> Nigeria, and on the location of<br />
African theatre <strong>in</strong> current debates <strong>in</strong> literary and cultural studies.<br />
› Look<strong>in</strong>g at Ourselves <strong>in</strong> our Mirror: Agency, Counter-Discourse, and the<br />
Nigerian Video Film, Film International, 5.4, 20-29.<br />
Dr Senayon Olaoluwa obta<strong>in</strong>ed his doctorate from the University of the<br />
Witwatersrand, and currently teaches postcolonial literature at the<br />
College of Humanities and Culture of the Osun State University,<br />
Osogbo, Osun State, Nigeria. His papers and reviews have appeared <strong>in</strong><br />
journals <strong>in</strong>clud<strong>in</strong>g English Studies, Current Writ<strong>in</strong>g, Journal of<br />
Postcolonial Writ<strong>in</strong>g, English Academy Review, Journal of<br />
Contemporary African Studies, Nordic Journal of African Studies and<br />
The Anachronist and African Affairs.<br />
› Thierry Henry as Igwe: Soccer fandom, christen<strong>in</strong>g and cultural passage <strong>in</strong><br />
Nollywood, Journal of African C<strong>in</strong>emas, 3.1, 25-42.<br />
Ranen Omer-Sherman was a found<strong>in</strong>g member of a desert kibbutz and<br />
is currently Associate Professor of English at the University of Miami<br />
where he teaches a wide range of courses <strong>in</strong> American and British as<br />
well as Israeli and other Jewish literatures. He has edited a special issue<br />
of Shofar on the subject of Jewish Orientalism. His first book,<br />
Diaspora and Zionism <strong>in</strong> Jewish American Literature: Lazarus, Syrk<strong>in</strong>,<br />
Reznikoff, Roth (2002) was published by Brandeis University Press.<br />
His second book entitled Israel <strong>in</strong> Exile: Jewish Writ<strong>in</strong>g and the Desert<br />
(2006), which exam<strong>in</strong>es sacred as well as political aspects of the<br />
writer’s responses to the wilderness of Exodus, is published by the<br />
University of Ill<strong>in</strong>ois Press. He is currently edit<strong>in</strong>g a book of essays on<br />
the 'Jewish Graphic novel' and is <strong>research</strong><strong>in</strong>g Levant<strong>in</strong>e identities <strong>in</strong><br />
contemporary memoir<br />
› Book Reviews, New C<strong>in</strong>emas: Journal of Contemporary Film, 2.1, 61-.<br />
John Orr John Orr was Professor Emeritus <strong>in</strong> the School of Social and Political<br />
Studies and has published widely <strong>in</strong> many areas of Film Studies and
Keywords Bonnaire, Béart, B<strong>in</strong>oche,<br />
Dalle, Huppert Seberg<br />
Vicente Rodríguez Ortega<br />
Universidad Carlos III de Madrid,<br />
Calle Toledo 19, 5C, Madrid, 28005,<br />
Spa<strong>in</strong><br />
Keywords documentary film, Spanish<br />
c<strong>in</strong>ema<br />
Dayna Oscherwitz<br />
Southern Methodist University,<br />
Department of Foreign Languages<br />
and Literatures, Room 320 Clements,<br />
Dallas, Texas, TX 75275, United<br />
States of America<br />
Keywords French c<strong>in</strong>ema, African<br />
c<strong>in</strong>ema, cultural studies, postcolonial<br />
studies<br />
Modern Culture. These <strong>in</strong>clude the relationship between film, culture<br />
and modernity; stylistic and narrative <strong>in</strong>novation <strong>in</strong> the feature film;<br />
and the development of modernism <strong>in</strong> European and American<br />
c<strong>in</strong>emas.<br />
› Stranded: stardom and the free-fall movie <strong>in</strong> French c<strong>in</strong>ema, 1985–2003,<br />
Studies <strong>in</strong> French C<strong>in</strong>ema, 4.2, 103-112.<br />
› Out of noir: Seberg–Prem<strong>in</strong>ger–Godard–Garrel, Studies <strong>in</strong> French C<strong>in</strong>ema,<br />
7.1, 43-56.<br />
› Out of Dreyer's shadow? The quandary of Dogme95, New C<strong>in</strong>emas: Journal<br />
of Contemporary Film, 1.2, 69-77.<br />
› Californian noir: is it European?, Film International, 4.23, 6-19.<br />
› Camus and Carné transformed: Bergman's The Silence versus Antonioni's<br />
The Passenger, Film International, 5.3, 54-62.<br />
› Control and British C<strong>in</strong>ema, Film International, 6.1, 13-22.<br />
› A C<strong>in</strong>ema of Parallel Worlds: Lynch & Kieslowski + Inland Empire, Film<br />
International, 7.1, 28-43.<br />
Vicente Rodríguez Ortega has an MA <strong>in</strong> Communications from the<br />
University of Iowa and a Ph.D. <strong>in</strong> C<strong>in</strong>ema Studies from NYU. He has<br />
contributed to several book collections and journals. He is also a<br />
documentary filmmaker. He is the co-editor of Contemporary Spanish<br />
C<strong>in</strong>ema and Genre (Manchester University Press). He currently<br />
teaches at la Universidad Carlos III de Madrid.<br />
› Surgical passports, the EU and Dirty Pretty Th<strong>in</strong>gs: Reth<strong>in</strong>k<strong>in</strong>g European<br />
identity through popular c<strong>in</strong>ema, Studies <strong>in</strong> European C<strong>in</strong>ema, 8.1, 21-30.<br />
› Digital technology, aesthetic imperfection and political film-mak<strong>in</strong>g: Illegal<br />
bodies <strong>in</strong> motion, Transnational C<strong>in</strong>emas, 2.1, 3-19.<br />
Dayna Oscherwitz is Associate Professor of French at Southern<br />
Methodist University <strong>in</strong> Dallas Texas. She is co-author of The<br />
Historical Dictionary of French C<strong>in</strong>ema (Scarecrow, 2007) and has<br />
published on various aspects of francophone culture and c<strong>in</strong>ema. She<br />
has recently completed a monograph entitled Past Forward: French<br />
C<strong>in</strong>ema and the (Post)Colonial Heritage. Her current projects are an<br />
historical dictionary of African c<strong>in</strong>ema, an edited volume look<strong>in</strong>g at the<br />
way the western genre has been used by filmmakers outside of the US,<br />
and an exploration of the relationship between form, film language, and<br />
postcolonial theory <strong>in</strong> African c<strong>in</strong>ema.
Suzanne Osmond<br />
Keywords Cleopatra, Orientalism,<br />
costume, fashion, theatre,<br />
Shakespeare<br />
Elzbieta Ostrowska<br />
University of Alberta, Department of<br />
English and Film Studies, 3-5<br />
Humanities Centre, Edmonton,<br />
Alberta, T6G 2E5, Canada<br />
Keywords Polish c<strong>in</strong>ema, East/West<br />
relationship, Communism, gender,<br />
European c<strong>in</strong>ema, national c<strong>in</strong>ema,<br />
transnational c<strong>in</strong>ema<br />
Lida Oukaderova<br />
Rice University, Department of Art<br />
History, 6100 Ma<strong>in</strong> Street, MS-21,<br />
Herr<strong>in</strong>g Hall 103, Houston, TX,<br />
77005, United States of America<br />
› Shak<strong>in</strong>g up the historical (Film): Christophe Gans's Le Pacte des loups/The<br />
Brotherhood of the Wolf (2001), Studies <strong>in</strong> French C<strong>in</strong>ema, 11.1, 43-55.<br />
Suzanne Osmond is complet<strong>in</strong>g a Ph.D. at the University of<br />
Technology, Sydney, and is also a professional costume supervisor for<br />
commercial theatre, film and large-scale events. She has worked on<br />
<strong>in</strong>ternational films suchas the The Matrix Reloaded/The Matrix<br />
Revolutions (Wachowski Bros., 2003) and Disgrace (Jacobs, 2008), as<br />
well as commercial theatre projects <strong>in</strong> Australia such as Cabaret (2002)<br />
and The Lion K<strong>in</strong>g (2003). She is currently Costume Supervisor for<br />
Andrew Lloyd-Webber’s Love Never Dies <strong>in</strong> Australia. Sue also<br />
teaches <strong>in</strong> fashion and costume at several colleges and universities <strong>in</strong><br />
Sydney.<br />
› Her Inf<strong>in</strong>ite Variety : Representations of Shakespeare s Cleopatra <strong>in</strong><br />
fashion, film and theatre, Film, Fashion & Consumption, 1.1, 55-79.<br />
Elzbieta Ostrowska currently teaches film at the University of Alberta<br />
(Canada). Publications <strong>in</strong>clude, Women <strong>in</strong> Polish C<strong>in</strong>ema (with Ewa<br />
Mazierska, Berghahn Books, 2006), The C<strong>in</strong>ema of Roman Polanski.<br />
Dark Spaces of the World (co-ed. with John Orr, Wallflower, 2006),<br />
The C<strong>in</strong>ema of Andrzej Wajda. The Art of Irony and Defiance (co-ed.<br />
with John Orr, Wallflower 2003), Gender-Film-Media (co-ed. with<br />
Elzbieta Oleksy, Rabid 2001), Gender w k<strong>in</strong>ie europejskim i mediach<br />
(ed., Rabid 2001) Przestrzen´ filmowa (Rabid 2000), Gender <strong>in</strong> Film<br />
and the Media. East-West Dialogues (co-ed. with Elzbieta Oleksy,<br />
Michael Stevenson, Peter Lang 2000).<br />
› Gendered discourses of nation(hood) and the West <strong>in</strong> Polish c<strong>in</strong>ema, Studies<br />
<strong>in</strong> European C<strong>in</strong>ema, 4.3, 187-198.<br />
Lida Oukaderova is Assistant Professor of Film Studies at Rice<br />
University. Her current <strong>research</strong> focuses on conceptions of space <strong>in</strong><br />
Soviet c<strong>in</strong>ema of the 1950s and 1960s. Her work on Russian literature<br />
and film has appeared <strong>in</strong> the Yearbook of Comparative and General<br />
Literature and American Imago.
Keywords body, movement,<br />
architecture, Georgii Daneliia, post-<br />
Stal<strong>in</strong>ist c<strong>in</strong>ema<br />
Jonathan Owen<br />
Keywords Slovak new wave, 1960s,<br />
utopianism, revolution, counterculture<br />
Díóg O’Connell<br />
Institute of Art, Design and<br />
Technology, Institute of Art, Design<br />
and Technology (IADT), Dún<br />
Laoghaire, Co. Dubl<strong>in</strong>, Ireland<br />
Keywords Irish c<strong>in</strong>ema, narrative and<br />
storytell<strong>in</strong>g, documentary<br />
Lucas O’Connor<br />
Keywords Robert Rodriguez, S<strong>in</strong><br />
City, graphic novels, translation,<br />
adaptation<br />
› The sense of movement <strong>in</strong> Georgii Daneliia's Walk<strong>in</strong>g the Streets of<br />
Moscow, Studies <strong>in</strong> Russian and Soviet C<strong>in</strong>ema, 4.1, 5-21.<br />
Jonathan Owen has just obta<strong>in</strong>ed his doctorate at the University of<br />
Manchester, UK. His doctoral dissertation dealt with the <strong>in</strong>fluence of<br />
surrealism and other avant-garde traditions on the Czech new wave<br />
films of the 1960s. His <strong>research</strong> <strong>in</strong>terests <strong>in</strong>clude European (especially<br />
Central and East European) c<strong>in</strong>ema and the Czech avant-garde from the<br />
<strong>in</strong>terwar period to the present.<br />
› Slovak bohemians: revolution, counterculture and the end of the Sixties <strong>in</strong><br />
Juraj Jakubisko’s films, Studies <strong>in</strong> Eastern European C<strong>in</strong>ema, 1.1, 17-28.<br />
Díóg O’Connell is a lecturer <strong>in</strong> Film and Media Studies at IADT, Dún<br />
Laoghaire Co., Dubl<strong>in</strong>. She has written extensively on Irish c<strong>in</strong>ema,<br />
focus<strong>in</strong>g particularly on issues of narrative and storytell<strong>in</strong>g. Her book,<br />
New Irish Storytellers: Narrative Strategies <strong>in</strong> Film was published by<br />
<strong>Intellect</strong>, 2010. She recently co-edited a collection of essays on Irish<br />
Documentary titled Documentary <strong>in</strong> a Chang<strong>in</strong>g State, published by<br />
Cork University Press <strong>in</strong> February 2012.<br />
› Irish c<strong>in</strong>ema 1994–2009: The trajectory of script development policy at the<br />
Irish Film Board, Journal of Screenwrit<strong>in</strong>g, 3.1, 61-71.<br />
Lucas O’Connor majored <strong>in</strong> literature and theatre studies at Yale<br />
University. In addition to graphic novel adaptations, his academic<br />
<strong>in</strong>terests primarily concern East Asian c<strong>in</strong>ema. He currently assists<br />
screenwriters Michael Green (Green Lantern) and Jonathan Nolan (The<br />
Dark Knight) <strong>in</strong> Los Angeles.<br />
› A Graphic Nature: S<strong>in</strong> City’s Troublesome Adaptation, Film Matters, 1.2,<br />
26-30.
Des O’Rawe<br />
Queen’s University, Film Studies,<br />
Belfast, BT7 1NN, United K<strong>in</strong>gdom<br />
Keywords film aesthetics,<br />
modernism, documentary film<br />
Joanna Page<br />
University of Cambridge, Centre of<br />
Lat<strong>in</strong> American Studies, 17 Mill<br />
Lane, Cambridge, Cambridgeshire,<br />
CB2 1RX, United K<strong>in</strong>gdom<br />
Keywords memory, psychoanalysis,<br />
theories of film spectatorship,<br />
dictatorship, Potestad, Los rubios<br />
Derek Paget<br />
The University of Read<strong>in</strong>g,<br />
Department of Film, Theatre and<br />
Television, Whiteknights, PO Box<br />
217, Read<strong>in</strong>g, Berkshire, RG6 6UR,<br />
United K<strong>in</strong>gdom<br />
Keywords documentary, act<strong>in</strong>g,<br />
theatre, television, porosity<br />
Des O’Rawe teaches film studies at Queen’s University, Belfast. His<br />
current <strong>research</strong> and writ<strong>in</strong>g focuses on film aesthetics and modernism.<br />
Recent articles have appeared <strong>in</strong> Screen<strong>in</strong>g the Past, K<strong>in</strong>ema: Journal<br />
of Film and Audiovisual Media, Quarterly Review of Film and Video,<br />
Literature/Film Quarterly and Screen. He currently co-edits the<br />
C<strong>in</strong>ema Aesthetics series for Manchester University Press.<br />
› New York City: 12 December, 1980, Studies <strong>in</strong> Documentary Film, 5.1, 31-<br />
44.<br />
Joanna Page holds a lectureship <strong>in</strong> Lat<strong>in</strong> American Cultural Studies at<br />
the University of Cambridge. She has published on contemporary<br />
Argent<strong>in</strong>e literature and c<strong>in</strong>ema. She is the author of Crisis and<br />
Capitalism <strong>in</strong> Contemporary Argent<strong>in</strong>e C<strong>in</strong>ema (Duke University<br />
Press, 2009) and the co-editor of Visual Synergies <strong>in</strong> Fiction and<br />
Documentary Film from Lat<strong>in</strong> America (Palgrave Macmillan, 2009).<br />
› Memory and the spectator <strong>in</strong> post-dictatorship Argent<strong>in</strong>a: misread<strong>in</strong>g<br />
D'Angiolillo's Potestad, Studies <strong>in</strong> Hispanic C<strong>in</strong>emas, 2.1, 15-28.<br />
› Memory and mediation <strong>in</strong> Los rubios: a contemporary perspective on the<br />
Argent<strong>in</strong>e dictatorshipMemory and mediation <strong>in</strong> Los rubios: a contemporary<br />
perspective on the Argent<strong>in</strong>e dictatorship, New C<strong>in</strong>emas: Journal of<br />
Contemporary Film, 3.1, 29-40.<br />
Derek Paget is Honorary Research Fellow <strong>in</strong> the Department of Film,<br />
Theatre and Television at the University of Read<strong>in</strong>g. He led the AHRC<br />
‘Act<strong>in</strong>g with Facts’ <strong>research</strong> project (2007–10). Once a theatre worker<br />
(notably for Theatre Workshop), he is the author of True Stories (1990)<br />
and No Other Way to Tell It (1998 – 2nd edition 2011). A member of<br />
Studies <strong>in</strong> Theatre and Performance's Editorial Board, he is also an<br />
associate editor of Studies <strong>in</strong> Documentary Film.<br />
› ‘Act<strong>in</strong>g with Facts’: Actors perform<strong>in</strong>g the real <strong>in</strong> British theatre and<br />
television s<strong>in</strong>ce 1990. A prelim<strong>in</strong>ary report on a new <strong>research</strong> project, Studies<br />
<strong>in</strong> Documentary Film, 1.2, 165-176.<br />
› Editorial, Studies <strong>in</strong> Documentary Film, 4.3, 191-193.
Chris Pallant<br />
Canterbury Christ Church University,<br />
Department of Media, Art and<br />
Design, Kent, United K<strong>in</strong>gdom<br />
Keywords animation, Disney,<br />
screenwrit<strong>in</strong>g<br />
Tim Palmer<br />
University of North Carol<strong>in</strong>a<br />
Wilm<strong>in</strong>gton, United States of<br />
America<br />
Keywords French c<strong>in</strong>ema, Japanese<br />
c<strong>in</strong>ema, classical Hollywood, film<br />
history<br />
Chris Pallant is a Lecturer <strong>in</strong> Film and Digital Media <strong>in</strong> the Department<br />
of Media, Art and Design at Canterbury Christ Church University. His<br />
<strong>research</strong> <strong>in</strong>terests <strong>in</strong>clude animation, digital mediation, filmmak<strong>in</strong>g<br />
technology, and screenwrit<strong>in</strong>g. His first book, Demystify<strong>in</strong>g Disney: A<br />
History of Disney Feature Animation, was published by Cont<strong>in</strong>uum. As<br />
a Fulbright Commission awardee he spent the summer of 2010 at New<br />
York University, participat<strong>in</strong>g <strong>in</strong> the American Studies Summer<br />
Institute. As Reviews Editor for the Journal of Screenwrit<strong>in</strong>g, Dr.<br />
Pallant is also happy to receive expressions of <strong>in</strong>terest from those<br />
want<strong>in</strong>g to contribute reviews of recent and relevant publications.<br />
› Neo-Disney: Recent developments <strong>in</strong> Disney feature animation, New<br />
C<strong>in</strong>emas: Journal of Contemporary Film, 8.2, 103-117.<br />
› Reviews, Journal of Screenwrit<strong>in</strong>g, 1.2, 389-399.<br />
› Book Reviews, Journal of Screenwrit<strong>in</strong>g, 2.2, 291-302.<br />
Tim Palmer is Associate Professor of Film Studies at the University of<br />
North Carol<strong>in</strong>a Wilm<strong>in</strong>gton. His latest book is Brutal Intimacy:<br />
Analyz<strong>in</strong>g Contemporary French C<strong>in</strong>ema (Wesleyan University Press,<br />
2011). He is also co-editor of the Directory of World C<strong>in</strong>ema: France<br />
(<strong>Intellect</strong>, forthcom<strong>in</strong>g 2012); and will follow this <strong>in</strong> 2013 with a<br />
monograph on the film Irreversible. His <strong>research</strong> has appeared <strong>in</strong><br />
C<strong>in</strong>ema Journal, Journal of Film and Video, Studies <strong>in</strong> French<br />
C<strong>in</strong>ema, The French Review, New Review of Film and Television<br />
Studies and Film International.<br />
› Jean-Pierre Melville and 1970s French film style, Studies <strong>in</strong> French C<strong>in</strong>ema,<br />
2.3, 135-146.<br />
› Under your sk<strong>in</strong>: Mar<strong>in</strong>a de Van and the contemporary French c<strong>in</strong>éma du<br />
corps, Studies <strong>in</strong> French C<strong>in</strong>ema, 6.3, 171-182.<br />
› Festivals, Film International, 6.3, 88-96.<br />
› Interview, Film International, 6.4, 94-98.<br />
› Festivals, Film International, 7.3, 85-97.<br />
› Editorial, Film Matters, 1.1, 2-2.<br />
› Editorial, Film Matters, 1.2, 3-8.<br />
› Editorial, Film Matters, 1.3, 2-2.<br />
› Editorial, Film Matters, 1.4, 2-2.<br />
› Roundtable on the French New Wave, Fifty Years On: Part 1, Film Matters,<br />
1.4, 3-6.<br />
› Editorial, Film Matters, ., 2-2.<br />
› Editorial, Film Matters, 2.1, 2-2.
Liza Palmer<br />
University of North Carol<strong>in</strong>a<br />
Wilm<strong>in</strong>gton, 601 S. College Rd.,<br />
Wilm<strong>in</strong>gton, NC 28403, United States<br />
of America<br />
Keywords F<strong>in</strong>al Cut, Dennis K<strong>in</strong>g,<br />
Andrew M. Hulse, Ann Seidl,<br />
Overdue Productions, Just<strong>in</strong> D.<br />
Hilliard, Striped Socks Productions,<br />
Neil Young, Patti Smith<br />
R. Barton Palmer<br />
Clemson University, United States of<br />
America<br />
Keywords postwar America, movie<br />
stars of the 1950s, auteur as adaptor<br />
Liza Palmer is the review section editor for the journal Film<br />
International and co-editor-<strong>in</strong>-chief of the magaz<strong>in</strong>e Film Matters, both<br />
published by <strong>Intellect</strong>. Her <strong>research</strong> <strong>in</strong>terests <strong>in</strong>volve the c<strong>in</strong>ema of the<br />
American avant-garde with a particular focus upon the works of Stan<br />
Brakhage, Maya Deren, and Kenneth Anger. Recent publications<br />
<strong>in</strong>clude 'Les Enfants Terribles: An Interview with Françoise Marie' <strong>in</strong><br />
Film International, issue 6.4, and 'Self-Made Myths: Strategies of<br />
Promotion Among Avant-Garde Filmmakers' <strong>in</strong> Film and Television<br />
Stardom (Cambridge Scholars Publish<strong>in</strong>g, 2008).<br />
› Film Scratches: Notes from the fr<strong>in</strong>ge, Film International, 4.21, 6-11.<br />
› Film scratches notes from the fr<strong>in</strong>ge, Film International, 4.19, 6-8.<br />
› Film scratches Notes from the fr<strong>in</strong>ge, Film International, 5.5, 6-9.<br />
› Film Scratches: Notes from the Fr<strong>in</strong>ge, Film International, 6.3, 6-9.<br />
› Festivals, Film International, 6.3, 88-96.<br />
› Film Happen<strong>in</strong>gs, Film International, 7.1, 97-98.<br />
› Film Happen<strong>in</strong>gs, Film International, 8.6, 98-98.<br />
› Film Happen<strong>in</strong>gs, Film International, 9.1, 98-98.<br />
› Film Happen<strong>in</strong>gs, Film International, 9.4, 96-97.<br />
› Editorial, Film Matters, 1.1, 2-2.<br />
› Editorial, Film Matters, 1.2, 3-8.<br />
› Editorial, Film Matters, 1.3, 2-2.<br />
› Editorial, Film Matters, ., 2-2.<br />
› Editorial, Film Matters, 2.1, 2-2.<br />
R. Barton Palmer is Calhoun Lemon Professor of Literature at Clemson<br />
University, where he also directs the film studies program. He is the<br />
author, editor, or general editor of more than forty volumes on various<br />
literary and c<strong>in</strong>ematic subjects. Among his recent books are (with<br />
Robert Bray) Hollywood’s Tennessee: the Williams Films and Postwar<br />
America and To Kill a Mock<strong>in</strong>gbird: The Relationship between the Text<br />
and the Film. He has edited (with Steven Sanders) The Philosophy of<br />
Stanley Kubrick, Larger than Life: Movie Stars of the 1950s, and,<br />
forthcom<strong>in</strong>g, (with David Boyd) Hitchcock at the Source: The Auteur<br />
as Adaptor. Palmer and Murray Pomerance have recently edited A<br />
Little Solitaire: John Frankenheimer and American Film (forthcom<strong>in</strong>g<br />
this summer, 2011, from Rutgers University Press).<br />
› ‘He Loved What He Did So Much!’ An Interview with Evans (Evans)<br />
Frankenheimer, Film International, 9.3, 35-50.
Laikwan Pang<br />
The Ch<strong>in</strong>ese University of Hong<br />
Kong, Department of Cultural &<br />
Religious Studies, 4th Floor, Hui<br />
Yeung Sh<strong>in</strong>g Build<strong>in</strong>g, Hong Kong,<br />
Ch<strong>in</strong>a<br />
Keywords national c<strong>in</strong>ema, diaspora,<br />
transnational, movements, discipl<strong>in</strong>e<br />
Narendra Panjwani<br />
St. Xavier's College, Film Studies,<br />
Xavier Institute of Communications,<br />
Mumbai, 400 001, India<br />
Keywords Indian c<strong>in</strong>ema, sociology<br />
Marco Paoli<br />
University of Liverpool, Italian<br />
School of Cultures, Languages and<br />
Area Studies, Liverpool, L69 3BX,<br />
United K<strong>in</strong>gdom<br />
Keywords crime, Italian c<strong>in</strong>ema,<br />
Italian detective fiction<br />
P. Julie Papaioannou<br />
University of Rochester, Lattimore<br />
Laikwan Pang is a professor of Cultural Studies <strong>in</strong> the Department of<br />
Cultural and Religious Studies at the Ch<strong>in</strong>ese University of Hong<br />
Kong. She is the author of Build<strong>in</strong>g a New Ch<strong>in</strong>a <strong>in</strong> C<strong>in</strong>ema: The<br />
Ch<strong>in</strong>ese Left-w<strong>in</strong>g C<strong>in</strong>ema Movement, 1932–37 (Rowman and<br />
Littlefield, 2002), Cultural Control and Globalization <strong>in</strong> Asia:<br />
Copyright, Piracy, and C<strong>in</strong>ema (Routledge, 2006), The Distort<strong>in</strong>g<br />
Mirror: Visual Modernity <strong>in</strong> Ch<strong>in</strong>a (University of Hawaii Press, 2007),<br />
and Creativity and Its Discontents: Ch<strong>in</strong>a's Creative Industries and<br />
<strong>Intellect</strong>ual Property Right Offenses (Duke University Press,<br />
forthcom<strong>in</strong>g).<br />
› Issues and Debates The <strong>in</strong>stitutionalization of ‘Ch<strong>in</strong>ese’ c<strong>in</strong>ema as an<br />
academic discipl<strong>in</strong>e, Journal of Ch<strong>in</strong>ese C<strong>in</strong>emas, 1.1, 55-62.<br />
› Introduction, or, What's <strong>in</strong> an ‘s’?, Journal of Ch<strong>in</strong>ese C<strong>in</strong>emas, 2.1, 3-8.<br />
Narendra Panjwani is a Professor of Film Studies at Xavier Institute of<br />
Communications. He received a Ph.D. <strong>in</strong> Sociology from Mumbai<br />
University <strong>in</strong> 1984. He worked with The Times of India, as an Assistant<br />
Editor, from 1989 to 2000. He is the author of Emotion Pictures –<br />
C<strong>in</strong>ematic Journeys <strong>in</strong>to the Indian Self (Ra<strong>in</strong>bow Books: New Delhi,<br />
2006).<br />
› India's Musical Soul: Three Book Reviews, Studies <strong>in</strong> South Asian Film &<br />
Media, 2.1, 57-60.<br />
Marco Paoli is a lecturer <strong>in</strong> Italian at the University of Liverpool. His<br />
current ma<strong>in</strong> <strong>research</strong> area is the evolution of crime <strong>in</strong> Italy from the<br />
post-war period to the present as represented <strong>in</strong> Italian c<strong>in</strong>ema and<br />
detective fiction.<br />
› Metropolitan neo-gangsterism and the lure of capitalism <strong>in</strong> Carlo Lizzani's<br />
Bandits <strong>in</strong> Milan, Studies <strong>in</strong> European C<strong>in</strong>ema, 8.1, 43-55.<br />
P. Julie Papaioannou is a lecturer at the University of Rochester, NY.<br />
Her teach<strong>in</strong>g and <strong>research</strong> <strong>in</strong>clude French and francophone literature<br />
and film, literary and postcolonial theory, and film theories. She has
432a, PO Box 270082, Rochester,<br />
NY, 14627, United States of America<br />
Keywords orality, postcolonial,<br />
semiotics, Third C<strong>in</strong>ema, Third Space<br />
Dimitris Papanikolaou<br />
University of Oxford, Faculty of<br />
Medieval and Modern Languages, 47<br />
Well<strong>in</strong>gton Square, Oxford, OX1 2JF,<br />
United States of America<br />
Keywords modern Greek, cultural<br />
studies, gender theory<br />
Darcy Paquet<br />
Keywords film fund<strong>in</strong>g, Korean<br />
stock market, chaebol, netizen funds,<br />
hallyu<br />
contributed <strong>in</strong> C<strong>in</strong>ema and Social Discourse <strong>in</strong> Cameroon and <strong>in</strong><br />
critical reviews. Her most recent <strong>research</strong> focuses on the production of<br />
literature by the African diaspora <strong>in</strong> France. She is currently work<strong>in</strong>g<br />
on a book project on francophone African film.<br />
› From orality to visuality: the question of aesthetics <strong>in</strong> African c<strong>in</strong>ema,<br />
Journal of African C<strong>in</strong>emas, 1.2, 141-157.<br />
Dimitris Papanikolaou is University Lecturer <strong>in</strong> Modern Greek Studies<br />
at the University of Oxford. His <strong>research</strong> is <strong>in</strong>terdiscipl<strong>in</strong>ary and his<br />
ma<strong>in</strong> <strong>in</strong>terests are <strong>in</strong> modern Greek, cultural studies and gender theory.<br />
He has published the monograph S<strong>in</strong>g<strong>in</strong>g Poets: Literature and<br />
Popular Music <strong>in</strong> France and Greece (Legenda, 2007) and is currently<br />
writ<strong>in</strong>g a book titled The New Phase of Eros: C.P. Cavafy and the<br />
Writ<strong>in</strong>g of (Homo)Sexuality.<br />
› Introduction, New C<strong>in</strong>emas: Journal of Contemporary Film, 6.3, 163-166.<br />
› New queer Greece: th<strong>in</strong>k<strong>in</strong>g identity through Constant<strong>in</strong>e Giannaris's From<br />
the Edge of the City and Ana Kokk<strong>in</strong>os's Head On, New C<strong>in</strong>emas: Journal of<br />
Contemporary Film, 6.3, 183-196.<br />
Darcy Paquet is a film journalist and <strong>research</strong>er <strong>who</strong> has been liv<strong>in</strong>g <strong>in</strong><br />
Seoul s<strong>in</strong>ce 1997. He is the founder and editor of the website<br />
Koreanfilm.org. He has contributed essays to various book-length<br />
studies of Korean c<strong>in</strong>ema, <strong>in</strong>clud<strong>in</strong>g the essay ‘The Korean Film<br />
Industry: 1992 to the Present’ <strong>in</strong> New Korean C<strong>in</strong>ema; ‘Obaltan’, a<br />
chapter <strong>in</strong> The C<strong>in</strong>ema of Japan and Korea <strong>in</strong> the 24 Frames series;<br />
‘Christmas <strong>in</strong> August and Korean Melodrama’, <strong>in</strong> Seoul Search<strong>in</strong>g:<br />
Culture and Identity <strong>in</strong> Contemporary Korean C<strong>in</strong>ema. He is<br />
complet<strong>in</strong>g a book-length study on New Korean C<strong>in</strong>ema as part of the<br />
Short Cuts series published by Wallflower Press.<br />
› Market sw<strong>in</strong>gs: Stock-market list<strong>in</strong>gs and the Korean film <strong>in</strong>dustry, Journal<br />
of Japanese & Korean C<strong>in</strong>ema, 1.1, 83-91.<br />
Alejandro Pardo Alejandro Pardo is Head of the Department of Film, TV & Digital<br />
Media, University of Navarra, Spa<strong>in</strong>. Among his books are The
University of Navarra, Department of<br />
Film, TV & Digital Media, Spa<strong>in</strong><br />
Keywords Greenfields Studios,<br />
Runaway Productions, Ciudad de la<br />
Luz<br />
Lee Parpart<br />
Keywords mother, body, voice,<br />
performance, modernities<br />
Christopher Partridge<br />
Lancaster University, Politics,<br />
Philosophy and Religion, County<br />
South, Lancaster, LA1 4YL, United<br />
K<strong>in</strong>gdom<br />
Keywords occulture, re-enchantment,<br />
mediatization, sacralization,<br />
spirituality<br />
Europe-Hollywood Coopetition: Cooperation and Competition <strong>in</strong> the<br />
Global Film Industry (2007) and The Audiovisual Management<br />
Handbook (ed., 2002). He has also written several chapters on the film<br />
& TV <strong>in</strong>dustries, for <strong>in</strong>stance ‘Hollywood at the Digital Crossroad:<br />
New Challenges, New Opportunities’ <strong>in</strong> The Media as a Driver of the<br />
Information Society: Economics, Management, Policies and<br />
Technologies (2009); and ‘Spanish Co-Productions: Commercial Need<br />
or Common Culture?’ <strong>in</strong> Zoom In, Zoom Out: Cross<strong>in</strong>g Borders <strong>in</strong><br />
Recent European C<strong>in</strong>ema (2007).<br />
› City of Light, City of Shadows: The Difficult Take-off of a Spanish Film<br />
Studio, Film International, 8.6, 60-69.<br />
Lee Parpart is a Toronto-based writer and lecturer <strong>who</strong>se essays and<br />
stories, mostly on issues related to Canadian art and c<strong>in</strong>ema, have<br />
appeared <strong>in</strong> C Magaz<strong>in</strong>e, Canadian Art, P.O.V. (Canada), Take One,<br />
and <strong>in</strong> numerous books and journals, <strong>in</strong>clud<strong>in</strong>g Essays on Canadian<br />
Writ<strong>in</strong>g, Mascul<strong>in</strong>ity: Bodies, Movies, Culture, and the forthcom<strong>in</strong>g<br />
The Gendered Screen: Canadian Women Filmmakers. She is work<strong>in</strong>g<br />
on a dissertation about fem<strong>in</strong>ist film, television and new media<br />
adaptations of Canadian women’s fiction.<br />
› Cry<strong>in</strong>g over the mother: read<strong>in</strong>g (and feel<strong>in</strong>g) Ken Wardrop’s contradictory<br />
construction of maternal fem<strong>in</strong><strong>in</strong>ity, Short Film Studies, 1.1, 77-81.<br />
Christopher Partridge's <strong>research</strong> <strong>in</strong>terests are focused on new religions,<br />
alternative spiritualities, sacralization, and the 'occultural' significance<br />
of contemporary popular culture. Christopher has a particular <strong>in</strong>terest<br />
<strong>in</strong> spirituality and popular music subcultures, and his current <strong>research</strong><br />
is focus<strong>in</strong>g on the social and spiritual significance of dub reggae and<br />
dance music. He co-edits the series Studies <strong>in</strong> Popular Music and is a<br />
found<strong>in</strong>g co-director of the Centre for the Study of Religion and<br />
Popular Culture.<br />
› The occultural significance of The Da V<strong>in</strong>ci Code, Northern Lights: Film &<br />
Media Studies Yearbook, 6.1, 107-126.
Christiane Passevant<br />
Keywords Barcelona School,<br />
Salamanca Conversations, Basilio<br />
Mart<strong>in</strong> Pat<strong>in</strong>o, Vicente Aranda,<br />
censorship, Francisco Franco, Basilio<br />
Mart<strong>in</strong> Pat<strong>in</strong>o, Spanish civil war,<br />
Francisco Franco, Caudillo, Madrid,<br />
documentary film, history<br />
Brígida M. Pastor<br />
University of Glasgow, School of<br />
Modern Languages and Cultures,<br />
Hether<strong>in</strong>gton Build<strong>in</strong>g, Bute Gardens,<br />
Glasgow, Scotland, G12 8RS, United<br />
K<strong>in</strong>gdom<br />
Keywords Law of Desire, Spanish<br />
c<strong>in</strong>ema, sexuality, gender, otherness<br />
Victoria Pastor-González<br />
Regent’s College<br />
Keywords European art film,<br />
religion, spirituality, Spanish<br />
docudramas<br />
Christiane Passevant is a journalist and film editor <strong>who</strong> writes on the<br />
c<strong>in</strong>ema. In 2004 she published C<strong>in</strong>éma engagé, c<strong>in</strong>ema enragé with<br />
Pascal Dupuy and Larry Portis.<br />
› The Barcelona School and the New Spanish C<strong>in</strong>ema, Film International, 9.4,<br />
29-32.<br />
› Beyond the Barcelona School: an <strong>in</strong>terview with Vicente Aranda, Film<br />
International, 9.4, 50-61.<br />
› Orig<strong>in</strong>s of the New Spanish C<strong>in</strong>ema: <strong>in</strong>terview with Basilio Mart<strong>in</strong> Pat<strong>in</strong>o,<br />
Film International, 9.4, 33-42.<br />
› The Recovered Memory of the Spanish Civil War and Revolution: an<br />
<strong>in</strong>terview with Jaime Cam<strong>in</strong>o, Film International, 9.4, 43-49.<br />
Dr. Brigida M. Pastor is Senior Lecturer of Hispanic Studies at the<br />
University of Glasgow where she lectures on Hispanic women’s<br />
writ<strong>in</strong>g, Cuban and Spanish film and Lat<strong>in</strong> American literature. She is<br />
currently work<strong>in</strong>g on a project on representations of gender <strong>in</strong> Cuban<br />
and Spanish film, which has already yielded several publications.<br />
Books <strong>in</strong>clude Miradas de género en el c<strong>in</strong>e cubano (Iberoamerica<br />
Vervuert, 2007); Screen<strong>in</strong>g Gender <strong>in</strong> Cuban and Spanish Film<br />
(Tamesis, 2007) and a jo<strong>in</strong>t edition of A Companion to Lat<strong>in</strong> American<br />
Women Writers (Boydell Brewer, 2008).<br />
› Screen<strong>in</strong>g sexual and gendered otherness <strong>in</strong> Almodóvar's Law of Desire<br />
(1987) – The real 'sexual revolution', Studies <strong>in</strong> European C<strong>in</strong>ema, 3.1, 7-24.<br />
Victoria Pastor-González is a Lecturer <strong>in</strong> Spanish at Regent’s College,<br />
London. She has written and published on European art film, the Polish<br />
director Krzysztof Kieślowski and is particularly <strong>in</strong>terested <strong>in</strong><br />
representations of religion and spirituality <strong>in</strong> European c<strong>in</strong>ema, and<br />
issues of cultural and national representations <strong>in</strong> the Spanish media.<br />
She is currently work<strong>in</strong>g on the Andalusian film director Benito<br />
Zambrano and on contemporary Spanish docudramas.<br />
› The passion of Antonio Delgado: Religious iconography <strong>in</strong> the Spanish TV<br />
m<strong>in</strong>i-series Padre Coraje/Father Courage, Studies <strong>in</strong> Documentary Film, 4.3,<br />
283-296.
Sandra Pauletto<br />
The University of York, Department<br />
of Theatre, Film and Television, East<br />
Campus, Baird Lane, York, YO10<br />
5GB, United K<strong>in</strong>gdom<br />
Keywords sound design, sound<br />
synthesis, multi-channel sound,<br />
surround sound, c<strong>in</strong>ematic narrative,<br />
spatialization of sound sources<br />
Tom Paulus<br />
University of Antwerp, Department of<br />
Literature, Stadscampus S.D.221,<br />
Grote Kauwenberg 18, Antwerp,<br />
2000, Belgium<br />
Keywords Jean Renoir, La Chienne,<br />
profondeur de champ, The Miracle<br />
Woman, montage c<strong>in</strong>ema<br />
Luc Pauwels<br />
University of Antwerp, Department of<br />
Communication. Faculty of Political<br />
and Social Sciences, Stadscampus,<br />
S.R.129. Rodestraat 14, Antwerp,<br />
2000, Belgium<br />
Keywords sociology, documentary,<br />
scientific representation, filmic<br />
expression, filmic reflexivity<br />
Jurica Pavicic<br />
University of Split<br />
Keywords normalization, self-<br />
Sandra Pauletto has a Ph.D. <strong>in</strong> Music Technology from The University<br />
of York and is a lecturer <strong>in</strong> Sound Design <strong>in</strong> the Department of<br />
Theatre, Film and Television at The University of York (UK). Sandra’s<br />
<strong>research</strong> <strong>in</strong>terests focus on sound design and Interaction. Sandra is a<br />
member of the EU Cost Action Sonic Interaction Design (SID), see<br />
www.cost-sid.org, and the organizer of the workshop ‘Sonic Interaction<br />
Design and its relation to Film and Theatre sound design’.<br />
› Enlarg<strong>in</strong>g the Diegetic Space: Uses of the Multi-channel Soundtrack <strong>in</strong><br />
C<strong>in</strong>ematic Narrative, The Soundtrack, 2.1, 39-55.<br />
Tom Paulus teaches film history and film aesthetics at the University of<br />
Antwerp. He has published ma<strong>in</strong>ly on early film style. His most recent<br />
book is an edited collection of essays, Slapstick Comedy (Routledge<br />
2010, with Rob K<strong>in</strong>g).<br />
› The Mortgage the Merrier: Hollywood comedies of remarriage <strong>in</strong> the age of<br />
domesticity, Film International, 4.22, 21-34.<br />
› The view across the court yard: Baz<strong>in</strong> and the evolution of depth style, Film<br />
International, 5.6, 62-75.<br />
Professor Luc Pauwels is Chair of the Department of Communication<br />
Sciences at the University of Antwerp, Belgium, where he teaches and<br />
<strong>research</strong>es visual communication, visual culture (visual sociology),<br />
documentary film theory, film aesthetics and media literacy. He is also<br />
head<strong>in</strong>g the new Master programme <strong>in</strong> ‘Film Studies and Image<br />
Culture’.<br />
› Filmed science <strong>in</strong> search of a form, New C<strong>in</strong>emas: Journal of Contemporary<br />
Film, 2.1, 41-60.<br />
Jurica Pavicic is a film critic, screenwriter and filmologist. He is a<br />
regular film critic on the daily newspaper Jutarnji . He teaches the<br />
history of c<strong>in</strong>ema and the history of Croatian c<strong>in</strong>ema at the University<br />
of Split.
Balkanization, Jasmila Žbanic’, Srdan<br />
Golubovic’, Ognjen Svilicic › ‘C<strong>in</strong>ema of normalization’: changes of stylistic model <strong>in</strong> post- Yugoslav<br />
c<strong>in</strong>ema after the 1990s, Studies <strong>in</strong> Eastern European C<strong>in</strong>ema, 1.1, 43-56.<br />
Tatjana Pavlović<br />
Tulane University, Department of<br />
Spanish and Portuguese, 302<br />
Newcomb Hall, New Orleans,<br />
Louisiana, LA 70118, United States<br />
of America<br />
Keywords twentieth-century Spanish<br />
<strong>in</strong>tellectual history, Spanish c<strong>in</strong>ema,<br />
cultural studies<br />
Alison Peirse<br />
Northumbria University, School of<br />
Arts & Social Sciences, 335 Lipman<br />
Build<strong>in</strong>g, Sandyford Road, Newcastle<br />
upon Tyne, NE1 8ST, United<br />
K<strong>in</strong>gdom<br />
Keywords vampire, male body,<br />
1930s, uncanny<br />
Tatjana Pavlović received her Ph.D. from the University of<br />
Wash<strong>in</strong>gton, Seattle <strong>in</strong> 1996. She is currently Associate Professor of<br />
Spanish at Tulane University <strong>in</strong> New Orleans. S<strong>in</strong>ce 2006, she has<br />
served as Director of Tulane’s Undergraduate Spanish Studies<br />
Program. Her <strong>research</strong> and teach<strong>in</strong>g <strong>in</strong>terests centre on twentiethcentury<br />
Spanish <strong>in</strong>tellectual history, literature, cultural studies, and film<br />
theory. She published her first book, Despotic Bodies and<br />
Transgressive Bodies: Spanish Culture from Francisco Franco to Jesús<br />
Franco (SUNY Press), <strong>in</strong> 2003. In 2009 she published a<br />
comprehensive survey of 100 Years of Spanish C<strong>in</strong>ema (Oxford:<br />
Wiley-Blackwell). Her most recent major book project, entitled The<br />
Mobile Nation (1954-1964): España cambia de piel, is published by<br />
<strong>Intellect</strong>.<br />
› Allegoris<strong>in</strong>g the body politic: Mascul<strong>in</strong>ity and history <strong>in</strong> Saura's El jardín de<br />
las delicias (1970) and Almodóvar's Carne trémula (1997), Studies <strong>in</strong><br />
Hispanic C<strong>in</strong>emas, 3.3, 149-168.<br />
› Reviews, Studies <strong>in</strong> Hispanic C<strong>in</strong>emas, 6.1, 77-96.<br />
Alison Peirse is Lecturer <strong>in</strong> Film Studies at the University of Hull,<br />
where she teaches modules on film theory, Hitchcock, horror, and<br />
science fiction film. Her <strong>research</strong> <strong>in</strong>terests are horror film and cult<br />
television. She has recently published articles on Charmed, Battlestar<br />
Galactica and the films of Edgar G. Ulmer, and review essays <strong>in</strong><br />
Screen, Fem<strong>in</strong>ist Media Studies and Critical Studies <strong>in</strong> Television. Her<br />
article ‘Destroy<strong>in</strong>g the Male Body <strong>in</strong> British Horror Film’ is<br />
forthcom<strong>in</strong>g <strong>in</strong> Santiago Fouz-Hernández (ed), Mysterious Sk<strong>in</strong>: Male<br />
Bodies <strong>in</strong> Contemporary C<strong>in</strong>ema (London: I.B.Tauris, 2009). She is<br />
currently writ<strong>in</strong>g a <strong>research</strong> monograph on the male body <strong>in</strong> 1930s<br />
film.<br />
› The impossibility of vision: vampirism, formlessness and horror <strong>in</strong> Vampyr,<br />
Studies <strong>in</strong> European C<strong>in</strong>ema, 5.3, 161-170.
Riikka Pelo<br />
Keywords Ton<strong>in</strong>o Guerra,<br />
Michelangelo, Antonioni, Andrei<br />
Tarkovsky, screenwrit<strong>in</strong>g, authorship,<br />
writer-director relationship<br />
Manjunath Pendakur<br />
Southern Ill<strong>in</strong>ois University at<br />
Carbondale, Mass Communication &<br />
Media Arts, Department of Radio and<br />
Television, IL, 62901-6606, United<br />
States of America<br />
Keywords political economy,<br />
communication, globalization<br />
Luisa Pèrcopo<br />
University of Caligari, Loc. Sa<br />
Duchessa, Via Is Mirrionis, 1, 09123<br />
Cagliari, Italy<br />
Keywords Kate Woods, Marc Augé,<br />
Italian-Australian culture,<br />
nationalism, cultural displacement<br />
Riikka Pelo is a F<strong>in</strong>nish novelist and a screenwriter currently work<strong>in</strong>g<br />
on her Ph.D. by practice <strong>in</strong> screenwrit<strong>in</strong>g <strong>in</strong> the University of Art and<br />
Design, Hels<strong>in</strong>ki. Her novel, The Heaven-Bearer, was published <strong>in</strong><br />
English by The Twisted Spoon Press (Czech Republic/USA) <strong>in</strong> 2010.<br />
› Ton<strong>in</strong>o Guerra: the screenwriter as a narrative technician or as a poet of<br />
images? Authorship and method <strong>in</strong> the writer–director relationship, Journal<br />
of Screenwrit<strong>in</strong>g, 1.1, 113-129.<br />
Manjunath Pendakur, Ph.D. is professor and dean at Southern Ill<strong>in</strong>ois<br />
University Carbondale, USA. He has professional media experience<br />
from India, Canada and the United States. Pedakur specializes <strong>in</strong> the<br />
political economy of communication and has published widely on film<br />
and television <strong>in</strong>dustries <strong>in</strong> the US, Canada, and India. His books<br />
<strong>in</strong>clude Canadian Dreams and American Control: The Political<br />
Economy of the Canadian Film Industry (Wayne State University<br />
Press, 1990), Citizenship and Participation <strong>in</strong> the Information Age<br />
(Garamond, 2002), and Indian Popular C<strong>in</strong>ema: Industry, Ideology<br />
and Consciousness (Hampton, 2003). Pendakur is currently <strong>research</strong><strong>in</strong>g<br />
for a book deal<strong>in</strong>g with globalization issues <strong>in</strong> India.<br />
› In the Shadows of Hollywood: Cont<strong>in</strong>uity and Change <strong>in</strong> Canada's Film<br />
Industry, Film International, 1.4, 19-26.<br />
Luisa Pèrcopo teaches Postcolonial and Australian Studies at the<br />
University of Cagliari, Italy, and is affiliated with the Menzies Centre<br />
for Australian Studies at K<strong>in</strong>g’s College London. Her current <strong>research</strong><br />
<strong>in</strong>terests are on autobiographies by ethnic m<strong>in</strong>ority Australians, the<br />
Italian diasporas, the literatures of islands, and the Mediterranean as a<br />
postcolonial space. She has published articles and essays on these<br />
topics <strong>in</strong> both edited collections of essays and refereed journals.<br />
› Lieux et non-lieux: subvert<strong>in</strong>g spaces of recognition and belong<strong>in</strong>g <strong>in</strong><br />
Look<strong>in</strong>g for Alibrandi, Studies <strong>in</strong> Australasian C<strong>in</strong>ema, 2.1, 21-31.<br />
Philippe Pereb<strong>in</strong>ossoff Philippe Pereb<strong>in</strong>ossoff, Ph.D. was an executive at ABC Network<br />
before mov<strong>in</strong>g <strong>in</strong>to academia. He is an associate professor <strong>in</strong> the
California State University, Fullerton,<br />
R., 18 26th Avenue, Venice, CA<br />
90291–4303<br />
Keywords television, programm<strong>in</strong>g,<br />
media ethics<br />
Adrián Pérez Melgosa<br />
SUNY Stony Brook, Hispanic<br />
Languages & Literature, N3014<br />
Melville Library, Stony Brook, New<br />
York, NY 11794-3371, United States<br />
of America<br />
Keywords film theory, Lat<strong>in</strong><br />
American c<strong>in</strong>ema, Spanish c<strong>in</strong>ema,<br />
gender identity, performance,<br />
motherhood, nationalism, Third<br />
C<strong>in</strong>ema<br />
Claire Perk<strong>in</strong>s<br />
Monash University, Film and<br />
Television Studies, Caulfield<br />
Campus, Victoria, 3145, Australia<br />
Keywords auteur, documentary, The<br />
Five Obstructions, Jørgen Leth, Lars<br />
von Trier<br />
Sarah Perks<br />
Cornerhouse, 70 Oxford Street,<br />
Manchester, M1 5NH, United<br />
K<strong>in</strong>gdom<br />
Keywords women film-makers, Ann<br />
Radio-TV-Film Department at California State University, Fullerton.<br />
He received his MA <strong>in</strong> Creative Writ<strong>in</strong>g from The Johns Hopk<strong>in</strong>s<br />
University, Baltimore, Maryland and a Ph.D. <strong>in</strong> English and Film from<br />
the University of Ill<strong>in</strong>ois, Champaign/ Urbana. He has co-authored a<br />
book on programm<strong>in</strong>g and has also written a book on media ethics.<br />
› Television and film screenwriters: How to reach a global audience, Journal<br />
of Screenwrit<strong>in</strong>g, 3.1, 73-82.<br />
Adrián Pérez Melgosa is an Assistant Professor at the Department of<br />
Hispanic Languages and Literature and at the Department of Literary<br />
and Cultural Studies at SUNY Stony Brook. He has published articles<br />
<strong>in</strong> the Journal of Spanish Cultural Studies, Social Text, Lat<strong>in</strong> American<br />
Literary Review, Journal of Romance Studies, Revista Alteridades, and<br />
Mapocho: Revista de la Biblioteca Nacional de Chile. He is currently<br />
writ<strong>in</strong>g a book entitled Imag<strong>in</strong>ary Policies and Real Fictions:<br />
Metaphors of Hemispheric Otherness <strong>in</strong> the Americas.<br />
› Imag<strong>in</strong>g crisis <strong>in</strong> contemporary Argent<strong>in</strong>a: mothers on the street and mothers<br />
on the screen, Studies <strong>in</strong> Hispanic C<strong>in</strong>emas, 1.3, 151-168.<br />
Claire Perk<strong>in</strong>s is Assistant Lecturer <strong>in</strong> Film and Television Studies <strong>in</strong><br />
the School of English, Communications & Performance Studies at<br />
Monash University, Melbourne. She is the author of the forthcom<strong>in</strong>g<br />
book American Smart C<strong>in</strong>ema (Ed<strong>in</strong>burgh University Press).<br />
› Document<strong>in</strong>g film-makers, Studies <strong>in</strong> Documentary Film, 4.2, 105-108.<br />
› In Treatment: The Five Obstructions, Studies <strong>in</strong> Documentary Film, 4.2, 149-<br />
158.<br />
Sarah Perks is Programme and Engagement Director at Cornerhouse,<br />
Greater Manchester’s International Centre for Contemporary Visual<br />
Arts and Film. Previously Education Director, Sarah manages the<br />
education team that <strong>in</strong>cludes the <strong>in</strong>novative programmes ‘LiveWire’<br />
(for young people aged 14-18 years) and ‘Projector’ (a year round<br />
programme for schools and colleges). Sarah has also been Festival<br />
Director of ‘Exposures’, the UK’s lead<strong>in</strong>g student film festival for
Hui, Mabel Cheung, Clara Law,<br />
Angie Chen<br />
Chris Perriam<br />
University of Manchester,<br />
Deptartment of Spanish, Portuguese<br />
and Lat<strong>in</strong> American Studies, Arts<br />
Build<strong>in</strong>g, Oxford Road, Manchester,<br />
M13 9PL, United K<strong>in</strong>gdom<br />
Keywords Penélope Cruz, difference,<br />
diversity, Spanish c<strong>in</strong>ema, stars,<br />
transnational c<strong>in</strong>ema<br />
Polona Petek<br />
Keywords Head On, c<strong>in</strong>ema,<br />
soundtrack, multiculturalism, taste<br />
several years. Last year, Sarah also co-programmed ‘Made <strong>in</strong> Hong<br />
Kong’ – a season of films and events explor<strong>in</strong>g the tenth anniversary of<br />
the handover and is work<strong>in</strong>g toward a nationwide tour of Hong Kong<br />
Women Filmmakers next year.Sarah is a director of the Northern Film<br />
Network and a freelance lecturer and writer specialis<strong>in</strong>g <strong>in</strong> Asian<br />
c<strong>in</strong>ema. Sarah has recently completed a Common Purpose Matrix<br />
Leadership course and led a Cultural Leadership Programme <strong>research</strong><br />
project on personalization, audiences and organizational culture.<br />
› Editorial Issue 40 Hong Kong c<strong>in</strong>ema s<strong>in</strong>ce 1997, Film International, 7.4, 4-<br />
5.<br />
› Visible secrets: Hong Kong's women film-makers, Film International, 7.4,<br />
48-56.<br />
Chris Perriam is Professor of Hispanic Studies at the University of<br />
Manchester. His <strong>research</strong> <strong>in</strong>terests are <strong>in</strong> contemporary Spanish<br />
c<strong>in</strong>ema, poetry <strong>in</strong> Spanish, and queer writ<strong>in</strong>g <strong>in</strong> Spa<strong>in</strong>. His publications<br />
<strong>in</strong>clude A New History of Spanish Writ<strong>in</strong>g from 1939 to the 1990s (as<br />
editor and co-author) (Oxford University Press, 2000) and From<br />
Banderas to Bardem: Stars and Mascul<strong>in</strong>ities <strong>in</strong> Recent Spanish<br />
C<strong>in</strong>ema (Oxford University Press, 2003).<br />
› Two transnational Spanish stars: Antonio Banderas and Penélope Cruz,<br />
Studies <strong>in</strong> Hispanic C<strong>in</strong>emas, 2.1, 29-46.<br />
› Reviews, Studies <strong>in</strong> Hispanic C<strong>in</strong>emas, 4.2, 131-135.<br />
Polona Petek has recently completed her Ph.D. <strong>in</strong> C<strong>in</strong>ema Studies at<br />
the University of Melbourne, Australia, where she teaches <strong>in</strong> the<br />
programme of Screen Studies. She has given papers and published<br />
articles on psychoanalytic and fem<strong>in</strong>ist <strong>in</strong>terpretations of the double <strong>in</strong><br />
c<strong>in</strong>ema; the centrality of the myth of Echo and Narcissus <strong>in</strong><br />
spectatorship theories; the Lacanian notion of the gaze <strong>in</strong> the films of<br />
David Cronenberg; and cross-cultural genealogies of the female<br />
protagonist of ma<strong>in</strong>stream action c<strong>in</strong>ema. Her current <strong>research</strong> and<br />
forthcom<strong>in</strong>g publications focus on the changes <strong>in</strong> c<strong>in</strong>ema brought about<br />
by globalization and migration, <strong>in</strong> particular on the role of cultural<br />
diasporas and transnational connectivity <strong>in</strong> European c<strong>in</strong>ema.<br />
› Enabl<strong>in</strong>g collisions: Re-th<strong>in</strong>k<strong>in</strong>g multiculturalism through Fatih Ak<strong>in</strong>'s<br />
Gegen die Wand/Head On, Studies <strong>in</strong> European C<strong>in</strong>ema, 4.3, 177-186.
L<strong>in</strong>e Nybro Petersen<br />
University of Copenhagen, Section<br />
for Film and Media Studies,<br />
Njalsgade 80, 2300 Copenhagen S,<br />
2300, Denmark<br />
Keywords television fiction,<br />
cognition, daydreams, collective<br />
mourn<strong>in</strong>g, popular culture<br />
Sheila Petty<br />
University of Reg<strong>in</strong>a, Faculty of F<strong>in</strong>e<br />
Arts, Riddell Centre 269, Reg<strong>in</strong>a,<br />
Saskatchewan, S4S 0A2, Canada<br />
Keywords musical, postcolonial,<br />
hybridization, disjunction,<br />
nationalism<br />
Kristen Phillips<br />
Curt<strong>in</strong> University of Technology,<br />
Department of Communication and<br />
Cultural Studies, Perth, GPO Box<br />
U1987, Australia<br />
Keywords nation, gender, borders,<br />
asylum seekers, multiculturalism<br />
L<strong>in</strong>e Nybro Petersen, MA <strong>in</strong> Film Studies from University of<br />
Copenhagen. She is a Ph.D. scholar at the section of Film and Media<br />
Studies, University of Copenhagen. Her doctoral <strong>research</strong> project<br />
focuses on religious discourse <strong>in</strong> contemporary American television<br />
fiction and considers the series as examples of cultural export to<br />
Danish society and the reception among young Danish viewers.<br />
› Understand<strong>in</strong>g superpowers <strong>in</strong> contemporary television fiction, Northern<br />
Lights: Film & Media Studies Yearbook, 6.1, 91-106.<br />
Sheila Petty is Dean of the Faculty of F<strong>in</strong>e Arts and Professor of Media<br />
Studies at the University of Reg<strong>in</strong>a (Canada). She has written<br />
extensively on issues ofcultural representation, identity and nation <strong>in</strong><br />
African and African diasporic c<strong>in</strong>ema and new media, and has curated<br />
film, television and new media exhibitions for galleries across Canada.<br />
She is author of Contact Zones: Memory, Orig<strong>in</strong> and Discourses <strong>in</strong><br />
Black Diasporic C<strong>in</strong>ema (Wayne State University Press, 2008) and a<br />
forthcom<strong>in</strong>g monograph on the television series, Law & Order. She is<br />
leader of an <strong>in</strong>terdiscipl<strong>in</strong>ary <strong>research</strong> group and a new media studio<br />
laboratory spann<strong>in</strong>g computer science, eng<strong>in</strong>eer<strong>in</strong>g and f<strong>in</strong>e arts.<br />
› The rise of the African musical: postcolonial disjunction <strong>in</strong> Karmen Geï and<br />
Madame Brouette, Journal of African C<strong>in</strong>emas, 1.1, 95-112.<br />
Kristen Phillips is a Ph.D. candidate at Curt<strong>in</strong> University of<br />
Technology <strong>in</strong> the Department of Communication and Cultural Studies.<br />
She is writ<strong>in</strong>g a thesis on themes of conta<strong>in</strong>ment and gender <strong>in</strong><br />
Australian culture <strong>in</strong> an era of border anxiety. In 2003 she completed<br />
an Honours dissertation on the cultural significance of third-wave<br />
fem<strong>in</strong>ism.<br />
› Domesticat<strong>in</strong>g refugees: the border-cross<strong>in</strong>g other <strong>in</strong> Mark<strong>in</strong>g Time, Studies<br />
<strong>in</strong> Australasian C<strong>in</strong>ema, 3.1, 47-59.<br />
Paul G. Pickowicz Paul G. Pickowicz is Dist<strong>in</strong>guished Professor of History and Ch<strong>in</strong>ese<br />
Studies at the University of California, San Diego. He began
University of California - San Diego,<br />
Department of History, 9500 Gilman<br />
Drive, San Diego, California, CA<br />
92093, United States of America<br />
Keywords underground c<strong>in</strong>ema,<br />
history, memory, Greater Ch<strong>in</strong>a,<br />
theory<br />
Julianne Pidduck<br />
Universite de Montreal, Departement<br />
de Communication, C P 6128,<br />
Succursale Centre-Ville, Montreal,<br />
Quebec, H3C 3J7, Canada<br />
Keywords family, gender,<br />
mascul<strong>in</strong>ity, homosexuality, <strong>in</strong>timacy,<br />
Patrice Chéreau<br />
Matthew P<strong>in</strong>k<br />
Keywords Radio One, Kraftwerk,<br />
electronic, identity, road movie,<br />
sound, sound design, soundtrack,<br />
music, audio, film music<br />
<strong>research</strong><strong>in</strong>g Ch<strong>in</strong>ese c<strong>in</strong>ema <strong>in</strong> 1971 and spent a year at the Film<br />
Archive of Ch<strong>in</strong>a <strong>in</strong> 1982–83. He is the author of many article-length<br />
studies of Ch<strong>in</strong>ese film, co-editor of New Ch<strong>in</strong>ese C<strong>in</strong>emas (1994) and<br />
From Underground to Independent (2006), and associate producer of a<br />
two-hour documentary film entitled The Mao Years, 1949–1976<br />
(1994).<br />
› Issues and Debates From Yao Wenyuan to Cui Zi’en, Journal of Ch<strong>in</strong>ese<br />
C<strong>in</strong>emas, 1.1, 41-54.<br />
› Exhibit<strong>in</strong>g Ch<strong>in</strong>ese c<strong>in</strong>emas, reconstruct<strong>in</strong>g reception, Journal of Ch<strong>in</strong>ese<br />
C<strong>in</strong>emas, 3.2, 99-107.<br />
Julianne Pidduck is Assistant Professor <strong>in</strong> the Department of<br />
Communication at the Université de Montréal. She is the author of<br />
Contemporary Costume Film: Space, Place and the Past (British Film<br />
Institute, 2004) and La Re<strong>in</strong>e Margot (I.B. Tauris, 2005), and has<br />
published widely <strong>in</strong> the fields of gender, sexuality and the mov<strong>in</strong>g<br />
image. Her current <strong>research</strong> exam<strong>in</strong>es queer k<strong>in</strong>ship <strong>in</strong> North American<br />
and European c<strong>in</strong>ema, video and television.<br />
› A c<strong>in</strong>ema of collisions: Patrice Chéreau and the homosocial, Studies <strong>in</strong><br />
French C<strong>in</strong>ema, 7.3, 191-206.<br />
Matthew P<strong>in</strong>k graduated from Leeds University with a jo<strong>in</strong>t honours<br />
degree <strong>in</strong> French and Italian <strong>in</strong> 2003. In 2009 he received an MA with<br />
Dist<strong>in</strong>ction <strong>in</strong> C<strong>in</strong>ema Studies from the University of Bristol where he<br />
<strong>research</strong>ed and wrote about the use of sound and the blues <strong>in</strong> the films<br />
of Aki Kaurismäki. He currently lives and works as a copy-editor <strong>in</strong><br />
Cambridge, develop<strong>in</strong>g his <strong>research</strong> on sound <strong>in</strong> film and work<strong>in</strong>g for<br />
the Cambridge Film Festival. He has contributed to Little White Lies,<br />
Electric Sheep Magaz<strong>in</strong>e, the Guardian and the <strong>Intellect</strong> Directory Of<br />
World C<strong>in</strong>ema: Italy.<br />
› Electronic realities and identity fugue <strong>in</strong> Chris Petit’s Radio On (1979), The<br />
Soundtrack, 2.2, 143-152.
Thea Pitman<br />
University of Leeds, Department of<br />
Spanish, Portuguese and Lat<strong>in</strong><br />
American Studies, School of Modern<br />
Languages and Cultures, Leeds, LS2<br />
9JT, United K<strong>in</strong>gdom<br />
Keywords identity, Chicana girl<br />
gangs, film critics, Chicano c<strong>in</strong>ema<br />
Virg<strong>in</strong>ia Pitts<br />
University of Kent, Canterbury, Kent,<br />
CT2 7NZ, United K<strong>in</strong>gdom<br />
Keywords literary adaptation,<br />
political documentary,<br />
phenomenology<br />
Cassi Plate<br />
Keywords authorship, cross-cultural,<br />
Aborig<strong>in</strong>al, land rights, documentary<br />
Thea Pitman is senior lecturer <strong>in</strong> Lat<strong>in</strong> American studies <strong>in</strong> the<br />
Department of Spanish, Portuguese and Lat<strong>in</strong> American Studies at the<br />
University of Leeds. She <strong>research</strong>es ma<strong>in</strong>ly <strong>in</strong> the fields of Lat<strong>in</strong><br />
American travel writ<strong>in</strong>g and Lat<strong>in</strong> American cyberculture. Her<br />
publications <strong>in</strong>clude Mexican Travel Writ<strong>in</strong>g (Lang, 2008), and Lat<strong>in</strong><br />
American Cyberculture and Cyberliterature, co-edited with Claire<br />
Taylor (Liverpool University Press, 2007).<br />
› Polic<strong>in</strong>g the borders of Chicano c<strong>in</strong>ema: The critical reception of Allison<br />
Anders's Mi vida loca/My Crazy Life (1994) by the Chicano community,<br />
New C<strong>in</strong>emas: Journal of Contemporary Film, 8.2, 71-86.<br />
Dr. Virg<strong>in</strong>ia Pitts is an academic and film-maker <strong>who</strong> aims to foster<br />
dialogue between critical enquiry and creative practice. She has<br />
published <strong>in</strong> the areas of literary adaptation, political documentary and<br />
<strong>in</strong>tercultural film practice. Virg<strong>in</strong>ia's own screen practice spans drama,<br />
documentary, screen-dance and various hybrid forms for both film and<br />
television. Shot on both celluloid and digital formats, her films have<br />
been screened at many of the world's top film festivals, toured art<br />
galleries and sold widely. Her current <strong>research</strong> draws on<br />
phenomenology to explore the potential for embodied forms of<br />
engagement with c<strong>in</strong>ema to <strong>in</strong>vigorate screen development processes.<br />
› Technologies of culture: Digital feature film-mak<strong>in</strong>g <strong>in</strong> New Zealand, New<br />
C<strong>in</strong>emas: Journal of Contemporary Film, 9.1, 3-17.<br />
Cassi Plate is a freelance writer and curator. She has been a Research<br />
Fellow at the Research Institute for Humanities and Social Sciences,<br />
University of Sydney. She wrote her Ph.D. thesis on the life of her<br />
grandfather, A. G. Plate. The thesis, called Restless Spirits, was the<br />
first book published by the Picador impr<strong>in</strong>t as part of a project called<br />
‘From Thesis to Book’.<br />
› Surrender<strong>in</strong>g control: Two Laws as collaborative community film-mak<strong>in</strong>g:<br />
an <strong>in</strong>terview with Carolyn Strachan and Alessandro Cavad<strong>in</strong>i, Studies <strong>in</strong><br />
Documentary Film, 2.2, 149-168.
Laura Podalsky<br />
Ohio State University, Department of<br />
Spanish, Portuguese and Lat<strong>in</strong><br />
American Studies, School of Modern<br />
Languages and Cultures, 298 Hagerty<br />
Hall, 1776 College Dr., Columbus,<br />
OH 43210, United States of America<br />
Keywords transnational,<br />
globalization, affect, melodrama<br />
Michael Pokorny<br />
University of Westm<strong>in</strong>ster,<br />
Economics and Quantitative Methods,<br />
309 Regent Street, London, W1B<br />
2UW, United K<strong>in</strong>gdom<br />
Keywords 1930s, foreign revenues,<br />
film budgets, profits, strategy<br />
Murray Pomerance<br />
Keywords modernism, c<strong>in</strong>ematic<br />
gesture, circulation, The Last<br />
Laugh/Der Letzte Mann, F.W.<br />
Murnau<br />
Laura Podalsky specializes <strong>in</strong> Lat<strong>in</strong> American film and has published<br />
essays on a wide variety of topics, <strong>in</strong>clud<strong>in</strong>g Mexican youth films and<br />
classic melodrama, pre-revolutionary Cuban c<strong>in</strong>ema and Brazilian<br />
film-maker Ana Carol<strong>in</strong>a, <strong>in</strong> journals such as Framework, Screen,<br />
C<strong>in</strong>emais (Brazil) and Archivos de la Filmoteca (Spa<strong>in</strong>). She is the<br />
author of Specular City: Transform<strong>in</strong>g Culture, Consumption, and<br />
Space <strong>in</strong> Buenos Aires, 1955–1973 (2004) on Argent<strong>in</strong>e film and urban<br />
culture and the forthcom<strong>in</strong>g Contemporary Lat<strong>in</strong> American C<strong>in</strong>ema<br />
and the Politics of Feel<strong>in</strong>g.<br />
› Migrant feel<strong>in</strong>gs: Melodrama, Babel and affective communities, Studies <strong>in</strong><br />
Hispanic C<strong>in</strong>emas, 7.1, 47-58.<br />
Michael Pokorny is a Pr<strong>in</strong>cipal Lecturer <strong>in</strong> Quantitative Bus<strong>in</strong>ess<br />
Methods at the Bus<strong>in</strong>ess School of the University of Westm<strong>in</strong>ster. His<br />
ma<strong>in</strong> teach<strong>in</strong>g <strong>in</strong>terests are <strong>in</strong> quantitative<br />
methods/statistics/econometrics/quantitative f<strong>in</strong>ance, but he has also<br />
taught labour economics and <strong>in</strong>dustrial economics. His current <strong>research</strong><br />
<strong>in</strong>terests are concerned with the economics and economic history of the<br />
film <strong>in</strong>dustry.<br />
› Hollywood’s foreign earn<strong>in</strong>gs dur<strong>in</strong>g the 1930s, Transnational C<strong>in</strong>emas, 1.1,<br />
83-97.<br />
Murray Pomerance is a professor <strong>in</strong> the Department of Sociology at<br />
Ryerson University and the author of The Horse Who Drank the Sky:<br />
Film Experience Beyond Narrative and Theory, Johnny Depp Starts<br />
Here, Savage Time, An Eye for Hitchcock and Magia d’Amore. His<br />
Michelangelo Red, Antonioni Blue: Eight Reflections on C<strong>in</strong>ema is<br />
forthcom<strong>in</strong>g. He has edited or co-edited numerous volumes <strong>in</strong>clud<strong>in</strong>g A<br />
Family Affair: C<strong>in</strong>ema Calls Home, City That Never Sleeps: New York<br />
and the Filmic Imag<strong>in</strong>ation, C<strong>in</strong>ema and Modernity, American C<strong>in</strong>ema<br />
of the 1950s: Themes and Variations and Where the Boys Are:<br />
C<strong>in</strong>emas of Mascul<strong>in</strong>ity and Youth.<br />
› A modern gesture: perpetual motion and screen suspense, Film International,<br />
5.5, 42-53.<br />
› Digest<strong>in</strong>g Steven Spielberg: ‘Perhaps table-manners are not a bad test of<br />
s<strong>in</strong>cerity.’ – George Orwell, The Road to Wigan Pier (1937), Film<br />
International, 6.2, 24-37.<br />
› Baghdad Bad, Film International, 7.5, 27-49.
Mark Poole<br />
RMIT University, Bld 9, Level 4, 124<br />
La Trobe St., Melbourne, Vic 3000,<br />
Australia<br />
Keywords AFI, screen culture,<br />
government subsidy, EFTF, revival,<br />
renaissance, experimental film<br />
Jennifer Porst<br />
University of California, 2006<br />
Wash<strong>in</strong>gton Avenue, Santa Monica,<br />
CA 90403, United States of America<br />
Keywords Renoir, sound, technology,<br />
visual style, La Chienne, Tire au flanc<br />
Larry Portis<br />
Keywords Italian c<strong>in</strong>ema, Elio Petri,<br />
film festival, Peter Watk<strong>in</strong>s, Bristol<br />
› What Ever is Happen<strong>in</strong>g to M. Night Shyamalan: Meditation on an<br />
‘Infection’ Film, Film International, 8.1, 34-46.<br />
› ‘He Loved What He Did So Much!’ An Interview with Evans (Evans)<br />
Frankenheimer, Film International, 9.3, 35-50.<br />
Mark Poole is a Melbourne-based writer/director and Chair of the<br />
Australian Writers’ Guild, Victoria. He has written more than twenty<br />
hours of television drama, <strong>in</strong>clud<strong>in</strong>g the AFI award-w<strong>in</strong>n<strong>in</strong>g telefeature<br />
A S<strong>in</strong>gle Life; heco-produced and directed the documentary Fearless,<br />
screened on the ABC (2010); and he is a contributor to the onl<strong>in</strong>e<br />
journal Screen Hub and other publications such as The Age, Metro and<br />
Storyl<strong>in</strong>e. He is also an occasionallecturer <strong>in</strong> RMIT’s School of Media<br />
and Communication, and the co-author of Sh<strong>in</strong><strong>in</strong>g a Light: 50 Years of<br />
the Australian Film Institute (2009).<br />
› Passionate amateurs: The xperimental film and television fund and modernist<br />
film practice <strong>in</strong> Australia, Studies <strong>in</strong> Australasian C<strong>in</strong>ema, 5.2, 171-183.<br />
Jennifer Porst is a Ph.D. candidate <strong>in</strong> C<strong>in</strong>ema and Media Studies at the<br />
University of California, Los Angeles, with a focus on the struggle<br />
over the licens<strong>in</strong>g and sale of Hollywood’s feature films to American<br />
television before 1955.<br />
› The <strong>in</strong>fluence of sound on visual style <strong>in</strong> Renoir’s Tire au flanc and La<br />
Chienne, Studies <strong>in</strong> French C<strong>in</strong>ema, 11.3, 195-206.<br />
Larry Portis is the author of a number of books on history, culture and<br />
politics and often writes about the c<strong>in</strong>ema. Among his publications are<br />
Soul Tra<strong>in</strong>s: A Peoples' History of Popular Music <strong>in</strong> the United States<br />
and Brita<strong>in</strong>, (College Station, VBW Publications, 2002); C<strong>in</strong>éma<br />
engagé C<strong>in</strong>éma enragé, (Ed. with Pascal Dupuy and Christiane<br />
Passevant, Paris, Editions l’Harmattan, 2003); French Frenzies : A<br />
Social History of Popular Music <strong>in</strong> France, (College Station, VBW,<br />
2004); Dictionnaire des chansons politiques et engagées, (with<br />
Christiane Passevant Paris, Éditions Scali, 2008); Histoire du fascisme<br />
aux Etats-Unis, (Paris, Éditions CNT-RP, 2008); (ed.) Terror and Its
Cather<strong>in</strong>e Portuges<br />
University of Massachusetts Amherst,<br />
Film Studies/Comparative Literature,<br />
320 Herter Hall, 161 Presidents Dr,<br />
Amherst, Massachusetts, 01003-9312,<br />
United States of America<br />
Keywords Hungarian c<strong>in</strong>ema, French<br />
c<strong>in</strong>ema, psychoanalysis, film festival<br />
Larson Powell<br />
University of Missouri, Department<br />
of Foreign Languages and Literatures,<br />
216 Scofield Hall, 711 E. 51st Street,<br />
Kansas City, Missouri, 64110, United<br />
States of America<br />
Keywords electronic music, media<br />
art, German television<br />
Representations: Studies <strong>in</strong> Social History and Cultural Expression <strong>in</strong><br />
the United States and Beyond. (Montpellier, Presses Universitaires de<br />
la Méditerranée, 2008); Qu’est-ce, (Paris, Éditions de l’Alternative<br />
Libertaire, 2010).<br />
› Festivals, Film International, 6.2, 76-97.<br />
› Festivals, Film International, 7.2, 84-97.<br />
› The Director Who Must (Not?) Be Forgotten: Elio Petri and the Legacy of<br />
Italian Political C<strong>in</strong>ema, Part 1, Film International, 8.2, 17-29.<br />
› The Director Who Must (Not?) Be Forgotten: Elio Petri and the Legacy of<br />
Italian Political C<strong>in</strong>ema, Part 2, Film International, 8.4, 42-50.<br />
Cather<strong>in</strong>e Portuges is Professor of Comparative Literature and Director<br />
of the Interdepartmental Program <strong>in</strong> Film Studies at the University of<br />
Massachusetts at Amherst. She is an editorial board member for<br />
Studies <strong>in</strong> Eastern European C<strong>in</strong>ema and the AHEA Journal and was<br />
awarded the Pro Cultura Hungarica Medal from the <strong>in</strong> 2009 for her<br />
contributions on behalf of Hungarian C<strong>in</strong>ema. She is the author of<br />
Screen Memories: the Hungarian C<strong>in</strong>emaof Márta Mészáros (1993)<br />
and co-editor, with Peter Hames, of C<strong>in</strong>ema <strong>in</strong> Transition: Post-<br />
Socialist East Central Europe (Temple University Press, 2011).<br />
› Interview:Conversation with Yvette Biró: <strong>in</strong>terviews conducted <strong>in</strong> Paris, 5<br />
July 2008, and New York City, 1 November 2008, Studies <strong>in</strong> Eastern<br />
European C<strong>in</strong>ema, 1.1, 97-107.<br />
› Reports, Studies <strong>in</strong> Eastern European C<strong>in</strong>ema, 1.2, 233-242.<br />
Larson Powell is associate professor of German, University of Missouri<br />
– Kansas City. His first book, on modern German literature, was<br />
published by Camden House <strong>in</strong> May 2008; a second book on post-1945<br />
media art (electronic music, radio plays, film) is <strong>in</strong> preparation, along<br />
with a third book on DEFA director Konrad Wolf. He is also currently<br />
co-edit<strong>in</strong>g a volume on German television with Robert Shandley. He<br />
has published and lectured <strong>in</strong> German, French and English, on German<br />
film and literature as well as on musicology and philosophical<br />
aesthetics. Recent articles <strong>in</strong>clude 'Mama Ich Lebe: Konrad Wolf’s<br />
Intermedial Parable of Antifascism', Ed<strong>in</strong>burgh German Yearbook vol.<br />
3 (2009), and ‘Allegories of Management: Norbert Schulze’s<br />
Soundtrack for Das Maedchen Rosemarie’, <strong>in</strong> Davidson and Hake<br />
(eds.), Fram<strong>in</strong>g the Fifties (Berghahn 2007).
Dom<strong>in</strong>ic Power<br />
National Film and Television School,<br />
Beaconsfield Studios, Station Road,<br />
Beaconsfield, Bucks, HP9 1LG,<br />
United K<strong>in</strong>gdom<br />
Keywords Sturges, patriotism,<br />
symphony, march<strong>in</strong>g band, Ives<br />
Phil Powrie<br />
University of Surrey<br />
Keywords Feyder, Albatros,<br />
authenticity, kiss curl, French c<strong>in</strong>ema,<br />
Jean-Luc Godard<br />
› Break<strong>in</strong>g the frame of pa<strong>in</strong>t<strong>in</strong>g: Konrad Wolf ’s Goya, Studies <strong>in</strong> European<br />
C<strong>in</strong>ema, 5.2, 131-141.<br />
Dom<strong>in</strong>ic Power began writ<strong>in</strong>g for radio while study<strong>in</strong>g English<br />
Literature at Royal Holloway College. He has written plays, reviews,<br />
essays and numerous other publications that have been published<br />
widely for years. He is the Head of the Screen Arts Department at The<br />
National Film & Television School. In addition, he is a regular lecturer<br />
on the History of Film Music on the Music MA at K<strong>in</strong>gston University<br />
and has also lectured Cambridge University. He is, with Stephen<br />
Deutsch and Larry Sider, one of the editors of the journal The<br />
Soundtrack.<br />
› ‘This is a story that happened yesterday but I know it's tomorrow’;, The<br />
Soundtrack, 1.1, 53-67.<br />
› ‘Kol Nidre’ to ‘Toot, Toot, Tootsie,’ (The Jazz S<strong>in</strong>ger on DVD), The<br />
Soundtrack, 1.2, 135-145.<br />
› Editorial, The Soundtrack, 1.3, 161-162.<br />
› More Than Meets the Eye: Rouben Mamoulian's City Streets, The<br />
Soundtrack, 1.3, 236-239.<br />
› Patriotic Dissonance: The Soundtrack of Hail the Conquer<strong>in</strong>g Hero, The<br />
Soundtrack, 2.1, 77-82.<br />
Phil Powrie is Professor of C<strong>in</strong>ema Studies at the University of Surrey.<br />
He has published widely <strong>in</strong> French c<strong>in</strong>ema, notably French C<strong>in</strong>ema <strong>in</strong><br />
the 1980s: Nostalgia and the Crisis of Mascul<strong>in</strong>ity (Oxford: Clarendon<br />
Press, 1997), and, as editor, Contemporary French C<strong>in</strong>ema: Cont<strong>in</strong>uity<br />
and Difference (Oxford University Press, 1999), Jean-Jacques Be<strong>in</strong>eix<br />
(Manchester University Press, 2001), and, with Keith Reader, French<br />
C<strong>in</strong>ema: A Student’s Guide (Arnold, 2002). He is the Chief General<br />
Editor of the journal Studies <strong>in</strong> French C<strong>in</strong>ema.<br />
› Diva: A new psychoanalytical approach, Studies <strong>in</strong> French C<strong>in</strong>ema, 2.1, 41-<br />
49.<br />
› Editorial, Studies <strong>in</strong> French C<strong>in</strong>ema, 3.1, 4-4.<br />
› The kiss-curl and the resist<strong>in</strong>g eyes, Studies <strong>in</strong> French C<strong>in</strong>ema, 3.1, 15-24.<br />
› Editorial, Studies <strong>in</strong> French C<strong>in</strong>ema, 3.2, 70-70.<br />
› Editorial, Studies <strong>in</strong> French C<strong>in</strong>ema, 3.3, 136-136.<br />
› Thirty years of doctoral theses on French c<strong>in</strong>ema, Studies <strong>in</strong> French C<strong>in</strong>ema,
Peter Pozefsky<br />
College of Wooster, Department of<br />
History, Wooster, OH, 44631, United<br />
States of America<br />
Keywords genre, gangster film, Pavel<br />
Lung<strong>in</strong>, history, Andrei<br />
Konchalovskii, Pavel Chukhrai<br />
3.3, 199-.<br />
› Editorial, Studies <strong>in</strong> French C<strong>in</strong>ema, 4.1, 3-4.<br />
› Introduction. Fifteen years of 1950s c<strong>in</strong>ema, Studies <strong>in</strong> French C<strong>in</strong>ema, 4.1,<br />
5-14.<br />
› Editorial, Studies <strong>in</strong> French C<strong>in</strong>ema, 4.2, 91-92.<br />
› Editorial, Studies <strong>in</strong> French C<strong>in</strong>ema, 4.3, 163-164.<br />
› Editorial, Studies <strong>in</strong> French C<strong>in</strong>ema, 5.1, 3-4.<br />
› Editorial, Studies <strong>in</strong> French C<strong>in</strong>ema, 5.2, 75-76.<br />
› Editorial, Studies <strong>in</strong> French C<strong>in</strong>ema, 5.3, 155-156.<br />
› Editorial, Studies <strong>in</strong> French C<strong>in</strong>ema, 6.1, 3-4.<br />
› Editorial, Studies <strong>in</strong> French C<strong>in</strong>ema, 6.3, 159-160.<br />
› Editorial, Studies <strong>in</strong> French C<strong>in</strong>ema, 7.3, 177-178.<br />
› Editorial, Studies <strong>in</strong> French C<strong>in</strong>ema, 7.1, 3-4.<br />
› Editorial, Studies <strong>in</strong> French C<strong>in</strong>ema, 7.2, 77-78.<br />
› Editorial, Studies <strong>in</strong> French C<strong>in</strong>ema, 8.1, 3-4.<br />
› Editorial, Studies <strong>in</strong> French C<strong>in</strong>ema, 8.2, 97-98.<br />
› Pierre Batcheff, the surrealist star, Studies <strong>in</strong> French C<strong>in</strong>ema, 8.2, 159-177.<br />
› Editorial, Studies <strong>in</strong> French C<strong>in</strong>ema, 8.3, 187-187.<br />
› Joseph<strong>in</strong>e Baker and Pierre Batcheff <strong>in</strong> La Sirène des tropiques, Studies <strong>in</strong><br />
French C<strong>in</strong>ema, 8.3, 245-264.<br />
› Editorial, Studies <strong>in</strong> French C<strong>in</strong>ema, 9.1, 3-4.<br />
› Editorial, Studies <strong>in</strong> French C<strong>in</strong>ema, 9.2, 95-96.<br />
› Editorial, Studies <strong>in</strong> French C<strong>in</strong>ema, 9.3, 199-200.<br />
› Celebrat<strong>in</strong>g the first decade of Studies <strong>in</strong> French C<strong>in</strong>ema, Studies <strong>in</strong> French<br />
C<strong>in</strong>ema, 10.3, 197-197.<br />
› La Tragédie de Carmen (Peter Brook, 1983) and embodiment, Studies <strong>in</strong><br />
European C<strong>in</strong>ema, 1.3, 141-152.<br />
Peter Pozefsky teaches Russian history at The College of Wooster <strong>in</strong><br />
Ohio. He is the author of The Nihilist Imag<strong>in</strong>ation (2003). His articles<br />
'Childhood and the Representation of Stal<strong>in</strong>ism <strong>in</strong> Russian C<strong>in</strong>ema of<br />
the Transition' and 'Russian Gangster Film As Popular History' were<br />
published <strong>in</strong> Studies <strong>in</strong> Russian and Soviet C<strong>in</strong>ema.<br />
› Russian gangster films as popular history: genre, ideology and memory <strong>in</strong><br />
Pavel Lung<strong>in</strong>’s Tycoon, Studies <strong>in</strong> Russian and Soviet C<strong>in</strong>ema, 2.3, 299-325.<br />
› Childhood and the representation of the history of Stal<strong>in</strong>ism <strong>in</strong> Russian<br />
c<strong>in</strong>ema of the transition period, Studies <strong>in</strong> Russian and Soviet C<strong>in</strong>ema, 4.1,<br />
23-44.
Brad Prager<br />
University of Missouri, Department<br />
of German and Russian Studies, 451<br />
Strickland Hall, Columbia, MO<br />
65211-4170, United States of<br />
America<br />
Keywords focalization, film theory,<br />
narrative theory, Werner Herzog, Les<br />
Blank<br />
Alexander Prokhorov<br />
College of William and Mary,<br />
Department of Modern Languages<br />
and Literature, Wash<strong>in</strong>gton Hall, P.O.<br />
Box 8795, Williamsburg, Virg<strong>in</strong>ia,<br />
VA 23187, United States of America<br />
Keywords Soviet culture, nation,<br />
melodrama, children, Thaw<br />
Ryan Prout<br />
Cardiff University, School of<br />
European Studies, 65-68 Park Place,<br />
Cardiff, CF10 3AS, United K<strong>in</strong>gdom<br />
Keywords transplant, nation state,<br />
gift-exchange dimension,<br />
Organización Nacional de<br />
Trasplantes, somatization<br />
Brad Prager is Associate Professor of German and Film Studies at the<br />
University of Missouri. He has authored two monographs: Aesthetic<br />
Vision and German Romanticism: Writ<strong>in</strong>g Images (2007) and The<br />
C<strong>in</strong>ema of Werner Herzog: Aesthetic Ecstasy and Truth (2007). His<br />
articles have appeared <strong>in</strong> New German Critique, Modern Language<br />
Review and Art History. Most recently he has co-edited the collections<br />
The Collapse of the Conventional: German Film and its Politics at the<br />
Turn of the Twenty-First Century (2010) and Visualiz<strong>in</strong>g the<br />
Holocaust: Documents, Aesthetics, Memory (2008).<br />
› On Blank's screen: Les Blank's Werner Herzog Eats His Shoe and the gravity<br />
of the director's subject, Studies <strong>in</strong> Documentary Film, 4.2, 119-135.<br />
Alexander Prokhorov works on issues relat<strong>in</strong>g to the c<strong>in</strong>ema as a mode<br />
of political and aesthetic expression. His teach<strong>in</strong>g and <strong>research</strong> l<strong>in</strong>k<br />
these issues to the relationship between genre films and art films, and<br />
the construction of imperial and national identity, with particular<br />
attention to Soviet and Russian c<strong>in</strong>ema. He is the editor of Spr<strong>in</strong>gtime<br />
for Soviet C<strong>in</strong>ema: Re/view<strong>in</strong>g the 1960s (Pittsburgh Film Symposium,<br />
2001). His essays and reviews have appeared <strong>in</strong> Slavic Review, Slavic<br />
and East European Journal, Russian Review, Wiener Slawistische<br />
Almanach, and K<strong>in</strong>okultura as well as the anthologies The Russian<br />
Memoir (ed. Beth Holmgren, 2003), Aga<strong>in</strong>st the Gra<strong>in</strong>: Parody, Satire,<br />
and Intertextuality <strong>in</strong> Russian Literature (ed. Janet Tucker, 2002) and<br />
Imitations (eds. Louise McReynolds and Joan Neuberger, 2002).<br />
› The adolescent and the child <strong>in</strong> the c<strong>in</strong>ema of the Thaw, Studies <strong>in</strong> Russian<br />
and Soviet C<strong>in</strong>ema, 1.2, 115-130.<br />
› Reviews, Studies <strong>in</strong> Russian and Soviet C<strong>in</strong>ema, 3.3, 353-385.<br />
Ryan Prout is a lecturer <strong>in</strong> Hispanic Studies at the School of European<br />
Studies, Cardiff University. His <strong>research</strong> <strong>in</strong>terests centre on film and<br />
writ<strong>in</strong>g from Lat<strong>in</strong> America and from post-transitional democratic<br />
Spa<strong>in</strong>. He is particularly <strong>in</strong>terested <strong>in</strong> digital cultures and <strong>in</strong> explor<strong>in</strong>g<br />
through film and literary narrative the signs of Spa<strong>in</strong>’s re-emergence as<br />
a crucible of diverse cultures. His work on Juan Goytisolo focused on<br />
the representation of childhood and gender across the span of his<br />
oeuvre, from his juvenilia to his most celebrated avant-garde<br />
texts. More recently, his <strong>research</strong> has focused on aspects of popular<br />
culture and has studied, for example, the semantics of Spanish<br />
advertis<strong>in</strong>g icons, the significance of religious sects <strong>in</strong> Spanish society,<br />
and the mean<strong>in</strong>gs of dissidence <strong>in</strong> film and writ<strong>in</strong>g from and about
Mirosław Przylipiak<br />
Pomeranian University <strong>in</strong> Słupsk,<br />
Małopolska 39/1, Gdynia, 81-555,<br />
Poland<br />
Keywords split screen, General<br />
Sikorski, historical films, politics of<br />
history, Polish c<strong>in</strong>ema<br />
Anton Pujol<br />
UNC Charlotte, Department of<br />
Languages and Culture Studies, 9201<br />
University City Boulevard, Charlotte,<br />
NC, 28223, United States of America<br />
Keywords Gilles Deleuze, Catalan<br />
c<strong>in</strong>ema, Lluïsa Cunillé, Barcelona,<br />
Cuba. He has also studied the portrayal of m<strong>in</strong>orities <strong>in</strong> Spanish<br />
narrative and <strong>in</strong> writ<strong>in</strong>g from Mexico.<br />
› All about Spa<strong>in</strong>: transplant and identity <strong>in</strong> La flor de mi secreto and Todo<br />
sobre mi madre, Studies <strong>in</strong> Hispanic C<strong>in</strong>emas, 1.1, 43-.<br />
› British Film Makers: Derek Jarman Roland Wymer (2005), Film<br />
International, 5.2, 83-84.<br />
› Festivals, Film International, 6.1, 69-95.<br />
› Film Reviews, Film International, 6.3, 84-87.<br />
› Festivals, Film International, 6.5, 90-97.<br />
› Book Reviews, Film International, 7.2, 74-83.<br />
› Interviews, Film International, 9.4, 84-91.<br />
› Explod<strong>in</strong>g anonymity: the romance and risk of Derailment, Short Film<br />
Studies, 1.2, 239-243.<br />
Mirosław Przylipiak is Professor of Film and Media Studies at<br />
Pomeranian University <strong>in</strong> Słupsk. He is also a film critic, translator,<br />
and documentary film-maker. His ma<strong>in</strong> publications <strong>in</strong>clude the books<br />
K<strong>in</strong>o stylu zerowego/Zero Style C<strong>in</strong>ema (1994), K<strong>in</strong>o najnowsze/New<br />
C<strong>in</strong>ema (1998), Poetyka k<strong>in</strong>a dokumentalnego/Aesthetics of<br />
documentary c<strong>in</strong>ema ([2000] 2004), K<strong>in</strong>o bezpośrednie/Direct C<strong>in</strong>ema<br />
(2008), as well as over 100 academic papers on various aspects of film<br />
and media and numerous film reviews. He has translated over twenty<br />
books, mostly from the fields of psychology and film, and some poetry.<br />
He also made several documentary films and a series of educational<br />
television programmes. He was a founder and manag<strong>in</strong>g director of<br />
Academic Educational Television of Gdańsk University.<br />
› Explor<strong>in</strong>g Assass<strong>in</strong>ation <strong>in</strong> Gibraltar by Anna Jadowska <strong>in</strong> the context of<br />
dom<strong>in</strong>ant tendencies <strong>in</strong> contemporary Polish c<strong>in</strong>ema, Studies <strong>in</strong> Eastern<br />
European C<strong>in</strong>ema, 1.2, 139-152.<br />
Anton Pujol graduated from the Universitat Autónoma <strong>in</strong> Barcelona.<br />
He earned a Ph.D. at the University of Kansas <strong>in</strong> Spanish Literature<br />
and an MBA from the University of Chicago, with a focus <strong>in</strong><br />
economics and <strong>in</strong>ternational f<strong>in</strong>ance. Currently he is an associate<br />
professor at the University of North Carol<strong>in</strong>a at Charlotte where he is<br />
the Graduate Program Director for Spanish. He has recently published<br />
articles <strong>in</strong> Translation Review, Catalan Review, Arizona Journal of<br />
Hispanic Cultural Studies and Studies <strong>in</strong> Hispanic C<strong>in</strong>emas, among
Spanish Civil War others.<br />
Claudia Pummer<br />
University of Hartford, Department of<br />
C<strong>in</strong>ema, 107D ABR, 200 Bloomfield<br />
Avenue, West Hartford, CT, 6117,<br />
United States of America<br />
Keywords Algeria, exile, border<br />
theory, French new wave, young<br />
German c<strong>in</strong>ema<br />
Dav<strong>in</strong>a Qu<strong>in</strong>livan<br />
K<strong>in</strong>g’s College London, Film Studies<br />
Department, Strand Campus, London,<br />
WC2R 2LS, United K<strong>in</strong>gdom<br />
Keywords haptics, <strong>in</strong>nocence,<br />
k<strong>in</strong>aesthetic, marks, materiality<br />
Michael Rabiger<br />
Keywords documentary film, short<br />
film, direct<strong>in</strong>g<br />
› Ventura Pons's Barcelona (un mapa): Trapped <strong>in</strong> the Crystal, Studies <strong>in</strong><br />
Hispanic C<strong>in</strong>emas, 6.1, 65-76.<br />
Claudia Pummer is a Ph.D. candidate <strong>in</strong> Film Studies at the University<br />
of Iowa. Her dissertation project <strong>in</strong>vestigates the work of the filmmakers<br />
Jean-Marie Straub and Daniéle Huillet <strong>in</strong> the context of the<br />
history and development of political avant-garde c<strong>in</strong>ema. She currently<br />
teaches film studies and film production courses at the University of<br />
Hartford.<br />
› Les Passeurs: Inscriptions of war and exile <strong>in</strong> Jean-Marie Straub and Danile<br />
Huillet's Machorka-Muff (1962), Studies <strong>in</strong> European C<strong>in</strong>ema, 7.1, 51-60.<br />
Dav<strong>in</strong>a Qu<strong>in</strong>livan is a Ph.D. candidate <strong>in</strong> the Film Studies Department<br />
at K<strong>in</strong>g’s College, London. Her thesis entitled ‘The Place of Breath <strong>in</strong><br />
the C<strong>in</strong>ema’ exam<strong>in</strong>es the locus of the literal and symbolic role of the<br />
breath<strong>in</strong>g body <strong>in</strong> the films of Atom Egoyan, David Cronenberg and<br />
Lars von Trier. She has published her work <strong>in</strong> Lucia Nagib and Cecilia<br />
Mello (eds) Realism and the Audio-Visual Media (Palgrave,2009), and<br />
Jenny Chamarette and Jennifer Higg<strong>in</strong>s (eds) Guilt and Shame (Peter<br />
Lang, 2009). She has also published <strong>in</strong> Film-Philosophy and Vertigo.<br />
› Material haunt<strong>in</strong>gs: The k<strong>in</strong>aesthesia of sound <strong>in</strong> Innocence (Hadzihalilovic,<br />
2004), Studies <strong>in</strong> French C<strong>in</strong>ema, 9.3, 215-224.<br />
Michael Rabiger worked <strong>in</strong> British film <strong>in</strong>dustry as an editor, then<br />
directed BBC documentaries. Co-founded and eventually chaired a<br />
Columbia College’s Film/Video Department <strong>in</strong> Chicago and founded<br />
Michael Rabiger Center for Documentary. Authored widely-used howto<br />
texts (Direct<strong>in</strong>g: Film Techniques and Aesthetics and Direct<strong>in</strong>g the<br />
Documentary) as well as Develop<strong>in</strong>g Story Ideas.<br />
› Out of the underworld, Short Film Studies, 1.2, 235-238.
Paula Rab<strong>in</strong>owitz<br />
University of M<strong>in</strong>nesota, Department<br />
of English, 207 Church Street SE,<br />
M<strong>in</strong>neapolis, M<strong>in</strong>nesota, MN 55455,<br />
United States of America<br />
Keywords documentary, materialistfem<strong>in</strong>ist<br />
theory, American studies<br />
Emma Radley<br />
University College Dubl<strong>in</strong>, School of<br />
English, Drama and Film, Belfield,<br />
Dubl<strong>in</strong>, Ireland<br />
Keywords psychoanalytic theory,<br />
gender, sexuality, uncanny<br />
Hilary Radner<br />
University of Otago, New Zealand<br />
Keywords<br />
Rajko Radovic<br />
Keywords Camorra, Roberto<br />
Saviano, deregulation, free trade,<br />
Naples<br />
Paula Rab<strong>in</strong>owitz is Professor at the Department of English, University<br />
of M<strong>in</strong>nesota, where she teaches American Cultural Studies. Her<br />
<strong>research</strong> <strong>in</strong>terests <strong>in</strong>clude film, visual culture, Marxist and fem<strong>in</strong>ist<br />
theories, and American work<strong>in</strong>g-class and m<strong>in</strong>ority writers. Her books<br />
<strong>in</strong>clude They Must be Represented: The Politics of Documentary<br />
(Verso 1994) and Black & White And Noir: America's Pulp Modernism<br />
(Columbia 2002). She is co-editor of the four-volume series on<br />
cloth<strong>in</strong>g and identity, Habits of Be<strong>in</strong>g (M<strong>in</strong>nesota).<br />
› Esther Bubley Invents Noir, Film International, 1.2, 14-23.<br />
Emma Radley lectures <strong>in</strong> UCD School of English, Drama and Film.<br />
Her <strong>research</strong> <strong>in</strong>terests <strong>in</strong>clude psychoanalytic theory, film theory,<br />
gender, sexuality, and the uncanny. She has published <strong>in</strong> the area of<br />
Irish film and culture, horror c<strong>in</strong>ema, and psychoanalytic theory.<br />
› Seven words: the real Sunday, Short Film Studies, 1.2, 291-294.<br />
› REVIEWS, Film, Fashion & Consumption, 1.2, 221-226.<br />
Rajko Radovic is a film-maker and freelance journalist based <strong>in</strong><br />
Vancouver, Canada. He is a correspondent for the Serbian newspaper<br />
Republic and the cultural and fashionmagaz<strong>in</strong>e Prestup. Liv<strong>in</strong>g and<br />
travell<strong>in</strong>g through Serbia, Kosovo and Montenegro, he was a first hand<br />
witness to the effects of the economic embargo and NATO<br />
bombardment.He has contributed to Senses of C<strong>in</strong>ema, and other<br />
publications, <strong>in</strong>clud<strong>in</strong>g numerous anthologies.<br />
› McMafia ris<strong>in</strong>g, Film International, 7.1, 6-11.<br />
› A Bandit Apart, Film International, 8.3, 14-20.<br />
› Master of Ambiguity: A Conversation with Jerzy Skolimowski, Film
Amit Rai<br />
Queen Mary, University of London,<br />
School of Bus<strong>in</strong>ess and Management,<br />
Mile End Road, London, E1 4NS,<br />
United K<strong>in</strong>gdom<br />
Keywords Bollywood, c<strong>in</strong>ema-go<strong>in</strong>g,<br />
haptics, rasa theory<br />
Benjam<strong>in</strong> E. Raikl<strong>in</strong><br />
University of Wiscons<strong>in</strong>-Madison,<br />
Department of History, Mosse<br />
Humanities Build<strong>in</strong>g, Madison, WI<br />
53706, United States of America<br />
Keywords Stal<strong>in</strong>ist c<strong>in</strong>ema, Great<br />
Terror, Artistic Council, Mosfilm,<br />
censorship<br />
Zakir Hossa<strong>in</strong> Raju<br />
Monash University, School of Arts<br />
and Sciences, Sunway Campus, Jalan<br />
Lagoon Selatan, Malaysia<br />
Keywords Ch<strong>in</strong>eseness, Malaysian<br />
c<strong>in</strong>ema, digital film, identity<br />
International, 8.5, 23-28.<br />
Amit Rai is Assistant Professor <strong>in</strong> Global Literatures and Film,<br />
Department of English, Florida State University, USA. He holds a<br />
Ph.D. from the Program <strong>in</strong> Modern Thought and Literature at Stanford<br />
University (1996). He has previously taught at the New School for<br />
Social Research, and s<strong>in</strong>ce January 2004 has taught courses <strong>in</strong><br />
Victorian literature, Human Rights, and Global literatures and film<br />
studies <strong>in</strong> the English department at FSU. His <strong>research</strong> <strong>in</strong>terests <strong>in</strong>clude<br />
postcolonial perspectives on Victorian studies, the history of sentiment<br />
and affect, globalization studies, new media and popular H<strong>in</strong>di and<br />
Hong Kong c<strong>in</strong>ema, and the anthropology of monstrosity.<br />
› The haptic codes of Bollywood c<strong>in</strong>ema <strong>in</strong> New York City, New C<strong>in</strong>emas:<br />
Journal of Contemporary Film, 3.3, 143-158.<br />
Benjam<strong>in</strong> Raikl<strong>in</strong> is a Ph.D. candidate study<strong>in</strong>g Soviet history at the<br />
University of Wiscons<strong>in</strong>-Madison and currently work<strong>in</strong>g on his<br />
dissertation entitled 'Towards a ‘'Cult’' of the Soviet War Cameraman:<br />
Stal<strong>in</strong>ist Documentary Filmmak<strong>in</strong>g Effortsand the Politics of War and<br />
War Memory, 1928-1948'.<br />
› Soviet c<strong>in</strong>ema <strong>in</strong> the wake of the terror: the Artistic Council at Mosfilm,<br />
1939–41, Studies <strong>in</strong> Russian and Soviet C<strong>in</strong>ema, 3.3, 267-288.<br />
Zakir Hossa<strong>in</strong> Raju teaches at Sunway Campus, Monash University,<br />
Malaysia. He earned his Ph.D. <strong>in</strong> C<strong>in</strong>ema Studies from La Trobe<br />
University (Melbourne) <strong>in</strong> 2005. His latest book is Bangladesh C<strong>in</strong>ema<br />
and National Identity: In Search of the Modern, (Routledge, 2008).<br />
Raju’s current <strong>research</strong> focuses on cultural translation and transnational<br />
media <strong>in</strong> Asia. He has also scripted and directed seven documentary<br />
films that featured <strong>in</strong> <strong>in</strong>ternational film festivals around the world.<br />
› Filmic imag<strong>in</strong>ations of the Malaysian Ch<strong>in</strong>ese: ‘Mahua c<strong>in</strong>ema’ as a<br />
transnational Ch<strong>in</strong>ese c<strong>in</strong>ema, Journal of Ch<strong>in</strong>ese C<strong>in</strong>emas, 2.1, 67-79.
Gaetano Rando<br />
University of Wollongong, Modern<br />
Languages Programme, Wollongong,<br />
New South Wales, 2522, Australia<br />
Keywords Giorgio Mangiamele,<br />
Australian c<strong>in</strong>ema, history, criticism,<br />
migrant experiences, marg<strong>in</strong>alization,<br />
ethnicity<br />
Laura Rascaroli<br />
University College Cork, Italian, Film<br />
Studies, Orb 1.10, Cork, Ireland<br />
Keywords Marseilles c<strong>in</strong>ema,<br />
Mediterranean, space, place, end of<br />
geography, essay film, Jean-Luc<br />
Godard<br />
Srilata Ravi<br />
University of Alberta, French Studies,<br />
Campus Sa<strong>in</strong>t-Jean, 2-16 Pav<br />
Gaetano Rando is currently Honorary Senior Fellow (Italian Studies<br />
and English Language and L<strong>in</strong>guistics) Faculty of Arts, University of<br />
Wollongong. He has written extensively on Italian Australian studies,<br />
recent publications be<strong>in</strong>g: La Diaspora italiana dopo la Seconda<br />
Guerra Mondiale. The Italian Diaspora after the Second World War<br />
(2007), co-edited with Jim Hagan; Emigrazione e letteratura: Il caso<br />
italoaustraliano (2004); translated and <strong>in</strong>troduced Rosa R. Cappiello’s<br />
Australian edition of Oh Lucky Country (2009); 'Recent Italian-<br />
Australian Narrative Fiction by First Generation Writers Kunapipi,<br />
Vol. XXXI, No. 5 (2009). In 2005 the President of the Republic of<br />
Italy conferred him with the award of Commendatore, Ord<strong>in</strong>e della<br />
Stella della Solidarietà italiana, for <strong>research</strong> and teach<strong>in</strong>g<br />
achievements.<br />
› Lim<strong>in</strong>ality, temporality and marg<strong>in</strong>alization <strong>in</strong> Giorgio Mangiamele's<br />
migrant movies, Studies <strong>in</strong> Australasian C<strong>in</strong>ema, 1.2, 209-222.<br />
Laura Rascaroli is Senior Lecturer <strong>in</strong> Film Studies at University<br />
College Cork. Her <strong>research</strong> focuses on European c<strong>in</strong>ema, particularly<br />
of the 1940s, 1950s, 1960s and contemporary; on modernism and<br />
postmodernism <strong>in</strong> film; on space and place (the c<strong>in</strong>ematic city, the road<br />
movie); on the essay film, personal/autobiographical film, amateur<br />
c<strong>in</strong>ema, art film and non-fiction. She has published <strong>in</strong> many edited<br />
collections and <strong>in</strong> journals <strong>in</strong>clud<strong>in</strong>g Screen, Framework, Film<br />
Criticism, Studies <strong>in</strong> French C<strong>in</strong>ema, New C<strong>in</strong>emas and K<strong>in</strong>ema.<br />
› The space of a return. A topographic study of Ala<strong>in</strong> Resnais' Providence,<br />
Studies <strong>in</strong> French C<strong>in</strong>ema, 2.1, 50-.<br />
› The place of the heart: scal<strong>in</strong>g spaces <strong>in</strong> Robert Guédiguian's c<strong>in</strong>ema, Studies<br />
<strong>in</strong> French C<strong>in</strong>ema, 6.2, 95-106.<br />
› Performance <strong>in</strong> and of the Essay film: Jean-Luc Godard plays Jean-Luc<br />
Godard <strong>in</strong> Notre musique (2004), Studies <strong>in</strong> French C<strong>in</strong>ema, 9.1, 49-61.<br />
› Home and away: Nanni Moretti's The Last Customer and the ground zero of<br />
transnational identities, New C<strong>in</strong>emas: Journal of Contemporary Film, 3.3,<br />
187-.<br />
Srilata Ravi is Professor of French at the University of Alberta,<br />
Campus Sa<strong>in</strong>t-Jean. Her <strong>research</strong> <strong>in</strong>terests are <strong>in</strong> Francophone Studies,<br />
Diaspora and Migration Studies and Indian Ocean Studies. She has<br />
published widely <strong>in</strong> <strong>in</strong>ternational refereed journals on gender, ethnicity,
Lacerte, 8406-9 le rue, Edmonton,<br />
T6C 4G9, Canada<br />
Keywords francophone literature,<br />
Vietnam, women writers, migrant<br />
writer, home<br />
M<strong>in</strong>g-Yeh T. Rawnsley<br />
University of Leeds, Institute of<br />
Communications Studies, Room 1.29,<br />
Clothworkers Build<strong>in</strong>g North, Leeds,<br />
LS2 9JT, United K<strong>in</strong>gdom<br />
Keywords communications studies,<br />
media studies, East Asia, Taiwan,<br />
science communications, film festival<br />
Jonathan Rayner<br />
University of Sheffield, School of<br />
English Language, Literature and<br />
L<strong>in</strong>guistics, Jessop West, 1 Upper<br />
Hanover Street, Sheffield, South<br />
Yorkshire, S3 7RA, United K<strong>in</strong>gdom<br />
Keywords c<strong>in</strong>ema, landscape,<br />
Australia, naval history, New Zealand<br />
migration and travel <strong>in</strong> francophone literature and culture. Her<br />
publications <strong>in</strong>clude Ra<strong>in</strong>bow Colors: Literary Ethno topographies of<br />
Mauritius (2007), Asia <strong>in</strong> Europe, Europe <strong>in</strong> Asia (2004, co-edited with<br />
Mario Rutten and Beng-Lan Goh) and Le genre romanesque français<br />
1947 (1997).<br />
› Women, Family and Empire-build<strong>in</strong>g: Régis Wargnier's Indoch<strong>in</strong>e, Studies<br />
<strong>in</strong> French C<strong>in</strong>ema, 2.2, 74-82.<br />
M<strong>in</strong>g-Yeh T. Rawnsley is Research Fellow at the Institute of<br />
Communications Studies, University of Leeds where she lectures and<br />
<strong>research</strong>es on Ch<strong>in</strong>ese-language films. Her current projects <strong>in</strong>clude<br />
‘Cross-Cultural Dialogues: Taiwan C<strong>in</strong>ema' and ‘Mak<strong>in</strong>g Science TV<br />
Programmes for the International Market’. She publishes widely <strong>in</strong><br />
both Ch<strong>in</strong>ese and English languages on media, culture and literature.<br />
Her most recent books <strong>in</strong>clude Global Ch<strong>in</strong>ese C<strong>in</strong>ema: The Culture<br />
and Politics of Hero (Routledge, 2010) and Little Study, Big Universe<br />
(Lixu, 2010, <strong>in</strong> Ch<strong>in</strong>ese). She is presently work<strong>in</strong>g on a monograph,<br />
Cultural Democratization <strong>in</strong> Taiwan: Society, C<strong>in</strong>ema and Theatre<br />
(Routledge, forthcom<strong>in</strong>g).<br />
› Reviews, New C<strong>in</strong>emas: Journal of Contemporary Film, 7.3, 257-.<br />
› REVIEWS, Transnational C<strong>in</strong>emas, 2.1, 113-125.<br />
› C<strong>in</strong>ema, Historiography, and Identities <strong>in</strong> Taiwan: Hou Hsiao-Hsien’s A City<br />
of Sadness, Asian C<strong>in</strong>ema, 22.2, 196-213.<br />
Jonathan Rayner is Reader <strong>in</strong> Film Studies at the University of<br />
Sheffield, School of English Literature, Language and L<strong>in</strong>guistics. He<br />
has contributed to books on topics as diverse as Australian c<strong>in</strong>ema,<br />
New Zealand c<strong>in</strong>ema, musicals, horror films, crime/caper films, cult<br />
films, and road movies. His previous books <strong>in</strong>clude The Naval War<br />
Film: Genre, History, National C<strong>in</strong>ema (Manchester University Press,<br />
2007), Contemporary Australian C<strong>in</strong>ema (Manchester University<br />
Press, 2000) and The Films of Peter Weir (Cont<strong>in</strong>uum, 1998/2003), and<br />
as co-editor (with Graeme Harper) C<strong>in</strong>ema and Landscape (<strong>Intellect</strong>,<br />
2010). His <strong>research</strong> <strong>in</strong>terests <strong>in</strong>clude Australasian c<strong>in</strong>ema, genre and<br />
auteur studies, c<strong>in</strong>ema and landscape, and naval films and history.<br />
› Live and dangerous? The screen life of Steve Irw<strong>in</strong>, Studies <strong>in</strong> Australasian<br />
C<strong>in</strong>ema, 1.1, 107-118.
Keith Reader<br />
University of Glasgow, Department<br />
of French, Glasgow, G12 8QL,<br />
United K<strong>in</strong>gdom<br />
Keywords c<strong>in</strong>ema, modern fiction,<br />
sado-masochism, Fifth Republic,<br />
literature<br />
Eric Rebillard<br />
Keywords surrealism, mascul<strong>in</strong>ity,<br />
André Breton, Anton<strong>in</strong> Artaud,<br />
Salvador Dalí<br />
Nick Redfern<br />
Independent Researcher<br />
› Adapt<strong>in</strong>g Australian Film: Ray Lawrence from Bliss to J<strong>in</strong>dabyne, Studies <strong>in</strong><br />
Australasian C<strong>in</strong>ema, 3.3, 295-308.<br />
› REVIEWS, Studies <strong>in</strong> Australasian C<strong>in</strong>ema, 5.2, 203-208.<br />
Professor Reader works on various aspects of (primarily but not solely)<br />
twentieth-century French culture. He has recently f<strong>in</strong>ished an article on<br />
Resnais's L'Annee derniere a Marienbad as sado-masochistic text - an<br />
approach that <strong>in</strong>corporates his <strong>in</strong>terest <strong>in</strong> critical theory (<strong>in</strong> this case the<br />
work of Deleuze) and <strong>in</strong> gender studies. The latter approach largely<br />
underp<strong>in</strong>s his monograph, co-authored with Rachel Edwards, on The<br />
Pap<strong>in</strong> Sisters (Oxford University Press, 2001), and even more<br />
markedly his study of male (self-)abjection The Abject Object (Rodopi,<br />
2006), which exam<strong>in</strong>es avatars of the abject phallus across a variety of<br />
texts.<br />
› Jouissance at the Marg<strong>in</strong>s: Phillippe Harel's Extension du doma<strong>in</strong>e de la<br />
lutte/Whatever, Studies <strong>in</strong> French C<strong>in</strong>ema, 1.2, 118-.<br />
› Another Deleuzian Resnais: L'Année dernière à Marienbad (1961) as<br />
conflict between sadism and masochism, Studies <strong>in</strong> French C<strong>in</strong>ema, 8.2,<br />
149-158.<br />
Eric Rebillard is a member of the Association Française de recherche<br />
sur l’histoire du c<strong>in</strong>éma. He has published work on Pierre Batcheff<br />
with Phil Powrie <strong>in</strong> Buñuel, Siglo XXI (Institución Fernando el<br />
Católico/Prensas Universitarias de Zaragoza, 2004), and Marcel<br />
L’Herbier: l’Art du C<strong>in</strong>éma (Association Française de Recherche sur<br />
l’Histoire du C<strong>in</strong>éma, 2008).<br />
› Pierre Batcheff, the surrealist star, Studies <strong>in</strong> French C<strong>in</strong>ema, 8.2, 159-177.<br />
› Joseph<strong>in</strong>e Baker and Pierre Batcheff <strong>in</strong> La Sirène des tropiques, Studies <strong>in</strong><br />
French C<strong>in</strong>ema, 8.3, 245-264.<br />
Nick Redfern studied Film and History at the University of Kent, and<br />
completed his Ph.D. on regionalism <strong>in</strong> contemporary British c<strong>in</strong>ema at<br />
Manchester Metropolitan University <strong>in</strong> 2006. He has published articles<br />
on regional film policy <strong>in</strong> the United K<strong>in</strong>gdom and the representation
Keywords film <strong>in</strong>dustry, British<br />
c<strong>in</strong>ema, regionalism, globalization<br />
Allen H. Redmon<br />
Texas A&M University, Killeen,<br />
Texas, United States of America<br />
Keywords narrative, c<strong>in</strong>ematography,<br />
edit<strong>in</strong>g, mimesis, apocalypse<br />
Gregg Redner<br />
The University of Western Ontario,<br />
Department of Film Studies, London,<br />
Ontario, N6A 3K7, Canada<br />
Keywords Maurice Jaubert, Jean<br />
Vigo, L'Atalante, sensation, film<br />
music<br />
of the UK’s regions <strong>in</strong> c<strong>in</strong>ema <strong>in</strong> Entertext, The Journal of British<br />
C<strong>in</strong>ema and Television, and the International Journal of Regional and<br />
Local Studies and Cyfrwng: Media Wales Journal. He has taught film<br />
studies at Manchester Metropolitan University and the University of<br />
Central Lancashire, specializ<strong>in</strong>g <strong>in</strong> British c<strong>in</strong>ema, Hollywood c<strong>in</strong>ema,<br />
film analysis and film theory.<br />
› Connect<strong>in</strong>g the regional and the global <strong>in</strong> the UK film <strong>in</strong>dustry,<br />
Transnational C<strong>in</strong>emas, 1.2, 145-160.<br />
Allen H. Redmon teaches film and cultural studies courses at Texas<br />
A&M University Central Texas <strong>in</strong> Killeen, Texas. Past publications<br />
have exam<strong>in</strong>ed the work of Carl Dreyer, Fatih Ak<strong>in</strong>, Zhang Yimou, and<br />
Cl<strong>in</strong>t Eastwood. More recently, he has focused on the films of Quent<strong>in</strong><br />
Tarant<strong>in</strong>o and the Coen brothers, respectively. The common stra<strong>in</strong> <strong>in</strong><br />
all of these pursuits is an ongo<strong>in</strong>g <strong>in</strong>terest <strong>in</strong> the ways directors use<br />
established genres or recognized narratives to alter the narratives their<br />
films purportedly adopt.<br />
› ‘Come Out of Here, My People’: Pandemonium and Power <strong>in</strong> Carl Theodor<br />
Dreyer's La Passion de Jeanne d'Arc, Studies <strong>in</strong> French C<strong>in</strong>ema, 6.3, 183-<br />
194.<br />
Gregg Redner holds a Ph.D. <strong>in</strong> Film Studies from Exeter University,<br />
UK. He is a graduate of the Juilliard School <strong>in</strong> New York City, from<br />
which he holds a double Master of Music degree <strong>in</strong> organ and<br />
harpsichord performance and has also completed the coursework<br />
towards a Ph.D. <strong>in</strong> Historical Musicology from the Graduate Center of<br />
the City University of New York. Gregg Redner also serves on the<br />
Film Studies Faculty of the University of Western Ontario. His work<br />
has been published <strong>in</strong> Studies <strong>in</strong> French C<strong>in</strong>ema, Music Sound and the<br />
Mov<strong>in</strong>g Image and Rhizomes.<br />
› Fragments of a life: becom<strong>in</strong>g-music/woman <strong>in</strong> Krzysztof Kieslowski’s Trois<br />
couleurs: bleu, Studies <strong>in</strong> French C<strong>in</strong>ema, 8.3, 277-287.<br />
› Deleuzian sensation and Maurice Jaubert's score for L'Atalante (Vigo, 1934),<br />
Studies <strong>in</strong> French C<strong>in</strong>ema, 9.2, 97-110.
Nick Rees-Roberts<br />
University of Bristol, Department of<br />
French, 17 Woodland Road, Bristol,<br />
BS8 1TE, United K<strong>in</strong>gdom<br />
Keywords French c<strong>in</strong>ema, queer<br />
c<strong>in</strong>ema, immigration, prostitution,<br />
sexualities, transgender<br />
Todd W. Reeser<br />
University of Pittsburgh, Department<br />
of French and Italian, 702 Old<br />
Eng<strong>in</strong>eer<strong>in</strong>g Hall, Pittsburgh,<br />
Pennsylvania, PA 15260, United<br />
States of America<br />
Keywords sex, temporality, time,<br />
transsexualism, Wild Side<br />
Friedman Rég<strong>in</strong>e-Mihal<br />
Tel-Aviv University, Department of<br />
C<strong>in</strong>ema and Television, Faculty of<br />
Arts, Tel-Aviv 69978, Israel<br />
Keywords witness<strong>in</strong>g, 'I-productions',<br />
Nick Rees-Roberts is Lecturer <strong>in</strong> French at the University of Bristol,<br />
specializ<strong>in</strong>g <strong>in</strong> screen aesthetics and cultural studies. His current<br />
<strong>research</strong> <strong>in</strong>cludes work on queer c<strong>in</strong>ema and theory, and on fashion<br />
history, focus<strong>in</strong>g on synergies between mascul<strong>in</strong>ities, men's style and<br />
the mov<strong>in</strong>g image. Before com<strong>in</strong>g to Bristol <strong>in</strong> 2007, he lived <strong>in</strong> Paris<br />
where he taught English, media and cultural studies at the Universities<br />
of Paris III, IV and Paris-Dauph<strong>in</strong>e. He has a D.Phil. from the<br />
University of Sussex, where he wrote a dissertation on sexuality,<br />
gender and culture <strong>in</strong> contemporary France, and has published work on<br />
French c<strong>in</strong>ema culture <strong>in</strong> New C<strong>in</strong>emas, Contemporary French<br />
Civilization, Studies <strong>in</strong> French C<strong>in</strong>ema and the International Journal<br />
of Cultural Studies.<br />
› Reviews, Studies <strong>in</strong> Hispanic C<strong>in</strong>emas, 6.2, 167-181.<br />
› Down and out: immigrant poverty and queer sexuality <strong>in</strong> Sébastien Lifshitz's<br />
Wild Side (2004), Studies <strong>in</strong> French C<strong>in</strong>ema, 7.2, 143-156.<br />
› Queer<strong>in</strong>g the Orientalist porn package: Arab men <strong>in</strong> French gay<br />
pornography, New C<strong>in</strong>emas: Journal of Contemporary Film, 6.3, 197-208.<br />
› Men of mode: Ala<strong>in</strong> Delon, Christian Dior and brand heritage, Film, Fashion<br />
& Consumption, 1.1, 81-99.<br />
Todd W. Reeser teaches French and Gender Studies at the University<br />
of Pittsburgh (USA). He has published essays on French literature,<br />
theory, culture and film. He is the author of Moderat<strong>in</strong>g Mascul<strong>in</strong>ity <strong>in</strong><br />
Early Modern Culture (North Carol<strong>in</strong>a, 2006), co-editor of a special<br />
issue of Esprit Créateur on French mascul<strong>in</strong>ities and of ‘Entre<br />
hommes’: Theoretical and Cultural Perspectives on French and<br />
Francophone Mascul<strong>in</strong>ities. He recently published an <strong>in</strong>terdiscipl<strong>in</strong>ary<br />
book on the study of mascul<strong>in</strong>ity from a Humanities perspective<br />
entitled Mascul<strong>in</strong>ities <strong>in</strong> Theory (Wiley-Blackwell, 2010).<br />
› Transsexuality and the disruption of time <strong>in</strong> Sébastien Lifshitz's Wild Side,<br />
Studies <strong>in</strong> French C<strong>in</strong>ema, 7.2, 157-.<br />
Rég<strong>in</strong>e-Mihal Friedman is a professor <strong>in</strong> the Department of C<strong>in</strong>ema<br />
and Television, Tel-Aviv University. She obta<strong>in</strong>ed her Ph.D. from the<br />
University of Strasbourg with a thesis on Nazi C<strong>in</strong>ema, published as<br />
L’Image et son Juif. She publishes regularly <strong>in</strong> the German fem<strong>in</strong>ist<br />
journal Frauen und Film. She has written extensively on Israeli<br />
C<strong>in</strong>ema. Recent publications <strong>in</strong>clude work on Carl Mayer, on André<br />
Delvaux, and on the testimonial films emanat<strong>in</strong>g from ‘the Generations
<strong>in</strong>teractive, testimonial pac of the Aftermath’.<br />
Cacilda M. Rego<br />
Utah State University, Languages,<br />
Philosophy and Speech<br />
Communication, 0720 Old Ma<strong>in</strong> Hill,<br />
Utah, 84322-0720, United States of<br />
America<br />
Keywords audio-visual, Globo<br />
Network, state policy<br />
Stijn Reijnders<br />
Erasmus University Rotterdam,<br />
Erasmus School of History, Culture,<br />
and Communication, P.O Box 1738,<br />
NL-3000 DR, Rotterdam, Netherlands<br />
Keywords guilty house, guilty<br />
landscape, Marc Dutroux, collective<br />
memory, crime, dark tourism,<br />
material culture<br />
Markus Reisenleitner<br />
York University, Department of<br />
Humanitites, 1001 Roselawn Avenue<br />
Apt 211, Toronto, Ontario, M6B<br />
› The transmutation of testimony <strong>in</strong> Cl<strong>in</strong>g, Najman and F<strong>in</strong>kiel's Aftermath<br />
films, Studies <strong>in</strong> French C<strong>in</strong>ema, 5.3, 195-206.<br />
Cacilda M. Rêgo received her Ph.D. from the University of Texas at<br />
Aust<strong>in</strong>. She is currently an associate professor <strong>in</strong> the Department of<br />
Languages, Philosophy and Speech Communication at the Utah State<br />
University, where she teaches Brazilian Literary and Cultural Studies.<br />
› Brazilian c<strong>in</strong>ema: its fall, rise, and renewal (1990–2003), New C<strong>in</strong>emas:<br />
Journal of Contemporary Film, 3.2, 85-100.<br />
Stijn Reijnders is Associate Professor <strong>in</strong> Cultural Heritage at the<br />
Erasmus University Rotterdam. His <strong>research</strong> focuses on the relation<br />
between media culture, popular heritage and tourism. He has published<br />
<strong>in</strong>, amongst others, Media, Culture & Society, European Journal for<br />
Communication, Cultural Geographies, Ethnologia Europeae, and<br />
European Journal for Cultural Studies. In 2006, he f<strong>in</strong>ished his Ph.D.,<br />
entitled 'Holland op de Hell<strong>in</strong>g. Televisieamusement, volkscultuur en<br />
ritueel vermaak'/'Holland on the slide. Television<br />
enterta<strong>in</strong>ment,folklore and ritual', which was awarded the national<br />
Dissertation Award by the Netherlands School of Communications<br />
Research. Currently, Reijnders is work<strong>in</strong>g on a new project, funded by<br />
the Dutch Science Foundation (NWO), focus<strong>in</strong>g on media tourism: the<br />
phenomenon of people visit<strong>in</strong>g locations from popular novels, films or<br />
TV series. In 2011, he published his second<br />
› Imprisoned by Dutroux: An ethnography of guilty houses <strong>in</strong> Belgium,<br />
Northern Lights: Film & Media Studies Yearbook, 9., 27-44.<br />
Markus Reisenleitner is Associate Professor and Head of the<br />
Department of Cultural Studies at L<strong>in</strong>gnan University <strong>in</strong> Hong Kong.<br />
His areas of <strong>in</strong>terest <strong>in</strong>clude representations of the urban <strong>in</strong> popular<br />
culture and film. His publications <strong>in</strong>clude a monograph on the early<br />
modern period, a co-authored <strong>in</strong>troduction to cultural studies, and
4M4, Canada<br />
Keywords European imag<strong>in</strong>aries,<br />
new Europe, game culture,<br />
cyberpunk, digital humanities, global<br />
culture, memory, nostalgia<br />
Suneeti Rekhari<br />
Keywords identity, Indigenous<br />
studies, media, race and ethnicity<br />
Karen Remedios<br />
Southern Connecticut State<br />
University, Department of English,<br />
501 Crescent Street, New Haven,<br />
Connecticut, 6515, United States of<br />
America<br />
Keywords postcolonial theory,<br />
postcolonial c<strong>in</strong>ema, South Asian<br />
novel, anglophone Caribbean<br />
literature, West African literature<br />
Jooyeon Rhee<br />
York University, Department of<br />
Humanities, 8-58 York Research<br />
Tower, 4700 Keele Street, Toronto,<br />
Ontario, M3J 1P3, Canada<br />
Keywords Korean c<strong>in</strong>ema, gender,<br />
colonialism, Na Un-Kyu, domestic<br />
novels<br />
several articles on urban imag<strong>in</strong>aries <strong>in</strong> Europe and Asia.<br />
› Polariz<strong>in</strong>g Avalon: The European virtuosity and global virtuality of Mamoru<br />
Oshii's filmic imag<strong>in</strong>ary, New C<strong>in</strong>emas: Journal of Contemporary Film, 4.2,<br />
129-.<br />
Suneeti Rekhari completed a Ph.D. <strong>in</strong> Sociology, Indigenous studies<br />
and Film at the University of New South Wales, Australia. She<br />
currently lectures <strong>in</strong> the Arts at the Institute of Koorie Education,<br />
Deak<strong>in</strong> University. Her <strong>research</strong> <strong>in</strong>terests <strong>in</strong>clude film studies, studies<br />
on identity, Indigenous studies, media, race and ethnicity.<br />
› Jaisa Desh, Waisa Vesh? Explorations on the representations of Adivasis <strong>in</strong><br />
popular H<strong>in</strong>di c<strong>in</strong>ema, Studies <strong>in</strong> South Asian Film & Media, 2.2, 107-117.<br />
Karen Remedios is Assistant Professor of Modern British and<br />
Postcolonial Literature at Southern Connecticut State University, New<br />
Haven, CT. Her teach<strong>in</strong>g and <strong>research</strong> <strong>in</strong>terests <strong>in</strong>clude postcolonial<br />
theory and film, the South Asian novel, anglophone Caribbean<br />
literature, and West African literature.<br />
› Book Reviews, Studies <strong>in</strong> South Asian Film & Media, 2.1, 61-66.<br />
Jooyeon Rhee received her Ph.D. from the Department of Humanities<br />
at York University <strong>in</strong> Toronto, Canada. Her <strong>in</strong>terests are gender,<br />
literature, film and visual culture of Korea and Japan.<br />
› Arirang, and the mak<strong>in</strong>g of a national narrative <strong>in</strong> South and North Korea,<br />
Journal of Japanese & Korean C<strong>in</strong>ema, 1.1, 27-43.
Natalia Riabchikova<br />
University of Pittsburgh, Department<br />
of Slavic Languages and Literatures,<br />
6705 Thomas Boulevard, Pittsburgh,<br />
Pennsylvania, 15208, United States of<br />
America<br />
Keywords Soiuzdetfil'm, Margarita<br />
Barskaia, children's c<strong>in</strong>ema, studios<br />
Lucia Ricciardelli<br />
Montana State University, School of<br />
Film & Photography, 11272 Kelly<br />
Canyon Rd., Bozeman, Montana,<br />
59715, United States of America<br />
Keywords documentary film, class,<br />
race, gender<br />
Niall Richardson<br />
University of Sussex<br />
Keywords<br />
Natalia Riabchikova is a graduate student <strong>in</strong> the Department of Slavic<br />
Languages and Literatures at the University of Pittsburgh. She received<br />
her BA <strong>in</strong> Film Studies from the Russian State University of<br />
C<strong>in</strong>ematography (VGIK), Moscow. She has published articles on<br />
Soviet film history <strong>in</strong> K<strong>in</strong>ovedcheskie zapiski (Moscow). Her <strong>research</strong><br />
<strong>in</strong>terests <strong>in</strong>clude Soviet film production <strong>in</strong> the 1920s–30s and theory<br />
and practice of Sergei Eisenste<strong>in</strong>.<br />
› Margarita Barskaia and the emergence of Soviet children's c<strong>in</strong>ema, Studies <strong>in</strong><br />
Russian and Soviet C<strong>in</strong>ema, 3.2, 229-262.<br />
Lucia Ricciardelli is an Assistant Professor <strong>in</strong> the School of Film and<br />
Photography at Montana State University <strong>in</strong> Bozeman. A graduate <strong>in</strong><br />
F<strong>in</strong>e Arts with a specialization <strong>in</strong> Documentary Photography from the<br />
Academy of F<strong>in</strong>e Arts of Bologna (Italy), <strong>in</strong> 2007 she received her<br />
Ph.D. <strong>in</strong> History of Art and Architecture from the University of<br />
California <strong>in</strong> Santa Barbara, specializ<strong>in</strong>g <strong>in</strong> documentary film.<br />
Ricciardelli‘s academic work has shown a consistent <strong>in</strong>terest <strong>in</strong> the<br />
<strong>in</strong>terdiscipl<strong>in</strong>ary connections between representations of class, race and<br />
gender <strong>in</strong> a broad range of visual media - specifically film, art,<br />
photography and digital technologies.<br />
› Documentary Filmmak<strong>in</strong>g <strong>in</strong> the Postmodern Age: Errol Morris & The Fog<br />
of Truth, Studies <strong>in</strong> Documentary Film, 4.1, 35-50.<br />
Niall Richardson teaches film at the University of Sussex and is the<br />
convenor of MA Gender and Media. He is the author of The Queer<br />
C<strong>in</strong>ema of Derek Jarman: Critical and Cultural Read<strong>in</strong>gs (London: I B<br />
Tauris); Transgressive Bodies: Representations <strong>in</strong> Film and Popular<br />
Culture (Hampshire: Ashgate) and editor (with Adam Locks) of<br />
Critical Read<strong>in</strong>gs <strong>in</strong> Bodybuild<strong>in</strong>g (London: Routledge).<br />
› Fashionable 'fags' and stylish 'sissies': The representation of Stanford <strong>in</strong> Sex<br />
and the City and Nigel <strong>in</strong> The Devil Wears Prada, Film, Fashion &<br />
Consumption, 1.2, 137-157.<br />
Nicole Richter Nicole Richter is Assistant Professor <strong>in</strong> the Motion Pictures Program at
Wright State University, Department<br />
of Theatre Dance and Motion<br />
Pictures, T148 Creative Arts Center,<br />
3640 Colonel Glenn Hwy, Dayton,<br />
Ohio, 45435-0001, United States of<br />
America<br />
Keywords fem<strong>in</strong>ism, documentary,<br />
formalism, motherhood<br />
Thomas Riegler<br />
Keywords Algeria, war, realism,<br />
Italian c<strong>in</strong>ema<br />
David M. M. Riep<br />
The University of Iowa, 2055 South<br />
Ridge Drive, Coralville, IA, IA<br />
52241, United States of America<br />
Keywords African art, South Africa,<br />
documentary film<br />
Howard Riley<br />
Swansea Metropolitan University,<br />
Dynevor Centre for Arts Design and<br />
Media, De La Beche Street, Swansea,<br />
Wright State University. She is the found<strong>in</strong>g Editor-<strong>in</strong>-Chief of In<br />
Short: The Journal of Small Screen Studies and the founder of the<br />
Women Filmmakers Collective at Wright State. Her forthcom<strong>in</strong>g<br />
publications <strong>in</strong>clude Visualiz<strong>in</strong>g Bodily Shame: The Films of Cather<strong>in</strong>e<br />
Breillat and The Fem<strong>in</strong>ist Poetics of Sofia Coppola.<br />
› Dress<strong>in</strong>g the body <strong>in</strong> memories, Short Film Studies, 1.1, 83-86.<br />
Thomas Riegler, born 1977, studied history and politics at Vienna and<br />
Ed<strong>in</strong>burgh Universities. He now works as a journalist and <strong>in</strong>dependent<br />
historian. Riegler has published on a wide range of topics, <strong>in</strong>clud<strong>in</strong>g<br />
terrorism, film studies, and contemporary history. He is author of<br />
'Terrorismus: Akteure, Strukturen, Entwicklungsl<strong>in</strong>ien' ( <strong>in</strong> Terrorism:<br />
Actors, Structures, Trends, 2009) and 'Im Fadenkreuz: Österreich und<br />
der Nahostterrorismus 1973-1985' (<strong>in</strong> In the Cross Hairs: Austria and<br />
Middle Eastern terrorism 1973-1985, 2010).<br />
› Gillo Pontecorvo's ‘dictatorship of the truth’ – a legacy, Studies <strong>in</strong> European<br />
C<strong>in</strong>ema, 6.1, 47-62.<br />
David Riep received his Ph.D. <strong>in</strong> art history from the University of<br />
Iowa. His primary area of <strong>research</strong> focuses on the arts of Africa. Riep’s<br />
recent work on South Sotho art and history <strong>in</strong> South Africa and<br />
Lesotho served as the focus of his Ph.D. dissertation. Aside from his<br />
written work, Riep has produced several documentary films on the arts<br />
of southern Africa, <strong>in</strong>clud<strong>in</strong>g titles on pot mak<strong>in</strong>g and mural arts.<br />
Presently, he has several new titles <strong>in</strong> production that will address a<br />
variety of South Sotho artistic techniques and cultural events.<br />
› Visual revision: Intersect<strong>in</strong>g art and film <strong>in</strong> the work of Jean-Marie Teno and<br />
Raoul Peck, Journal of African C<strong>in</strong>emas, 3.1, 81-92.<br />
Howard Riley is Professor of Visual Communication and Head of the<br />
School of Research and Postgraduate Studies at the Dynevor Centre for<br />
Arts, Design & Media, Swansea Metropolitan University. He has<br />
taught draw<strong>in</strong>g, and the history and theory of art and design <strong>in</strong><br />
Australia and Malaysia as well as the United K<strong>in</strong>gdom. His
SA1 3EU, United K<strong>in</strong>gdom<br />
Keywords art pedagogy, artworld,<br />
conceptual <strong>in</strong>trigue, perceptual<br />
<strong>in</strong>trigue<br />
Elena del Río<br />
University of Alberta, Department of<br />
English and Film Studies, 3-5<br />
Humanities Centre, Edmonton, AB,<br />
T6G 2E5, Canada<br />
Keywords Claire Denis, Nénette and<br />
Boni, Beau travail, modern c<strong>in</strong>ema<br />
Jonathan Risner<br />
University of North Carol<strong>in</strong>a at<br />
Chapel Hill, Department of English<br />
and Comparative Literature,<br />
Greenlaw Hall CB #3520, Chapel<br />
Hill, NC 27599-3520, United States<br />
of America<br />
Keywords circulation, horror,<br />
Argent<strong>in</strong>e c<strong>in</strong>ema<br />
Ian Roberts<br />
University of Leicester, School of<br />
Modern Languages, University Road,<br />
Leicester, Leicestershire, LE1 7RH,<br />
United K<strong>in</strong>gdom<br />
Keywords Murnau, <strong>in</strong>novation,<br />
publications are <strong>in</strong> the fields of visual semiotics and multimodality,<br />
generative art and his draw<strong>in</strong>gs have most recently been exhibited <strong>in</strong><br />
the the Bay Art Gallery, Cardiff, the Wales Draw<strong>in</strong>g Biennale, and at<br />
the Elysium Artspace, Swansea.<br />
› The multimodal matrix – a laboratory of devices: film and the Formalist<br />
legacy, Studies <strong>in</strong> Russian and Soviet C<strong>in</strong>ema, 1.2, 191-210.<br />
Elena del Río is an Associate Professor of Film Studies at the<br />
University of Alberta, Canada. She is the author of Deleuze and the<br />
C<strong>in</strong>emas of Performance: Powers of Affection (Ed<strong>in</strong>burgh University<br />
Press, 2008). Her essays on the <strong>in</strong>tersections between film and<br />
technology, and film and performance, have been featured <strong>in</strong> Camera<br />
Obscura, Discourse, Science Fiction Studies and Quarterly Review of<br />
Film and Video.<br />
› Body transformations <strong>in</strong> the films of Claire Denis: from ritual to play, Studies<br />
<strong>in</strong> French C<strong>in</strong>ema, 3.3, 185-198.<br />
Jonathan Risner is a doctoral student <strong>in</strong> the Program of Comparative<br />
Literature at the University of North Carol<strong>in</strong>a at Chapel Hill. He has<br />
published an essay on the ma<strong>in</strong>stream<strong>in</strong>g of Lat<strong>in</strong>a/o comic and is<br />
writ<strong>in</strong>g a dissertation on contemporary Argent<strong>in</strong>e horror c<strong>in</strong>ema.<br />
› This city is kill<strong>in</strong>g me: The circulation of Argent<strong>in</strong>e horror c<strong>in</strong>ema and<br />
Buenos Aires <strong>in</strong> Pablo Pars and Daniel de la Vega's Jennifer's Shadow (2004)<br />
and De la Vega's Death Knows Your Name (2007), Studies <strong>in</strong> Hispanic<br />
C<strong>in</strong>emas, 7.1, 23-34.<br />
Ian Roberts lectures <strong>in</strong> German and film at the University of Leicester.<br />
His <strong>research</strong> <strong>in</strong>terests are equally divided between German filmic<br />
responses to war (particularly depictions of Germans at war), and the<br />
films of the Weimar period. Recent publications have covered the<br />
literary response to the bomber war over Germany, and an article on<br />
Robert Wiene’s Das Cab<strong>in</strong>et des Dr. Caligari/The Cab<strong>in</strong>et of Dr.<br />
Caligari. His study of Weimar film, entitled German Expressionist
Weimar Expressionism, uncha<strong>in</strong>ed<br />
camera<br />
Les Roberts<br />
University of Liverpool, Institute of<br />
Popular Music, 80-82 Bedford Street<br />
South, Liverpool, L69 7WW, United<br />
K<strong>in</strong>gdom<br />
Keywords place, space, mobility,<br />
urban cultural studies, GIS and<br />
cultural memory, tourism, heritage,<br />
consumption, landscape, mov<strong>in</strong>g<br />
image<br />
Robert Robertson<br />
Keywords Sergei Eisenste<strong>in</strong>, Frank<br />
Lloyd Wright, architecture, audiovisual,<br />
space, music<br />
C<strong>in</strong>ema: The World of Light and Shadow was published by Wallflower<br />
Press <strong>in</strong> 2008.<br />
› Friedrich Wilhelm Murnau, transatlantic thresholds and transcendental<br />
homelessness, Studies <strong>in</strong> European C<strong>in</strong>ema, 4.3, 223-.<br />
Les Roberts is a postdoctoral <strong>research</strong>er <strong>in</strong> the Institute of Popular<br />
Music. He is currently work<strong>in</strong>g with Professor Sara Cohen on the<br />
project Popular Music Heritage, Cultural Memory and Cultural<br />
Identity (POPID), a large scale <strong>in</strong>ternational collaborative <strong>research</strong><br />
project funded by HERA (Humanities <strong>in</strong> the European Research Area).<br />
Les’s <strong>research</strong> <strong>in</strong>terests are <strong>in</strong> the cultural production of place, space<br />
and mobility; urban cultural studies; GIS and cultural memory;<br />
tourism, heritage and consumption; landscape and the mov<strong>in</strong>g image.<br />
› 'Welcome to Dreamland': From place to non-place and back aga<strong>in</strong> <strong>in</strong> Pawel<br />
Pawlikowski's Last Resort, New C<strong>in</strong>emas: Journal of Contemporary Film,<br />
1.2, 78-90.<br />
› From Sarajevo to Didcot: An <strong>in</strong>terview with Pawel Pawlikowski, New<br />
C<strong>in</strong>emas: Journal of Contemporary Film, 1.2, 91-97.<br />
Robert Robertson is a composer and film-maker. He has an MFA <strong>in</strong><br />
Film Production from the Mel Hoppenheim School of C<strong>in</strong>ema,<br />
Montreal. His music/films <strong>in</strong>clude Oserake and The River That Walks,<br />
Assault on Time and Trace Elements, and he has composed the operas<br />
The K<strong>in</strong>gdom, The Cathars and Empedocles. His book Eisenste<strong>in</strong> on<br />
the Audiovisual, published by I.B. Tauris <strong>in</strong> 2009, is the result of his<br />
doctoral <strong>research</strong> at K<strong>in</strong>g’s College London, UK.<br />
› The equivalence of space and music: Eisenste<strong>in</strong> and Frank Lloyd Wright,<br />
The Soundtrack, 2.2, 99-109.<br />
José Luis Rodríguez Jose Luis Rodríguez specializes <strong>in</strong> post-Spanish Civil War literature<br />
and film, especially the years 1940–80. His <strong>research</strong> <strong>in</strong>terests also<br />
<strong>in</strong>clude surrealism and the Movida Madrileña. He is also keen on<br />
critical theory, especially psychoanalysis and structuralist and poststructuralist<br />
debate. He has recently published on Juan Benet <strong>in</strong> BHS
Keywords Viridiana, Kristeva,<br />
contam<strong>in</strong>ation, transformation<br />
Susan Rogers<br />
Freelance Screenwriter and<br />
Consultant, United K<strong>in</strong>gdom<br />
Keywords commission<strong>in</strong>g process,<br />
guild memberships, screenwriters,<br />
writ<strong>in</strong>g credit, gender<br />
Brigitte Rollet<br />
University of London Institute <strong>in</strong><br />
Paris, 9 rue de Constant<strong>in</strong>e, Paris,<br />
75007, France<br />
Keywords memory, abortion,<br />
women, documentary, Mariana Otero,<br />
Histoire d'un secret, francophone<br />
Africa, gender, sexuality, French<br />
c<strong>in</strong>ema, French television<br />
Mireille Rosello<br />
University of Amsterdam, Literary<br />
Studies, Spuistraat 210, 1012 VT,<br />
Netherlands<br />
and is currently prepar<strong>in</strong>g a monograph on the author.<br />
› Contam<strong>in</strong>ation and transformation: a Kristevan read<strong>in</strong>g of Luis Buñuel's<br />
Viridiana, Studies <strong>in</strong> Hispanic C<strong>in</strong>emas, 1.3, 169-180.<br />
Susan Rogers is a screenwriter. She began her film career at Zoetrope<br />
Studios <strong>in</strong> Los Angeles and New York on the market<strong>in</strong>g of Apocalypse<br />
Now and went on to head the story department at United Artists <strong>in</strong> Los<br />
Angeles dur<strong>in</strong>g the development of Rag<strong>in</strong>g Bul and Heaven’s Gate,<br />
before return<strong>in</strong>g to Francis Coppola’s Zoetrope Studios <strong>in</strong> Hollywood<br />
to head the Development Department. On leav<strong>in</strong>g Zoetrope, she wrote<br />
and directed several awardw<strong>in</strong>n<strong>in</strong>g short films <strong>in</strong>clud<strong>in</strong>g Astronomy,<br />
(official selection at the Sundance, New York and London Film<br />
Festivals), and directed drama <strong>in</strong> Brita<strong>in</strong> for BBC One and Two and<br />
ITV.<br />
› Who Writes British Films: A Summary on the UKFC Report and a Call for<br />
Further Research, Journal of Screenwrit<strong>in</strong>g, 1.2, 375-383.<br />
Brigitte Rollet is Senior Lecturer <strong>in</strong> French Cultural Studies at the<br />
University of London Institute <strong>in</strong> Paris. She has published widely on<br />
French c<strong>in</strong>ema and television from a gender perspective and is the<br />
author of Col<strong>in</strong>e Serreau (MUP, 1998), Télévision et Homosexualité:<br />
10 ans de fictions françaises (1995–2005) (L’Harmattan 2007), and coauthor<br />
of C<strong>in</strong>ema and the Second Sex: Women’s Filmmak<strong>in</strong>g <strong>in</strong> France<br />
<strong>in</strong> the 1980s and 1990s (Cont<strong>in</strong>uum, 2001). Her most recent coeditions<br />
are Genre et légitimité culturelle (2007), and the proceed<strong>in</strong>gs<br />
of the 5th PEC conference (2009).<br />
› Quand les femmes filment l'Histoire: Histoire d'un secret (Mariana Otero,<br />
2003), Studies <strong>in</strong> French C<strong>in</strong>ema, 10.3, 257-267.<br />
Mireille Rosello teaches <strong>in</strong> the department of Literary Studies at the<br />
University of Amsterdam and the Amsterdam School of Cultural<br />
Analysis (ASCA). Her <strong>research</strong> focuses on diasporic studies<br />
(European, North African and Caribbean migrant) and gender<br />
constructions (queer theories and cultures). Her most recent
Keywords diaspora, gender,<br />
European multil<strong>in</strong>gualism<br />
Steven J. Ross<br />
USC College of Letters, Arts and<br />
Sciences, Department of History,<br />
3454 Trousdale Pkwy, Los Angeles,<br />
CAS 100, United States of America<br />
Keywords work<strong>in</strong>g-class history,<br />
social history, film history, class<br />
Alexander G Ross<br />
Keywords production, National<br />
Research Group, corporatization,<br />
screenwrit<strong>in</strong>g<br />
publications are The Reparative <strong>in</strong> Narratives: Works of Mourn<strong>in</strong>g <strong>in</strong><br />
Progress (2009), France and the Maghreb: Performative Encounters<br />
(2005) and Postcolonial Hospitality: the Immigrant as Guest (2001).<br />
She is currently work<strong>in</strong>g on a collection of essays on European<br />
multil<strong>in</strong>gualisms (co-edited with Lazlo Mazarck) and What's queer<br />
about Europe (co-edited with S. Dasgupta).<br />
› Agnès Varda's Les Glaneurs et la glaneuse: Portrait of the Artist as an Old<br />
Lady, Studies <strong>in</strong> French C<strong>in</strong>ema, 1.1, 29-36.<br />
Steven J. Ross is Professor of History and chairman of the History<br />
Department at USC. The first person <strong>in</strong> his family to go to college,<br />
Steve received his BA from Columbia University, a Bachelor of<br />
Philosophy from Oxford University, and a Ph.D. from Pr<strong>in</strong>ceton<br />
University, where he worked with famed historians Arthur L<strong>in</strong>k and<br />
James McPherson. Professor Ross has written extensively <strong>in</strong> the areas<br />
of work<strong>in</strong>g-class history, social history, and film history. His first book,<br />
Workers On the Edge: Work, Leisure, and Politics <strong>in</strong> Industrializ<strong>in</strong>g<br />
C<strong>in</strong>c<strong>in</strong>nati, 1788-1890 (1985) was adapted for the screen by C<strong>in</strong>c<strong>in</strong>nati<br />
unionists and made <strong>in</strong>to an educational video entitled They Build the<br />
City: The Work<strong>in</strong>g People of C<strong>in</strong>c<strong>in</strong>nati. His second book, Work<strong>in</strong>g-<br />
Class Hollywood: Silent Film and the Shap<strong>in</strong>g of Class <strong>in</strong> America<br />
(1998), received the prestigious Theater Library Association Book<br />
Award for 1999.<br />
› The Visual Politics of Class, Film International, 1.2, 44-50.<br />
Alexander G. Ross studied at the universities of Heidelberg,<br />
Cambridge and the ESCP <strong>in</strong> Paris. He has been a visit<strong>in</strong>g lecturer at<br />
York St. John University and presently at Westm<strong>in</strong>ster University and<br />
has lectured at UCLA, Chapman University, Bournemouth University<br />
and the LIFS. He is a doctoral candidate <strong>research</strong><strong>in</strong>g the evolution of<br />
Hollywood Film-mak<strong>in</strong>g. Alexander became a member of Bafta <strong>in</strong><br />
2004. He subsequently produced the romantic comedy The List (2007)<br />
for Warner Bros. He works as a script consultant for writers such as Iris<br />
Yamashita (Acad. Nom. Letters From Iwo Jima, 2006). In 2011 he<br />
was appo<strong>in</strong>ted as an expert to the EU's: Education, Audiovisual and<br />
Culture Executive Agency MEDIA Program.<br />
› Creative decision mak<strong>in</strong>g with<strong>in</strong> the contemporary Hollywood studios,<br />
Journal of Screenwrit<strong>in</strong>g, 2.1, 99-116.
Kathr<strong>in</strong> Rothemund<br />
Leuphana Universitat Luneburg,<br />
Scharnhorststr. 1, 21335 Luneburg,<br />
Germany<br />
Keywords German crime fiction,<br />
gangster genre, television<br />
series/serials, Quality TV, narrative<br />
complexity, textual analysis<br />
William Rothman<br />
University of Miami, Motion Picture<br />
Program, Frances L. Wolfson<br />
Build<strong>in</strong>g 4009, 5100 Brunson Drive,<br />
Coral Gables, Florida, FL 33146,<br />
United States of America<br />
Keywords Hitchcock, documentary,<br />
c<strong>in</strong>ema-verite, aesthetics, Cavell,<br />
Emerson<br />
Kathr<strong>in</strong> Rothemund, MA, is Lecturer at Leuphana University<br />
Lüneburg, Department of Applied Media Studies. Rothemund is<br />
currently f<strong>in</strong>ish<strong>in</strong>g her Ph.D. on narrative complexity <strong>in</strong> contemporary<br />
US-American television series and serials with textual analysis of<br />
Dexter, Heroes and. Her <strong>research</strong> <strong>in</strong>terests <strong>in</strong>clude aspects of<br />
complexity <strong>in</strong> media such as cont<strong>in</strong>gency, possible world theory, m<strong>in</strong>d<br />
game movies and unreliable narration. Furthermore, she is <strong>in</strong>terested <strong>in</strong><br />
audiovisual aesthetics, film and television theory, as well as transmedia<br />
storytell<strong>in</strong>g. One of her latest <strong>in</strong>terests is the current developments <strong>in</strong><br />
German crime fiction on television and <strong>in</strong> film. She has published <strong>in</strong><br />
German on the construction of Gender <strong>in</strong> the oeuvre of Joel and Ethan<br />
Coen (2008,‘Die Ästhetik des Blicks. Studien zur Filmästhetik und<br />
Unterhaltungskultur’) as well as on aspects of crime fiction<br />
<strong>in</strong> television series such as Dexter<br />
› Fac<strong>in</strong>g complex crime: Investigat<strong>in</strong>g contemporary German crime fiction on<br />
television, Northern Lights: Film & Media Studies Yearbook, 9., 127-142.<br />
William Rothman received his Ph.D. <strong>in</strong> Philosophy<br />
from Harvard University, where he taught for many years. He is a<br />
Professor of Motion Pictures and Director of the MA and Ph.D.<br />
Programs <strong>in</strong> Film and Media Studies at the University of Miami. Dr.<br />
Rothman was a found<strong>in</strong>g editor of the Harvard Film Studies series for<br />
Harvard University Press and the Cambridge Studies <strong>in</strong> Film series for<br />
Cambridge University Press. His own books <strong>in</strong>clude Hitchcock: The<br />
Murderous Gaze (1982, expanded edition forthcom<strong>in</strong>g), The ‘I’ of the<br />
Camera: Essays <strong>in</strong> Film History, Criticism and Aesthetics (1989,<br />
expanded edition, 2004), Documentary Film Classics (1998), Read<strong>in</strong>g<br />
Cavell’s The World Viewed: A Philosophical Perspective on Film<br />
(2000), Cavell on Film (2005), Jean Rouch: A Celebration of Life<br />
and Film (2007).<br />
› Nobody's Perfect, Film International, 1.1, 36-47.<br />
› Matters of Life and Death, Film International, 1.6, 50-51.<br />
› Notes on Ozu’s c<strong>in</strong>ematic style, Film International, 4.22, 35-44.<br />
› Baz<strong>in</strong> as a Cavellian realist, Film International, 5.6, 54-61.<br />
› Romance, eroticism and the camera's gaze <strong>in</strong> Jean Genet's Un Chant d'amour,<br />
Film International, 7.6, 56-63.
Anjali Gera Roy<br />
Department of Humanities and Social<br />
Sciences, Indian Institute of<br />
Technology, Kharagpur, 721 302,<br />
India<br />
Keywords <strong>in</strong>commensurability,<br />
lim<strong>in</strong>ality, metaphoricity,<br />
pedagogic/performative nation,<br />
<strong>in</strong>terdiscipl<strong>in</strong>arity, Laila Majnu<br />
Mantra Roy<br />
Keywords race, ethnicity, gender,<br />
postcolonial studie, South Asian<br />
(Indian) c<strong>in</strong>ema<br />
Victoria Ruétalo<br />
University of Alberta, Modern<br />
Languages and Cultural Studies, 200<br />
Arts, Edmonton, Alberta, T6G 2E6,<br />
Canada<br />
Keywords co-production, Arturo<br />
Ripste<strong>in</strong>, Walter Salles, borders,<br />
national c<strong>in</strong>emas<br />
Anjali Gera Roy is Professor <strong>in</strong> the Department of Humanities of<br />
Social Sciences at the Indian Institute of Technology Kharagpur. She<br />
has published essays <strong>in</strong> literary, film and cultural studies, translated<br />
short fiction from H<strong>in</strong>di, authored a book on African fiction, edited an<br />
anthology on the Nigerian writer Wole Soy<strong>in</strong>ka and co-edited another<br />
on the Indo-Canadian novelist Roh<strong>in</strong>ton Mistry. With Nandi Bhatia,<br />
she has co-edited a volume of essays, Partitioned Lives: Narratives of<br />
Home, Displacement and Resettlement (Delhi: Pearson Longman 2008)<br />
on the Indian Partition of 1947. Her new book Bhangra Moves: From<br />
Ludhiana to London and Beyond (Aldersgate: Ashgate 2010) looks at<br />
the transmutation of Bhangra, a Punjabi harvest dance, <strong>in</strong>to global<br />
dance music.<br />
› Translat<strong>in</strong>g difference <strong>in</strong> Bend it Like Beckham, New C<strong>in</strong>emas: Journal of<br />
Contemporary Film, 4.1, 55-66.<br />
› Bhakti and Ashiqi: The syncretic heritage of H<strong>in</strong>di c<strong>in</strong>ema, Studies <strong>in</strong> South<br />
Asian Film & Media, 2.1, 41-55.<br />
Mantra Roy’s <strong>research</strong> <strong>in</strong>terests <strong>in</strong>clude race, ethnicity, gender and<br />
broadly postcolonial studies. Politics of representation <strong>in</strong> different<br />
media <strong>in</strong>clud<strong>in</strong>g visual culture has been Roy’s focus all along. South<br />
Asian, particularly Indian, literature and c<strong>in</strong>ema are Roy’s current areas<br />
of <strong>research</strong>. Roy’s dissertation was a comparative study of<br />
representation of subalternity <strong>in</strong> India and the United States.<br />
› REVIEWS, Studies <strong>in</strong> South Asian Film & Media, 2.2, 119-136.<br />
Victoria Ruétalo is Associate Professor of Spanish and Lat<strong>in</strong> American<br />
Studies at the University of Alberta, Canada. Her essays on Lat<strong>in</strong><br />
American film and culture have been published <strong>in</strong> Studies <strong>in</strong> Lat<strong>in</strong><br />
American Popular Culture, Quarterly Review of Film and Video,<br />
Journal of Lat<strong>in</strong> American Cultural Studies, and Cultural Critique and<br />
<strong>in</strong>various anthologies. She is currently work<strong>in</strong>g on a manuscript about<br />
the work of Argent<strong>in</strong>e sexploitation duo Armando Bo and Isabel Sarli<br />
and has co-edited Latsploitation, Exploitation C<strong>in</strong>emas and Lat<strong>in</strong><br />
America with Dolores Tierney (Routledge, 2009).<br />
› Border-cross<strong>in</strong>gs and textual gaps: a ‘globalized’ mode of production <strong>in</strong><br />
Profundo carmesí and Terra estrangeira, Studies <strong>in</strong> Hispanic C<strong>in</strong>emas,<br />
5.1&2, 57-71.
Jeffrey Ruoff<br />
Dartmouth College, Department of<br />
Film and Television Studies, HB6194,<br />
Hanover, NH, 3755, Germany<br />
Keywords Férid Boughedir, Nouri<br />
Bouzid, Tunisia, Carthage Film<br />
Festival, Arab c<strong>in</strong>ema, African<br />
c<strong>in</strong>ema<br />
Robert A. Rush<strong>in</strong>g<br />
University of Ill<strong>in</strong>ois, Program <strong>in</strong><br />
Comparative and World Literature,<br />
3080 FLB, 707 S. Mathews Ave,<br />
Urbana, Ill<strong>in</strong>ois, 61801, United States<br />
of America<br />
Keywords De Sica, gender,<br />
neorealism, sexual difference<br />
Dom<strong>in</strong>ique Russell<br />
University of Western Ontario,<br />
Modern Languages and Literatures,<br />
Westm<strong>in</strong>ster Hall, Suite 360, London,<br />
Ontario, N6A 3K7, Canada<br />
Keywords film sound, birth <strong>in</strong> film,<br />
Lat<strong>in</strong> American c<strong>in</strong>ema, Spanish<br />
c<strong>in</strong>ema, torture <strong>in</strong> film, transition,<br />
matricide<br />
Jeffrey Ruoff is a film historian and documentary filmmaker <strong>in</strong> the<br />
Department of Film and Television Studies at Dartmouth<br />
College. With his brother Kenneth, he co-authored a book on The<br />
Emperor's Naked Army Marches On and historical memory <strong>in</strong> postwar<br />
Japan. An American Family: A Televised Life, his study of the 1973<br />
public television series, was published by the University of M<strong>in</strong>nesota<br />
Press <strong>in</strong> 2002. His anthology Virtual Voyages: C<strong>in</strong>ema and Travel was<br />
published by Duke University Press <strong>in</strong> 2006. His films and videos,<br />
<strong>in</strong>clud<strong>in</strong>g Hacklebarney Tunes: The Music of Greg Brown (1993) and<br />
The Last Vaudevillian (1998), have been shown at festivals and on<br />
television <strong>in</strong> the United States and abroad.<br />
› Ten Nights <strong>in</strong> Tunisia: Les Journées C<strong>in</strong>ématographiques de Carthage, Film<br />
International, 6.4, 43-51.<br />
Robert A. Rush<strong>in</strong>g is Associate Professor of comparative literature and<br />
Italian at the University of Ill<strong>in</strong>ois, Urbana-Champaign, where he also<br />
holds affiliate appo<strong>in</strong>tments <strong>in</strong> the Unit for C<strong>in</strong>ema Studies as well as<br />
the Unit for Criticism and Interpretive Theory. He is the author of<br />
Resist<strong>in</strong>g Arrest: Detective Fiction and Popular Culture (2007) and has<br />
published on topics rang<strong>in</strong>g from Italian peplum films to the television<br />
show .<br />
› De Sica's The Children Are Watch<strong>in</strong>g Us: neorealist c<strong>in</strong>ema and sexual<br />
difference, Studies <strong>in</strong> European C<strong>in</strong>ema, 6.2&3, 97-112.<br />
Dom<strong>in</strong>ique Russell is Assistant Professor <strong>in</strong> the Department of Modern<br />
Languages and Literatures at the University of Western Ontario and<br />
teaches <strong>in</strong> the Film, Comparative Literature and Spanish programmes.<br />
Recent publications have focused on sound <strong>in</strong> the films of Victor Erice,<br />
Luis Buñuel and Alejandro Amenábar. She is currently edit<strong>in</strong>g a<br />
collection on rape <strong>in</strong> art c<strong>in</strong>ema.<br />
› A second listen: Mean<strong>in</strong>gs of silence <strong>in</strong> Adolfo Aristara<strong>in</strong>'s Tiempo de<br />
Revancha, Studies <strong>in</strong> Hispanic C<strong>in</strong>emas, 3.1, 3-14.<br />
› Reconsider<strong>in</strong>g matricide <strong>in</strong> Spanish C<strong>in</strong>ema of the transition: Furtivos<br />
[Poachers], Studies <strong>in</strong> Hispanic C<strong>in</strong>emas, 4.1, 19-33.
Paolo Russo<br />
Oxford Brookes University, School of<br />
Arts and Humanities, Head<strong>in</strong>gton<br />
Campus, Gipsy Lane, Oxford, OX3<br />
0BP, United K<strong>in</strong>gdom<br />
Keywords Italian studies,<br />
masochism, horror, cyberpunk,<br />
displacement, migration<br />
Grace Russo Bullaro<br />
City University of New York-Lehman<br />
College, Lehman College, 250<br />
Bedford Park Boulevard, Bronx, NY,<br />
10468, United States of America<br />
Keywords N<strong>in</strong>a Mimica, short fiction<br />
film, war, Croatian culture, Italian<br />
c<strong>in</strong>ema<br />
Urther Rwafa<br />
Midlands State University,<br />
Department of Theatre Arts and Film<br />
Studies, P O Box 9055, Senga Road,<br />
Gweru, Zimbabwe<br />
Keywords censorship, Zimbabwe,<br />
theatre studies, performance studies<br />
Paolo Russo is Senior Lecturer <strong>in</strong> Film Studies at Oxford Brookes<br />
University. He is <strong>in</strong> the editorial board of the New Review of Film and<br />
Television Studies (Routledge) and Ol3Media, and member of the ISO<br />
(Italian Studies <strong>in</strong> Oxford) <strong>research</strong> hub on migration <strong>in</strong> c<strong>in</strong>ema. He has<br />
published on Kubrick, Stoppard, Argento, Pasol<strong>in</strong>i, sadism and<br />
masochism <strong>in</strong> films, horror, cyberpunk, film and literature,<br />
displacement and migration. He currently <strong>research</strong>es and teaches<br />
storytell<strong>in</strong>g techniques and film narrative <strong>in</strong> contemporary Hollywood<br />
c<strong>in</strong>ema, and the relationships between body and technology <strong>in</strong> film and<br />
TV series. Paolo is also a screenwriter and videomaker.<br />
› Book Reviews, Journal of Screenwrit<strong>in</strong>g, 2.2, 291-302.<br />
Grace Russo Bullaro is Associate Professor of English at the City<br />
University of New York-Lehman College as well as Director of the<br />
Masters Program <strong>in</strong> English. The courses she teaches and her<br />
publications cover the areas of literature, philosophy, c<strong>in</strong>ema and social<br />
and artistic movements (her articles have appeared <strong>in</strong> Forum Italicum,<br />
Italian Culture, Journal of Popular Culture, Essays <strong>in</strong> the Arts and<br />
Sciences, Columbia Journal of American Studies, among others). In<br />
2005 she published Beyond Life is Beautiful: Comedy and Tragedy <strong>in</strong><br />
the C<strong>in</strong>ema of Roberto Benigni; <strong>in</strong> 2007 Man <strong>in</strong> Disorder: The C<strong>in</strong>ema<br />
of L<strong>in</strong>a Wertmüller <strong>in</strong> the 1970s; and <strong>in</strong> 2010 From Terrone to<br />
Extracomunitario: New Manifestations of Racism <strong>in</strong> Contemporary<br />
Italian C<strong>in</strong>ema.<br />
› Counterpo<strong>in</strong>t and commentary on war <strong>in</strong> The War Is Over, Short Film<br />
Studies, 1.1, 29-32.<br />
› De-familiarization and estrangement <strong>in</strong> Sunday, Short Film Studies, 1.2, 295-<br />
298.<br />
Urther Rwafa is a lecturer <strong>in</strong> the department of Theatre Arts at<br />
Midlands State University, Zimbabwe, and is pursu<strong>in</strong>g his Ph.D.<br />
studies on ‘Film and censorship <strong>in</strong> Zimbabwe’ with UNISA. His ma<strong>in</strong><br />
<strong>in</strong>terests are <strong>in</strong> film, theatre and performance studies. He has published<br />
<strong>in</strong> Scrut<strong>in</strong>y 2 and Muziki, both South African journals.<br />
› Explor<strong>in</strong>g the communicative function of light, sound and colour <strong>in</strong> Hotel<br />
Rwanda, Journal of African C<strong>in</strong>emas, 3.1, 43-49.
Mark Ryan<br />
Queensland University of<br />
Technology, K Block, Room 413,<br />
Victoria Park Road Musk Ave, Kelv<strong>in</strong><br />
Grove, Brisbane, QLD 4059,<br />
Australia<br />
Keywords c<strong>in</strong>ema, Australian<br />
c<strong>in</strong>ema, genre, horror, cultural policy,<br />
production<br />
Ingrid Ryberg<br />
Stockholm University, Department of<br />
C<strong>in</strong>ema Studies, Box 27062,<br />
Stockholm, S-102 51, Sweden<br />
Keywords female ejaculation,<br />
maximum visibility, identity politics,<br />
fem<strong>in</strong>ism, L<strong>in</strong>da Williams<br />
Joanna Rydzewska<br />
University of Swansea, Department of<br />
Media and Communication Studies,<br />
S<strong>in</strong>gleton Park, Swansea, SA2 8PP,<br />
United K<strong>in</strong>gdom<br />
Keywords metaphor, Polish c<strong>in</strong>ema,<br />
East/West relationship, communism,<br />
mascul<strong>in</strong>ity British identity<br />
Mark David Ryan is a Research Fellow <strong>in</strong> Film and Television for the<br />
Queensland University of Technology. He is a lead<strong>in</strong>g commentator on<br />
Australian horror movies and popular genre c<strong>in</strong>ema. His Ph.D. thesis,<br />
titled 'A Dark New World: Anatomy of Australian Horror Films', was<br />
the first major study of the Aussie horror movie <strong>in</strong>dustry. He has s<strong>in</strong>ce<br />
written numerous essays on popular movie genres and Australian<br />
c<strong>in</strong>ema, production studies, and genre analysis. His <strong>research</strong> has been<br />
published <strong>in</strong> New Review of Film & Television Studies, Media<br />
International Australia: Incorporat<strong>in</strong>g Culture and Policy, Cont<strong>in</strong>uum:<br />
Journal of Media & Cultural Studies, and Studies <strong>in</strong> Australasian<br />
C<strong>in</strong>ema, among others.<br />
› Putt<strong>in</strong>g Australian and New Zealand horror movies on the map of c<strong>in</strong>ema<br />
studies, Studies <strong>in</strong> Australasian C<strong>in</strong>ema, 4.1, 3-7.<br />
› Australian c<strong>in</strong>ema's dark sun: the boom <strong>in</strong> Australian horror film production,<br />
Studies <strong>in</strong> Australasian C<strong>in</strong>ema, 4.1, 23-41.<br />
Ingrid Ryberg is a Ph.D. student <strong>in</strong> C<strong>in</strong>ema Studies at Stockholm<br />
University, Sweden. Her <strong>research</strong> project is about lesbian pornography,<br />
spectatorial processesand embodied experience. She has a background<br />
as a journalist and TV reporter. She is the director of the documentary<br />
Dragk<strong>in</strong>gdom of Sweden (2002).<br />
› Maximiz<strong>in</strong>g Visibility, Film International, 6.6, 72-79.<br />
Joanna Rydzewska is a lecturer at the Department of Media and<br />
Communication at Swansea University. Her <strong>research</strong> <strong>in</strong>terests focus on<br />
transnational c<strong>in</strong>ema, European c<strong>in</strong>ema, fem<strong>in</strong>ist film theory, and<br />
Eastern European c<strong>in</strong>ema. She has published Represent<strong>in</strong>g Gender <strong>in</strong><br />
Cultures (ed. with E.H.Oleksy Peter Lang 2004) and articles on<br />
transnational directors (Kieslowski, Polanski, Pawlikowski), Polish<br />
mascul<strong>in</strong>ity and European identity.<br />
› Gendered discourses of nation(hood) and the West <strong>in</strong> Polish c<strong>in</strong>ema, Studies<br />
<strong>in</strong> European C<strong>in</strong>ema, 4.3, 187-198.<br />
› Imag<strong>in</strong><strong>in</strong>g Englishness: the mapp<strong>in</strong>g of identity <strong>in</strong> My Summer of Love<br />
(2004) by Pawel Pawlikowski, New C<strong>in</strong>emas: Journal of Contemporary<br />
Film, 7.2, 119-136.<br />
› Europe is age<strong>in</strong>g: the Oedipal trajectory and its social implications <strong>in</strong><br />
Alumbramiento, Short Film Studies, 1.2, 195-198.
Eiv<strong>in</strong>d Røssaak<br />
National Library of Norway,<br />
Department of Scholarship and<br />
Collections, Henrik Ibsens gate 110,<br />
Oslo, 255, Norway<br />
Keywords archive, National Library<br />
of Norway, new media, remediation,<br />
algorithmic technologies, avant-garde,<br />
video, art c<strong>in</strong>ema, CGI, Bill Viola,<br />
Douglas Gordon, Ken Jacobs,<br />
Norwegian c<strong>in</strong>ema, essay film<br />
James S. Williams<br />
Royal Holloway, University of<br />
London, School of Modern<br />
Languages, Literatures and Cultures,<br />
Egham, Surrey, TW20 OEX, United<br />
K<strong>in</strong>gdom<br />
Keywords gay/queer, desire,<br />
aesthetics, narcissism, realism<br />
Isis Sadek<br />
University of South Carol<strong>in</strong>a,<br />
Department of Languages, Literatures<br />
and Cultures, Welsh Humanities<br />
Build<strong>in</strong>g, 1620 College Street,<br />
Columbia, SC 29208, United States of<br />
America<br />
Keywords destabilization, C<strong>in</strong>ema<br />
Novo, love stories, Brazilian c<strong>in</strong>ema,<br />
landscape, spatial practices<br />
Eiv<strong>in</strong>d Røssaak Ph.D. is Associate Professor <strong>in</strong> the Department of<br />
Scholarship and Collections, National Library of Norway. He has<br />
written several books and articles and most recently, has edited the<br />
books The Archive <strong>in</strong> Motion (2010) and Between Stillness and Motion<br />
(forthcom<strong>in</strong>g). His revised and expanded Ph.D. dissertation will be<br />
published as C<strong>in</strong>ema and the Arts (forthcom<strong>in</strong>g).<br />
› Analys<strong>in</strong>g archives <strong>in</strong> motion, Journal of Scand<strong>in</strong>avian C<strong>in</strong>ema, 1.1, 79-81.<br />
James S. Williams is Professor of Modern French Literature and Film<br />
at Royal Holloway, University of London. He is the author of Jean<br />
Cocteau (Manchester University Press, 2006) and co-editor of Gender<br />
and French C<strong>in</strong>ema (Berg, 2001), The C<strong>in</strong>ema Alone: Essays on the<br />
Work of Jean-Luc Godard 1985–2000 (Amsterdam University Press,<br />
2000), For Ever Godard (Black Dog, 2004), and Jean-Luc Godard.<br />
Documents (2006), a catalogue of the exhibition Voyages(s) en Utopie,<br />
is held at the Centre Pompidou <strong>in</strong> Paris.<br />
› His life to film: The extreme art of Jacques Nolot, Studies <strong>in</strong> French C<strong>in</strong>ema,<br />
9.2, 177-190.<br />
Isis Sadek is an Assistant Professor of Spanish and Portuguese at the<br />
University of South Carol<strong>in</strong>a. Her <strong>research</strong> focuses on the spatial and<br />
territorial imag<strong>in</strong>ation <strong>in</strong> the cultural production of Brazil and<br />
Argent<strong>in</strong>a from the 1950s onward. She is work<strong>in</strong>g on a manuscript<br />
read<strong>in</strong>g Argent<strong>in</strong>e documentary c<strong>in</strong>ema from the 1950s, l<strong>in</strong>k<strong>in</strong>g the<br />
documentary gaze to other contemporary modes of production of<br />
knowledge about ‘under-development’. She has also published a review<br />
article explor<strong>in</strong>g the <strong>in</strong>tersections of memory, space, landscape and<br />
exploitation <strong>in</strong> Lat<strong>in</strong> American cultural anthropology.<br />
› A serto of migrants, flight and affect: Genealogies of place and image <strong>in</strong><br />
C<strong>in</strong>ema Novo and contemporary Brazilian c<strong>in</strong>ema, Studies <strong>in</strong> Hispanic<br />
C<strong>in</strong>emas, 7.1, 59-72.
Ronald Sadoff<br />
New York University, Department of<br />
Music and Perform<strong>in</strong>g Arts, 35 West<br />
4th St 777, New York, NY 10012,<br />
United States of America<br />
Keywords film music, film score<br />
Claudia Sandberg<br />
University of Southampton, School of<br />
Humanities, Film Studies,<br />
Southampton, SO17 1BJ, United<br />
K<strong>in</strong>gdom<br />
Keywords German c<strong>in</strong>ema, diaspora,<br />
exile<br />
Ir<strong>in</strong>a Sandomirskaia<br />
University College of Sodertorn,<br />
Centre for Baltic and Eastern<br />
European Studies, Hudd<strong>in</strong>ge, Sweden<br />
Keywords sound performance,<br />
Glasnost, language, politics, speech<br />
culture, Soviet psychiatry<br />
Ronald H. Sadoff, Associate Professor at New York University, is the<br />
architect and Director of the Film Music Program <strong>in</strong> the Ste<strong>in</strong>hardt<br />
School. He composed the score for John Canemaker's Oscar-w<strong>in</strong>n<strong>in</strong>g<br />
film, The Moon and the Son (2005) featur<strong>in</strong>g Eli Wallach and John<br />
Turturro. He is the co-founder and co-editor of the University of<br />
Ill<strong>in</strong>ois Press journal Music and the Mov<strong>in</strong>g Image, and is currently coauthor<strong>in</strong>g<br />
the third edition of Film Music: A Neglected Art with Roy M.<br />
Prendergast for W.W. Norton. He serves as Chair of the conference<br />
committee for the annual Music and the Mov<strong>in</strong>g Image conference,<br />
held at NYU.<br />
› Editorial, Film International, 3.13, 3-3.<br />
Claudia Sandberg teaches German language and German film at the<br />
University of Southampton. She is currently complet<strong>in</strong>g her Ph.D.<br />
dissertation about the German-Jewish filmmaker Peter Lilienthal and<br />
has presented several papers on this subject at conferences <strong>in</strong> Europe<br />
and the United States. Her further <strong>research</strong> concerns c<strong>in</strong>emas <strong>in</strong> and of<br />
exile.<br />
› Far from home? Functions of escapism and portrayal of the tropics <strong>in</strong> La<br />
Habanera (1937), Studies <strong>in</strong> European C<strong>in</strong>ema, 6.1, 63-76.<br />
Ir<strong>in</strong>a Sandomirskaia is Professor of Cultural Studies at the Centre for<br />
Baltic and Eastern European Studies, University College Södertörn<br />
(Sweden). She received her doctoral degree <strong>in</strong> theoretical l<strong>in</strong>guistics<br />
and cont<strong>in</strong>ued work<strong>in</strong>g <strong>in</strong> fem<strong>in</strong>ist theory and discourse analysis. Her<br />
<strong>research</strong> <strong>in</strong>cludes a socio-l<strong>in</strong>gual analysis of Soviet documents of<br />
everyday life, a study of discursive practices <strong>in</strong> Russian and Soviet<br />
patriotic language, and numerous contributions to contemporary art<br />
theory. Her recent <strong>research</strong> is connected with the bio-politics of<br />
language, <strong>in</strong>clud<strong>in</strong>g the <strong>in</strong>dividual strategies of construct<strong>in</strong>g<br />
subjectivity <strong>in</strong> writ<strong>in</strong>g aga<strong>in</strong>st the background of language plann<strong>in</strong>g<br />
and management <strong>in</strong> Stal<strong>in</strong>’s USSR; the l<strong>in</strong>guistic conditions of deafbl<strong>in</strong>dness<br />
and the manufactur<strong>in</strong>g of a deaf-bl<strong>in</strong>d subjectivity, a case<br />
study <strong>in</strong> Soviet special education.<br />
› A glossolalic glasnost and the re-tun<strong>in</strong>g of the Soviet subject: sound<br />
performance <strong>in</strong> Kira Muratova's Asthenic Syndrome, Studies <strong>in</strong> Russian and<br />
Soviet C<strong>in</strong>ema, 2.1, 63-84.<br />
› Eurasia as a filmic assemblage, Studies <strong>in</strong> Russian and Soviet C<strong>in</strong>ema, 4.3,
Kjetil Sandvik<br />
University of Copenhagen,<br />
Department of Media, Cognition and<br />
Communication, Njalsgade 88,<br />
Copenhagen S, DK-2300, Denmark<br />
Keywords computer game, playercentred<br />
design, immaterial labour<br />
Isabel Santaolalla<br />
Roehampton University, Media,<br />
Culture and Language, Roehampton<br />
Lane, London, SW15 5SL, United<br />
K<strong>in</strong>gdom<br />
Keywords Spanish c<strong>in</strong>ema,<br />
migration, diaspora, gender,<br />
postcolonialism, transculturalism<br />
Mauro Sassi<br />
McGill University, Department of<br />
Languages, Literatures, and Cultures,<br />
Room 425, 688 Sherbrooke Street<br />
West, Montreal, H3A 3R1, Canada<br />
Keywords documentary, Italy, Genoa<br />
321-344.<br />
Kjetil Sandvik, MA, Ph.D., is Associate Professor at Department of<br />
Media, Cognition and Communication, University of Copenhagen. He<br />
is academic coord<strong>in</strong>ator of the one-year Master-program <strong>in</strong> Cross-<br />
Media Communication. His educational background is an MA <strong>in</strong><br />
dramaturgy and cultural studies and a Ph.D. with<strong>in</strong> the field of<br />
<strong>in</strong>teractive multimedia communication. His fields of <strong>research</strong> and<br />
teach<strong>in</strong>g are digital aesthetics, storytell<strong>in</strong>g as format <strong>in</strong> strategic<br />
communication, new media and experience economy, cross-media<br />
communication and computer games with a special focus on computer<br />
games and politics, computer game dramaturgy and other forms of<br />
<strong>in</strong>teractive dramaturgy and uses of theatre as tools for analys<strong>in</strong>g and<br />
design<strong>in</strong>g <strong>in</strong>teractive multi-medial fiction formats. He has published a<br />
variety of articles and papers on these topics.<br />
› Gameplay as design: uses of computer players' immaterial labour, Northern<br />
Lights: Film & Media Studies Yearbook, 5.1, 89-104.<br />
Isabel Santaolalla is Professor of Spanish and Film Studies at<br />
Roehampton University, London. She has published on postcolonial<br />
literature, cultural studies and film, with special emphasis on the<br />
representation of ethnicity and gender <strong>in</strong> Spa<strong>in</strong> and <strong>in</strong> transnational<br />
contexts.<br />
› The ‘road that turn<strong>in</strong>g always...’: Re-plac<strong>in</strong>g the familiar and the unfamiliar<br />
<strong>in</strong> Iciar Bolla<strong>in</strong>’s Flores de otro mundo/Flowers from Another World (1999),<br />
Studies <strong>in</strong> European C<strong>in</strong>ema, 1.2, 129-.<br />
Mauro Sassi worked as a story editor and scholar <strong>in</strong> Tur<strong>in</strong>, Italy, before<br />
com<strong>in</strong>g to Canada <strong>in</strong> 2007. He was adjunct professor of TV<br />
scriptwrit<strong>in</strong>g and chair of the master course on story edit<strong>in</strong>g and<br />
scriptwrit<strong>in</strong>g at the University of Tur<strong>in</strong>. He is currently a Ph.D.<br />
candidate at McGill University and is recipient of the FQRSC (Fonds<br />
de recherche du Québec - Société et culture)181 Doctoral Research<br />
Fellowship and McGill Pr<strong>in</strong>cipal’s Graduate Fellowship.He published<br />
<strong>in</strong> Italian on TV genres and TV formats and several articles <strong>in</strong> English
G8, Francesca Comenc<strong>in</strong>i, Carlo<br />
Giuliani, Gramsci, war of position<br />
John Savage<br />
Lehigh University, History<br />
Department, 9 West Packer Avenue,<br />
Bethlehem, Pennsylvania, PA 18015,<br />
United States of America<br />
Keywords dreams, Luis Buñuel,<br />
nationalism, René Clair, surrealism<br />
Libby Saxton<br />
Queen Mary - University of London,<br />
School of Modern Languages, Mile<br />
End Road, London, E1 4NS, United<br />
K<strong>in</strong>gdom<br />
Keywords Baz<strong>in</strong>, Bonitzer, offscreen<br />
space, secrecy, memory<br />
Susanna Scarparo<br />
Monash University, School of<br />
Languages, Cultures & L<strong>in</strong>guistics,<br />
W518 Build<strong>in</strong>g 11, Clayton Campus,<br />
Clayton, Victoria, 3800, Australia<br />
are due for publication <strong>in</strong> 2011.<br />
› Carlo Giuliani, ragazzo: A counter-hegemonic Italian documentary, Studies<br />
<strong>in</strong> Documentary Film, 5.2-3, 169-181.<br />
John Savage is Associate Professor of History at Lehigh University,<br />
Bethlehem, Pennsylvania where he is a cultural historian of modern<br />
France. He holds a Ph.D. from New York University and is especially<br />
<strong>in</strong>terested <strong>in</strong> the way legal systems shape political culture and social<br />
relations. He is currently work<strong>in</strong>g on a study of the impact of the<br />
Napoleonic Code on slavery <strong>in</strong> the French Caribbean as part of a<br />
broader cultural history of the n<strong>in</strong>eteenth-century Civil law.<br />
› L'Amour Fou: nationalism, patriarchy and the nuptial farce <strong>in</strong> L'Âge d'or and<br />
Un chapeau de paille d'Italie, Studies <strong>in</strong> French C<strong>in</strong>ema, 7.3, 243-.<br />
Libby Saxton is Senior Lecturer <strong>in</strong> French and Film Studies at Queen<br />
Mary, University of London. Her <strong>research</strong> <strong>in</strong>terests <strong>in</strong>clude the<br />
<strong>in</strong>teractions between film and cont<strong>in</strong>ental thought, especially<br />
philosophies of ethics; post-war French c<strong>in</strong>ema; representations of the<br />
Holocaust and the Franco-Algerian War; and the relationship between<br />
film, memory and testimony. She is the author of Haunted Images:<br />
Film, Ethics, Testimony and the Holocaust (Wallflower, 2008), coauthor,<br />
with Lisa Down<strong>in</strong>g, of Film and Ethics: Foreclosed Encounters<br />
(Routledge, 2009) and co-editor, with Simon Kemp, of See<strong>in</strong>g Th<strong>in</strong>gs:<br />
Vision, Perception and Interpretation <strong>in</strong> French Studies (Peter Lang<br />
AG, 2002).<br />
› Secrets and revelations: Off-screen space <strong>in</strong> Michael Haneke's Caché (2005),<br />
Studies <strong>in</strong> French C<strong>in</strong>ema, 7.1, 5-18.<br />
Susanna Scarparo is Cassamarca Senior Lecturer <strong>in</strong> Italian Studies at<br />
Monash University. Her publications <strong>in</strong>clude Elusive Subjects:<br />
Biography as Gendered Metafiction (2005) and numerous articles on<br />
Italian c<strong>in</strong>ema, life writ<strong>in</strong>g, fem<strong>in</strong>ist theory, Italian Australian literature<br />
and contemporary Italian women writers. She is also the co-editor of<br />
Across Genres, Generations and Borders: Italian Women Writ<strong>in</strong>g Lives
Keywords Italy, Italian c<strong>in</strong>ema,<br />
Italian women filmmakers, mother–<br />
daughter relationship, fem<strong>in</strong>ist film<br />
criticism<br />
Michelle Scatton-Tessier<br />
University of North Carol<strong>in</strong>a<br />
Wilm<strong>in</strong>gton, Department of Foreign<br />
Languages and Literatures, 601 South<br />
College Road, Wilm<strong>in</strong>gton, North<br />
Carol<strong>in</strong>a, NC 28403-5954, United<br />
States of America<br />
Keywords Jean-Pierre Jeunet,<br />
petisme, faits divers, French c<strong>in</strong>ema,<br />
Marc Caro, Dante 01<br />
Peter Schepelern<br />
University of Copenhagen,<br />
Department of Media, Cognition and<br />
Communication, Njalsgade 80, Det<br />
Humanistiske Fakultet, Copenhagen,<br />
2300, Denmark<br />
Keywords Aki Kaurismäki, Lars von<br />
Trier, Nordic c<strong>in</strong>ema, auteur, art<br />
c<strong>in</strong>ema<br />
Marion Schmid<br />
University of Ed<strong>in</strong>burgh, Literatures,<br />
Languages and Cultures, # 60 George<br />
Square, Ed<strong>in</strong>burgh, EH8 9JU, United<br />
(2004) and Violent Depictions: Represent<strong>in</strong>g Violence Across Cultures<br />
(2006). She is currently writ<strong>in</strong>g (with Bernadette Luciano), a book<br />
about Italian women filmakers.<br />
› Back to the future: The Comenc<strong>in</strong>i sisters and their search for a c<strong>in</strong>ematic<br />
language, Studies <strong>in</strong> European C<strong>in</strong>ema, 4.2, 137-148.<br />
› ‘I bamb<strong>in</strong>i si guardano’: The documentaries of Costanza Quatriglio, Studies<br />
<strong>in</strong> Documentary Film, 5.2-3, 183-196.<br />
Michelle Scatton-Tessier, assistant professor of French at the<br />
University of North Carol<strong>in</strong>a Wilm<strong>in</strong>gton. She is the author of<br />
'Rencontre avec Eliane Victor, la Grande Dame de la télévision<br />
française' (The French Review. Vol. 78.5 (April 2005): 976-987). Her<br />
<strong>research</strong> <strong>in</strong>terests <strong>in</strong>clude French women filmmakers and writers, and<br />
the c<strong>in</strong>ema of Jean-Pierre Jeunet.<br />
› Le Petisme: flirt<strong>in</strong>g with the sordid <strong>in</strong> Le Fabuleux Dest<strong>in</strong> d’Amélie Poula<strong>in</strong>,<br />
Studies <strong>in</strong> French C<strong>in</strong>ema, 4.3, 197-208.<br />
› From Storyboard to Film: Marc Caro's Dante 01, Film International, 6.3, 26-<br />
33.<br />
Peter Schepelern is Associate Professor of C<strong>in</strong>ema Studies <strong>in</strong> the<br />
Department of Media, Cognition and Communication at the University<br />
of Copenhagen. He is the author of numerous books and articles on<br />
Lars von Trier, the Dogma movement, and contemporary Danish<br />
c<strong>in</strong>ema <strong>in</strong> general. He is the editor of Filmleksikon (1995) and 100<br />
Years of Danish C<strong>in</strong>ema (2001,100 års dansk film).<br />
› The element of crime and punishment: Aki Kaurismäki, Lars von Trier and<br />
the traditions of Nordic c<strong>in</strong>ema, Journal of Scand<strong>in</strong>avian C<strong>in</strong>ema, 1.1, 87-<br />
103.<br />
Marion Schmid is Reader <strong>in</strong> French at the University of Ed<strong>in</strong>burgh.<br />
She is the author of Processes of Literary Creation: Flaubert and<br />
Proust (Oxford, Legenda: 1998), Proust at the Movies (co-authored<br />
with Mart<strong>in</strong>e Beugnet, Ashgate, 2005), Proust dans la décadence
K<strong>in</strong>gdom<br />
Keywords adaptation, literature,<br />
<strong>in</strong>termediality, European c<strong>in</strong>ema,<br />
Proust<br />
Lisa Schmidt<br />
Bishop’s University, 253 High St.,<br />
Apt. 7, Sherbrooke, QC, J1H 3W2,<br />
Canada<br />
Keywords science fiction, fantasy,<br />
horror, sound, genre, reception,<br />
fandom<br />
Sebastian Scholz<br />
University of Amsterdam, Media<br />
Studies, Turfdragsterpad 9,<br />
Amsterdam, 1012 XT, Netherlands<br />
Keywords Trouble Every Day, Claire<br />
Denis, haptics, visual representation,<br />
sk<strong>in</strong>/screen<br />
Kim Christian Schrøder<br />
Roskilde University, Communication<br />
Studies, POB 260, Roskilde, 4000,<br />
Denmark<br />
(Paris: Champion, 2008) and Chantal Akerman (Manchester:<br />
Manchester University Press, 2010).<br />
› Film<strong>in</strong>g jealousy: Chantal Akerman's La Captive (2000), Studies <strong>in</strong> French<br />
C<strong>in</strong>ema, 2.3, 157-164.<br />
Lisa Schmidt recently completed her Ph.D. <strong>in</strong> Media Studies at the<br />
University of Texas, Aust<strong>in</strong>. The title of her dissertation is ‘Sensational<br />
Genres: Experienc<strong>in</strong>g Science-Fiction, Fantasy and Horror’. Her<br />
<strong>research</strong> <strong>in</strong>terests <strong>in</strong>clude sound, genre, reception (both television and<br />
film) and fandom. She is currently teach<strong>in</strong>g at Bishop’s University <strong>in</strong><br />
Sherbrooke, Quebec.<br />
› Sound matters: Towards an enactive approach to hear<strong>in</strong>g media, The<br />
Soundtrack, 4.1, 33-42.<br />
Sebastian Scholz is a lecturer at the Media Studies Department of the<br />
University of Amsterdam, Netherlands. He is work<strong>in</strong>g on a Ph.D.<br />
thesis ‘Topologies of the Visible: Media of Representation <strong>in</strong> Science<br />
1900/2000’. From July 2007 to July 2010 has was a fellow of the<br />
Graduate School 'Topology of Technology' (University of Technology,<br />
Darmstadt, Germany). His ma<strong>in</strong> <strong>research</strong> <strong>in</strong>terests are historiography of<br />
knowledge and media, film philosophy, (new) media theories, relations<br />
of space and media, visual cultures of popular television and the<br />
discouse of quality television. He recently co-edited a book on the<br />
German television crime series Tatort (Tatort Stadt. Mediale<br />
Topographien e<strong>in</strong>es Fernsehklassikers, 2010, Campus).<br />
› Exceed<strong>in</strong>g the limits of representation: screen and/as sk<strong>in</strong> <strong>in</strong> Claire Denis's<br />
Trouble Every Day (2001), Studies <strong>in</strong> French C<strong>in</strong>ema, 8.1, 5-16.<br />
Kim Christian Schrøder is Professor <strong>in</strong> Communication Studies at<br />
Roskilde University, Denmark. His books <strong>in</strong>clude The Language of<br />
Advertis<strong>in</strong>g (co-author, Blackwell 1985), Media Cultures:<br />
Reapprais<strong>in</strong>g Transnational Media (co-editor and contributor,<br />
Routledge 1992), and Research<strong>in</strong>g Audiences (co author, Arnold<br />
2003). His current <strong>research</strong> deals with news consumption <strong>in</strong> the media
Keywords typology, cultural<br />
citizenship, worthwhileness, crossmedia,<br />
news consumption<br />
Suzanne L. Schulz<br />
University of Texas at Aust<strong>in</strong>,<br />
Department of Radio-Television-<br />
Film, 1 University Station A0800,<br />
Aust<strong>in</strong>, Texas, 78712-0108, United<br />
States of America<br />
Keywords postcolonial studies, Uttar<br />
Pradesh, ethnographic approaches<br />
John Sedgwick<br />
London Metropolitan University,<br />
Centre for International Bus<strong>in</strong>ess and<br />
Susta<strong>in</strong>ability, Holloway Road,<br />
London, N7 8DB, United K<strong>in</strong>gdom<br />
Keywords 1930s, foreign revenues,<br />
film budgets, profits, strategy<br />
landscape of the digital age, and with methodological issues around the<br />
quantitative/qualitative divide. In the COST Action Transform<strong>in</strong>g<br />
Audiences – Transform<strong>in</strong>g Societies, he is chair of the division ‘New<br />
Media Genres, Media Literacy, and Trust <strong>in</strong> the Media’.<br />
› Towards a typology of cross-media news consumption: a<br />
qualitativequantitative synthesis, Northern Lights: Film & Media Studies<br />
Yearbook, 8.1, 115-137.<br />
Suzanne L. Schulz, a doctoral candidate <strong>in</strong> Radio-Television-Film at<br />
University of Texas-Aust<strong>in</strong>, is currently an American Institute of<br />
Indian Studies Junior Research Fellow comb<strong>in</strong><strong>in</strong>g archival and<br />
ethnographic approaches to the study of prov<strong>in</strong>cial governmentalities<br />
and everyday c<strong>in</strong>ematic sites <strong>in</strong> postcolonial Uttar Pradesh. She<br />
received her Masters from The Department of Asian Studies at<br />
University of Texas, and her B.A. from Bard College. Before pursu<strong>in</strong>g<br />
postgraduate studies, Suzanne worked for six years <strong>in</strong> documentary<br />
film production <strong>in</strong> New York and Boston.<br />
› REVIEWS, Studies <strong>in</strong> South Asian Film & Media, 2.2, 119-136.<br />
John Sedgwick is Professor of Film Economics, as well as Director of<br />
the Centre for International Bus<strong>in</strong>ess and Susta<strong>in</strong>ability, at London<br />
Metropolitan University. He <strong>research</strong>es <strong>in</strong>to the economic history of<br />
film and has published articles, mostly with his colleague Mike<br />
Pokorny (Westm<strong>in</strong>ster University) <strong>in</strong> Bus<strong>in</strong>ess History, the Economic<br />
History Review, the Journal of Economic History, Explorations <strong>in</strong><br />
Economic History, the Journal of Cultural Economics, as well as<br />
Transnational C<strong>in</strong>ema, mostly on topics set <strong>in</strong> the 1930s. John has also<br />
produced a monograph: Popular Filmgo<strong>in</strong>g <strong>in</strong> 1930s Brita<strong>in</strong><br />
(University of Exeter Press, 2000) and co-edited (with Pokorny) an<br />
anthology An Economics History of Film, published by Routledge <strong>in</strong><br />
2005.<br />
› Hollywood’s foreign earn<strong>in</strong>gs dur<strong>in</strong>g the 1930s, Transnational C<strong>in</strong>emas, 1.1,<br />
83-97.
Jule Selbo<br />
California State University, Fullerton<br />
Keywords genre, idealized cognitive<br />
model, mental space, possible world,<br />
audience<br />
Geneviève Sellier<br />
Université Michel de Montaigne –<br />
Bordeaux 3, Film Studies, Bordeaux<br />
3, Doma<strong>in</strong>e universitaire, Pessac<br />
Cedex, 33607, France<br />
Keywords historical epics, black<br />
realism, thriller, female po<strong>in</strong>t-of-view,<br />
patriarchy<br />
Co-editor Jule Selbo, PhD, is an Associate Professor and Head of the<br />
M.F.A. <strong>in</strong> Screenwrit<strong>in</strong>g Program at California State University,<br />
Fullerton. She has written two books on screenwrit<strong>in</strong>g structure and<br />
several articles on Film Genre and Pre-Code American C<strong>in</strong>ema for<br />
academic journals and publications. She also writes for the commercial<br />
film <strong>in</strong>dustry, produced credits <strong>in</strong>clude features for Disney, Columbia<br />
Pictures as well as for television – such as Young Indiana Jones<br />
Chronicles, Melrose Place, Space Above and Beyond and more. She<br />
has also written for theatre and created and penned graphic novels.<br />
› Reviews: Embodied Visions: Evolution, Emotion, Culture and Film, Torben<br />
Grodal (2009), Journal of Screenwrit<strong>in</strong>g, 1.1, 214-217.<br />
› Editorial, Journal of Screenwrit<strong>in</strong>g, 1.2, 223-224.<br />
› The constructive use of film genre for the screenwriter: mental space of film<br />
genre – first exploration, Journal of Screenwrit<strong>in</strong>g, 1.2, 273-289.<br />
› Book Reviews, Journal of Screenwrit<strong>in</strong>g, 2.1, 133-149.<br />
› Society for C<strong>in</strong>ema and Media Studies Conference, 2010, Los Angeles,<br />
California, Journal of Screenwrit<strong>in</strong>g, 2.1, 129-131.<br />
› EDITORIALS, Journal of Screenwrit<strong>in</strong>g, 3.1, 5-7.<br />
› The constructive use of film genre for the screenwriter: The relevant<br />
knowledge component of the mental space of film genre, Journal of<br />
Screenwrit<strong>in</strong>g, 3.1, 45-59.<br />
› EDITORIALS, Journal of Screenwrit<strong>in</strong>g, 3.2, 139-140.<br />
Geneviève Sellier is Professor <strong>in</strong> Film Studies at the Université Michel<br />
de Montaigne – Bordeaux 3. Her books <strong>in</strong>clude Jean Grémillon: le<br />
c<strong>in</strong>éma est à vous (1989), Les Enfants du paradis (1992), La Drôle de<br />
guerre des sexes du c<strong>in</strong>éma français, 1930–1956 (1996, with Noël<br />
Burch), La Nouvelle Vague: un c<strong>in</strong>éma au mascul<strong>in</strong> s<strong>in</strong>gulier (2005;<br />
translated <strong>in</strong> 2008 by Krist<strong>in</strong> Ross), and Le C<strong>in</strong>éma au prisme des<br />
rapports de sexe (2009, with Noël Burch). She is a Senior Member of<br />
the Institut Universitaire de France.<br />
› The Belle Époque genre <strong>in</strong> post-war French C<strong>in</strong>ema a woman’s film à la<br />
française?, Studies <strong>in</strong> French C<strong>in</strong>ema, 3.1, 47-54.<br />
› L'Expertise de la spectatrice ord<strong>in</strong>aire dans le courrier des lecteurs des<br />
magaz<strong>in</strong>es populaires: le cas de L'Ecran franais, Studies <strong>in</strong> French C<strong>in</strong>ema,<br />
10.3, 219-234.<br />
› Introduction, Studies <strong>in</strong> French C<strong>in</strong>ema, 10.3, 201-204.
Priyanjali Sen<br />
Tisch School of the Arts, New York<br />
University, Department of C<strong>in</strong>ematic<br />
Studies, 721 Broadway, 6th Floor,<br />
New York, 10003, United States of<br />
America<br />
Keywords Bengali c<strong>in</strong>ema,<br />
documentary, avant-garde, essay-film<br />
Leah Shafer<br />
Hobart and William Smith Colleges,<br />
Media and Society, 300 Pulteney<br />
Street, Geneva, NY 14456, United<br />
States of America<br />
Keywords consumerism, popular<br />
culture, product placement, television,<br />
celebrity, new media, performance<br />
Nishant Shah<br />
Keywords digital c<strong>in</strong>ema, kuso,<br />
youth and technology, cultural<br />
production, resistance<br />
Deborah Shamoon<br />
University of Notre Dame,<br />
Department of East Asian Languages<br />
and Cultures, 205 O’Shaughnessy<br />
Hall, Notre Dame, IN 46556, United<br />
States of America<br />
Priyanjali Sen is a Ph.D. candidate <strong>in</strong> the Department of C<strong>in</strong>ema<br />
Studies at Tisch School of the Arts, New York University. She has a<br />
B.A. <strong>in</strong> English from St. Stephen’s College, Delhi University and an<br />
M.A. from the AJK Mass Communication Research Center at Jamia<br />
Millia Islamia University. Her current work focuses on the literary<br />
<strong>in</strong>fluence on Bengali c<strong>in</strong>ema <strong>in</strong> the 1950s and 1960s. Her <strong>research</strong><br />
<strong>in</strong>terests <strong>in</strong>clude documentary and avant-garde film practices, <strong>in</strong><br />
particular the essay-film.<br />
› REVIEWS, Studies <strong>in</strong> South Asian Film & Media, 2.2, 119-136.<br />
Leah Shafer is an Assistant Professor of Media Studies <strong>in</strong> the Media<br />
and Society Program at Hobart and William Smith Colleges <strong>in</strong> Geneva,<br />
NY. Her work focuses on read<strong>in</strong>gs of commodity culture with<br />
emphases on: the aesthetics of enterta<strong>in</strong>ment market<strong>in</strong>g, digital video<br />
cultures, and theories of new media.<br />
› REVIEWS - PUEBLOS UNIDOS: SWINE FLU GROUND ZERO IN<br />
MEXICO, FELIPE CASANOVA AND MIGUEL ANGEL DAZ (2009),<br />
Transnational C<strong>in</strong>emas, 1.1, 105-106.<br />
After complet<strong>in</strong>g his doctoral work at the Centre for the Study of<br />
Culture and Society, Nishant Shah jo<strong>in</strong>ed as the director for <strong>research</strong> at<br />
the Centre for Internet and Society, Bangalore. He is the recipient of<br />
the Asia Scholarship Foundation scholarship for his project on the<br />
mak<strong>in</strong>g of an IT city, for which he is currently <strong>in</strong> Shanghai.<br />
› Now stream<strong>in</strong>g on your nearest screen: Contextualiz<strong>in</strong>g new digital c<strong>in</strong>ema<br />
through Kuso, Journal of Ch<strong>in</strong>ese C<strong>in</strong>emas, 3.1, 15-31.<br />
Deborah Shamoon is Assistant Professor at the Department of East<br />
Asian Languages and Cultures, University of Notre Dame, where she<br />
teaches courses <strong>in</strong> modern Japanese literature, film and popular culture.<br />
Her recent publications <strong>in</strong>clude ‘Misora Hibari and the girl star <strong>in</strong><br />
postwar Japanese c<strong>in</strong>ema’ (2009, , 35: 1, 131–51). Her study of the<br />
history of shōjo manga, 'Passionate Friendship: The Aesthetics of Girls’<br />
Culture <strong>in</strong> Japan' is forthcom<strong>in</strong>g from the University of Hawaii Press.
Keywords Japanese c<strong>in</strong>ema, postwar<br />
Japan, girl star, shōjo manga › Casshern and the spectre of Japan’s war crimes <strong>in</strong> Asia, Journal of Japanese<br />
& Korean C<strong>in</strong>ema, 2.2, 147-162.<br />
Surabhi Sharma<br />
A-604<br />
Keywords documentary film, labour,<br />
globalization, culture, identity,<br />
ecology, women's health<br />
Jasper Sharp<br />
Keywords Takashige Ichise, Jhorror,<br />
The R<strong>in</strong>g, auteur, Hideo<br />
Nakata<br />
Surabhi Sharma has completed a BA <strong>in</strong> Anthropology and Psychology.<br />
She studied film direction at the Film and Television Institute of India<br />
<strong>in</strong> Pune. She has been work<strong>in</strong>g as an <strong>in</strong>dependent film-maker s<strong>in</strong>ce<br />
2000. She has also been a guest lecturer at various design and media<br />
schools. She has made documentary films on labour and globalization,<br />
culture and identity, ecology and women's health. Her films <strong>in</strong>clude,<br />
Jari Mari: of cloth and other stories, The Turtle People and Jahaji<br />
Music. Her films have been screened and have won awards at various<br />
<strong>in</strong>ternational film festivals.<br />
› Images from an assembly l<strong>in</strong>e, Studies <strong>in</strong> South Asian Film & Media, 1.2,<br />
303-307.<br />
Jasper Sharp is the co-editor of the website Midnight Eye<br />
(www.midnighteye.com), the onl<strong>in</strong>e resource for Japanese c<strong>in</strong>ema <strong>in</strong><br />
the English language. His critically-acclaimed book The Midnight Eye<br />
Guide to New Japanese Film, jo<strong>in</strong>t-written with Tom Mes, was<br />
published by Stone Bridge Press <strong>in</strong> 2003, and he has contributed<br />
chapters to several anthologies <strong>in</strong>clud<strong>in</strong>g 24 Frames: Japan and Korea<br />
(ed. Just<strong>in</strong> Bowyer) for Wallflower Press, Film Out of Bounds: Essays<br />
and Interviews on Non-Ma<strong>in</strong>stream C<strong>in</strong>ema Worldwide for McFarland<br />
(ed. Matthew Edwards), ! High Art - Pop Culture for the Deutsches<br />
Filmmuseum and Tokyolife: Art and Design (ed. Ian Luna) for Rizzoli.<br />
› Takashige Ichise: Man <strong>in</strong> the Shadows, Film International, 3.17, 4-5.<br />
› Forgotten roots of Japanimation: In praise of shadows, Film International,<br />
4.21, 30-47.<br />
› Edogawa Rampo: A Hellish Mirror, Film International, 4.19, 24-33.<br />
› Forgotten Roots of Japanimation: masters of puppets, Film International, 5.1,<br />
58-71.<br />
Christopher Sharrett Christopher Sharrett is Professor of Communication at Seton Hall<br />
University, New Jersey. He is an <strong>in</strong>ternationally recognized film
Seton Hall University, Department of<br />
Communication, South Orange, New<br />
Jersey, United States of America<br />
Keywords bourgeois, 1950s, gender<br />
Zaza Shatirishvili<br />
Tbilisi Shota Rustaveli State Institute<br />
of Georgian Literature, 1008, 5,<br />
Kostava St., 1008 Tbilisi, Georgia<br />
Keywords Georgian c<strong>in</strong>ema,<br />
Caucasus, Otar Iosseliani, Robert<br />
Sturua, Sergei Paradjanov<br />
Deborah Shaw<br />
University of Portsmouth, Creative<br />
Arts, Film & Media, Park Build<strong>in</strong>g,<br />
K<strong>in</strong>g Henry 1 Street, Portsmouth,<br />
PO1 2DZ, United K<strong>in</strong>gdom<br />
Keywords Solanas, Salles, Iñárritu,<br />
patriarchy, absent fathers,<br />
scholar and critic and teaches a wide range of courses <strong>in</strong> the<br />
Department of Communication, develop<strong>in</strong>g courses for the University<br />
Honors Program. His books <strong>in</strong>clude The Rifleman (2005), Mythologies<br />
of Violence <strong>in</strong> Postmodern Media (1999), and Crisis C<strong>in</strong>ema: the<br />
Apocalyptic Idea <strong>in</strong> Postmodern Narrative Film (1993). He is co-editor<br />
of Planks of Reason: Essays on the Horror Film (2004). His<br />
forthcom<strong>in</strong>g project, for the University of California Press, is a book on<br />
the politics of contemporary c<strong>in</strong>ema.<br />
› False Criticism: C<strong>in</strong>ema and the Conservative Critique of the Bourgeois<br />
Society, Film International, 2.12, 26-41.<br />
› Home from the Hill, M<strong>in</strong>nelli and the crisis of post-war patriarchy, Film<br />
International, 5.5, 54-62.<br />
› Death of the Strong, Silent Type, Film International, 7.1, 16-27.<br />
Zaza Shatirishvili (b. 1966) is a literary critic and philosopher. He is a<br />
professor at the Tbilisi Shota Rustaveli State Institute of Georgian<br />
Literature. Shatirishvili writes on literary theory and culture history and<br />
has published more than 70 articles and two books: An Apology for<br />
Narrative (Tbilisi: The Centre of Theology and Culture, 2005) (<strong>in</strong><br />
Georgian); Galaktion Tabidze’s Poetics and Rhetoric: 1919–1927<br />
(Tbilisi: Logos Press, 2004) (<strong>in</strong> Georgian). His most recent articles<br />
<strong>in</strong>clude: ‘Fictional Narrative and Allegorical Discourse’ <strong>in</strong> Der<br />
Kommentar <strong>in</strong> Antike und Mittelalter, 2 (Leiden and Boston: Brill,<br />
2004), pp.179–83; ‘Romantic Topography and the Dilemma of Empire:<br />
The Dialogue of Georgian and Russian Poetry’ (<strong>in</strong> cooperation with<br />
Harsha Ram) <strong>in</strong> Russian Review, 1 (2004), pp. 1–25.<br />
› The montage of Tbilisi culture, Film International, 4.23, 48-51.<br />
Deborah Shaw is Reader <strong>in</strong> Film Studies at the University of<br />
Portsmouth. Her pr<strong>in</strong>cipal areas of <strong>research</strong> have fallen <strong>in</strong>to three areas:<br />
Lat<strong>in</strong> American women’s writ<strong>in</strong>g, contemporary Lat<strong>in</strong> American film<br />
and representations of Lat<strong>in</strong>os and Lat<strong>in</strong> Americans <strong>in</strong> Hollywood film.<br />
More recently her focus has been on the latter two subject areas, and<br />
she is currently work<strong>in</strong>g on a monograph on contemporary Mexican<br />
filmmakers.<br />
› The figure of the absent father <strong>in</strong> recent Lat<strong>in</strong> American films, Studies <strong>in</strong><br />
Hispanic C<strong>in</strong>emas, 1.2, 85-102.
Lisa Shaw<br />
Reader <strong>in</strong> Portuguese and Brazilian<br />
Studies, School of Cultures,<br />
Languages and Area Studies,<br />
University of Liverpool, Liverpool,<br />
L69 7ZR, United K<strong>in</strong>gdom<br />
Keywords popular culture, musical<br />
comedies, Salazar, Portugal, The<br />
Estado Novo, Brazil, Vargas era<br />
Andrey Shcherbenok<br />
Columbia University, Society of<br />
Fellows <strong>in</strong> the Humanities, Mail<br />
Code 5700, 2960 Broadway, New<br />
York, NY 10027, United States of<br />
America<br />
Keywords identification,<br />
embodiment, <strong>in</strong>tersubjectivity,<br />
fantasmatic scenes<br />
› Editorial-Introduc<strong>in</strong>g Transnational C<strong>in</strong>emas, Transnational C<strong>in</strong>emas, 1.1, 3-<br />
6.<br />
Lisa Shaw, Reader <strong>in</strong> Portuguese and Brazilian Studies at the<br />
University of Liverpool, UK, author of The Social History of the<br />
Brazilian Samba (Ashgate,1999), and co-author of Popular C<strong>in</strong>ema <strong>in</strong><br />
Brazil, 1930–2001 (Manchester University Press, 2004) and Brazilian<br />
National C<strong>in</strong>ema (Routledge, 2007). She is currently writ<strong>in</strong>g a<br />
monograph on Carmen Miranda for the BFI-Palgrave ´film stars´<br />
series.<br />
› Book Reviews, New C<strong>in</strong>emas: Journal of Contemporary Film, 2.1, 61-.<br />
› Reviews, New C<strong>in</strong>emas: Journal of Contemporary Film, 5.2, 163-.<br />
Andrey Shcherbenok received his first Ph.D. <strong>in</strong> Russian literature from<br />
St Petersburg State University <strong>in</strong> 2002, and his second Ph.D. <strong>in</strong><br />
Rhetoric, with an emphasis <strong>in</strong> Film Studies, from the University of<br />
California Berkeley <strong>in</strong> 2006. His first dissertation was on Tolstoy,<br />
Chekhov, Bun<strong>in</strong> and Nabokov, while his second one, ‘Trauma and<br />
Ideology <strong>in</strong> the Soviet Film of 1929–1945’, focuses on the traumatic<br />
contradictions that lie at the heart of the ideological message of Soviet<br />
post-avant-garde c<strong>in</strong>ema. He is currently a Mellon Postdoctoral Fellow<br />
<strong>in</strong> the Society of Fellows <strong>in</strong>the Humanities at Columbia University. He<br />
is the author of Deconstruction and Classical Russian Literature: From<br />
the Rhetoric of Fiction to the Rhetoric of History (Moscow: Novoe<br />
literaturnoe obozrenie, 2005) and several articles on Russian literature<br />
and Soviet c<strong>in</strong>ema.<br />
› Book Reviews, Studies <strong>in</strong> Russian and Soviet C<strong>in</strong>ema, 2.3, 355-376.<br />
› Russian/Soviet screened sexuality: An <strong>in</strong>troduction, Studies <strong>in</strong> Russian and<br />
Soviet C<strong>in</strong>ema, 3.2, 135-144.<br />
Chu-Li Shewr<strong>in</strong>g Chu-Li Shewr<strong>in</strong>g is a freelance sound designer and film-maker <strong>who</strong><br />
graduated from the National Film and Television School <strong>in</strong> 2007. She<br />
has recently codirected a series of short films for Channel 4 explor<strong>in</strong>g<br />
the world of late-night radio phone-<strong>in</strong>s. With the aid of a grant from
Keywords ventriloquists, Chion,<br />
loudspeakers, dissociated voices,<br />
Connor<br />
Shen Shiao-Y<strong>in</strong>g<br />
National Taiwan University,<br />
Department of Foreign Languages<br />
and Literature, Roosevelt Rd, Taipei<br />
10617, Taiwan<br />
Keywords Taipei, Taiwan c<strong>in</strong>ema,<br />
Documentary, city film, Gong Hong<br />
Mart<strong>in</strong> Sh<strong>in</strong>gler<br />
University of Sunderland, The Media<br />
Centre, The Sir Tom Cowie Campus<br />
at St Peter's, St Peter's Way,<br />
Sunderland, Tyne and Wear, SR6<br />
0DD, United K<strong>in</strong>gdom<br />
Keywords radio, methodology, sound<br />
Meryl Shriver-Rice<br />
Keywords New Danish C<strong>in</strong>ema,<br />
Nordic film, Hollywoodization,<br />
ethics, Dogme 95, existential crisis,<br />
Hollywood remake<br />
BritDoc, she is currently develop<strong>in</strong>g a feature film set <strong>in</strong> the jungles of<br />
Borneo.<br />
› The voice and the uncanny, The Soundtrack, 1.2, 127-134.<br />
Shen Shiao-Y<strong>in</strong>g is Associate Professor <strong>in</strong> the Department of Foreign<br />
Languages and Literature at National Taiwan University. Her articles<br />
on Western and Ch<strong>in</strong>ese-language c<strong>in</strong>ema have been published <strong>in</strong><br />
Chung-Wai Literary Monthly, Film Appreciation, Post Script, Tamkang<br />
Review, and numerous anthologies. She is also co-editor and<br />
contributor of Passionate Detachment: Films of Hou Hsiao-Hsien<br />
(2000).<br />
› A Morn<strong>in</strong>g <strong>in</strong> Taipei: Bai J<strong>in</strong>grui's Frustrated Debut, Journal of Ch<strong>in</strong>ese<br />
C<strong>in</strong>emas, 4.1, 51-56.<br />
Mart<strong>in</strong> Sh<strong>in</strong>gler is Senior Lecturer <strong>in</strong> Radio and Film Studies at the<br />
University of Sunderland, where he teaches courses on radio theory,<br />
radio drama and documentary. He is the co-author, with C<strong>in</strong>dy<br />
Wier<strong>in</strong>ga, of On Air: Methods and mean<strong>in</strong>gs of Radio (London:<br />
Arnold, 1998) and has published on radio <strong>in</strong> the Journal of Radio<br />
Studies (USA) and the Media Education Journal. He is the convenor of<br />
'Sound<strong>in</strong>g Out', an <strong>in</strong>ternational symposium <strong>in</strong> media sound.<br />
› Rich voices <strong>in</strong> talky talkies: The Rich Are Always with Us, The Soundtrack,<br />
3.2, 109-115.<br />
Meryl Shriver-Rice is a f<strong>in</strong>al-year Ph.D. candidate <strong>in</strong> Film Studies at<br />
the University of Miami. Her dissertation project titled, ‘Inclusion <strong>in</strong><br />
New Danish C<strong>in</strong>ema: Gender, Sexuality, and Transnational Belong<strong>in</strong>g’,<br />
exam<strong>in</strong>es films by Danish women directors and queer Danish c<strong>in</strong>ema.<br />
She has presented papers on contemporary Danish c<strong>in</strong>ema at six<br />
academic conferences <strong>in</strong> the United States and abroad.<br />
› Adapt<strong>in</strong>g National Identity: Ethical Borders Made Suspect <strong>in</strong> the Hollywood<br />
Version of Susanne Bier's Brothers, Film International, 9.2, 8-19.
Cui Shuq<strong>in</strong><br />
Bowdo<strong>in</strong> College, Asian Studies,<br />
7500 College Station, Brunswick,<br />
Ma<strong>in</strong>e, 04011-8475, United States of<br />
America<br />
Keywords gender, oral history,<br />
AIDS, <strong>in</strong>dependent c<strong>in</strong>ema,<br />
documentary<br />
Sophia Siddique Harvey<br />
Vassar College, Vogelste<strong>in</strong> Center for<br />
Drama and Film, Box 741, 124<br />
Raymond Avenue, Poughkeepsie,<br />
NY, 12604, United States of America<br />
Keywords S<strong>in</strong>gapore, Southeast Asia,<br />
identity politics, science fiction,<br />
Ch<strong>in</strong>eseness<br />
Larry Sider<br />
Keywords sound effects, film music,<br />
merchandis<strong>in</strong>g tie-<strong>in</strong>s, music sales,<br />
onl<strong>in</strong>e offshoots<br />
Cui Shuq<strong>in</strong> is Associate Professor of Asian Studies at Bowdo<strong>in</strong><br />
College. She is the author of Women Through the Lens: Gender and<br />
Nation <strong>in</strong> a Century of Ch<strong>in</strong>ese C<strong>in</strong>ema (University of Hawaii Press,<br />
2003). She has also authored many journal articles and book chapters<br />
on various topics <strong>in</strong> Ch<strong>in</strong>ese c<strong>in</strong>ema. Her <strong>research</strong> and teach<strong>in</strong>g<br />
<strong>in</strong>terests <strong>in</strong>clude but are not limited to c<strong>in</strong>ema, gender, and literature<br />
studies. She is currently work<strong>in</strong>g on a manuscript tentatively titled, The<br />
Absence of Presence: An Exploration of Women’s Experimental Art <strong>in</strong><br />
Contemporary Ch<strong>in</strong>a.<br />
› Alternative visions and representation: <strong>in</strong>dependent documentary filmmak<strong>in</strong>g<br />
<strong>in</strong> contemporary Ch<strong>in</strong>a, Studies <strong>in</strong> Documentary Film, 4.1, 3-20.<br />
Sophia Siddique Harvey is an assistant professor of Film at Vassar<br />
College. She holds a Ph.D. from the University of Southern California<br />
School of C<strong>in</strong>ematic Arts. Her <strong>research</strong> <strong>in</strong>terests <strong>in</strong>clude S<strong>in</strong>gapore<br />
cultural studies, representations of trauma and memory <strong>in</strong> Cambodian,<br />
Indonesian, and Thai c<strong>in</strong>ema, and the impact of new media on<br />
Southeast Asia’s mov<strong>in</strong>g image culture.<br />
› Mapp<strong>in</strong>g cyborg bodies, shift<strong>in</strong>g identities, and national anxieties <strong>in</strong> Cyber<br />
Wars, Journal of Ch<strong>in</strong>ese C<strong>in</strong>emas, 3.1, 49-62.<br />
Larry Sider is a film editor and sound designer <strong>who</strong> is Director of The<br />
School of Sound (www.schoolofsound.co.uk). From 2002–2006 he was<br />
Head of Post-Production at the National Film and Television School<br />
(Beaconsfield, UK). He has worked extensively <strong>in</strong> animation and<br />
documentary, most recently on Rob<strong>in</strong>son <strong>in</strong> Ru<strong>in</strong>s by Patrick Keiller,<br />
The Piano Tuner of Earthquakes by the Brothers Quay, and<br />
Mirrormask by Dave McKean. He is co-editor of The New Soundtrack<br />
journal and Soundscape: The School of Sound Lectures 1998–2001. He<br />
lectures <strong>in</strong> the UK and abroad.<br />
› Editorial, The Soundtrack, 1.3, 161-162.
Jane Sillars<br />
University of Ed<strong>in</strong>burgh, School of<br />
Literatures, Languages and Cultures,<br />
Ed<strong>in</strong>burgh, EH8 9YL, United<br />
K<strong>in</strong>gdom<br />
Keywords public space, landscape,<br />
space, British c<strong>in</strong>ema, Scottishness<br />
Cather<strong>in</strong>e Simpson<br />
Macquarie University, Environment<br />
& Geography, North Ryde 2109,<br />
Sydney, Australia<br />
Keywords Australian c<strong>in</strong>ema,<br />
country towns, female film-makers<br />
Patrik Sjoberg<br />
Karlstad University, Division of<br />
Culture snd Communication,<br />
Karlstad, SE-651 88, Sweden<br />
Keywords Craig Baldw<strong>in</strong>, media<br />
archeology, culture jamm<strong>in</strong>g,<br />
subversion of copyrights, found<br />
footage, avant-garde, Sonic Outlaws<br />
Nariman Skakov<br />
Stanford University, Slavic, 450 Serra<br />
Mall, Build<strong>in</strong>g 240, Stanford, CA<br />
Jane Sillars jo<strong>in</strong>ed Ed<strong>in</strong>burgh University <strong>in</strong> 2010 to work as co-director<br />
of the new MSc <strong>in</strong> Film and the Public Space. Before this she was a<br />
member of the Department of Film, Media & Journalism at the<br />
University of Stirl<strong>in</strong>g. Jane has experience of <strong>research</strong><strong>in</strong>g the mov<strong>in</strong>g<br />
image across a range of academic, professional and <strong>in</strong>dustrial contexts.<br />
› Beau travail: time, space and myths of identity, Studies <strong>in</strong> French C<strong>in</strong>ema,<br />
1.3, 166-173.<br />
Cather<strong>in</strong>e Simpson has been seconded from Media to the Science<br />
faculty to set up a new Science Communication programme. She is coeditor<br />
(with Renata Murawska and Anthony Lambert) of Diasporas of<br />
Australian C<strong>in</strong>ema (<strong>Intellect</strong>, 2009). Cather<strong>in</strong>e has organized film<br />
festivals <strong>in</strong> Australia and Turkey and writes on the c<strong>in</strong>ema of both<br />
countries. She has a grow<strong>in</strong>g <strong>in</strong>terest <strong>in</strong> the ecological humanities and<br />
is work<strong>in</strong>g on a new book with Anthony Lambert, Ecologies of<br />
Australian C<strong>in</strong>ema.<br />
› Reconfigur<strong>in</strong>g rusticity: fem<strong>in</strong>iz<strong>in</strong>g Australian c<strong>in</strong>ema’s country towns,<br />
Studies <strong>in</strong> Australasian C<strong>in</strong>ema, 2.1, 47-59.<br />
› Australian eco-horror and Gaia's revenge: animals, eco-nationalism and the<br />
new nature, Studies <strong>in</strong> Australasian C<strong>in</strong>ema, 4.1, 43-54.<br />
Patrik Sjoberg is Assistant Professor <strong>in</strong> Film Studies, Division of<br />
Culture snd Communication, Karlstad University, Sweden. Sjoberg's<br />
<strong>research</strong> centres on theoretical and historical issues surround<strong>in</strong>g the<br />
production of documentary films.<br />
› Editorial 1,2, Film International, 1.6, 3-3.<br />
› An Amalgamation of Discourses?, Film International, 1.6, 4-9.<br />
› Craig Baldw<strong>in</strong>, Film International, 2.7, 14-21.<br />
Nariman Skakov is an Assistant Professor of Slavic Languages and<br />
Literatures at Stanford University. He completed his D.Phil. thesis on<br />
the c<strong>in</strong>ema of Andrei Tarkovsky at the University of Oxford <strong>in</strong> 2009.<br />
His <strong>research</strong> <strong>in</strong>terests <strong>in</strong>clude Russian c<strong>in</strong>ema, literary theory and post-
94305, United States of America<br />
Keywords Andrei Tarkovsky, word<br />
and image, David Lynch, Rustam<br />
Khamdamov<br />
Aga Skrodzka<br />
Clemson University, Department of<br />
English, 712 Strode Tower, Clemson,<br />
South Carol<strong>in</strong>a, SC 29634, United<br />
States of America<br />
Keywords gender, transnational<br />
c<strong>in</strong>ema, postsocialist cultures,<br />
alternative aesthetics<br />
Bel<strong>in</strong>da Smaill<br />
Monash University, School of<br />
English, Communications and<br />
Performance Studies, Well<strong>in</strong>gton Rd,<br />
Clayton, Melbourne, Victoria, 3800,<br />
Australia<br />
Keywords documentary, Australian<br />
c<strong>in</strong>ema, diaspora, women<br />
Soviet culture and visual arts.<br />
› The (im)possible translation of Nostalgia, Studies <strong>in</strong> Russian and Soviet<br />
C<strong>in</strong>ema, 3.3, 309-333.<br />
Aga Skrodzka is an assistant professor <strong>in</strong> the Department of English at<br />
Clemson University, where she teaches film and gender theory. She<br />
received her Ph.D. <strong>in</strong> comparative literature and cultural studies from<br />
SUNY Stony Brook. Her <strong>research</strong> <strong>in</strong>terests <strong>in</strong>clude alternative<br />
aesthetics <strong>in</strong> East Central European c<strong>in</strong>ema, issues of class, gender,<br />
race and exile <strong>in</strong> c<strong>in</strong>ematic representations of East Central Europe s<strong>in</strong>ce<br />
its EU accession and the female body <strong>in</strong> exploitation c<strong>in</strong>ema. She is<br />
currently writ<strong>in</strong>g a book on magic realism <strong>in</strong> East Central European<br />
c<strong>in</strong>ema (Ed<strong>in</strong>burgh University Press, forthcom<strong>in</strong>g 2012) and prepar<strong>in</strong>g<br />
an edited volume on films about sex traffick<strong>in</strong>g.<br />
› Woman's body and her pleasure <strong>in</strong> the celluloid erotica of Walerian<br />
Borowczyk, Studies <strong>in</strong> European C<strong>in</strong>ema, 8.1, 67-79.<br />
› Clandest<strong>in</strong>e human and c<strong>in</strong>ematic passages <strong>in</strong> the United Europe: The Polish<br />
Plumber and Kieślowski’s hairdresser, Studies <strong>in</strong> Eastern European C<strong>in</strong>ema,<br />
2.1, 75-90.<br />
Bel<strong>in</strong>da Smaill lectures <strong>in</strong> Film and Television Studies <strong>in</strong> the School of<br />
English, Communications and Performance Studies at Monash<br />
University, Melbourne. Her <strong>research</strong> <strong>in</strong>terests <strong>in</strong>clude documentary<br />
studies, public service broadcast<strong>in</strong>g, multiculturalism and diaspora <strong>in</strong><br />
c<strong>in</strong>ema, women and film, and the politics of the emotions <strong>in</strong><br />
documentary. She is the co-editor of Youth, Media and Culture <strong>in</strong> the<br />
Asia Pacific (2008) and author of The Documentary: Politics, Emotion,<br />
Culture (2010). Recent essays have been published <strong>in</strong> Cont<strong>in</strong>uum:<br />
Journal of Media and Cultural Studies, Screen<strong>in</strong>g the Past, Camera<br />
Obscura and Jump Cut. With Olivia Khoo and Audrey Yue, she is a<br />
chief <strong>in</strong>vestigator <strong>in</strong> the Australian Research Council funded project<br />
titled The History of Asian Australian C<strong>in</strong>ema.<br />
› Editorial:, Studies <strong>in</strong> Australasian C<strong>in</strong>ema, 2.2, 97-102.<br />
› Affective authorship: contemporary Asian Australian documentary, Studies<br />
<strong>in</strong> Australasian C<strong>in</strong>ema, 2.2, 157-170.<br />
› Editorial: Transnational Asian Australian c<strong>in</strong>ema, Part 2, Studies <strong>in</strong><br />
Australasian C<strong>in</strong>ema, 2.3, 173-175.<br />
› Injured Identities: Pa<strong>in</strong>, Politics and Documentary, Studies <strong>in</strong> Documentary
Paul<strong>in</strong>e Small<br />
Queen Mary - University of London,<br />
Mile End Road, London, E1 4NS,<br />
United K<strong>in</strong>gdom<br />
Keywords I cento passi, resurgence,<br />
Mafia, <strong>in</strong>tertextuality, Hollywood<br />
Kev<strong>in</strong> Smets<br />
University of Antwerp, Turkey<br />
Keywords Turkish c<strong>in</strong>ema, North<br />
African c<strong>in</strong>ema, diaspora<br />
Elena Smirnova<br />
Keywords Russian Ark, Russian<br />
history, Russian art, Hermitage, St<br />
Petersburg<br />
Film, 1.2, 151-164.<br />
› Interview with Kim Long<strong>in</strong>otto, Studies <strong>in</strong> Documentary Film, 1.2, 177-188.<br />
› Review, Studies <strong>in</strong> Documentary Film, 3.1, 69-71.<br />
Paul<strong>in</strong>e Small teaches courses on Italian, European and Hollywood<br />
c<strong>in</strong>ema at Queen Mary, University of London. Her <strong>research</strong> <strong>in</strong>terests<br />
focus ma<strong>in</strong>ly on stardom <strong>in</strong> 1950s Italy, and contemporary Italian<br />
c<strong>in</strong>ema. Her recent book, Sophia Loren: Mould<strong>in</strong>g the Star, was<br />
published by <strong>Intellect</strong> (June 2009) and a book chapter, ‘The Films of<br />
Emanuele Crialese’ <strong>in</strong> Italian Film Directors <strong>in</strong> the New Millenium<br />
edited by W. Hope (Cambridge Scholars Publish<strong>in</strong>g, 2010). Further to<br />
the 2005 publication on Giordana’s 'I cento passi' she is at present<br />
writ<strong>in</strong>g an article on two more recent Italian Mafia films, The<br />
Consequences of Love (Sorrent<strong>in</strong>o, 2004) and Gomorrah (Garrone,<br />
2008).<br />
› Giordana’s I cento passi: renegotiat<strong>in</strong>g the Mafia codes, New C<strong>in</strong>emas:<br />
Journal of Contemporary Film, 3.1, 41-54.<br />
Kev<strong>in</strong> Smets is a <strong>research</strong> fellow and Ph.D. candidate <strong>in</strong> Film Studies<br />
at the University of Antwerp. His <strong>research</strong> deals with Turkish and<br />
North African c<strong>in</strong>ema and diaspora.<br />
› Beware of the Wolves! The Turkish versus the European Reception of Valley<br />
of the Wolves: Iraq (2006), Film International, 9.3, 19-34.<br />
Elena Smirnova is a doctoral student at the University of Bath<br />
specializ<strong>in</strong>g <strong>in</strong> the depiction of mascul<strong>in</strong>ities <strong>in</strong> post-Soviet Russian<br />
culture. She is from Taganrog <strong>in</strong> southern Russia, where she has<br />
worked as a translator and <strong>in</strong>terpreter <strong>in</strong> local bus<strong>in</strong>esses.<br />
› Alexander Sokurov and the Russian soul, Studies <strong>in</strong> European C<strong>in</strong>ema, 1.1,<br />
57-.
Douglas Smith<br />
University College Dubl<strong>in</strong>,<br />
Department of French, Belfield,<br />
Dubl<strong>in</strong> 4, Ireland<br />
Keywords realism, desire, time,<br />
death, Godardart documentary<br />
Jillian Smith<br />
University of North Florida,<br />
Department of English, 1 UNF Drive,<br />
Jacksonville, Florida, 32224, United<br />
States of America<br />
Keywords Frederick Wiseman,<br />
Titicut Follies, Walter Benjam<strong>in</strong>,<br />
materiality, sensation<br />
Jo Smith<br />
Victoria University of Well<strong>in</strong>gton,<br />
Media Studies Programme, Victoria<br />
University of Well<strong>in</strong>gton, Well<strong>in</strong>gton,<br />
PO Box 600, New Zealand<br />
Keywords settler nationalism,<br />
multiculturalism, biculturalism,<br />
postcolonial exotic, settler c<strong>in</strong>ema<br />
Douglas Smith teaches c<strong>in</strong>ema, literature and theory <strong>in</strong> the Department<br />
of French, University College Dubl<strong>in</strong>. The author of a study of the<br />
French reception of Nietzsche (Transvaluations, 1996), he has also<br />
translated Nietzsche <strong>in</strong>to English for Oxford World’s Classics.<br />
Currently hold<strong>in</strong>g a Government of Ireland Senior Research Fellowship<br />
funded by the Irish Research Council for Humanities and Social<br />
Sciences, he is prepar<strong>in</strong>g an <strong>in</strong>terdiscipl<strong>in</strong>ary study of cultural space <strong>in</strong><br />
postwar France.<br />
› ‘A world that accords with our desires’?: realism, desire and death <strong>in</strong> André<br />
Baz<strong>in</strong>’s film criticism, Studies <strong>in</strong> French C<strong>in</strong>ema, 4.2, 93-102.<br />
› Mov<strong>in</strong>g pictures: the art documentaries of Ala<strong>in</strong> Resnais and Henri-Georges<br />
Clouzot <strong>in</strong> theoretical context (Benjam<strong>in</strong>, Malraux and Baz<strong>in</strong>), Studies <strong>in</strong><br />
European C<strong>in</strong>ema, 1.3, 163-174.<br />
Jillian Smith is Associate Professor of English and Film at the<br />
University of North Florida where she teaches and <strong>research</strong>es<br />
documentary media and events. She has published on ‘The Fog of War’<br />
<strong>in</strong> Postmodern Culture and on 9/11 <strong>in</strong> Politics and Culture, and is<br />
currently work<strong>in</strong>g on projects on Drivers Education films and<br />
Spectacles.<br />
› The politics of tactility: Walter Benjam<strong>in</strong> materialized by way of Frederick<br />
Wiseman's Titicut Follies, Studies <strong>in</strong> Documentary Film, 2.2, 103-122.<br />
Jo Smith is a senior lecturer <strong>in</strong> Media Studies at Victoria University of<br />
Well<strong>in</strong>gton <strong>in</strong> Aotearoa/New Zealand. She <strong>research</strong>es <strong>in</strong> the areas of<br />
postcolonial media theory, <strong>in</strong>digenous media and new media studies.<br />
› New Zealand c<strong>in</strong>ema and the postcolonial exotic: the case of Apron Str<strong>in</strong>gs,<br />
Transnational C<strong>in</strong>emas, 1.2, 129-144.<br />
Jacob Smith Jacob Smith teaches <strong>in</strong> the Institute of Film and Television Studies, <strong>in</strong><br />
the School of American and Canadian Studies at the University of
University of Nott<strong>in</strong>gham,<br />
Department of American and<br />
Canadian Studies, University Park,<br />
Nott<strong>in</strong>gham, NG7 2RD, United<br />
K<strong>in</strong>gdom<br />
Keywords horror, public service,<br />
advertis<strong>in</strong>g, sound record<strong>in</strong>g,<br />
sublim<strong>in</strong>al media<br />
Tatiana Smorod<strong>in</strong>ska<br />
Middlebury College, Russian<br />
Department, Middlebury, VT 05753,<br />
United States of America<br />
Keywords justice, revenge, remake,<br />
Sidney Lumet, Nikita Mikhalkov<br />
Maloe Sniekers<br />
Erasmus University Rotterdam,<br />
Erasmus School of History, Culture,<br />
and Communication, Rotterdam,<br />
Netherlands<br />
Keywords guilty house, guilty<br />
landscape, Marc Dutroux, collective<br />
memory, crime, dark tourism,<br />
material culture<br />
Tytti Soila<br />
Stockholm University, Department of<br />
C<strong>in</strong>ema Studies, Filmhuset,<br />
Borgvägen 1-5, Stockholm, 102 51,<br />
Sweden<br />
Keywords national c<strong>in</strong>emas, Nordic<br />
Nott<strong>in</strong>gham. His book, Vocal Tracks: Performance and Sound Media<br />
(University of California Press, 2008) is an exam<strong>in</strong>ation of the styles of<br />
vocal performance that developed <strong>in</strong> tandem with sound media<br />
technologies. He has published on media history and performance <strong>in</strong><br />
journals such as Screen, Film Quarterly, Television and New Media<br />
and Velvet Light Trap.<br />
› An unnatural sound <strong>in</strong> Village, Short Film Studies, 1.1, 135-137.<br />
Tatiana Smorod<strong>in</strong>ska is Associate Professor at Middlebury College,<br />
VT. She is the co-editor of the Encyclopedia of Contemporary Russian<br />
Culture (with Helena Goscilo and Karen Evans-Roma<strong>in</strong>e, 2006), the<br />
author of Konstant<strong>in</strong> Sluchevsky: The Untimely Poet (2008) and several<br />
articles on Russian poetry and contemporary Russian film and culture.<br />
› Rule of law vs. Russian justice: Nikita Mikhalkov's 12, Studies <strong>in</strong> Russian<br />
and Soviet C<strong>in</strong>ema, 4.2, 161-170.<br />
Maloe Sniekers is Ph.D. student at the Erasmus University Rotterdam<br />
(EUR). Her PhD <strong>research</strong>, at the department of History, Culture and<br />
Communication, focuses on ‘dark tourism’, the tourist consumption of<br />
sites associated with death and suffer<strong>in</strong>g. Currently Sniekers is work<strong>in</strong>g<br />
on a cross national comparative <strong>research</strong> <strong>in</strong>volv<strong>in</strong>g, next to the houses<br />
of Marc Dutroux, the houses of Josef Fritzl <strong>in</strong> Austria and Fred and<br />
Rosemary West <strong>in</strong> the United K<strong>in</strong>gdom.<br />
› Imprisoned by Dutroux: An ethnography of guilty houses <strong>in</strong> Belgium,<br />
Northern Lights: Film & Media Studies Yearbook, 9., 27-44.<br />
Tytti Soila is Professor of C<strong>in</strong>ema Studies and Chair of the Department<br />
of Journalism, Media and Communication at Stockholm University.<br />
She has published extensively on Nordic national c<strong>in</strong>emas and fem<strong>in</strong>ist<br />
film theory.<br />
› The Landscape of Memories <strong>in</strong> the Films of the Kaurismäki Bros., Film<br />
International, 1.3, 4-15.
countries, fem<strong>in</strong>ist film theory<br />
Olga V. Solovieva<br />
Prussian Cultural Heritage<br />
Foundation, Museum of Pr<strong>in</strong>ts and<br />
Draw<strong>in</strong>gs, Kupferstichkab<strong>in</strong>ett,<br />
Stauffenbergstr. 41, Berl<strong>in</strong>, 10785,<br />
Germany<br />
Keywords global c<strong>in</strong>ema, Fyodor<br />
Dostoevsky, Kurosawa Akira,<br />
adaptation<br />
Ove Solum<br />
University of Oslo, Film Studies,<br />
Postboks 1093 Bl<strong>in</strong>dern, Oslo, 317,<br />
Norway<br />
Keywords Norwegian c<strong>in</strong>ema, digital<br />
c<strong>in</strong>ema, Norway, municipal c<strong>in</strong>emas<br />
David Sorfa<br />
Liverpool John Moores University,<br />
Film Studies, Dean Walters Build<strong>in</strong>g,<br />
Upper Duke Street, Liverpool,<br />
Merseyside, L1 7BR, United<br />
K<strong>in</strong>gdom<br />
Keywords uncanny, domestic, art<br />
house, Heimat film, code unknown<br />
› The uncanny <strong>in</strong> Kitchen S<strong>in</strong>k, Short Film Studies, 2.1, 83-86.<br />
Olga Solovieva received her Ph.D. <strong>in</strong> Comparative Literature and Film<br />
Studies at Yale. She has taught at the film studies programmes at Smith<br />
College, Yale College, and Georgia Tech. Currently she is a <strong>research</strong><br />
fellow at the Museum of Pr<strong>in</strong>ts and Draw<strong>in</strong>gs of the Prussian Cultural<br />
Heritage Foundation <strong>in</strong> Berl<strong>in</strong>.<br />
› Kurosawa Akira's The Idiot: Where the East meets the West, Journal of<br />
Japanese & Korean C<strong>in</strong>ema, 1.2, 129-142.<br />
› The erased grave of Dersu Uzala: Kurosawa's c<strong>in</strong>ema of memory and<br />
mourn<strong>in</strong>g, Journal of Japanese & Korean C<strong>in</strong>ema, 2.1, 63-79.<br />
Ove Solum is Professor of Film Studies, University of Oslo. Solum has<br />
published on Norwegian c<strong>in</strong>ema and film culture. His latest book is<br />
Den norske filmbølgen (2010), co-authored with Gunnar Iversen. His<br />
doctoral thesis was on the historical development of the unique<br />
municipal c<strong>in</strong>ema system of Norway. He was leader of the National<br />
Association of Media Researchers <strong>in</strong> Norway 1994-97, visit<strong>in</strong>g scholar<br />
at The University of California, Santa Barbara 2001 and a member of<br />
the Research group at the Norwegian Film Institute, currently at the<br />
National Library of Norway.<br />
› The municipal c<strong>in</strong>emasystem <strong>in</strong> Norway andthe digital turn, Journal of<br />
Scand<strong>in</strong>avian C<strong>in</strong>ema, 1.1, 31-36.<br />
David Sorfa is a senior lecturer <strong>in</strong> Film Studies at Liverpool<br />
John Moores University (UK) and manag<strong>in</strong>g editor of the journal Film-<br />
Philosophy. He has published on Michael Haneke, Jan Švankmajer,<br />
Czech c<strong>in</strong>ema and a wide variety of other film-related subjects. He is<br />
the co-editor of The C<strong>in</strong>ema of Michael Haneke: Europe<br />
Utopia (Columbia University Press/Wallflower, 2010).<br />
› Uneasy domesticity <strong>in</strong> the films of Michael Haneke, Studies <strong>in</strong> European<br />
C<strong>in</strong>ema, 3.2, 93-104.
Cécile Sor<strong>in</strong><br />
Universite de Paris 8, Departement<br />
C<strong>in</strong>ema, 2 rue de la Liberté, 93526<br />
SAINT-DENIS cedex, Paris, France<br />
Keywords parody, pastiche,<br />
references, police thriller, Western,<br />
Hollywood, New Wave, Bernard<br />
Borderie<br />
Moussa Sow<br />
The College of New Jersey,<br />
Department of Modern Languages,<br />
Bliss Hall 325, 2000 Penn<strong>in</strong>gton<br />
Road, Ew<strong>in</strong>g, NJ 08628, United<br />
States of America<br />
Keywords francophone African<br />
c<strong>in</strong>ema, Islam <strong>in</strong> African literatures,<br />
black diaspora <strong>in</strong> France<br />
Kim Soyoung<br />
Korean National University of Arts,<br />
School of Film, Television, and<br />
Media, Seoul, 1360716, Korea Sout<br />
Keywords Cold War, The<br />
Murmur<strong>in</strong>g, My Own Breath<strong>in</strong>g,<br />
Pepperm<strong>in</strong>t Candy, Korean c<strong>in</strong>ema<br />
Cécile Sor<strong>in</strong> is a lecturer <strong>in</strong> the Department of C<strong>in</strong>ema Studies at the<br />
University of Paris 8. Her doctoral thesis was on genre borrow<strong>in</strong>g, a<br />
topic on which she has written a number of articles. She is particularly<br />
<strong>in</strong>terested <strong>in</strong> the French and Italian popular c<strong>in</strong>emas <strong>in</strong> the Cold War<br />
period.<br />
› The art of borrow<strong>in</strong>g: French popular c<strong>in</strong>ema before the New Wave, Studies<br />
<strong>in</strong> French C<strong>in</strong>ema, 4.1, 53-64.<br />
Moussa Sow is Assistant Professor of Francophone Literatures and<br />
Cultures and African American Studies at The College of New Jersey.<br />
His <strong>research</strong> <strong>in</strong>terests <strong>in</strong>clude francophone African film and literatures,<br />
Islam <strong>in</strong> African literatures, as well as the literatures of the black<br />
diaspora <strong>in</strong> France. His recent authored or co-authored publications<br />
<strong>in</strong>clude ‘L’Archéologie de la résilience’, <strong>in</strong> Pius Ngandu Nkashama:<br />
Trajectoires d’un discours (Paris, l’Harmattan, 2007) and ‘Le Slam en<br />
France: une Renaissance de Harlem?’ <strong>in</strong> Harlem heritage, mémoire et<br />
renaissance (Paris, Riveneuve Cont<strong>in</strong>ents, 2008).<br />
› Book Review, Journal of African C<strong>in</strong>emas, 2.2, 195-197.<br />
Kim Soyoung is professor of C<strong>in</strong>ema Studies at the Korea National<br />
University of Arts. Her publications <strong>in</strong>clude Geundaeseong-ui<br />
yuryeongdeul – Pantaseutik hanguk Yeonghwa/Spectres of Modernity:<br />
Fantastic Korean C<strong>in</strong>ema (Ssiaseul Ppur<strong>in</strong>eum Saram, 2000) and<br />
S<strong>in</strong>ema: tekeuno munhwa-ui pureun kkot/C<strong>in</strong>ema: Blue Flower <strong>in</strong> the<br />
Land of Technology (Youlhwadang, 1996). She is also an<br />
accomplished film-maker, her works <strong>in</strong>clud<strong>in</strong>g the documentary<br />
Women's History Trilogy (2000–04).<br />
› Gendered trauma <strong>in</strong> Korean c<strong>in</strong>ema: Pepperm<strong>in</strong>t Candy and My Own<br />
Breath<strong>in</strong>g, New C<strong>in</strong>emas: Journal of Contemporary Film, 8.3, 179-187.<br />
Oliver C. Speck Oliver C. Speck currently teaches Film Studies at Virg<strong>in</strong>ia<br />
Commonwealth University, School of World Studies. Prior to jo<strong>in</strong><strong>in</strong>g
University of North Carol<strong>in</strong>a<br />
Wilm<strong>in</strong>gton, Department of Foreign<br />
Languages and Literatures, 601 South<br />
College Road, LH 277, Wilm<strong>in</strong>gton,<br />
North Carol<strong>in</strong>a, NC 28403-5954,<br />
United States of America<br />
Keywords Coup de torchon/Clean<br />
Slate (1981), postcolonial c<strong>in</strong>ema,<br />
mission civilisatrice, Frantz Fanon,<br />
Giorgio Agamben<br />
Kather<strong>in</strong>e Spr<strong>in</strong>g<br />
Wilfrid Laurier University,<br />
Department of English and Film<br />
Studies, 3-156 DAWB, 75 University<br />
Ave W, Waterloo, ON, N2L 3C5,<br />
Canada<br />
Keywords sound, music, narrative,<br />
American c<strong>in</strong>ema, genre, pedagogy<br />
Jane Stadler<br />
University of Queensland, School of<br />
English, Media Studies and Art<br />
History, Brisbane, QLD 4072,<br />
Australia<br />
Keywords affective landscape, film<br />
landscape, media geography, tourism,<br />
Australian c<strong>in</strong>ema<br />
VCU <strong>in</strong> 2007, he taught at the University of North Carol<strong>in</strong>a<br />
Wilm<strong>in</strong>gton. His areas of expertise are film studies, especially<br />
European c<strong>in</strong>ema, and German language and literature. His teach<strong>in</strong>g<br />
<strong>in</strong>terests also <strong>in</strong>clude genre studies and cultural studies. His scholarly<br />
writ<strong>in</strong>g focuses on narrative strategies and the representation of<br />
memory and history <strong>in</strong> French, German and other European<br />
c<strong>in</strong>ema. His new book, Funny Frames: The Filmic Concepts of<br />
Michael Haneke (Cont<strong>in</strong>uum, NY: 2010), explores how a political<br />
th<strong>in</strong>k<strong>in</strong>g manifests itself <strong>in</strong> the oeuvre of the Austrian director,<br />
suggest<strong>in</strong>g that the constant shift<strong>in</strong>g of frames of reference <strong>in</strong> his films<br />
is needed to open up ethical perspectives.<br />
› The cesspool of colonial c<strong>in</strong>ema: Coup de torchon by Bertrand Tavernier,<br />
Studies <strong>in</strong> French C<strong>in</strong>ema, 6.3, 207-218.<br />
Kather<strong>in</strong>e Spr<strong>in</strong>g is Assistant Professor of Film Studies at Wilfrid<br />
Laurier University <strong>in</strong> Waterloo, Canada. Her <strong>research</strong> <strong>in</strong>terests <strong>in</strong>clude<br />
film sound and music, American film history, Hong Kong c<strong>in</strong>ema, and<br />
theories of film narrative and narration. She has published articles and<br />
reviews <strong>in</strong> C<strong>in</strong>ema Journal, Film International, and , and chapters on<br />
Hong Kong filmmaker Johnnie To and music <strong>in</strong> science fiction c<strong>in</strong>ema.<br />
Her book on popular music <strong>in</strong> American c<strong>in</strong>ema dur<strong>in</strong>g Hollywood's<br />
transition to sound is under contract with Oxford University Press. In<br />
her spare time, she serves on the Board of Directors of - and<br />
programmes films for - C<strong>in</strong>ematheque Waterloo.<br />
› Toronto Film Sem<strong>in</strong>ar Inaugural Meet<strong>in</strong>g, 27 March 2008, Film<br />
International, 6.6, 96-97.<br />
› (Introduction to Capra Award W<strong>in</strong>ner) Judge’s Perspective, Film<br />
International, 7.1, 55-55.<br />
› DVD Reviews, Film International, 7.2, 70-73.<br />
Jane Stadler is Senior Lecturer <strong>in</strong> Film and Television Studies at the<br />
School of English, Media Studies and Art History, University of<br />
Queensland, and author of Pull<strong>in</strong>g Focus (Cont<strong>in</strong>uum, 2008), Screen<br />
Media (with Kelly McWilliam, Allen and Unw<strong>in</strong>, 2009) and Media and<br />
Society (with Michael O’Shaughnessy, Oxford University Press, 2008).<br />
› Never-Never Land: affective landscapes, the touristic gaze and heterotopic<br />
space <strong>in</strong> Australia, Studies <strong>in</strong> Australasian C<strong>in</strong>ema, 4.2, 173-187.
Gitte Bang Stald<br />
IT University of Copenhagen, Rued<br />
Langgaardsvej 7, Copenhagen, 2300<br />
S, Denmark<br />
Keywords mobile media, social<br />
change, digital communication,<br />
digital youth media cultures, digital<br />
media, globalization<br />
Isolde Standish<br />
University of London, School of<br />
Oriental and African Studies,<br />
Thornhaugh Street, Russell Square,<br />
London, WC1H 0XG, United<br />
K<strong>in</strong>gdom<br />
Keywords avant-garde, Art Theatre<br />
Guild, Night and Fog <strong>in</strong> Japan, shima<br />
Nagisa<br />
Reg<strong>in</strong>a Standún<br />
Keywords Austrian c<strong>in</strong>ema, film<br />
Gitte Bang Stald is an Associate Professor <strong>in</strong> DC/MC Research Group<br />
at the IT University of Copenhagen. From February 2010 she is head of<br />
the Digital Design and Communication study programme. From 1994<br />
to 2007 she worked at Film & Media Studies, Institute for Media,<br />
Cognition and Communication at the University of Copenhagen.<br />
Primary <strong>research</strong> areas are mobile media and social change, digital<br />
communication, and digital youth media cultures, digital media and<br />
globalization. She participated <strong>in</strong> the European comparative project<br />
Children and Their Chang<strong>in</strong>g Media Environment 1995-98; <strong>in</strong> the<br />
<strong>research</strong> programme Global Media Cultures 1999-2001; <strong>in</strong> <strong>research</strong> –<br />
and development projects on mobile content for young Danes 2004-06;<br />
on mobile solutions for dyslexics 2006-07; <strong>in</strong> The MacArthur<br />
Foundation’s series on Youth 2007, Digital Media and Learn<strong>in</strong>g on<br />
user driven mobile media communities 2008-09. She participated <strong>in</strong><br />
EU Kids Onl<strong>in</strong>e I+II, 2006-11.<br />
› Introduction, Northern Lights: Film & Media Studies Yearbook, 5.1, 3-6.<br />
› Onl<strong>in</strong>e debate on digital aesthetics and communication, Northern Lights:<br />
Film & Media Studies Yearbook, 5.1, 141-158.<br />
Isolde Standish is Senior Lecturer <strong>in</strong> Film and Media attached to the<br />
Centre for Media and Film Studies, School of Oriental and African<br />
Studies, University of London. She is author of Myth and Mascul<strong>in</strong>ity<br />
<strong>in</strong> the Japanese C<strong>in</strong>ema: Towards a Political Read<strong>in</strong>g of the Tragic<br />
Hero (Curzon/Routledge, 2000), and A New History of Japanese<br />
C<strong>in</strong>ema: A Century of Narrative Film (Cont<strong>in</strong>uum, 2005). She is<br />
currently complet<strong>in</strong>g a book-length study on Japanese avant-garde<br />
c<strong>in</strong>ema and the 1960s titled Politics, Porn and Protest: the Japanese<br />
Avant-garde Film Movement and the 1960s (Cont<strong>in</strong>uum).<br />
› Night and Fog <strong>in</strong> Japan: Fifty Years On, Journal of Japanese & Korean<br />
C<strong>in</strong>ema, 1.2, 143-155.<br />
› Reviews, Journal of Japanese & Korean C<strong>in</strong>ema, 1.2, 185-193.<br />
Reg<strong>in</strong>a Standún has been work<strong>in</strong>g with the German Department at the<br />
National University of Ireland Maynooth s<strong>in</strong>ce September 2000 and is<br />
currently a Government of Ireland Scholar. Her doctoral dissertation<br />
was a comparative study of the rural Austrian Volksstück and the Irish<br />
peasant play of the twentieth century.
noir, Wolfgang Murnberger, 'Come,<br />
Sweet Death' › Contemporary Austrian c<strong>in</strong>ema: the peculiar case of Come, Sweet Death<br />
(2000), Studies <strong>in</strong> European C<strong>in</strong>ema, 2.1, 45-54.<br />
Peter Stanfield<br />
University of Kent, School of Arts,<br />
Canterbury, CT2 7NX, United<br />
K<strong>in</strong>gdom<br />
Keywords film theory, auteurism,<br />
Lynda Miles, Peter Wollen<br />
Bland<strong>in</strong>e Stefanson<br />
The University of Adelaide, French<br />
Studies, School of Humanities,,<br />
Adelaide, 5008, Australia<br />
Keywords violence, culture, history,<br />
myth, film <strong>in</strong>terpretation<br />
› On the road to nowhere? – Contemporary Austrian popular film, New<br />
C<strong>in</strong>emas: Journal of Contemporary Film, 4.1, 67-.<br />
Peter Stanfield is Director of Film Studies and Co-Director of the<br />
centre for the <strong>in</strong>terdiscipl<strong>in</strong>ary Study of Film and The Mov<strong>in</strong>g Image at<br />
the University of Kent. His primary area of <strong>in</strong>terest is <strong>in</strong> the cultural<br />
history of American film, with a tw<strong>in</strong> focus on cycles of formulaic<br />
movies and the synergy between c<strong>in</strong>ema and other forms of popular<br />
culture, <strong>in</strong>clud<strong>in</strong>g music, comic book and sequential art, pulp novels<br />
and magaz<strong>in</strong>e fiction, and material culture.<br />
› Notes Toward a History of the Ed<strong>in</strong>burgh International Film Festival, 1969–<br />
77, Film International, 6.4, 62-71.<br />
Bland<strong>in</strong>e Stefanson taught French literature and c<strong>in</strong>ema at the<br />
University of Adelaide until 2002 and is now <strong>research</strong><strong>in</strong>g postcolonial<br />
cultures <strong>in</strong> West Africa and New Caledonia. She contributed book<br />
chapters and journal articles on postcolonial literatures and/or c<strong>in</strong>ema<br />
<strong>in</strong> Australian Journal of French Studies, Essays <strong>in</strong> French Literature,<br />
Etudes Francophones, Africultures, Dialogues et Cultures. She<br />
coord<strong>in</strong>ated Littérature de Nouvelle-Calédonie (Notre Librairie 134)<br />
and co-edited Les historiens africa<strong>in</strong>s et la mondialisation/African<br />
Historians and Globalization. She was Guest Editor for volume 1 of<br />
Journal of African C<strong>in</strong>emas (Issues 1 & 2) and is now co-editor of<br />
Directory of World C<strong>in</strong>ema: Africa (<strong>Intellect</strong> Books).<br />
› Renewal <strong>in</strong> African c<strong>in</strong>ema: genres and aesthetics, Journal of African<br />
C<strong>in</strong>emas, 1.1, 9-18.<br />
› Renewal <strong>in</strong> African c<strong>in</strong>ema: genres and aesthetics Issue 2: Aesthetics and<br />
ideology, Journal of African C<strong>in</strong>emas, 1.2, 139-140.<br />
› Violence <strong>in</strong> Souleymane Cissé's films: a cultural perspective, Journal of<br />
African C<strong>in</strong>emas, 1.2, 189-205.<br />
Liz Stephens Liz Stephens is a graduate of the Masters C<strong>in</strong>ema Studies programme
D.E. Shaw & Co, 120 W. 45th St,<br />
39th Floor, New York, 10036, United<br />
States of America<br />
Keywords Patti Smith, The Roll<strong>in</strong>g<br />
Stones, Happy-Go-Lucky, Doris<br />
Dörrie, Jesus Christus Erlöser<br />
Jörg Sternagel<br />
University of Potsdam, Institute for<br />
Arts and Media, Germany<br />
Keywords Michael Haneke, Daniel<br />
Auteuil, Juliette B<strong>in</strong>oche, act<strong>in</strong>g,<br />
spectatorship<br />
David Sterritt<br />
Keywords Jean-Luc Godard, 1950s<br />
at the Tisch School of the Arts NYU and currently lives <strong>in</strong> Brooklyn,<br />
NY. She has been the experimental programmer and a judge for the<br />
Brooklyn International Film Festival. She is also an experimental<br />
videographer and works with The Hartford Sound Alliance to create<br />
video art <strong>in</strong>stallations performed with live electronic and percussion<br />
music.<br />
› Festivals, Film International, 6.3, 88-96.<br />
› Book Reviews, Film International, 7.2, 74-83.<br />
› Festivals, Film International, 7.2, 84-97.<br />
› Book Reviews, Film International, 7.6, 79-84.<br />
Jörg Sternagel is Visit<strong>in</strong>g Lecturer <strong>in</strong> Film and Philosophy <strong>in</strong> the<br />
European Media Studies programme at the Institute for Arts and Media<br />
at the University of Potsdam. His <strong>research</strong> focus is film, philosophy<br />
and act<strong>in</strong>g <strong>in</strong> film. He is the author of a book on method act<strong>in</strong>g,<br />
Methodische Schauspielkunst und Amerikanisches K<strong>in</strong>o (Berl<strong>in</strong>, 2005),<br />
based on his Ph.D. thesis. He is currently work<strong>in</strong>g on his second book,<br />
There Is More than Meets the Eye: A Phenomenology of the Film<br />
Actor, a project funded by the Fritz Thyssen Foundation <strong>in</strong> Cologne<br />
between 2007 and 2008. Jörg Sternagel’s writ<strong>in</strong>g has appeared <strong>in</strong><br />
Bestattungskultur, C<strong>in</strong>etext – Film and Philosophy, Film Criticism,<br />
Literatur <strong>in</strong> Wissenschaft und Unterricht, and Mitteilungsheft der<br />
Gesellschaft für Medienwissenschaft.<br />
› From Inside Us: Experienc<strong>in</strong>g the Film Actor <strong>in</strong> Michael Haneke's Caché,<br />
Film International, 7.3, 50-61.<br />
› Book Reviews, Film International, 8.3, 72-79.<br />
David Sterritt is Chair of the National Society of Film Critics, Adjunct<br />
Professor <strong>in</strong> the School of Arts at Columbia University, and Professor<br />
Emeritus <strong>in</strong> the School of Visual and Perform<strong>in</strong>g Arts at Long Island<br />
University. He recently f<strong>in</strong>ished edit<strong>in</strong>g Jean-Luc Godard: Interviews,<br />
due later this year from University Press of Mississippi, and is now<br />
complet<strong>in</strong>g The Films of Jean-Luc Godard for the Cambridge Film<br />
Classics series of Cambridge University Press. His other books <strong>in</strong>clude<br />
Mad to Be Saved: The Beats, the '50s, and Film.<br />
› Book Reviews, Film International, 6.2, 67-70.
Brad Stevens<br />
Freelance Film Critic<br />
Keywords film history, edit<strong>in</strong>g,<br />
alternative edit<strong>in</strong>g<br />
Diane Stevenson<br />
Keywords Howard Hawks, Red<br />
River, Barbary Coast, romance,<br />
literary genres, Jean-Luc Godard,<br />
Mascul<strong>in</strong>e Fem<strong>in</strong><strong>in</strong>e, ‘Ontology of the<br />
Photographic Image’, <strong>in</strong>dexical sign,<br />
punctum<br />
Rob Stone<br />
Swansea University, Department of<br />
Translation and Digital<br />
Communication, Keir Hardie<br />
Build<strong>in</strong>g, S<strong>in</strong>gleton Park, Swansea,<br />
United K<strong>in</strong>gdom<br />
› DVD Reviews, Film International, 6.3, 60-75.<br />
› DVD Reviews, Film International, 7.3, 62-71.<br />
› Book Reviews, Film International, 7.4, 73-89.<br />
› DVD Reviews, Film International, 9.1, 63-77.<br />
Brad Stevens has contributed to many film magaz<strong>in</strong>es, <strong>in</strong>clud<strong>in</strong>g Sight<br />
and Sound, C<strong>in</strong>eaction and Video Watchdog, as well as the Senses of<br />
C<strong>in</strong>ema website. He is the author of Monte Hellman: His Life and<br />
Films (McFarland, 2003) and Abel Ferrara: The Moral Vision (FAB<br />
Press, 2004). He wrote sleeve notes for DVD releases of Full Metal<br />
Jacket, Shock Corridor, The Naked Kiss and The Driller Killer, and<br />
<strong>in</strong>terviewed Christopher Lee for VCI’s The City of the Dead disc. He<br />
recently worked as an <strong>in</strong>terviewee and consultant on Odyssey <strong>in</strong> Rome,<br />
a documentary about Abel Ferrara.<br />
› Return<strong>in</strong>g to the source: Notes on reread<strong>in</strong>g (and rewrit<strong>in</strong>g) film history,<br />
Film International, 4.20, 6-9.<br />
Diane Stevenson is a poet and <strong>in</strong>dependent scholar. She earned an<br />
M.F.A. and Ph.D. from Columbia University, where she wrote her<br />
dissertation under Edward Said and was his <strong>research</strong> assistant as he<br />
was writ<strong>in</strong>g Orientalism (1978). Her poems and essays have appeared<br />
<strong>in</strong> many publications, <strong>in</strong>clud<strong>in</strong>g The Nation, The Yale Review, C<strong>in</strong>easte<br />
and Mississippi Review. Her essay ‘How Photographs Made Me’ is<br />
forthcom<strong>in</strong>g <strong>in</strong> Raritan.<br />
› The mixture of genres <strong>in</strong> two films by Howard Hawks, Film International,<br />
7.6, 24-31.<br />
Professor Rob Stone directs Film and Media Studies at Swansea<br />
University. He is the author of Spanish C<strong>in</strong>ema (Harlow: Longman,<br />
2001), The Flamenco Tradition <strong>in</strong> the Works of Federico García Lorca<br />
and Carlos Saura (Edw<strong>in</strong> Mellen Press, 2004), Julio Medem<br />
(Manchester University Press, 2006) and Walk, Don't Run: The C<strong>in</strong>ema<br />
of Richard L<strong>in</strong>klater (Columbia University Press / Wallflower, 2011).<br />
His specialist subjects are Independent American C<strong>in</strong>ema; European,
Keywords Spanish c<strong>in</strong>ema, Basque,<br />
American c<strong>in</strong>ema, politics of<br />
aesthetics<br />
Dana Strand<br />
Carleton College, Department of<br />
French, Carleton College, Northfield,<br />
MN, 55057, United States of America<br />
Keywords Cantet, language,<br />
education, national identity, Entre les<br />
murs<br />
Mark Straw<br />
Birm<strong>in</strong>gham University, Deptartment<br />
of American and Canadian Studies,<br />
Edgbaston, Birm<strong>in</strong>gham, B15 2TT,<br />
United K<strong>in</strong>gdom<br />
Keywords mascul<strong>in</strong>ity, Gulf War,<br />
Hollywood c<strong>in</strong>ema, memory,<br />
whiteness<br />
Basque, Spanish and Lat<strong>in</strong> American C<strong>in</strong>ema; Film theory and the<br />
politics of aesthetics; American television drama; Spanish and Basque<br />
literature and cultural studies.<br />
› Animals were harmed dur<strong>in</strong>g the mak<strong>in</strong>g of this film. A cruel reality <strong>in</strong><br />
Hispanic c<strong>in</strong>ema, Studies <strong>in</strong> Hispanic C<strong>in</strong>emas, 1.2, 75-84.<br />
› Reviews, Studies <strong>in</strong> Hispanic C<strong>in</strong>emas, 3.1, 65-.<br />
› Mapp<strong>in</strong>g the gendered space of the Basque Country, Studies <strong>in</strong> European<br />
C<strong>in</strong>ema, 1.1, 43-56.<br />
› Editorial, Studies <strong>in</strong> European C<strong>in</strong>ema, 1.2, 73-76.<br />
› Screen<strong>in</strong>g identities at and beyond Europe's borders, New C<strong>in</strong>emas: Journal<br />
of Contemporary Film, 4.2, 79-82.<br />
› Time of death, Short Film Studies, 1.2, 183-186.<br />
Dana Strand is Andrew W. Mellon Professor of French and the<br />
Humanities at Carleton College <strong>in</strong> Northfield, M<strong>in</strong>nesota. She is the<br />
author of Colette: A Study of the Short Fiction (Twayne, 1995) and coeditor<br />
of French Cultural Studies: Criticism at the Crossroads (SUNY<br />
Press, 2000). She has also published articles on the French writer,<br />
Michel Butor, francophone literature and French film. She is currently<br />
work<strong>in</strong>g on a study of place and identity <strong>in</strong> contemporary French<br />
fiction and film.<br />
› Être et parler: Be<strong>in</strong>g and speak<strong>in</strong>g French <strong>in</strong> Abdellatif Kechiche's L'Esquive<br />
(2004) and Laurent Cantet's Entre les murs (2008), Studies <strong>in</strong> French<br />
C<strong>in</strong>ema, 9.3, 259-272.<br />
Mark Straw is a Ph.D. student <strong>in</strong> the Department of American and<br />
Canadian Studies at the University of Birm<strong>in</strong>gham, UK. He received a<br />
BA <strong>in</strong> English Language and Literature from the University of Leeds,<br />
UK, and an MPhil <strong>in</strong> American Literature and Film from the University<br />
of Birm<strong>in</strong>gham. His current area of <strong>research</strong> exam<strong>in</strong>es masochistic<br />
male subjectivity and spectatorship <strong>in</strong> contemporary war films, media<br />
representation of war, and Hollywood film as a form of neo-imperial<br />
public diplomacy. He teaches courses on film aesthetics and theory,<br />
and North American C<strong>in</strong>ema.<br />
› Traumatized mascul<strong>in</strong>ity and American national identity <strong>in</strong> Hollywood’s<br />
Gulf war, New C<strong>in</strong>emas: Journal of Contemporary Film, 6.2, 127-143.
Sarah Street<br />
University of Bristol, Drama<br />
Department: Theatre, Film, TV,<br />
Cantocks Close, Woodland Road,<br />
Bristol, Avon, BS8 1UP, United<br />
K<strong>in</strong>gdom<br />
Keywords film musical, Jessie<br />
Matthews, British c<strong>in</strong>ema,<br />
orientalism, production<br />
Julian Str<strong>in</strong>ger<br />
University of Nott<strong>in</strong>gham, Culture,<br />
Film and Media, University Park,<br />
Nott<strong>in</strong>gham, NG7 2RD, United<br />
K<strong>in</strong>gdom<br />
Keywords counter-public sphere,<br />
speech-act theory, epideictic<br />
discourse, community<br />
Vlad Strukov<br />
University of Leeds, Leeds, LS2 9JT,<br />
United K<strong>in</strong>gdom<br />
Keywords mysticism, symbolism,<br />
psychoanalysis, affective states,<br />
retribution<br />
Sarah Street is Professor of Film at the University of Bristol. Her<br />
publications <strong>in</strong>clude C<strong>in</strong>ema and State: the Film Industry and the<br />
British Government, 1927–84 (co-authored with Margaret Dick<strong>in</strong>son,<br />
BFI, 1985); British National C<strong>in</strong>ema (Routledge, 1997); British<br />
C<strong>in</strong>ema <strong>in</strong> Documents (Routledge, 2000); Costume and C<strong>in</strong>ema: Dress<br />
Codes <strong>in</strong> Popular Film (Wallflower, 2001) and Transatlantic<br />
Cross<strong>in</strong>gs: British Feature Films <strong>in</strong> the USA (Cont<strong>in</strong>uum, 2002). She<br />
has also co-edited three books, European C<strong>in</strong>ema: an Introduction<br />
(with Jill Forbes, Macmillan/Palgrave, 2000); Mov<strong>in</strong>g Performance:<br />
British Stage and Screen (with L<strong>in</strong>da Fitzsimmons, Flicks Books,<br />
2000) and The Titanic <strong>in</strong> Myth and Memory: Representations <strong>in</strong> Visual<br />
and Literary Culture (with Tim Bergfelder, I.B. Tauris, 2004).<br />
› ‘Got to Dance my Way to Heaven’: Jessie Matthews, art deco and the British<br />
musical of the 1930s, Studies <strong>in</strong> European C<strong>in</strong>ema, 2.1, 19-30.<br />
Julian Str<strong>in</strong>ger is Associate Professor of Film and Television Studies at<br />
the University of Nott<strong>in</strong>gham and co-ord<strong>in</strong>at<strong>in</strong>g editor of Scope: An<br />
Onl<strong>in</strong>e Journal of Film and Television Studies<br />
(www.scope.nott<strong>in</strong>gham.ac.uk). He has published widely on<br />
Hollywood, East Asian C<strong>in</strong>ema (Ch<strong>in</strong>ese, Japanese, Korean), and the<br />
history and culture of <strong>in</strong>ternational film festivals. His latest book is<br />
Japanese C<strong>in</strong>ema: Texts and Contexts (coedited with Alastair Phillips,<br />
Routledge, 2007).<br />
› Genre Films and Festival Communities: Lessons from Nott<strong>in</strong>gham, 1991–<br />
2000, Film International, 6.4, 53-60.<br />
Vlad Strukov has an appo<strong>in</strong>tment at the University of Leeds, School of<br />
Modern Languages and Cultures. He is an Assistant Professor <strong>in</strong><br />
Russian Cultural Studies <strong>in</strong> the Department of German, Russian and<br />
Slavonic Studies, and an Assistant Professor <strong>in</strong> Digital Film <strong>in</strong> the<br />
Centre for World C<strong>in</strong>emas. He is the found<strong>in</strong>g editor of Digital Icons:<br />
Studies <strong>in</strong> Russian, Eurasian, and Central European New Media and an<br />
<strong>in</strong>dependent new media and animation curator. He is the author of<br />
many publications on Russian film, animation, digital media especially<br />
the Internet and popular culture, <strong>in</strong>clud<strong>in</strong>g the most recent volume<br />
Celebrity and Glamour <strong>in</strong> Contemporary Russian Culture: Shock<strong>in</strong>g<br />
Chic (Routledge 2010).<br />
› Review, New C<strong>in</strong>emas: Journal of Contemporary Film, 8.2, 141-143.
Gustavo Subero<br />
Coventry University, West Midlands,<br />
United K<strong>in</strong>gdom<br />
Keywords queer diaspora, queer<br />
identity, Lat<strong>in</strong> American<br />
homosexuality, entendidos, machismo<br />
Shreerekha Subramanian<br />
University of Houston-Clear Lake,<br />
2700 Bay Area Boulevard, Suite<br />
2617, Houston, Texas, 77058, United<br />
States of America<br />
Keywords community <strong>in</strong> the<br />
contemporary novel, Caribbean and<br />
African American literature, Indian<br />
c<strong>in</strong>ema,<br />
Richard Suchenski<br />
C/o Bard Film and Electronic Arts<br />
› Nemesis or mimesis? The theme of retribution <strong>in</strong> contemporary Russian<br />
c<strong>in</strong>ema, Studies <strong>in</strong> Russian and Soviet C<strong>in</strong>ema, 4.2, 135-136.<br />
› For all <strong>who</strong> draw the sword will die by the sword: the symbolism of Filipp<br />
Iankovskii's The Sword Bearer, Studies <strong>in</strong> Russian and Soviet C<strong>in</strong>ema, 4.2,<br />
171-185.<br />
Dr Gustavo Subero is a senior lecturer <strong>in</strong> Cultural Studies at Coventry<br />
University, where he teaches courses on Lat<strong>in</strong> American Cultural<br />
Studies and Hispanic C<strong>in</strong>ema, as well as courses on Global Media and<br />
Representation(s) to undergraduate students. His ma<strong>in</strong> areas of <strong>research</strong><br />
are queer mascul<strong>in</strong>ity <strong>in</strong> film and media <strong>in</strong> Lat<strong>in</strong> America, queer<br />
authorship <strong>in</strong> Lat<strong>in</strong> America, queer literatures <strong>in</strong> Lat<strong>in</strong> American and<br />
the Caribbean, and HIV/AIDS representations <strong>in</strong> contemporary Lat<strong>in</strong><br />
American culture.<br />
› The different cam<strong>in</strong>os of Lat<strong>in</strong>o homosexuality <strong>in</strong> Francisco J. Lombardi's<br />
No se lo Digas a Nadie, Studies <strong>in</strong> Hispanic C<strong>in</strong>emas, 2.3, 189-204.<br />
› Gay male pornography and the re/de/construction of postcolonial queer<br />
identity <strong>in</strong> Mexico, New C<strong>in</strong>emas: Journal of Contemporary Film, 8.2, 119-<br />
136.<br />
› REVIEWS, Transnational C<strong>in</strong>emas, 2.1, 113-125.<br />
Shreerekha Subramanian is Assistant Professor of Humanities at the<br />
University of Houston-Clear Lake. She earned a Ph.D. <strong>in</strong> Comparative<br />
Literature from Rutgers University, and is currently at work on a<br />
monograph on notions of community <strong>in</strong> the contemporary novel. She<br />
has published several chapters on Caribbean and African American<br />
literatures, and also writes on Indian c<strong>in</strong>ema. She is the first recipient<br />
of the Marilyn Mieszkuc Professorship <strong>in</strong> Women's Studies at the<br />
University of Houston-Clear Lake.<br />
› Book Reviews, Studies <strong>in</strong> South Asian Film & Media, 2.1, 61-66.<br />
Richard Suchenski is Assistant Professor of Film and Electronic Arts at<br />
Bard College. He is a jo<strong>in</strong>t-Ph.D. candidate <strong>in</strong> Film Studies and History<br />
of Art at Yale University, <strong>who</strong>se <strong>research</strong> focuses primarily on the
Program, 30 Campus Road,<br />
Annandale-on-Hudson, NY, 12504,<br />
United States of America<br />
Keywords c<strong>in</strong>ematic modernism,<br />
utopian romanticism, c<strong>in</strong>ematic longform<br />
John Sundholm<br />
Karlstad University, Film Studies,<br />
Faculty of Arts and Education,<br />
Karlstad, SE-65188, Sweden<br />
Keywords experimental film, m<strong>in</strong>or<br />
c<strong>in</strong>emas, memory, deixis, Malcolm<br />
Le Grice, Gunvor Nelson,<br />
amateurism, F<strong>in</strong>nish c<strong>in</strong>ema, Swedish<br />
c<strong>in</strong>ema<br />
Asuman Suner<br />
Sabanci University, Faculty of Arts<br />
and Social Sciences, Istanbul, Turkey<br />
Keywords nostalgia, memory, new<br />
wave Turkish c<strong>in</strong>ema, popular<br />
c<strong>in</strong>ema, political c<strong>in</strong>ema<br />
development of c<strong>in</strong>ematic modernism <strong>in</strong>ternationally and on the<br />
relationship between film and the other arts. His dissertation is entitled<br />
‘Utopian Romanticism and the Poetics of Scale: Modernist<br />
Explorations of the C<strong>in</strong>ematic Long Form’.<br />
› Turn Aga<strong>in</strong>, Tourneur: Maurice Tourneur between France and Hollywood,<br />
Studies <strong>in</strong> French C<strong>in</strong>ema, 11.2, 87-100.<br />
John Sundholm is Associate Professor of Film Studies at Karlstad<br />
University, Sweden and on the exam<strong>in</strong>ation board of the Ph.D.<br />
programme <strong>in</strong> F<strong>in</strong>e Arts at the Academy of F<strong>in</strong>e Arts <strong>in</strong> Hels<strong>in</strong>ki,<br />
F<strong>in</strong>land. He has written extensively on experimental film and memory<br />
studies. Together with Lars Gustaf Andersson he is work<strong>in</strong>g on a<br />
<strong>research</strong> project titled ‘The Cultural Politics of M<strong>in</strong>or C<strong>in</strong>ema' (2010–<br />
2012), funded by the Swedish Research Council. Recent books (as<br />
editor or co-editor) Gunvor Nelson and the Avant-garde (2003);<br />
Memory Work (2005); Collective Traumas (2006); A History of<br />
Swedish Experimental Film Culture: From Early Animation to Video<br />
Art (2010, co-written with LG Andersson and Astrid Söderbergh<br />
Widd<strong>in</strong>g). Essays <strong>in</strong> Canadian Journal of Film Studies, Framework,<br />
New C<strong>in</strong>emas and Studies <strong>in</strong> European C<strong>in</strong>ema.<br />
› ‘I am a rh<strong>in</strong>oceros’: memory and the ethics and aesthetics of materiality <strong>in</strong><br />
film, Studies <strong>in</strong> European C<strong>in</strong>ema, 2.1, 55-64.<br />
› Amateur and avant-garde: m<strong>in</strong>or c<strong>in</strong>emas and public sphere <strong>in</strong> 1950s<br />
Sweden, Studies <strong>in</strong> European C<strong>in</strong>ema, 5.3, 207-218.<br />
› Contemporary c<strong>in</strong>ematic work from F<strong>in</strong>land: The non-place of c<strong>in</strong>ema and<br />
identity, New C<strong>in</strong>emas: Journal of Contemporary Film, 4.2, 83-92.<br />
› DVD Reviews, Film International, 8.3, 62-71.<br />
› DVD Reviews, Film International, 8.4, 65-77.<br />
Asuman Suner teaches at Sabanci University <strong>in</strong> Istanbul. Apart from<br />
several journal and book articles, she has written a monograph entitled<br />
Hayalet Ev: Yeni Türk S<strong>in</strong>emasında Aidiyet, Kimlik ve Bellek (Spectral<br />
Home: Belong<strong>in</strong>g, Identity and Memory <strong>in</strong> the New Turkish C<strong>in</strong>ema)<br />
published by Metis Press <strong>in</strong> 2006. The English edition of this book is<br />
published by I.B. Tauris Press under the title New Turkish C<strong>in</strong>ema:<br />
Belong<strong>in</strong>g, Identity and Memory.<br />
› Silenced memories: notes on remember<strong>in</strong>g <strong>in</strong> new Turkish c<strong>in</strong>ema, New
Jim Supanick<br />
Keywords Tearoom, camera<br />
Surveillance, Mansfield 1962, gay<br />
rights, sodomy laws<br />
Alfredo Luiz Suppia<br />
Keywords Brazilian c<strong>in</strong>ema, fantasy,<br />
chanchadas, terrir, Brazilian New<br />
C<strong>in</strong>ema/C<strong>in</strong>ema Novo<br />
Heather Sutherland<br />
University of Read<strong>in</strong>g, Department of<br />
Film, Theatre & Television,<br />
Bulmershe Court, Read<strong>in</strong>g, RG6<br />
1HY, United K<strong>in</strong>gdom<br />
Keywords licence fee, commercial<br />
break, public service broadcast<strong>in</strong>g,<br />
BBC, comedy<br />
C<strong>in</strong>emas: Journal of Contemporary Film, 7.1, 71-81.<br />
Jim Supanick makes video and writes about the mov<strong>in</strong>g image and the<br />
visual arts. He has contributed to such publications as Film Comment,<br />
Millennium Film Journal, C<strong>in</strong>easte, The Wire, The Brooklyn Rail, and<br />
others.<br />
› Last Year at Mansfield: William E. Jones’s Tearoom, Film International, 7.1,<br />
12-15.<br />
Alfredo Luiz Suppia is Assistant Professor at Pontificia Universidade<br />
Católica de Camp<strong>in</strong>as (PUCC).<br />
› Science Fiction <strong>in</strong> the Brazilian C<strong>in</strong>ema: A Brief Overview, Film<br />
International, 6.2, 6-13.<br />
Heather Sutherland is the Post-doctoral Researcher for the<br />
AHRC/University of Read<strong>in</strong>g Act<strong>in</strong>g with Facts project. She was<br />
previously a member of another AHRC-funded team, work<strong>in</strong>g on<br />
Volume VI of the Official History of the BBC. Her Ph.D.‘Where is the<br />
Public Service <strong>in</strong> Light Enterta<strong>in</strong>ment? An Historical Study of the<br />
Work<strong>in</strong>gs of the BBC Television Light Enterta<strong>in</strong>ment Group, 1975–<br />
1987’ (2007) was l<strong>in</strong>ked to this project.<br />
› Embedded actors as markers of authenticity: Act<strong>in</strong>g the real <strong>in</strong> Troubles<br />
docudramas, Studies <strong>in</strong> Documentary Film, 4.3, 267-281.<br />
› Competitive writ<strong>in</strong>g: BBC Public Service television light enterta<strong>in</strong>ment and<br />
comedy <strong>in</strong> the 1970s and 1980s, Journal of Screenwrit<strong>in</strong>g, 2.1, 7-23.<br />
Paul Sutton Paul Sutton is Pr<strong>in</strong>cipal Lecturer <strong>in</strong> Film and Head of Media, Culture
Roehampton University, Department<br />
of Media, Culture and Language<br />
Keywords auteur, Berlusconi, Il<br />
Caimano, c<strong>in</strong>ema, television<br />
V<strong>in</strong>ay Swamy<br />
University of Wash<strong>in</strong>gton, Division<br />
of French and Italian Studies<br />
Keywords homosexuality, family,<br />
k<strong>in</strong>ship, couple, marriage, French<br />
c<strong>in</strong>ema<br />
Susan Sydney-Smith<br />
University of Central Lancashire<br />
(UCLAN), United K<strong>in</strong>gdom<br />
Keywords crime, documentary,<br />
female police, gender, fem<strong>in</strong>ism<br />
and Language at Roehampton University. He has <strong>in</strong>terests <strong>in</strong> Italian<br />
and French c<strong>in</strong>ema, film theory and critical theory. He has published <strong>in</strong><br />
journals such as Screenand French Studies and is currently writ<strong>in</strong>g<br />
Remak<strong>in</strong>g Film: In History, In Theory, for Blackwell.<br />
› ‘Say Someth<strong>in</strong>g Left-W<strong>in</strong>g!’ Nanni Moretti's Il Caimano, Studies <strong>in</strong><br />
European C<strong>in</strong>ema, 6.2&3, 141-152.<br />
› From the everyday to the universal: The War Is Over, Short Film Studies,<br />
1.1, 33-36.<br />
V<strong>in</strong>ay Swamy is an assistant professor of French at the University of<br />
Wash<strong>in</strong>gton, Seattle, where he teaches contemporary Francophone<br />
literature and film. His publications <strong>in</strong>clude essays on novels by Azouz<br />
Begag and Maryse Condé, Hanif Kureishi’s My Beautiful Laundrette<br />
and on the PaCS debate and k<strong>in</strong>ship structures <strong>in</strong> contemporary French<br />
films. He is complet<strong>in</strong>g a book length study entitled Interpret<strong>in</strong>g the<br />
Republic: Marg<strong>in</strong>alization and Resistance <strong>in</strong> Postcolonial<br />
Metropolitan French Novels and Films.<br />
› Gallic dreams? The family, PaCS and k<strong>in</strong>ship relations <strong>in</strong> millennial France,<br />
Studies <strong>in</strong> French C<strong>in</strong>ema, 6.1, 53-64.<br />
› Marivaux <strong>in</strong> the suburbs: Refram<strong>in</strong>g language <strong>in</strong> Kechiche's L'Esquive<br />
(2003), Studies <strong>in</strong> French C<strong>in</strong>ema, 7.1, 57-.<br />
Susan Sydney-Smith is Associate Researcher <strong>in</strong> Film and Media,<br />
Department of Journalism at the University of Central Lancashire<br />
(UCLAN), Preston, UK. She was awarded her Ph.D. from Film and<br />
Media with<strong>in</strong> the Department of English and American Studies at the<br />
University of East Anglia (UEA) and is the author of Beyond Dixon of<br />
Dock Green (2002). Her <strong>research</strong> <strong>in</strong>terests <strong>in</strong>clude the development of<br />
popular television fictions, especially the television police series. She is<br />
currently <strong>research</strong><strong>in</strong>g her new book, The Great British Cop Show.<br />
› Buddies, bitches, broads: the British female cop show, Film International,<br />
7.2, 46-58.
Jeremi Szaniawski<br />
Yale University, Slavic Languages<br />
and Literatures, PO Box 208236, New<br />
Haven, Connecticut, United States of<br />
America<br />
Keywords space, history, Quent<strong>in</strong><br />
Tarant<strong>in</strong>o, 'trans'modernism, horror<br />
c<strong>in</strong>ema<br />
Lars-Mart<strong>in</strong> Sørensen<br />
Danish Film Institute, The<br />
C<strong>in</strong>emateque, Gothersgade,<br />
Copenhagen, Denmark<br />
Keywords film theory, history,<br />
Japanese c<strong>in</strong>ema, Danish c<strong>in</strong>ema<br />
Gert Sørensen<br />
University of Copenhagen,<br />
Department of English, Germanic and<br />
Romance Studies, Njalsgade 124,<br />
Copenhagen K, 2300, Denmark<br />
Keywords Italian politics, Italian<br />
media, mediatization of politics,<br />
Italian culture, Italian history<br />
Jeremi Szaniawski is a Belgian graduate student at Yale University <strong>in</strong><br />
the jo<strong>in</strong>t Slavic and Film Studies programme. Fields of <strong>in</strong>terest on<br />
which he has published <strong>in</strong> English <strong>in</strong>clude the films of Ingmar<br />
Bergman, Quent<strong>in</strong> Tarant<strong>in</strong>o, Andre Baz<strong>in</strong>, modernism,<br />
postmodernism, postfem<strong>in</strong>ism and what he has branded<br />
'trans'modernism <strong>in</strong> contemporary c<strong>in</strong>ema. He has also taught classes<br />
on Horror c<strong>in</strong>ema at Yale. His dissertation topic centers on the feature<br />
films of Alexander Sokurov, with <strong>who</strong>m he conducted an <strong>in</strong>terview<br />
published <strong>in</strong> Critical Inquiry. In 2010, he also translated Thomas<br />
Elsaesser's and Malte Hagener's Film Theory: an Introduction Through<br />
the Senses <strong>in</strong>to French, for the Presses Universitaires de Rennes.<br />
› Historic space <strong>in</strong> Sokurov's Moloch, Taurus and The Sun, Studies <strong>in</strong> Russian<br />
and Soviet C<strong>in</strong>ema, 1.2, 147-162.<br />
Lars-Mart<strong>in</strong> Sørensen is a postdoctoral <strong>research</strong> fellow at the Section<br />
of Film & Media Studies, University of Copenhagen. He obta<strong>in</strong>ed his<br />
Ph.D. <strong>in</strong> Film Studies from the same academic <strong>in</strong>stitution. He has<br />
published numerous articles on Japanese film, is a co-editor of the<br />
peer-reviewed film journal Kosmorama, and a member of the steer<strong>in</strong>g<br />
committee of the Nordic Association for the Study of Contemporary<br />
Japan (NAJS).<br />
› Animated animism – the global ways of Japan’s national spirits, Northern<br />
Lights: Film & Media Studies Yearbook, 6.1, 181-196.<br />
Gert Sørensen, is associate professor <strong>in</strong> Italian at the Department of<br />
English, Germanic and Romance Studies, University of Copenhagen.<br />
His ma<strong>in</strong> <strong>research</strong> areas are European cultural history, European<br />
<strong>in</strong>tellectuals, Italy and the role of Italy <strong>in</strong> Europe. His dissertation was<br />
on Gramsci and he has also published a book <strong>in</strong> Danish on Berlusconi,<br />
Berlusconi og den moderne fyrste. Om demokratiets tilstand i et land i<br />
Europa/Berlusconi and the modern pr<strong>in</strong>cipe. The state of Democracy<br />
<strong>in</strong> a European Country (2008). He has published numereous books and<br />
articles <strong>in</strong> both Danish, Italian and English.<br />
› Berlusconi and the post-democratic reorganization of politics, Northern<br />
Lights: Film & Media Studies Yearbook, 7.1, 95-112.
Bjørn Sørenssen<br />
Norweigan University of Science and<br />
Technology, Department of Art and<br />
Media Sciences, Trondheim, N-7491,<br />
Norway<br />
Keywords history, web 2.0, public<br />
sphere, Habermas, digital<br />
documentary, Le Giornate del c<strong>in</strong>ema<br />
muto<br />
Philip Tagg<br />
University of Montreal, Department<br />
of Music, Canada<br />
Keywords musical mean<strong>in</strong>g,<br />
anaphone, genre, synecdoche, gesture,<br />
The Dream of Olwen, The Sound of<br />
Music<br />
Raija Talvio<br />
Aalto University, School of Art and<br />
Design, Hämeentie 135 C, Hels<strong>in</strong>ki,<br />
F<strong>in</strong>land<br />
Keywords screenwrit<strong>in</strong>g, film<br />
history, national c<strong>in</strong>emas,<br />
professional identity<br />
Kenneth Paul Tan<br />
National University of S<strong>in</strong>gapore, Lee<br />
Kuan Yew School of Public Policy,<br />
469C Bukit Timah Road, 259772,<br />
Bjørn Sørenssen is Professor of Film and and Media at the Department<br />
of Art and Media Studies at the Norwegian University of Science and<br />
Technology, Trondheim. His ma<strong>in</strong> <strong>research</strong> <strong>in</strong>terests are <strong>in</strong> film history,<br />
documentary and new media technology. He has published a<br />
considerable number of articles <strong>in</strong>ternationally on these themes <strong>in</strong><br />
addition to articles and books <strong>in</strong> Norwegian, among these Å fange<br />
virkeligheten: Dokumentarfilmens århundre (Catch<strong>in</strong>g Reality: The<br />
Century of the Documentary, 2001, 2nd edition 2007).<br />
› Digital video and Alexandre Astruc's caméra-stylo: the new avant-garde <strong>in</strong><br />
documentary realized?, Studies <strong>in</strong> Documentary Film, 2.1, 47-59.<br />
› Le Giornate del C<strong>in</strong>ema Muto, Pordenone 2007, Film International, 6.4, 77-<br />
81.<br />
Philip Tagg is Professor of Musicology at the Music Department of the<br />
University of Montreal. His essay 'Read<strong>in</strong>g Sounds' is <strong>in</strong>cluded <strong>in</strong> the<br />
anthology The Popular Music Reader edited by Barry Shank<br />
(Routledge: 2005).<br />
› Gestural Interconversion and Connotative Precision, Film International,<br />
3.13, 20-31.<br />
Raija Talvio is a screenwriter and playwright currently work<strong>in</strong>g on her<br />
Ph.D. <strong>in</strong> screenwrit<strong>in</strong>g at Aalto University School of Art and Design<br />
(formerly the University of Art and Design Hels<strong>in</strong>ki), as one of the<br />
<strong>research</strong>ers of the Aristotle <strong>in</strong> Change Project funded by the Academy<br />
of F<strong>in</strong>land. She is also a screenwrit<strong>in</strong>g tutor and former film editor.<br />
› ‘First of all, the screenplay problem has to be solved’ – the public debate on<br />
screenwrit<strong>in</strong>g <strong>in</strong> 1930s F<strong>in</strong>land, Journal of Screenwrit<strong>in</strong>g, 1.2, 325-342.<br />
Kenneth Paul Tan is associate professor at the National University of<br />
S<strong>in</strong>gapore's Lee Kuan Yew School for Public Policy. He has written<br />
extensively on S<strong>in</strong>gapore, particularly on governance, multiculturalism<br />
and the culture <strong>in</strong>dustry. His publications <strong>in</strong>clude Renaissance<br />
S<strong>in</strong>gapore? Economy, Culture, and Politics (National University of
S<strong>in</strong>gapore<br />
Keywords violence, Eric Khoo, Tan<br />
P<strong>in</strong> P<strong>in</strong>, S<strong>in</strong>gapore c<strong>in</strong>ema<br />
E.K. Tan<br />
Stony Brook University, Department<br />
of Comparative Literary and Cultural<br />
Studies, 2120 Humanities Build<strong>in</strong>g,<br />
Stony Brook, NY, United States of<br />
America<br />
Keywords Nyonya and Baba,<br />
Nanyang Ch<strong>in</strong>ese, Ch<strong>in</strong>ese identities,<br />
Hong Kong c<strong>in</strong>ema<br />
Michael Tapper<br />
Lund University, Centre for<br />
Languages and Literature<br />
Keywords crime fiction, horror,<br />
science fiction, genre, film history,<br />
Swedish c<strong>in</strong>ema, American c<strong>in</strong>ema,<br />
ideology, class, film and mass media<br />
S<strong>in</strong>gapore Press, 2007) and C<strong>in</strong>ema and Television <strong>in</strong> S<strong>in</strong>gapore:<br />
Resistance <strong>in</strong> One Dimension (Brill, 2008).<br />
› Violence and the supernatural <strong>in</strong> S<strong>in</strong>gapore c<strong>in</strong>ema, New C<strong>in</strong>emas: Journal<br />
of Contemporary Film, 8.3, 213-223.<br />
E. K. Tan is an Assistant Professor at the State University of New York<br />
at Stony Brook <strong>in</strong> the Department of Comparative Literary and Cultural<br />
Studies. His <strong>research</strong> <strong>in</strong>terests <strong>in</strong>clude S<strong>in</strong>ophone studies, Southeast<br />
Asian studies, Ch<strong>in</strong>ese-language c<strong>in</strong>emas, theories of cultural<br />
translation and postcolonialism. He is work<strong>in</strong>g on a book manuscript<br />
entitled Translational Identity: Articulations of Ch<strong>in</strong>eseness <strong>in</strong><br />
Narratives of the Nanyang Diaspora.<br />
› Hong Kong c<strong>in</strong>ema and the portrayal of the Nanyang Ch<strong>in</strong>ese <strong>in</strong> the 1950s<br />
and 1960s, Journal of Ch<strong>in</strong>ese C<strong>in</strong>emas, 4.2, 155-168.<br />
Michael Tapper is former editor-<strong>in</strong>-chief of Film International (2003-<br />
04) and its Swedish predecessor Filmhäftet (1998-2002). He has a<br />
Ph.D. <strong>in</strong> C<strong>in</strong>ema Studies at Lund University, Sweden, and besides<br />
writ<strong>in</strong>g books on film he is a film critic at Sydsvenska Dagbladet s<strong>in</strong>ce<br />
1999 and regular contributor to Nationalencykloped<strong>in</strong> s<strong>in</strong>ce 1989 (web<br />
edition at: www.ne.se s<strong>in</strong>ce 1996). He was on the editorial board of<br />
C<strong>in</strong>ema Journal 2003-07 and has contributed to Historical Journal of<br />
Film, Radio and Television as well as cont<strong>in</strong>u<strong>in</strong>g to contribute to Film<br />
International.<br />
› Editorial, Film International, 1.1, 4-4.<br />
› Editorial, Film International, 1.3, 3-3.<br />
› Editorial, Film International, 1.5, 3-3.<br />
› Editorial 1,2, Film International, 1.6, 3-3.<br />
› Editorial, Film International, 2.7, 3-3.<br />
› Editorial, Film International, 2.9, 3-3.<br />
› Editorial, Film International, 2.11, 3-3.<br />
› Editorial, Film International, 2.12, 3-3.<br />
› Editorial, Film International, 3.14, 3-3.<br />
› A fistful of DVDs (and a few tips on what to read <strong>in</strong> between the films), Film<br />
International, 4.19, 9-13.
Carrie Tarr<br />
K<strong>in</strong>gston University<br />
Keywords identity, anti-semitism,<br />
banlieue, diaspora, community<br />
Sharon L<strong>in</strong> Tay<br />
Middlesex University, Film Studies,<br />
Middlesex University, Cat Hill, Herts,<br />
EN48HT, United K<strong>in</strong>gdom<br />
Keywords world c<strong>in</strong>ema, fem<strong>in</strong>ist<br />
politics, film-mak<strong>in</strong>g practices<br />
› Beyond the banal surface of reality: Terry Gilliam <strong>in</strong>terview, Film<br />
International, 4.19, 60-69.<br />
› Short takes, Film International, 4.19, 75-77.<br />
› Editorial Issue 38, Film International, 7.2, 4-5.<br />
› ‘More than ABBA and sk<strong>in</strong>ny-dipp<strong>in</strong>g <strong>in</strong> mounta<strong>in</strong> lakes’: Swedish dystopia,<br />
Henn<strong>in</strong>g Mankell and the British Wallander series, Film International, 7.2,<br />
60-69.<br />
› Book Reviews, Film International, 7.3, 72-78.<br />
› DVD Reviews, Film International, 8.5, 70-81.<br />
Carrie Tarr is Visit<strong>in</strong>g Professor of Film at K<strong>in</strong>gston University, UK.<br />
She has published on gender and ethnicity <strong>in</strong> French c<strong>in</strong>ema <strong>in</strong> various<br />
edited collections and journals, <strong>in</strong>clud<strong>in</strong>g Screen and Studies <strong>in</strong> French<br />
C<strong>in</strong>ema. She is currently work<strong>in</strong>g on women's fimmak<strong>in</strong>g <strong>in</strong> France <strong>in</strong><br />
the 2000s and on Franco-African c<strong>in</strong>ematic connections. Her<br />
publications <strong>in</strong>clude Diane Kurys (1999), Women, Immigration and<br />
Identities <strong>in</strong> France (co-edited with Jane Freedman, 2000), C<strong>in</strong>ema and<br />
the Second Sex: Women’s Filmmak<strong>in</strong>g <strong>in</strong> France <strong>in</strong> the 1980s and<br />
1990s (with Brigitte Rollet, 2001), Refram<strong>in</strong>g Difference: beur and<br />
banlieue c<strong>in</strong>ema <strong>in</strong> France (2005), A ‘Belle Epoque’? Women <strong>in</strong><br />
French Society and Culture 1890–1914 (co-edited with Diana Holmes,<br />
2006).<br />
› Fem<strong>in</strong>ist <strong>in</strong>fluences on the work of Yannick Bellon <strong>in</strong> the 1970s, Studies <strong>in</strong><br />
French C<strong>in</strong>ema, 3.1, 55-.<br />
› The Porosity of the Hexagon: Border Cross<strong>in</strong>gs <strong>in</strong> Contemporary French<br />
C<strong>in</strong>ema, Studies <strong>in</strong> European C<strong>in</strong>ema, 4.1, 7-20.<br />
Sharon L<strong>in</strong> Tay is Lecturer <strong>in</strong> Film Studies at Middlesex University <strong>in</strong><br />
London, where she teaches world c<strong>in</strong>ema, film theory and digital<br />
culture. Her <strong>in</strong>terests lie with fem<strong>in</strong>ist politics, film theory and filmmak<strong>in</strong>g<br />
practices. She has published her articles widely and is currently<br />
prepar<strong>in</strong>g a book about fem<strong>in</strong>ist ethics and women's film-mak<strong>in</strong>g<br />
practices.<br />
› Undisclosed Recipients, Studies <strong>in</strong> Documentary Film, 2.1, 79-98.
Kate E Taylor<br />
University of Wales, School of<br />
Creative Studies and Media, Bangor,<br />
Gwynedd, LL57 2DG, United<br />
K<strong>in</strong>gdom<br />
Keywords visual culture, colonial<br />
c<strong>in</strong>ema, Japan, Korea, Ch<strong>in</strong>a, gender,<br />
prostitution, sex traffick<strong>in</strong>g,<br />
performance, domestic violence,<br />
women<br />
Richard Taylor<br />
Swansea University, Professor<br />
Emeritus, United K<strong>in</strong>gdom<br />
Keywords Soviet c<strong>in</strong>ema, Eisenste<strong>in</strong>,<br />
Stal<strong>in</strong>ism<br />
Aaron Taylor<br />
University of Lethbridge, Department<br />
of New Media, Centre for the Arts<br />
W864, 4401 University Drive,<br />
Lethbridge, Alberta, T1K 3M4,<br />
Canada<br />
Keywords support<strong>in</strong>g player, style,<br />
Kate E Taylor is Lecturer <strong>in</strong> Visual Culture at Bangor University. Her<br />
<strong>research</strong> specialism <strong>in</strong>cludes the visual culture of Japan, South Korea,<br />
and gender and Visual Culture. She is the author of Ris<strong>in</strong>g Sun Divided<br />
Land: Japanese and Korean c<strong>in</strong>ema (Wallflower Press, Forthcom<strong>in</strong>g)<br />
and has published widely on a variety of topics <strong>in</strong>clud<strong>in</strong>g Colonial<br />
Japanese and Korean C<strong>in</strong>ema, domestic violence and the Internet and<br />
Prostitution and the sex trade <strong>in</strong> East Asia. She is the co-founder of the<br />
represent<strong>in</strong>g prostitution network. Her current project exam<strong>in</strong>es the<br />
Legacy of the Japanese Colonial Empire <strong>in</strong> the Visual Culture of East<br />
Asia.<br />
› Infection, postcolonialism and somatechnics <strong>in</strong> Claire Denis's Trouble Every<br />
Day (2002), Studies <strong>in</strong> French C<strong>in</strong>ema, 7.1, 19-30.<br />
Richard Taylor is Emeritus Professor of Politics at Swansea University<br />
<strong>in</strong> Wales. He is the author of numerous articles and books on Soviet<br />
c<strong>in</strong>ema, <strong>in</strong>clud<strong>in</strong>g The Politics of the Soviet C<strong>in</strong>ema, 1917–1929<br />
(1979), Film Propaganda: Soviet Russia and Nazi Germany (1998) and<br />
studies of Eisenste<strong>in</strong>’s films, The Battleship Potemk<strong>in</strong> (2000) and<br />
October (2002). He has also co-edited The Film Factory: Russian and<br />
Soviet C<strong>in</strong>ema <strong>in</strong> Documents, 1896–1939 (1988, 1994), Inside the Film<br />
Factory: New Approaches to Russian and Soviet C<strong>in</strong>ema (1991, 1994)<br />
and Eisenste<strong>in</strong> Rediscovered (1993) with Ian Christie, and Stal<strong>in</strong>ism<br />
and Soviet C<strong>in</strong>ema (1993) with Derek Spr<strong>in</strong>g.<br />
› Sergei Eisenste<strong>in</strong>: ‘The middle of the three’, Studies <strong>in</strong> Russian and Soviet<br />
C<strong>in</strong>ema, 1.2, 211-.<br />
› Eisenste<strong>in</strong> on Hollywood, Studies <strong>in</strong> Russian and Soviet C<strong>in</strong>ema, 2.2, 217-<br />
238.<br />
› Eisenste<strong>in</strong>'s silent films on DVD, Studies <strong>in</strong> Russian and Soviet C<strong>in</strong>ema, 2.2,<br />
239-241.<br />
› Reviews, Studies <strong>in</strong> Russian and Soviet C<strong>in</strong>ema, 3.3, 353-385.<br />
Aaron Taylor is an Assistant Professor <strong>in</strong> the Department of New<br />
Media at the University of Lethbridge. Some of his recent publications<br />
<strong>in</strong>clude reflections on the support<strong>in</strong>g player <strong>in</strong> Quarterly Review of<br />
Film and Video (2012), theatrical performance styles <strong>in</strong> Stages of<br />
Reality: Theatricality <strong>in</strong> C<strong>in</strong>ema (2011), Adam Sandler <strong>in</strong> Millennial<br />
Mascul<strong>in</strong>ity (2013), melodramatic villa<strong>in</strong>y <strong>in</strong> he Journal of Film and<br />
Video (2007) and superhero bodies <strong>in</strong> The Journal of Popular Culture<br />
(2007). He is currently writ<strong>in</strong>g a study of It’s a Wonderful Life and is
Adam Sandler, villa<strong>in</strong>y, superhero<br />
bodies<br />
Jean Olivier Tchouaffe<br />
University of Texas<br />
Keywords opposition, chief,<br />
<strong>in</strong>digenous people, democracy, utopia<br />
Stephen Teo<br />
Nanyang Technological University,<br />
Wee Kim Wee School of<br />
Communication and Information,<br />
Nanyang Technological University,<br />
31 Nanyang L<strong>in</strong>k, 637718, S<strong>in</strong>gapore<br />
Keywords Hong Kong c<strong>in</strong>ema,<br />
martial arts c<strong>in</strong>ema, Asian c<strong>in</strong>ema<br />
edit<strong>in</strong>g an anthology of essays on screen act<strong>in</strong>g and film theory.<br />
› Angels, Stones, Hunters: Murder, celebrity and direct c<strong>in</strong>ema, Studies <strong>in</strong><br />
Documentary Film, 5.1, 45-60.<br />
Jean-Olivier Tchouaffé is a visit<strong>in</strong>g Assistant Professor at<br />
Southwestern University <strong>in</strong> Georgetown, TX. He teaches classes on<br />
Communication and Film Studies. He currently works on a book on<br />
Cameroonian c<strong>in</strong>ema and grassroots democratic activism. Besides<br />
many book chapters, his other works have also appeared <strong>in</strong> the Journal<br />
of Applied Semiotics, POV Onl<strong>in</strong>e, Journal of Contemporary Thought,<br />
The Journal of African C<strong>in</strong>emas, PostAmble Journal and <strong>in</strong> The<br />
International Encyclopedia of Communication. Most recent<br />
publications <strong>in</strong>clude: 'Colonial Visual Archivesand the Anti-<br />
Documentary perspective', forthcom<strong>in</strong>g <strong>in</strong> Journal of Information<br />
Ethics, 'Notes on Cultural Flows and Globalization: When Ch<strong>in</strong>a Meets<br />
Africa', forthcom<strong>in</strong>g <strong>in</strong> Blackwell’s International Companion to Media<br />
Studies: Production.<br />
› Refram<strong>in</strong>g African c<strong>in</strong>ema and democracy: the case of Cameroon, Journal of<br />
African C<strong>in</strong>emas, 1.1, 57-77.<br />
Stephen Teo is associate professor at the Wee Kim Wee School of<br />
Communication and Information, Nanyang Technological University,<br />
S<strong>in</strong>gapore. Before jo<strong>in</strong><strong>in</strong>g NTU, he was a <strong>research</strong> fellow at the Asia<br />
Research Institute, National University of S<strong>in</strong>gapore, from 2005 to<br />
2008. He is well published <strong>in</strong> the field of Hong Kong c<strong>in</strong>ema. His<br />
books <strong>in</strong>clude Hong Kong C<strong>in</strong>ema: The Extra Dimensions (London:<br />
British Film Institute 1997), Wong Kar-wai (BFI: 2005), K<strong>in</strong>g<br />
Hu's A Touch of Zen (Hong Kong: Hong Kong University Press,<br />
2007), Director <strong>in</strong> Action: Johnnie To and the Hong Kong Action Film<br />
(HKU Press: 2007) and Ch<strong>in</strong>ese Martial Arts C<strong>in</strong>ema: The Wuxia<br />
Tradition (Ed<strong>in</strong>burgh: Ed<strong>in</strong>burgh University Press 2009). His next<br />
book, to be published by Routledge, is The Asian C<strong>in</strong>ema Experience.<br />
› The aesthetics of mythical violence <strong>in</strong> Hong Kong action films, New<br />
C<strong>in</strong>emas: Journal of Contemporary Film, 8.3, 155-167.<br />
› Introduction: Plac<strong>in</strong>g Value <strong>in</strong> the Miss<strong>in</strong>g and the Lost, Journal of Ch<strong>in</strong>ese<br />
C<strong>in</strong>emas, 4.2, 83-87.<br />
› The miss<strong>in</strong>g female knight-errant <strong>in</strong> Hong Kong action c<strong>in</strong>ema 19651971:<br />
back <strong>in</strong> critical action, Journal of Ch<strong>in</strong>ese C<strong>in</strong>emas, 4.2, 143-154.
Eric Tessier<br />
University of North Carol<strong>in</strong>a,<br />
Department of French, United States<br />
of America<br />
Keywords Dante 01, science fiction,<br />
Jean-Pierre Jeunet, Métal hurlant,<br />
comics<br />
Amit Thakkar<br />
Lancaster University, Department of<br />
European Languages and Cultures,<br />
Lancaster, LA1 4YT, United<br />
K<strong>in</strong>gdom<br />
Keywords mascul<strong>in</strong>ities, violence,<br />
Hispanophone c<strong>in</strong>ema, Juan Rulfo<br />
Eleftheria Thanouli<br />
Aristotle University of Thessaloniki,<br />
School of F<strong>in</strong>e Arts, Neohoriou 14,<br />
Neapoli, Thessaloniki, 56727, Greece<br />
Keywords World c<strong>in</strong>ema, postclassical<br />
narration, network,<br />
transnational flow<br />
Eric Tessier is a lecturer <strong>in</strong> French at the University of North Carol<strong>in</strong>a.<br />
He specializes <strong>in</strong> mass communications and popular culture. Eric<br />
Tessier has translated scholarly articles <strong>in</strong> French and C<strong>in</strong>ema Studies<br />
and published translations of novellas by French author Danielle<br />
Robert-Guédon; his co-authored article and <strong>in</strong>terview with Robert-<br />
Guédon was released <strong>in</strong> The French Review, 2009. He coauthored an<br />
article on film director Marc Caro ('From Storyboard to Film: Marc<br />
Caro’s Dante 01') published <strong>in</strong> Film International, 2008. His recent<br />
translations <strong>in</strong>clude French film subtitles for Persistence of Memories<br />
narrat<strong>in</strong>g Salvador Dali and Henry Miller’s encounter, and Gasol<strong>in</strong>e<br />
(2007) by Andrew Hulse submitted for The Clermont Ferrand<br />
International Short Film Festival.<br />
› From Storyboard to Film: Marc Caro's Dante 01, Film International, 6.3, 26-<br />
33.<br />
Amit Thakkar is lecturer <strong>in</strong> Hispanic studies at Lancaster University.<br />
He received his Ph.D. <strong>in</strong> 2004. His current area of <strong>research</strong> activity is<br />
mascul<strong>in</strong>ities and violence <strong>in</strong> cultural works, with a specific focus on<br />
aesthetics of violence and gender <strong>in</strong> Hispanophone film. He has also<br />
published extensively on Mexican writer Juan Rulfo.<br />
› C<strong>in</strong>e de choque: Image culture, the absence of the patriarch and violence <strong>in</strong><br />
Alejandro Amenábar's Abre los ojos (1997), New C<strong>in</strong>emas: Journal of<br />
Contemporary Film, 9.1, 19-34.<br />
Dr. Eleftheria Thanouli is Assistant Professor <strong>in</strong> Film Theory at the<br />
Film Department at Aristotle University of Thessaloniki. She received<br />
her Ph.D. from the University of Amsterdam <strong>in</strong> 2005. She is the author<br />
of Post-Classical C<strong>in</strong>ema: an <strong>in</strong>ternational poetics of film narration<br />
(Wallflower Press, 2009).<br />
› Narration <strong>in</strong> World c<strong>in</strong>ema: Mapp<strong>in</strong>g the flows of formal exchange <strong>in</strong> the era<br />
of globalisation, New C<strong>in</strong>emas: Journal of Contemporary Film, 6.1, 5-15.
Sunera Thobani<br />
University of British Columbia,<br />
Center for Women and Gender<br />
Studies<br />
Keywords terror, Slumdog<br />
Millionaire, Bollywood<br />
Randy Thom<br />
Skywalker Sound<br />
Keywords Cast Away, absence of<br />
location sound<br />
Pamela Thoma<br />
Wash<strong>in</strong>gton State University, USA,<br />
Department of Critical Culture, P.O.<br />
Box 64007, Wilson Road, WA,<br />
99164-4007, United States of<br />
America<br />
Keywords fem<strong>in</strong>ist theory, women's<br />
literature, transnational, gendered<br />
labour<br />
Lyn Thomas<br />
London Metropolitan University,<br />
ISET, 166–220 Holloway Road,<br />
London, N7 8DB, United K<strong>in</strong>gdom<br />
Keywords onl<strong>in</strong>e, media<br />
convergence, cultural capital, soap<br />
operas, audience<br />
Sunera Thobani teaches at the Centre for Women’s and Gender Studies<br />
at the University of British Columbia. Her <strong>research</strong> <strong>in</strong>terests focus on<br />
race and gender relations; globalization, migration and citizenship; and<br />
media representations of the War on Terror. She is the author of<br />
Exalted Subjects: Studies <strong>in</strong> the Mak<strong>in</strong>g of Race and Nation <strong>in</strong> Canada,<br />
published by the University of Toronto Press (2007).<br />
› Slumdogs and superstars: negotiat<strong>in</strong>g the culture of terror, Studies <strong>in</strong> South<br />
Asian Film & Media, 1.2, 227-248.<br />
Randy Thom is a sound designer, and is the current Director of Sound<br />
Design at Skywalker Sound. He has worked on many award-w<strong>in</strong>n<strong>in</strong>g<br />
films <strong>in</strong>clud<strong>in</strong>g Star Wars Episodes V & , Temple of Doom, and the<br />
second and fourth Harry Potter films.<br />
› On Sound Design<strong>in</strong>g: Cast Away, The Soundtrack, 2.1, 19-21.<br />
Pamela Thoma is Assistant Professor of Women’s Studies at<br />
Wash<strong>in</strong>gton State University <strong>in</strong> Pullman, Wash<strong>in</strong>gton, where she<br />
teaches courses on fem<strong>in</strong>ist theory, women’s labour, neo-liberal<br />
consumer culture and popular culture. Her <strong>research</strong> <strong>in</strong>terests <strong>in</strong>clude<br />
women’s literature and film, transnational fem<strong>in</strong>ist cultural politics,<br />
post-fem<strong>in</strong>ist popular culture, and gendered labour and citizenship.<br />
› REVIEWS, Transnational C<strong>in</strong>emas, 2.1, 113-125.<br />
Lyn Thomas is the deputy director of the Institute for European<br />
Transformations at London Metropolitan University. Her previous<br />
publications <strong>in</strong>clude: a book on fan cultures around Inspector Morse<br />
and The Archers – Fans, Fem<strong>in</strong>isms and ‘Quality’ Media (Routledge,<br />
2002); several articles and chapters on environmental issues,<br />
consumerism and lifestyle media; and two books and several articles on<br />
the writ<strong>in</strong>g and reception of the contemporary French writer Annie<br />
Ernaux. She also edited a book Religion, Consumerism and<br />
Susta<strong>in</strong>ability: Paradise Lost? for Palgrave, 2010, and is develop<strong>in</strong>g a<br />
project on religious reality television and its audiences.
Claire Thomson<br />
University College London,<br />
Department of Scand<strong>in</strong>avian Studies,<br />
Gower Street, London, WC1E 6BT,<br />
United K<strong>in</strong>gdom<br />
Keywords Keywords cyborg,<br />
ecology, posthuman, Tarkovsky<br />
Ross Thorne<br />
University of Sydney, Department of<br />
Performance Studies, Woolley<br />
Build<strong>in</strong>g A20, Sydney, NSW 2006,<br />
Australia<br />
Keywords film distribution, motion<br />
picture exhibition, transport<strong>in</strong>g films,<br />
history<br />
Niamh Thornton<br />
University of Ulster, School of<br />
Languages, Literatures and Cultures,<br />
Cromore Road, Colera<strong>in</strong>e, Northern<br />
Ireland, BT52 ISA, United K<strong>in</strong>gdom<br />
Keywords Dolores del Río, stars,<br />
YouTube, music, fan culture<br />
› BOOK REVIEWS-Historical Dictionary of French C<strong>in</strong>ema, Film Matters,<br />
1.1, 27-29.<br />
Claire Thomson is a Lecturer <strong>in</strong> Scand<strong>in</strong>avian Film and Head of<br />
Department of Scand<strong>in</strong>avian Studies, University College London. She<br />
is Editor of the journal Scand<strong>in</strong>avica, and teaches and <strong>research</strong>es<br />
Danish and Nordic c<strong>in</strong>ema and literature, especially from <strong>in</strong>tercultural<br />
and eco-critical perspectives. She edited Northern Constellations: New<br />
Read<strong>in</strong>gs <strong>in</strong> Nordic C<strong>in</strong>ema (Norvik Press, 2006).<br />
› Air, scent and the senses <strong>in</strong> Derailment, Short Film Studies, 1.2, 245-249.<br />
Ross Thorne was tra<strong>in</strong>ed, and practised as an architect and acoustic<br />
consultant until 1980. In 1961 he became a lecturer <strong>in</strong> architecture at<br />
the University of Sydney, cont<strong>in</strong>u<strong>in</strong>g through as an associate professor<br />
(1973) until retirement (1998). He <strong>research</strong>ed office build<strong>in</strong>gs, hous<strong>in</strong>g<br />
and recreation facilities but theatre and c<strong>in</strong>ema have been of constant<br />
<strong>in</strong>terest s<strong>in</strong>ce 1963. This <strong>in</strong>terest quickly developed beyond theatre<br />
build<strong>in</strong>gs to the social history of theatres and c<strong>in</strong>emas <strong>in</strong> Australia.<br />
Publications s<strong>in</strong>ce 1971 <strong>in</strong>clude books and articles <strong>in</strong> both popular and<br />
academic journals, together with a number of assessments<br />
commissioned by state and federal heritage authorities.<br />
› Reth<strong>in</strong>k<strong>in</strong>g distribution: develop<strong>in</strong>g the parameters for a micro-analysis of<br />
the movement of motion pictures, Studies <strong>in</strong> Australasian C<strong>in</strong>ema, 1.3, 315-<br />
332.<br />
Dr. Niamh Thornton is a Lecturer <strong>in</strong> Hispanic Studies and Film at the<br />
University of Ulster, Colera<strong>in</strong>e. A specialist <strong>in</strong> Lat<strong>in</strong> America with a<br />
particular focus on Mexico, her <strong>research</strong> <strong>in</strong>terests <strong>in</strong>clude literature,<br />
film and cyber-culture. She exam<strong>in</strong>es war and conflict as moments of<br />
tension <strong>in</strong> which national and sometimes transnational <strong>in</strong>terests<br />
<strong>in</strong>terpose with the local and personal. In particular, she has considered<br />
textual and visual representations of canonical and non-canonical<br />
voices, draw<strong>in</strong>g parallels with <strong>in</strong>ternational trends and critical<br />
frameworks. In her <strong>research</strong> she has also considered how gender<br />
<strong>in</strong>fluences the representation of conflict, which considers both the teller
Claus Tieber<br />
University of Salzburg, Fachbereich<br />
Musik- und Tanzwissenschaft,<br />
Michalekg. 2/8/5, Vienna, 1160,<br />
Austria<br />
Keywords Arthur Laurents, the<br />
blacklist, Hollywood Ten, The Way<br />
We Were, HUAC<br />
Dolores Tierney<br />
Sussex University, Dolores Tierney<br />
School of Media, Film and Music,<br />
Falmer, Brighton, BN1 9QN, United<br />
K<strong>in</strong>gdom<br />
Keywords radical film-mak<strong>in</strong>g,<br />
American <strong>in</strong>dependent c<strong>in</strong>ema, third<br />
worldist discourses, Mexican national<br />
c<strong>in</strong>ema<br />
(film-maker, author, narrator) and the subject of the narration. She is<br />
currently complet<strong>in</strong>g a monograph on conflict <strong>in</strong> Mexican film.<br />
› YouTube: transnational fandom and Mexican divas, Transnational C<strong>in</strong>emas,<br />
1.1, 53-67.<br />
Claus Tieber is an Austrian film scholar and leads several <strong>research</strong><br />
projects at the University of Vienna. He previously worked as<br />
commission<strong>in</strong>g editor <strong>in</strong> the TV movie department of the Austrian<br />
Broadcast<strong>in</strong>g Corporation (ORF). He wrote his post-doc thesis<br />
(habilitation paper) on the history of American screenwrit<strong>in</strong>g<br />
(Schreiben für Hollywood: Das Drehbuch im Studiosystem, Münster:<br />
Lit Verlag 2008). He is currently lead<strong>in</strong>g a <strong>research</strong> project about<br />
music <strong>in</strong> silent c<strong>in</strong>ema <strong>in</strong> Vienna at the University of Salzburg.<br />
› The Way He Wrote: Dalton Trumbo and Sixteen Unused Pages for The Way<br />
We Were, Film International, 8.4, 51-64.<br />
Dolores Tierney is a lecturer <strong>in</strong> Film <strong>in</strong> the School of Media, Film and<br />
Music at Sussex University. She is the author of Emilio Fernández<br />
(2007) and co-editor of Latsploitation, Exploitation C<strong>in</strong>ema and Lat<strong>in</strong><br />
America (2009). Her articles and book chapters have been published <strong>in</strong><br />
Screen, Quarterly Review of Film and Video, Horror International, The<br />
Spectator, New C<strong>in</strong>emas, Journal of Lat<strong>in</strong> American Cultural Studies,<br />
Archivos de la Filmoteca, Revista Iberoamericana and Cuadernos<br />
Americanos.<br />
› Emilio Fernández ‘<strong>in</strong> Hollywood’: Mexico’s postwar <strong>in</strong>ter-American C<strong>in</strong>ema,<br />
La perla/The Pearl (1946) and The Fugitive (1948), Studies <strong>in</strong> Hispanic<br />
C<strong>in</strong>emas, 7.2, 81-100.<br />
› Alejandro González Iñárritu: director without borders, New C<strong>in</strong>emas:<br />
Journal of Contemporary Film, 7.2, 101-117.<br />
George Toles George Toles is Chair of Film Studies and Professor of English at the<br />
University of Manitoba <strong>in</strong> W<strong>in</strong>nipeg. He is the author of A House<br />
Made of Light: Essays on the Art of Film (2001). For two decades, <strong>in</strong><br />
films such as Archangel (1990), Careful (1992) and The Saddest Music
Keywords amnesia, film noir, The<br />
Locket, the crisis of <strong>in</strong>wardness,<br />
Nancy Monks, Parker Tyler's ‘Hamlet<br />
be<strong>in</strong>g’<br />
Keyan Gray Tomaselli<br />
The University of KwaZulu-Natal,<br />
The Centre for Communication,<br />
Media and Society, Room G006a,<br />
Howard College Campus, Mazisi<br />
Kunene Road, Durban, 4041, South<br />
Africa<br />
Keywords Ju/'hoansi, John Marshall,<br />
c<strong>in</strong>éma vérité, development,<br />
advocacy, film education<br />
Frank P. Tomasulo<br />
City College of New York, Film<br />
Studies<br />
Keywords Michelangelo Antonioni,<br />
Wong Kar-Wai, Steven Soderbergh,<br />
eroticism <strong>in</strong> film, anthology<br />
<strong>in</strong> the World (2004), he has been director Guy Madd<strong>in</strong>’s screenwrit<strong>in</strong>g<br />
collaborator.<br />
› Eloquent Objects, mesmeris<strong>in</strong>g commodities <strong>in</strong> William Wyler’s The<br />
Heiress, Film International, 4.22, 48-67.<br />
› The gift of amnesia <strong>in</strong> John Brahm's The Locket, Film International, 7.6, 32-<br />
55.<br />
Keyan G. Tomaselli is Senior Professor at the University of KwaZulu-<br />
Natal (UKZN), Durban, South Africa. He is the Director at the Centre<br />
for Communication, Media and Society (CCMS) and the Academic<br />
Coord<strong>in</strong>ator for Culture, Communication and Media Studies. He was a<br />
Smithsonian Honorary Research Associate <strong>in</strong> the University's<br />
Department of Anthropology between 1996 and 2000 and has worked<br />
as a video producer and film-maker.<br />
› ‘At the Other End of the camera’: Film through history <strong>in</strong> John Marshall's<br />
documentaries, Studies <strong>in</strong> Documentary Film, 1.2, 123-136.<br />
› Reviews, Studies <strong>in</strong> Documentary Film, 1.3, 297-.<br />
› Not Another Media Journal?, Journal of African C<strong>in</strong>emas, 1.1, 5-7.<br />
› Reviews, Journal of African C<strong>in</strong>emas, 1.1, 113-134.<br />
› Bump<strong>in</strong>g <strong>in</strong>to Reality, Brutal Realism and Bafundi 2009: Some Thoughts on<br />
a Student Film Festival, Journal of African C<strong>in</strong>emas, 1.2, 225-234.<br />
› Reviews, Journal of African C<strong>in</strong>emas, 2.1, 65-75.<br />
› Mirror communities and straw <strong>in</strong>dividualisms: Essentialism, c<strong>in</strong>ema and<br />
semiotic analysis, Journal of African C<strong>in</strong>emas, 3.1, 3-24.<br />
Frank P. Tomasulo was most recently Professor and Head of Film<br />
Studies <strong>in</strong> the College of Motion Picture and Television Arts at Florida<br />
State University <strong>in</strong> Tallahassee. He has also taught c<strong>in</strong>ema and<br />
television history and theory, as well as film production and<br />
screenwrit<strong>in</strong>g, at UCLA, Ithaca College, Cornell University, the<br />
University of California-Santa Cruz, Georgia State University, and<br />
Southern Methodist University.Currently, Dr. Tomasulo teaches<br />
undergraduate film classes at City College of New York and on-l<strong>in</strong>e<br />
graduate sem<strong>in</strong>ars for National University <strong>in</strong> San Diego.<br />
› Eros and Civilization: Sexuality and the Contemporary International Art<br />
C<strong>in</strong>ema, Film International, 6.6, 28-39.
Noboru Tomonari<br />
Carleton College, One North College<br />
Street, Northfield, MN 55057, United<br />
States of America<br />
Keywords Koreans <strong>in</strong> Japan,<br />
Japanese c<strong>in</strong>ema, Japanese theatre,<br />
Kim Suj<strong>in</strong>, Sh<strong>in</strong>juku Ryozanpaku<br />
Zhang Tongdao<br />
Beij<strong>in</strong>g Normal University, School of<br />
Media & Arts, Ch<strong>in</strong>a<br />
Keywords Ch<strong>in</strong>a, c<strong>in</strong>ematic<br />
combatant, c<strong>in</strong>ematic poet,<br />
documentary, ideology<br />
David Toop<br />
University of the Arts London<br />
Keywords sound design, hip-hop<br />
culture, crime fiction, The Wire<br />
Noboru Tomonari is director of the East Asian Studies Program and an<br />
associate professor of Japanese at Carleton College, specializ<strong>in</strong>g <strong>in</strong><br />
Japanese literature and c<strong>in</strong>ema. He is the author of Construct<strong>in</strong>g<br />
Subjectivities: Autobiographies of Modern Japan (Lanham, MD:<br />
Lex<strong>in</strong>gton Books, 2008). His recent <strong>research</strong> focuses on m<strong>in</strong>orities <strong>in</strong><br />
Japanese literature and c<strong>in</strong>ema, and he has published articles on<br />
resident Koreans and burakum<strong>in</strong>. He is currently work<strong>in</strong>g on his<br />
second book, which is on resident Korean film-makers <strong>in</strong> Japan.<br />
› The avant-garde and resident Korean film-mak<strong>in</strong>g: Kim Suj<strong>in</strong> and the<br />
Sh<strong>in</strong>juku Ryozanpaku, Journal of Japanese & Korean C<strong>in</strong>ema, 1.1, 65-81.<br />
Zhang Tongdao, Doctor of Literature, Professor of School of Media &<br />
Arts, Beij<strong>in</strong>g Normal University, documentary maker. Ma<strong>in</strong> works<br />
<strong>in</strong>clud<strong>in</strong>g books: The Flag of Exploration – A Discuss<strong>in</strong>g on Ch<strong>in</strong>ese<br />
Modernism Poets <strong>in</strong> 20th Century, Arts Theoretics, Observation on<br />
Ch<strong>in</strong>ese TV, Images of Documentary Masters; documentaries: Kids<br />
K<strong>in</strong>dom (2009, Gold Panda Award <strong>in</strong> 10th Sichuan International Film<br />
Festival), Neighborhood Committee (2001, the 14th Amsterdam<br />
International Documentary Festival, nom<strong>in</strong>ated), and Four Sisters<br />
From Baima (2003, Fribourg International Film Festival, nom<strong>in</strong>ated).<br />
› The legend of a filmmaker and a country – fifty years of Ivens and Ch<strong>in</strong>a,<br />
Studies <strong>in</strong> Documentary Film, 3.1, 35-44.<br />
David Toop is a composer, author and sound curator, visit<strong>in</strong>g professor<br />
at University of the Arts London and a senior <strong>research</strong> fellow at<br />
London College of Communication. He has published five books,<br />
<strong>in</strong>clud<strong>in</strong>g Ocean of Sound and Haunted Weather and most recently:<br />
S<strong>in</strong>ister Resonance: the Mediumship of the Listener published by<br />
Cont<strong>in</strong>uum <strong>in</strong> 2010. Exhibitions he has curated <strong>in</strong>clude Sonic Boom for<br />
the Hayward Gallery, and Play<strong>in</strong>g John Cage for Arnolf<strong>in</strong>i Bristol. His<br />
first album, New and Rediscovered Musical Instruments, was released<br />
on Brian Eno’s Obscure label <strong>in</strong> 1975; s<strong>in</strong>ce 1995 he has released eight<br />
solo albums, <strong>in</strong>clud<strong>in</strong>g Black Chamber and Sound Body.<br />
› Cold world: the deathly void of sound, The Soundtrack, 2.2, 87-97.
Maria Tortajada<br />
University of Lausanne, Department<br />
of History and Aesthetics of Film,<br />
Switzerland<br />
Keywords ambiguity, theory of<br />
representation, spectator, libert<strong>in</strong>age,<br />
classifieds<br />
Cian Traynor<br />
Keywords experimental c<strong>in</strong>ema,<br />
R.E.M., avant-garde, documentary,<br />
Take Away Shows<br />
Núria Triana-Toribio<br />
University of Manchester,<br />
Department of Spanish & Portuguese,<br />
Oxford Road, Manchester, Greater<br />
Manchester, M13 9PL, United<br />
K<strong>in</strong>gdom<br />
Keywords auteur, Canon-makers,<br />
women's c<strong>in</strong>ema, revisionism<br />
Maria Tortajada is Assistant Professor at the University of Lausanne,<br />
Switzerland, <strong>in</strong> the Department of History and Aesthetics of Film and<br />
is also currently work<strong>in</strong>g on a Swiss National Science Foundation<br />
<strong>research</strong> project to update the encyclopedia of Swiss c<strong>in</strong>ema. She<br />
obta<strong>in</strong>ed her doctorate <strong>in</strong> Literature from the University of Geneva. She<br />
is the author of Le spectateur séduit. Le libert<strong>in</strong>age dans le c<strong>in</strong>éma<br />
d’Eric Rohmer et sa fonction dans une théorie de la représentation<br />
filmique (Paris: KIME, 1999) and the editor and contributor of C<strong>in</strong>éma<br />
suisse: Nouvelles (Lausanne: Payot, 2000). She is work<strong>in</strong>g on a theory<br />
of seduction <strong>in</strong> relation to questions of gender.<br />
› Eric Rohmer and the mechanics of seduction, Studies <strong>in</strong> French C<strong>in</strong>ema, 4.3,<br />
229-.<br />
Cian Traynor is a freelance sub-editor and music writer <strong>who</strong> has<br />
contributed to a range of publications <strong>in</strong>clud<strong>in</strong>g the Irish Independent,<br />
the Times Educational Supplement, State, Foggy Notions, the Event<br />
Guide, Beat Happen<strong>in</strong>g, The Talent and Connected. He also adds<br />
regular lifestyle and culture features, <strong>in</strong>terview<strong>in</strong>g lead<strong>in</strong>g directors,<br />
sports stars, politicians, fashion designers and artists.<br />
› Look<strong>in</strong>g for Life: Cian Traynor <strong>in</strong>terviews V<strong>in</strong>cent Moon, Film<br />
International, 6.3, 56-59.<br />
Dr. Núria Triana-Toribio lectures on Spanish C<strong>in</strong>ema at the University<br />
of Manchester. She has published articles <strong>in</strong> the Bullet<strong>in</strong> of Hispanic<br />
Studies, Film History and Journal of Hispanic Research. She is the<br />
author of Spanish National C<strong>in</strong>ema (Routledge, 2003). Her <strong>research</strong><br />
<strong>in</strong>terests are <strong>in</strong> Spanish Popular Culture especially Spanish popular<br />
c<strong>in</strong>ema, transnational c<strong>in</strong>emas with<strong>in</strong> Hispanism, discourses of Spanish<br />
nationalism and theories of authorship <strong>in</strong> contemporary c<strong>in</strong>ema. She is<br />
currently work<strong>in</strong>g on the cultural history of the Spanish Film Festivals<br />
Sem<strong>in</strong>ci and FICXixon. She is co-editor of Manchester University<br />
Press series Spanish and Lat<strong>in</strong> American Filmaker and an editorial<br />
board member of the journals Transnational C<strong>in</strong>emas and Film<br />
Cultures.<br />
› Journeys of El Deseo between the nation and the transnational <strong>in</strong> Spanish<br />
c<strong>in</strong>ema, Studies <strong>in</strong> Hispanic C<strong>in</strong>emas, 4.3, 151-163.<br />
› The Spanish ‘popular auteur’, New C<strong>in</strong>emas: Journal of Contemporary Film,<br />
2.3, 139-148.
Temenuga Trifonova<br />
York University, Department of Film,<br />
Faculty of F<strong>in</strong>e Arts, 4700 Keele St.,<br />
Toronto, ON, M3J 1P3, Canada<br />
Keywords European c<strong>in</strong>ema,<br />
American c<strong>in</strong>ema, time and c<strong>in</strong>ema,<br />
film theory, philosophy and film,<br />
screenwrit<strong>in</strong>g<br />
Sarah Trott<br />
Swansea University, UK, 25 Ffordd<br />
Yr Eglwys, North Cornelly, Bridgend,<br />
South Wales, CF33 4HN, United<br />
K<strong>in</strong>gdom<br />
Keywords American postwar<br />
literature, socio-psychological impact<br />
of war, ethnicity, nationality<br />
H<strong>in</strong>g Tsang<br />
University of Surrey, Department of<br />
Dance, Film and Theatre, Guildford,<br />
Surrey, GU2 7XH, United K<strong>in</strong>gdom<br />
Keywords evolutionary theory,<br />
biosemiotics, Peircean sign-theory,<br />
phenomenology, documentary c<strong>in</strong>ema<br />
Temenuga Trifonova is assistant professor of Film Studies <strong>in</strong> the<br />
Department of C<strong>in</strong>ema and Media Studies at York University, Toronto,<br />
Canada. She is the author of The Image <strong>in</strong> French Philosophy (New<br />
York: Rodopi, 2007) and European Film Theory (New York:<br />
Routledge, 2008). Her articles have appeared (or are forthcom<strong>in</strong>g) <strong>in</strong><br />
C<strong>in</strong>easte, European Journal of American Culture, CTheory, Studies <strong>in</strong><br />
European C<strong>in</strong>ema, Routledge Encyclopaedia of Film Theory, Film and<br />
Philosophy and other publications <strong>in</strong>clud<strong>in</strong>g several edited collections.<br />
› Pensiero debole: Weak national c<strong>in</strong>ema, Studies <strong>in</strong> European C<strong>in</strong>ema, 8.1, 7-<br />
20.<br />
› Between the national and the transnational: Bulgarian post-communist<br />
c<strong>in</strong>ema, Studies <strong>in</strong> Eastern European C<strong>in</strong>ema, 2.2, 211-225.<br />
Sarah Trott is an early career academic at Swansea University <strong>who</strong>se<br />
primary field of <strong>research</strong> is American postwar literature with a<br />
concentration upon the psychological and social impact of war <strong>in</strong><br />
American society. Tak<strong>in</strong>g a literary and socio-psychological approach,<br />
her current <strong>research</strong> exam<strong>in</strong>es twentieth-century urban American<br />
postwar literature as a social and psychological illustration of the<br />
postwar era, and considers the ramifications of war upon writers,<br />
characters, society and the form of the American novel. She is<br />
currently <strong>in</strong>vestigat<strong>in</strong>g the conflict between ethnicity and nationality <strong>in</strong><br />
post-World War I African American literature.<br />
› REVIEWS, Journal of Screenwrit<strong>in</strong>g, 3.1, 119-128.<br />
H<strong>in</strong>g Tsang is an <strong>in</strong>dependent film-maker and part-time lecturer at the<br />
University of Surrey. His current <strong>research</strong> <strong>in</strong>terests <strong>in</strong>clude<br />
evolutionary theory, biosemiotics, Peircean sign-theory,<br />
phenomenology and documentary c<strong>in</strong>ema. He is currently complet<strong>in</strong>g a<br />
monograph on Peirce’s notion of the self and its relevance to<br />
documentary practice and theory.<br />
› Emotion, documentary and Van der Keuken’s Face Value, Studies <strong>in</strong><br />
Documentary Film, 5.1, 17-30.
Silvana Tuccio<br />
Keywords family, dislocation,<br />
Australian c<strong>in</strong>ema, women,<br />
difference, unhomel<strong>in</strong>ess<br />
Thomas Deane Tucker<br />
Chadron State College, English &<br />
Humanities, ADM 209, 1000 Ma<strong>in</strong><br />
Street, Chadron, Nebraska, 69337,<br />
United States of America<br />
Keywords Bernanos, Baz<strong>in</strong>, Jacques<br />
Derrida, translation, adaptation<br />
Angela Tum<strong>in</strong>i<br />
Chapman University, Languages, 920<br />
S Calle Venado, Anaheim Hills,<br />
92807, United States of America<br />
Keywords European c<strong>in</strong>ema, Italian<br />
c<strong>in</strong>ema, Danish c<strong>in</strong>ema, Lars von<br />
Trier, Futurism, neo-realism<br />
Silvana Tuccio founded the cultural association Lacunae (2002) <strong>in</strong><br />
Italy, and has been artistic director of the film culture event Sguardi<br />
australiani (Genoa 2002-2006). She has published several articles on<br />
Australian c<strong>in</strong>ema and edited the book Sguardi australiani: idee,<br />
immag<strong>in</strong>ari e c<strong>in</strong>ema degli antipodi (Le Mani, 2005). Silvana Tuccio<br />
contributed an article on the experience of the Sguardi australiani<br />
events (which featured the films of Giorgio Mangiamele, Tracey<br />
Moffatt, David Vadiveloo) to the volume Australians <strong>in</strong> Italy:<br />
Contemporary Lives and Impressions, (Kent, Pesman, Troup, Monash<br />
Epress: Melbourne, 2008). Silvana Tuccio has a Ph.D. <strong>in</strong> C<strong>in</strong>ema<br />
Studies from the University of Melbourne.<br />
› Whose story is reclaimed <strong>in</strong> The Home Song Stories?, Studies <strong>in</strong><br />
Australasian C<strong>in</strong>ema, 2.1, 15-20.<br />
Dr. Tucker is Professor of Humanities and Philosophy at Chadron State<br />
College (Nebraska, USA) where he has been on the faculty s<strong>in</strong>ce 1998.<br />
He holds a BA <strong>in</strong> Film, a BA <strong>in</strong> Humanities (major subject area <strong>in</strong><br />
philosophy), an MA <strong>in</strong> Humanities (philosophy) from the University of<br />
West Florida <strong>in</strong> Pensacola, and a Ph.D. <strong>in</strong> Humanities (subject areas <strong>in</strong><br />
cont<strong>in</strong>ental philosophy and critical theory) from Florida State<br />
University <strong>in</strong> Tallahassee. His <strong>research</strong> and teach<strong>in</strong>g <strong>in</strong>terests are <strong>in</strong><br />
cont<strong>in</strong>ental philosophy, philosophical aesthetics, philosophy of film,<br />
and modernism. He is the author of Derridada: Duchamp as<br />
Readymade Deconstruction (Lex<strong>in</strong>gton Books, 2009). His most recent<br />
publication was a volume of essays on filmmaker Terence Malick titled<br />
Terrence Malick: Film and Philosophy published <strong>in</strong> 2011 by<br />
Cont<strong>in</strong>uum.<br />
› Adapt<strong>in</strong>g patience (wait<strong>in</strong>g), Studies <strong>in</strong> French C<strong>in</strong>ema, 3.1, 25-34.<br />
Angela Tum<strong>in</strong>i is Professor of Italian Studies at Chapman University <strong>in</strong><br />
California. Her professional career <strong>in</strong>cludes positions as assistant<br />
professor of Italian at Emory University, Skidmore College, as well as<br />
head of the Italian Program at the University of Mississippi. She<br />
obta<strong>in</strong>ed a Ph.D. <strong>in</strong> Italian Literature at the University of Oxford,<br />
England <strong>in</strong> 2002 and has published a book, and several articles on<br />
Italian Literature & C<strong>in</strong>ema. In addition to her scholarly work, Dr.<br />
Tum<strong>in</strong>i has created successful Study Abroad courses for the various<br />
<strong>in</strong>stitutions <strong>in</strong> which she has been teach<strong>in</strong>g, <strong>in</strong>clud<strong>in</strong>g a Summer<br />
program for the University of Mississippi, and has been work<strong>in</strong>g <strong>in</strong><br />
close cooperation with Umbra Institute <strong>in</strong> Perugia, Italy, where she is
Maya Turovskaya<br />
Keywords documentary, fascism,<br />
Soviet–German cultural relations,<br />
Mikhail Romm, Leipzig Documentary<br />
Film Festival<br />
Casper Tybjerg<br />
University of Copenhagen,<br />
Department of Media, Cognition and<br />
Communication, Njalsgade 80,<br />
Copenhagen S, DK - 2300, Denmark<br />
Keywords Paul Schrader, religion<br />
and film, transcendental style, film<br />
style, cognitive film theory<br />
Ben Tyrer<br />
K<strong>in</strong>g's College London, Film Studies<br />
Department, The Strand, London,<br />
also a member of the current Advisory Board.<br />
› A landscape of their own: space and identity <strong>in</strong> Ozpetek's Hamam: The<br />
Turkish Bath and Julio Medem's Cows, Film International, 7.5, 50-56.<br />
Maya Turovskaya was born <strong>in</strong> Kharkov <strong>in</strong> 1924. She graduated from<br />
the philology department of Moscow State University and from the<br />
theatre department of the Theatre Institute GITIS under Anatoli Efros.<br />
She received her doctorate <strong>in</strong> 1983. S<strong>in</strong>ce 1973 she has been a lead<strong>in</strong>g<br />
<strong>research</strong>er of the Film Research Institute NII <strong>in</strong> Moscow (theory and<br />
history of c<strong>in</strong>ema). She is the author of Maxim Straukh (with B.<br />
Medvedev, 1952), Yes and No: About C<strong>in</strong>ema of the Last Decade<br />
(1966), Sergei Yutkevich (1968, with Khantiut<strong>in</strong>), Babanova: Legend<br />
and Biography (1981), Heroes of a Non Heroic Time (1971), Der<br />
Gewöhnliche Faschismus (1981, with Romm and Khaniut<strong>in</strong>), On the<br />
Borderl<strong>in</strong>e of Art: Brecht and C<strong>in</strong>ema (1985) and others.<br />
› Some documents from the life of a documentary film, Studies <strong>in</strong> Russian and<br />
Soviet C<strong>in</strong>ema, 2.2, 155-165.<br />
Casper Tybjerg is Associate Professor, Ph.D., at the Department of<br />
Media, Cognition and Communication at the University of<br />
Copenhagen. He has written the chapter on Danish sound c<strong>in</strong>ema <strong>in</strong><br />
Storia del c<strong>in</strong>ema mondiale (ed. Gian Piero Brunetta, 1999-2001) and a<br />
number of articles on film history, particularly Carl Theodor Dreyer<br />
and his films, <strong>in</strong> Film History, , and various anthologies. Head of<br />
studies from 1 February 2002. Chairman of the Museum Advisory<br />
Board at the Danish Film Institute s<strong>in</strong>ce 1997.<br />
› Forms of the <strong>in</strong>tangible: Carl Th. Dreyer and the concept of ‘transcendental<br />
style’, Northern Lights: Film & Media Studies Yearbook, 6.1, 59-73.<br />
› Editorial, Journal of Scand<strong>in</strong>avian C<strong>in</strong>ema, 1.1, 3-5.<br />
Ben Tyrer is a doctoral student <strong>in</strong> Film Studies at K<strong>in</strong>g’s College<br />
London. His <strong>research</strong> <strong>in</strong>terests <strong>in</strong>clude critical theory and film theory,<br />
art c<strong>in</strong>ema, and Left Bank film-makers. His thesis <strong>in</strong>vestigates a<br />
relation between the historiography of film noir and Lacanian
WC2R 2LS, United K<strong>in</strong>gdom<br />
Keywords glean<strong>in</strong>g, aesthetics,<br />
politics, structure, subjective<br />
documentary<br />
Abdalla Uba Adamu<br />
Bayero University, Department of<br />
Mass Communication, Kano, P.M.B.<br />
3011, Kano State, Nigeria<br />
Keywords Kanywood, Bollywood,<br />
Islam, colonialism, Middle Eastern<br />
literature, adaptation, globalization,<br />
cultural proximity<br />
Matthias Uecker<br />
University of Nott<strong>in</strong>gham, School of<br />
Modern Languages and Cultures,<br />
University Park, Nott<strong>in</strong>gham,<br />
Nott<strong>in</strong>ghamshire, NG7 2RD, United<br />
K<strong>in</strong>gdom<br />
Keywords Post-unification German<br />
c<strong>in</strong>ema, nostalgia, national identity,<br />
Wolfgang Becker, Sönke Wortmann<br />
Angela Ungoed Hughes<br />
Dynevor Centre for Arts Design and<br />
Media, Swansea Institute, University<br />
of Wales, De La Beche Street,<br />
structures of <strong>in</strong>terpretation and mean<strong>in</strong>g. His <strong>research</strong> is supported by<br />
the AHRC.<br />
› Digression and return: Aesthetics and politics <strong>in</strong> Agnès Varda's Les Glaneurs<br />
et la glaneuse (2000), Studies <strong>in</strong> French C<strong>in</strong>ema, 9.2, 161-176.<br />
Prof. Abdalla Uba Adamu is professor of Curriculum Studies, and<br />
Media and Cultural Studies <strong>in</strong> Bayero University, Kano, Nigeria. His<br />
ma<strong>in</strong> <strong>research</strong> focus is on transnational media flows and their impact<br />
on the transformation of Muslim Hausa popular culture especially <strong>in</strong><br />
literature, film, music and perform<strong>in</strong>g arts. He is the creator of the<br />
Foundation for Hausa Perform<strong>in</strong>g Arts (Kano, Nigeria) <strong>who</strong>se ma<strong>in</strong><br />
focus is archiv<strong>in</strong>g traditional perform<strong>in</strong>g arts heritage of the Muslim<br />
Hausa. His most recent books are Passage from India: Transnational<br />
Media Flows and African C<strong>in</strong>ema: The Video Film <strong>in</strong> Northern Nigeria<br />
(Ohio University Press, US, forthcom<strong>in</strong>g).<br />
› Curry<strong>in</strong>g favour: eastern media <strong>in</strong>fluences and the Hausa video film, Film<br />
International, 5.4, 77-91.<br />
Matthias Uecker is Professor of German the the University of<br />
Nott<strong>in</strong>gham. He is the author of Zwischen Industrieprov<strong>in</strong>z und<br />
Großstadthoffnung. Kul-‐turpolitik im Ruhrgebiet der zwanziger Jahre<br />
(Wiesbaden: Deutscher Universitäts-Verlag 1994), Antifernsehen?<br />
Alexander Kluges Fernsehproduktion (Marburg: Schüren-Verlag<br />
2000), and Literatur und Wirklichkeit. Strategien dokumentarischen<br />
Schreibens <strong>in</strong> der Weimarer Republik (Bern/Oxford: Peter Lang, 2007).<br />
› Fractured families – united countries? Family, nostalgia and nation-build<strong>in</strong>g<br />
<strong>in</strong> Das Wunder von Bern and Goodbye Len<strong>in</strong>!, New C<strong>in</strong>emas: Journal of<br />
Contemporary Film, 5.3, 189-200.<br />
Angela Ungoed Hughes is a film-maker and lecturer. She holds a Ph.D.<br />
studentship <strong>in</strong> the Dynevor Centre for Arts, Design and Media,<br />
Swansea Institute, University of Wales. Howard Riley is Head of the<br />
School of Research and Postgraduate Studies <strong>in</strong> the Dynevor Centre.
Swansea, SA1 3EU, United K<strong>in</strong>gdom<br />
Keywords Russian Formalism,<br />
multimodality, systemic-functional<br />
semiotics, narrative film<br />
Theresa Urba<strong>in</strong>czyk<br />
University College Dubl<strong>in</strong>, School of<br />
Classics, Belfield, Dubl<strong>in</strong> 4, Ireland<br />
Keywords historical accuracy, poetry,<br />
history, Aristotle, Athens<br />
Maurice Taonezvi Vambe<br />
University of South Africa,<br />
Department of English Studies,<br />
UNISA, Preller Road, Muckleneuk<br />
Ridge, Pretoria, P O Box, 392, 0003,<br />
South Africa<br />
Keywords African c<strong>in</strong>ema, African<br />
Oral story tell<strong>in</strong>g tradition<br />
Stefanie Van de Peer<br />
University of Stirl<strong>in</strong>g, School of<br />
Languages, Cultures and Religions,<br />
Scotland, FK9 4LA, United K<strong>in</strong>gdom<br />
Keywords fem<strong>in</strong>ism <strong>in</strong> sub-Sahara<br />
› The multimodal matrix – a laboratory of devices: film and the Formalist<br />
legacy, Studies <strong>in</strong> Russian and Soviet C<strong>in</strong>ema, 1.2, 191-210.<br />
Theresa Urba<strong>in</strong>czyk is Associate Professor <strong>in</strong> the School of Classics,<br />
University College Dubl<strong>in</strong>. She has published two books on church<br />
historians, Socrates of Constant<strong>in</strong>ople (1997) and Theodoret of<br />
Cyrrhus (2002), both with the University of Michigan Press and two on<br />
slave revolts, Spartacus (Duckworths, 2004), and Slave Revolts <strong>in</strong><br />
Antiquity (Acumen, University of California Press 2008). Currently<br />
she is <strong>in</strong> the prelim<strong>in</strong>ary stages of <strong>research</strong> on the twelfth-thirteenth<br />
century Byzant<strong>in</strong>e historian, Niketas Choniates. She teaches on a wide<br />
range of subjects, all aspects of Greek and Roman history, Greek and<br />
Lat<strong>in</strong> language and literature. Her favourite course was on ancient<br />
history on film but has only had the opportunity to teach that once.<br />
› Greece and Rome on screen, Film International, 5.3, 6-13.<br />
› Spartacus: A Hero Turns 50, Film International, 8.3, 7-13.<br />
Maurice Taonezvi Vambe is Professor of African literature at the<br />
University of South Africa and has written on African film. He is the<br />
author of African Oral story tell<strong>in</strong>g tradition and the Zimbabwean<br />
novel <strong>in</strong> English (Pretoria, Unisa Press, 2004). Vambe also co-authored<br />
Close to Sources: Essays on Contemporary African Culture, Politics<br />
and the Academy (Pretoria, Unisa Press 2009) with Abebe Zegeye).<br />
› Explor<strong>in</strong>g the communicative function of light, sound and colour <strong>in</strong> Hotel<br />
Rwanda, Journal of African C<strong>in</strong>emas, 3.1, 43-49.<br />
Stefanie Van de Peer graduated <strong>in</strong> English and Dutch Studies at the<br />
University of Ghent (Belgium) <strong>in</strong> 2003, where she specialized <strong>in</strong> the<br />
Afrikaans poetry of Wilma Stockenström. She moved to Newcastle<br />
upon Tyne to pursue a Masters degree <strong>in</strong> Contemporary Film and<br />
Literature, with a dissertation on Nigerian Women’s literature, focus<strong>in</strong>g<br />
on alternative forms of fem<strong>in</strong>isms <strong>in</strong> sub-Sahara Africa. She came to<br />
Stirl<strong>in</strong>g <strong>in</strong> 2007 for doctoral <strong>research</strong> under the supervision of
Africa, Maghreb and Egyptian<br />
c<strong>in</strong>ema, 'Africa <strong>in</strong> Motion'<br />
Isabelle Vanderschelden<br />
Manchester Metropolitan University,<br />
Department of Languages, Mabel<br />
Tylecote Build<strong>in</strong>g, Cavendish St,<br />
Manchester, Greater Manchester,<br />
M15 6BG, United K<strong>in</strong>gdom<br />
Keywords comedy, television,<br />
ethnicity, Beur identity, multicultural<br />
France, Club des 13<br />
N<strong>in</strong>a Varsava<br />
University of British Columbia,<br />
Department of English, 397 – 1873<br />
East Mall,, Vancouver, BC V6T 1Z1,<br />
Canada<br />
Professor David Murphy <strong>in</strong> documentary film-mak<strong>in</strong>g by North<br />
African women. She has published on the c<strong>in</strong>emas from the Maghreb<br />
and Egypt and is prepar<strong>in</strong>g an edited volume on 'Art and Trauma' <strong>in</strong><br />
Africa. She is one of the directors of the ‘Africa <strong>in</strong> Motion’ film festival<br />
<strong>in</strong> Ed<strong>in</strong>burgh and has been on the jury of other Arab and African film<br />
festivals.<br />
› Permissible documentaries: Representation <strong>in</strong> Ateyyat El Abnoudy’s<br />
documentaries, Journal of African C<strong>in</strong>emas, 3.1, 109-124.<br />
Isabelle Vanderschelden is Senior Lecturer <strong>in</strong> French studies at<br />
Manchester Metropolitan University. Her recent <strong>research</strong> focuses on<br />
contemporary French c<strong>in</strong>ema. She has written articles on popular<br />
French stars, French directors, comedy, subtitl<strong>in</strong>g and transnational<br />
issues <strong>in</strong> French c<strong>in</strong>ema. She has also published a book-length critical<br />
study of Jean Pierre Jeunet's Amelie (IB Tauris 2007), and has coedited<br />
with Darren Waldron a book on recent trends <strong>in</strong> French popular<br />
c<strong>in</strong>ema France at the Flicks (Cambridge Scholars Publish<strong>in</strong>g 2007).<br />
She is currently f<strong>in</strong>ish<strong>in</strong>g a monograph for Auteur Publish<strong>in</strong>g: Study<strong>in</strong>g<br />
French C<strong>in</strong>ema.<br />
› Subtitl<strong>in</strong>g wit: the case of Ridicule, Studies <strong>in</strong> French C<strong>in</strong>ema, 2.2, 109-.<br />
› Jamel Debbouze: A New Popular French Star?, Studies <strong>in</strong> French C<strong>in</strong>ema,<br />
5.1, 61-.<br />
› The ‘C<strong>in</strong>éma du milieu’ is fall<strong>in</strong>g down: New challenges for auteur and<br />
<strong>in</strong>dependent French c<strong>in</strong>ema <strong>in</strong> the 2000s, Studies <strong>in</strong> French C<strong>in</strong>ema, 9.3,<br />
243-257.<br />
› Introduction, Studies <strong>in</strong> European C<strong>in</strong>ema, 4.1, 3-6.<br />
› Luc Besson’s ambition: EuropaCorp as a European major for the 21st<br />
century, Studies <strong>in</strong> European C<strong>in</strong>ema, 5.2, 91-104.<br />
› The beautiful people of Christophe Honor: New Wave legacies and new<br />
directions <strong>in</strong> French auteur c<strong>in</strong>ema, Studies <strong>in</strong> European C<strong>in</strong>ema, 7.2, 135-<br />
148.<br />
N<strong>in</strong>a Varsava is a graduate student <strong>in</strong> the Department of English at the<br />
University of British Columbia <strong>in</strong> Vancouver, and currently a visit<strong>in</strong>g<br />
<strong>research</strong>er at Stanford. Her <strong>in</strong>terests revolve around ethics and<br />
contemporary literature, <strong>in</strong> particular bio- and eco-ethics, and the ethics<br />
of representation. Her <strong>research</strong> has appeared <strong>in</strong> scholarly journals <strong>in</strong> the<br />
United States and Europe, and her creative writ<strong>in</strong>g and journalism have<br />
appeared <strong>in</strong> various Canadian publications.
Keywords ethics and contemporary<br />
literature, ethics of representation › Processions of trauma <strong>in</strong> Hiroshima mon amour: Towards an ethics of<br />
representation, Studies <strong>in</strong> French C<strong>in</strong>ema, 11.2, 111-123.<br />
Hunter Vaughan<br />
Wash<strong>in</strong>gton University <strong>in</strong> St. Louis,<br />
Film and Media Studies, Wash<strong>in</strong>gton<br />
University, Campus Box 1174, One<br />
Brook<strong>in</strong>gs Drive, St Louis, MO,<br />
63130, United States of America<br />
Keywords film-philosophy, French<br />
c<strong>in</strong>ema, transnational c<strong>in</strong>ema, culture,<br />
environment<br />
C.S. Venkiteswaran<br />
Keywords Indian c<strong>in</strong>ema, Eric<br />
Barnouw, S. Krishnaswamy, Indian<br />
film websites, Bollywood, regional<br />
c<strong>in</strong>ema<br />
Pasquale Verdicchio<br />
University of California, Dept. of<br />
Literature, 9500 Gilman Drive, La<br />
Jolla, San Diego, Ca 92093-0410,<br />
United States of America<br />
Keywords translation, poetry, Italian<br />
diaspora, Italian photographic culture<br />
Hunter Vaughan is Lecturer of Film and Media Studies at Wash<strong>in</strong>gton<br />
University <strong>in</strong> St Louis. His manuscript, ‘Where Film Meets Philosophy:<br />
Godard, Resnais, and Experiments <strong>in</strong> C<strong>in</strong>ematic Th<strong>in</strong>k<strong>in</strong>g’, explores<br />
the film medium’s alignment with twentieth-century philosophy, us<strong>in</strong>g<br />
the alternative practices of these French film-makers to reconcile<br />
phenomenological and Deleuzean approaches to the mov<strong>in</strong>g image. His<br />
<strong>research</strong> and teach<strong>in</strong>g <strong>in</strong>terests <strong>in</strong>clude film-philosophy, French and<br />
transnational c<strong>in</strong>emas, and culture and the environment.<br />
› The philosophical war: Beyond the Cartesian subject <strong>in</strong> Ala<strong>in</strong> Resnais's La<br />
Guerre est f<strong>in</strong>ie (1966), Studies <strong>in</strong> French C<strong>in</strong>ema, 11.2, 125-137.<br />
› Book Reviews, Film International, 7.3, 72-78.<br />
He is a film/media critic from Kerala, India, <strong>who</strong> writes regularly on<br />
film and media <strong>in</strong> various journals. He has run a weekly column <strong>in</strong><br />
New Indian Express titled 'RUMBLESTRIP' for the last 9 years. He<br />
has published a book on the filmmaker K R Mohanan: Samanthara<br />
Yathrakal - K R Mohanante C<strong>in</strong>ema (Malayalam, 2004) and edited a<br />
book along with Lalit Mohan Joshi on the filmmaker Adoor<br />
Gopalakrishnan, A Door to Adoor (South Asian C<strong>in</strong>ema Foundation,<br />
London, 2005).<br />
› Critical Potpourri: Film literature <strong>in</strong> India today, Film International, 4.20,<br />
30-37.<br />
Pasquale Verdicchio is one of the found<strong>in</strong>g members of the Association<br />
of Italian Canadian Writers; he has published a number of books of<br />
translation and his own poetry through Guernica Editions and other<br />
presses. His most recent publications from Guernica <strong>in</strong>clude This<br />
Noth<strong>in</strong>g’s Place, w<strong>in</strong>ner of theBressani Prize for Poetry <strong>in</strong> 2010, and<br />
Fosfeni, translation of poetry by Andrea Zanzotto (2010). His essays on<br />
poetry, film and literature have appeared <strong>in</strong> journals <strong>in</strong> North America<br />
and Europe. With Fairleigh Dick<strong>in</strong>son University Press he published
Constant<strong>in</strong>e Verevis<br />
Monash University, Film and<br />
Television studies, School of English,<br />
Communications and Performance<br />
Studies, Victoria, Victoria, 3800,<br />
Australia<br />
Keywords film theory, criticism,<br />
media, seriality, remake, sequel,<br />
adaptation, genre, Australian c<strong>in</strong>ema,<br />
Australian television<br />
Deb Verhoeven<br />
Deak<strong>in</strong> University, School of<br />
Communication and Creative Arts,<br />
Deak<strong>in</strong> University, 221 Burwood<br />
Highway, Burwood, Victoria, 3125,<br />
Australia<br />
Keywords art c<strong>in</strong>ema, c<strong>in</strong>ema-go<strong>in</strong>g,<br />
diaspora, Australian c<strong>in</strong>ema,<br />
production, media geography, film<br />
exhibition, film distribution<br />
Bound by Distance: Reth<strong>in</strong>k<strong>in</strong>g Nationalism through the Italian<br />
Diaspora (1997) and Looters, Photographers, and Thieves: Topics <strong>in</strong><br />
Italian Photographic Culture <strong>in</strong> the N<strong>in</strong>eteenth and Twentieth<br />
Centuries (2011). Verdicchio has taught literature, film and writ<strong>in</strong>g at<br />
the University of California, San Diego, s<strong>in</strong>ce 1986.<br />
› Documentary on the verge of progress, Studies <strong>in</strong> Documentary Film, 5.2-3,<br />
107-119.<br />
Constant<strong>in</strong>e Verevis is Senior Lecturer <strong>in</strong> Film and Television Studies<br />
at the School of English, Communications and Performance Studies at<br />
Monash University, Melbourne. He is the author of Film Remakes<br />
(Ed<strong>in</strong>burgh UP, 2006), and co-editor of Second Takes: Critical<br />
Approaches to the Film Sequel (SUNY P, 2010).<br />
› Australian International Pictures, Studies <strong>in</strong> Australasian C<strong>in</strong>ema, 4.3, 195-<br />
198.<br />
› Dead on arrival: The fate of Australian film noir, Studies <strong>in</strong> Australasian<br />
C<strong>in</strong>ema, 4.3, 243-253.<br />
› Disorder: Joy Division, Studies <strong>in</strong> Documentary Film, 2.3, 233-246.<br />
› Moldy Art: The exotic world of Jack Smith, Studies <strong>in</strong> Documentary Film,<br />
4.2, 173-186.<br />
› Document<strong>in</strong>g film-makers, Studies <strong>in</strong> Documentary Film, 4.2, 105-108.<br />
› Guest editorial, Studies <strong>in</strong> Australasian C<strong>in</strong>ema, 1.3, 243-244.<br />
› Twice born: Dionysos Films and the establishment of a Greek film circuit <strong>in</strong><br />
Australia, Studies <strong>in</strong> Australasian C<strong>in</strong>ema, 1.3, 275-298.<br />
› Australian screen adaptations <strong>in</strong> the AFI Research Collection, Studies <strong>in</strong><br />
Australasian C<strong>in</strong>ema, 3.3, 325-343.<br />
› It was an experience that totally blew up <strong>in</strong> my face: Steve Railsback and<br />
Turkey Shoot, Studies <strong>in</strong> Australasian C<strong>in</strong>ema, 4.1, 73-79.<br />
› Editorial, Studies <strong>in</strong> Australasian C<strong>in</strong>ema, 4.3, 193-194.
Kathleen M. Vernon<br />
State University of New York, Stony<br />
Brook, NY, United States of America<br />
Keywords material culture,<br />
collect<strong>in</strong>g, oral history, consumption,<br />
identification<br />
Cosetta M. Veronese<br />
University of Birm<strong>in</strong>gham,<br />
Department of Italian Studies, United<br />
K<strong>in</strong>gdom<br />
Keywords Levi, Holocaust, memory,<br />
testimony, adaptation<br />
Per Vesterlund<br />
University of Gävle, C<strong>in</strong>ema Studies,<br />
Sweden<br />
Keywords politics, Sweden, labour<br />
movement, quality, film fund<strong>in</strong>g,<br />
Harry Sche<strong>in</strong><br />
Marian Via Rivera<br />
University of London, Royal<br />
Holloway<br />
Kathleen Vernon is Associate Professor of Hispanic Studies at the State<br />
University of New York, Stony Brook. She is the author of numerous<br />
studies on contemporary Spanish c<strong>in</strong>ema and culture. Her current work<br />
<strong>in</strong> progress <strong>in</strong>cludes a book entitled he Rhythms of History: C<strong>in</strong>ema,<br />
Music and Cultural Memory <strong>in</strong> Contemporary Spa<strong>in</strong> and the jo<strong>in</strong>tly<br />
authored study directed by Jo Labanyi, The Mediation of Everyday<br />
Life: An Oral History of C<strong>in</strong>ema-Go<strong>in</strong>g <strong>in</strong> 1940s and 1950s Spa<strong>in</strong>, to<br />
be published by Berghahn Books.<br />
› Introduction, Studies <strong>in</strong> Hispanic C<strong>in</strong>emas, 2.2, 67-68.<br />
› Material culture and the c<strong>in</strong>ema collector: a case study from Franco-era<br />
Spa<strong>in</strong>, Studies <strong>in</strong> Hispanic C<strong>in</strong>emas, 2.2, 137-144.<br />
Cosetta Veronese currently lectures <strong>in</strong> Italian literature and culture at<br />
the University of Birm<strong>in</strong>gham. She has <strong>research</strong>ed <strong>in</strong>to the c<strong>in</strong>ema of<br />
Francesco Rosi and n<strong>in</strong>eteenth-century English and Italian literature.<br />
She has specialized and published on the poetry of Emily Brontë and<br />
the production and reception of Giacomo Leopardi.<br />
› Pay<strong>in</strong>g the price of perpetuat<strong>in</strong>g memory: Francesco Rosi’s <strong>in</strong>terpretation of<br />
Primo Levi’s The Truce, Studies <strong>in</strong> European C<strong>in</strong>ema, 5.1, 55-66.<br />
Per Vesterlund is Associate Professor of C<strong>in</strong>ema Studies at the<br />
University of Gävle, Sweden. His publications <strong>in</strong>clude two co-edited<br />
volumes, Citizen Sche<strong>in</strong> (2010) and Svensk television: en mediehistoria<br />
(2008). His current <strong>research</strong> project concerns Harry Sche<strong>in</strong> and his role<br />
<strong>in</strong> Swedish film and media politics.<br />
› Quality <strong>in</strong> the welfare state: some remarks on a document from the archive of<br />
Harry Sche<strong>in</strong>, Journal of Scand<strong>in</strong>avian C<strong>in</strong>ema, 1.1, 25-30.<br />
Marian Via Rivera teaches Spanish Language and Literature at Royal<br />
Holloway, University of London. She has an MA <strong>in</strong> English Literature<br />
and Film Studies from Glasgow University, a MSt <strong>in</strong> European<br />
Literature at Wadham College, Oxford, and she is currently study<strong>in</strong>g<br />
for a Ph.D. at Royal Holloway.
Keywords Bardem, Martín-Gaite,<br />
performance, identity, Neorrealism › Theatricality/sexuality/performance: Neorrealism and the construction of<br />
identity <strong>in</strong> Calle Mayor and Entre Visillos, Studies <strong>in</strong> Hispanic C<strong>in</strong>emas, 3.2,<br />
109-122.<br />
Hvard Andreas Vibeto<br />
Claus Riis Gate 4, Oslo, 457, Norway<br />
Keywords national c<strong>in</strong>ema,<br />
Nordicness, art c<strong>in</strong>ema, genre, film<br />
reviews, Norwegian c<strong>in</strong>ema<br />
Aida Vidan<br />
Harvard University, Department of<br />
Slavic Languages and Literatures,<br />
Barker Center, Cambridge, MA<br />
02138, United States of America<br />
Keywords Bosnia, Serbia, Croatia<br />
Fabio Vighi<br />
Cardiff University, School of<br />
European Studies, PO Box 908,<br />
Cardiff, CF10 3YQ, United K<strong>in</strong>gdom<br />
Keywords neo-realism, subjectivity,<br />
Lacan, real, jouissance<br />
Håvard Andreas Vibeto is a film scholar and <strong>research</strong> fellow Ph.D. <strong>in</strong><br />
Game Studies at Hedmark University College. He is currently work<strong>in</strong>g<br />
on his Ph.D. thesis on video-gameaesthetics and player experience.<br />
› Hunt<strong>in</strong>g High and Low: Notes on Nazi Zombies, Francophiles and National<br />
C<strong>in</strong>ema(s), Film International, 9.2, 30-41.<br />
Aida Vidan received her Ph.D. from Harvard, where she currently<br />
teaches Bosnian, Croatian and Serbian and is a <strong>research</strong>er at the<br />
Milman Parry Collection of Oral Literature. She is the author of<br />
Embroidered with Gold, Strung with Pearls: The Traditional Ballads of<br />
Bosnian Women (Milman Parry Collection and Harvard University<br />
Press), co-author of Beg<strong>in</strong>ner’s Croatian and Beg<strong>in</strong>ner’s Serbian<br />
(Hippocrene Books) and co-editor of In Contrast: Croatian Film Today<br />
(K<strong>in</strong>okultura onl<strong>in</strong>e special issue).<br />
› Spaces of ideology <strong>in</strong> South Slavic films, Studies <strong>in</strong> Eastern European<br />
C<strong>in</strong>ema, 2.2, 173-192.<br />
After graduat<strong>in</strong>g <strong>in</strong> 1994 at Bologna University (Italy), Fabio Vighi<br />
obta<strong>in</strong>ed his Ph.D. at the University of Read<strong>in</strong>g with a study on the<br />
Italian poet, film-maker and <strong>in</strong>tellectual Pier Paolo Pasol<strong>in</strong>i. Before<br />
be<strong>in</strong>g appo<strong>in</strong>ted Lecturer at CardiffUniversity, he was employed at<br />
Portsmouth University (1996–2000). His <strong>research</strong> <strong>in</strong>terests focus on<br />
psychoanalysis, critical theory and film studies. More specifically, he<br />
has recently worked on subjectivity, ethics and utopia us<strong>in</strong>g a number<br />
of theoretical approaches that <strong>in</strong>clude Lacanian psychoanalytic theory,<br />
Marxism andpost-Marxist theory and German Idealism.<br />
› Encounters <strong>in</strong> the real: subjectivity and its excess <strong>in</strong> Roberto Rossell<strong>in</strong>i,<br />
Studies <strong>in</strong> European C<strong>in</strong>ema, 1.3, 185-198.
Björn Þór Vilhjálmsson<br />
Hugvís<strong>in</strong>dasvið, Sæmundargata 2,<br />
Háskóli Íslands, Aðalbygg<strong>in</strong>g, 101<br />
Reykjavík, Iceland<br />
Keywords Halldór Laxness,<br />
technology, modernity<br />
G<strong>in</strong>ette V<strong>in</strong>cendeau<br />
K<strong>in</strong>g's College London, Film Studies<br />
Keywords Marcel Pagnol, French<br />
c<strong>in</strong>ema, Vichy France, fallen women<br />
Sherryl V<strong>in</strong>t<br />
Brock University, Department of<br />
English Language and Literature, St.<br />
Cathar<strong>in</strong>es, ON, L2S 3A1, Canada<br />
Keywords science fiction c<strong>in</strong>ema and<br />
television, popular culture<br />
Björn Þór Vilhjálmsson is a Ph.D. dissertator <strong>in</strong> Critical Literary and<br />
C<strong>in</strong>ema Studies at the University of Wiscons<strong>in</strong>, Madison where he is<br />
based <strong>in</strong> the Department of Scand<strong>in</strong>avian Studies. He is writ<strong>in</strong>g on<br />
Halldór Laxness, technology and modernity.<br />
› Modernity and the mov<strong>in</strong>g image: Halldór Laxness and the writ<strong>in</strong>g of ‘The<br />
American Film <strong>in</strong> 1928’, Journal of Scand<strong>in</strong>avian C<strong>in</strong>ema, 1.2, 135-144.<br />
G<strong>in</strong>ette V<strong>in</strong>cendeau is Professor of Film Studies and Head of the Film<br />
Studies department at K<strong>in</strong>g’s College London. She has written widely<br />
on popular French and European c<strong>in</strong>ema, <strong>in</strong>clud<strong>in</strong>g most recently La<br />
Ha<strong>in</strong>e (I.B. Tauris, 2005), Jean Pierre Melville: An American <strong>in</strong> Paris<br />
(BFI, 2003), and Stars and Stardom <strong>in</strong> French C<strong>in</strong>ema (Cont<strong>in</strong>uum,<br />
2000). Her latest book, Popular French C<strong>in</strong>ema, from the Classicalto<br />
the Transnational was published by I.B. Tauris <strong>in</strong> 2010. She is<br />
currently work<strong>in</strong>g on a study of the representation of the south of<br />
France <strong>in</strong> <strong>in</strong>ternational film and television.<br />
› Marcel Pagnol, Vichy and Classical French C<strong>in</strong>ema, Studies <strong>in</strong> French<br />
C<strong>in</strong>ema, 9.1, 5-23.<br />
Sherryl V<strong>in</strong>t is an associate professor <strong>in</strong> the Department of English<br />
Language and Literature at Brock University. She is a found<strong>in</strong>g coeditor,<br />
with Mark Bould, of the journal Science Fiction Film and<br />
Television from Liverpool University Press and the director of Brock<br />
University's MA <strong>in</strong> Popular Cutlure. She is the author of Bodies of<br />
Tomorrow (2007) and Animal Alterity (2010), co-author, with Mark<br />
Bould, of The Routledge Concise History of Science Fiction (2011),<br />
and co-editor of Fifty Key Figures <strong>in</strong> Science Fiction (2009), The<br />
Routledge Companion to Science Fiction (2009) and Beyond<br />
Cyberpunk (2010).<br />
› Book Reviews, Film International, 5.3, 77-.<br />
› The essential Atom Egoyan box set, Film International, 5.2, 57-60.<br />
Concepción Cascajosa Concepción Cascajosa Vir<strong>in</strong>o is Assistant Professor <strong>in</strong> the Department
Vir<strong>in</strong>o<br />
Carlos III University of Madrid,<br />
Getafe (Madrid), 28903, Spa<strong>in</strong><br />
Keywords Narciso Ibáñez Serrador,<br />
television <strong>in</strong> Spa<strong>in</strong>, television<br />
authorship, global television<br />
Valent<strong>in</strong>a Vitali<br />
Senior Lecturer <strong>in</strong> Film Studies,<br />
School of Humanities and Social<br />
Sciences, University of East London,<br />
Docklands, 4-6 University Way,<br />
London, E16 2RD, United K<strong>in</strong>gdom<br />
Keywords legal space, realism,<br />
sensationalism, mode of address,<br />
pleasure<br />
Richard A Voeltz<br />
Cameron University, Department of<br />
History and Government, 2800 West<br />
Gore Blvd, Lawton, 73505, United<br />
States of America<br />
Keywords historiography, the British<br />
Empire, the history of Namibia, film<br />
and history, American history through<br />
film<br />
of Journalism and Audiovisual Communication of the Carlos III<br />
University of Madrid, where she is also a member of the <strong>research</strong><br />
group ‘Television-C<strong>in</strong>ema: Memory, Representation and Industry’<br />
(TECMERIN).<br />
› Narciso Ibáñez Serrador, an early pioneer of transnational television, Studies<br />
<strong>in</strong> Hispanic C<strong>in</strong>emas, 7.2, 133-145.<br />
Valent<strong>in</strong>a Vitali teaches Film History and Theory at the University of<br />
East London. She is the author of H<strong>in</strong>di Action C<strong>in</strong>ema: Industries,<br />
Narratives, Bodies (OUP 2008) and co-editor, with Paul Willemen, of<br />
Theoris<strong>in</strong>g National C<strong>in</strong>ema (BFI 2006). Her work has appeared <strong>in</strong> a<br />
number of journals and anthologies, <strong>in</strong>clud<strong>in</strong>g boundary2, Inter-Asia<br />
Cultural Studies, K<strong>in</strong>ema, Framework, Women: A Cultural Review, and<br />
Hong Kong Connections: Transnational Imag<strong>in</strong>ation <strong>in</strong> Action C<strong>in</strong>ema<br />
(Duke University Press and Hong Kong University Press 2005).<br />
› Revisit<strong>in</strong>g the ‘realism’ of the cosmetics of hunger: Cidade de Deus and<br />
Ônibus 174, New C<strong>in</strong>emas: Journal of Contemporary Film, 8.1, 15-30.<br />
Richard A. Voeltz is Professor of History and former Chair of the<br />
Department of History and Government at Cameron University <strong>in</strong><br />
Lawton, OK, USA, where he teaches courses <strong>in</strong> South African History<br />
and Film and American History Through Film, as well as courses <strong>in</strong><br />
British History and Modern European History. He received his Ph.D. <strong>in</strong><br />
history from the University of California, Los Angeles, and is the<br />
author of German Colonialism and the South West Africa Company.<br />
His areas of <strong>research</strong> and <strong>in</strong>terest <strong>in</strong>clude historiography, the British<br />
Empire, the history of Namibia, and film and history. He is the author<br />
of numerous articles and reviews <strong>in</strong> these areas, as well as <strong>in</strong> American<br />
and Modern European History.<br />
› Reviews, Journal of African C<strong>in</strong>emas, 2.1, 76-85.<br />
Robert von Dassanowsky Robert von Dassanowsky is Professor of German and Film Studies, and<br />
Director of the Film Studies program at the University of Colorado,<br />
Colorado Spr<strong>in</strong>gs. He is also active as an <strong>in</strong>dependent film producer
University of Colorado, Colorado<br />
Spr<strong>in</strong>gs, Languages and Cultures;<br />
Visual and Perform<strong>in</strong>g Arts, 1410<br />
Meredith Heights #207, Colorado<br />
Spr<strong>in</strong>gs, Colorado, 80919, United<br />
States of America<br />
Keywords popular culture, Austria,<br />
Central Europe, fascism<br />
Anne Marit Waade<br />
Aarhus University, Media Studies,<br />
Hels<strong>in</strong>gforsgade 14, 8200 Aarhus N,<br />
Denmark<br />
Keywords TV production, crime<br />
series, Wallander, Ystad, location,<br />
production value<br />
Ingela Wadbr<strong>in</strong>g<br />
University of Gothenburg,<br />
Department of Journalism, Media and<br />
Communication, POB 710,<br />
Gothenburg, SE 405 30, Sweden<br />
with his company, Belvedere Film. Dassanowsky is a Delegate to the<br />
European Academy of Sciences and Arts, VP of the Modern Austrian<br />
Literature and Culture Association (MALCA) and a fellow of both<br />
the Royal Historical Society and the Royal Society of Arts. His 2005<br />
book, Austrian C<strong>in</strong>ema: A History (McFarland), is the first Englishlanguage<br />
survey of that nation’s c<strong>in</strong>ema art and <strong>in</strong>dustry. His latest<br />
books <strong>in</strong>clude a co-edited collection (with Oliver C. Speck) on New<br />
Austrian Film (Berghahn 2011), a co-edited study (with Mart<strong>in</strong><br />
Liebscher and Christophe Fricker) The Nameable and the Unnameable:<br />
Hugo von Hofmannsthal's Der Schwierige Revisited (U of London/<br />
Iudicium 2011), and a collection of critical essays on Tarant<strong>in</strong>o's<br />
Inglourious Basterds: Manipulations of Metac<strong>in</strong>ema<br />
› Catch Hannibal at Mr Ripley's Fight Club if you can: From Eurodecadent<br />
c<strong>in</strong>ema to American nationalist allegory, Film International, 5.3, 14-29.<br />
› A Wave Over Boundaries: New Austrian Film, Film International, 6.1, 31-<br />
44.<br />
Anne Marit Waade, MA, PhD, is Associate Professor at the<br />
Department of Information and Media Studies at Aarhus University,<br />
Denmark. Her <strong>research</strong> falls with<strong>in</strong> the areas of media aesthetics, visual<br />
culture, mediated tourism andbrand<strong>in</strong>g culture. She has recently<br />
published articles on crime fiction series, crime tourism<br />
(www.krimiforsk.aau.dk) and travel series<br />
(www.tvunderholdn<strong>in</strong>g.au.dk), she has co-published the book Medier<br />
og turisme/Media and Tourism with Jakob L<strong>in</strong>aa Jensen (2009), and<br />
co-edited two books, Re-Invest<strong>in</strong>g Authenticity (2010) and Den<br />
Skand<strong>in</strong>aviske krimi – bestseller og blockbuster/Scand<strong>in</strong>avian Crime<br />
Fiction – Bestseller and Blockbuster. Her book Wallanderland will be<br />
published <strong>in</strong> 2012.<br />
› Crime scenes: Conceptualiz<strong>in</strong>g Ystad as location <strong>in</strong> the Swedish and the<br />
British Wallander TV crime series, Northern Lights: Film & Media Studies<br />
Yearbook, 9., 9-25.<br />
Ingela Wadbr<strong>in</strong>g, Ph.D., is Associate Professor at the Department of<br />
Journalism, Media and Communication at the University of<br />
Gothenburg, Sweden. She is project director of the Swedish Newspaper<br />
Research Programme, and her <strong>research</strong> <strong>in</strong> the programme focuses on<br />
free dailies and the consequences of new media on the newspaper<br />
market as well as media structural changes <strong>in</strong> general. She also runs a
Keywords newspapers, free dailies,<br />
media structure, journalism, media<br />
development<br />
Keith B. Wagner<br />
London South Bank University, Film<br />
Studies, College Hall, Malet Street,<br />
London, WC1E 7HZ, United<br />
K<strong>in</strong>gdom<br />
Keywords Matthew Barney,<br />
neoliberalism, commodity culture,<br />
decadence, Richard Serra<br />
Kristen Anderson<br />
Wagner<br />
University of Southern California<br />
Keywords female comedians,<br />
American silent c<strong>in</strong>ema<br />
Kar<strong>in</strong> Wahl-Jorgensen<br />
Cardiff University, Media and<br />
Cultural Studies, Bute Build<strong>in</strong>g, K<strong>in</strong>g<br />
Edward VII Avenue, Cardiff, CF 10<br />
3NB, United K<strong>in</strong>gdom<br />
Keywords discourse, journalism,<br />
liberal democracy, archive, tabloid<br />
project about media commercialization and has published several<br />
books and articles on newspaper development, audience analyses and<br />
media structural changes.<br />
› The contribution of free dailies and news on the web: implications of media<br />
structural changes for the Swedish newspaper readership market, Northern<br />
Lights: Film & Media Studies Yearbook, 8.1, 139-155.<br />
Keith Wagner received his M.Phil <strong>in</strong> Screen Media and Cultures from<br />
the University of Cambridge <strong>in</strong> 2007, and his MA <strong>in</strong> the Photographic<br />
Image from the University of Durham <strong>in</strong> 2006. He came to K<strong>in</strong>g’s<br />
College London to undertake a Ph.D. <strong>in</strong> 2009 after teach<strong>in</strong>g at the<br />
University of Rhode Island <strong>in</strong> the United States for two years,<br />
conven<strong>in</strong>g eleven modules rang<strong>in</strong>g from Asian c<strong>in</strong>ema to literature and<br />
film from MacMillan to Thatcher.<br />
› The Neo-liberal Auteur: Commodity fetishism and decadence <strong>in</strong> the mise-enscène<br />
of Matthew Barney's Cremaster 3, Film International, 6.3, 34-42.<br />
Kristen Anderson Wagner is a Ph.D. candidate <strong>in</strong> Critical Studies at the<br />
University of Southern California's School of C<strong>in</strong>ema-Television. Her<br />
dissertation is concerned with the work of female comedians <strong>in</strong><br />
American silent film.<br />
› DVD Reviews, Film International, 6.3, 60-75.<br />
› Book Reviews, Film International, 7.5, 71-90.<br />
› Book Reviews, Film International, 8.5, 82-90.<br />
Kar<strong>in</strong> Wahl-Jorgensen, Ph.D., is a Reader at Cardiff University’s<br />
School of Journalism, Media and Cultural Studies. She is <strong>in</strong>terested <strong>in</strong><br />
the relationship between citizenship, democracy and the media. She is<br />
<strong>in</strong>terested <strong>in</strong> how citizens are represented <strong>in</strong> news forms and genres,<br />
<strong>in</strong>clud<strong>in</strong>g vox pop <strong>in</strong>terviews, letters to the editor, disaster coverage<br />
and user-generated content. She is the author of two books, Journalists<br />
and the Public (Hampton Press 2007) and Citizens or Consumers?<br />
(Open University Press 2005; co-authored with Just<strong>in</strong> Lewis and Sanna
newspapers Inthorn) and Director of the MA <strong>in</strong> Journalism Studies and the MA <strong>in</strong><br />
Political Communication.<br />
Elizabeth Walden<br />
Bryant University, Literary and<br />
Cultural Studies, 1150 Douglas Pike,<br />
Smithfield, Rhode Island, RI 02917,<br />
United States of America<br />
Keywords animation, visual culture,<br />
digital culture, nature, animality,<br />
materiality<br />
Darren Waldron<br />
University of Manchester,<br />
Department of French Studies,<br />
Oxford Road, Manchester, Greater<br />
Manchester, M13 9PL, United<br />
K<strong>in</strong>gdom<br />
Keywords reception, audience,<br />
gender, lesbianism, Josiane Balasko,<br />
François Ozon<br />
› Audience views on user-generated content: explor<strong>in</strong>g the value of news from<br />
the bottom up, Northern Lights: Film & Media Studies Yearbook, 8.1, 177-<br />
194.<br />
Elizabeth Walden is Associate Professor of Philosophy and Cultural<br />
Studies at Bryant University. She works <strong>in</strong> the fields of Cultural<br />
Theory, C<strong>in</strong>ema and Aesthetics. Her work focuses on recent and<br />
emerg<strong>in</strong>g trends <strong>in</strong> c<strong>in</strong>ema, media and visual culture. Current work<br />
concerns the shift<strong>in</strong>g boundary between def<strong>in</strong>itions of human nature<br />
and the animal and representation of extreme emotion <strong>in</strong> visual culture.<br />
She teaches courses <strong>in</strong> Philosophy, Cultural Studies, Visual Culture<br />
and C<strong>in</strong>ema.<br />
› ‘You want to torture Zora?’ Olivier Assayas’s Demonlover as critique, New<br />
C<strong>in</strong>emas: Journal of Contemporary Film, 3.1, 55-.<br />
Darren Waldron is a Lecturer <strong>in</strong> French Screen Studies at the<br />
University of Manchester. His <strong>research</strong> <strong>in</strong>terests <strong>in</strong>clude<br />
representations of sexuality and gender <strong>in</strong> contemporary French film<br />
comedies and their reception. He has published articles on Gazon<br />
maudit (Balasko, 1995), Pédale douce (Aghion, 1996) and Le Placard<br />
(Veber, 2001). He is currently co-edit<strong>in</strong>g a forthcom<strong>in</strong>g volume on<br />
Contemporary French ‘Popular’ c<strong>in</strong>ema. His monograph, Queer<strong>in</strong>g<br />
Contemporary French Popular C<strong>in</strong>ema: Images and their Reception,<br />
was published with Peter Lang <strong>in</strong> 2009.<br />
› Incorporat<strong>in</strong>g qualitative audience <strong>research</strong> <strong>in</strong>to French film studies: the case<br />
of Gazon maudit (Balasko, 1995), Studies <strong>in</strong> French C<strong>in</strong>ema, 4.2, 121-134.<br />
› ‘Une m<strong>in</strong>e d'or <strong>in</strong>épuisable’: the queer pleasures of François Ozon's 8<br />
femmes/8 Women (2002), Studies <strong>in</strong> French C<strong>in</strong>ema, 10.1, 69-82.<br />
› From critique to compliance: Images of ethnicity <strong>in</strong> Salut cous<strong>in</strong> (1996) and<br />
Chouchou (2003), Studies <strong>in</strong> European C<strong>in</strong>ema, 4.1, 35-48.
Dylan Walker<br />
Fl<strong>in</strong>ders University, Screen Studies<br />
Department, GPO Box 2100,<br />
Adelaide, 5001, Australia<br />
Keywords South Australia,<br />
Snowtown, rural film, exhibition,<br />
c<strong>in</strong>ema-go<strong>in</strong>g<br />
Janet Walker<br />
Department of Film Studies,<br />
University of California, Santa<br />
Barbara Ellison Hall 1720, California,<br />
CA 93106, United States of America<br />
Keywords trauma, testimony,<br />
memory, history, Holocaust<br />
Ann-Krist<strong>in</strong> Wallengren<br />
Lund University, Centre for<br />
Languages and Literatures, Box 201,<br />
Lund, S-22100, Sweden<br />
Keywords America,<br />
Americanization, Hollywood icons,<br />
male identity, stereotypes<br />
Dylan Walker is a Screen Studies doctoral student at Fl<strong>in</strong>ders<br />
University <strong>research</strong><strong>in</strong>g film distribution and exhibition <strong>in</strong> rural South<br />
Australia dur<strong>in</strong>g the 1930s. His book Adelaide’s Silent Nights,<br />
published <strong>in</strong> 1996, dealt with the history of picture houses <strong>in</strong> South<br />
Australia dur<strong>in</strong>g the silent era. Dylan also has an <strong>in</strong>terest <strong>in</strong> Greek<br />
c<strong>in</strong>ema.<br />
› Rural c<strong>in</strong>ema audiences <strong>in</strong> South Australia <strong>in</strong> the 1930s, Studies <strong>in</strong><br />
Australasian C<strong>in</strong>ema, 1.3, 353-376.<br />
Janet Walker is Professor and former Chair of the Department of Film<br />
and Media Studies at the University of California, Santa Barbara,<br />
where she is also affiliated with the Women’s Studies Program. Her<br />
<strong>research</strong> has been supported by the American Council of Learned<br />
Societies, the National Endowment for the Humanities and the<br />
California Council for the Humanities and she is the recipient of a<br />
Dist<strong>in</strong>guished Teach<strong>in</strong>g Award from the University of California,<br />
Santa Barbara.<br />
› ‘Testimony <strong>in</strong> the umbra of trauma: film and video portraits of survival’,<br />
Studies <strong>in</strong> Documentary Film, 1.2, 91-104.<br />
Ann-Krist<strong>in</strong> Wallengren is an associate professor and senior lecturer <strong>in</strong><br />
Film Studies at Lund University <strong>in</strong> Sweden. Her teach<strong>in</strong>g covers most<br />
areas <strong>in</strong> the discipl<strong>in</strong>e, <strong>in</strong> particular focus<strong>in</strong>g upon film history, film<br />
analysis and theory. She is a member of the SCMS and the NECS, as<br />
well as a member of the editorial board for the journal Music and the<br />
Mov<strong>in</strong>g Image (Ill<strong>in</strong>ois University Press). Recently she has been a<br />
Visit<strong>in</strong>g Honorary Fellow at Southampton University, UK (Oct-Nov<br />
2008).<br />
› Music <strong>in</strong> Children, Film International, 3.13, 40-49.<br />
› The C<strong>in</strong>ema of Scand<strong>in</strong>avia Tytti Soila (ed.) (2005), Film International, 5.2,<br />
77-78.<br />
› Hollywood <strong>in</strong> Sweden: C<strong>in</strong>ematic references imag<strong>in</strong><strong>in</strong>g America, Film<br />
International, 6.5, 42-49.
Mike Walsh<br />
Fl<strong>in</strong>ders University, Screen Studies<br />
Department<br />
Keywords film distribution, film<br />
exhibition, film sound, film history<br />
Yiman Wang<br />
University Of California Santa Cruz,<br />
Department of Film and Digital<br />
Media, 1156 High Street, Santa Cruz,<br />
California, 95064, United States of<br />
America<br />
Keywords methodology, mode of<br />
address, foreignization, remake<br />
embodied performance, costum<strong>in</strong>g<br />
George Chun Han Wang<br />
University of Hawaii at Manoa,<br />
Academy for Creative Media, 2550<br />
Campus Road Crawford 210,<br />
Honolulu, HI 96822, United States of<br />
America<br />
Keywords martial arts, Li Hanxiang,<br />
Shaw Brothers, Run Run Shaw,K<strong>in</strong>g<br />
Hu, Ch<strong>in</strong>a, Hong Kong, Taiwan,<br />
Mike Walsh is a senior lecturer <strong>in</strong> the Screen Studies Department at<br />
Fl<strong>in</strong>ders University <strong>in</strong> Adelaide, South Australia. He is also consultant<br />
programmer for the Adelaide Film Festival. He has published<br />
numerous articles <strong>in</strong> various anthologies and journals on film<br />
distribution, Australian c<strong>in</strong>ema and Asian c<strong>in</strong>ema. He holds a Ph.D.<br />
from the University of Wiscons<strong>in</strong>-Madison. He is currently work<strong>in</strong>g on<br />
a book deal<strong>in</strong>g with the establishment of United Artists’ <strong>in</strong>ternational<br />
distribution network.<br />
› C<strong>in</strong>ema <strong>in</strong> a small state: distribution and exhibition <strong>in</strong> Adelaide at the com<strong>in</strong>g<br />
of sound, Studies <strong>in</strong> Australasian C<strong>in</strong>ema, 1.3, 299-314.<br />
› From the outback to the background: Indian films <strong>in</strong> Australia, Studies <strong>in</strong><br />
Australasian C<strong>in</strong>ema, 4.3, 215-230.<br />
Yiman Wang is Assistant Professor of Film & Digital Media at UC<br />
Santa Cruz. Her <strong>research</strong> and teach<strong>in</strong>g <strong>in</strong>terests <strong>in</strong>clude early c<strong>in</strong>ema,<br />
border-cross<strong>in</strong>g film remakes, transnational Ch<strong>in</strong>ese c<strong>in</strong>emas, DV<br />
image-mak<strong>in</strong>g <strong>in</strong> contemporary Ch<strong>in</strong>a, star studies, theories of<br />
translation, postcolonialism, and race and gender. She has completed a<br />
book manuscript on cross-Pacific film remakesand is currently work<strong>in</strong>g<br />
on the second book project on Anna May Wong<br />
› The ‘transnational’ as methodology: transnationaliz<strong>in</strong>g Ch<strong>in</strong>ese film studies<br />
through the example of The Love Parade and its Ch<strong>in</strong>ese remakes, Journal of<br />
Ch<strong>in</strong>ese C<strong>in</strong>emas, 2.1, 9-21.<br />
› Anna May Wong: a border-cross<strong>in</strong>g ‘m<strong>in</strong>or’ star mediat<strong>in</strong>g performance,<br />
Journal of Ch<strong>in</strong>ese C<strong>in</strong>emas, 2.2, 91-102.<br />
› Made <strong>in</strong> Ch<strong>in</strong>a, sold <strong>in</strong> the United States, and vice versa – transnational<br />
‘Ch<strong>in</strong>ese’ c<strong>in</strong>ema between media capitals, Journal of Ch<strong>in</strong>ese C<strong>in</strong>emas, 3.2,<br />
163-176.<br />
› K<strong>in</strong>g Hu and Run Run Shaw: the clash of two c<strong>in</strong>ema legends, Journal of<br />
Ch<strong>in</strong>ese C<strong>in</strong>emas, 4.2, 127-142.
comedy, Kev<strong>in</strong> Chu Yen P<strong>in</strong>g, Lee<br />
Hs<strong>in</strong>g, montage, edit<strong>in</strong>g, sound,<br />
soundtrack, Ud<strong>in</strong>e, Hawaii<br />
Aarti Wani<br />
Symbiosis College of Arts and<br />
Commerce, Department of English,<br />
G-21, Chidanand, Sus Road, Pashan,<br />
Pune, Maharashtra, 411021, India<br />
Keywords Bombay c<strong>in</strong>ema, 1950's,<br />
H<strong>in</strong>di c<strong>in</strong>ema<br />
Julian Ward<br />
University of Ed<strong>in</strong>burgh, Asian<br />
Studies, 8 Buccleuch Place,<br />
Ed<strong>in</strong>burgh, EH8 9LW, United<br />
K<strong>in</strong>gdom<br />
Keywords war, adaptation,<br />
collaboration, arbitrary cruelty<br />
Stephen Ward<br />
University of Salford, European<br />
Studies Research Institute, Salford,<br />
M5 4WT, United K<strong>in</strong>gdom<br />
Aarti Wani is an Associate Professor of English at the Symbiosis<br />
College of Arts and Commerce, Pune, Maharashta, India. She is<br />
read<strong>in</strong>g for a Ph.D. <strong>in</strong> C<strong>in</strong>ema Studies at the School of Arts and<br />
Aesthetics, JNU, New Delhi, towards a dissertation titled The Fantasy<br />
of the Modern: Romantic Love <strong>in</strong> the Bombay C<strong>in</strong>ema of the Fifties.<br />
Her review articles on contemporary H<strong>in</strong>di C<strong>in</strong>ema have appeared <strong>in</strong><br />
Film International, and onl<strong>in</strong>e magaz<strong>in</strong>es.<br />
› Uses of history: a case of two films, Film International, 5.1, 72-78.<br />
› Film Reviews, Film International, 6.6, 91-95.<br />
› Editorial, Studies <strong>in</strong> South Asian Film & Media, 1.1, 5-8.<br />
› Editorial, Studies <strong>in</strong> South Asian Film & Media, 1.2, 199-202.<br />
Julian Ward teaches Ch<strong>in</strong>ese Studies at the University of Ed<strong>in</strong>burgh.<br />
Research <strong>in</strong>terests <strong>in</strong>clude travel writ<strong>in</strong>g, particularly <strong>in</strong> the travel<br />
diaries of Xu Xiake. He is currently teach<strong>in</strong>g courses on both<br />
traditional literature, <strong>in</strong>clud<strong>in</strong>g Tang and Song poetry and M<strong>in</strong>g<br />
vernacular fiction, and modern poetry and literature. He is also coeditor<br />
of the Ch<strong>in</strong>ese C<strong>in</strong>ema Book published <strong>in</strong> May 2011.<br />
› Film<strong>in</strong>g the anti-Japanese war: the devils and buffoons of Jiang Wen’s Guizi<br />
Laile, New C<strong>in</strong>emas: Journal of Contemporary Film, 2.2, 107-118.<br />
› Editorial, Journal of Ch<strong>in</strong>ese C<strong>in</strong>emas, 1.3, 167-170.<br />
› Editorial, Journal of Ch<strong>in</strong>ese C<strong>in</strong>emas, 3.2, 97-98.<br />
› Editorial, Journal of Ch<strong>in</strong>ese C<strong>in</strong>emas, 5.1, 3-4.<br />
Stephen Ward is <strong>research</strong> fellow at the Oxford Internet Institute and<br />
has been senior lecturer at the University of Salford. He is an expert on<br />
Internet, politics and democracy and has been <strong>in</strong>volved <strong>in</strong> several larger<br />
<strong>research</strong> projects on E-democracy and onl<strong>in</strong>e media. He has published<br />
numerous articles on these subjects and edited a number of books, for<br />
<strong>in</strong>stance: Mak<strong>in</strong>g a Difference? Internet Campaign<strong>in</strong>g <strong>in</strong> Comparative
Keywords Internet, onl<strong>in</strong>e media,<br />
political communication, media and<br />
democracy<br />
Claire Wardle<br />
Keywords news production,<br />
immediacy, BBC, authenticity,<br />
audience<br />
Mar<strong>in</strong>a Warner<br />
University of Essex, Literature, Film<br />
and Theatre Studies, United K<strong>in</strong>gdom<br />
Keywords Splat, sensation, sound,<br />
comics, <strong>in</strong>ferno<br />
Charles Warren<br />
Boston University, Visual and<br />
Environmental Studies Department<br />
Keywords criticism, history, realism,<br />
Perspective (co-editor, 2007) and Electronic Democracy: Mobilisation<br />
and Participation Onl<strong>in</strong>e (co-editor, 2004).<br />
› What's the story…? Onl<strong>in</strong>e news consumption <strong>in</strong> the 2005 UK election,<br />
Northern Lights: Film & Media Studies Yearbook, 7.1, 51-71.<br />
Claire Wardle, Ph.D., is an Honorary Lecturer at Cardiff University’s<br />
School of Journalism, Media and Cultural Studies. After complet<strong>in</strong>g<br />
the AHRC- and BBC-funded <strong>research</strong> project <strong>in</strong>to UGC, she undertook<br />
a six-month secondment with BBC English Regions exam<strong>in</strong><strong>in</strong>g the use<br />
of UGC on BBC Local websites. She now works with the BBC College<br />
of Journalism.<br />
› Audience views on user-generated content: explor<strong>in</strong>g the value of news from<br />
the bottom up, Northern Lights: Film & Media Studies Yearbook, 8.1, 177-<br />
194.<br />
Mar<strong>in</strong>a Warner was born <strong>in</strong> London <strong>in</strong> 1946, of an Italian mother and<br />
an English father <strong>who</strong> was a bookseller. She was educated <strong>in</strong> Cairo;<br />
Brussels; Berkshire, England; and Lady Margaret Hall, Oxford. She is<br />
a prize-w<strong>in</strong>n<strong>in</strong>g writer of fiction, criticism and history. Her works<br />
<strong>in</strong>clude novels and short stories as well as studies of female myths and<br />
symbols. Her most recent book is Phantasmagoria: Spirit Visions,<br />
Metaphors, and Media (Oxford University Press). She is Professor <strong>in</strong><br />
the Department of Literature, Film and Theatre Studies at the<br />
University of Essex where she teaches courses on fairy tales and other<br />
forms of narrative.<br />
› Phew! Whaam! Aaargh! Boo!: Sense, Sensation, and Pictur<strong>in</strong>g Sound, The<br />
Soundtrack, 1.2, 107-125.<br />
Charles Warren is Lecturer on Film at Boston University, and<br />
Associate of the Visual and Environmental Studies Department at<br />
Harvard University. He is editor of Beyond Document: Essays on<br />
Nonfiction Film (1996) and, with Maryel Locke, of Jean Luc-Godard’s<br />
Hail Mary: Women and the Sacred <strong>in</strong> Film (1993). He has worked with<br />
filmmaker Robert Gardner to produce the DVD series Screen<strong>in</strong>g Room,
Jean Renoir, theory and has edited Gardner's books Mak<strong>in</strong>g Dead Birds: Chronicle of a<br />
Film (2007), Human Documents: Eight Photographers (2009), and Just<br />
Representations (2010). Recently Warren has contributed essays to<br />
volumes on Gardner, Jean Rouch, and Michael Haneke. He is currently<br />
writ<strong>in</strong>g on self-reflection <strong>in</strong> silent film, on Direct C<strong>in</strong>ema, and on<br />
Hitchcock's Vertigo.<br />
Marek Wasielewski<br />
University of West England, Cultural<br />
and Media Studies<br />
Keywords Dave Fleischer,<br />
Paramount, <strong>in</strong>dustrial design, the<br />
Gernsback Cont<strong>in</strong>uum, the Titan City<br />
project<br />
Janet Wasko<br />
University of Oregon, School of<br />
Journalism and Communication,<br />
United States of America<br />
Keywords political economy of the<br />
media, hollywood, disney<br />
Thomas Waugh<br />
Concordia University, Mel<br />
Hoppenheim School of C<strong>in</strong>ema, 1455,<br />
boul de Maisonneuve ouest,<br />
MontrÈal, QuÈbec, H3G 1M8, Canada<br />
Keywords Joris Ivens, Ch<strong>in</strong>a,<br />
› Cavell, Altman and Cassavetes, Film International, 4.22, 14-20.<br />
› Q:What is criticism?, Film International, 5.6, 22-31.<br />
Marek Wasielewski is a Ph.D. student <strong>in</strong> Cultural and Media Studies at<br />
the University of the West of England. His thesis will seek to position<br />
the emergence of the comicbook superhero with<strong>in</strong> the context of<br />
<strong>in</strong>dustrial modernity.<br />
› ‘This amaz<strong>in</strong>g stranger from the Planet Krypton’, Film International, 5.2, 6-<br />
17.<br />
Janet Wasko is Professor and Knight Chair of Communication<br />
Research at the University of Oregon. Wasko’s area of specialization is<br />
the political economy of the media, especially focus<strong>in</strong>g on the film<br />
<strong>in</strong>dustry. She is author, co-author or editor of eighteen books <strong>in</strong>clud<strong>in</strong>g<br />
How Hollywood Works, Understand<strong>in</strong>g Disney: The Manufacture of<br />
Fantasy and Dazzled by Disney: The Global Disney Audience Project.<br />
› Diss<strong>in</strong>' the Distribs: Hollywood's Questionable Distribution Policies, Film<br />
International, 1.4, 4-12.<br />
Thomas Waugh is Concordia University Research Chair <strong>in</strong><br />
Documentary and <strong>in</strong> Sexual Representation; Professor of Film Studies<br />
and Interdiscipl<strong>in</strong>ary Studies <strong>in</strong> Sexuality; Graduate Program Director,<br />
Film Studies; and Director, Concordia HIV/AIDS Project, at the Mel<br />
Hoppenheim School of C<strong>in</strong>ema, Concordia University, Montreal,<br />
Quebec. His expertise lies <strong>in</strong> Censorship, Education, AIDS/HIV, Gay<br />
Art/Literature/Film, Gay/Lesbian Issues, Canadian Film and Video,<br />
Eroticism <strong>in</strong> Film, Gay C<strong>in</strong>ema, Pornography/Obscenity/Censorship
solidarity film, mise-en-scène<br />
documentary, S<strong>in</strong>o-Japanese war<br />
Mike Wayne<br />
Keywords ideology, the commodity<br />
form, Venezuela, the Bolivarian<br />
revolution, formalism, praxis listen to<br />
Venezuela, Marxism<br />
Harry Weeks<br />
University of Ed<strong>in</strong>burgh, History of<br />
Art, School of Arts, Culture and<br />
Environment, M<strong>in</strong>to House, 20<br />
Chambers Street, Ed<strong>in</strong>burgh, EH1<br />
1JZ, United K<strong>in</strong>gdom<br />
Keywords contemporary art,<br />
community, activism, social turn,<br />
Eastern Europe, post-capitalism<br />
and Indian Film.<br />
› The 400 Million (1938) and the solidarity film: ‘halfway between Hollywood<br />
and Newsreel’, Studies <strong>in</strong> Documentary Film, 3.1, 7-17.<br />
Mike Wayne teaches and <strong>research</strong>es <strong>in</strong> the areas of film, television and<br />
media, with a particular emphasis on Marxist cultural theory. He most<br />
recently published as a co-author (with Julian Petley, Craig Murray and<br />
Lesley Henderson) the book Television News, Politics and Young<br />
People: Generation Disconnected? (Palgrave, 2010). This book was<br />
one of the outcomes of an AHRC funded project worth £108K. From<br />
2008 to 2009 Mike spent a year <strong>in</strong> Venezuela on a Leverhulme Trust<br />
Study Abroad Award where he also co-directed (with Deirdre O’Neill)<br />
a feature length documentary about the Venezuelan revolution, called<br />
Listen To Venezuela. He is the author of Political Film: The Dialectics<br />
of Third C<strong>in</strong>ema (2001), Marxism and Media Studies: Key Concepts<br />
and Contemporary Trends (2003) and as editor, Understand<strong>in</strong>g Film:<br />
Marxist Perspectives (2005).<br />
› Spectre, Film International, 2.10, 4-13.<br />
› Realism: Eleven theses and some elaborations, Film International, 4.24, 6-<br />
15.<br />
› Film as a radical pedagogic tool, Film International, 5.5, 10-16.<br />
› Return to Third C<strong>in</strong>ema? The Case of Listen To Venezuela, Film<br />
International, 8.1, 26-33.<br />
Harry Weeks (b. 1986) is a Ph.D. student <strong>in</strong> History of Art at the<br />
University of Ed<strong>in</strong>burgh. His current Ph.D. <strong>research</strong> project is entitled<br />
'Activism, Acvtivity, Activation: Potential post-capitalisms <strong>in</strong><br />
contemporary art' and exam<strong>in</strong>es the political implications of<br />
contemporary community-engaged art practice. He graduated from the<br />
University of Ed<strong>in</strong>burgh <strong>in</strong> 2008 and completed an MSc by <strong>research</strong> <strong>in</strong><br />
2009 entitled 'Re-cognis<strong>in</strong>g the post-Soviet condition: contemporary art<br />
<strong>in</strong> the Baltic States'. A revised version of this paper was published <strong>in</strong><br />
March 2010 <strong>in</strong> Studies <strong>in</strong> Eastern European C<strong>in</strong>ema. In 2009 he<br />
curated an exhibition of Scottish video art called 'You and me and the<br />
TV makes 3' as part of the Ed<strong>in</strong>burgh Annuale and <strong>in</strong> 2010 wrote the<br />
catalogue essay for the 'What Drives Baltic?' exhibition <strong>in</strong> Riga, Latvia.<br />
› Re-cogniz<strong>in</strong>g the post- Soviet condition: the documentary turn <strong>in</strong><br />
contemporary art <strong>in</strong> the Baltic States, Studies <strong>in</strong> Eastern European C<strong>in</strong>ema,
Susan We<strong>in</strong>er<br />
University of California, Department<br />
of French and Italian, 1 Shields<br />
Avenue, Sproul Hall, Room 522,<br />
Davis, United States of America<br />
Keywords Mac Orlan, Quai des<br />
brumes, prostitution, war, adaptation<br />
Hildegard Westerkamp<br />
United K<strong>in</strong>gdom<br />
Keywords Gus Van Sant, silence,<br />
Murray Schafer, soundscape,<br />
soundscape composition<br />
Cather<strong>in</strong>e Wheatley<br />
University of Southampton,<br />
Southampton, Hampshire, United<br />
K<strong>in</strong>gdom<br />
Keywords Rob<strong>in</strong> Wood, La Pianiste,<br />
melodrama, women's film,<br />
1.1, 57-70.<br />
Susan We<strong>in</strong>er is a visit<strong>in</strong>g associate professor of French at the<br />
University of California, Davis. She has published articles on Edgar<br />
Mor<strong>in</strong> and Roland Barthes, Jean-Pierre Léaud and French popular<br />
culture. She is the author of Enfants Terribles: Fem<strong>in</strong><strong>in</strong>ity and Youth <strong>in</strong><br />
the Mass Media <strong>in</strong> France, 1945–1968 (Johns Hopk<strong>in</strong>s University<br />
Press, 2001) and is currently writ<strong>in</strong>g a book on the c<strong>in</strong>ema of Jacques<br />
Demy and Agnès Varda.<br />
› When a prostitute becomes an orphan: Pierre Mac Orlan's Le Quai des<br />
brumes (1927) <strong>in</strong> the service of poetic realism, Studies <strong>in</strong> French C<strong>in</strong>ema,<br />
6.2, 129-140.<br />
Hildegard Westerkamp is a composer <strong>who</strong> focuses on listen<strong>in</strong>g,<br />
environmental sound and acoustic ecology. She is on the board of the<br />
World Forum for Acoustic Ecology (WFAE) and is a co-editor of its<br />
journal Soundscape – The Journal of Acoustic Ecology. She has taught<br />
courses <strong>in</strong> Acoustic Communication at Simon Fraser University, is<br />
conduct<strong>in</strong>g soundscape workshops and giv<strong>in</strong>g concerts and lectures<br />
<strong>in</strong>ternationally. Some of her compositional work appears <strong>in</strong> US filmmaker<br />
Gus Van Sant’s films Elephant and Last Days. Her music has<br />
been commissioned by CBC Radio, Canada Pavilion at Expo '86, Ars<br />
Electronica (L<strong>in</strong>z), and Österreichischer Rundfunk, Zentrum für Kunst<br />
und Medien <strong>in</strong> Germany.<br />
› School of Sound Symposium, London 2009; keynote lecture, The<br />
Soundtrack, 2.2, 111-126.<br />
Cather<strong>in</strong>e Wheatley is currently study<strong>in</strong>g for a D.Phil. at St. John’s<br />
College, Oxford, for which her thesis title is ‘Michael Haneke’s Critical<br />
Aesthetic and the Ethics of Film Spectatorship’. She has written articles<br />
on Michael Haneke and on film and ethics, as well as contribut<strong>in</strong>g<br />
several entries to the Routledge Encyclopedia of Documentary Film (3<br />
vols., ed., Ian Aitken. New York and London: Routledge, 2006).
spectatorship<br />
Duncan Wheeler<br />
University of Leeds, Department of<br />
Spanish, Leeds, LS2 9JT, United<br />
K<strong>in</strong>gdom<br />
Keywords popular film, domestic<br />
violence, fem<strong>in</strong>ism, post-fem<strong>in</strong>ism<br />
Duncan White<br />
University of the Arts, London,<br />
Central St. Mart<strong>in</strong>s College of Art &<br />
Design<br />
Keywords expanded c<strong>in</strong>ema,<br />
performance, video, production,<br />
reception, writ<strong>in</strong>g<br />
Frederick H. White<br />
Newfoundland, Canada<br />
Keywords postmodern, degeneration,<br />
St Petersburg, Dostoevskii, post-<br />
Soviet<br />
› The masochistic fantasy made flesh: Michael Haneke's La Pianiste as<br />
melodrama, Studies <strong>in</strong> French C<strong>in</strong>ema, 6.2, 117-128.<br />
Duncan is a Leverhulme Research Fellow at the Department of<br />
Spanish, Portuguese and Lat<strong>in</strong> American Studies at the University of<br />
Leeds, where he is also a member of the executive committee for the<br />
Centre for World C<strong>in</strong>emas. He has previously held lectur<strong>in</strong>g positions<br />
at the Universities of Birm<strong>in</strong>gham, London and Oxford, and is a<br />
published translator <strong>who</strong>se latest project is an English version of a<br />
Spanish play for the RSC. His articles on film, theatre and gender<br />
studies have appeared <strong>in</strong> numerous journals <strong>in</strong> the United K<strong>in</strong>gdom,<br />
Spa<strong>in</strong> and the United States. He is Reviews Editor for New C<strong>in</strong>emas.<br />
His book Golden Age Drama <strong>in</strong> Contemporary Spa<strong>in</strong>: The Comedia on<br />
Page, Stage and Screen will be published by the University of Wales<br />
Press <strong>in</strong> 2012.<br />
› The representation of domestic violence <strong>in</strong> popular English-language c<strong>in</strong>ema,<br />
New C<strong>in</strong>emas: Journal of Contemporary Film, 7.2, 155-175.<br />
› Reviews, New C<strong>in</strong>emas: Journal of Contemporary Film, 7.3, 257-.<br />
Duncan White is a <strong>research</strong> fellow at Central St Mart<strong>in</strong>s College Art<br />
and Design, University of the Arts London. He is the lead author and<br />
co-editor of Expanded C<strong>in</strong>ema: Art Performance Film (Tate Publish<strong>in</strong>g<br />
2011). Current <strong>research</strong> <strong>in</strong>terests <strong>in</strong>clude film and media experiments,<br />
poetry, art and performance.<br />
› ‘See<strong>in</strong>g or believ<strong>in</strong>g’: Harmony Kor<strong>in</strong>e and the c<strong>in</strong>ema of self-destruction,<br />
New C<strong>in</strong>emas: Journal of Contemporary Film, 3.2, 115-128.<br />
Frederick H. White is Associate Dean of Arts (Research and Graduate<br />
Programs) at Memorial University (Newfoundland, Canada). He has<br />
published <strong>in</strong> scholarly journals such as Novoe literaturnoe obozrenie<br />
and Voprosy literatury, has a book <strong>in</strong> pr<strong>in</strong>t, Memoirs and Madness:<br />
Leonid Andreev through the Prism of the Literary Portrait (2006) and<br />
is complet<strong>in</strong>g a follow-up study on narratives of mental illness by and<br />
about Andreev. Most recently, he has begun to exam<strong>in</strong>e the depiction
Tom Whittaker<br />
Department of Humanities, Arts,<br />
Languages and Education, Tower<br />
Build<strong>in</strong>g, 166-220 Holloway Road,<br />
London, N7 8DB, United K<strong>in</strong>gdom<br />
Keywords landscape, rural c<strong>in</strong>ema,<br />
environmentalism, Levitas, peasants,<br />
Eceiza<br />
James Wicks<br />
Po<strong>in</strong>t Loma Nazarene University,<br />
LJML Department, 3900 Lomaland<br />
Drive, San Diego, CA, 92106, United<br />
States of America<br />
Keywords Taiwanese c<strong>in</strong>ema, Bai<br />
J<strong>in</strong>grui, Li X<strong>in</strong>g, transnationalism,<br />
migration, 1960s, 1970s<br />
Emma Widdis<br />
University of Cambridge, Tr<strong>in</strong>ity<br />
College, Cambridge, CB2 1TQ,<br />
United K<strong>in</strong>gdom<br />
Keywords Abram Room, Lev<br />
Kuleshov, set design, faktura, haptics<br />
of the Russian f<strong>in</strong> de siècle <strong>in</strong> post-Soviet film.<br />
› Of Freaks and Men: Aleksei Balabanov’s critique of degenerate post-Soviet<br />
society, Studies <strong>in</strong> Russian and Soviet C<strong>in</strong>ema, 2.3, 281-297.<br />
› Inf<strong>in</strong>ite landscapes <strong>in</strong> Gutiérrez Aragón's Habla, mudita, Studies <strong>in</strong> Hispanic<br />
C<strong>in</strong>emas, 3.2, 89-100.<br />
› Geographies of anxiety: space, modernization and sexuality <strong>in</strong> Antxón<br />
Eceiza's El próximo otoño/ Next Autumn and De cuerpo presente/ Present <strong>in</strong><br />
Body, Studies <strong>in</strong> European C<strong>in</strong>ema, 6.1, 7-16.<br />
James Wicks, Ph.D. is an Assistant Professor of Literature at Po<strong>in</strong>t<br />
Loma Nazarene University <strong>in</strong> San Diego, California. He is currently<br />
convert<strong>in</strong>g his dissertation, entitled The Antecedents of Taiwan New<br />
C<strong>in</strong>ema: The State of Taiwan Film <strong>in</strong> the 1960s and 1970s, <strong>in</strong>to a book.<br />
› Project<strong>in</strong>g a state that does not exist: Bai J<strong>in</strong>grui's Jia zai Taibei/Home Sweet<br />
Home, Journal of Ch<strong>in</strong>ese C<strong>in</strong>emas, 4.1, 15-26.<br />
Emma Widdis is Senior Lecturer <strong>in</strong> the Department of Slavonic Studies<br />
at Cambridge University, and Fellow of Tr<strong>in</strong>ity College. She is the<br />
author of Visions of a New Land: Soviet C<strong>in</strong>ema from the Revolution to<br />
the Second World War (2003), and Alexander Medvedk<strong>in</strong> (2004), coeditor,<br />
with Simon Frankl<strong>in</strong>, of National Identity <strong>in</strong> Russian Culture<br />
(2004), and author of other articles on Russian c<strong>in</strong>ema and culture. She<br />
is currently work<strong>in</strong>g on a cultural history of ‘touch’ <strong>in</strong> Soviet Russia.<br />
› Faktura: depth and surface <strong>in</strong> early Soviet set design, Studies <strong>in</strong> Russian and<br />
Soviet C<strong>in</strong>ema, 3.1, 5-32.
Mary Wiles<br />
University of Canterbury, C<strong>in</strong>ema<br />
Studies, School of Humanities,<br />
English-Education Build<strong>in</strong>g,<br />
Christchurch, 8140, New Zealand<br />
Keywords New Wave, Jacques<br />
Rivette, theatricality, gender theory,<br />
fem<strong>in</strong>ist film theory, French film<br />
Paul Willeman<br />
University of Ulster, Colera<strong>in</strong>e<br />
Campus, Belfast, United K<strong>in</strong>gdom<br />
Keywords Indian c<strong>in</strong>ema, zoom <strong>in</strong><br />
popular c<strong>in</strong>ema, style, stortytell<strong>in</strong>g,<br />
<strong>in</strong>dustrialization of culture<br />
Deane Williams<br />
Monash University, Film and<br />
Television Studies, School of Englsih<br />
Communications and Performance<br />
Studies, Faculty of Arts, Caulfiled<br />
Campus, Melbourne, Victoria, 3800,<br />
Australia<br />
Keywords British c<strong>in</strong>ema,<br />
documentary, Harry Watt, Eal<strong>in</strong>g<br />
Studios, John Grierson<br />
Mary Wiles is a Lecturer <strong>in</strong> the Department of Theatre and Film<br />
Studies at the University of Canterbury, Christchurch, New Zealand.<br />
She received a Ph.D. <strong>in</strong> film studies at the University of Florida, an<br />
MA <strong>in</strong> film studies and an MA <strong>in</strong> French at the University of Iowa, and<br />
also received a diplôme d'études approfondies at Sorbonne Nouvelle <strong>in</strong><br />
Paris. She is currently work<strong>in</strong>g on her book Jacques Rivette, which will<br />
become part of the Contemporary Directors Series published by<br />
Ill<strong>in</strong>ois University Press. She has published numerous articles on avantgarde<br />
theatricality and adaptation <strong>in</strong> contemporary French and New<br />
German c<strong>in</strong>emas. She recently placed an essay on the com<strong>in</strong>g-of-age<br />
girl <strong>in</strong> New Zealand c<strong>in</strong>ema <strong>in</strong> the excit<strong>in</strong>g new collection, Youth<br />
Culture <strong>in</strong> Global C<strong>in</strong>ema.<br />
› Re-stag<strong>in</strong>g the Fem<strong>in</strong><strong>in</strong>e <strong>in</strong> Jacques Rivette's Haut bas fragile (1995), Studies<br />
<strong>in</strong> French C<strong>in</strong>ema, 1.2, 98-107.<br />
Paul Willeman edited Framework <strong>in</strong> the 1980's, published Looks and<br />
Fictions (1994) and co-wrote, with A. Rajadhyaksha, The<br />
Encyclopaedia of Indian C<strong>in</strong>ema (rev. ed. 1998). He is currently<br />
Research Professor at the University of Ulster, Colera<strong>in</strong>e.<br />
› The Zoom <strong>in</strong> Popular C<strong>in</strong>ema: A Question of Performance, New C<strong>in</strong>emas:<br />
Journal of Contemporary Film, 1.1, 6-13.<br />
Deane Williams is the Head of Film and Television Studies at Monash<br />
University, Melbourne. He has published widely on realist film<br />
<strong>in</strong>clud<strong>in</strong>g Australian film history and documentary film history. He is<br />
the editor of the journal Studies <strong>in</strong> Documentary Film and author of<br />
Mapp<strong>in</strong>g the Imag<strong>in</strong>ary: Ross Gibson's Camera Natura and <strong>in</strong> 2008 his<br />
(and Brian McFarlane's) Michael W<strong>in</strong>terbottom was published by<br />
Manchester University Press.<br />
› The Overlanders: between nations, Studies <strong>in</strong> Australasian C<strong>in</strong>ema, 1.1, 79-<br />
90.<br />
› Introduction, Studies <strong>in</strong> Documentary Film, 2.2, 101-102.
Lee Williams<br />
University of Miami, United States of<br />
America<br />
Keywords silent film criticism, River<br />
Plate literature, Southern Cone<br />
literature, Florida/Boedo, vanguard<br />
and film<br />
Tony Williams<br />
Southern Ill<strong>in</strong>ois University<br />
(Carbondale, IL), United States of<br />
America<br />
Keywords stardom, Hong Kong,<br />
Taiwan, film, late twentieth century<br />
Andrew Williams<br />
Cardiff University, Media and<br />
Cultural Studies, Bute Build<strong>in</strong>g, K<strong>in</strong>g<br />
Edward VII Avenue, Cardiff, CF 10<br />
3NB, United K<strong>in</strong>gdom<br />
Keywords news production, BBC,<br />
audience, media convergence, usergenerated<br />
content<br />
Ida Willig<br />
Roskilde University, Department of<br />
Communication, Bus<strong>in</strong>ess and<br />
Information Technologies, POB 260,<br />
Lee Williams holds a Ph.D. <strong>in</strong> Spanish from the Department of Foreign<br />
Languages and Literatures, University of Miami. His <strong>research</strong> <strong>in</strong>terests<br />
focus on twentieth-century River Plate literature, comparative<br />
literature, and metafiction. Forthcom<strong>in</strong>g <strong>research</strong> <strong>in</strong>cludes articles on<br />
Dickens, Arlt and Onetti.<br />
› Film criticism and/or narrative? Horacio Quiroga's early embrace of c<strong>in</strong>ema,<br />
Studies <strong>in</strong> Hispanic C<strong>in</strong>emas, 1.3, 181-.<br />
Tony Williams is Professor and Area Chair of Film Studies <strong>in</strong> the<br />
Department of English at Southern Ill<strong>in</strong>ois University at Carbondale.<br />
He has written extensively on South East Asian c<strong>in</strong>ema <strong>in</strong> C<strong>in</strong>ema<br />
Journal, Asian C<strong>in</strong>ema and Asian Cult C<strong>in</strong>ema. He has just completed<br />
a study on John Woo’s 1990 Vietnam War epic, Bullet <strong>in</strong> the Head.<br />
› Brigitte L<strong>in</strong> Ch<strong>in</strong>g Hsia: last eastern star of the late twentieth century,<br />
Journal of Ch<strong>in</strong>ese C<strong>in</strong>emas, 2.2, 147-157.<br />
Andy Williams, Ph.D., is the RCUK Research Fellow <strong>in</strong> Risk, Health<br />
and Science Communication at Cardiff University’s School of<br />
Journalism, Media and Cultural Studies. His <strong>research</strong> <strong>in</strong>terests are<br />
media convergence, <strong>in</strong>clud<strong>in</strong>g the political economy of convergence,<br />
the effects of multiplatform news provision on news quality and<br />
journalists’ pay and conditions, and the rise of user generated content,<br />
the role of public relations <strong>in</strong> the UK media and media representations<br />
of health and science, particularly journalist-source relations and the<br />
relationship between science journalism and PR.<br />
› Audience views on user-generated content: explor<strong>in</strong>g the value of news from<br />
the bottom up, Northern Lights: Film & Media Studies Yearbook, 8.1, 177-<br />
194.<br />
Ida Willig, Ph.D., is Associate Professor of Journalism Studies,<br />
Department of Communication, Bus<strong>in</strong>ess and Information<br />
Technologies at Roskilde University, Denmark. She is currently<br />
work<strong>in</strong>g on a study of the structural transformations of the Danish<br />
media system, and has published books and articles on field theory,
Roskilde, 4000, Denmark<br />
Keywords reader image, audience,<br />
news production, journalism<br />
Andrew Willis<br />
University of Salford, School of<br />
Music, Media & Performance,<br />
Adelphi Build<strong>in</strong>g, Peru Street,<br />
Salford, Manchester, Greater<br />
Manchester, M3 6EQ, United<br />
K<strong>in</strong>gdom<br />
Keywords popular c<strong>in</strong>ema, Spanish<br />
c<strong>in</strong>ema, Hong Kong c<strong>in</strong>ema, British<br />
television<br />
Janet Wilson<br />
University of Northampton, School of<br />
Arts, Park Campus, Boughton Green<br />
Road, Northampton, NN2 7AL,<br />
United K<strong>in</strong>gdom<br />
Keywords adaptation, Aborig<strong>in</strong>al,<br />
violence, trauma<br />
reflexive sociology, newsroom ethnography and journalism.<br />
› Construct<strong>in</strong>g the audience: a study of segmentation <strong>in</strong> the Danish press,<br />
Northern Lights: Film & Media Studies Yearbook, 8.1, 93-114.<br />
Andrew Willis, based at the University of Salford, is the co-author of<br />
Media Studies: Texts, Institutions and Audiences (Blackwell, 1999),<br />
co-editor of Cult Movies: The Cultural Politics of Oppositional Taste<br />
(Manchester University Press, 2003) and Spanish Popular C<strong>in</strong>ema<br />
(Manchester University Press, 2004) and editor of Film Stars:<br />
Hollywood and Beyond (Manchester University Press, 2004). He has<br />
acted as co-programmer, with Sarah Perks, for the events Made <strong>in</strong><br />
Hong Kong (2007) and Visible Secrets: Hong Kong’s Women<br />
Filmmakers (2009) which have both been hosted by Cornerhouse,<br />
Manchester and have <strong>in</strong>volved a season of films alongside a series of<br />
<strong>in</strong>terrelated events celebrat<strong>in</strong>g Hong Kong film culture.<br />
› The Spanish ‘popular auteur’, New C<strong>in</strong>emas: Journal of Contemporary Film,<br />
2.3, 139-148.<br />
› Hong Kong c<strong>in</strong>ema s<strong>in</strong>ce 1997: troughs and peaks, Film International, 7.4,<br />
6-17.<br />
Janet Wilson is Professor of English and Postcolonial Studies at the<br />
University of Northampton, and <strong>in</strong> 2010-2011 Research Fellow <strong>in</strong> New<br />
Zealand Studies at Birkbeck, University of London. Her <strong>research</strong> is <strong>in</strong><br />
the literature and film of the white settler societies of New Zealand and<br />
Australia and <strong>in</strong> postcolonial and diaspora studies more generally. Her<br />
present projects focus on Kather<strong>in</strong>e Mansfield and adaptation on<br />
contemporary New Zealand and Australian c<strong>in</strong>ema. Publications<br />
<strong>in</strong>clude Fleur Adcock (2007), The Southland Stories of Dan Dav<strong>in</strong><br />
(2007), and the coedited volumes Global Fissures; Postcolonial<br />
Fusions (2006), Rerout<strong>in</strong>g the Postcolonial: New Directions for the<br />
New Millennium (2010), Kather<strong>in</strong>e Mansfield and Literary Modernism<br />
(2011) and Celebrat<strong>in</strong>g Kather<strong>in</strong>e Mansfield: A Centenary Volume of<br />
Essays (2011). She is editor of the Journal of Postcolonialhair of<br />
EACLALS and vice-chair of the Kather<strong>in</strong>e Mansfield Society.<br />
› Reconsider<strong>in</strong>g Fred Schepisi's The Chant of Jimmie Blacksmith (1978): the<br />
screen adaptation of Thomas Keneally's novel (1972), Studies <strong>in</strong><br />
Australasian C<strong>in</strong>ema, 1.2, 191-208.
Emma Wilson<br />
University of Cambridge, Corpus<br />
Christi College, Cambridge, CB2<br />
1RH, United K<strong>in</strong>gdom<br />
Keywords contemporary film,<br />
trauma, gender, women writers,<br />
modern fiction<br />
Sheena Wilson<br />
University of Alberta, Faculté Sa<strong>in</strong>t-<br />
Jean, Calgary, Canada<br />
Keywords Irshad Manji, postpolitics,<br />
optical personage,<br />
performative radicalism, resistant<br />
ethnicity<br />
Leslie Kre<strong>in</strong>er Wilson<br />
Pepperd<strong>in</strong>e University, Pepperd<strong>in</strong>e<br />
University, 24255 Pacific Coast<br />
Highway, Malibu, CA 90263, USA<br />
Keywords<br />
Emma Wilson <strong>research</strong>es contemporary film, trauma, gender, women<br />
writers, and modern fiction. She is the author of Sexuality and the<br />
Read<strong>in</strong>g Encounter (OUP, 1996), French C<strong>in</strong>ema s<strong>in</strong>ce 1950: Personal<br />
Histories (Duckworth, 1999), Memory and Survival: The French<br />
C<strong>in</strong>ema of Krzysztof Kieslowski (Legenda, 2000), C<strong>in</strong>ema's Miss<strong>in</strong>g<br />
Children (Wallflower, 2003), Ala<strong>in</strong> Resnais (Manchester, 2006) and<br />
Atom Egoyan (Ill<strong>in</strong>ois University Press, 2009). She is currently<br />
work<strong>in</strong>g on a project on mortality <strong>in</strong> mov<strong>in</strong>g image media. > text and<br />
graphics --> --><br />
› Uncanny Families: Olivier, Olivier, Studies <strong>in</strong> French C<strong>in</strong>ema, 1.3, 150-158.<br />
Sheena Wilson is Assistant Professor at Faculté Sa<strong>in</strong>t-Jean, the French<br />
campus at the University of Alberta, Canada. She is <strong>in</strong>terested <strong>in</strong> the<br />
relationship between the written word and the image as discursive<br />
referents <strong>in</strong> socio-political contexts. Her <strong>research</strong> spans the follow<strong>in</strong>g<br />
areas: an <strong>in</strong>terdiscipl<strong>in</strong>ary approach to the study of human/civil rights<br />
abuses as represented <strong>in</strong> literature, film, and media; the representation<br />
of marg<strong>in</strong>alization and ethnicity by women writers, filmmakers and<br />
artists; the de-politicization of film as <strong>in</strong>strument of social change<br />
through specific recent practices <strong>in</strong> documentary and ma<strong>in</strong>stream film;<br />
relationships between the organic world and technologies of the body<br />
as represented <strong>in</strong> media environments. She is a co-found<strong>in</strong>g and comanag<strong>in</strong>g<br />
editor of the onl<strong>in</strong>e open-access journal of Imag<strong>in</strong>ations:<br />
Journal of Cross-Cultural Image Studies.<br />
› Performative Radicalism <strong>in</strong> contemporary Canadian documentary film, Film<br />
International, 7.1, 44-53.<br />
Leslie Kre<strong>in</strong>er Wilson directs the MFA Program <strong>in</strong> Writ<strong>in</strong>g for Screen<br />
& Television at Pepperd<strong>in</strong>e University. She is currently work<strong>in</strong>g on a<br />
book-length critical study of select Frances Marion screenplays and<br />
novels.<br />
› Frances Marion: Censorship and the Screenwriter <strong>in</strong> Hollywood, 1929–1931,<br />
Journal of Screenwrit<strong>in</strong>g, 3.2, 141-155.
Leung W<strong>in</strong>g-Fai<br />
University of London, School of<br />
Oriental and African Studies, United<br />
K<strong>in</strong>gdom<br />
Keywords perform<strong>in</strong>g, act<strong>in</strong>g,<br />
television, Ch<strong>in</strong>ese opera, multimedia<br />
stars<br />
Roel Vande W<strong>in</strong>kel<br />
Keywords television, film fund<strong>in</strong>g,<br />
regional c<strong>in</strong>ema, Flanders, Belgium<br />
Brian W<strong>in</strong>ston<br />
University of L<strong>in</strong>coln, Brayford Pool,<br />
L<strong>in</strong>coln, LN6 7TS, United K<strong>in</strong>gdom<br />
Keywords Wiseman, WNET,<br />
documentary, narrative strategy,<br />
audience reception<br />
Michelle Woods<br />
SUNY New Paltz, Department of<br />
English, 600 Hawk Drive, New Paltz,<br />
12561, United States of America<br />
Keywords translation, European and<br />
Leung W<strong>in</strong>g-Fai is a writer and lecturer specializ<strong>in</strong>g <strong>in</strong> East Asian<br />
films. She is complet<strong>in</strong>g a doctoral thesis at the School of Oriental and<br />
African Studies, University of London on multimedia stardom <strong>in</strong> Hong<br />
Kong (1980–2005) and has co-edited East Asian C<strong>in</strong>emas: Explor<strong>in</strong>g<br />
Transnational Connections on Film (I.B. Tauris, 2008) with Leon<br />
Hunt. Her writ<strong>in</strong>g can be found <strong>in</strong> Hannu Salmi et al. (eds), History of<br />
Stardom Reconsidered (2007) and Matteo di Giulio and Fabio Zanello<br />
(eds), Non è Tempo di Eroi. Il C<strong>in</strong>ema di Johnnie To (2008, <strong>in</strong> Italian).<br />
› From Wah Dee to CEO: Andy Lau and perform<strong>in</strong>g the authentic Hong Kong<br />
star, Film International, 7.4, 19-28.<br />
Roel Vande W<strong>in</strong>kel is an assistant professor at the University of<br />
Antwerp and a lecturer at the S<strong>in</strong>t-Lukas University College of Art and<br />
Design <strong>in</strong> Brussels.<br />
› Made <strong>in</strong> Flanders (Redux): Film Production, Government Fund<strong>in</strong>g and<br />
Television Participation <strong>in</strong> Flanders, Belgium, Film International, 8.6, 50-59.<br />
› Beware of the Wolves! The Turkish versus the European Reception of Valley<br />
of the Wolves: Iraq (2006), Film International, 9.3, 19-34.<br />
Professor Brian W<strong>in</strong>ston holds the L<strong>in</strong>coln Chair of Communications<br />
at the University of L<strong>in</strong>coln, UK. A revised second edition of his<br />
history of the documentary Claim<strong>in</strong>g the Real II: The com<strong>in</strong>g of the<br />
post-Griersonian Documentary is published by the British Film<br />
Institute.<br />
› ‘A riddle wrapped <strong>in</strong> a mystery <strong>in</strong>side an enigma’: Wiseman and Public<br />
Television, Studies <strong>in</strong> Documentary Film, 3.2, 95-111.<br />
Michelle Woods is <strong>in</strong>terested <strong>in</strong> modern and contemporary European<br />
and world literatures and the issue of translation. She wrote her Ph.D<br />
dissertation on the French and English translations of Milan Kundera's<br />
Czech novels and on the concept of the "orig<strong>in</strong>al" text <strong>in</strong> comparison to<br />
the translated text. She is <strong>in</strong>terested <strong>in</strong> all forms of transnationality <strong>in</strong><br />
literature, specifically <strong>in</strong> cross-cultural issues and exile writ<strong>in</strong>g as well<br />
as the theoretical underp<strong>in</strong>n<strong>in</strong>gs of literary translation. She has
world literatures, "orig<strong>in</strong>al" text,<br />
transnationality<br />
Eva Woods Peiró<br />
Vassar College, Hispanic Studies<br />
Keywords affect, disconnect,<br />
melodrama, resistance, Francoism<br />
Rochelle Wright<br />
University of Ill<strong>in</strong>ois, Germanic<br />
Languages and Literatures, United<br />
States of America<br />
Keywords vampire films, genre,<br />
hybridity, gender identity, the Other,<br />
Sweden<br />
Daniel Yacavone<br />
University of Ed<strong>in</strong>burgh, Film<br />
published articles on the translation of literature and film, and a book,<br />
Translat<strong>in</strong>g Milan Kundera (Multil<strong>in</strong>gual Matters, 2006). She<br />
published a translation of a 1929 Czech <strong>in</strong>terview with James Joyce <strong>in</strong><br />
Granta <strong>in</strong> 2005. Before com<strong>in</strong>g to New Paltz, she held a Fulbright<br />
scholarship at Columbia University and an IRCHSS Government of<br />
Ireland postdoctoral fellowship at Dubl<strong>in</strong> City University.<br />
› Between blue skies and paradise: The role of the English language <strong>in</strong> Jan<br />
Svěrák’s Tmavomodrý Svět/Dark Blue World (2001) and Vojtěch Jasný’s<br />
Návrat Ztraceného Ráje/Which Side Eden (1999), Studies <strong>in</strong> European<br />
C<strong>in</strong>ema, 1.3, 153-162.<br />
Eva Woods Peiró is an Assistant Professor of Hispanic Studies at<br />
Vassar College. She is currently complet<strong>in</strong>g a book manuscript, White<br />
Gypsies, Folklóricas, and Stardom: Rac<strong>in</strong>g for Modernity <strong>in</strong> Spanish<br />
Musical Films, 1923-1954, (University of M<strong>in</strong>nesota Press, 2006) and<br />
has published several articles on the topic. She is the co-editor of a<br />
collection of essays entitled Visualiz<strong>in</strong>g Spanish Modernity (Berg,<br />
2005) and is one of the authors of The Mediation of Everyday Life: An<br />
Oral History of Spanish C<strong>in</strong>ema-go<strong>in</strong>g <strong>in</strong> the 1940s and<br />
50s (Berghahn, 2006).<br />
› Identification and disconnect through popular melodrama, Studies <strong>in</strong><br />
Hispanic C<strong>in</strong>emas, 2.2, 125-136.<br />
Rochelle Wright is the author of The Visible Wall: Jews and Other<br />
Ethnic Outsiders <strong>in</strong> Swedish Film (1998) and articles on, <strong>in</strong>ter alia, the<br />
films of Alf Sjöberg, contemporary Swedish film, and c<strong>in</strong>ematic<br />
adaptations of Ibsen’s dramas. She has also published widely on<br />
literary topics and has translated four Swedish novels <strong>in</strong>to English.<br />
› Vampire <strong>in</strong> the Stockholm suburbs: Let the Right One In and genre hybridity,<br />
Journal of Scand<strong>in</strong>avian C<strong>in</strong>ema, 1.1, 55-70.<br />
Dr. Daniel Yacavone currently teaches at the University of Ed<strong>in</strong>burgh<br />
where he is a Lecturer <strong>in</strong> Film Studies. He has publised articles <strong>in</strong><br />
Film-Philosophy, Studies <strong>in</strong> French C<strong>in</strong>ema, and other journals, and
Studies, David Hume Tower, 9th<br />
Floor, Ed<strong>in</strong>burgh, EH8 9JX, United<br />
K<strong>in</strong>gdom<br />
Keywords Three Colours trilogy,<br />
camera movement, space, po<strong>in</strong>t of<br />
view, empathy<br />
Anubha Yadav<br />
University of Delhi, Department of<br />
Journalism, Kamala Nehru College,<br />
Delhi, 110049, India<br />
Keywords form, Mumbai, New<br />
wave, screenwriter, screenwrit<strong>in</strong>g<br />
Steven Yates<br />
Keywords film festival, Switzerland,<br />
Swiss, Savage Grace (2007), Chapter<br />
27 (2006)<br />
Emilie Yueh-yu Yeh<br />
Hong Kong Baptist University,<br />
Department of C<strong>in</strong>ema-TV, Kowloon<br />
Tong, Hong Kong, Ch<strong>in</strong>a<br />
Keywords film marketization, Ch<strong>in</strong>a<br />
Film Group Corporation, market<br />
reforms, CEPA, re-nationalization<br />
has a monograph under advance contract from Columbia University<br />
Press entitled Film Worlds: A new Philosophy of C<strong>in</strong>ema as Art.<br />
› Space, theme, and movement <strong>in</strong> Trois couleurs: Rouge, Studies <strong>in</strong> French<br />
C<strong>in</strong>ema, 6.2, 83-94.<br />
Anubha Yadav is an academic at the University of Delhi. She is also a<br />
writer and film-maker based <strong>in</strong> Delhi. Her credits as writer <strong>in</strong>clude<br />
newspaper features and short stories. She has worked as a television<br />
broadcaster for five years and has made award-w<strong>in</strong>n<strong>in</strong>g television<br />
documentaries. Her other areas of <strong>in</strong>terest <strong>in</strong>clude gender and film,<br />
popular H<strong>in</strong>di c<strong>in</strong>ema and media and privacy. She is currently<br />
<strong>research</strong><strong>in</strong>g and compil<strong>in</strong>g a book on women screenwriters and<br />
directors of H<strong>in</strong>di c<strong>in</strong>ema. She is also work<strong>in</strong>g on her first screenplay.<br />
› An evolv<strong>in</strong>g present with<strong>in</strong> a past a history of screenwrit<strong>in</strong>g practices <strong>in</strong><br />
popular H<strong>in</strong>di c<strong>in</strong>ema, Journal of Screenwrit<strong>in</strong>g, 2.1, 41-59.<br />
Steven Yates was born <strong>in</strong> 1968 and is a British Freelance film<br />
journalist. He writes regularly for onl<strong>in</strong>e film magaz<strong>in</strong>e Kamera and<br />
contributes to books and magaz<strong>in</strong>es for Wallflower Press. He is also an<br />
English-language supervisor for the FIPRESCI website.<br />
› Festivals, Film International, 6.1, 69-95.<br />
Emilie Yueh-yu Yeh is Associate Professor at the Department of<br />
C<strong>in</strong>ema-TV and Director of the Centre for Media and Communication<br />
Research at Hong Kong Baptist University. Her publications <strong>in</strong>clude:<br />
Taiwan Film Directors: A Treasure Island (Columbia University Press,<br />
2005, co-author), Ch<strong>in</strong>ese-Language Film: Historiography, Poetics,<br />
Politics (University of Hawaii Press, 2005, co-editor) and East Asian<br />
Screen Industries (British Film Institute, 2008, co-author).<br />
› Re-nationaliz<strong>in</strong>g Ch<strong>in</strong>a's film <strong>in</strong>dustry: case study on the Ch<strong>in</strong>a Film Group<br />
and film marketization, Journal of Ch<strong>in</strong>ese C<strong>in</strong>emas, 2.1, 37-51.
Huang Yiju<br />
University of Ill<strong>in</strong>ois at Urbana-<br />
Champaign, United States of America<br />
Keywords Zhang Yimou, Curse of<br />
the Golden Flower, psychoanalysis,<br />
symbolic order, maternal body<br />
Haiq<strong>in</strong>g Yu<br />
University of New South Wales,<br />
School of Languages and L<strong>in</strong>guistics,<br />
#234 Morven Brown Build<strong>in</strong>g,<br />
Kens<strong>in</strong>gton Campus, UNSW, NSW,<br />
2052, Australia<br />
Keywords DV, documentary, microc<strong>in</strong>ema,<br />
Internet<br />
Audrey Yue<br />
University of Melbourne, School of<br />
Culture and Communications,<br />
Victoria, 3010, Australia<br />
Keywords Asian Australian c<strong>in</strong>ema,<br />
film co-production, Ch<strong>in</strong>ese c<strong>in</strong>ema,<br />
new media, Hong Kong c<strong>in</strong>ema,<br />
<strong>in</strong>timacy, diaspora, cultural policy<br />
Huang Yiju is a Ph.D. student <strong>in</strong> East Asian languages and cultures at<br />
University of Ill<strong>in</strong>ois at Urbana-Champaign. Her <strong>research</strong> <strong>in</strong>terests lie<br />
<strong>in</strong> the fields of Modern and Contemporary Ch<strong>in</strong>ese Literature; Ch<strong>in</strong>ese<br />
Language C<strong>in</strong>ema; Theories of Trauma and Memory; Psychoanalytical<br />
Theory and Film Theory.<br />
› Weav<strong>in</strong>g a Dark Parody: A Psychoanalytical Read<strong>in</strong>g of Zhang Yimou's<br />
Curse of the Golden Flower, Film International, 6.2, 41-51.<br />
Haiq<strong>in</strong>g Yu is lecturer <strong>in</strong> contemporary Ch<strong>in</strong>ese media and culture at<br />
University of New South Wales, Australia. She is the author of Media<br />
and Cultural Transformation <strong>in</strong> Ch<strong>in</strong>a (Routledge, 2009). She<br />
<strong>research</strong>es Ch<strong>in</strong>ese media and cultural studies with a particular <strong>in</strong>terest<br />
<strong>in</strong> the <strong>in</strong>teraction between old and new media and its relation to<br />
Ch<strong>in</strong>ese cultural transformation. She supervises higher degree (Ph.D.<br />
and MA) <strong>research</strong> students <strong>in</strong> the areas of Ch<strong>in</strong>ese studies, Asian<br />
studies and media studies.<br />
› ‘Just Like Eat<strong>in</strong>g Chocolate’: A reflection on Ch<strong>in</strong>a's DV culture, Journal of<br />
Ch<strong>in</strong>ese C<strong>in</strong>emas, 3.1, 63-67.<br />
Audrey Yue is a lecturer <strong>in</strong> Cultural Studies at the University of<br />
Melbourne. She is co-editor of Mobile Cultures: New Media <strong>in</strong> Queer<br />
Asia (2003) and AsiaPacifiQueer: Reth<strong>in</strong>k<strong>in</strong>g Gender and Sexuality<br />
(2008). Her essays on the Asian Australian diaspora appear <strong>in</strong><br />
Sexualities, GLQ, Journal of Australian Studies, Journal of<br />
Homosexuality, New Formations, Float<strong>in</strong>g Lives: The Media and Asian<br />
Diasporas (2001), Diasporas of Australian C<strong>in</strong>ema (forthcom<strong>in</strong>g) and<br />
Somatechnics: Queer<strong>in</strong>g the Technologies of Bodies (forthcom<strong>in</strong>g).<br />
› Editorial:, Studies <strong>in</strong> Australasian C<strong>in</strong>ema, 2.2, 97-102.<br />
› Editorial: Transnational Asian Australian c<strong>in</strong>ema, Part 2, Studies <strong>in</strong><br />
Australasian C<strong>in</strong>ema, 2.3, 173-175.<br />
› Queer Asian Australian migration: creative film co-production and diasporic<br />
<strong>in</strong>timacy <strong>in</strong> The Home Song Stories, Studies <strong>in</strong> Australasian C<strong>in</strong>ema, 2.3,<br />
229-243.<br />
› Interview with Tony Ayres: on The Home Song Stories and Asian Australian<br />
film-mak<strong>in</strong>g, Studies <strong>in</strong> Australasian C<strong>in</strong>ema, 2.3, 245-254.<br />
› Introduction: Ch<strong>in</strong>ese c<strong>in</strong>emas as new media, Journal of Ch<strong>in</strong>ese C<strong>in</strong>emas,
Spela Zajec<br />
University of St Andrews, Film<br />
Studies, 99 North Street, Fife, St<br />
Andrews, United K<strong>in</strong>gdom<br />
Keywords politics,<br />
<strong>in</strong>strumentalization, Serbia,<br />
transformation<br />
Anna Zaluczkowska<br />
University of Bolton, Deane Road,<br />
Bolton, BL3 5AB, United K<strong>in</strong>gdom<br />
Keywords transmedia, multiplatform,<br />
new media, <strong>in</strong>teractive,<br />
Henry Jenk<strong>in</strong>s, Lev Manovich,<br />
Bellyfeel, Alexander Wilson Project<br />
Alberto Zambenedetti<br />
New York University, College of<br />
Staten Island, 2800 Victory<br />
Boulevard, New York, New York,<br />
United States of America<br />
Keywords Italian c<strong>in</strong>ema, Benetton,<br />
Gianni Amelio, Ferzan Ozpetek,<br />
Marco Ponti, short fiction film<br />
3.1, 0-14.<br />
› Special Issue on From Diasporic C<strong>in</strong>emas to S<strong>in</strong>ophone C<strong>in</strong>emas, Journal of<br />
Ch<strong>in</strong>ese C<strong>in</strong>emas, 4.2, 169-170.<br />
Spela Zajec is a Ph.D. scholar jo<strong>in</strong>tly supervised by the University of<br />
Copenhagen, Denmark and the University of St. Andrews, Scotland on<br />
‘Post-communist film culture <strong>in</strong> the former Yougoslavia’. She is from<br />
Slovenia and has a BA <strong>in</strong> Ethnology and Cultural Anthropology from<br />
University of Ljubjana, Slovenia and an European MA from several<br />
European Universities.<br />
› Boost<strong>in</strong>g the image of a nation: the use of history <strong>in</strong> contemporary Serbian<br />
film, Northern Lights: Film & Media Studies Yearbook, 7.1, 173-189.<br />
Anna Zaluczkowska is a senior lecturer and Programme Leader for<br />
Media, Writ<strong>in</strong>g and Production at the University of Bolton, England.<br />
She is an awardw<strong>in</strong>n<strong>in</strong>g film-maker and writer and her works have<br />
been screened at film festivals throughout the world, on television, <strong>in</strong><br />
museums and at live events.<br />
› Storyworld: the Bigger Picture, <strong>in</strong>vestigat<strong>in</strong>g the world of multiplatform/transmedia<br />
production and its affect on storytell<strong>in</strong>g processes,<br />
Journal of Screenwrit<strong>in</strong>g, 3.1, 83-101.<br />
Alberto Zambenedetti was born and raised <strong>in</strong> Venice, Italy. He has a<br />
Laurea <strong>in</strong> Foreign Languages and Literatures from Università degli<br />
Studi di Venezia, Ca’ Foscari, a Master’s degree <strong>in</strong> C<strong>in</strong>ema Studies<br />
from New York University, and he is currently pursu<strong>in</strong>g a Ph.D. <strong>in</strong><br />
Italian Studies from the same <strong>in</strong>stitution.<br />
› Multiculturalism <strong>in</strong> New Italian C<strong>in</strong>ema, Studies <strong>in</strong> European C<strong>in</strong>ema, 3.2,<br />
105-116.<br />
› The War Is (Not) Over: a re-evaluation <strong>in</strong> the new era of perpetual war, Short<br />
Film Studies, 1.1, 51-54.
Barbara Zecchi<br />
University of Massachusetts,<br />
Department of Languages, 161<br />
President Drive, Amherst, MA 01003,<br />
United States of America<br />
Keywords male body, gender,<br />
sexuality, pleasure, violence<br />
Y<strong>in</strong>gj<strong>in</strong> Zhang<br />
Director of Ch<strong>in</strong>ese Studies Program,<br />
University of California at San Diego,<br />
Department of Literature, 9500<br />
Gilman Drive, San Diego, CA 92093-<br />
0410, United States of America<br />
Keywords <strong>in</strong>dependent c<strong>in</strong>ema,<br />
styles, subjectivity, objectivity, DV,<br />
amateurism, comparative studies<br />
Xuelian Zhang<br />
Zhongshan University, School of<br />
Communication and Design, 135<br />
X<strong>in</strong>gang XiLu, Guangzhou,<br />
Guangdong, 510275, Ch<strong>in</strong>a<br />
Keywords Gus Van Sant, Elephant,<br />
Jia Zhang Ke, Platform, <strong>in</strong>dependent<br />
Barbara Zecchi teaches Film and Gender Studies at the University of<br />
Massachusetts, Amherst, <strong>in</strong> the Department of Languages, Literatures<br />
and Cultures, unit of Spanish and Portuguese. She holds a Ph.D. <strong>in</strong><br />
Romance Literatures and Cultures from the University of California at<br />
Los Angeles; an MA <strong>in</strong> Italian from the University of California at Los<br />
Angeles and an MA <strong>in</strong> Spanish from the University of California at San<br />
Diego. She is the co-editor of La mujer en la España<br />
actual:¿Evolución o <strong>in</strong>volución? (Icaria, 2004) and of Sexualidad y<br />
escritura (1850–2000) (Anthropos, 2002). She is presently f<strong>in</strong>ish<strong>in</strong>g a<br />
book on Spanish women and c<strong>in</strong>ema with the tentative title La mujer<br />
entre teoría y práctica c<strong>in</strong>ematográfica.<br />
› Women film<strong>in</strong>g the male body: Subversions, <strong>in</strong>versions and identifications,<br />
Studies <strong>in</strong> Hispanic C<strong>in</strong>emas, 3.3, 187-204.<br />
Y<strong>in</strong>gj<strong>in</strong> Zhang is Professor of Comparative Literature and Film Studies<br />
at the University of California-San Diego, USA. His English books<br />
<strong>in</strong>clude The City <strong>in</strong> Modern Ch<strong>in</strong>ese Literature and Film (1996),<br />
Encyclopedia of Ch<strong>in</strong>ese Film (1998), Ch<strong>in</strong>a <strong>in</strong> a Polycentric World<br />
(1998), C<strong>in</strong>ema and Urban Culture <strong>in</strong> Shanghai, 1922–1943 (1999),<br />
Screen<strong>in</strong>g Ch<strong>in</strong>a (2002), Ch<strong>in</strong>ese National C<strong>in</strong>ema (2004), From<br />
Underground to Independent (2006), C<strong>in</strong>ema, Space, and Polylocality<br />
<strong>in</strong> a Globaliz<strong>in</strong>g Ch<strong>in</strong>a (2010) and Ch<strong>in</strong>ese Film Stars (2010).<br />
› Styles, subjects, and special po<strong>in</strong>ts of view: a study of contemporary Ch<strong>in</strong>ese<br />
<strong>in</strong>dependent documentary, New C<strong>in</strong>emas: Journal of Contemporary Film,<br />
2.2, 119-.<br />
› Issues and Debates Comparative film studies, transnational film studies:<br />
<strong>in</strong>terdiscipl<strong>in</strong>arity, crossmediality, and transcultural visuality <strong>in</strong> Ch<strong>in</strong>ese<br />
c<strong>in</strong>ema, Journal of Ch<strong>in</strong>ese C<strong>in</strong>emas, 1.1, 27-40.<br />
› Zhao Dan: spectrality of martyrdom and stardom, Journal of Ch<strong>in</strong>ese<br />
C<strong>in</strong>emas, 2.2, 103-111.<br />
Xuelian Zhang teachs <strong>in</strong> the School of Communication and Design at<br />
Zhongshan University. She is <strong>in</strong>terested <strong>in</strong> issues that relate to gender<br />
and <strong>in</strong>dividualism <strong>in</strong> contemporary Ch<strong>in</strong>ese literature and media. Her<br />
recent <strong>research</strong> concerns the impact and cont<strong>in</strong>u<strong>in</strong>g legacy of the<br />
Cultural Revolution <strong>in</strong> contemporary Ch<strong>in</strong>a and Muslim-Ch<strong>in</strong>ese<br />
writ<strong>in</strong>g.<br />
› nternal Screen<strong>in</strong>g: the new <strong>in</strong>dependent c<strong>in</strong>ema between Hollywood and
c<strong>in</strong>ema, Ch<strong>in</strong>ese c<strong>in</strong>ema, Beij<strong>in</strong>g Film<br />
Academy, the ‘Sixth Generation’,<br />
digital technology<br />
Yi Zheng<br />
The University of Sydney, School of<br />
Languages and Cultures, Department<br />
of Ch<strong>in</strong>ese Studies, R640 Brennan<br />
MacCallum Build<strong>in</strong>g A18, NSW<br />
2006, Australia<br />
Keywords Hero/Y<strong>in</strong>g xiong, wuxia<br />
(martial arts genre), transnational<br />
c<strong>in</strong>ema, blockbusters, stars<br />
Eugénie Zvonk<strong>in</strong>e<br />
Universite de Paris, C<strong>in</strong>ema<br />
Department, Rue de la Liberte, St<br />
Denis, 93542, France<br />
Keywords Soviet c<strong>in</strong>ema, Kira<br />
Muratova, fairy tale, Propp, dialogue<br />
Ch<strong>in</strong>a, Film International, 5.1, 45-57.<br />
Dr Yi Zheng is Senior Research Fellow at the Department of Ch<strong>in</strong>ese<br />
Studies, the University of Sydney. Her recent publications <strong>in</strong>clude<br />
From Burke and Wordsworth to the Modern Sublime <strong>in</strong> Ch<strong>in</strong>ese<br />
Literature (Purdue University Press, 2011); ‘Modernisms <strong>in</strong> Ch<strong>in</strong>a’,<br />
Oxford Handbook of Modernisms (Donald and Zheng, 2010); ‘A Taste<br />
of Class –Manuals for Becom<strong>in</strong>g Woman’ (Donald and Zheng,<br />
Positions: East Asia Cultures Critique, 17.3, 2009). 'Post-Mao, Post-<br />
Bourdieu: Class and Taste <strong>in</strong> Contemporary Ch<strong>in</strong>a', Portal Journal of<br />
Multidiscipl<strong>in</strong>ary International Studies, (ed. Zheng and Donald, vol. 6,<br />
no. 22, July 2009) and ‘A La Mode: the Prov<strong>in</strong>cial and the<br />
Cosmopolitan’,Brand<strong>in</strong>g Cities: Cosmopolitanism, Parochialism, and<br />
Social Change (2008).<br />
› What Makes a Genre Blockbuster Good to Look At: Zhang Yimou's<br />
Transformative Modus Operandi <strong>in</strong> Hero, Film International, 8.1, 47-62.<br />
Eugénie Zvonk<strong>in</strong>e was born <strong>in</strong> Moscow and moved to Paris <strong>in</strong> the early<br />
1990s. She has recently defended a Ph.D. on Kira Muratova’s<br />
c<strong>in</strong>ematographic oeuvre at the University of Paris 8, under the<br />
supervision of Professor Claud<strong>in</strong>e Eizykman. She also teaches courses<br />
on university methodology and the Soviet c<strong>in</strong>ema at the University of<br />
Paris 8 <strong>in</strong> the C<strong>in</strong>ema Department as well as <strong>in</strong> other French<br />
universities. S<strong>in</strong>ce 2005 she has been responsible for Central Asian<br />
film selection for the Asian Film Festival <strong>in</strong> Vesoul, France. She<br />
currently contributes to Les Cahiers du c<strong>in</strong>ema.<br />
› The structure of the fairy tale <strong>in</strong> Kira Muratova's The Sentimental Policeman,<br />
Studies <strong>in</strong> Russian and Soviet C<strong>in</strong>ema, 1.2, 131-146.
"orig<strong>in</strong>al" text<br />
Michelle Woods<br />
1920s<br />
Andrew Higson<br />
1930s<br />
Richard Armstrong<br />
Anna Cabak Rédei<br />
Guo-Ju<strong>in</strong> Hong<br />
Ben McCann<br />
Ben Morgan<br />
Alison Peirse<br />
Michael Pokorny<br />
John Sedgwick<br />
1950s<br />
Frédéric Gimello-Mesplomb<br />
Patrick McGilligan<br />
Christopher Sharrett<br />
David Sterritt<br />
1950's<br />
Aarti Wani<br />
1960s<br />
Nicholas J. Cull<br />
Hamish Ford<br />
Andrew Gordon<br />
Ranjani Mazumdar<br />
Jonathan Owen<br />
James Wicks<br />
1970s<br />
Joshua First<br />
Sab<strong>in</strong>e Hake<br />
Ian Q. Hunter<br />
Mariah Larsson<br />
Novotny Lawrence<br />
Wenchi L<strong>in</strong><br />
James Wicks<br />
1980s<br />
Cesar Ballester<br />
Paul Dave<br />
Barbara Leh<strong>in</strong><br />
1990s<br />
John P. Garry III<br />
2000 Cannes Film Festival<br />
Agnès Calatayud<br />
3D<br />
Kar<strong>in</strong>a Aveyard<br />
Christos Manolas<br />
5 F<strong>in</strong>gers of Death<br />
Aaron Magnan-Park<br />
9/11<br />
Leon Saunders Calvert<br />
A Story of Float<strong>in</strong>g Weeds<br />
Kathe Geist<br />
Abbas Kiarostami<br />
Alberto Elena Díaz<br />
Aborig<strong>in</strong>al<br />
Therese Davis<br />
Jason De Santolo<br />
Louise Hamby<br />
Andrew W Hurley<br />
Benjam<strong>in</strong> Miller<br />
John Morton<br />
Cassi Plate<br />
Janet Wilson<br />
Aborig<strong>in</strong>al Australians<br />
Ian Henderson<br />
Aborig<strong>in</strong>al c<strong>in</strong>ema<br />
Benjam<strong>in</strong> Miller<br />
abortion<br />
Brigitte Rollet<br />
Abram Room<br />
Maria Belodubrovskaya<br />
Emma Widdis<br />
absence of location sound<br />
Randy Thom<br />
absent fathers<br />
Deborah Shaw<br />
Abu Ghraib<br />
Hilary Neroni<br />
accented c<strong>in</strong>ema<br />
Samirah Alkassim<br />
Daniela Berghahn<br />
Derek Duncan<br />
acculturation<br />
Alice Burg<strong>in</strong><br />
act<strong>in</strong>g<br />
Adrian Horrocks<br />
Ruth McElroy<br />
Derek Paget<br />
Jörg Sternagel<br />
Leung W<strong>in</strong>g-Fai<br />
activism<br />
Jonathan Dockney<br />
Richard Edwards<br />
Harry Weeks<br />
actor network theory<br />
Ilana Gershon<br />
Joshua Malitsky<br />
actuality television<br />
Richard Bates<br />
Stephen Deutsch<br />
Adam Sandler<br />
Aaron Taylor<br />
adaptation<br />
Ela<strong>in</strong>e Cann<strong>in</strong>g<br />
Patrick Cattrysse<br />
Daniela Cavallaro<br />
Sue Clayton<br />
Elisa Costa-Villaverde<br />
Debbie Danielpour<br />
David Scott Diffrient<br />
Sally Faulkner<br />
Margaret C. Fl<strong>in</strong>n<br />
Germán Gil Curiel<br />
Susan Hayward<br />
Nicholas Hewitt<br />
Brigitte E. Humbert<br />
Ian W. Macdonald<br />
Judith Mayne<br />
Björn Norðfjörð<br />
Lucas O’Connor<br />
Marion Schmid<br />
Olga V. Solovieva<br />
Thomas Deane Tucker<br />
Abdalla Uba Adamu<br />
Constant<strong>in</strong>e Verevis<br />
Cosetta M. Veronese<br />
Julian Ward<br />
Susan We<strong>in</strong>er<br />
Janet Wilson
adaptation of poetry<br />
Thomas Mart<strong>in</strong>ec<br />
adaptation theories<br />
Anke Brouwers<br />
adolescence<br />
Mary Farquhar<br />
adolescent sexuality<br />
Susan Ericsson<br />
advertis<strong>in</strong>g<br />
Lars Pynt Andersen<br />
Roderick Coover<br />
Robert Crawford<br />
Coonoor Kripalani<br />
Lora Wheeler Mjolsness<br />
Jacob Smith<br />
advocacy<br />
Keyan Gray Tomaselli<br />
aesthetic form<br />
Hamish Ford<br />
aesthetics<br />
Keith Beattie<br />
Coste Bénédicte<br />
Mart<strong>in</strong>e Beugnet<br />
Mia Carter<br />
Susan Daruvala<br />
John E. Davidson<br />
Jonathan Dockney<br />
Sab<strong>in</strong>e Hake<br />
Iben Have<br />
Nick Kaldis<br />
M.R. Koivumäki<br />
Krist<strong>in</strong>e Kotecki<br />
Morten Kyndrup<br />
Wendy Larson<br />
William Rothman<br />
James S. Williams<br />
Ben Tyrer<br />
affect<br />
Kristyn Gorton<br />
Volha Isakava<br />
Laura Podalsky<br />
Eva Woods Peiró<br />
affective landscape<br />
Peta Mitchell<br />
Jane Stadler<br />
affective states<br />
Vlad Strukov<br />
Afghanistan<br />
Gregory Carleton<br />
AFI<br />
Mark Poole<br />
Africa<br />
Carol<strong>in</strong> Overhoff Ferreira<br />
Alexander Fisher<br />
Erik Knudsen<br />
Obed Nkunzimana<br />
'Africa <strong>in</strong> Motion'<br />
Stefanie Van de Peer<br />
African art<br />
David M. M. Riep<br />
African c<strong>in</strong>ema<br />
Piotr A. Cieplak<br />
Jonathan Haynes<br />
Saër Maty Bâ<br />
Senayon Olaoluwa<br />
Dayna Oscherwitz<br />
Jeffrey Ruoff<br />
Maurice Taonezvi Vambe<br />
African culture<br />
John C. McCall<br />
Senayon Olaoluwa<br />
African film market<br />
Brian Lark<strong>in</strong><br />
African francophone<br />
Rachael Langford<br />
African literature<br />
Jonathan Haynes<br />
African Oral story tell<strong>in</strong>g<br />
tradition<br />
Maurice Taonezvi Vambe<br />
African theatre<br />
Chukwuma Okoye<br />
Afrocentrism<br />
John C. McCall<br />
ag<strong>in</strong>g<br />
Matthew J. Marr<br />
agitational journalism<br />
Lora Wheeler Mjolsness<br />
Agnès Varda<br />
Kelley Conway<br />
Adrian Danks<br />
Agost<strong>in</strong>i<br />
Col<strong>in</strong> Burnett<br />
Aïcha<br />
Leslie Kealhofer<br />
AIDS<br />
Mara Adelman<br />
Cui Shuq<strong>in</strong><br />
Aki Kaurismäki<br />
Thomas Elsaesser<br />
Peter Schepelern<br />
Alan Taylor<br />
Eugenio Bolongaro<br />
Albatros<br />
Phil Powrie<br />
album souvenir<br />
Maryse Bray<br />
Aleksei Iu. German<br />
Alexander Etk<strong>in</strong>d<br />
Alexander Wilson Project<br />
Anna Zaluczkowska<br />
Algeria<br />
Jennifer Burris<br />
Col<strong>in</strong> Davis<br />
Claudia Pummer<br />
Thomas Riegler
algorithmic technologies<br />
Eiv<strong>in</strong>d Røssaak<br />
alienation<br />
Elena Lombardi<br />
'All The Little Live Th<strong>in</strong>gs'<br />
Zoë Beyer<br />
All-India Progressive Writers'<br />
Association (AIPWA)<br />
Talat Ahmed<br />
all-women crew<br />
Daniela Cavallaro<br />
Almodóvar<br />
Ann Davies<br />
Andy Medhurst<br />
alterity<br />
Samirah Alkassim<br />
Julia Dobson<br />
Renate Günther<br />
alternative aesthetics<br />
Aga Skrodzka<br />
alternative edit<strong>in</strong>g<br />
Brad Stevens<br />
alternative families<br />
Jacky Coll<strong>in</strong>s<br />
Althusser<br />
Lilya Kaganovsky<br />
amateur film-mak<strong>in</strong>g<br />
Mar<strong>in</strong> Hirschfeld<br />
amateurism<br />
Lars Gustaf Andersson<br />
Lisa French<br />
John Sundholm<br />
Y<strong>in</strong>gj<strong>in</strong> Zhang<br />
Amber Films<br />
Tobias Hochscherf<br />
James Leggott<br />
ambiguity<br />
Maria Tortajada<br />
ambivalence<br />
Greg Dolgopolov<br />
America<br />
Ann-Krist<strong>in</strong> Wallengren<br />
American c<strong>in</strong>ema<br />
Carolyn A. Durham<br />
Daniel Eisenberg<br />
Julieanne Lamond<br />
Franco Manai<br />
Kather<strong>in</strong>e Spr<strong>in</strong>g<br />
Rob Stone<br />
Michael Tapper<br />
Temenuga Trifonova<br />
American culture<br />
Nick Heffernan<br />
American Gothic<br />
Michael J. Blou<strong>in</strong><br />
American history through film<br />
Richard A Voeltz<br />
American <strong>in</strong>dependent c<strong>in</strong>ema<br />
Jimmy Hay<br />
Dolores Tierney<br />
American literature<br />
Jared Gardner<br />
American politics<br />
Carl Freedman<br />
John P. Garry III<br />
American postwar literature<br />
Sarah Trott<br />
American silent c<strong>in</strong>ema<br />
Kristen Anderson Wagner<br />
American studies<br />
Randolph Lewis<br />
Paula Rab<strong>in</strong>owitz<br />
Americanization<br />
Richard Abel<br />
Ann-Krist<strong>in</strong> Wallengren<br />
amnesia<br />
Roger Hillman<br />
George Toles<br />
anaphone<br />
Philip Tagg<br />
Anatomie de l'enfer<br />
Asbjørn Grønstad<br />
André Breton<br />
Eric Rebillard<br />
Andrei Konchalovskii<br />
Peter Pozefsky<br />
Andrei Tarkovsky<br />
Robert Bird<br />
Robert Efird<br />
David Foster<br />
Terence McSweeney<br />
Riikka Pelo<br />
Nariman Skakov<br />
Andrew M. Hulse<br />
Liza Palmer<br />
Andrzej Wajda<br />
Jan<strong>in</strong>a Falkowska<br />
Ang Lee<br />
G<strong>in</strong>a Marchetti<br />
Angel<strong>in</strong>o Fons<br />
Sally Faulkner<br />
Angie Chen<br />
Sarah Perks<br />
anglophone<br />
Mart<strong>in</strong> Mhando
anglophone Caribbean<br />
literature<br />
Karen Remedios<br />
animality<br />
Elizabeth Walden<br />
animated documentary film<br />
Jonathan Murray<br />
animation<br />
Stephen Deutsch<br />
Craig Hight<br />
Laura Pontieri Hlavacek<br />
Sanna Karkulehto<br />
Lora Wheeler Mjolsness<br />
Chris Pallant<br />
Elizabeth Walden<br />
animation and documentary<br />
Annabelle Honess Roe<br />
anime<br />
Jonathan Ellis<br />
Ann Hui<br />
Sarah Perks<br />
Ann Seidl<br />
Liza Palmer<br />
Annenkov<br />
Jennie Cous<strong>in</strong>s<br />
anthology<br />
Shekhar Deshpande<br />
Frank P. Tomasulo<br />
Anthony Ascot<br />
Bert Fridlund<br />
anthropology<br />
Emanuela Guano<br />
Constant<strong>in</strong>e V. Nakassis<br />
anti-capitalism<br />
Richard Edwards<br />
anti-globalization<br />
Richard Edwards<br />
anti-semitism<br />
Carrie Tarr<br />
Anton<strong>in</strong> Artaud<br />
Eric Rebillard<br />
Antonio López<br />
Alberto Elena Díaz<br />
Antonioni<br />
Steven Marchant<br />
Riikka Pelo<br />
apocalypse<br />
James Aston<br />
Paul Dave<br />
Allen H. Redmon<br />
Apocalypse Now<br />
Gustavo Costant<strong>in</strong>i<br />
Arab c<strong>in</strong>ema<br />
Jeffrey Ruoff<br />
Arabic c<strong>in</strong>ema<br />
Omar Kholeif<br />
arbitrary cruelty<br />
Julian Ward<br />
arcade games<br />
Karen Coll<strong>in</strong>s<br />
archetype<br />
Helen Jacey<br />
architecture<br />
Brian R. Jacobson<br />
Jasm<strong>in</strong>a Kallay<br />
Eva Näripea<br />
Lida Oukaderova<br />
Robert Robertson<br />
archival images<br />
Paola Margulis<br />
archive<br />
Ursula Böser<br />
Miriam Heywood<br />
Eiv<strong>in</strong>d Røssaak<br />
Kar<strong>in</strong> Wahl-Jorgensen<br />
Argent<strong>in</strong>e c<strong>in</strong>ema<br />
Jonathan Risner<br />
Aristotle<br />
Jasm<strong>in</strong>a Kallay<br />
Theresa Urba<strong>in</strong>czyk<br />
Arjun Appadurai<br />
Tilman Baumgärtel<br />
Arlene Bowman<br />
Randolph Lewis<br />
Arnaldur Indriðason<br />
Björn Norðfjörð<br />
Arnhem Land<br />
Louise Hamby<br />
Arsenal<br />
Erika Gregor<br />
Ulrich Gregor<br />
D<strong>in</strong>a Iordanova<br />
art and film<br />
Jill Murphy<br />
art c<strong>in</strong>ema<br />
Søren Birkvad<br />
Pam Cook<br />
Mike Dillon<br />
David Forrest<br />
Conn Holohan<br />
Paul Kerr<br />
Andy Medhurst<br />
Eiv<strong>in</strong>d Røssaak<br />
Peter Schepelern<br />
Deb Verhoeven<br />
Hvard Andreas Vibeto<br />
art house<br />
Talat Ahmed<br />
David Sorfa
art pedagogy<br />
Howard Riley<br />
Art Theatre Guild<br />
Isolde Standish<br />
art theory<br />
Morten Kyndrup<br />
Arthur Laurents<br />
Claus Tieber<br />
articulation of presence<br />
Krist<strong>in</strong>e Kotecki<br />
Artistic Council<br />
Benjam<strong>in</strong> E. Raikl<strong>in</strong><br />
Arturo Ripste<strong>in</strong><br />
Victoria Ruétalo<br />
artworld<br />
Howard Riley<br />
Ashes to Ashes<br />
James Chapman<br />
Asian Australian c<strong>in</strong>ema<br />
Tony Ayres<br />
Helen Grace<br />
Olivia Khoo<br />
Audrey Yue<br />
Asian c<strong>in</strong>ema<br />
Soo Jeong Ahn<br />
Chua Beng Huat<br />
Charles Leary<br />
Aaron Magnan-Park<br />
Stephen Teo<br />
Asian culture<br />
Chua Beng Huat<br />
Asian stereotypes<br />
Paloma Fresno-Calleja<br />
Asian-Australian culture<br />
Queenie Monica Chan<br />
assemblages<br />
Selm<strong>in</strong> Kara<br />
assimilation<br />
Anna Cole<br />
Liz Conor<br />
Association of Revolutionary<br />
C<strong>in</strong>ematography (ARRK)<br />
Jamie Miller<br />
asylum seekers<br />
Alice Bardan<br />
Bernadette Brennan<br />
Kristen Phillips<br />
Atari VCS<br />
Karen Coll<strong>in</strong>s<br />
Athens<br />
Theresa Urba<strong>in</strong>czyk<br />
Audiard<br />
Julia Dobson<br />
audience<br />
Daniel Biltereyst<br />
Denis Cryle<br />
Jonathan Dockney<br />
Mart<strong>in</strong> Eide<br />
Danielle Hipk<strong>in</strong>s<br />
Nancy Huggett<br />
Jo Labanyi<br />
Jule Selbo<br />
Lyn Thomas<br />
Darren Waldron<br />
Claire Wardle<br />
Andrew Williams<br />
Ida Willig<br />
audience reception<br />
Brian W<strong>in</strong>ston<br />
audiences<br />
Jeannette Delamoir<br />
audio<br />
Matthew P<strong>in</strong>k<br />
audio-visual<br />
Mart<strong>in</strong>e Huvenne<br />
Eija Niskanen<br />
Cacilda M. Rego<br />
Robert Robertson<br />
audiovisual arts<br />
Sarah Atk<strong>in</strong>son<br />
auditory experience<br />
Mart<strong>in</strong>e Huvenne<br />
auditory field<br />
Mart<strong>in</strong>e Huvenne<br />
Audrey Tautou<br />
Nicoleta Bazgan<br />
Australasian c<strong>in</strong>ema<br />
Ann-Marie Cook<br />
Australia<br />
Lizelle Bisschoff<br />
Queenie Monica Chan<br />
Susanne Gannon<br />
Faye G<strong>in</strong>sburg<br />
Jill Godmilow<br />
Graeme Harper<br />
Cather<strong>in</strong>e Kev<strong>in</strong><br />
Anthony Lambert<br />
Jane Landman<br />
Jonathan Rayner<br />
Australian c<strong>in</strong>ema<br />
Kar<strong>in</strong>a Aveyard<br />
Pam Cook<br />
Ian Craven<br />
Allison Craven<br />
Kieran Dol<strong>in</strong><br />
Daniel Eisenberg<br />
Lisa French<br />
Stephen Gaunson<br />
Oliver Haag<br />
Ian Henderson<br />
John Hughes<br />
Rebecca Joh<strong>in</strong>ke<br />
Olivia Khoo<br />
Jane Landman<br />
Peta Mitchell<br />
John Morton<br />
Gaetano Rando<br />
Mark Ryan<br />
Cather<strong>in</strong>e Simpson<br />
Bel<strong>in</strong>da Smaill<br />
Jane Stadler<br />
Silvana Tuccio<br />
Constant<strong>in</strong>e Verevis<br />
Deb Verhoeven
Australian culture<br />
John Hughes<br />
Australian history<br />
John Hughes<br />
Australian literature<br />
Ian Henderson<br />
Australian national c<strong>in</strong>ema<br />
Serena Formica<br />
Australian television<br />
Constant<strong>in</strong>e Verevis<br />
Austria<br />
Allyson Fiddler<br />
Robert von Dassanowsky<br />
Austrian c<strong>in</strong>ema<br />
Mattias Frey<br />
Reg<strong>in</strong>a Standún<br />
auteur<br />
Soo Jeong Ahn<br />
Mark All<strong>in</strong>son<br />
Gautam Basu Thakur<br />
Pat Brereton<br />
Peter Buse<br />
Erik Hedl<strong>in</strong>g<br />
David Hollands<br />
Kate Ince<br />
Carolyn Jess-Cooke<br />
Claire Perk<strong>in</strong>s<br />
Peter Schepelern<br />
Jasper Sharp<br />
Paul Sutton<br />
Núria Triana-Toribio<br />
auteur as adaptor<br />
R. Barton Palmer<br />
auteur c<strong>in</strong>ema<br />
Carmen Herrero<br />
Jacquel<strong>in</strong>e Nacache<br />
auteur theory<br />
John Berra<br />
auteurism<br />
Klemens Czyzydlo<br />
Peter Stanfield<br />
authenticity<br />
Leo Murray<br />
Phil Powrie<br />
Claire Wardle<br />
author<br />
Stephanie Dickison<br />
authorial fallacy<br />
Randolph Lewis<br />
authoritarianism<br />
Nick Kaldis<br />
authorship<br />
Mark All<strong>in</strong>son<br />
Therese Davis<br />
Isabelle Gourd<strong>in</strong>-Sangouard<br />
Barry Keith Grant<br />
Kate Griffiths<br />
Andrew W Hurley<br />
Eva Novrup Redvall<br />
Riikka Pelo<br />
Cassi Plate<br />
autobiography<br />
Enric Bou<br />
Kelley Conway<br />
Wendy Everett<br />
Maaret Kosk<strong>in</strong>en<br />
Daniel O'Brien<br />
automatism<br />
David Chapman<br />
autopoiesis<br />
David Chirico<br />
avant- garde<br />
Germán Labrador Méndez<br />
avant-garde<br />
Raphaël Bassan<br />
Jay David Bolter<br />
Gérard Courant<br />
Geoffrey Cox<br />
Rossella Ferrari<br />
Yuriko Furuhata<br />
Timothy Iles<br />
Lilya Kaganovsky<br />
Birger Langkjær<br />
Daniel L<strong>in</strong>dvall<br />
Nikolaj Lübecker<br />
Dom<strong>in</strong>ique Noguez<br />
Eiv<strong>in</strong>d Røssaak<br />
Priyanjali Sen<br />
Patrik Sjoberg<br />
Isolde Standish<br />
Cian Traynor<br />
avant-garde film<br />
James Leo Cahill<br />
AVPhD<br />
Ian Christie<br />
Ayse Polat<br />
Randall Halle<br />
Babii Iar<br />
Jeremy Hicks<br />
Badiou<br />
Lisa Coulthard<br />
Bai J<strong>in</strong>grui<br />
Menghs<strong>in</strong> C. Horng<br />
Wenchi L<strong>in</strong><br />
James Wicks<br />
Bajo Ulloa<br />
Mark All<strong>in</strong>son<br />
Bakht<strong>in</strong><br />
Joe Andrew<br />
Guy Aust<strong>in</strong><br />
Balibar<br />
Mart<strong>in</strong> O'Shaughnessy<br />
ballet<br />
Daria Khitrova<br />
Baltasar<br />
Björn Norðfjörð<br />
banlieue<br />
Carrie Tarr<br />
banlieue c<strong>in</strong>ema<br />
Crist<strong>in</strong>a Johnston
Yosefa Loshitzky<br />
banned words<br />
Richard Armstrong<br />
Barbary Coast<br />
Diane Stevenson<br />
Barcelona<br />
Anton Pujol<br />
Barcelona School<br />
Christiane Passevant<br />
Bardem<br />
Marian Via Rivera<br />
Barrack Obama<br />
Charles Musser<br />
Basilio Mart<strong>in</strong> Pat<strong>in</strong>o<br />
Sally Faulkner<br />
Christiane Passevant<br />
Christiane Passevant<br />
Basque<br />
Jo Evans<br />
Rob Stone<br />
Basque c<strong>in</strong>ema<br />
Helen Jones<br />
Bataille<br />
Mart<strong>in</strong>e Beugnet<br />
Baz Luhrmann<br />
Liz Conor<br />
Pam Cook<br />
Baz<strong>in</strong><br />
Ian Aitken<br />
Gabor Gergely<br />
Libby Saxton<br />
Thomas Deane Tucker<br />
BBC<br />
James Chapman<br />
Paul Cobley<br />
Nicholas J. Cull<br />
Heather Sutherland<br />
Claire Wardle<br />
Andrew Williams<br />
Béart<br />
John Orr<br />
Beau travail<br />
Elena del Río<br />
Beij<strong>in</strong>g Film Academy<br />
Michael Fitzhenry<br />
Xuelian Zhang<br />
Béla Tarr<br />
Steven Marchant<br />
Belgium<br />
Lizelle Bisschoff<br />
Leen Engelen<br />
Roel Vande W<strong>in</strong>kel<br />
belief<br />
Jordan Bear<br />
Belle de Jour<br />
Gwénaëlle Le Gras<br />
Bellyfeel<br />
Anna Zaluczkowska<br />
Benetton<br />
Alberto Zambenedetti<br />
Bengali c<strong>in</strong>ema<br />
Saayan Chattopadhyay<br />
Priyanjali Sen<br />
Bengali male<br />
Saayan Chattopadhyay<br />
Benito Perojo<br />
Valeria Camporesi<br />
Benjam<strong>in</strong><br />
Patrizia LaTrecchia<br />
Benjam<strong>in</strong> Christensen<br />
Arne Lunde<br />
Benoît Mariage<br />
Delph<strong>in</strong>e Bénézet<br />
Bergmans childhood<br />
Maaret Kosk<strong>in</strong>en<br />
Berlanga<br />
Dom<strong>in</strong>ic Keown<br />
Berl<strong>in</strong><br />
Susan Ingram<br />
Berl<strong>in</strong> Wall<br />
Ursula Böser<br />
Berl<strong>in</strong>ale Forum<br />
Erika Gregor<br />
Ulrich Gregor<br />
D<strong>in</strong>a Iordanova<br />
Berlusconi<br />
Paul Sutton<br />
Bernanos<br />
Thomas Deane Tucker<br />
Bernard Borderie<br />
Cécile Sor<strong>in</strong><br />
Besson<br />
Jennie Cous<strong>in</strong>s<br />
best-seller<br />
Gunhild Agger<br />
Beur and banlieue<br />
Claudia Esposito<br />
beur c<strong>in</strong>ema<br />
Yosefa Loshitzky<br />
Beur identity<br />
Isabelle Vanderschelden
eyond text<br />
Ian Christie<br />
Bhangra<br />
Raj<strong>in</strong>der Dudrah<br />
Bible films<br />
Julie Jones<br />
Biblical/juridical <strong>in</strong>junctions<br />
Helena Goscilo<br />
BiblioFell<strong>in</strong>i<br />
Marco Bertozzi<br />
biculturalism<br />
Jo Smith<br />
Bicycle Thieves<br />
Elena Lombardi<br />
Bigas Luna<br />
Dom<strong>in</strong>ic Keown<br />
Bildungsroman<br />
Hector Amaya<br />
Laura Senio Blair<br />
Bill Nichols<br />
Trish FitzSimons<br />
Bill Viola<br />
Eiv<strong>in</strong>d Røssaak<br />
b<strong>in</strong>arism<br />
Nick Kaldis<br />
B<strong>in</strong>oche<br />
John Orr<br />
biography<br />
John Baxter<br />
biomechanics<br />
Weihong Bao<br />
biopic<br />
Brian Hoyle<br />
bio-pic<br />
Evgeny Dobrenko<br />
Benjam<strong>in</strong> Halligan<br />
biosemiotics<br />
H<strong>in</strong>g Tsang<br />
birth <strong>in</strong> film<br />
Dom<strong>in</strong>ique Russell<br />
bisexuality<br />
Serena Anderl<strong>in</strong>i-D'Onofrio<br />
Black British<br />
Raj<strong>in</strong>der Dudrah<br />
black diaspora <strong>in</strong> France<br />
Moussa Sow<br />
Black Narcissus<br />
Stella Hockenhull<br />
black realism<br />
Geneviève Sellier<br />
Black Sea<br />
Julian Graffy<br />
Black Series<br />
Karol<strong>in</strong>a Kos<strong>in</strong>ska<br />
Black Sun<br />
Thomas Aust<strong>in</strong><br />
blackface<br />
Benjam<strong>in</strong> Miller<br />
blaxploitation<br />
Novotny Lawrence<br />
Bliss<br />
Robert Dixon<br />
blockbuster<br />
Gunhild Agger<br />
blockbusters<br />
Yi Zheng<br />
blogger<br />
Stephanie Dickison<br />
blogg<strong>in</strong>g<br />
Ishani Mukherjee<br />
Bob Dylan<br />
Ian Garwood<br />
Bob Dylan: Chronicles<br />
Peter Doyle<br />
Bobcat Goldthwait<br />
Jan Lumholdt<br />
body<br />
Patricia Aufderheide<br />
Axel Bangert<br />
Robert Burgoyne<br />
Jonathan Driskell<br />
Santiago Fouz-Hernández<br />
Volha Isakava<br />
Mika Ko<br />
Tarja La<strong>in</strong>e<br />
Joseph Mai<br />
Xavier Mendik<br />
Lida Oukaderova<br />
Lee Parpart<br />
Boissier<br />
Margaret C. Fl<strong>in</strong>n<br />
Bollywood<br />
Talat Ahmed<br />
Raj<strong>in</strong>der Dudrah<br />
Amit Rai<br />
Sunera Thobani<br />
Abdalla Uba Adamu<br />
C.S. Venkiteswaran<br />
Bombay c<strong>in</strong>ema<br />
Shahnaz Khan<br />
Monika Mehta<br />
Aarti Wani
Bombay film poster<br />
Ranjani Mazumdar<br />
Bonitzer<br />
Libby Saxton<br />
Bonnaire<br />
John Orr<br />
Bonnie Pr<strong>in</strong>ce Charlie<br />
Nicholas J. Cull<br />
book collection<br />
John Baxter<br />
border theory<br />
Claudia Pummer<br />
Border theory<br />
Kieran Dol<strong>in</strong><br />
borders<br />
Margot Black<br />
David Chirico<br />
Ciara Haley<br />
Kristen Phillips<br />
Victoria Ruétalo<br />
Bordwell<br />
David Forrest<br />
Borroloola story<br />
Jason De Santolo<br />
borrow<strong>in</strong>g<br />
Ruth Doughty<br />
Kate Griffiths<br />
Bosnia<br />
Aida Vidan<br />
Bosnia and Herzegov<strong>in</strong>a<br />
c<strong>in</strong>ema<br />
Nebojša Jovanović<br />
Boulanger<br />
Col<strong>in</strong> Davis<br />
boundary<br />
Bridget Birchall<br />
bourgeois<br />
Gabor Gergely<br />
Christopher Sharrett<br />
Brazil<br />
Lisa Shaw<br />
Brazilian c<strong>in</strong>ema<br />
Consuelo L<strong>in</strong>s<br />
Lúcia Nagib<br />
Isis Sadek<br />
Alfredo Luiz Suppia<br />
Brazilian New C<strong>in</strong>ema/C<strong>in</strong>ema<br />
Novo<br />
Alfredo Luiz Suppia<br />
Breillat<br />
Douglas Keesey<br />
Bresson<br />
Col<strong>in</strong> Burnett<br />
Brezhnev era<br />
Joshua First<br />
Bride of Chucky<br />
Judith Halberstam<br />
Brief Encounter<br />
Susan Daruvala<br />
Brighton Rock<br />
Robert Murphy<br />
Brigitte Bardot<br />
Nicoleta Bazgan<br />
Bristol<br />
Larry Portis<br />
Brita<strong>in</strong><br />
Nicholas J. Cull<br />
Paul Dave<br />
Elisabetta Girelli<br />
Stella Hockenhull<br />
Britian<br />
Robert Murphy<br />
British arts<br />
Victoria Lowe<br />
British c<strong>in</strong>ema<br />
Alice Bardan<br />
Dagmar Brunow<br />
Andrew Burke<br />
Sue Clayton<br />
Santiago Fouz-Hernández<br />
Elisabetta Girelli<br />
Andrew Higson<br />
Brian Hoyle<br />
Ian Q. Hunter<br />
Karol<strong>in</strong>a Kos<strong>in</strong>ska<br />
Samantha Lay<br />
James Leggott<br />
Barbara Leh<strong>in</strong><br />
Nathalie Morris<br />
Jonathan Murray<br />
Nick Redfern<br />
Jane Sillars<br />
Sarah Street<br />
Deane Williams<br />
British culture<br />
Miguel Mota<br />
British Documentary Film<br />
Movement<br />
Keith Beattie<br />
British Film Institute (BFI)<br />
Nathalie Morris<br />
British Guyana<br />
Paul Buhle<br />
British literature<br />
Miguel Mota<br />
British New Wave<br />
David Forrest<br />
British Social Realism<br />
David Forrest<br />
British television<br />
Nicholas J. Cull
James Leggott<br />
Andrew Willis<br />
Broadcast Media<br />
Sarah Atk<strong>in</strong>son<br />
broadcast<strong>in</strong>g<br />
Peter Atk<strong>in</strong>son<br />
Bruno Dumont<br />
Nikolaj Lübecker<br />
Buck Rogers<br />
Mark Bould<br />
Bulgarian c<strong>in</strong>ema<br />
Yana Hashamova<br />
Bulgar<strong>in</strong> m<strong>in</strong>orities<br />
Yana Hashamova<br />
Buñuel<br />
Stephen Forcer<br />
Burel<br />
Col<strong>in</strong> Burnett<br />
burlesque<br />
Laleen Jayamanne<br />
C.D. Friedrich<br />
José Alaniz<br />
Caché (2005)<br />
Kev<strong>in</strong> Hagopian<br />
Calabuch<br />
Dom<strong>in</strong>ic Keown<br />
Calderón de la Barca<br />
Marit Knollmueller<br />
camera movement<br />
Daniel Yacavone<br />
camera Surveillance<br />
Jim Supanick<br />
Camorra<br />
Rajko Radovic<br />
Canadian c<strong>in</strong>ema<br />
Bla<strong>in</strong>e Allan<br />
Charles H. Davis<br />
Janice Kaye<br />
Glen W. Norton<br />
Canadian identity<br />
Charles H. Davis<br />
Janice Kaye<br />
Canadian television<br />
Bla<strong>in</strong>e Allan<br />
cannibalism<br />
Emily Bullock<br />
Canoa<br />
Kerry Hegarty<br />
Canon-makers<br />
Núria Triana-Toribio<br />
Cantet<br />
Dana Strand<br />
Cantonese c<strong>in</strong>ema<br />
Fiona Yuk-wa Law<br />
capitalism<br />
Babak Fozooni<br />
Kwai-Cheung Lo<br />
Ewa Mazierska<br />
Capuano<br />
Patrizia LaTrecchia<br />
car culture<br />
Rebecca Joh<strong>in</strong>ke<br />
Cargo 200<br />
Gregory Carleton<br />
Caribbean and African<br />
American literature<br />
Shreerekha Subramanian<br />
Carl Th. Dreyer<br />
Lisbeth Richter Larsen<br />
Carlo Giuliani<br />
Mauro Sassi<br />
Carlos Gardel<br />
Marv<strong>in</strong> D'Lugo<br />
Carlos Saura<br />
Sally Faulkner<br />
Carmelo Gómez<br />
Ela<strong>in</strong>e Cann<strong>in</strong>g<br />
Carmen<br />
Ann Davies<br />
Carmen Sevilla<br />
Mar<strong>in</strong>a Díaz López<br />
Carthage Film Festival<br />
Jeffrey Ruoff<br />
Cast Away<br />
Randy Thom<br />
Catalan c<strong>in</strong>ema<br />
Anton Pujol<br />
Catalan literature<br />
Enric Bou<br />
Cather<strong>in</strong>e Breillat<br />
Michel Chion<br />
Kristyn Gorton<br />
Caucasus<br />
Zaza Shatirishvili<br />
Caudillo<br />
Christiane Passevant
causality<br />
Patrick Keat<strong>in</strong>g<br />
Cavell<br />
William Rothman<br />
CCTV<br />
Jennifer Burris<br />
Esther Leslie<br />
Cecil B. DeMille<br />
Halldór Laxness<br />
Cédric Klapisch<br />
Brigitte E. Humbert<br />
celebrity<br />
Brett Farmer<br />
David George<br />
Helle Kannik Haastrup<br />
Leah Shafer<br />
censorship<br />
Kirsten Cather<br />
Evans Chan<br />
Nicholas Harrison<br />
Omar Hassan<br />
Ian Q. Hunter<br />
Douglas Keesey<br />
John C. McCall<br />
Kenny K. K. Ng<br />
Christiane Passevant<br />
Benjam<strong>in</strong> E. Raikl<strong>in</strong><br />
Urther Rwafa<br />
Central Asian c<strong>in</strong>ema<br />
Seth Graham<br />
Jane Knox-Vo<strong>in</strong>a<br />
Central Europe<br />
Robert von Dassanowsky<br />
CEPA<br />
Darrell William Davis<br />
Emilie Yueh-yu Yeh<br />
Cervantes<br />
Marit Knollmueller<br />
CGI<br />
Eiv<strong>in</strong>d Røssaak<br />
Chabrol<br />
Gabor Gergely<br />
chaebol<br />
Darcy Paquet<br />
chance<br />
David Chapman<br />
chanchadas<br />
Alfredo Luiz Suppia<br />
Channel 4<br />
Adam Ganz<br />
chaos<br />
Wendy Everett<br />
Chapaev<br />
Evgeny Dobrenko<br />
Chapter 27 (2006)<br />
Steven Yates<br />
charismatic churches<br />
Wisdom Agorde<br />
Charles Baudelaire<br />
Carl Cassegard<br />
Charles Chapl<strong>in</strong><br />
Halldór Laxness<br />
Cheap and Out of Control<br />
Ira Jaffe<br />
Cheddi Jagan<br />
Paul Buhle<br />
Chemmeen<br />
Rajiv Kannan Menon<br />
Chen Kaige<br />
Robert Chen<br />
Ma N<strong>in</strong>g<br />
Chi Qun<br />
Laurence Coderre<br />
Chicana girl gangs<br />
Thea Pitman<br />
Chicano c<strong>in</strong>ema<br />
Thea Pitman<br />
chief<br />
Jean Olivier Tchouaffe<br />
child-director<br />
Giusepp<strong>in</strong>a Mecchia<br />
childhood<br />
Michael Carkl<strong>in</strong><br />
Jane Hanley<br />
Daniel O'Brien<br />
children<br />
Marie-Magdele<strong>in</strong>e Chirol<br />
Debbie James<br />
Lesley Marx<br />
Alexander Prokhorov<br />
children as consumers<br />
Jyotsna Kapur<br />
children's c<strong>in</strong>ema<br />
Natalia Riabchikova<br />
Childs Play series<br />
Judith Halberstam<br />
Chilean c<strong>in</strong>ema<br />
Ignacio López-Vicuña<br />
Ch<strong>in</strong>a<br />
Guo-Ju<strong>in</strong> Hong<br />
Sun Hongyun<br />
John A. Lent<br />
Kate E Taylor<br />
Zhang Tongdao<br />
George Chun Han Wang<br />
Thomas Waugh<br />
Ch<strong>in</strong>a Film Group<br />
Corporation<br />
Darrell William Davis
Emilie Yueh-yu Yeh<br />
Ch<strong>in</strong>as Film Bureau<br />
Evans Chan<br />
Ch<strong>in</strong>atowns<br />
Matthew D Johnson<br />
Ch<strong>in</strong>ese c<strong>in</strong>ema<br />
Chris Berry<br />
Evans Chan<br />
T<strong>in</strong>a Mai Chen<br />
Ludmila Moreira Macedo de<br />
Carvalho<br />
Rossella Ferrari<br />
Michael Fitzhenry<br />
Wai Siam Hee<br />
Helen Hok-sze Leung<br />
Menghs<strong>in</strong> C. Horng<br />
Wendy Larson<br />
Charles Leary<br />
Vivian Lee<br />
Song Hwee Lim<br />
Fran Mart<strong>in</strong><br />
Ma N<strong>in</strong>g<br />
Audrey Yue<br />
Xuelian Zhang<br />
Ch<strong>in</strong>ese crime fiction<br />
Kim Toft Hansen<br />
Ch<strong>in</strong>ese identities<br />
E.K. Tan<br />
Ch<strong>in</strong>ese literature<br />
Vivian Lee<br />
Ch<strong>in</strong>ese New Year<br />
Fiona Yuk-wa Law<br />
Ch<strong>in</strong>ese New Zealanders<br />
Paloma Fresno-Calleja<br />
Ch<strong>in</strong>ese opera<br />
Leung W<strong>in</strong>g-Fai<br />
Ch<strong>in</strong>ese popular music<br />
Menghs<strong>in</strong> C. Horng<br />
Ch<strong>in</strong>ese theatre<br />
Rossella Ferrari<br />
Menghs<strong>in</strong> C. Horng<br />
Ch<strong>in</strong>eseness<br />
Fiona Yuk-wa Law<br />
Zakir Hossa<strong>in</strong> Raju<br />
Sophia Siddique Harvey<br />
Chion<br />
Gustavo Costant<strong>in</strong>i<br />
Chu-Li Shewr<strong>in</strong>g<br />
Chongq<strong>in</strong>g c<strong>in</strong>ema<br />
Weihong Bao<br />
choric<br />
Trish FitzSimons<br />
Chris Marker<br />
David Montero<br />
Chris Petit<br />
Esther Leslie<br />
Christopher Doyle<br />
Queenie Monica Chan<br />
Chung Chang Wha<br />
Aaron Magnan-Park<br />
Chungk<strong>in</strong>g Express<br />
Carl Cassegard<br />
c<strong>in</strong>ema<br />
Joe Andrew<br />
Michael Carkl<strong>in</strong><br />
Sean Cubitt<br />
Alexander Fisher<br />
Babak Fozooni<br />
Markos Hadjioannou<br />
Brian R. Jacobson<br />
Gaik Cheng Khoo<br />
Dan North<br />
Polona Petek<br />
Jonathan Rayner<br />
Keith Reader<br />
Mark Ryan<br />
Paul Sutton<br />
c<strong>in</strong>ema act<strong>in</strong>g<br />
Anke Brouwers<br />
c<strong>in</strong>ema and affect<br />
Anke Brouwers<br />
c<strong>in</strong>ema and fantasy<br />
Kristian Moen<br />
c<strong>in</strong>ema and modernity<br />
Kristian Moen<br />
c<strong>in</strong>ema and the arts<br />
Germán Gil Curiel<br />
c<strong>in</strong>ema history<br />
Torey Liepa<br />
C<strong>in</strong>ema Novo<br />
Lúcia Nagib<br />
Isis Sadek<br />
C<strong>in</strong>ema of Disturbance<br />
Gautam Basu Thakur<br />
c<strong>in</strong>ema of the affected<br />
Rob Burns<br />
c<strong>in</strong>ema sound<br />
Greg Ha<strong>in</strong>ge<br />
c<strong>in</strong>ema studies<br />
Kim-mui Ela<strong>in</strong>e E. Chan<br />
c<strong>in</strong>éma vérité<br />
Keyan Gray Tomaselli<br />
c<strong>in</strong>ema-go<strong>in</strong>g<br />
Kate Bowles<br />
Denis Cryle<br />
Amit Rai<br />
Deb Verhoeven<br />
Dylan Walker<br />
c<strong>in</strong>emas<br />
L<strong>in</strong>a Khatib<br />
c<strong>in</strong>ematic combatant<br />
Zhang Tongdao
c<strong>in</strong>ematic gesture<br />
Murray Pomerance<br />
c<strong>in</strong>ematic long-form<br />
Richard Suchenski<br />
c<strong>in</strong>ematic modernism<br />
Søren Birkvad<br />
Richard Suchenski<br />
c<strong>in</strong>ematic narrative<br />
Sandra Pauletto<br />
c<strong>in</strong>ematic poet<br />
Zhang Tongdao<br />
c<strong>in</strong>ematic reality<br />
James Aston<br />
c<strong>in</strong>ematic spaces<br />
Eva Näripea<br />
c<strong>in</strong>ematic time<br />
Peter Doyle<br />
c<strong>in</strong>ematography<br />
Col<strong>in</strong> Burnett<br />
Jakob Isak Nielsen<br />
Allen H. Redmon<br />
c<strong>in</strong>ema-verite<br />
William Rothman<br />
c<strong>in</strong>ephiles<br />
D<strong>in</strong>a Iordanova<br />
c<strong>in</strong>ephilia<br />
May Adadol Ingawanij<br />
Emilie Bickerton<br />
Mattias Frey<br />
David Hollands<br />
C<strong>in</strong>erama<br />
James H Krukones<br />
C<strong>in</strong>mathque Franaise<br />
Amy R Handler<br />
circuit of culture<br />
Jonathan Dockney<br />
circulation<br />
Ilana Gershon<br />
Joshua Malitsky<br />
Murray Pomerance<br />
Jonathan Risner<br />
citizenship<br />
Jared Gardner<br />
Tony Hughes-d'Aeth<br />
city and literature<br />
Enric Bou<br />
City College of New York<br />
Patrick McGilligan<br />
city film<br />
Shen Shiao-Y<strong>in</strong>g<br />
city spaces<br />
Gabriele Mueller<br />
city video film<br />
Onookome Okome<br />
Ciudad de la Luz<br />
Alejandro Pardo<br />
civil disobedience campaigns<br />
Graeme Hayes<br />
civil society<br />
Jonathan Dockney<br />
Daisy Hasan<br />
Civil War<br />
Evgeny Dobrenko<br />
Jane Hanley<br />
Claire Denis<br />
Elena del Río<br />
Sebastian Scholz<br />
Claire Vass<br />
Michel Chion<br />
Clara Law<br />
Meg Johnston<br />
Sarah Perks<br />
class<br />
Bert Cardullo<br />
Paul Dave<br />
William Hope<br />
Daniel L<strong>in</strong>dvall<br />
Lucia Ricciardelli<br />
Steven J. Ross<br />
Michael Tapper<br />
classical Hollywood<br />
Tim Palmer<br />
Classical Hollywood<br />
Lesley Marx<br />
classifieds<br />
Maria Tortajada<br />
Cleopatra<br />
Suzanne Osmond<br />
Cl<strong>in</strong>t Eastwood<br />
Deborah Allison<br />
Clive Barker<br />
Anna Arnman<br />
Club des 13<br />
Isabelle Vanderschelden<br />
Cocteau<br />
Roland-François Lack<br />
code unknown<br />
David Sorfa<br />
Coen Brothers<br />
Greg Ha<strong>in</strong>ge<br />
Coff<strong>in</strong>man (Nkanfu Nikki)<br />
Michihiro Ama<br />
cognition<br />
Just<strong>in</strong> L. Barrett<br />
Ryan G. Hornbeck
L<strong>in</strong>e Nybro Petersen<br />
cognitive film theory<br />
William Brown<br />
Casper Tybjerg<br />
cognitive load theory<br />
Nitzan Ben-Shaul<br />
Cold War<br />
Paul Buhle<br />
Nancy Condee<br />
Tobias Hochscherf<br />
Ira Jaffe<br />
Sergei Kapterev<br />
Kenny K. K. Ng<br />
Kim Soyoung<br />
Cold War period<br />
Margot Black<br />
Ciara Haley<br />
Col<strong>in</strong>e Serreau<br />
Brigitte E. Humbert<br />
collaboration<br />
Bridget Conor<br />
Therese Davis<br />
Jason De Santolo<br />
Isabelle Gourd<strong>in</strong>-Sangouard<br />
Helen Hok-sze Leung<br />
Andrew W Hurley<br />
Eva Novrup Redvall<br />
Julian Ward<br />
collect<strong>in</strong>g<br />
Kathleen M. Vernon<br />
collective <strong>in</strong>dividual<br />
Laura Pontieri Hlavacek<br />
collective memory<br />
Timothy Iles<br />
Stijn Reijnders<br />
Maloe Sniekers<br />
collective mourn<strong>in</strong>g<br />
Krist<strong>in</strong>e Kotecki<br />
L<strong>in</strong>e Nybro Petersen<br />
colonial c<strong>in</strong>ema<br />
Kate E Taylor<br />
colonial memory<br />
Alison J. Murray Lev<strong>in</strong>e<br />
colonial tourism<br />
Alison J. Murray Lev<strong>in</strong>e<br />
colonialism<br />
Emily Bullock<br />
Liz Conor<br />
Ruth Cruickshank<br />
Col<strong>in</strong> Davis<br />
Jason De Santolo<br />
Omar Hassan<br />
Guo-Ju<strong>in</strong> Hong<br />
Matthew D Johnson<br />
Jane Landman<br />
Kenny K. K. Ng<br />
Obed Nkunzimana<br />
Jooyeon Rhee<br />
Abdalla Uba Adamu<br />
colour theory<br />
Kathryn Millard<br />
colourism<br />
Sonora Jha<br />
'Come<br />
Reg<strong>in</strong>a Standún<br />
COMECON prize<br />
Carol<strong>in</strong>e Mo<strong>in</strong>e<br />
'comedia sexy ibérica'<br />
Barry Jordan<br />
comedic horror<br />
Matthew J. Marr<br />
comédie de boulevard<br />
Raphaëlle Mo<strong>in</strong>e<br />
comedy<br />
Guy Aust<strong>in</strong><br />
Mary Farquhar<br />
Christ<strong>in</strong>e Haase<br />
James Leggott<br />
Andy Medhurst<br />
Christopher Neilan<br />
Heather Sutherland<br />
Isabelle Vanderschelden<br />
George Chun Han Wang<br />
comic books<br />
Michael Leader<br />
comics<br />
John A. Lent<br />
Eric Tessier<br />
Mar<strong>in</strong>a Warner<br />
com<strong>in</strong>g-of-age film<br />
Daniela Berghahn<br />
commercial break<br />
Heather Sutherland<br />
commercial c<strong>in</strong>ema<br />
Ian Craven<br />
Haom<strong>in</strong> Gong<br />
Barry Jordan<br />
commercial production<br />
Zoë Beyer<br />
commercial television<br />
Davide Morena<br />
commercialization<br />
Torey Liepa<br />
commission<strong>in</strong>g process<br />
Adam Ganz<br />
Susan Rogers<br />
commodification<br />
Rey Chow<br />
William Hope<br />
commodity culture<br />
Robert Dixon<br />
Keith B. Wagner<br />
Commodore<br />
Karen Coll<strong>in</strong>s<br />
communication<br />
Mara Adelman
Manjunath Pendakur<br />
communication theory<br />
Klaus Bruhn Jensen<br />
communications<br />
Jacob U. U. Jacob<br />
communications studies<br />
M<strong>in</strong>g-Yeh T. Rawnsley<br />
communism<br />
Joanna Rydzewska<br />
Communism<br />
Elzbieta Ostrowska<br />
Communist propaganda<br />
Kenny K. K. Ng<br />
community<br />
Kay Armatage<br />
Andrew Asibong<br />
Adrian Danks<br />
Laura McMahon<br />
Julian Str<strong>in</strong>ger<br />
Carrie Tarr<br />
Harry Weeks<br />
community development<br />
Mara Adelman<br />
community <strong>in</strong> the<br />
contemporary novel<br />
Shreerekha Subramanian<br />
community music<br />
Daniel Garrett<br />
comparative arts studies<br />
Morten Kyndrup<br />
comparative literature<br />
Nicholas Harrison<br />
comparative studies<br />
Y<strong>in</strong>gj<strong>in</strong> Zhang<br />
compilation film<br />
Wolfgang Beilenhoff<br />
computer game<br />
Krist<strong>in</strong>e Jørgensen<br />
Kjetil Sandvik<br />
computer-gam<strong>in</strong>g<br />
Alexia Bowler<br />
computer-mediated imag<strong>in</strong>g<br />
Craig Hight<br />
conceptual art<br />
Nikica Gilic<br />
conceptual <strong>in</strong>trigue<br />
Howard Riley<br />
concert music<br />
Matilde Nardelli<br />
confession<br />
Tabea Alexa L<strong>in</strong>hard<br />
Susan Ericsson<br />
conflict<br />
Dom<strong>in</strong>ica Dipio<br />
Confucian morality<br />
Susan Daruvala<br />
G<strong>in</strong>a Marchetti<br />
connoisseur<br />
David Hollands<br />
Connor<br />
Chu-Li Shewr<strong>in</strong>g<br />
constructivist narrative theory<br />
Nitzan Ben-Shaul<br />
consumer society<br />
Jill Julius Matthews<br />
consumerism<br />
Gautam Basu Thakur<br />
Robert Dixon<br />
Coonoor Kripalani<br />
Andrea Mirabile<br />
Leah Shafer<br />
consumption<br />
Ruth Cruickshank<br />
Coonoor Kripalani<br />
Les Roberts<br />
Kathleen M. Vernon<br />
contam<strong>in</strong>ation<br />
José Luis Rodríguez<br />
contemporary American<br />
literature<br />
Laura Beadl<strong>in</strong>g<br />
contemporary art<br />
Mart<strong>in</strong>e Beugnet<br />
Amar Kanwar<br />
Harry Weeks<br />
contemporary arts<br />
Markos Hadjioannou<br />
contemporary c<strong>in</strong>ema<br />
Glen W. Norton<br />
contemporary digital c<strong>in</strong>ema<br />
Mar<strong>in</strong> Hirschfeld<br />
contemporary film<br />
Olof Hedl<strong>in</strong>g<br />
Emma Wilson<br />
contemporary France<br />
Claudia Esposito<br />
contemporary <strong>in</strong>ternational<br />
filmmakers<br />
John Berra<br />
contemporary Italian culture<br />
Francesco Caviglia<br />
contemporary literature<br />
Charlotte Beyer<br />
contemporary transnational<br />
remakes
Daniel Herbert<br />
content analysis<br />
Henrik Jensen<br />
Anker Br<strong>in</strong>k Lund<br />
contextualization<br />
Laurence Coderre<br />
cont<strong>in</strong>ental philosophy<br />
Yuriko Furuhata<br />
contredispositif<br />
Tongl<strong>in</strong> Lu<br />
convergence<br />
Yiu Fai Chow<br />
conversation<br />
Mart<strong>in</strong> Eide<br />
cooperatives<br />
Raphaël Bassan<br />
Gérard Courant<br />
Dom<strong>in</strong>ique Noguez<br />
Copacabana<br />
Ute Hermanns<br />
co-production<br />
Stefano Baschiera<br />
Chris Berry<br />
Francesco Di Chiara<br />
Jochen Hick<br />
Victoria Ruétalo<br />
copyright<br />
Torey Liepa<br />
copyright laws<br />
Ian Q. Hunter<br />
corporatization<br />
Alexander G Ross<br />
corporeal<br />
Tiago de Luca<br />
corporeality<br />
Julián Daniel Gutiérrez Albilla<br />
cosmopolitanism<br />
May Adadol Ingawanij<br />
Jeroen de Kloet<br />
Shekhar Deshpande<br />
Gaik Cheng Khoo<br />
costume<br />
Suzanne Osmond<br />
costume c<strong>in</strong>ema<br />
Sue Harper<br />
costum<strong>in</strong>g<br />
Yiman Wang<br />
Cotton Comes to Harlem<br />
Novotny Lawrence<br />
counterattack<br />
Laurence Coderre<br />
counterculture<br />
Jonathan Owen<br />
counter-discourse<br />
Joyce Jesionowski<br />
counter-public sphere<br />
Julian Str<strong>in</strong>ger<br />
country towns<br />
Cather<strong>in</strong>e Simpson<br />
Coup de torchon/Clean Slate<br />
(1981)<br />
Oliver C. Speck<br />
couple<br />
V<strong>in</strong>ay Swamy<br />
covenant<br />
Robert Burgoyne<br />
craft<br />
Jill Nelmes<br />
Craig Baldw<strong>in</strong><br />
Patrik Sjoberg<br />
creative <strong>in</strong>dustries<br />
John Adams<br />
creative labour<br />
Bridget Conor<br />
creative writ<strong>in</strong>g<br />
Scott Brook<br />
creativity<br />
Jill Nelmes<br />
credibility<br />
Nancy Graham Holm<br />
credits<br />
Dimitra Kessenides<br />
crime<br />
Robert Murphy<br />
Marco Paoli<br />
Stijn Reijnders<br />
Maloe Sniekers<br />
Susan Sydney-Smith<br />
crime c<strong>in</strong>ema<br />
Daniel Brodén<br />
Christopher Neilan<br />
crime fiction<br />
Charlotte Beyer<br />
Daniel Brodén<br />
Palle Schantz Lauridsen<br />
Björn Norðfjörð<br />
Michael Tapper<br />
David Toop<br />
crime journalism<br />
Ulrik Lehrmann<br />
Kar<strong>in</strong> Ljusl<strong>in</strong>der<br />
Jurga Mataityte-Dirziene<br />
Lisbeth Morlandstø
crime series<br />
Anne Marit Waade<br />
crim<strong>in</strong>al <strong>in</strong>vestigator<br />
Audun Engelstad<br />
crisis<br />
Clara Garavelli<br />
Myriam Juan<br />
critical edge<br />
Haom<strong>in</strong> Gong<br />
critical sociology<br />
Bridget Conor<br />
critical theory<br />
Sunil Manghani<br />
criticism<br />
Emilie Bickerton<br />
Scott Jordan Harris<br />
Will Higbee<br />
Helen Hok-sze Leung<br />
Saër Maty Bâ<br />
Gaetano Rando<br />
Constant<strong>in</strong>e Verevis<br />
Charles Warren<br />
critics<br />
Myriam Juan<br />
critique of journalism<br />
Brian Michael Goss<br />
critique of postmodernism<br />
Nitzan Ben-Shaul<br />
Croatia<br />
Aida Vidan<br />
Croatian culture<br />
Grace Russo Bullaro<br />
cross-cultural<br />
Anna Cole<br />
Therese Davis<br />
David Scott Diffrient<br />
Michael Goddard<br />
Andrew W Hurley<br />
Cassi Plate<br />
cross-media<br />
Kim Christian Schrøder<br />
CSI effect<br />
Henrik Jensen<br />
Anker Br<strong>in</strong>k Lund<br />
Cuba<br />
Mariana Johnson<br />
Cuban c<strong>in</strong>ema<br />
Glenda Mejía<br />
Culloden<br />
Nicholas J. Cull<br />
cult<br />
Brigid Cherry<br />
cultural belong<strong>in</strong>g<br />
Ananya Jahanara Kabir<br />
cultural capital<br />
Lyn Thomas<br />
cultural centre<br />
Peter Brown<br />
cultural citizenship<br />
Kim Christian Schrøder<br />
cultural displacement<br />
Luisa Pèrcopo<br />
cultural diversity<br />
Queenie Monica Chan<br />
cultural exchange<br />
James H Krukones<br />
cultural history<br />
Nicholas Harrison<br />
Nick Heffernan<br />
cultural identity<br />
Nevena Daković<br />
Nezih Erdoğan<br />
Chukwuma Okoye<br />
cultural <strong>in</strong>dustries<br />
Armida De La Garza<br />
cultural <strong>in</strong>tervention<br />
Haom<strong>in</strong> Gong<br />
cultural journalism<br />
Unni From<br />
Nete Nørgaard Kristensen<br />
cultural memory<br />
Tabea Alexa L<strong>in</strong>hard<br />
Axel Bangert<br />
Therese Davis<br />
Sally Faulkner<br />
cultural passage<br />
Adewole Adejayan<br />
cultural policy<br />
Scott Brook<br />
Mette Hjort<br />
Ramon Lobato<br />
Mark Ryan<br />
Audrey Yue<br />
cultural politics<br />
Nandana Bose<br />
T<strong>in</strong>a Mai Chen<br />
Robert Dixon<br />
Daniel L<strong>in</strong>dvall<br />
cultural production<br />
Jeroen de Kloet<br />
Nishant Shah<br />
cultural proximity<br />
Abdalla Uba Adamu<br />
cultural representations<br />
Peter Atk<strong>in</strong>son<br />
cultural studies<br />
Michael J. Blou<strong>in</strong><br />
Haim Bresheeth<br />
Valeria G. Castelli<br />
Chua Beng Huat
Anthony Lambert<br />
Vivian Lee<br />
Sunil Manghani<br />
Dayna Oscherwitz<br />
Dimitris Papanikolaou<br />
Tatjana Pavlović<br />
cultural theory<br />
Kim-mui Ela<strong>in</strong>e E. Chan<br />
Raj<strong>in</strong>der Dudrah<br />
Ramon Lobato<br />
cultural trauma<br />
Anna Misiak<br />
culture<br />
Sarah Berry<br />
James Leo Cahill<br />
Dom<strong>in</strong>ica Dipio<br />
Alexander Fisher<br />
Erik Hedl<strong>in</strong>g<br />
Wendy Larson<br />
Silvia Marchetti<br />
Toby Miller<br />
Surabhi Sharma<br />
Bland<strong>in</strong>e Stefanson<br />
Hunter Vaughan<br />
culture jamm<strong>in</strong>g<br />
Patrik Sjoberg<br />
culture of redemption<br />
Nikolaj Lübecker<br />
culture wars<br />
Nete Nørgaard Kristensen<br />
curriculum<br />
Kate Bowles<br />
Curse of the Golden Flower<br />
Huang Yiju<br />
cyber drama<br />
Jasm<strong>in</strong>a Kallay<br />
cyberpunk<br />
Markus Reisenleitner<br />
Paolo Russo<br />
cyberspace<br />
Alexia Bowler<br />
cycle<br />
Brian Hu<br />
cyclic changes<br />
Audun Engelstad<br />
Czech visual culture<br />
Petra Hanakova<br />
D. A. Pennebaker Joan Baez<br />
Greil Marcus<br />
D.A. Pennebaker<br />
Keith Beattie<br />
D.W. Griffith<br />
Gillian B. Anderson<br />
daily life<br />
Ib Bondebjerg<br />
Gaik Cheng Khoo<br />
Susan Mart<strong>in</strong>-Márquez<br />
Dalle<br />
John Orr<br />
damaged male protagonist<br />
Robert Murphy<br />
dance<br />
Julián Daniel Gutiérrez Albilla<br />
John C. McCall<br />
Daney<br />
Emilie Bickerton<br />
Daniel Auteuil<br />
Jörg Sternagel<br />
Danish c<strong>in</strong>ema<br />
Mette Hjort<br />
Eva Novrup Redvall<br />
Lars-Mart<strong>in</strong> Sørensen<br />
Angela Tum<strong>in</strong>i<br />
Danish press history<br />
Ulrik Lehrmann<br />
Danish silent c<strong>in</strong>ema<br />
Lisbeth Richter Larsen<br />
Dante 01<br />
Michelle Scatton-Tessier<br />
Eric Tessier<br />
Dariusz Baliszewski<br />
Matilda Mroz<br />
dark tourism<br />
Stijn Reijnders<br />
Maloe Sniekers<br />
Dave Fleischer<br />
Marek Wasielewski<br />
David Lynch<br />
Greg Ha<strong>in</strong>ge<br />
Nariman Skakov<br />
David Sherw<strong>in</strong><br />
Isabelle Gourd<strong>in</strong>-Sangouard<br />
David Williamson<br />
Ian Craven<br />
daydreams<br />
L<strong>in</strong>e Nybro Petersen<br />
DCI Specification<br />
Kar<strong>in</strong>a Aveyard<br />
De battre mon cœur s'est<br />
arrêté<br />
Julia Dobson<br />
De Sica<br />
Robert A. Rush<strong>in</strong>g<br />
Dead End Drive-In<br />
Rebecca Joh<strong>in</strong>ke<br />
death<br />
José Alaniz
C. David Bertol<strong>in</strong>i<br />
Douglas Smith<br />
Death Every Afternoon<br />
Karla Oeler<br />
Death of a Salesman<br />
Carl Freedman<br />
death rituals<br />
Michihiro Ama<br />
debutante<br />
Anna Cole<br />
decadence<br />
Keith B. Wagner<br />
decommodification<br />
Asbjørn Grønstad<br />
décor practices<br />
Ben McCann<br />
Deepa Mehta<br />
Bidisha Banerjee<br />
DEFA<br />
Carol<strong>in</strong>e Mo<strong>in</strong>e<br />
defetishization<br />
Rey Chow<br />
de-figuration<br />
Joseph Mai<br />
degeneration<br />
Frederick H. White<br />
dehumanization<br />
Andrew Gordon<br />
deixis<br />
John Sundholm<br />
Del Toro<br />
Jane Hanley<br />
Delair<br />
Judith Mayne<br />
Delamu<br />
Kwai-Cheung Lo<br />
Deleuze<br />
David Montero<br />
democracy<br />
Ib Bondebjerg<br />
Mart<strong>in</strong> Eide<br />
Jens Hoff<br />
Wa<strong>in</strong>er Lusoli<br />
Jean Olivier Tchouaffe<br />
Democratic Party<br />
Benjam<strong>in</strong> Halligan<br />
Demy<br />
Matthew Lazen<br />
Deneuveseduction theory<br />
T. Jefferson Kl<strong>in</strong>e<br />
Dennis K<strong>in</strong>g<br />
Liza Palmer<br />
depictions of Germany<br />
Margot Black<br />
Ciara Haley<br />
deregulation<br />
Rajko Radovic<br />
Derek Jarman<br />
Paul Dave<br />
Derek Jarmans Caravaggio<br />
Jill Murphy<br />
Derrida<br />
Laura McMahon<br />
Robert J. Miles<br />
describ<strong>in</strong>g the <strong>in</strong>visible<br />
Thomas Mart<strong>in</strong>ec<br />
design<br />
Zoë Beyer<br />
desire<br />
Bridget Birchall<br />
Anne Eak<strong>in</strong> Moss<br />
James S. Williams<br />
Douglas Smith<br />
Despentes<br />
Sophie Bélot<br />
destabilization<br />
Isis Sadek<br />
detectives<br />
Brian Hauser<br />
development<br />
Alexander Fisher<br />
Keyan Gray Tomaselli<br />
development.<br />
Eleanor Hunt<strong>in</strong>gton<br />
dialogic<br />
Trish FitzSimons<br />
dialogue<br />
Eugénie Zvonk<strong>in</strong>e<br />
diaspora<br />
Tony Ayres<br />
Isol<strong>in</strong>a Ballesteros<br />
Daniela Berghahn<br />
Scott Brook<br />
Will Higbee<br />
Shahnaz Khan<br />
Lee-Von Kim<br />
Krishna Manavalli<br />
Lesley Marx<br />
Saër Maty Bâ<br />
Monika Mehta<br />
Laikwan Pang<br />
Mireille Rosello<br />
Claudia Sandberg<br />
Isabel Santaolalla<br />
Bel<strong>in</strong>da Smaill<br />
Kev<strong>in</strong> Smets<br />
Carrie Tarr<br />
Deb Verhoeven
Audrey Yue<br />
diaspora studies<br />
Alka Kurian<br />
diasporic c<strong>in</strong>ema<br />
Fiona Yuk-wa Law<br />
diasporic media<br />
Raj<strong>in</strong>der Dudrah<br />
dictatorship<br />
Joanna Page<br />
Die bleierne Zeit<br />
Chris Homewood<br />
Die <strong>in</strong>nere Sicherheit<br />
Chris Homewood<br />
diegetic<br />
Krist<strong>in</strong>e Jørgensen<br />
difference<br />
Chris Perriam<br />
Silvana Tuccio<br />
digital<br />
Saër Maty Bâ<br />
digital arts<br />
Markos Hadjioannou<br />
digital c<strong>in</strong>ema<br />
William Brown<br />
Adam Ganz<br />
Will Higbee<br />
Kathryn Millard<br />
Nishant Shah<br />
Ove Solum<br />
digital communication<br />
Gitte Bang Stald<br />
digital culture<br />
Elizabeth Walden<br />
digital documentary<br />
Bjørn Sørenssen<br />
digital film<br />
Zakir Hossa<strong>in</strong> Raju<br />
digital humanities<br />
Markus Reisenleitner<br />
digital media<br />
Klaus Bruhn Jensen<br />
Jasm<strong>in</strong>a Kallay<br />
Gitte Bang Stald<br />
digital technology<br />
Natascha Drubek-Meyer<br />
Maryse Fauvel<br />
Michael Fitzhenry<br />
Nikolai Izvolov<br />
Ohad Landesman<br />
Xuelian Zhang<br />
digital youth media cultures<br />
Gitte Bang Stald<br />
digitalization<br />
Arild Fetveit<br />
digitization<br />
Yiu Fai Chow<br />
Marijke de Valck<br />
direct c<strong>in</strong>ema<br />
Keith Beattie<br />
direct<strong>in</strong>g<br />
Michael Rabiger<br />
disability<br />
Thomas Aust<strong>in</strong><br />
disability and film<br />
Stuart Murray<br />
disaffected youth<br />
Daniel Garrett<br />
disappo<strong>in</strong>tment<br />
Ewa Mazierska<br />
discipl<strong>in</strong>e<br />
Laikwan Pang<br />
disconnect<br />
Eva Woods Peiró<br />
discont<strong>in</strong>uity<br />
Jakob Isak Nielsen<br />
discourse<br />
Michael Audette-Longo<br />
Kar<strong>in</strong> Wahl-Jorgensen<br />
discourse analysis<br />
Francesco Caviglia<br />
disjunction<br />
Sheila Petty<br />
dislocation<br />
Silvana Tuccio<br />
dismemberment<br />
Elizabeth Ezra<br />
disney<br />
Janet Wasko<br />
Disney<br />
Jonathan Ellis<br />
Chris Pallant<br />
displacement<br />
Vitaly Chernetsky<br />
Eleanor Hunt<strong>in</strong>gton<br />
Paolo Russo<br />
dispositif<br />
Tongl<strong>in</strong> Lu<br />
dissem<strong>in</strong>ation<br />
Jeremy Bubb
dissidence and identity<br />
Omar Kholeif<br />
dissociated voices<br />
Chu-Li Shewr<strong>in</strong>g<br />
distribution<br />
Christian Christensen<br />
Jeannette Delamoir<br />
Laurian Kipeja<br />
Ramon Lobato<br />
Mart<strong>in</strong> Mhando<br />
Dilek Kaya Mutlu<br />
diversity<br />
Chris Perriam<br />
division movies<br />
Jake Bevan<br />
docudrama<br />
Bruce Bennett<br />
docufiction<br />
Andrew W Hurley<br />
document<br />
Margaret C. Fl<strong>in</strong>n<br />
documentary<br />
Patricia Aufderheide<br />
Thomas Aust<strong>in</strong><br />
Kees Bakker<br />
Keith Beattie<br />
Jonathan Bignell<br />
Ib Bondebjerg<br />
Brett Bowles<br />
Dagmar Brunow<br />
Piotr A. Cieplak<br />
Kelley Conway<br />
Peter Doyle<br />
Verónica Garibotto<br />
Faye G<strong>in</strong>sburg<br />
Antonio Gómez<br />
Barry Keith Grant<br />
Berber Hagedoorn<br />
Sophie Harper<br />
Craig Hight<br />
Conn Holohan<br />
Sun Hongyun<br />
Menghs<strong>in</strong> C. Horng<br />
Brian Hoyle<br />
John Hughes<br />
Ira Jaffe<br />
Debbie James<br />
Abigail Keat<strong>in</strong>g<br />
Gary M. Kramer<br />
Jane Landman<br />
James Leggott<br />
Esther Leslie<br />
Randolph Lewis<br />
Consuelo L<strong>in</strong>s<br />
Ruth McElroy<br />
Andrea Mirabile<br />
Carol<strong>in</strong>e Mo<strong>in</strong>e<br />
Stuart Murray<br />
Leo Murray<br />
Kate Nash<br />
Hilary Neroni<br />
Stefano Odorico<br />
Díóg O’Connell<br />
Derek Paget<br />
Luc Pauwels<br />
Claire Perk<strong>in</strong>s<br />
Cassi Plate<br />
Paula Rab<strong>in</strong>owitz<br />
Nicole Richter<br />
Brigitte Rollet<br />
William Rothman<br />
Mauro Sassi<br />
Priyanjali Sen<br />
Cui Shuq<strong>in</strong><br />
Bel<strong>in</strong>da Smaill<br />
Susan Sydney-Smith<br />
Zhang Tongdao<br />
Cian Traynor<br />
Maya Turovskaya<br />
Deane Williams<br />
Brian W<strong>in</strong>ston<br />
Haiq<strong>in</strong>g Yu<br />
Documentary<br />
Shen Shiao-Y<strong>in</strong>g<br />
documentary c<strong>in</strong>ema<br />
Jill Godmilow<br />
Bill Nichols<br />
H<strong>in</strong>g Tsang<br />
documentary film<br />
Bakur Bakuradze<br />
Annabelle Honess Roe<br />
Jyotsna Kapur<br />
Paola Margulis<br />
Vicente Rodríguez Ortega<br />
Des O’Rawe<br />
Christiane Passevant<br />
Michael Rabiger<br />
Lucia Ricciardelli<br />
David M. M. Riep<br />
Surabhi Sharma<br />
documentation<br />
John Adams<br />
documusical<br />
Abigail Keat<strong>in</strong>g<br />
Dog Bite Dog<br />
Gary Bett<strong>in</strong>son<br />
Dogme 95<br />
Carolyn Jess-Cooke<br />
Meryl Shriver-Rice<br />
Dolores del Río<br />
Niamh Thornton<br />
domestic<br />
David Sorfa<br />
domestic abuse<br />
Paul Beg<strong>in</strong><br />
domestic novels<br />
Jooyeon Rhee<br />
domestic privacy<br />
Tiago de Luca<br />
domestic space<br />
Menghs<strong>in</strong> C. Horng<br />
domestic violence<br />
Kate E Taylor<br />
Duncan Wheeler<br />
dom<strong>in</strong>ation<br />
Pierre Larrivée<br />
Don DeLillo<br />
Noel K<strong>in</strong>g<br />
Donatien-Alphonse- François<br />
de Sade<br />
Andrea Mirabile<br />
Donskoi<br />
Jeremy Hicks<br />
Doordarshan<br />
Daisy Hasan
Doris Dörrie<br />
Liz Stephens<br />
Dostoevskii<br />
Frederick H. White<br />
Dostoevsky<br />
Yuna De Lannoy<br />
double consciousness<br />
Carol<strong>in</strong> Overhoff Ferreira<br />
double occupancy<br />
Thomas Elsaesser<br />
Douglas Fairbanks<br />
Gillian B. Anderson<br />
Douglas Gordon<br />
Eiv<strong>in</strong>d Røssaak<br />
Dovzhenko<br />
Evgeny Dobrenko<br />
Dracula<br />
Novotny Lawrence<br />
drag<br />
Barış Kılıçbay<br />
drama<br />
Jonathan Bignell<br />
Allyson Fiddler<br />
Leo Murray<br />
dramatic storytell<strong>in</strong>g<br />
Sarah Atk<strong>in</strong>son<br />
dramaturgy<br />
Monika Farukuoye<br />
M.R. Koivumäki<br />
dreams<br />
Thorsten Botz-Bornste<strong>in</strong><br />
Robert Efird<br />
Laura Hubner<br />
John Savage<br />
drug culture<br />
Anne-Marie Brumm<br />
drug films<br />
Anne-Marie Brumm<br />
dual cod<strong>in</strong>g theory<br />
Nitzan Ben-Shaul<br />
Duras<br />
Renate Günther<br />
DV<br />
Haiq<strong>in</strong>g Yu<br />
Y<strong>in</strong>gj<strong>in</strong> Zhang<br />
DVD<br />
Jeremy Bubb<br />
Natascha Drubek-Meyer<br />
Nikolai Izvolov<br />
dystopia<br />
Andrew Gordon<br />
Eal<strong>in</strong>g<br />
Robert Murphy<br />
Eal<strong>in</strong>g Studios<br />
Deane Williams<br />
early American c<strong>in</strong>ema<br />
Richard Abel<br />
early British screenplays<br />
Jacob U. U. Jacob<br />
early c<strong>in</strong>e-club culture<br />
Greg DeCuir, Jr.<br />
early c<strong>in</strong>ema<br />
Brian R. Jacobson<br />
Matthew D Johnson<br />
Roland-François Lack<br />
early Francoism<br />
Jo Labanyi<br />
early modern fiction<br />
Gerd Bayer<br />
East Asia<br />
M<strong>in</strong>g-Yeh T. Rawnsley<br />
East Asian c<strong>in</strong>ema<br />
Vivian Lee<br />
East/West relationship<br />
Elzbieta Ostrowska<br />
Joanna Rydzewska<br />
Eastern Europe<br />
Harry Weeks<br />
Eastern European c<strong>in</strong>ema<br />
Anna Misiak<br />
Eva Näripea<br />
Eastern European c<strong>in</strong>ema<br />
Czechoslovak New Wave<br />
Petra Hanakova<br />
Eastern philosophy<br />
Thorsten Botz-Bornste<strong>in</strong><br />
East-West<br />
Michael Goddard<br />
Eceiza<br />
Tom Whittaker<br />
echo<br />
Marie-Magdele<strong>in</strong>e Chirol<br />
ecoc<strong>in</strong>ema<br />
Pietari Kääpä<br />
ecocriticism<br />
Gerd Bayer<br />
ecology<br />
Surabhi Sharma<br />
Claire Thomson
economic development<br />
Anna Morcom<br />
ecophilosophy<br />
Pietari Kääpä<br />
Edgar Mor<strong>in</strong><br />
Richard Neupert<br />
Edgar Neville<br />
Valeria Camporesi<br />
Edison Chen<br />
Brett Farmer<br />
edit<strong>in</strong>g<br />
Nikica Gilic<br />
Sunedria Nicholls-Gärtner<br />
Jakob Isak Nielsen<br />
Charles O'Brien<br />
Allen H. Redmon<br />
Brad Stevens<br />
George Chun Han Wang<br />
education<br />
Dana Strand<br />
Edward Yang<br />
G<strong>in</strong>a Marchetti<br />
EFTF<br />
Mark Poole<br />
Egyptian c<strong>in</strong>ema<br />
Omar Hassan<br />
eighteenth-century literature<br />
Suvir Kaul<br />
Eikhenbaum<br />
Lilya Kaganovsky<br />
Eisenste<strong>in</strong><br />
Yuna De Lannoy<br />
Naum Kleiman<br />
Richard Taylor<br />
El Espíritu de la Colmena<br />
Mercedes Cam<strong>in</strong>o<br />
El sexto sentido<br />
Susan Larson<br />
Election<br />
Daniel Mart<strong>in</strong><br />
elections<br />
Sigurd Allern<br />
electronic<br />
Matthew P<strong>in</strong>k<br />
electronic music<br />
Larson Powell<br />
Elem Klimov<br />
Carol<strong>in</strong>e Mo<strong>in</strong>e<br />
Elephant<br />
Michael Fitzhenry<br />
Xuelian Zhang<br />
Elfriede Jel<strong>in</strong>ek<br />
Allyson Fiddler<br />
Elio Petri<br />
Larry Portis<br />
Éloge de lamour<br />
Isabelle McNeill<br />
Douglas Morrey<br />
embassy films<br />
Brian Lark<strong>in</strong><br />
embodiment<br />
Monika Farukuoye<br />
Elizabeth Newton<br />
Andrey Shcherbenok<br />
Emeric Pressburger<br />
Stella Hockenhull<br />
Emerson<br />
William Rothman<br />
émigré<br />
Gabor Gergely<br />
Arne Lunde<br />
Emma Suárez<br />
Ela<strong>in</strong>e Cann<strong>in</strong>g<br />
Emmanuel Lev<strong>in</strong>as<br />
Reni Celeste<br />
emotion<br />
Gunhild Agger<br />
Susan Daruvala<br />
Iben Have<br />
Patrick Keat<strong>in</strong>g<br />
Kristi McKim<br />
emotional geography<br />
Sarah Cooper<br />
emotional journey<br />
Craig Batty<br />
empathy<br />
Daniel Yacavone<br />
empire<br />
Evans Chan<br />
enchantment<br />
Torben Grodal<br />
end of geography<br />
Laura Rascaroli<br />
End of the Wicked<br />
Onookome Okome<br />
engaged film-mak<strong>in</strong>g<br />
Klemens Czyzydlo<br />
enjoyment<br />
Hilary Neroni
entendidos<br />
Gustavo Subero<br />
Entre les murs<br />
Dana Strand<br />
environment<br />
Samba Diop<br />
Hunter Vaughan<br />
environmental changes<br />
Kristi McKim<br />
environmental criticism<br />
Anita Angelone<br />
environmental media<br />
Pietari Kääpä<br />
environmentalism<br />
Tom Whittaker<br />
epic<br />
Laleen Jayamanne<br />
epideictic discourse<br />
Julian Str<strong>in</strong>ger<br />
Eric Barnouw<br />
C.S. Venkiteswaran<br />
Eric Khoo<br />
Kenneth Paul Tan<br />
eroticism <strong>in</strong> film<br />
Frank P. Tomasulo<br />
Errol Morris<br />
Ira Jaffe<br />
escapism<br />
Ken Chen<br />
espionage<br />
Clara Laurent<br />
Pierre Lethier<br />
essay film<br />
Dagmar Brunow<br />
Mike Ingham<br />
Laura Rascaroli<br />
Eiv<strong>in</strong>d Røssaak<br />
essay-film<br />
Priyanjali Sen<br />
essentialism<br />
Jay David Bolter<br />
Estonian c<strong>in</strong>ema<br />
Eva Näripea<br />
ETA<br />
Helen Jones<br />
ethics<br />
Kees Bakker<br />
Bernadette Brennan<br />
Sarah Cooper<br />
Lisa Coulthard<br />
Jonathan Dockney<br />
Sophie Harper<br />
Olivia Khoo<br />
Kate Nash<br />
Meryl Shriver-Rice<br />
ethics and contemporary<br />
literature<br />
N<strong>in</strong>a Varsava<br />
ethics of representation<br />
N<strong>in</strong>a Varsava<br />
ethnic m<strong>in</strong>orities<br />
Barbara Leh<strong>in</strong><br />
Kwai-Cheung Lo<br />
ethnic studies<br />
Laura Beadl<strong>in</strong>g<br />
ethnicity<br />
Jessica Carniel<br />
Joseph McGonagle<br />
Gaetano Rando<br />
Mantra Roy<br />
Sarah Trott<br />
Isabelle Vanderschelden<br />
ethnographic approaches<br />
Suzanne L. Schulz<br />
ethnographic film<br />
Jyotsna Kapur<br />
ethnography<br />
Andrew McGregor<br />
Eurimage<br />
Melis Behlil<br />
Europe<br />
Paul Cooke<br />
Sue Harper<br />
John A. Lent<br />
European and world<br />
literatures<br />
Michelle Woods<br />
European art film<br />
Victoria Pastor-González<br />
European c<strong>in</strong>ema<br />
Stefano Baschiera<br />
Melis Behlil<br />
Ib Bondebjerg<br />
Brett Bowles<br />
William Brown<br />
Anne-Marie Brumm<br />
Francesco Di Chiara<br />
Elisa Costa-Villaverde<br />
Ruth Cruickshank<br />
Thomas Elsaesser<br />
Jan<strong>in</strong>a Falkowska<br />
Allyson Fiddler<br />
Brian Hauser<br />
Olof Hedl<strong>in</strong>g<br />
Andrew Higson<br />
Mariah Larsson<br />
Elzbieta Ostrowska<br />
Marion Schmid<br />
Temenuga Trifonova<br />
Angela Tum<strong>in</strong>i<br />
European C<strong>in</strong>ema<br />
Margot Black<br />
Ciara Haley<br />
European coord<strong>in</strong>ation of film<br />
festivals<br />
Sergi Mesonero Burgos
European exile film-mak<strong>in</strong>g<br />
Tijana Mamula<br />
European film<br />
Michael Cowan<br />
Roger Hillman<br />
European film policies<br />
Cecilie Givskov<br />
European identity<br />
Paul Cooke<br />
Shekhar Deshpande<br />
European imag<strong>in</strong>aries<br />
Susan Ingram<br />
Markus Reisenleitner<br />
European <strong>in</strong>dependent c<strong>in</strong>ema<br />
Jimmy Hay<br />
European multil<strong>in</strong>gualism<br />
Mireille Rosello<br />
European Union<br />
Nevena Daković<br />
Gabriele Mueller<br />
Europeanization<br />
Daniela Flesler<br />
evaluation<br />
Ian W. Macdonald<br />
evangelical Pentecostal<br />
churches<br />
Wisdom Agorde<br />
Evans Chan<br />
Mike Ingham<br />
everyday<br />
Tiago de Luca<br />
evidence<br />
Jordan Bear<br />
evidentiary layer<strong>in</strong>g<br />
Craig Hight<br />
evolutionary theory<br />
H<strong>in</strong>g Tsang<br />
excess<br />
José Alaniz<br />
exhibition<br />
Denis Cryle<br />
Jeannette Delamoir<br />
Conn Holohan<br />
Dylan Walker<br />
exile<br />
Maryse Bray<br />
Gabor Gergely<br />
Mariana Johnson<br />
Claudia Pummer<br />
Claudia Sandberg<br />
Exiled<br />
Daniel Mart<strong>in</strong><br />
existential crisis<br />
Meryl Shriver-Rice<br />
existential phenomenology<br />
Monika Farukuoye<br />
expanded c<strong>in</strong>ema<br />
Duncan White<br />
experimental c<strong>in</strong>ema<br />
Nikica Gilic<br />
Adrian Mart<strong>in</strong><br />
Cian Traynor<br />
experimental documentary<br />
c<strong>in</strong>ema<br />
Marco Bertozzi<br />
experimental film<br />
Lars Gustaf Andersson<br />
Mark Poole<br />
John Sundholm<br />
experimental narrative<br />
Omar Kholeif<br />
experimental performance<br />
Rossella Ferrari<br />
Explod<strong>in</strong>g C<strong>in</strong>ema<br />
Marijke de Valck<br />
exploitation c<strong>in</strong>ema<br />
Sab<strong>in</strong>e Hake<br />
extradiegetic<br />
Krist<strong>in</strong>e Jørgensen<br />
extreme c<strong>in</strong>ema<br />
Elizabeth Ezra<br />
extreme nationalism<br />
Dom<strong>in</strong>ic Alessio<br />
F. Scott Fitzgerald<br />
Richard Armstrong<br />
F.W. Murnau<br />
Murray Pomerance<br />
fable<br />
Robert S.C. Gordon<br />
fabric and sexuality<br />
Jennie Cous<strong>in</strong>s<br />
FACE<br />
N. Buket Cengiz<br />
fact<br />
Erik Knudsen<br />
fairy tale<br />
Alyssa DeBlasio<br />
Owen Evans<br />
David MacFadyen<br />
Eugénie Zvonk<strong>in</strong>e<br />
faith<br />
Erik Hedl<strong>in</strong>g<br />
faits divers<br />
Michelle Scatton-Tessier
fake documentary film<br />
Gerd Bayer<br />
faktura<br />
Emma Widdis<br />
Fallen Angels<br />
Carl Cassegard<br />
fallen women<br />
G<strong>in</strong>ette V<strong>in</strong>cendeau<br />
family<br />
Patricia Aufderheide<br />
Am<strong>in</strong>u Fagge Mohammad<br />
Julianne Pidduck<br />
V<strong>in</strong>ay Swamy<br />
Silvana Tuccio<br />
fan culture<br />
Brigid Cherry<br />
Niamh Thornton<br />
fandom<br />
Adewole Adejayan<br />
Lisa Schmidt<br />
fantasmatic scenes<br />
Andrey Shcherbenok<br />
fantasy<br />
Andrew Asibong<br />
Claude Evans<br />
Torben Grodal<br />
Jane Hanley<br />
Lisa Schmidt<br />
Alfredo Luiz Suppia<br />
fascism<br />
Evans Chan<br />
Wendy Larson<br />
Andrea Mirabile<br />
Maya Turovskaya<br />
Robert von Dassanowsky<br />
Fascism<br />
Birgit Beumers<br />
Sab<strong>in</strong>e Hake<br />
fashion<br />
Susan Ingram<br />
Suzanne Osmond<br />
Fassb<strong>in</strong>der<br />
David Chirico<br />
Fast<br />
Ira Jaffe<br />
fate<br />
Graham Murdock<br />
fatherhood<br />
Jan<strong>in</strong>a Falkowska<br />
father-son narratives<br />
Robert S.C. Gordon<br />
Fatih Ak<strong>in</strong><br />
Rob Burns<br />
Faust<br />
Lorna Fitzsimmons<br />
feel<strong>in</strong>g<br />
Nancy Graham Holm<br />
Felix Guattari<br />
Matthew Holtmeier<br />
female<br />
Isol<strong>in</strong>a Ballesteros<br />
female adolescent desire<br />
Susan Ericsson<br />
female avenger<br />
Ir<strong>in</strong>a Makoveeva<br />
female comedians<br />
Kristen Anderson Wagner<br />
female ejaculation<br />
Ingrid Ryberg<br />
female emancipation<br />
Clara Laurent<br />
Pierre Lethier<br />
female film-makers<br />
Cather<strong>in</strong>e Simpson<br />
female friendship<br />
Sophie Bélot<br />
female po<strong>in</strong>t-of-view<br />
Geneviève Sellier<br />
female police<br />
Susan Sydney-Smith<br />
female sexuality<br />
Yelena Furman<br />
female violence<br />
Sophie Bélot<br />
female voice<br />
Liz Greene<br />
Joyce Jesionowski<br />
female youth<br />
Susan Ericsson<br />
fem<strong>in</strong><strong>in</strong>ity<br />
Anna Cabak Rédei<br />
fem<strong>in</strong>ism<br />
Bidisha Banerjee<br />
Sophie Bélot<br />
Daniela Cavallaro<br />
Am<strong>in</strong>u Fagge Mohammad<br />
Kristyn Gorton<br />
Renate Günther<br />
Petra Hanakova<br />
Ian Q. Hunter<br />
Douglas Keesey<br />
Krishna Manavalli<br />
Jason Merrill<br />
Elizabeth Newton<br />
Nicole Richter<br />
Ingrid Ryberg<br />
Susan Sydney-Smith<br />
Duncan Wheeler<br />
fem<strong>in</strong>ism <strong>in</strong> sub-Sahara Africa<br />
Stefanie Van de Peer
fem<strong>in</strong>ist and queer theory<br />
Clarissa Clò<br />
fem<strong>in</strong>ist film criticism<br />
Bernadette Luciano<br />
Susanna Scarparo<br />
fem<strong>in</strong>ist film theory<br />
Tytti Soila<br />
Mary Wiles<br />
fem<strong>in</strong>ist politics<br />
Sharon L<strong>in</strong> Tay<br />
fem<strong>in</strong>ist theory<br />
Pamela Thoma<br />
femme fatale<br />
Ann Davies<br />
Jo Evans<br />
Mark Jancovich<br />
Femmes dIslam<br />
Leslie Kealhofer<br />
Férid Boughedir<br />
Jeffrey Ruoff<br />
Fernando Mendez Leite<br />
Sally Faulkner<br />
Fernando Palacios<br />
Sally Faulkner<br />
Fernando Pérez<br />
Glenda Mejía<br />
Fernando Solanas<br />
Verónica Garibotto<br />
Antonio Gómez<br />
Ferzan Ozpetek<br />
Alberto Zambenedetti<br />
FESPACO<br />
Kay Armatage<br />
Festen/The Celebration<br />
Birger Langkjær<br />
festivals<br />
Raphaël Bassan<br />
Gérard Courant<br />
Saër Maty Bâ<br />
Dom<strong>in</strong>ique Noguez<br />
festive films<br />
Fiona Yuk-wa Law<br />
fetishism<br />
Rey Chow<br />
Elena Lombardi<br />
Feuillère<br />
Clara Laurent<br />
Pierre Lethier<br />
Feyder<br />
Phil Powrie<br />
fiction<br />
Debbie Danielpour<br />
Erik Knudsen<br />
fiction and non-fiction<br />
Anita Angelone<br />
fictional political narratives<br />
L<strong>in</strong>e Langebek<br />
fifth generation film-makers<br />
Evans Chan<br />
Fifth Republic<br />
Keith Reader<br />
filiation<br />
Julia Dobson<br />
Filip Remunda<br />
Roderick Coover<br />
film<br />
Jordan Bear<br />
Haim Bresheeth<br />
John R. Cook<br />
Nicholas Harrison<br />
Jo Labanyi<br />
Rajiv Kannan Menon<br />
Tony Williams<br />
film theory<br />
Raj<strong>in</strong>der Dudrah<br />
film aesthetics<br />
Matilda Mroz<br />
Des O’Rawe<br />
film and fairy tales<br />
Kristian Moen<br />
film and fashion<br />
Germán Gil Curiel<br />
film and history<br />
Richard A Voeltz<br />
film and identity<br />
Armida De La Garza<br />
film and mass media<br />
Michael Tapper<br />
film and media theory<br />
Stefano Odorico<br />
film and museums<br />
Armida De La Garza<br />
film and television<br />
Daniel Brodén<br />
film as art<br />
Ira Jaffe<br />
film as evidence<br />
Nicholas J. Cull<br />
film authorship<br />
Bla<strong>in</strong>e Allan<br />
film budgets<br />
Michael Pokorny
John Sedgwick<br />
film circulation<br />
Menghs<strong>in</strong> C. Horng<br />
film co-production<br />
Audrey Yue<br />
film critic<br />
Brandon Colv<strong>in</strong><br />
Tony McKibb<strong>in</strong><br />
film criticism<br />
Robert Arnett<br />
film critics<br />
Thea Pitman<br />
film distribution<br />
Marijke de Valck<br />
Sergi Mesonero Burgos<br />
Ross Thorne<br />
Deb Verhoeven<br />
Mike Walsh<br />
film ecologies<br />
Matthew Holtmeier<br />
film edit<strong>in</strong>g<br />
Maike Helmers<br />
film education<br />
Keyan Gray Tomaselli<br />
Film Europe<br />
Andrew Higson<br />
film exhibition<br />
Marijke de Valck<br />
Deb Verhoeven<br />
Mike Walsh<br />
film festival<br />
Jeremy Bubb<br />
Davide Caputo<br />
Greg DeCuir, Jr.<br />
Menghs<strong>in</strong> C. Horng<br />
Gary M. Kramer<br />
Jan Lumholdt<br />
Carol<strong>in</strong>e Mo<strong>in</strong>e<br />
Larry Portis<br />
Cather<strong>in</strong>e Portuges<br />
M<strong>in</strong>g-Yeh T. Rawnsley<br />
Steven Yates<br />
Film Festival Jakmel<br />
Kay Armatage<br />
film fund<strong>in</strong>g<br />
Maryse Bray<br />
Leen Engelen<br />
Jochen Hick<br />
Darcy Paquet<br />
Per Vesterlund<br />
Roel Vande W<strong>in</strong>kel<br />
film historiography<br />
Lars Gustaf Andersson<br />
Guo-Ju<strong>in</strong> Hong<br />
film history<br />
Patricia Aufderheide<br />
Tobias Hochscherf<br />
Bert Hogenkamp<br />
Yves Laberge<br />
Tim Palmer<br />
Steven J. Ross<br />
Brad Stevens<br />
Raija Talvio<br />
Michael Tapper<br />
Mike Walsh<br />
film <strong>in</strong>dustry<br />
Serena Formica<br />
Nick Redfern<br />
Film International<br />
Scott Jordan Harris<br />
film <strong>in</strong>terpretation<br />
Bland<strong>in</strong>e Stefanson<br />
film journalism<br />
Richard Armstrong<br />
film landscape<br />
Jane Stadler<br />
film magaz<strong>in</strong>es<br />
Menghs<strong>in</strong> C. Horng<br />
film marketization<br />
Darrell William Davis<br />
Emilie Yueh-yu Yeh<br />
film music<br />
Gillian B. Anderson<br />
David Chapman<br />
L<strong>in</strong>da Craig<br />
Annette Davison<br />
Jean Ma<br />
Matthew P<strong>in</strong>k<br />
Gregg Redner<br />
Ronald Sadoff<br />
Larry Sider<br />
film musical<br />
Sarah Street<br />
film noir<br />
Mark Jancovich<br />
Robert Murphy<br />
Reg<strong>in</strong>a Standún<br />
George Toles<br />
film philosophy<br />
Matthew Holtmeier<br />
film policies<br />
Cecilie Givskov<br />
film policy<br />
Melis Behlil<br />
Ian Craven<br />
Ben Morgan<br />
Kenny K. K. Ng<br />
film read<strong>in</strong>g<br />
Laurent Jullier<br />
film reviews<br />
Hvard Andreas Vibeto<br />
film schools<br />
Eva Novrup Redvall<br />
film score<br />
Ronald Sadoff<br />
film sound<br />
Maike Helmers<br />
Dom<strong>in</strong>ique Russell<br />
Mike Walsh
film star<br />
Menghs<strong>in</strong> C. Horng<br />
Xiaon<strong>in</strong>g Lu<br />
film style<br />
Casper Tybjerg<br />
film support policy<br />
Frédéric Gimello-Mesplomb<br />
film technology<br />
Stefano Odorico<br />
film theory<br />
William Brown<br />
Andrew Burke<br />
Yuriko Furuhata<br />
Markos Hadjioannou<br />
Constant<strong>in</strong>e V. Nakassis<br />
Adrián Pérez Melgosa<br />
Brad Prager<br />
Peter Stanfield<br />
Lars-Mart<strong>in</strong> Sørensen<br />
Temenuga Trifonova<br />
Constant<strong>in</strong>e Verevis<br />
film value cha<strong>in</strong> study<br />
Mart<strong>in</strong> Mhando<br />
filmic expression<br />
Luc Pauwels<br />
filmic reflexivity<br />
Luc Pauwels<br />
film-maker <strong>in</strong>tegrity<br />
Sophie Harper<br />
film-mak<strong>in</strong>g<br />
Tony Ayres<br />
Adrian Danks<br />
Debbie James<br />
Arne Lunde<br />
film-mak<strong>in</strong>g practices<br />
Sharon L<strong>in</strong> Tay<br />
film-philosophy<br />
Hunter Vaughan<br />
films of childhood<br />
Alberto Elena Díaz<br />
filmspace<br />
Benjam<strong>in</strong> Fraser<br />
F<strong>in</strong>al Cut<br />
Liza Palmer<br />
F<strong>in</strong>land<br />
Sanna Karkulehto<br />
F<strong>in</strong>nish c<strong>in</strong>ema<br />
John Sundholm<br />
F<strong>in</strong>yé (1982)<br />
Rachael Langford<br />
First National<br />
Arne Lunde<br />
fixed sounds<br />
Daniel Deshays<br />
Flanders<br />
Leen Engelen<br />
Roel Vande W<strong>in</strong>kel<br />
flâneur<br />
Patrizia LaTrecchia<br />
Flash Gordon<br />
Mark Bould<br />
Florida/Boedo<br />
Lee Williams<br />
focalization<br />
Brad Prager<br />
folk<br />
John Hughes<br />
folk humour<br />
Guy Aust<strong>in</strong><br />
folklore<br />
Florian Grandena<br />
Forbes Burnham<br />
Paul Buhle<br />
foreign revenues<br />
Michael Pokorny<br />
John Sedgwick<br />
foreignization<br />
Yiman Wang<br />
forensic science<br />
Sofia Bull<br />
form<br />
Stephen Forcer<br />
Anubha Yadav<br />
formalism<br />
Nicole Richter<br />
Mike Wayne<br />
Formentera<br />
Dom<strong>in</strong>ic Keown<br />
Foucault<br />
Mike Dillon<br />
Kate Nash<br />
found footage<br />
Berber Hagedoorn<br />
Patrik Sjoberg<br />
fractal film<br />
Wendy Everett<br />
fragmentation<br />
Selm<strong>in</strong> Kara<br />
Pierre Larrivée<br />
France<br />
Maryse Fauvel<br />
Sarah Leahy<br />
James Leahy<br />
Joseph McGonagle<br />
Isabelle McNeill<br />
Mart<strong>in</strong> O'Shaughnessy
Frances Walsh<br />
Brian McDonnell<br />
Francesca Comenc<strong>in</strong>i<br />
Mauro Sassi<br />
Francisco Franco<br />
Christiane Passevant<br />
Christiane Passevant<br />
François Ozon<br />
Darren Waldron<br />
François Truffaut<br />
Michelle Bloom<br />
Isabelle Gourd<strong>in</strong>-Sangouard<br />
Francoism<br />
Valeria Camporesi<br />
Julie Jones<br />
Susan Mart<strong>in</strong>-Márquez<br />
Eva Woods Peiró<br />
Francoist c<strong>in</strong>ema<br />
Gerard Dapena<br />
francophone Africa<br />
Brigitte Rollet<br />
francophone African c<strong>in</strong>ema<br />
Moussa Sow<br />
francophone literature<br />
Nicholas Harrison<br />
Srilata Ravi<br />
Frank Capra<br />
Kev<strong>in</strong> Hagopian<br />
Frank Kramer<br />
Bert Fridlund<br />
Frank Lloyd Wright<br />
Robert Robertson<br />
Franka Potente<br />
Owen Evans<br />
Frantz Fanon<br />
Oliver C. Speck<br />
Frederick Wiseman<br />
Jillian Smith<br />
Free C<strong>in</strong>ema<br />
Karol<strong>in</strong>a Kos<strong>in</strong>ska<br />
free dailies<br />
Annika Bergstrom<br />
Ingela Wadbr<strong>in</strong>g<br />
free trade<br />
Rajko Radovic<br />
freedom of expression<br />
Nicholas Harrison<br />
French c<strong>in</strong>ema<br />
Peter Baxter<br />
Brett Bowles<br />
William Brown<br />
Agnès Calatayud<br />
Carolyn A. Durham<br />
Kristyn Gorton<br />
Greg Ha<strong>in</strong>ge<br />
Graeme Hayes<br />
Susan Hayward<br />
Kate Ince<br />
Crist<strong>in</strong>a Johnston<br />
Julie Jones<br />
Roland-François Lack<br />
Barbara Leh<strong>in</strong><br />
Tijana Mamula<br />
Judith Mayne<br />
Ben McCann<br />
Tony McKibb<strong>in</strong><br />
Kristi McKim<br />
Jim Morrissey<br />
Glen W. Norton<br />
Dayna Oscherwitz<br />
Tim Palmer<br />
Cather<strong>in</strong>e Portuges<br />
Phil Powrie<br />
Nick Rees-Roberts<br />
Brigitte Rollet<br />
Michelle Scatton-Tessier<br />
V<strong>in</strong>ay Swamy<br />
Hunter Vaughan<br />
G<strong>in</strong>ette V<strong>in</strong>cendeau<br />
French culture<br />
Jérôme Game<br />
French documentary film<br />
Alison J. Murray Lev<strong>in</strong>e<br />
French film<br />
Mary Wiles<br />
French gay c<strong>in</strong>ema<br />
Florian Grandena<br />
French identity<br />
Yosefa Loshitzky<br />
French new wave<br />
Glen W. Norton<br />
Claudia Pummer<br />
French New Wave<br />
Michelle Bloom<br />
French popular culture<br />
Nicholas Hewitt<br />
French prov<strong>in</strong>ces<br />
Florian Grandena<br />
French silent c<strong>in</strong>ema<br />
Richard Abel<br />
French television<br />
Brigitte Rollet<br />
Fresh Kill<br />
G<strong>in</strong>a Marchetti<br />
Freud<br />
T. Jefferson Kl<strong>in</strong>e<br />
Isabelle McNeill<br />
Robert J. Miles<br />
Freunde der Deutschen<br />
K<strong>in</strong>emathek<br />
Erika Gregor<br />
Ulrich Gregor<br />
D<strong>in</strong>a Iordanova<br />
Friends of the German Film<br />
Archive<br />
D<strong>in</strong>a Iordanova
Fritz Lang<br />
Ben Morgan<br />
Frodon<br />
Isabelle McNeill<br />
frontier outlaws<br />
Daniel Eisenberg<br />
Frontier thesis<br />
John E. Davidson<br />
fugitive films<br />
Robert Murphy<br />
Fulltime Killer<br />
Daniel Mart<strong>in</strong><br />
funerary Buddhism<br />
Michihiro Ama<br />
Futurism<br />
Angela Tum<strong>in</strong>i<br />
Fyodor Dostoevsky<br />
Olga V. Solovieva<br />
gambl<strong>in</strong>g<br />
Brenda Chan<br />
game<br />
Stephen Forcer<br />
Robert S.C. Gordon<br />
game culture<br />
Markus Reisenleitner<br />
Gang of Four<br />
Laurence Coderre<br />
gangster film<br />
Peter Pozefsky<br />
gangster genre<br />
Kathr<strong>in</strong> Rothemund<br />
gardens<br />
Tanya Dalziell<br />
Gaston Bachelard<br />
Mart<strong>in</strong>e Huvenne<br />
Gaudiya Vaisnavism<br />
Rebecca J. Manr<strong>in</strong>g<br />
gay c<strong>in</strong>ema<br />
Crist<strong>in</strong>a Johnston<br />
gay cruis<strong>in</strong>g<br />
Kenneth Chan<br />
gay rights<br />
Jim Supanick<br />
gay/queer<br />
James S. Williams<br />
gaze<br />
Jason E Klodt<br />
Louise McReynolds<br />
Anne Eak<strong>in</strong> Moss<br />
gender<br />
Tabea Alexa L<strong>in</strong>hard<br />
Hector Amaya<br />
Joe Andrew<br />
Paul Beg<strong>in</strong><br />
Laura Senio Blair<br />
Alexia Bowler<br />
Delph<strong>in</strong>e Chedaleux<br />
Dom<strong>in</strong>ica Dipio<br />
Carolyn A. Durham<br />
Claude Evans<br />
Am<strong>in</strong>u Fagge Mohammad<br />
Santiago Fouz-Hernández<br />
Lisa French<br />
Renate Günther<br />
Judith Halberstam<br />
Yana Hashamova<br />
Wai Siam Hee<br />
Laura Hubner<br />
Eleanor Hunt<strong>in</strong>gton<br />
Helen Jones<br />
Lilya Kaganovsky<br />
Jean Ma<br />
Ir<strong>in</strong>a Makoveeva<br />
Fran Mart<strong>in</strong><br />
Susan Mart<strong>in</strong>-Márquez<br />
Rajiv Kannan Menon<br />
Jason Merrill<br />
Anne Eak<strong>in</strong> Moss<br />
Cather<strong>in</strong>e O'Rawe<br />
Elzbieta Ostrowska<br />
Brígida M. Pastor<br />
Kristen Phillips<br />
Julianne Pidduck<br />
Emma Radley<br />
Jooyeon Rhee<br />
Lucia Ricciardelli<br />
Susan Rogers<br />
Brigitte Rollet<br />
Mireille Rosello<br />
Mantra Roy<br />
Robert A. Rush<strong>in</strong>g<br />
Isabel Santaolalla<br />
Christopher Sharrett<br />
Cui Shuq<strong>in</strong><br />
Aga Skrodzka<br />
Susan Sydney-Smith<br />
Kate E Taylor<br />
Darren Waldron<br />
Emma Wilson<br />
Barbara Zecchi<br />
gender and genre<br />
Gunhild Agger<br />
gender and sexuality<br />
Monika Mehta<br />
gender c<strong>in</strong>ematic city<br />
Ranjani Mazumdar<br />
gender identity<br />
Adrián Pérez Melgosa<br />
Rochelle Wright<br />
gender studies<br />
Seth Graham<br />
Steve Jones<br />
gender theory<br />
Nebojša Jovanović<br />
Dimitris Papanikolaou<br />
Mary Wiles<br />
Gender theory<br />
Alka Kurian<br />
gendered labour<br />
Pamela Thoma<br />
General Sikorski<br />
Mirosław Przylipiak
generic modulation<br />
Palle Schantz Lauridsen<br />
Genoa G8<br />
Mauro Sassi<br />
genocide<br />
Piotr A. Cieplak<br />
genre<br />
Guy Aust<strong>in</strong><br />
Stefano Baschiera<br />
Jonathan Bignell<br />
Pat Brereton<br />
Brenda Chan<br />
Francesco Di Chiara<br />
Alyssa DeBlasio<br />
Joshua First<br />
Nikica Gilic<br />
Barry Keith Grant<br />
Fiona Handyside<br />
Carmen Herrero<br />
Tobias Hochscherf<br />
Brian Hu<br />
Mark Jancovich<br />
Krist<strong>in</strong>e Kotecki<br />
Palle Schantz Lauridsen<br />
Alexandra Ludewig<br />
Daniel Mart<strong>in</strong><br />
Patrick McGilligan<br />
Jeffrey Middents<br />
Peter Pozefsky<br />
Mark Ryan<br />
Lisa Schmidt<br />
Jule Selbo<br />
Kather<strong>in</strong>e Spr<strong>in</strong>g<br />
Philip Tagg<br />
Michael Tapper<br />
Constant<strong>in</strong>e Verevis<br />
Hvard Andreas Vibeto<br />
Rochelle Wright<br />
genre reception<br />
Kim Toft Hansen<br />
geopolitics<br />
Dilek Kaya Mutlu<br />
George Lucas<br />
Andrew Gordon<br />
Georgian c<strong>in</strong>ema<br />
Zaza Shatirishvili<br />
Georgian culture<br />
Julian Graffy<br />
Georgii Daneliia<br />
Lida Oukaderova<br />
German c<strong>in</strong>ema<br />
Owen Evans<br />
Jaimey Fisher<br />
Mattias Frey<br />
Oliver Haag<br />
Christ<strong>in</strong>e Haase<br />
Maike Helmers<br />
Alexandra Ludewig<br />
Carol<strong>in</strong>e Mo<strong>in</strong>e<br />
Ben Morgan<br />
Claudia Sandberg<br />
German crime fiction<br />
Kathr<strong>in</strong> Rothemund<br />
German Democratic Republic<br />
(GDR)<br />
Tobias Hochscherf<br />
German identity<br />
Gabriele Mueller<br />
German new wave<br />
Jyotsna Kapur<br />
German studies<br />
Ingeborg Majer-O’Sickey<br />
German television<br />
Larson Powell<br />
German visual culture<br />
Ingeborg Majer-O’Sickey<br />
German-American c<strong>in</strong>ema<br />
Christ<strong>in</strong>e Haase<br />
German-Turkish c<strong>in</strong>ema<br />
Daniela Berghahn<br />
Germany<br />
Paul Cooke<br />
Jochen Hick<br />
Adrian Horrocks<br />
gesture<br />
Julián Daniel Gutiérrez Albilla<br />
Philip Tagg<br />
Gianfranco Parol<strong>in</strong>i<br />
Bert Fridlund<br />
Gianni Amelio<br />
Alberto Zambenedetti<br />
gift-exchange dimension<br />
Ryan Prout<br />
Gilles Deleuze<br />
C. David Bertol<strong>in</strong>i<br />
Mart<strong>in</strong>e Beugnet<br />
William Brown<br />
Ludmila Moreira Macedo de<br />
Carvalho<br />
Matthew Holtmeier<br />
David Mart<strong>in</strong>-Jones<br />
Giusepp<strong>in</strong>a Mecchia<br />
Anton Pujol<br />
Giordana<br />
Marco Cupolo<br />
Giorgio Agamben<br />
Oliver C. Speck<br />
Giorgio Mangiamele<br />
Gaetano Rando<br />
giri/n<strong>in</strong>j<br />
Charles Shir Inouye<br />
girl star<br />
Deborah Shamoon<br />
GIS and cultural memory<br />
Les Roberts<br />
Giuliano Carm<strong>in</strong>eo<br />
Bert Fridlund<br />
Giuseppe Bertolucci<br />
Andrea Mirabile
glamour girls<br />
Onookome Okome<br />
Glasnost<br />
Carol<strong>in</strong>e Mo<strong>in</strong>e<br />
Ir<strong>in</strong>a Sandomirskaia<br />
GLBT<br />
Santiago Fouz-Hernández<br />
glean<strong>in</strong>g<br />
Ben Tyrer<br />
global change<br />
Jacob U. U. Jacob<br />
global c<strong>in</strong>ema<br />
Olga V. Solovieva<br />
global culture<br />
Vivian Lee<br />
Markus Reisenleitner<br />
global economy<br />
Ruth Cruickshank<br />
John C. McCall<br />
global production<br />
Pam Cook<br />
global television<br />
Concepción Cascajosa Vir<strong>in</strong>o<br />
globalization<br />
Tilman Baumgärtel<br />
Chris Berry<br />
Michael J. Blou<strong>in</strong><br />
Ib Bondebjerg<br />
Alice Burg<strong>in</strong><br />
Robert Crawford<br />
Sean Cubitt<br />
Cecilie Givskov<br />
Mette Hjort<br />
Dale Hudson<br />
Nick Kaldis<br />
Paul Kerr<br />
Christ<strong>in</strong>a Kle<strong>in</strong><br />
Patrizia LaTrecchia<br />
Tongl<strong>in</strong> Lu<br />
Franco Manai<br />
Ranjani Mazumdar<br />
Monika Mehta<br />
Mart<strong>in</strong> Mhando<br />
Toby Miller<br />
Anna Morcom<br />
Ishani Mukherjee<br />
Aaron Mushengyezi<br />
Ma N<strong>in</strong>g<br />
Manjunath Pendakur<br />
Laura Podalsky<br />
Nick Redfern<br />
Surabhi Sharma<br />
Gitte Bang Stald<br />
Abdalla Uba Adamu<br />
Globo Network<br />
Cacilda M. Rego<br />
God<br />
John Hughes<br />
Godard<br />
Gabor Gergely<br />
Kev<strong>in</strong> J. Hayes<br />
Roland-François Lack<br />
Isabelle McNeill<br />
Douglas Morrey<br />
Godardart documentary<br />
Douglas Smith<br />
Golden Horse Film Festival<br />
Menghs<strong>in</strong> C. Horng<br />
Golden Tulip<br />
N. Buket Cengiz<br />
Gong Hong<br />
Shen Shiao-Y<strong>in</strong>g<br />
Gong Li<br />
Evans Chan<br />
Gonzalo Suarez<br />
Sally Faulkner<br />
Good-Bye South<br />
G<strong>in</strong>a Marchetti<br />
Gothic<br />
Emily Bullock<br />
Allan Cameron<br />
Gothic aesthetic<br />
Brigid Cherry<br />
Gouttes d'eau sur pierres<br />
brûlantes<br />
Fiona Handyside<br />
governance<br />
Gbemisola Adeoti<br />
Henrik Paul Bang<br />
Shekhar Deshpande<br />
Jens Hoff<br />
Signe Kjær Jørgensen<br />
government subsidy<br />
Mark Poole<br />
Grace Chang<br />
Jean Ma<br />
graffiti<br />
Kev<strong>in</strong> J. Hayes<br />
Gramsci<br />
Mauro Sassi<br />
Grandrieux<br />
Greg Ha<strong>in</strong>ge<br />
graphic novels<br />
Lucas O’Connor<br />
grassroots<br />
Christian Christensen<br />
Great Depression<br />
Lesley Marx<br />
Great Patriotic War<br />
Stephen M. Norris<br />
Great Terror<br />
Benjam<strong>in</strong> E. Raikl<strong>in</strong><br />
Greater Ch<strong>in</strong>a<br />
Paul G. Pickowicz
Greenaway<br />
C. David Bertol<strong>in</strong>i<br />
Greenfields Studios<br />
Alejandro Pardo<br />
Greil Marcus<br />
Noel K<strong>in</strong>g<br />
Greil Marcus<br />
Greta Garbo<br />
Anna Cabak Rédei<br />
Grierson<br />
Ian Aitken<br />
Guantánamo<br />
Bruce Bennett<br />
guild memberships<br />
Susan Rogers<br />
guilty house<br />
Stijn Reijnders<br />
Maloe Sniekers<br />
guilty landscape<br />
Stijn Reijnders<br />
Maloe Sniekers<br />
Gulf War<br />
Mark Straw<br />
Gunvor Nelson<br />
John Sundholm<br />
Gus Van Sant<br />
Michael Fitzhenry<br />
Hildegard Westerkamp<br />
Xuelian Zhang<br />
Guyana<br />
Paul Buhle<br />
Gypsy community<br />
Silvia Marchetti<br />
Habermas<br />
Bjørn Sørenssen<br />
Halldór Laxness<br />
Björn Þór Vilhjálmsson<br />
hallelujah video films<br />
Wisdom Agorde<br />
hallyu<br />
Darcy Paquet<br />
hammer films<br />
Sue Harper<br />
Haneke<br />
Jennifer Burris<br />
Roma<strong>in</strong> Chareyron<br />
Lisa Coulthard<br />
Anna Gural-Migdal<br />
Happy-Go-Lucky<br />
Liz Stephens<br />
haptics<br />
Dav<strong>in</strong>a Qu<strong>in</strong>livan<br />
Amit Rai<br />
Sebastian Scholz<br />
Emma Widdis<br />
Harry Sche<strong>in</strong><br />
Per Vesterlund<br />
Harry Watt<br />
Deane Williams<br />
Harun Farocki<br />
Esther Leslie<br />
Hausa film culture<br />
Hyg<strong>in</strong>us Ekwuazi<br />
Hawaii<br />
George Chun Han Wang<br />
Häxan<br />
Arne Lunde<br />
Head On<br />
Polona Petek<br />
headscarf<br />
Leslie Kealhofer<br />
heal<strong>in</strong>g<br />
Ehab Galal<br />
hear<strong>in</strong>g-impaired viewers<br />
Richard Bates<br />
Stephen Deutsch<br />
Heavenly Creatures<br />
Brian McDonnell<br />
Heimat film<br />
David Sorfa<br />
Heimat movies<br />
Ben Morgan<br />
Heimatfilm<br />
Daniela Berghahn<br />
Helen Ukpabio<br />
Onookome Okome<br />
Henry Jenk<strong>in</strong>s<br />
Anna Zaluczkowska<br />
heritage<br />
Elisabetta Girelli<br />
Les Roberts<br />
hermeneutics<br />
Kees Bakker<br />
Hermitage<br />
David Gillespie<br />
Elena Smirnova<br />
hero<br />
Evans Chan<br />
Wendy Larson
Hero/Y<strong>in</strong>g xiong<br />
Yi Zheng<br />
hero<strong>in</strong> chic<br />
Anne-Marie Brumm<br />
heterogeneity<br />
Bruce Bennett<br />
hetero-normativity<br />
Jacky Coll<strong>in</strong>s<br />
Judith Halberstam<br />
heterosexual gaze<br />
Jo Evans<br />
Hideo Nakata<br />
Jasper Sharp<br />
High Def<strong>in</strong>ition<br />
Sergi Mesonero Burgos<br />
Hillary Cl<strong>in</strong>ton<br />
Charles Musser<br />
Hillywood<br />
Piotr A. Cieplak<br />
H<strong>in</strong>di c<strong>in</strong>ema<br />
Coonoor Kripalani<br />
Aarti Wani<br />
H<strong>in</strong>di C<strong>in</strong>ema<br />
Nandana Bose<br />
hip-hop culture<br />
Greg DeCuir, Jr.<br />
David Toop<br />
Hiroshima<br />
Rosamund Davies<br />
Hiroshima mon amour<br />
Reni Celeste<br />
Hispanic c<strong>in</strong>ema<br />
Matt Losada<br />
Hispanicity<br />
Mar<strong>in</strong>a Díaz López<br />
Hispanophone c<strong>in</strong>ema<br />
Amit Thakkar<br />
Histoire d'un secret<br />
Brigitte Rollet<br />
Histoire(s) du c<strong>in</strong>éma<br />
Douglas Morrey<br />
historical accuracy<br />
Theresa Urba<strong>in</strong>czyk<br />
historical approaches to film<br />
Bla<strong>in</strong>e Allan<br />
historical epics<br />
Leon Saunders Calvert<br />
Geneviève Sellier<br />
historical fiction<br />
Graciela Michelotti<br />
historical film<br />
Raphaëlle Mo<strong>in</strong>e<br />
historical films<br />
Matilda Mroz<br />
Mirosław Przylipiak<br />
historical narratives<br />
Stephen M. Norris<br />
historical reality<br />
Ruth McElroy<br />
historiography<br />
Richard A Voeltz<br />
history<br />
Kees Bakker<br />
Raphaël Bassan<br />
Mark Bedford<br />
Emilie Bickerton<br />
Ib Bondebjerg<br />
Robert Burgoyne<br />
Gérard Courant<br />
Nicholas J. Cull<br />
Ludmila Moreira Macedo de<br />
Carvalho<br />
Evgeny Dobrenko<br />
Sally Faulkner<br />
Roger Hillman<br />
Dong Hoon Kim<br />
Aaron Kerner<br />
Cather<strong>in</strong>e Kev<strong>in</strong><br />
Jane Landman<br />
Ignacio López-Vicuña<br />
Carol<strong>in</strong>e Mo<strong>in</strong>e<br />
Gabriele Mueller<br />
Dom<strong>in</strong>ique Noguez<br />
Christiane Passevant<br />
Paul G. Pickowicz<br />
Peter Pozefsky<br />
Gaetano Rando<br />
Bland<strong>in</strong>e Stefanson<br />
Jeremi Szaniawski<br />
Lars-Mart<strong>in</strong> Sørensen<br />
Bjørn Sørenssen<br />
Ross Thorne<br />
Theresa Urba<strong>in</strong>czyk<br />
Janet Walker<br />
Charles Warren<br />
history of detective fiction<br />
Kim Toft Hansen<br />
history of film<br />
Michael Leader<br />
history of the body<br />
Michael Cowan<br />
Hitchcock<br />
William Rothman<br />
Hitler<br />
Christ<strong>in</strong>e Haase<br />
hodological space<br />
Tarja La<strong>in</strong>e<br />
hollywood<br />
Janet Wasko<br />
Hollywood<br />
Richard Armstrong<br />
Pat Brereton<br />
Paul Cooke<br />
Barry Keith Grant<br />
Jerod Ra’Del Hollyfield<br />
Myriam Juan<br />
Christ<strong>in</strong>a Kle<strong>in</strong><br />
Tony McKibb<strong>in</strong>
Dan North<br />
Cather<strong>in</strong>e O'Rawe<br />
Paul<strong>in</strong>e Small<br />
Cécile Sor<strong>in</strong><br />
Hollywood and ideology<br />
Halldór Laxness<br />
Hollywood c<strong>in</strong>ema<br />
Gabor Gergely<br />
Novotny Lawrence<br />
Mark Straw<br />
Hollywood icons<br />
Ann-Krist<strong>in</strong> Wallengren<br />
Hollywood remake<br />
Meryl Shriver-Rice<br />
Hollywood style<br />
Sarah Berry<br />
Hollywood Ten<br />
Claus Tieber<br />
Hollywoodization<br />
Meryl Shriver-Rice<br />
holocaust<br />
Yosefa Loshitzky<br />
Holocaust<br />
Axel Bangert<br />
Christ<strong>in</strong>e Haase<br />
Miriam Heywood<br />
Cosetta M. Veronese<br />
Janet Walker<br />
Holocaust c<strong>in</strong>ema<br />
Robert S.C. Gordon<br />
holocaust studies<br />
Gerd Bayer<br />
home<br />
Silvia Marchetti<br />
Srilata Ravi<br />
homeland<br />
Mariana Johnson<br />
Lee-Von Kim<br />
homme fatal<br />
Jo Evans<br />
homology<br />
Paul Kerr<br />
homosexual gaze<br />
Jo Evans<br />
homosexuality<br />
Bidisha Banerjee<br />
Julianne Pidduck<br />
V<strong>in</strong>ay Swamy<br />
Hong Kong<br />
Carl Cassegard<br />
Mike Ingham<br />
Christ<strong>in</strong>a Kle<strong>in</strong><br />
Kenny K. K. Ng<br />
George Chun Han Wang<br />
Tony Williams<br />
Hong Kong c<strong>in</strong>ema<br />
Gary Bett<strong>in</strong>son<br />
Brenda Chan<br />
E.K. Tan<br />
Stephen Teo<br />
Andrew Willis<br />
Audrey Yue<br />
Hong Kong popular culture<br />
Kim-mui Ela<strong>in</strong>e E. Chan<br />
horror<br />
Roma<strong>in</strong> Chareyron<br />
Ken Chen<br />
Brigid Cherry<br />
Barry Keith Grant<br />
Torben Grodal<br />
Anna Gural-Migdal<br />
Sue Harper<br />
David Hollands<br />
Mark Jancovich<br />
Steve Jones<br />
Novotny Lawrence<br />
Ben McCann<br />
Jonathan Risner<br />
Paolo Russo<br />
Mark Ryan<br />
Lisa Schmidt<br />
Jacob Smith<br />
Michael Tapper<br />
horror c<strong>in</strong>ema<br />
Jeremi Szaniawski<br />
horror film<br />
Judith Halberstam<br />
horror films<br />
Daniel O'Brien<br />
hospitality<br />
Lee-Von Kim<br />
Hou Hsiao-hsien<br />
G<strong>in</strong>a Marchetti<br />
Hou Hsiao-Hsien<br />
Robert Chen<br />
Howard Hawks<br />
Diane Stevenson<br />
HUAC<br />
Claus Tieber<br />
human memory<br />
Isabelle McNeill<br />
human rights<br />
N. Buket Cengiz<br />
human rights issues<br />
Ishani Mukherjee<br />
humanism<br />
Timothy Iles<br />
humour theory<br />
Seth Graham<br />
Brett Mills<br />
Humphrey Jenn<strong>in</strong>gs<br />
Keith Beattie<br />
Hungarian c<strong>in</strong>ema<br />
Cather<strong>in</strong>e Portuges
Huppert Seberg<br />
John Orr<br />
hybridity<br />
Jonathan Bignell<br />
Maryse Fauvel<br />
Alexander Fisher<br />
Rochelle Wright<br />
hybridity <strong>in</strong> c<strong>in</strong>ema<br />
Germán Gil Curiel<br />
hybridization<br />
Sheila Petty<br />
Hyperk<strong>in</strong>o<br />
Natascha Drubek-Meyer<br />
I cento passi<br />
Paul<strong>in</strong>e Small<br />
I Know Where I'm Go<strong>in</strong>g!<br />
Stella Hockenhull<br />
Ia<strong>in</strong> S<strong>in</strong>clair<br />
Esther Leslie<br />
Iceland<br />
Lizelle Bisschoff<br />
Icelandic c<strong>in</strong>ema<br />
Björn Norðfjörð<br />
idealized cognitive model<br />
Jule Selbo<br />
identification<br />
Andrey Shcherbenok<br />
Kathleen M. Vernon<br />
identities<br />
Margot Black<br />
Ciara Haley<br />
identity<br />
Joe Andrew<br />
Sarah Barrow<br />
Anna Cole<br />
Nezih Erdoğan<br />
Jared Gardner<br />
Elisabetta Girelli<br />
Renate Günther<br />
Joe Hardwick<br />
Helen Jones<br />
Steve Jones<br />
Pierre Larrivée<br />
Glenda Mejía<br />
Matthew P<strong>in</strong>k<br />
Thea Pitman<br />
Zakir Hossa<strong>in</strong> Raju<br />
Suneeti Rekhari<br />
Surabhi Sharma<br />
Carrie Tarr<br />
Marian Via Rivera<br />
Identity<br />
Anthony Lambert<br />
identity crisis<br />
Vitaly Chernetsky<br />
identity politics<br />
Allyson Fiddler<br />
Ingrid Ryberg<br />
Sophia Siddique Harvey<br />
ideology<br />
Michael Audette-Longo<br />
Laurent Jullier<br />
Nick Kaldis<br />
Michael Tapper<br />
Zhang Tongdao<br />
Mike Wayne<br />
idyll<br />
Barbara Klonowska<br />
Il Caimano<br />
Paul Sutton<br />
illusion<br />
Jordan Bear<br />
I'm Not There<br />
Ian Garwood<br />
image<br />
Bridget Birchall<br />
Roma<strong>in</strong> Chareyron<br />
Anna Gural-Migdal<br />
Miriam Heywood<br />
image media neutral<br />
Sunil Manghani<br />
images<br />
Nikica Gilic<br />
images of women<br />
Petra Hanakova<br />
imag<strong>in</strong>ation<br />
Alice Burg<strong>in</strong><br />
Obed Nkunzimana<br />
Imbert<br />
Maryse Bray<br />
imitation<br />
Lisa Gaughan<br />
Brian Hu<br />
immaterial labour<br />
Kjetil Sandvik<br />
immediacy<br />
Claire Wardle<br />
immigration<br />
Isol<strong>in</strong>a Ballesteros<br />
David Corkill<br />
Elisa Costa-Villaverde<br />
Carol<strong>in</strong> Overhoff Ferreira<br />
Abigail Keat<strong>in</strong>g<br />
Nick Rees-Roberts<br />
immigration histories<br />
Dale Hudson<br />
imperialism<br />
Nicholas J. Cull<br />
Daniel L<strong>in</strong>dvall<br />
improvisation<br />
J. J. Murphy<br />
In the Beg<strong>in</strong>n<strong>in</strong>g Was the<br />
Word<br />
Maaret Kosk<strong>in</strong>en
<strong>in</strong>action c<strong>in</strong>ema<br />
Helen Grace<br />
Iñárritu<br />
Deborah Shaw<br />
<strong>in</strong>commensurability<br />
Anjali Gera Roy<br />
<strong>in</strong>dependent c<strong>in</strong>ema<br />
Kar<strong>in</strong>a Aveyard<br />
Tilman Baumgärtel<br />
Dagmar Brunow<br />
Sue Clayton<br />
Michael Fitzhenry<br />
Yuriko Furuhata<br />
Gaik Cheng Khoo<br />
Kathryn Millard<br />
J. J. Murphy<br />
Cui Shuq<strong>in</strong><br />
Y<strong>in</strong>gj<strong>in</strong> Zhang<br />
Xuelian Zhang<br />
<strong>in</strong>dependent film production<br />
Edward Bowen<br />
Independent Media Center<br />
(IMC)<br />
Richard Edwards<br />
<strong>in</strong>dexical sign<br />
Diane Stevenson<br />
<strong>in</strong>dexicality<br />
Ilana Gershon<br />
Ohad Landesman<br />
Joshua Malitsky<br />
India<br />
Dom<strong>in</strong>ic Alessio<br />
Hyg<strong>in</strong>us Ekwuazi<br />
Rebecca J. Manr<strong>in</strong>g<br />
Indian c<strong>in</strong>ema<br />
Narendra Panjwani<br />
Shreerekha Subramanian<br />
C.S. Venkiteswaran<br />
Paul Willeman<br />
Indian film websites<br />
C.S. Venkiteswaran<br />
Indian marriage market<br />
Sonora Jha<br />
Indian People's Theatre<br />
Association (IPTA)<br />
Talat Ahmed<br />
<strong>in</strong>digenous<br />
Queenie Monica Chan<br />
Faye G<strong>in</strong>sburg<br />
Jill Godmilow<br />
Daisy Hasan<br />
<strong>in</strong>digenous Australia<br />
Bill Nichols<br />
<strong>in</strong>digenous c<strong>in</strong>ema<br />
Hester Joyce<br />
Stuart Murray<br />
<strong>in</strong>digenous modernity<br />
Ian Henderson<br />
<strong>in</strong>digenous people<br />
Kieran Dol<strong>in</strong><br />
Jean Olivier Tchouaffe<br />
Indigenous studies<br />
Suneeti Rekhari<br />
<strong>in</strong>dividuality<br />
Cesar Ballester<br />
<strong>in</strong>dustrial design<br />
Marek Wasielewski<br />
<strong>in</strong>dustrialization<br />
Bridget Conor<br />
<strong>in</strong>dustrialization of culture<br />
Paul Willeman<br />
<strong>in</strong>ferno<br />
Mar<strong>in</strong>a Warner<br />
<strong>in</strong>fluence<br />
Joseph Mai<br />
<strong>in</strong>formal economies<br />
John C. McCall<br />
<strong>in</strong>justice<br />
Jason De Santolo<br />
<strong>in</strong>nocence<br />
Dav<strong>in</strong>a Qu<strong>in</strong>livan<br />
<strong>in</strong>novation<br />
Ian Roberts<br />
<strong>in</strong>stallations<br />
Samirah Alkassim<br />
Kelley Conway<br />
<strong>in</strong>strumentalization<br />
Spela Zajec<br />
<strong>in</strong>surgency<br />
Daisy Hasan<br />
<strong>in</strong>tensified cont<strong>in</strong>uity<br />
Jakob Isak Nielsen<br />
<strong>in</strong>tentionality<br />
Randolph Lewis<br />
<strong>in</strong>teractive<br />
Debra Beattie<br />
Friedman Rég<strong>in</strong>e-Mihal<br />
Anna Zaluczkowska<br />
<strong>in</strong>teractive c<strong>in</strong>ema<br />
Nitzan Ben-Shaul<br />
Margaret C. Fl<strong>in</strong>n<br />
Jasm<strong>in</strong>a Kallay<br />
<strong>in</strong>teractive media<br />
Rob Bridgett<br />
<strong>in</strong>teractive mix<strong>in</strong>g<br />
Rob Bridgett<br />
<strong>in</strong>terdiscipl<strong>in</strong>arity<br />
Anjali Gera Roy
<strong>in</strong>termediality<br />
Jay David Bolter<br />
Markos Hadjioannou<br />
Adrian Mart<strong>in</strong><br />
Davide Morena<br />
Marion Schmid<br />
<strong>in</strong>ternal<br />
Giusepp<strong>in</strong>a Mecchia<br />
<strong>in</strong>ternational c<strong>in</strong>ema<br />
Allison Craven<br />
<strong>in</strong>ternationalism<br />
Christ<strong>in</strong>e Haase<br />
<strong>in</strong>ternet<br />
Jens Hoff<br />
Internet<br />
Ib Bondebjerg<br />
Niels Brügger<br />
Klaus Bruhn Jensen<br />
Brett Farmer<br />
Sonora Jha<br />
Wa<strong>in</strong>er Lusoli<br />
Stephen Ward<br />
Haiq<strong>in</strong>g Yu<br />
<strong>in</strong>terpretation<br />
Louise Hamby<br />
<strong>in</strong>terstate highway system<br />
Jerod Ra’Del Hollyfield<br />
<strong>in</strong>tersubjectivity<br />
Andrey Shcherbenok<br />
<strong>in</strong>ter-subjectivity<br />
Tarja La<strong>in</strong>e<br />
<strong>in</strong>tertextuality<br />
Michelle Bloom<br />
Eugenio Bolongaro<br />
L<strong>in</strong>da Craig<br />
T. Jefferson Kl<strong>in</strong>e<br />
Matthew Lazen<br />
Jean Ma<br />
Jason Merrill<br />
Paul<strong>in</strong>e Small<br />
<strong>in</strong>ter-titles<br />
Anke Brouwers<br />
<strong>in</strong>terview<br />
Davide Caputo<br />
<strong>in</strong>timacy<br />
Mar<strong>in</strong> Hirschfeld<br />
Julianne Pidduck<br />
Audrey Yue<br />
'I-productions'<br />
Friedman Rég<strong>in</strong>e-Mihal<br />
Iran<br />
Lizelle Bisschoff<br />
Babak Fozooni<br />
Iraq<br />
Christian Christensen<br />
Selm<strong>in</strong> Kara<br />
Irish c<strong>in</strong>ema<br />
Díóg O’Connell<br />
Irish Venus<br />
Deirdre Boyle<br />
irony<br />
Laurent Jullier<br />
Irshad Manji<br />
William Anselmi<br />
Sheena Wilson<br />
Isaac Julien<br />
Brian Hoyle<br />
Islam<br />
Hyg<strong>in</strong>us Ekwuazi<br />
Am<strong>in</strong>u Fagge Mohammad<br />
Leslie Kealhofer<br />
Abdalla Uba Adamu<br />
Islam <strong>in</strong> African literatures<br />
Moussa Sow<br />
Islamic fundamentalism<br />
Aaron Mushengyezi<br />
Islamic media<br />
Ehab Galal<br />
island<br />
Emily Bullock<br />
Israel<br />
Haim Bresheeth<br />
Israeli-Palest<strong>in</strong>ian conflict<br />
Haim Bresheeth<br />
Istanbul<br />
N. Buket Cengiz<br />
Italian c<strong>in</strong>ema<br />
Anita Angelone<br />
Stefano Baschiera<br />
Valeria G. Castelli<br />
Francesco Di Chiara<br />
Paolo Chirumbolo<br />
Amy R Handler<br />
Bernadette Luciano<br />
Cather<strong>in</strong>e O'Rawe<br />
Marco Paoli<br />
Larry Portis<br />
Thomas Riegler<br />
Grace Russo Bullaro<br />
Susanna Scarparo<br />
Angela Tum<strong>in</strong>i<br />
Alberto Zambenedetti<br />
Italian culture<br />
Marco Cupolo<br />
Lesley Marx<br />
Gert Sørensen<br />
Italian detective fiction<br />
Marco Paoli<br />
Italian diaspora<br />
Pasquale Verdicchio<br />
Italian documentary<br />
Marco Bertozzi<br />
Italian documentary and<br />
c<strong>in</strong>ema
Clarissa Clò<br />
Italian film<br />
Sab<strong>in</strong>e Hake<br />
Italian history<br />
Gert Sørensen<br />
Italian media<br />
Gert Sørensen<br />
Italian photographic culture<br />
Pasquale Verdicchio<br />
Italian politics<br />
Gert Sørensen<br />
Italian short films and<br />
documentaries<br />
Edward Bowen<br />
Italian studies<br />
Paolo Russo<br />
Italian women filmmakers<br />
Bernadette Luciano<br />
Susanna Scarparo<br />
Italian-Australian culture<br />
Jessica Carniel<br />
Luisa Pèrcopo<br />
Italo Calv<strong>in</strong>o<br />
Eugenio Bolongaro<br />
Italy<br />
Emanuela Guano<br />
Alfio Leotta<br />
Bernadette Luciano<br />
Silvia Marchetti<br />
Mauro Sassi<br />
Susanna Scarparo<br />
Italy 2001–06<br />
Abigail Keat<strong>in</strong>g<br />
Ivan's Childhood<br />
Robert Efird<br />
Ives<br />
Dom<strong>in</strong>ic Power<br />
Ivorian wedd<strong>in</strong>g<br />
Till Förster<br />
Jacques Demy<br />
Adrian Danks<br />
Gwénaëlle Le Gras<br />
Jacques Derrida<br />
Thomas Deane Tucker<br />
Jacques Doillon<br />
Maryse Bray<br />
Michel Chion<br />
Jacques Rancière<br />
Giusepp<strong>in</strong>a Mecchia<br />
Jacques Rivette<br />
Mary Wiles<br />
Jacques Tati<br />
Michel Chion<br />
J'ai horreur de l'amour<br />
Jacquel<strong>in</strong>e Nacache<br />
Janet Rosenberg Jagan<br />
Paul Buhle<br />
Japan<br />
Dong Hoon Kim<br />
Timothy Iles<br />
Mika Ko<br />
Eija Niskanen<br />
Kate E Taylor<br />
Japanese c<strong>in</strong>ema<br />
Yuriko Furuhata<br />
Liew Kai Khiun<br />
Kristi McKim<br />
Tim Palmer<br />
Deborah Shamoon<br />
Lars-Mart<strong>in</strong> Sørensen<br />
Noboru Tomonari<br />
Japanese literature<br />
Kirsten Cather<br />
Japanese modernity<br />
Kathe Geist<br />
Japanese new wave<br />
Jyotsna Kapur<br />
Japanese theatre<br />
Noboru Tomonari<br />
Jar City<br />
Björn Norðfjörð<br />
Jasmila Žbanic<br />
Jurica Pavicic<br />
Javier Bardem<br />
Santiago Fouz-Hernández<br />
Jean Cocteau<br />
David Chapman<br />
Jean Marais<br />
Delph<strong>in</strong>e Chedaleux<br />
Jean Mitry<br />
Richard Neupert<br />
Jean Pa<strong>in</strong>levé<br />
James Leo Cahill<br />
Jean Renoir<br />
James Leahy<br />
Tom Paulus<br />
Charles Warren<br />
Jean Vigo<br />
Gregg Redner<br />
Jean-Luc Godard<br />
Phil Powrie<br />
Laura Rascaroli<br />
David Sterritt<br />
Diane Stevenson
Jean-Marc Barr<br />
Gary M. Kramer<br />
Jeanne Moreau<br />
Nicoleta Bazgan<br />
Jean-Pierre Jeunet<br />
Michelle Scatton-Tessier<br />
Eric Tessier<br />
Jedda<br />
Cather<strong>in</strong>e Kev<strong>in</strong><br />
Jesse James<br />
Daniel Eisenberg<br />
Jessie Matthews<br />
Sarah Street<br />
Jesus Christus Erlöser<br />
Liz Stephens<br />
jeune c<strong>in</strong>éma<br />
Jacquel<strong>in</strong>e Nacache<br />
jeune premier<br />
Delph<strong>in</strong>e Chedaleux<br />
Jewish American Literature<br />
Ranen Omer-Sherman<br />
Jewish graphic novel<br />
Ranen Omer-Sherman<br />
Jews<br />
Lesley Marx<br />
J-horror<br />
Jasper Sharp<br />
Jia Zhang Ke<br />
Michael Fitzhenry<br />
Xuelian Zhang<br />
Joan Rivers<br />
Brett Mills<br />
Johan van der Keuken<br />
Kees Bakker<br />
John Cage<br />
Matilde Nardelli<br />
John Grierson<br />
Deane Williams<br />
John Marshall<br />
Keyan Gray Tomaselli<br />
John McCa<strong>in</strong><br />
Charles Musser<br />
John Travolta<br />
Benjam<strong>in</strong> Halligan<br />
Jorge Gaggero<br />
Clara Garavelli<br />
Jorge Negrete<br />
Mar<strong>in</strong>a Díaz López<br />
Jørgen Leth<br />
Lisbeth Richter Larsen<br />
Claire Perk<strong>in</strong>s<br />
Joris Ivens<br />
Kees Bakker<br />
Thomas Waugh<br />
José Luis Sáenz de Heredia<br />
Valeria Camporesi<br />
Joseph Carl Breil<br />
Gillian B. Anderson<br />
Josiane Balasko<br />
Darren Waldron<br />
jouissance<br />
Fabio Vighi<br />
journalism<br />
Sigurd Allern<br />
Leo Collis<br />
Mart<strong>in</strong> Eide<br />
Stig Hjarvard<br />
Ingela Wadbr<strong>in</strong>g<br />
Kar<strong>in</strong> Wahl-Jorgensen<br />
Ida Willig<br />
journalism studies<br />
Henrik Jensen<br />
Anker Br<strong>in</strong>k Lund<br />
journalist<br />
Stephanie Dickison<br />
journey paradigm<br />
Helen Jacey<br />
Ju/'hoansi<br />
Keyan Gray Tomaselli<br />
Juan Rulfo<br />
Amit Thakkar<br />
Jubilee<br />
Paul Dave<br />
Juliette B<strong>in</strong>oche<br />
Jörg Sternagel<br />
Jung<br />
Renate Günther<br />
justice<br />
Laura McMahon<br />
Tatiana Smorod<strong>in</strong>ska<br />
Just<strong>in</strong> D. Hilliard<br />
Liza Palmer<br />
Kanak<br />
Peter Brown<br />
Kanak-TV<br />
Randall Halle<br />
Kano State<br />
Hyg<strong>in</strong>us Ekwuazi<br />
Am<strong>in</strong>u Fagge Mohammad
Kanywood<br />
Abdalla Uba Adamu<br />
Kate W<strong>in</strong>slet<br />
Brian McDonnell<br />
Kate Woods<br />
Luisa Pèrcopo<br />
Kathryn Bigelow<br />
John P. Garry III<br />
Kechiche<br />
Claudia Esposito<br />
Ken G. Hall<br />
Julieanne Lamond<br />
Ken Jacobs<br />
Eiv<strong>in</strong>d Røssaak<br />
Kenji Mizoguchi<br />
Timothy Iles<br />
Kev<strong>in</strong> Chu Yen P<strong>in</strong>g<br />
George Chun Han Wang<br />
Keywords cyborg<br />
Claire Thomson<br />
Khitruk<br />
Laura Pontieri Hlavacek<br />
Khrushchev<br />
Laura Pontieri Hlavacek<br />
Kieślowski<br />
Cesar Ballester<br />
Reni Celeste<br />
Kihachi Okamoto<br />
Eija Niskanen<br />
Kim Kiduk<br />
Thorsten Botz-Bornste<strong>in</strong><br />
Kim Ki-Young<br />
Soo Jeong Ahn<br />
Kim Suj<strong>in</strong><br />
Noboru Tomonari<br />
k<strong>in</strong>aesthetic<br />
Dav<strong>in</strong>a Qu<strong>in</strong>livan<br />
K<strong>in</strong>g Hu<br />
Kenneth Chan<br />
George Chun Han Wang<br />
K<strong>in</strong>g Kong<br />
Ian Q. Hunter<br />
K<strong>in</strong>opanorama<br />
James H Krukones<br />
k<strong>in</strong>ship<br />
Andrew Asibong<br />
V<strong>in</strong>ay Swamy<br />
Kira Muratova<br />
Eugénie Zvonk<strong>in</strong>e<br />
Kirikou et la sorcière<br />
Richard Neupert<br />
kiss curl<br />
Phil Powrie<br />
Kle<strong>in</strong><br />
Renate Günther<br />
knowledge<br />
Erik Hedl<strong>in</strong>g<br />
kokutai ideology<br />
Mika Ko<br />
kommando<br />
Axel Bangert<br />
Korea<br />
Dong Hoon Kim<br />
Kate E Taylor<br />
Korean c<strong>in</strong>ema<br />
Thorsten Botz-Bornste<strong>in</strong><br />
Jooyeon Rhee<br />
Kim Soyoung<br />
Korean golden age c<strong>in</strong>ema<br />
David Scott Diffrient<br />
Korean stock market<br />
Darcy Paquet<br />
Korean War<br />
Jake Bevan<br />
Koreans <strong>in</strong> Japan<br />
Noboru Tomonari<br />
Kormákur<br />
Björn Norðfjörð<br />
Kracauer<br />
Ian Aitken<br />
John E. Davidson<br />
Gabor Gergely<br />
Kraftwerk<br />
Matthew P<strong>in</strong>k<br />
Kristeva<br />
José Luis Rodríguez<br />
Krzysztof Kieslowski<br />
Klemens Czyzydlo<br />
Kung Fu Hustle<br />
Christ<strong>in</strong>a Kle<strong>in</strong><br />
Kurosawa Akira<br />
Olga V. Solovieva<br />
kuso<br />
Nishant Shah<br />
Kusturica<br />
Silvia Marchetti
Kutluğ Ataman<br />
Randall Halle<br />
La Chienne<br />
Tom Paulus<br />
Jennifer Porst<br />
La Curée<br />
Kate Griffiths<br />
La Fille sur le pont<br />
Claude Evans<br />
La Onda<br />
Kerry Hegarty<br />
La Pianiste<br />
Cather<strong>in</strong>e Wheatley<br />
labour<br />
Jerod Ra’Del Hollyfield<br />
Surabhi Sharma<br />
labour market<br />
David Corkill<br />
labour movement<br />
Bert Hogenkamp<br />
Daniel L<strong>in</strong>dvall<br />
Per Vesterlund<br />
Lacan<br />
Gautam Basu Thakur<br />
Jo Evans<br />
Louise McReynolds<br />
Fabio Vighi<br />
Laclos<br />
Brigitte E. Humbert<br />
Ladislas Starewitch<br />
Maria Belodubrovskaya<br />
Laila Majnu<br />
Anjali Gera Roy<br />
land rights<br />
Cassi Plate<br />
'landismo'<br />
Barry Jordan<br />
landscape<br />
Emily Bullock<br />
John Edmond<br />
Dom<strong>in</strong>ic Keown<br />
Alfio Leotta<br />
Peta Mitchell<br />
Jonathan Rayner<br />
Les Roberts<br />
Isis Sadek<br />
Jane Sillars<br />
Tom Whittaker<br />
language<br />
Ursula Böser<br />
Michel Chion<br />
Claudia Esposito<br />
Crist<strong>in</strong>a Johnston<br />
Florence Mart<strong>in</strong><br />
Ir<strong>in</strong>a Sandomirskaia<br />
Dana Strand<br />
language pedagogy<br />
Seth Graham<br />
language varieties<br />
Pierre Larrivée<br />
Larry Cohen<br />
Patrick McGilligan<br />
Larry Gordon<br />
Patrick McGilligan<br />
Lars von Trier<br />
Ruth Doughty<br />
Birger Langkjær<br />
Jan Lumholdt<br />
Claire Perk<strong>in</strong>s<br />
Peter Schepelern<br />
Angela Tum<strong>in</strong>i<br />
Las Vegas<br />
Sofia Bull<br />
Last Resort<br />
Alice Bardan<br />
L'Atalante<br />
Gregg Redner<br />
late socialism<br />
Lilya Kaganovsky<br />
late twentieth century<br />
Tony Williams<br />
Lat<strong>in</strong> America<br />
Ignacio López-Vicuña<br />
Lat<strong>in</strong> American c<strong>in</strong>ema<br />
Sarah Barrow<br />
Gary M. Kramer<br />
Graciela Michelotti<br />
Adrián Pérez Melgosa<br />
Dom<strong>in</strong>ique Russell<br />
Lat<strong>in</strong> American filmmakers<br />
Gerard Dapena<br />
Lat<strong>in</strong> American homosexuality<br />
Gustavo Subero<br />
Lat<strong>in</strong> American literature<br />
Matt Losada<br />
Graciela Michelotti<br />
law<br />
Kieran Dol<strong>in</strong><br />
Law of Desire<br />
Brígida M. Pastor<br />
Le C<strong>in</strong>quième élément<br />
Jennie Cous<strong>in</strong>s<br />
Le Giornate del c<strong>in</strong>ema muto<br />
Bjørn Sørenssen<br />
le jeune c<strong>in</strong>éma<br />
Joe Hardwick<br />
Le Mari de la coiffeuse<br />
Claude Evans<br />
Le Premier du Nom<br />
Agnès Calatayud
Lebanon<br />
Krist<strong>in</strong>e Kotecki<br />
Lee Hs<strong>in</strong>g<br />
Menghs<strong>in</strong> C. Horng<br />
Wenchi L<strong>in</strong><br />
George Chun Han Wang<br />
Lefebvre<br />
Benjam<strong>in</strong> Fraser<br />
legal space<br />
Felicia Chan<br />
Valent<strong>in</strong>a Vitali<br />
legitimacy<br />
Henrik Paul Bang<br />
Signe Kjær Jørgensen<br />
Leipzig Documentary Film<br />
Festival<br />
Birgit Beumers<br />
Carol<strong>in</strong>e Mo<strong>in</strong>e<br />
Maya Turovskaya<br />
Leni Riefenstahl<br />
Ben Morgan<br />
Leonid Osyka<br />
Vitaly Chernetsky<br />
Les Blank<br />
Brad Prager<br />
Les Plages d'Agnes<br />
Kelley Conway<br />
Les Visiteurs<br />
Guy Aust<strong>in</strong><br />
lesbian identities<br />
Jacky Coll<strong>in</strong>s<br />
lesbian text<br />
Susan Hayward<br />
lesbianism<br />
Judith Mayne<br />
Darren Waldron<br />
Leslie Rabb<br />
Robert Arnett<br />
Letters to Ali<br />
Meg Johnston<br />
Lev Kuleshov<br />
Emma Widdis<br />
Lev Manovich<br />
Anna Zaluczkowska<br />
Levant<strong>in</strong>e identities<br />
Ranen Omer-Sherman<br />
Levi<br />
Cosetta M. Veronese<br />
Levitas<br />
Tom Whittaker<br />
Ley de Extranjería<br />
David Corkill<br />
Li Hanxiang<br />
George Chun Han Wang<br />
Li X<strong>in</strong>g<br />
James Wicks<br />
liaisons dangereuses<br />
Brigitte E. Humbert<br />
liberal democracy<br />
Kar<strong>in</strong> Wahl-Jorgensen<br />
Libertad Lamarque<br />
Marv<strong>in</strong> D'Lugo<br />
libert<strong>in</strong>age<br />
Maria Tortajada<br />
Library of Congress<br />
Torey Liepa<br />
libretti<br />
Debbie Danielpour<br />
licence fee<br />
Heather Sutherland<br />
lifestyle journalism<br />
Unni From<br />
light<br />
Christopher Neilan<br />
L'illa de l'holandès<br />
Dom<strong>in</strong>ic Keown<br />
lim<strong>in</strong>ality<br />
Anjali Gera Roy<br />
L<strong>in</strong>da Williams<br />
Ingrid Ryberg<br />
L<strong>in</strong>dsay Anderson<br />
Isabelle Gourd<strong>in</strong>-Sangouard<br />
l<strong>in</strong>ger<strong>in</strong>g<br />
Kenneth Chan<br />
l<strong>in</strong>guistics<br />
Tijana Mamula<br />
literacy<br />
Francesco Caviglia<br />
literary adaptation<br />
David George<br />
Virg<strong>in</strong>ia Pitts<br />
literary genres<br />
Diane Stevenson<br />
literary realism<br />
Jim Morrissey
literary theory<br />
Nicholas Harrison<br />
literature<br />
Johannes H. Christensen<br />
Lorna Fitzsimmons<br />
Keith Reader<br />
Marion Schmid<br />
Lithuania-Scand<strong>in</strong>avia<br />
Kar<strong>in</strong> Ljusl<strong>in</strong>der<br />
Jurga Mataityte-Dirziene<br />
Lisbeth Morlandstø<br />
Little Fish<br />
Helen Grace<br />
lived geographies<br />
Michael Carkl<strong>in</strong><br />
Liverpool<br />
Peter Atk<strong>in</strong>son<br />
Lluïsa Cunillé<br />
Anton Pujol<br />
local production<br />
Pam Cook<br />
locale<br />
Roland-François Lack<br />
localization<br />
Tongl<strong>in</strong> Lu<br />
location<br />
Anne Marit Waade<br />
Lola<br />
Owen Evans<br />
London Orbital<br />
Paul Dave<br />
Esther Leslie<br />
long take<br />
Eija Niskanen<br />
Lope de Vega<br />
Ela<strong>in</strong>e Cann<strong>in</strong>g<br />
Los rubios<br />
Joanna Page<br />
loss<br />
Sarah Cooper<br />
Lost Generation<br />
Richard Armstrong<br />
Lotman<br />
Joe Andrew<br />
loudspeakers<br />
Chu-Li Shewr<strong>in</strong>g<br />
love stories<br />
Isis Sadek<br />
low-brow humour<br />
Ian Q. Hunter<br />
low-budget<br />
Jochen Hick<br />
low-budget film<br />
Ian Q. Hunter<br />
Lucha Libre<br />
Evan Lieberman<br />
Lucky Miles<br />
Helen Grace<br />
ludic structures<br />
Serena Anderl<strong>in</strong>i-D'Onofrio<br />
Luis Bunuel<br />
Sally Faulkner<br />
Luis Buñuel<br />
Randolph Lewis<br />
John Savage<br />
Luis Buñuelclever<br />
Gwénaëlle Le Gras<br />
Luis Marqu<strong>in</strong>a<br />
Valeria Camporesi<br />
Lukács<br />
Ian Aitken<br />
lusophone African c<strong>in</strong>ema<br />
Paul Melo e Castro<br />
Lynda Miles<br />
Peter Stanfield<br />
lyricism<br />
Lars Pynt Andersen<br />
Ma vraie vie à Rouen<br />
Florian Grandena<br />
Mabel Cheung<br />
Sarah Perks<br />
Mac Orlan<br />
Susan We<strong>in</strong>er<br />
machismo<br />
Gustavo Subero<br />
Madrid<br />
Benjam<strong>in</strong> Fraser<br />
Christiane Passevant<br />
Mafia<br />
Paul<strong>in</strong>e Small<br />
Mafia <strong>in</strong> film<br />
George S. Larke-Walsh<br />
Mafia mythologies<br />
George S. Larke-Walsh<br />
magaz<strong>in</strong>es<br />
Kev<strong>in</strong> J. Hayes
Maghreb<br />
Nicholas Harrison<br />
Maghreb and Egyptian c<strong>in</strong>ema<br />
Stefanie Van de Peer<br />
Maghrebi c<strong>in</strong>ema<br />
Maryse Fauvel<br />
Maghrebi-French c<strong>in</strong>ema<br />
Alison J. Murray Lev<strong>in</strong>e<br />
magic<br />
Ehab Galal<br />
Graham Murdock<br />
Dan North<br />
magical realism<br />
Barbara Klonowska<br />
magnetic tape<br />
Matilde Nardelli<br />
Magnum Force<br />
Deborah Allison<br />
Mahjong<br />
G<strong>in</strong>a Marchetti<br />
Malaysian c<strong>in</strong>ema<br />
Zakir Hossa<strong>in</strong> Raju<br />
Malcolm Le Grice<br />
John Sundholm<br />
male<br />
Santiago Fouz-Hernández<br />
male body<br />
Alison Peirse<br />
Barbara Zecchi<br />
male identity<br />
Ann-Krist<strong>in</strong> Wallengren<br />
Malika Mokeddem<br />
Florence Mart<strong>in</strong><br />
Mandar<strong>in</strong> c<strong>in</strong>ema<br />
Fiona Yuk-wa Law<br />
mandatory detention<br />
Bernadette Brennan<br />
manga<br />
Kirsten Cather<br />
Manichitrathazhu<br />
Rajiv Kannan Menon<br />
Mannerheim<br />
Sanna Karkulehto<br />
Manoel de Oliveira<br />
Paul Melo e Castro<br />
Manovich<br />
Niels Brügger<br />
Mansfield 1962<br />
Jim Supanick<br />
Maoism<br />
T<strong>in</strong>a Mai Chen<br />
Maori<br />
Hester Joyce<br />
Maori culture<br />
Stuart Murray<br />
Mara<strong>in</strong>i<br />
Daniela Cavallaro<br />
Marc Augé<br />
Luisa Pèrcopo<br />
Marc Caro<br />
Michelle Scatton-Tessier<br />
Marc Dutroux<br />
Stijn Reijnders<br />
Maloe Sniekers<br />
Marcel Carné<br />
Ben McCann<br />
Marcel Pagnol<br />
G<strong>in</strong>ette V<strong>in</strong>cendeau<br />
march<strong>in</strong>g band<br />
Dom<strong>in</strong>ic Power<br />
Marco Ponti<br />
Alberto Zambenedetti<br />
Marcos Bernste<strong>in</strong><br />
Ute Hermanns<br />
Margaret Atwood<br />
Charlotte Beyer<br />
Margarita Barskaia<br />
Birgit Beumers<br />
Nikolai Izvolov<br />
Jamie Miller<br />
Natalia Riabchikova<br />
marg<strong>in</strong>ality<br />
Joe Hardwick<br />
marg<strong>in</strong>alization<br />
Bridget Conor<br />
Gaetano Rando<br />
Marguerite Duras<br />
Rosamund Davies<br />
María Félix<br />
Gerard Dapena<br />
Mariana Otero<br />
Brigitte Rollet<br />
Mario Camus<br />
Sally Faulkner<br />
market reforms<br />
Darrell William Davis<br />
Emilie Yueh-yu Yeh
market<strong>in</strong>g<br />
Karen Coll<strong>in</strong>s<br />
Laurian Kipeja<br />
Daniel Mart<strong>in</strong><br />
marks<br />
Dav<strong>in</strong>a Qu<strong>in</strong>livan<br />
marriage<br />
V<strong>in</strong>ay Swamy<br />
Marseilles<br />
Joseph McGonagle<br />
Marseilles c<strong>in</strong>ema<br />
Laura Rascaroli<br />
martial arts<br />
Mary Farquhar<br />
Leon Hunt<br />
George Chun Han Wang<br />
martial arts c<strong>in</strong>ema<br />
Stephen Teo<br />
martial arts film<br />
Brian Hu<br />
Mart<strong>in</strong> Guerre<br />
Brigitte E. Humbert<br />
Mart<strong>in</strong> Scorsese<br />
Greil Marcus<br />
Martín-Gaite<br />
Marian Via Rivera<br />
martyrs<br />
Aaron Mushengyezi<br />
marxism<br />
Daniel L<strong>in</strong>dvall<br />
Marxism<br />
William Hope<br />
Jyotsna Kapur<br />
Toby Miller<br />
Mike Wayne<br />
Mascul<strong>in</strong>e Fem<strong>in</strong><strong>in</strong>e<br />
Diane Stevenson<br />
mascul<strong>in</strong>ities<br />
Amit Thakkar<br />
mascul<strong>in</strong>ity<br />
Wisdom Agorde<br />
Thomas Aust<strong>in</strong><br />
Saayan Chattopadhyay<br />
Delph<strong>in</strong>e Chedaleux<br />
Chantal Cornut-Gentille D'Arcy<br />
Tony Hughes-d'Aeth<br />
Rebecca Joh<strong>in</strong>ke<br />
Evan Lieberman<br />
Julianne Pidduck<br />
Eric Rebillard<br />
Mark Straw<br />
mascul<strong>in</strong>ity British identity<br />
Joanna Rydzewska<br />
masks<br />
Evan Lieberman<br />
masochism<br />
Paolo Russo<br />
masquerade<br />
John C. McCall<br />
mass media<br />
Nicholas Hewitt<br />
Matthew D Johnson<br />
massively multiplayer onl<strong>in</strong>e<br />
role-play<strong>in</strong>g game (MMORG)<br />
Kim-mui Ela<strong>in</strong>e E. Chan<br />
masturbat<strong>in</strong>g reader<br />
Jill Julius Matthews<br />
match-mak<strong>in</strong>g<br />
Sonora Jha<br />
material culture<br />
Stijn Reijnders<br />
Maloe Sniekers<br />
Kathleen M. Vernon<br />
materialist-fem<strong>in</strong>ist theory<br />
Paula Rab<strong>in</strong>owitz<br />
materiality<br />
Yiu Fai Chow<br />
Jeroen de Kloet<br />
Tiago de Luca<br />
Dav<strong>in</strong>a Qu<strong>in</strong>livan<br />
Jillian Smith<br />
Elizabeth Walden<br />
maternal<br />
Cather<strong>in</strong>e Kev<strong>in</strong><br />
maternal body<br />
Huang Yiju<br />
Mathieu Kassovitz<br />
Ruth Doughty<br />
matricide<br />
Dom<strong>in</strong>ique Russell<br />
Matthew Barney<br />
Keith B. Wagner<br />
Maurice Jaubert<br />
Gregg Redner<br />
Maurizio Nichetti<br />
Davide Morena<br />
Max von Sydow<br />
Jan Lumholdt<br />
maximum visibility<br />
Ingrid Ryberg<br />
McNair Scholar<br />
Kev<strong>in</strong> Hagopian<br />
media<br />
Sarah Berry<br />
Ib Bondebjerg<br />
Leo Collis<br />
John R. Cook<br />
Yuriko Furuhata<br />
Cecilie Givskov<br />
Daisy Hasan<br />
Stig Hjarvard<br />
Jens Hoff
L<strong>in</strong>a Khatib<br />
Wa<strong>in</strong>er Lusoli<br />
John C. McCall<br />
Mart<strong>in</strong> Mhando<br />
Toby Miller<br />
Graham Murdock<br />
Constant<strong>in</strong>e V. Nakassis<br />
Suneeti Rekhari<br />
Constant<strong>in</strong>e Verevis<br />
media aesthetics<br />
Arild Fetveit<br />
media and citizenship<br />
Zoë Druick<br />
media and democracy<br />
Stephen Ward<br />
media archeology<br />
Patrik Sjoberg<br />
media art<br />
Larson Powell<br />
media censorship<br />
Matthew Holtmeier<br />
media controversy<br />
Daniel Biltereyst<br />
media convergence<br />
Lyn Thomas<br />
Andrew Williams<br />
media development<br />
Ingela Wadbr<strong>in</strong>g<br />
media ethics<br />
Philippe Pereb<strong>in</strong>ossoff<br />
media event<br />
Helle Kannik Haastrup<br />
media franchise<br />
Dilek Kaya Mutlu<br />
media freedom<br />
Jonathan Dockney<br />
media geography<br />
Peta Mitchell<br />
Jane Stadler<br />
Deb Verhoeven<br />
media historiography<br />
Zoë Druick<br />
media history<br />
Sigurd Allern<br />
Stig Hjarvard<br />
Palle Schantz Lauridsen<br />
media <strong>in</strong>dustries<br />
Ramon Lobato<br />
media literacy<br />
Mart<strong>in</strong> Barker<br />
Ernest Mathijs<br />
media panic<br />
Daniel Biltereyst<br />
media reception<br />
Mattias Frey<br />
Sanna Karkulehto<br />
media representation<br />
Kar<strong>in</strong> Ljusl<strong>in</strong>der<br />
Jurga Mataityte-Dirziene<br />
Lisbeth Morlandstø<br />
media signifier<br />
Samirah Alkassim<br />
media structure<br />
Ingela Wadbr<strong>in</strong>g<br />
media studies<br />
Laura Beadl<strong>in</strong>g<br />
Haim Bresheeth<br />
Lauren Kogen<br />
M<strong>in</strong>g-Yeh T. Rawnsley<br />
mediascape<br />
Tilman Baumgärtel<br />
mediated crime<br />
Henrik Jensen<br />
Anker Br<strong>in</strong>k Lund<br />
mediated ritual<br />
Helle Kannik Haastrup<br />
mediation<br />
Alice Burg<strong>in</strong><br />
Jo Labanyi<br />
mediatization<br />
Lynn Schofield Clark<br />
Stig Hjarvard<br />
Nete Nørgaard Kristensen<br />
Christopher Partridge<br />
mediatization of politics<br />
Gert Sørensen<br />
Mediterranean<br />
Florence Mart<strong>in</strong><br />
Joseph McGonagle<br />
Laura Rascaroli<br />
Melancholia<br />
Jan<strong>in</strong>a Falkowska<br />
melancholy<br />
Barış Kılıçbay<br />
melodrama<br />
Marv<strong>in</strong> D'Lugo<br />
Ludmila Moreira Macedo de<br />
Carvalho<br />
Gabor Gergely<br />
Torben Grodal<br />
Fiona Handyside<br />
Jimmy Hay<br />
Danielle Hipk<strong>in</strong>s<br />
Guo-Ju<strong>in</strong> Hong<br />
Louise McReynolds<br />
Laura Podalsky<br />
Alexander Prokhorov<br />
Cather<strong>in</strong>e Wheatley<br />
Eva Woods Peiró<br />
Mémoires dimmigrés:<br />
lhéritage maghréb<strong>in</strong><br />
Leslie Kealhofer<br />
memory<br />
Maryse Bray<br />
Jessica Carniel
Rosamund Davies<br />
Alexander Etk<strong>in</strong>d<br />
Allyson Fiddler<br />
Julian Graffy<br />
Aaron Kerner<br />
Ignacio López-Vicuña<br />
Terence McSweeney<br />
Stephen M. Norris<br />
Joanna Page<br />
Paul G. Pickowicz<br />
Markus Reisenleitner<br />
Brigitte Rollet<br />
Libby Saxton<br />
Mark Straw<br />
John Sundholm<br />
Asuman Suner<br />
Cosetta M. Veronese<br />
Janet Walker<br />
mental artwork<br />
M.R. Koivumäki<br />
mental illness<br />
Lisbeth Morlandstø<br />
Mental illness<br />
Kar<strong>in</strong> Ljusl<strong>in</strong>der<br />
Jurga Mataityte-Dirziene<br />
mental space<br />
Jule Selbo<br />
mentorship<br />
Kev<strong>in</strong> Hagopian<br />
merchandis<strong>in</strong>g tie-<strong>in</strong>s<br />
Larry Sider<br />
Merleau-Ponty<br />
Elizabeth Newton<br />
meta-c<strong>in</strong>ema<br />
Andrea Mirabile<br />
meta-communication<br />
Krist<strong>in</strong>e Jørgensen<br />
Métal hurlant<br />
Eric Tessier<br />
metamedium<br />
Lev Manovich<br />
metaphor<br />
Joanna Rydzewska<br />
metaphoricity<br />
Anjali Gera Roy<br />
metaphysical<br />
Jonathan Driskell<br />
methodology<br />
Natascha Drubek-Meyer<br />
Nikolai Izvolov<br />
Mart<strong>in</strong> Sh<strong>in</strong>gler<br />
Yiman Wang<br />
metropolitan film<br />
Mia Carter<br />
metteuse-en-scène<br />
Bridget Birchall<br />
Mexican c<strong>in</strong>ema<br />
Hector Amaya<br />
Mexican national c<strong>in</strong>ema<br />
Dolores Tierney<br />
Mexican Popular C<strong>in</strong>ema<br />
Evan Lieberman<br />
Mexico<br />
Robert J. Miles<br />
Miami<br />
Gary M. Kramer<br />
Michael Eisner<br />
Patrick McGilligan<br />
Michael Haneke<br />
Jan<strong>in</strong>a Falkowska<br />
Giusepp<strong>in</strong>a Mecchia<br />
Jörg Sternagel<br />
Michael Kertész/Curtiz<br />
Andrew Higson<br />
Michel Chion<br />
Mart<strong>in</strong>e Huvenne<br />
Michel Foucault<br />
Sanna Karkulehto<br />
Michel Ocelot<br />
Richard Neupert<br />
Michelangelo<br />
Riikka Pelo<br />
Michelangelo Antonioni<br />
Sun Hongyun<br />
Matilde Nardelli<br />
Frank P. Tomasulo<br />
micro-c<strong>in</strong>ema<br />
Haiq<strong>in</strong>g Yu<br />
Midaq Alley/Zouqaq al-Midaq<br />
Omar Hassan<br />
Middle East<br />
L<strong>in</strong>a Khatib<br />
Dilek Kaya Mutlu<br />
Middle Eastern literature<br />
Abdalla Uba Adamu<br />
MIDI<br />
Karen Coll<strong>in</strong>s<br />
Mies vailla menneisyyttä/The<br />
Man without a Past<br />
Thomas Elsaesser<br />
Miéville<br />
Stephen Forcer<br />
migrant c<strong>in</strong>ema<br />
Randall Halle
migrant experiences<br />
Gaetano Rando<br />
migrant writer<br />
Srilata Ravi<br />
migrants<br />
David Corkill<br />
migration<br />
Alice Burg<strong>in</strong><br />
Clarissa Clò<br />
Greg Dolgopolov<br />
Tony Hughes-d'Aeth<br />
Saër Maty Bâ<br />
Paolo Russo<br />
Isabel Santaolalla<br />
James Wicks<br />
Miguel Picazo<br />
Sally Faulkner<br />
Miike Takashi<br />
Mika Ko<br />
Mike Nichols<br />
Benjam<strong>in</strong> Halligan<br />
Mikhail Romm<br />
Wolfgang Beilenhoff<br />
Birgit Beumers<br />
Maya Turovskaya<br />
militarism<br />
Liew Kai Khiun<br />
Milkyway Image<br />
Gary Bett<strong>in</strong>son<br />
mimesis<br />
Anna Cole<br />
Allen H. Redmon<br />
mimesis/nemesi<br />
Helena Goscilo<br />
m<strong>in</strong>iseries<br />
Greg Dolgopolov<br />
m<strong>in</strong>or c<strong>in</strong>emas<br />
John Sundholm<br />
mirrors<br />
Ruth Doughty<br />
mise-en-scène<br />
Debra Beattie<br />
mise-en-scène documentary<br />
Thomas Waugh<br />
mission civilisatrice<br />
Oliver C. Speck<br />
mixed c<strong>in</strong>ema<br />
Germán Gil Curiel<br />
mobile media<br />
Klaus Bruhn Jensen<br />
Gitte Bang Stald<br />
mobility<br />
Les Roberts<br />
mod film<br />
Kerry Hegarty<br />
modality<br />
Lars Pynt Andersen<br />
mode of address<br />
Felicia Chan<br />
Valent<strong>in</strong>a Vitali<br />
Yiman Wang<br />
model<br />
Myriam Juan<br />
modern and contemporary<br />
Italian literature<br />
Valeria G. Castelli<br />
modern c<strong>in</strong>ema<br />
John Berra<br />
Elena del Río<br />
modern Danish fiction film<br />
Cecilie Givskov<br />
modern fiction<br />
Keith Reader<br />
Emma Wilson<br />
modern Greek<br />
Dimitris Papanikolaou<br />
modern literature<br />
Nicholas Harrison<br />
modern Taiwan theatre<br />
Weihong Bao<br />
modernism<br />
Nancy Condee<br />
Daniel L<strong>in</strong>dvall<br />
Des O’Rawe<br />
Murray Pomerance<br />
modernist aesthetics<br />
Jay David Bolter<br />
modernities<br />
Lee Parpart<br />
modernity<br />
Dom<strong>in</strong>ic Alessio<br />
Daniel Brodén<br />
Peter Brown<br />
Valeria Camporesi<br />
Carl Cassegard<br />
Jeannette Delamoir<br />
Greg Dolgopolov<br />
Maryse Fauvel<br />
Wendy Larson<br />
Jill Julius Matthews<br />
Germán Labrador Méndez<br />
Leigh Mercer<br />
Anna Morcom<br />
Björn Þór Vilhjálmsson<br />
Moïse Bl<strong>in</strong><br />
Agnès Calatayud<br />
Mon Amour<br />
Rosamund Davies
Mondays <strong>in</strong> the Sun<br />
Chantal Cornut-Gentille D'Arcy<br />
monster fiction<br />
Anna Arnman<br />
montage<br />
George Chun Han Wang<br />
montage c<strong>in</strong>ema<br />
Tom Paulus<br />
Montmartre<br />
Nicholas Hewitt<br />
Montxo Armendariz<br />
Sally Faulkner<br />
moral controversies<br />
Mart<strong>in</strong> Barker<br />
Ernest Mathijs<br />
moral panic<br />
Brett Farmer<br />
mornes<br />
Pascale De Souza<br />
mortality<br />
Sarah Cooper<br />
Mortimer Wilson<br />
Gillian B. Anderson<br />
Moscow<br />
Jason Merrill<br />
Mosfilm<br />
Benjam<strong>in</strong> E. Raikl<strong>in</strong><br />
mother<br />
Patricia Aufderheide<br />
Barış Kılıçbay<br />
Lee Parpart<br />
mother–daughter relationship<br />
Bernadette Luciano<br />
Susanna Scarparo<br />
motherhood<br />
Adrián Pérez Melgosa<br />
Nicole Richter<br />
motherland<br />
Deirdre Boyle<br />
Barış Kılıçbay<br />
mothers<br />
Marguerite Nolan<br />
motion picture exhibition<br />
Ross Thorne<br />
motion picture <strong>in</strong>dustry<br />
Dong Hoon Kim<br />
motion pictures<br />
Dong Hoon Kim<br />
motivation<br />
Nancy Graham Holm<br />
mourn<strong>in</strong>g<br />
Deirdre Boyle<br />
Alexander Etk<strong>in</strong>d<br />
movement<br />
John Edmond<br />
Lida Oukaderova<br />
movements<br />
Laikwan Pang<br />
movie criticism<br />
Mattias Frey<br />
movie stars of the 1950s<br />
R. Barton Palmer<br />
mov<strong>in</strong>g image<br />
Adam Melv<strong>in</strong><br />
Les Roberts<br />
mov<strong>in</strong>g image media<br />
Michael Cowan<br />
Mr. Death<br />
Ira Jaffe<br />
Mulholland Drive<br />
Liz Greene<br />
multi-channel sound<br />
Christos Manolas<br />
Sandra Pauletto<br />
multicultural France<br />
Isabelle Vanderschelden<br />
multicultural media and<br />
literature<br />
Laura Beadl<strong>in</strong>g<br />
multiculturalism<br />
Jessica Carniel<br />
Greg Dolgopolov<br />
Maryse Fauvel<br />
Paloma Fresno-Calleja<br />
Mette Hjort<br />
Tony Hughes-d'Aeth<br />
Olivia Khoo<br />
Mika Ko<br />
Aaron Mushengyezi<br />
Polona Petek<br />
Kristen Phillips<br />
Jo Smith<br />
multil<strong>in</strong>gual writ<strong>in</strong>g<br />
Dimitra Kessenides<br />
multimedia stars<br />
Leung W<strong>in</strong>g-Fai<br />
multimodality<br />
Angela Ungoed Hughes<br />
multi-platform<br />
Anna Zaluczkowska<br />
Mulvey<br />
Louise McReynolds
Mumbai<br />
Anubha Yadav<br />
Munich Film Festival 2004<br />
Jaimey Fisher<br />
municipal c<strong>in</strong>emas<br />
Ove Solum<br />
Murakami Haruki<br />
Carl Cassegard<br />
Murdock<br />
Helen Jacey<br />
Murnau<br />
Ian Roberts<br />
Murray Schafer<br />
Hildegard Westerkamp<br />
musealization processes<br />
Gabriele Mueller<br />
music<br />
Richard Bates<br />
Mark Bedford<br />
Geoffrey Cox<br />
Stephen Deutsch<br />
Samba Diop<br />
Lorna Fitzsimmons<br />
Iben Have<br />
Roger Hillman<br />
John Hughes<br />
Adrian Mart<strong>in</strong><br />
John C. McCall<br />
Adam Melv<strong>in</strong><br />
Ben Morgan<br />
Matthew P<strong>in</strong>k<br />
Robert Robertson<br />
Kather<strong>in</strong>e Spr<strong>in</strong>g<br />
Niamh Thornton<br />
music hall<br />
Judith Mayne<br />
music <strong>in</strong> film<br />
Germán Gil Curiel<br />
music policy<br />
Nhamo Anthony Mhiripiri<br />
music promoters<br />
Nhamo Anthony Mhiripiri<br />
music sales<br />
Larry Sider<br />
music subcultures<br />
Clarissa Clò<br />
musical<br />
Weihong Bao<br />
Sheila Petty<br />
musical comedies<br />
Lisa Shaw<br />
musical mean<strong>in</strong>g<br />
Philip Tagg<br />
musicology<br />
Annette Davison<br />
musique concrète<br />
Gustavo Costant<strong>in</strong>i<br />
Muslim women<br />
Shahnaz Khan<br />
Muslims<br />
Yana Hashamova<br />
My Own Breath<strong>in</strong>g<br />
Kim Soyoung<br />
mystery films<br />
Daniel O'Brien<br />
mysticism<br />
Vlad Strukov<br />
myth<br />
John Morton<br />
Bland<strong>in</strong>e Stefanson<br />
mythologization<br />
Clara Laurent<br />
Pierre Lethier<br />
Mythos-RAF<br />
Chris Homewood<br />
Na Un-Kyu<br />
Jooyeon Rhee<br />
nakedness<br />
Deirdre Boyle<br />
Nancy<br />
Laura McMahon<br />
Nancy Monks<br />
George Toles<br />
Nanyang Ch<strong>in</strong>ese<br />
E.K. Tan<br />
Naples<br />
Rajko Radovic<br />
Narciso Ibáñez Serrador<br />
Concepción Cascajosa Vir<strong>in</strong>o<br />
narcissism<br />
James S. Williams<br />
narration<br />
Robert Efird<br />
Iben Have<br />
narrative<br />
Joe Andrew<br />
Craig Batty<br />
Rosamund Davies<br />
Stephen Deutsch<br />
Samba Diop<br />
Susanne Gannon<br />
Adam Ganz<br />
Roger Hillman<br />
Jasm<strong>in</strong>a Kallay<br />
Christos Manolas<br />
Allen H. Redmon<br />
Kather<strong>in</strong>e Spr<strong>in</strong>g<br />
narrative and storytell<strong>in</strong>g<br />
Díóg O’Connell<br />
narrative complexity<br />
Kathr<strong>in</strong> Rothemund
narrative film<br />
Angela Ungoed Hughes<br />
narrative film theory<br />
Reni Celeste<br />
narrative strategy<br />
Brian W<strong>in</strong>ston<br />
narrative structure<br />
Conn Holohan<br />
Ulrik Lehrmann<br />
narrative studies<br />
Patrick Cattrysse<br />
narrative subjectivity<br />
Brian McDonnell<br />
narrative theory<br />
Robert Bird<br />
Brad Prager<br />
narratology<br />
Morten Kyndrup<br />
Natal'ia Andreichenko<br />
Yelena Furman<br />
nation<br />
Kristen Phillips<br />
Alexander Prokhorov<br />
nation state<br />
Ryan Prout<br />
national<br />
Chris Berry<br />
national c<strong>in</strong>ema<br />
Pat Brereton<br />
Marv<strong>in</strong> D'Lugo<br />
Charles H. Davis<br />
Derek Duncan<br />
Rebecca Naughten<br />
Elzbieta Ostrowska<br />
Laikwan Pang<br />
Hvard Andreas Vibeto<br />
national c<strong>in</strong>emas<br />
Janice Kaye<br />
Jeffrey Middents<br />
Victoria Ruétalo<br />
Tytti Soila<br />
Raija Talvio<br />
national history<br />
Daria Kabanova<br />
national history <strong>in</strong> German<br />
film<br />
Mattias Frey<br />
national identities<br />
Yana Hashamova<br />
national identity<br />
Daniel Eisenberg<br />
Nezih Erdoğan<br />
Timothy Iles<br />
Julie Jones<br />
Abigail Keat<strong>in</strong>g<br />
G<strong>in</strong>a Marchetti<br />
David Mart<strong>in</strong>-Jones<br />
Raphaëlle Mo<strong>in</strong>e<br />
Dana Strand<br />
Matthias Uecker<br />
National Library of Norway<br />
Eiv<strong>in</strong>d Røssaak<br />
National Research Group<br />
Alexander G Ross<br />
national socialism<br />
Oliver Haag<br />
national space<br />
Eva Näripea<br />
national/cultural identities<br />
Elisa Costa-Villaverde<br />
nationalism<br />
Liz Conor<br />
Allyson Fiddler<br />
Graeme Harper<br />
Julieanne Lamond<br />
Anna Morcom<br />
Luisa Pèrcopo<br />
Adrián Pérez Melgosa<br />
Sheila Petty<br />
John Savage<br />
nationality<br />
Sanna Karkulehto<br />
Robert J. Miles<br />
Sarah Trott<br />
nationhood<br />
Meg Johnston<br />
nation-specific screenwrit<strong>in</strong>g<br />
Janice Kaye<br />
nation-state<br />
Andrew McGregor<br />
Native American studies<br />
Randolph Lewis<br />
natural history<br />
Carl Cassegard<br />
nature<br />
José Alaniz<br />
Elizabeth Walden<br />
Nauman<br />
Jennifer Burris<br />
naval history<br />
Jonathan Rayner<br />
Nazi<br />
Ben Morgan<br />
Nazism<br />
Sab<strong>in</strong>e Hake<br />
Neco Çelik<br />
Randall Halle<br />
necropolitics<br />
Mike Dillon<br />
Ned Kelly<br />
Daniel Eisenberg
Ned Kelly films<br />
Stephen Gaunson<br />
negative didactics<br />
Søren Birkvad<br />
negotiation<br />
Haom<strong>in</strong> Gong<br />
Negritude<br />
John C. McCall<br />
Neil Young<br />
Liza Palmer<br />
Nemesio Sobrevila<br />
Susan Larson<br />
Nénette and Boni<br />
Elena del Río<br />
neoliberalism<br />
Keith B. Wagner<br />
Neomelodici<br />
Patrizia LaTrecchia<br />
neorealism<br />
Eugenio Bolongaro<br />
Elena Lombardi<br />
Robert A. Rush<strong>in</strong>g<br />
neo-realism<br />
Lúcia Nagib<br />
Angela Tum<strong>in</strong>i<br />
Fabio Vighi<br />
neo-realist c<strong>in</strong>ema<br />
Cather<strong>in</strong>e O'Rawe<br />
Neo-Romantic landscape<br />
pa<strong>in</strong>t<strong>in</strong>g<br />
Stella Hockenhull<br />
Neorrealism<br />
Marian Via Rivera<br />
neo-splatter film<br />
Judith Halberstam<br />
netizen funds<br />
Darcy Paquet<br />
network<br />
Eleftheria Thanouli<br />
networks<br />
Wendy Everett<br />
Graham Murdock<br />
New Argent<strong>in</strong>e c<strong>in</strong>ema<br />
Clara Garavelli<br />
New Caledonia<br />
Peter Brown<br />
New Danish C<strong>in</strong>ema<br />
Meryl Shriver-Rice<br />
new Europe<br />
Susan Ingram<br />
Markus Reisenleitner<br />
new extremism<br />
Greg Ha<strong>in</strong>ge<br />
New Extremism<br />
Nikolaj Lübecker<br />
New Hollywood<br />
Søren Birkvad<br />
new media<br />
Keith Beattie<br />
David Beer<br />
Arild Fetveit<br />
Markos Hadjioannou<br />
Will Higbee<br />
Helen Hok-sze Leung<br />
Dale Hudson<br />
Jasm<strong>in</strong>a Kallay<br />
Omar Kholeif<br />
Sunil Manghani<br />
Stefano Odorico<br />
Eiv<strong>in</strong>d Røssaak<br />
Leah Shafer<br />
Audrey Yue<br />
Anna Zaluczkowska<br />
new media art<br />
Margaret C. Fl<strong>in</strong>n<br />
New Spanish C<strong>in</strong>ema<br />
Sally Faulkner<br />
new technologies<br />
Pam Cook<br />
new wave<br />
Carolyn Jess-Cooke<br />
Matthew Lazen<br />
New wave<br />
Anubha Yadav<br />
New Wave<br />
Douglas Morrey<br />
Cécile Sor<strong>in</strong><br />
Mary Wiles<br />
new wave Turkish c<strong>in</strong>ema<br />
Asuman Suner<br />
New York Film Festival<br />
Gary M. Kramer<br />
New Zealand<br />
Alfio Leotta<br />
Jonathan Rayner<br />
New Zealand c<strong>in</strong>ema<br />
Allan Cameron<br />
Paloma Fresno-Calleja<br />
Hester Joyce<br />
Stuart Murray<br />
new-media theory<br />
Jay David Bolter<br />
Lev Manovich<br />
news<br />
Stig Hjarvard<br />
news consumption<br />
Kim Christian Schrøder<br />
news production<br />
Claire Wardle<br />
Andrew Williams
Ida Willig<br />
newspapers<br />
Annika Bergstrom<br />
Unni From<br />
Henrik Jensen<br />
Anker Br<strong>in</strong>k Lund<br />
Ingela Wadbr<strong>in</strong>g<br />
New-Year film<br />
Alyssa DeBlasio<br />
next-generation sound design<br />
Rob Bridgett<br />
Nietzschean ethics<br />
Markos Hadjioannou<br />
Nigeria<br />
Adewole Adejayan<br />
Gbemisola Adeoti<br />
John C. McCall<br />
Nigerian film export<br />
Brian Lark<strong>in</strong><br />
Nigerian gender roles<br />
Onookome Okome<br />
Nigerian video film<br />
Onookome Okome<br />
Nigerian video films<br />
Jonathan Haynes<br />
Nigerian video films (NVF)<br />
Brian Lark<strong>in</strong><br />
Night and Fog <strong>in</strong> Japan<br />
Isolde Standish<br />
Nihonga<br />
Kathe Geist<br />
Nikita Mikhalkov<br />
Tatiana Smorod<strong>in</strong>ska<br />
N<strong>in</strong>a Mimica<br />
Grace Russo Bullaro<br />
N<strong>in</strong>otchka<br />
Anna Cabak Rédei<br />
N<strong>in</strong>tendo<br />
Karen Coll<strong>in</strong>s<br />
N<strong>in</strong>th Company<br />
Gregory Carleton<br />
Nirvana<br />
William Hope<br />
No Pasaràn!<br />
Maryse Bray<br />
Nollywood<br />
Adewole Adejayan<br />
Jonathan Haynes<br />
John C. McCall<br />
Onookome Okome<br />
nomad<br />
Florence Mart<strong>in</strong><br />
non-fiction<br />
Luca Cam<strong>in</strong>ati<br />
non-fiction film-mak<strong>in</strong>g<br />
Zoë Druick<br />
non-l<strong>in</strong>ear<br />
Roger Crittenden<br />
Nordic c<strong>in</strong>ema<br />
Peter Schepelern<br />
Nordic countries<br />
Tytti Soila<br />
Nordic cultural politics<br />
Cecilie Givskov<br />
Nordic film<br />
Meryl Shriver-Rice<br />
Nordicness<br />
Hvard Andreas Vibeto<br />
Nordisk Film<br />
Lisbeth Richter Larsen<br />
normality<br />
Andrew Asibong<br />
normalization<br />
Jurica Pavicic<br />
North African c<strong>in</strong>ema<br />
Kev<strong>in</strong> Smets<br />
Northern Ireland 'Troubles'<br />
Brian McIlroy<br />
Norway<br />
Sigurd Allern<br />
Ove Solum<br />
Norwegian c<strong>in</strong>ema<br />
Eiv<strong>in</strong>d Røssaak<br />
Ove Solum<br />
Hvard Andreas Vibeto<br />
Norwegian neo-noir<br />
Audun Engelstad<br />
nostalgia<br />
Kenneth Chan<br />
Allyson Fiddler<br />
Matthew Lazen<br />
Markus Reisenleitner<br />
Asuman Suner<br />
Matthias Uecker<br />
Not One Less<br />
Evans Chan<br />
Nouri Bouzid<br />
Jeffrey Ruoff<br />
Nouvelle Vague<br />
Douglas Morrey
novels<br />
Allyson Fiddler<br />
nude<br />
Bridget Birchall<br />
nudity<br />
Deirdre Boyle<br />
Numéro deux<br />
Stephen Forcer<br />
Nyonya and Baba<br />
E.K. Tan<br />
objectivity<br />
Y<strong>in</strong>gj<strong>in</strong> Zhang<br />
obscenity trials<br />
Kirsten Cather<br />
occulture<br />
Christopher Partridge<br />
occupation<br />
Delph<strong>in</strong>e Chedaleux<br />
ocker<br />
Robert Crawford<br />
official press<br />
David MacFadyen<br />
off-screen space<br />
Libby Saxton<br />
Ognjen Svilicic<br />
Jurica Pavicic<br />
Okuribito/Departures<br />
Michihiro Ama<br />
old-age love affairs<br />
Ute Hermanns<br />
Oliver Stone<br />
Carl Freedman<br />
omnibus film<br />
Shekhar Deshpande<br />
One Plus One<br />
Kev<strong>in</strong> J. Hayes<br />
oneirism<br />
Marit Knollmueller<br />
OneWorld TV<br />
Richard Edwards<br />
onl<strong>in</strong>e<br />
Lyn Thomas<br />
onl<strong>in</strong>e media<br />
Wa<strong>in</strong>er Lusoli<br />
Stephen Ward<br />
onl<strong>in</strong>e offshoots<br />
Larry Sider<br />
ontology<br />
Markos Hadjioannou<br />
Graeme Harper<br />
Ontology of the Photographic<br />
Image<br />
Diane Stevenson<br />
open voice<br />
Ursula Böser<br />
open-air screen<strong>in</strong>gs<br />
Kay Armatage<br />
opera<br />
Mary Farquhar<br />
opposition<br />
Pascale De Souza<br />
Jean Olivier Tchouaffe<br />
optical personage<br />
William Anselmi<br />
Sheena Wilson<br />
optimism with<strong>in</strong> defeat<br />
Cesar Ballester<br />
oral history<br />
Kate Bowles<br />
Nancy Huggett<br />
Jo Labanyi<br />
Susan Mart<strong>in</strong>-Márquez<br />
Cui Shuq<strong>in</strong><br />
Kathleen M. Vernon<br />
orality<br />
P. Julie Papaioannou<br />
orchestral games concerts<br />
Karen Coll<strong>in</strong>s<br />
Organización Nacional de<br />
Trasplantes<br />
Ryan Prout<br />
orientalism<br />
Andrew McGregor<br />
Sarah Street<br />
Orientalism<br />
Suzanne Osmond<br />
orig<strong>in</strong><br />
Ruth Doughty<br />
orig<strong>in</strong>s versus orig<strong>in</strong>als<br />
Mark Bould<br />
Oscar<br />
David MacFadyen<br />
Otar Iosseliani<br />
Zaza Shatirishvili<br />
Other<br />
Yana Hashamova<br />
otherness<br />
Isol<strong>in</strong>a Ballesteros<br />
Brígida M. Pastor
outside<br />
Michael Goddard<br />
Over the Hill<br />
David Scott Diffrient<br />
Overdue Productions<br />
Liza Palmer<br />
Ozon<br />
Fiona Handyside<br />
Özpetek<br />
Derek Duncan<br />
Ozploitation<br />
Rebecca Joh<strong>in</strong>ke<br />
Ozu Yasujiro<br />
Kathe Geist<br />
P2P file shar<strong>in</strong>g<br />
Richard Edwards<br />
Pacific War<br />
Liew Kai Khiun<br />
package-unit production<br />
Paul Kerr<br />
Pacman<br />
Karen Coll<strong>in</strong>s<br />
Pakeha<br />
Hester Joyce<br />
Palest<strong>in</strong>e<br />
Haim Bresheeth<br />
Palookaville<br />
Eugenio Bolongaro<br />
Pan-Africanism<br />
John C. McCall<br />
Paramount<br />
Marek Wasielewski<br />
parasitism<br />
Joe Hardwick<br />
paratext<br />
Niels Brügger<br />
paratheatre<br />
Weihong Bao<br />
Paris<br />
John Baxter<br />
C. David Bertol<strong>in</strong>i<br />
Parisian female stars<br />
Nicoleta Bazgan<br />
Parker Tyler's Hamlet be<strong>in</strong>g<br />
George Toles<br />
parody<br />
Laurent Jullier<br />
Cécile Sor<strong>in</strong><br />
participation<br />
Mart<strong>in</strong> Eide<br />
participatory film-mak<strong>in</strong>g<br />
Jonathan Dockney<br />
particularism<br />
Rey Chow<br />
Pass<strong>in</strong>g Fancy<br />
Kathe Geist<br />
Passion iconography<br />
Jill Murphy<br />
past<br />
Hamish Ford<br />
pastiche<br />
Ian Q. Hunter<br />
Cécile Sor<strong>in</strong><br />
Pat Hobby stories<br />
Richard Armstrong<br />
patriarchy<br />
Bidisha Banerjee<br />
Louise McReynolds<br />
Geneviève Sellier<br />
Deborah Shaw<br />
Patrice Chéreau<br />
Brigitte E. Humbert<br />
Julianne Pidduck<br />
Patrice Leconte<br />
Claude Evans<br />
Brigitte E. Humbert<br />
patriotism<br />
Sarah Leahy<br />
Dom<strong>in</strong>ic Power<br />
Patti Smith<br />
Liza Palmer<br />
Liz Stephens<br />
Paul Schrader<br />
Casper Tybjerg<br />
Pavel Chukhrai<br />
Peter Pozefsky<br />
Pavel Lung<strong>in</strong><br />
Peter Pozefsky<br />
Pawel<br />
Alice Bardan<br />
peasants<br />
Tom Whittaker<br />
Peau d'âne<br />
Gwénaëlle Le Gras<br />
pedagogic/performative nation<br />
Anjali Gera Roy<br />
pedagogy<br />
Kather<strong>in</strong>e Spr<strong>in</strong>g
Pedro Lazaga<br />
Sally Faulkner<br />
Peircean sign-theory<br />
H<strong>in</strong>g Tsang<br />
Penélope Cruz<br />
Chris Perriam<br />
Penn State<br />
Kev<strong>in</strong> Hagopian<br />
Peoples Progressive Party<br />
(PPP)<br />
Paul Buhle<br />
Pepperm<strong>in</strong>t Candy<br />
Kim Soyoung<br />
perception<br />
Georg<strong>in</strong>a Evans<br />
Elizabeth Newton<br />
perceptual <strong>in</strong>trigue<br />
Howard Riley<br />
perestroika<br />
Carol<strong>in</strong>e Mo<strong>in</strong>e<br />
perestroika c<strong>in</strong>ema<br />
Volha Isakava<br />
performance<br />
Jonathan Driskell<br />
Graeme Harper<br />
Mariana Johnson<br />
M.R. Koivumäki<br />
Xiaon<strong>in</strong>g Lu<br />
Ruth McElroy<br />
Adam Melv<strong>in</strong><br />
Lee Parpart<br />
Adrián Pérez Melgosa<br />
Leah Shafer<br />
Kate E Taylor<br />
Marian Via Rivera<br />
Duncan White<br />
performance arts<br />
John C. McCall<br />
performance studies<br />
Urther Rwafa<br />
performative radicalism<br />
William Anselmi<br />
Sheena Wilson<br />
performativity<br />
Saayan Chattopadhyay<br />
perform<strong>in</strong>g<br />
Leung W<strong>in</strong>g-Fai<br />
perform<strong>in</strong>g arts<br />
Anna Morcom<br />
Peruvian c<strong>in</strong>ema<br />
Jeffrey Middents<br />
Peter Carey<br />
Robert Dixon<br />
Peter Jackson<br />
Brian McDonnell<br />
Peter Watk<strong>in</strong>s<br />
Larry Portis<br />
Peter Weiss<br />
Lars Gustaf Andersson<br />
Peter Wollen<br />
Peter Stanfield<br />
petisme<br />
Michelle Scatton-Tessier<br />
Petr Lorenc<br />
Roderick Coover<br />
Petraglia<br />
Marco Cupolo<br />
Petrov Affair<br />
Greg Dolgopolov<br />
Petzold<br />
Chris Homewood<br />
Phantom Ride<br />
John Edmond<br />
phenomenology<br />
Kate Ince<br />
Elizabeth Newton<br />
Virg<strong>in</strong>ia Pitts<br />
H<strong>in</strong>g Tsang<br />
Philip Rosen<br />
Karla Oeler<br />
Phillip Borsos<br />
Bla<strong>in</strong>e Allan<br />
philosophy<br />
Mart<strong>in</strong>e Beugnet<br />
Johannes H. Christensen<br />
Lynn Schofield Clark<br />
Lisa Coulthard<br />
Stephen Forcer<br />
Babak Fozooni<br />
Jérôme Game<br />
Kate Ince<br />
Susan Larson<br />
Glen W. Norton<br />
philosophy and film<br />
Temenuga Trifonova<br />
photobooks<br />
Paul Melo e Castro<br />
photography<br />
Jordan Bear<br />
Paul Melo e Castro<br />
Kathryn Millard<br />
photoplay<br />
Ian W. Macdonald<br />
photorealism<br />
Craig Hight<br />
physical journey<br />
Craig Batty
picaresque novel<br />
Elena Lombardi<br />
Pier Paolo Pasol<strong>in</strong>i<br />
Anita Angelone<br />
Maura Bergonzoni<br />
Andrea Mirabile<br />
Jill Murphy<br />
Pierre Bourdieu<br />
Jim Morrissey<br />
pilgrimage<br />
Julie Jones<br />
P<strong>in</strong>ewood<br />
Robert Murphy<br />
P<strong>in</strong>kola Estes<br />
Helen Jacey<br />
P<strong>in</strong>occhio<br />
Robert S.C. Gordon<br />
pioneers<br />
John A. Lent<br />
place<br />
Adrian Danks<br />
Matthew Lazen<br />
Laura Rascaroli<br />
Les Roberts<br />
pla<strong>in</strong>s<br />
Pascale De Souza<br />
Platform<br />
Michael Fitzhenry<br />
Xuelian Zhang<br />
player-centred design<br />
Kjetil Sandvik<br />
Playstation<br />
Karen Coll<strong>in</strong>s<br />
playwright<br />
Garry Lyons<br />
playwrit<strong>in</strong>g<br />
Jill Nelmes<br />
pleasure<br />
Felicia Chan<br />
Brett Mills<br />
Valent<strong>in</strong>a Vitali<br />
Barbara Zecchi<br />
poetic c<strong>in</strong>ema<br />
Vitaly Chernetsky<br />
poetic coherence<br />
Thomas Mart<strong>in</strong>ec<br />
poetic film<br />
David Foster<br />
poetic realism<br />
Jonathan Driskell<br />
Poetic realism<br />
David Forrest<br />
poetics<br />
Delph<strong>in</strong>e Bénézet<br />
Jasm<strong>in</strong>a Kallay<br />
poetics of space<br />
Mart<strong>in</strong>e Huvenne<br />
poetry<br />
Charlotte Beyer<br />
Jill Nelmes<br />
Theresa Urba<strong>in</strong>czyk<br />
Pasquale Verdicchio<br />
po<strong>in</strong>t of view<br />
Daniel Yacavone<br />
Poland<br />
Ewa Mazierska<br />
police<br />
James Chapman<br />
police thriller<br />
Cécile Sor<strong>in</strong><br />
policy<br />
Serena Formica<br />
policy-politics<br />
Henrik Paul Bang<br />
Signe Kjær Jørgensen<br />
Polish c<strong>in</strong>ema<br />
Cesar Ballester<br />
Reni Celeste<br />
Barbara Klonowska<br />
Karol<strong>in</strong>a Kos<strong>in</strong>ska<br />
Anna Misiak<br />
Matilda Mroz<br />
Elzbieta Ostrowska<br />
Mirosław Przylipiak<br />
Joanna Rydzewska<br />
Polish history<br />
Barbara Klonowska<br />
political activism<br />
Yuriko Furuhata<br />
political allegory<br />
Timothy Iles<br />
political cartoon<br />
Sushmita Chatterjee<br />
political c<strong>in</strong>ema<br />
Rachael Langford<br />
Asuman Suner<br />
political commentators<br />
Sigurd Allern<br />
political commitment<br />
Jacquel<strong>in</strong>e Nacache<br />
political communication<br />
Wa<strong>in</strong>er Lusoli<br />
Stephen Ward<br />
political conflict<br />
Ananya Jahanara Kabir<br />
political documentaries<br />
Valeria G. Castelli
political documentary<br />
Virg<strong>in</strong>ia Pitts<br />
political economy<br />
Manjunath Pendakur<br />
political economy of music<br />
Nhamo Anthony Mhiripiri<br />
political economy of the media<br />
Janet Wasko<br />
political engagement<br />
Jim Morrissey<br />
politics<br />
Delph<strong>in</strong>e Bénézet<br />
Ib Bondebjerg<br />
Mia Carter<br />
Christian Christensen<br />
Chantal Cornut-Gentille D'Arcy<br />
Paul Dave<br />
Babak Fozooni<br />
Lisa Gaughan<br />
Benjam<strong>in</strong> Halligan<br />
L<strong>in</strong>a Khatib<br />
Omar Kholeif<br />
Ignacio López-Vicuña<br />
Laura McMahon<br />
Jamie Miller<br />
Stuart Murray<br />
Ir<strong>in</strong>a Sandomirskaia<br />
Ben Tyrer<br />
Per Vesterlund<br />
Spela Zajec<br />
politics and c<strong>in</strong>ema<br />
Julieanne Lamond<br />
politics and media<br />
Brian Michael Goss<br />
politics of aesthetics<br />
Rob Stone<br />
politics of fear<br />
Bernadette Brennan<br />
politics of history<br />
Mirosław Przylipiak<br />
politics of protest<br />
Graeme Hayes<br />
Pong<br />
Karen Coll<strong>in</strong>s<br />
popular<br />
Jim Morrissey<br />
popular c<strong>in</strong>ema<br />
Stefano Baschiera<br />
Francesco Di Chiara<br />
Frédéric Gimello-Mesplomb<br />
Ranjani Mazumdar<br />
Asuman Suner<br />
Andrew Willis<br />
popular culture<br />
Gerd Bayer<br />
David Beer<br />
Paolo Chirumbolo<br />
Lynn Schofield Clark<br />
Mar<strong>in</strong>a Díaz López<br />
Brian Michael Goss<br />
Stig Hjarvard<br />
Palle Schantz Lauridsen<br />
L<strong>in</strong>e Nybro Petersen<br />
Leah Shafer<br />
Lisa Shaw<br />
Sherryl V<strong>in</strong>t<br />
Robert von Dassanowsky<br />
popular film<br />
Duncan Wheeler<br />
popular hero<br />
Palle Schantz Lauridsen<br />
popular music<br />
Peter Atk<strong>in</strong>son<br />
Raj<strong>in</strong>der Dudrah<br />
popular music <strong>in</strong> film<br />
Ian Garwood<br />
popular musicology<br />
Geoffrey Cox<br />
pornographic film<br />
Jill Julius Matthews<br />
pornography<br />
Weihong Bao<br />
Roma<strong>in</strong> Chareyron<br />
Anna Gural-Migdal<br />
Kev<strong>in</strong> J. Hayes<br />
Steve Jones<br />
Mariah Larsson<br />
porosity<br />
Derek Paget<br />
Porter's Five Forces Model<br />
Laurian Kipeja<br />
Portugal<br />
Lisa Shaw<br />
Portuguese c<strong>in</strong>ema<br />
Carol<strong>in</strong> Overhoff Ferreira<br />
Paul Melo e Castro<br />
possible world<br />
Jule Selbo<br />
post-capitalism<br />
Harry Weeks<br />
post-c<strong>in</strong>ema<br />
Helen Hok-sze Leung<br />
post-classical narration<br />
Eleftheria Thanouli<br />
postcolonial<br />
Mart<strong>in</strong>e Beugnet<br />
Allan Cameron<br />
P. Julie Papaioannou<br />
Sheila Petty<br />
postcolonial c<strong>in</strong>ema<br />
Karen Remedios<br />
Oliver C. Speck<br />
postcolonial culture<br />
Hester Joyce<br />
postcolonial exotic<br />
Jo Smith
postcolonial film theory<br />
Dale Hudson<br />
postcolonial literature<br />
Senayon Olaoluwa<br />
post-colonial literature<br />
Nicholas Harrison<br />
postcolonial literature and film<br />
Monika Mehta<br />
postcolonial studie<br />
Mantra Roy<br />
postcolonial studies<br />
Gerd Bayer<br />
Suvir Kaul<br />
Dayna Oscherwitz<br />
Suzanne L. Schulz<br />
postcolonial theory<br />
Karen Remedios<br />
Postcolonial theory<br />
Alka Kurian<br />
postcolonialism<br />
Dom<strong>in</strong>ic Alessio<br />
Jennifer Burris<br />
Mia Carter<br />
Clarissa Clò<br />
Ruth Cruickshank<br />
Carol<strong>in</strong> Overhoff Ferreira<br />
Yosefa Loshitzky<br />
Krishna Manavalli<br />
Obed Nkunzimana<br />
Chukwuma Okoye<br />
Isabel Santaolalla<br />
post-communism<br />
Ewa Mazierska<br />
post-communist film<br />
Anna Misiak<br />
post-cultural revolution<br />
Kwai-Cheung Lo<br />
post-fem<strong>in</strong>ism<br />
Danielle Hipk<strong>in</strong>s<br />
Duncan Wheeler<br />
Post-Franco Spa<strong>in</strong><br />
Sandra Barriales-Bouche<br />
posthuman<br />
Claire Thomson<br />
post-medium condition<br />
Arild Fetveit<br />
postmodern<br />
Frederick H. White<br />
postmodern fiction<br />
Gerd Bayer<br />
postmodern flâneur<br />
Kim-mui Ela<strong>in</strong>e E. Chan<br />
postmodernism<br />
Matilda Mroz<br />
post-modernism<br />
Owen Evans<br />
post-modernity<br />
Laurent Jullier<br />
post-politics<br />
William Anselmi<br />
Sheena Wilson<br />
post-production<br />
Rob Bridgett<br />
Sunedria Nicholls-Gärtner<br />
post-revisionist films<br />
John P. Garry III<br />
postsocialist condition<br />
Haom<strong>in</strong> Gong<br />
postsocialist cultures<br />
Aga Skrodzka<br />
post-Soviet<br />
Frederick H. White<br />
post-Soviet c<strong>in</strong>ema<br />
Alyssa DeBlasio<br />
Ir<strong>in</strong>a Makoveeva<br />
Jason Merrill<br />
post-Soviet film<br />
Alexander Etk<strong>in</strong>d<br />
Stephen M. Norris<br />
post-Soviet Russian fiction<br />
Daria Kabanova<br />
post-Soviet Russian film<br />
Daria Kabanova<br />
post-Stal<strong>in</strong>ist c<strong>in</strong>ema<br />
Lida Oukaderova<br />
post-Thaw<br />
Joshua First<br />
Post-unification German<br />
c<strong>in</strong>ema<br />
Matthias Uecker<br />
post-utopian landscapes<br />
Erik Hedl<strong>in</strong>g<br />
postwar America<br />
R. Barton Palmer<br />
post-war Ch<strong>in</strong>ese c<strong>in</strong>ema<br />
Jean Ma<br />
postwar Italian c<strong>in</strong>ema<br />
Danielle Hipk<strong>in</strong>s<br />
postwar Japan<br />
Deborah Shamoon<br />
Post-war Japanese society<br />
Yuna De Lannoy
post-war modernism<br />
Hamish Ford<br />
post-war Spanish c<strong>in</strong>ema<br />
Dom<strong>in</strong>ic Keown<br />
Potestad<br />
Joanna Page<br />
power<br />
Kate Nash<br />
power balance<br />
Sophie Harper<br />
practice<br />
Adam Ganz<br />
practice <strong>research</strong><br />
John Adams<br />
Erik Knudsen<br />
practice-as-<strong>research</strong><br />
Jeremy Bubb<br />
practice-based education<br />
Armida De La Garza<br />
practice-based <strong>research</strong><br />
Ian Christie<br />
practices of look<strong>in</strong>g<br />
Till Förster<br />
practices of see<strong>in</strong>g<br />
Till Förster<br />
pragmatics<br />
Stefano Odorico<br />
praxis listen to Venezuela<br />
Mike Wayne<br />
preposterous<br />
Laleen Jayamanne<br />
presidential elections<br />
Charles Musser<br />
press history<br />
Nete Nørgaard Kristensen<br />
primitive accumulation<br />
Evans Chan<br />
Primo Levi<br />
Axel Bangert<br />
Pr<strong>in</strong>ces et pr<strong>in</strong>cesses<br />
Richard Neupert<br />
process of equivalence<br />
Isabelle Gourd<strong>in</strong>-Sangouard<br />
producer-writer<br />
Patrick McGilligan<br />
product placement<br />
Leah Shafer<br />
production<br />
Serena Formica<br />
Olof Hedl<strong>in</strong>g<br />
Samantha Lay<br />
Steven Maras<br />
Alexander G Ross<br />
Mark Ryan<br />
Sarah Street<br />
Deb Verhoeven<br />
Duncan White<br />
production context<br />
Mark Bould<br />
production value<br />
Anne Marit Waade<br />
profanation<br />
Tongl<strong>in</strong> Lu<br />
professional identity<br />
Raija Talvio<br />
professionalism<br />
Mart<strong>in</strong> Eide<br />
profits<br />
Michael Pokorny<br />
John Sedgwick<br />
profondeur de champ<br />
Tom Paulus<br />
Programmable Sound<br />
Generators (PSG)<br />
Karen Coll<strong>in</strong>s<br />
programm<strong>in</strong>g<br />
Philippe Pereb<strong>in</strong>ossoff<br />
propaganda<br />
Brett Bowles<br />
Laurence Coderre<br />
Nicholas J. Cull<br />
Sergei Kapterev<br />
property<br />
Kieran Dol<strong>in</strong><br />
prophet<br />
John Hughes<br />
proposition<br />
Ian W. Macdonald<br />
Propp<br />
Eugénie Zvonk<strong>in</strong>e<br />
prostitution<br />
Nick Rees-Roberts<br />
Kate E Taylor<br />
Susan We<strong>in</strong>er<br />
Proust<br />
Marion Schmid<br />
Provence<br />
Florian Grandena<br />
provocation<br />
Roma<strong>in</strong> Chareyron
Anna Gural-Migdal<br />
psychoanalysis<br />
Hector Amaya<br />
Gautam Basu Thakur<br />
Laura Senio Blair<br />
Renate Günther<br />
Tony Hughes-d'Aeth<br />
Kate Ince<br />
Nebojša Jovanović<br />
T. Jefferson Kl<strong>in</strong>e<br />
Hilary Neroni<br />
Marguerite Nolan<br />
Joanna Page<br />
Cather<strong>in</strong>e Portuges<br />
Vlad Strukov<br />
Huang Yiju<br />
psychoanalytic theory<br />
Emma Radley<br />
psychology<br />
Kathryn Millard<br />
psychosis<br />
Gautam Basu Thakur<br />
psycho-social metamorphosis<br />
Andrew Asibong<br />
public<br />
Henrik Paul Bang<br />
Signe Kjær Jørgensen<br />
public diplomacy<br />
Nicholas J. Cull<br />
public morality<br />
Frances Hard<strong>in</strong>g<br />
public service<br />
Jacob Smith<br />
public service broadcast<strong>in</strong>g<br />
Heather Sutherland<br />
public space<br />
Jane Sillars<br />
public sphere<br />
Kate Bowles<br />
Sean Cubitt<br />
Bjørn Sørenssen<br />
public/private history<br />
Berber Hagedoorn<br />
Puerto Escondido<br />
William Hope<br />
punctum<br />
Diane Stevenson<br />
punk<br />
Paul Dave<br />
puppet<br />
Julia Dobson<br />
puppetry<br />
Dan North<br />
QTVR<br />
Debra Beattie<br />
Quai des brumes<br />
Susan We<strong>in</strong>er<br />
qualitative audience studies<br />
Unni From<br />
quality<br />
Per Vesterlund<br />
Quality TV<br />
Kathr<strong>in</strong> Rothemund<br />
Quebec French<br />
Pierre Larrivée<br />
Queen Margot<br />
Brigitte E. Humbert<br />
Queensland<br />
Denis Cryle<br />
queer<br />
Sanna Karkulehto<br />
queer c<strong>in</strong>ema<br />
Brian Hoyle<br />
Song Hwee Lim<br />
Andy Medhurst<br />
Nick Rees-Roberts<br />
queer diaspora<br />
Gustavo Subero<br />
queer film<br />
Gary M. Kramer<br />
queer identity<br />
Gustavo Subero<br />
queer politics<br />
Santiago Fouz-Hernández<br />
queer studies<br />
Bidisha Banerjee<br />
Ann-Marie Cook<br />
queer theory<br />
Serena Anderl<strong>in</strong>i-D'Onofrio<br />
Queer Theory<br />
Derek Duncan<br />
Quent<strong>in</strong> Tarant<strong>in</strong>o<br />
Jeremi Szaniawski<br />
quotidian<br />
Claudia Esposito<br />
Qur'an<br />
Ehab Galal<br />
Qur'an recitation<br />
Ehab Galal<br />
R.E.M.<br />
Cian Traynor
Rabbit-Proof Fence<br />
Queenie Monica Chan<br />
race<br />
Hector Amaya<br />
Laura Senio Blair<br />
Pat Brereton<br />
Jessica Carniel<br />
Eleanor Hunt<strong>in</strong>gton<br />
Jyotsna Kapur<br />
Marguerite Nolan<br />
Lucia Ricciardelli<br />
Mantra Roy<br />
race and ethnicity<br />
Suneeti Rekhari<br />
race politics<br />
Ian Q. Hunter<br />
Rachida Brakni<br />
Nicoleta Bazgan<br />
racial identity<br />
Maxime Cervulle<br />
racism<br />
Daniela Flesler<br />
radiance<br />
Benjam<strong>in</strong> Miller<br />
radical film-mak<strong>in</strong>g<br />
Dolores Tierney<br />
radical media<br />
Zoë Druick<br />
radio<br />
Robert Crawford<br />
Mart<strong>in</strong> Sh<strong>in</strong>gler<br />
Radio One<br />
Matthew P<strong>in</strong>k<br />
Rafael Gil<br />
Valeria Camporesi<br />
rag-pick<strong>in</strong>g<br />
Jennie Cous<strong>in</strong>s<br />
Rai<br />
Joseph McGonagle<br />
Rancière<br />
Mart<strong>in</strong> O'Shaughnessy<br />
Raoul Walsh<br />
Jerod Ra’Del Hollyfield<br />
rape<br />
Gregory Carleton<br />
Douglas Keesey<br />
rape-revenge film<br />
Ir<strong>in</strong>a Makoveeva<br />
rasa theory<br />
Amit Rai<br />
Raul Ruiz<br />
Ignacio López-Vicuña<br />
reader image<br />
Ida Willig<br />
readership<br />
Annika Bergstrom<br />
Unni From<br />
read<strong>in</strong>g<br />
Ian W. Macdonald<br />
read<strong>in</strong>gs/misread<strong>in</strong>gs<br />
Mark Bould<br />
Reaganite c<strong>in</strong>ema<br />
Xavier Mendik<br />
real<br />
Leon Hunt<br />
Jason E Klodt<br />
Fabio Vighi<br />
realism<br />
Ian Aitken<br />
Paul Beg<strong>in</strong><br />
Delph<strong>in</strong>e Bénézet<br />
Felicia Chan<br />
Robert Chen<br />
Gabor Gergely<br />
Guo-Ju<strong>in</strong> Hong<br />
Menghs<strong>in</strong> C. Horng<br />
Olivia Khoo<br />
Ohad Landesman<br />
Daniel L<strong>in</strong>dvall<br />
Tiago de Luca<br />
Leo Murray<br />
Constant<strong>in</strong>e V. Nakassis<br />
Thomas Riegler<br />
James S. Williams<br />
Douglas Smith<br />
Valent<strong>in</strong>a Vitali<br />
Charles Warren<br />
reality television<br />
Adam Ganz<br />
James Leggott<br />
reality-status<br />
Birger Langkjær<br />
reason<br />
Helena Goscilo<br />
reassembly<br />
Selm<strong>in</strong> Kara<br />
reboot<br />
David Hollands<br />
reception<br />
Jeroen de Kloet<br />
Nezih Erdoğan<br />
Nancy Huggett<br />
Jo Labanyi<br />
Mart<strong>in</strong> Mhando<br />
Dilek Kaya Mutlu<br />
Lisa Schmidt<br />
Darren Waldron<br />
Duncan White<br />
reception study<br />
Charlotte Govaert<br />
reconciliation<br />
Liz Conor<br />
reconfiguration<br />
Andrew Asibong
econstruction<br />
Jeremy Hicks<br />
Red Army Faction<br />
Chris Homewood<br />
Red River<br />
Diane Stevenson<br />
redemption<br />
Miriam Heywood<br />
re-enchantment<br />
Christopher Partridge<br />
reference<br />
Natascha Drubek-Meyer<br />
Nikolai Izvolov<br />
references<br />
Cécile Sor<strong>in</strong><br />
reflexivity<br />
James Aston<br />
David Foster<br />
Charlotte Govaert<br />
refugee films<br />
Susanne Gannon<br />
refugees<br />
Meg Johnston<br />
Regie-Förderpreis der<br />
HypoVere<strong>in</strong>sbank<br />
Jaimey Fisher<br />
regional production<br />
Olof Hedl<strong>in</strong>g<br />
regional c<strong>in</strong>ema<br />
Leen Engelen<br />
C.S. Venkiteswaran<br />
Roel Vande W<strong>in</strong>kel<br />
regional economy<br />
David Corkill<br />
regional Queensland<br />
Jeannette Delamoir<br />
regionalism<br />
Delph<strong>in</strong>e Bénézet<br />
Nick Redfern<br />
regulation<br />
Jonathan Bignell<br />
regulatory capture<br />
Torey Liepa<br />
relationship between film and<br />
dance<br />
Daria Khitrova<br />
religion<br />
Just<strong>in</strong> L. Barrett<br />
Lynn Schofield Clark<br />
Dom<strong>in</strong>ica Dipio<br />
Helle Kannik Haastrup<br />
Stig Hjarvard<br />
Ryan G. Hornbeck<br />
Victoria Pastor-González<br />
religion and film<br />
Casper Tybjerg<br />
remake<br />
Brigitte E. Humbert<br />
Tatiana Smorod<strong>in</strong>ska<br />
Constant<strong>in</strong>e Verevis<br />
remake embodied performance<br />
Yiman Wang<br />
remediation<br />
Arild Fetveit<br />
Lev Manovich<br />
Eiv<strong>in</strong>d Røssaak<br />
renaissance<br />
Mark Poole<br />
re-nationalization<br />
Darrell William Davis<br />
Emilie Yueh-yu Yeh<br />
René Clair<br />
Charles O'Brien<br />
John Savage<br />
renew<br />
Marie-Magdele<strong>in</strong>e Chirol<br />
Renoir<br />
Col<strong>in</strong> Davis<br />
Jennifer Porst<br />
repetition<br />
T. Jefferson Kl<strong>in</strong>e<br />
representation<br />
Michael Audette-Longo<br />
Jonathan Dockney<br />
Charlotte Govaert<br />
Will Higbee<br />
Samantha Lay<br />
Joseph Mai<br />
Matthew J. Marr<br />
Saër Maty Bâ<br />
representations of family<br />
Jonathan Ellis<br />
representations of prostitution<br />
Danielle Hipk<strong>in</strong>s<br />
representations of sexuality<br />
Frances Hard<strong>in</strong>g<br />
represent<strong>in</strong>g catastrophic<br />
events<br />
Aaron Kerner<br />
repression<br />
Jamie Miller<br />
repulsion<br />
Asbjørn Grønstad<br />
<strong>research</strong> methods<br />
Raj<strong>in</strong>der Dudrah<br />
resistance<br />
Pascale De Souza<br />
Dom<strong>in</strong>ic Keown<br />
Nishant Shah<br />
Eva Woods Peiró
esistant ethnicity<br />
William Anselmi<br />
Sheena Wilson<br />
restra<strong>in</strong>t<br />
Elizabeth Ezra<br />
resurgence<br />
Paul<strong>in</strong>e Small<br />
resurrection<br />
Miriam Heywood<br />
Retiro Park<br />
Benjam<strong>in</strong> Fraser<br />
retribution<br />
Vlad Strukov<br />
retrospective revaluation<br />
Lars Pynt Andersen<br />
return<br />
Hamish Ford<br />
reunification movies<br />
Jake Bevan<br />
revenge<br />
Tatiana Smorod<strong>in</strong>ska<br />
revision of genre history<br />
Kim Toft Hansen<br />
revisionism<br />
Timothy Iles<br />
Núria Triana-Toribio<br />
revisionist films<br />
John P. Garry III<br />
revival<br />
Serena Formica<br />
Mark Poole<br />
revolution<br />
Jonathan Owen<br />
rhetoric<br />
Henrik Paul Bang<br />
Anna Cabak Rédei<br />
Signe Kjær Jørgensen<br />
rhetorical analysis<br />
Lars Pynt Andersen<br />
Rhônes-Alpes C<strong>in</strong>ema<br />
Florian Grandena<br />
rhythm digital c<strong>in</strong>ema<br />
Adrian Mart<strong>in</strong><br />
Ricardo Franco<br />
Sally Faulkner<br />
Richard Nixon<br />
Carl Freedman<br />
Richard Serra<br />
Keith B. Wagner<br />
Riefenstahl<br />
Roger Hillman<br />
risk<br />
Graham Murdock<br />
risks<br />
Daniel Biltereyst<br />
River Plate literature<br />
Lee Williams<br />
Rivette<br />
Douglas Morrey<br />
road movie<br />
Rob Burns<br />
Matthew P<strong>in</strong>k<br />
Robert Aldrich<br />
Jan Lumholdt<br />
Robert Guédiguian<br />
Joseph McGonagle<br />
Robert Hamer<br />
Robert Murphy<br />
Robert Rodriguez<br />
Lucas O’Connor<br />
Robert S. McNamara<br />
Ira Jaffe<br />
Robert Sturua<br />
Zaza Shatirishvili<br />
Roberto Longhi<br />
Andrea Mirabile<br />
Roberto Saviano<br />
Rajko Radovic<br />
Rob<strong>in</strong> Wood<br />
Cather<strong>in</strong>e Wheatley<br />
robotics<br />
Andrew Gordon<br />
Rolf de Heer<br />
Louise Hamby<br />
romance<br />
Daniela Flesler<br />
Diane Stevenson<br />
Romantic anti-capitalism<br />
Klemens Czyzydlo<br />
Romantic film<br />
Wenchi L<strong>in</strong><br />
Ronnie Yu<br />
Judith Halberstam<br />
Roseanne Liang<br />
Paloma Fresno-Calleja<br />
Rosetta<br />
Bert Cardullo
Rossell<strong>in</strong>i<br />
Luca Cam<strong>in</strong>ati<br />
Lúcia Nagib<br />
Rottweiler<br />
Xavier Mendik<br />
Roy William Neill<br />
Daniel O'Brien<br />
Royal Commission<br />
Jeannette Delamoir<br />
RPM International<br />
Robert Arnett<br />
ru<strong>in</strong><br />
Marie-Magdele<strong>in</strong>e Chirol<br />
Rulli<br />
Marco Cupolo<br />
Run Run Shaw<br />
George Chun Han Wang<br />
runaway production<br />
Olof Hedl<strong>in</strong>g<br />
Runaway Productions<br />
Alejandro Pardo<br />
rural<br />
Kate Bowles<br />
Denis Cryle<br />
rural and colonial France<br />
Alison J. Murray Lev<strong>in</strong>e<br />
rural c<strong>in</strong>ema<br />
Tom Whittaker<br />
rural film<br />
Dylan Walker<br />
Russia<br />
Joe Andrew<br />
Russia c<strong>in</strong>ema<br />
Yana Hashamova<br />
Russian and Soviet culture<br />
Seth Graham<br />
Russian Ark<br />
David Gillespie<br />
Elena Smirnova<br />
Russian art<br />
David Gillespie<br />
Elena Smirnova<br />
Russian c<strong>in</strong>ema<br />
Bakur Bakuradze<br />
Sergei Bodrov<br />
V<strong>in</strong>cent Bohl<strong>in</strong>ger<br />
Seth Graham<br />
Sergei Kapterev<br />
Naum Kleiman<br />
Jane Knox-Vo<strong>in</strong>a<br />
Anna Lawton<br />
Russian C<strong>in</strong>ema<br />
Terence McSweeney<br />
Russian culture<br />
Ilya Kukul<strong>in</strong><br />
Russian Formalism<br />
Angela Ungoed Hughes<br />
Russian history<br />
David Gillespie<br />
Elena Smirnova<br />
Russian literature<br />
Daria Khitrova<br />
Ilya Kukul<strong>in</strong><br />
Russian modernism<br />
Robert Bird<br />
Russian poetry<br />
Daria Khitrova<br />
Rustam Khamdamov<br />
Nariman Skakov<br />
S. Krishnaswamy<br />
C.S. Venkiteswaran<br />
Sabata<br />
Bert Fridlund<br />
Sab<strong>in</strong>e Franel<br />
Agnès Calatayud<br />
Sacha Guitry<br />
Raphaëlle Mo<strong>in</strong>e<br />
sacralization<br />
Christopher Partridge<br />
sado-masochism<br />
Keith Reader<br />
Salamanca Conversations<br />
Christiane Passevant<br />
Salazar<br />
Lisa Shaw<br />
Salles<br />
Deborah Shaw<br />
Salvador Dalí<br />
Eric Rebillard<br />
Sam Garbarski<br />
Agnès Calatayud<br />
same-sex relationships<br />
Jacky Coll<strong>in</strong>s<br />
samurai<br />
Charles Shir Inouye<br />
Sans soleil<br />
David Montero<br />
Sansho the Bailiff<br />
Timothy Iles
Sanskrit Indian literatures<br />
Rebecca J. Manr<strong>in</strong>g<br />
satire<br />
Sergei Bodrov<br />
Lisa Gaughan<br />
Davide Morena<br />
Satyajit Ray<br />
Talat Ahmed<br />
Savage Grace<br />
Davide Caputo<br />
Savage Grace (2007)<br />
Steven Yates<br />
Scand<strong>in</strong>avian c<strong>in</strong>ema<br />
Ib Bondebjerg<br />
Dagmar Brunow<br />
Scandurra<br />
Daniela Cavallaro<br />
scenario<br />
Ian W. Macdonald<br />
schaulust/voyeurism<br />
Jill Julius Matthews<br />
Schlöndorff<br />
Jaimey Fisher<br />
scholarship<br />
Ian Christie<br />
science communications<br />
M<strong>in</strong>g-Yeh T. Rawnsley<br />
science fiction<br />
Dom<strong>in</strong>ic Alessio<br />
James Chapman<br />
Ken Chen<br />
Nicholas J. Cull<br />
Andrew Gordon<br />
Barry Keith Grant<br />
David Hollands<br />
James Leggott<br />
Lisa Schmidt<br />
Sophia Siddique Harvey<br />
Michael Tapper<br />
Eric Tessier<br />
science fiction c<strong>in</strong>ema and<br />
television<br />
Sherryl V<strong>in</strong>t<br />
science studies<br />
Ilana Gershon<br />
Joshua Malitsky<br />
science-fiction c<strong>in</strong>ema<br />
Alexia Bowler<br />
scientific representation<br />
Luc Pauwels<br />
scopophilia<br />
Frances Hard<strong>in</strong>g<br />
Scorsese<br />
Noel K<strong>in</strong>g<br />
Scottish culture<br />
Jonathan Murray<br />
Scottishness<br />
Jane Sillars<br />
screen culture<br />
Mark Poole<br />
screen media<br />
John Adams<br />
screen practice <strong>research</strong><br />
Kathryn Millard<br />
screen reception<br />
Maxime Cervulle<br />
screen studies<br />
Scott Brook<br />
screenplay<br />
Ian W. Macdonald<br />
Jill Nelmes<br />
screenplay manuals<br />
Patrick Keat<strong>in</strong>g<br />
screenplay studies<br />
Patrick Cattrysse<br />
screenplays<br />
Robert Arnett<br />
J. J. Murphy<br />
screenwriter<br />
Anubha Yadav<br />
screenwriters<br />
Susan Rogers<br />
screenwriter's strike<br />
Dimitra Kessenides<br />
screenwrit<strong>in</strong>g<br />
Brandon Colv<strong>in</strong><br />
Bridget Conor<br />
Debbie Danielpour<br />
Rosamund Davies<br />
Charles H. Davis<br />
Adam Ganz<br />
Annabelle Honess Roe<br />
Jasm<strong>in</strong>a Kallay<br />
Janice Kaye<br />
L<strong>in</strong>e Langebek<br />
Torey Liepa<br />
Garry Lyons<br />
Ian W. Macdonald<br />
Steven Maras<br />
Patrick McGilligan<br />
Kathryn Millard<br />
J. J. Murphy<br />
Christopher Neilan<br />
Eva Novrup Redvall<br />
Chris Pallant<br />
Riikka Pelo<br />
Alexander G Ross<br />
Raija Talvio<br />
Temenuga Trifonova<br />
Anubha Yadav<br />
script<br />
Rosamund Davies<br />
script development<br />
Kathryn Millard<br />
script to screen transition<br />
Isabelle Gourd<strong>in</strong>-Sangouard
scriptwrit<strong>in</strong>g<br />
Bakur Bakuradze<br />
Sergei Bodrov<br />
Dimitra Kessenides<br />
Seattle<br />
Richard Edwards<br />
Second Language<br />
Maura Bergonzoni<br />
Second Life<br />
Just<strong>in</strong> L. Barrett<br />
Ryan G. Hornbeck<br />
Second Republic<br />
Valeria Camporesi<br />
secrecy<br />
Libby Saxton<br />
sedentary<br />
Florence Mart<strong>in</strong><br />
Sega<br />
Karen Coll<strong>in</strong>s<br />
segregation<br />
Nancy Huggett<br />
Segundo de Chomón<br />
Leigh Mercer<br />
self-Balkanization<br />
Jurica Pavicic<br />
self-<strong>in</strong>vention<br />
Noel K<strong>in</strong>g<br />
self-writ<strong>in</strong>g<br />
Chukwuma Okoye<br />
sell<strong>in</strong>g place<br />
Benjam<strong>in</strong> Fraser<br />
semantic autonomy<br />
Randolph Lewis<br />
Sembene<br />
Dom<strong>in</strong>ica Dipio<br />
Sembène<br />
Samba Diop<br />
semiotics<br />
Paolo Chirumbolo<br />
David Hollands<br />
Alfio Leotta<br />
P. Julie Papaioannou<br />
sensation<br />
Gregg Redner<br />
Jillian Smith<br />
Mar<strong>in</strong>a Warner<br />
sensationalism<br />
Felicia Chan<br />
Valent<strong>in</strong>a Vitali<br />
senses<br />
Georg<strong>in</strong>a Evans<br />
sens<strong>in</strong>g-<strong>in</strong>tuitive<br />
Nancy Graham Holm<br />
sensory<br />
Tiago de Luca<br />
Senufo marriage ceremonies<br />
Till Förster<br />
separatism<br />
Helen Jones<br />
sequel<br />
David Hollands<br />
Carolyn Jess-Cooke<br />
Constant<strong>in</strong>e Verevis<br />
sequence 5<br />
Isabelle Gourd<strong>in</strong>-Sangouard<br />
Serbia<br />
Aida Vidan<br />
Spela Zajec<br />
Serbian c<strong>in</strong>ema<br />
Nevena Daković<br />
serendipity<br />
David Chapman<br />
Sergei Eisenste<strong>in</strong><br />
Esther Leslie<br />
Robert Robertson<br />
Sergei Paradjanov<br />
Zaza Shatirishvili<br />
Sergei Urusevskii<br />
Nancy Condee<br />
seriality<br />
Jared Gardner<br />
Constant<strong>in</strong>e Verevis<br />
set design<br />
Ben McCann<br />
Emma Widdis<br />
settler c<strong>in</strong>ema<br />
Jo Smith<br />
settler nationalism<br />
Jo Smith<br />
settler society<br />
Tanya Dalziell<br />
Seven Footpr<strong>in</strong>ts to Satan<br />
Arne Lunde<br />
sex<br />
Gregory Carleton<br />
Todd W. Reeser<br />
sex film<br />
Mariah Larsson<br />
sex <strong>in</strong> c<strong>in</strong>ema<br />
Søren Birkvad
sex traffick<strong>in</strong>g<br />
Kate E Taylor<br />
sexploitation<br />
Mariah Larsson<br />
sexual difference<br />
Robert A. Rush<strong>in</strong>g<br />
sexual politics<br />
Judith Halberstam<br />
sexual subcultures<br />
Sofia Bull<br />
sexual taboos<br />
Xavier Mendik<br />
sexual violence<br />
Tanya Dalziell<br />
sexualities<br />
Crist<strong>in</strong>a Johnston<br />
Nick Rees-Roberts<br />
sexuality<br />
Hector Amaya<br />
Laura Senio Blair<br />
Jacky Coll<strong>in</strong>s<br />
Derek Duncan<br />
Asbjørn Grønstad<br />
Renate Günther<br />
Wai Siam Hee<br />
Volha Isakava<br />
Sanna Karkulehto<br />
Sarah Leahy<br />
Fran Mart<strong>in</strong><br />
Susan Mart<strong>in</strong>-Márquez<br />
Anne Eak<strong>in</strong> Moss<br />
Brígida M. Pastor<br />
Emma Radley<br />
Brigitte Rollet<br />
Barbara Zecchi<br />
sexuality/sexualization<br />
Jill Julius Matthews<br />
sexually transmitted disease<br />
Susan Ericsson<br />
Shakespeare<br />
Suzanne Osmond<br />
shame<br />
Kristyn Gorton<br />
Shane Meadows<br />
David Forrest<br />
shared textual authority<br />
Berber Hagedoorn<br />
Shaw Brothers<br />
George Chun Han Wang<br />
Sherlock Holmes<br />
Palle Schantz Lauridsen<br />
Daniel O'Brien<br />
shima Nagisa<br />
Isolde Standish<br />
Sh<strong>in</strong> Sang-Ok<br />
Soo Jeong Ahn<br />
Sh<strong>in</strong>juku Ryozanpaku<br />
Noboru Tomonari<br />
shōjo manga<br />
Deborah Shamoon<br />
short fiction film<br />
Grace Russo Bullaro<br />
Alberto Zambenedetti<br />
short film<br />
Piotr A. Cieplak<br />
Michael Rabiger<br />
short film scriptwrit<strong>in</strong>g<br />
Kev<strong>in</strong> Anderson<br />
short films<br />
Jeffrey Middents<br />
shot<br />
Steven Marchant<br />
showpiece<br />
Jennie Cous<strong>in</strong>s<br />
Shu Lea Cheang<br />
G<strong>in</strong>a Marchetti<br />
Sidney Lumet<br />
Tatiana Smorod<strong>in</strong>ska<br />
Signoret<br />
Sarah Leahy<br />
silence<br />
Julián Daniel Gutiérrez Albilla<br />
Roger Crittenden<br />
Daniel Deshays<br />
Matilde Nardelli<br />
Hildegard Westerkamp<br />
silent c<strong>in</strong>ema<br />
Anke Brouwers<br />
David George<br />
Menghs<strong>in</strong> C. Horng<br />
Leigh Mercer<br />
Nathalie Morris<br />
silent film criticism<br />
Lee Williams<br />
Simone Signoret<br />
Susan Hayward<br />
S<strong>in</strong> City<br />
Lucas O’Connor<br />
S<strong>in</strong>gapore<br />
Sophia Siddique Harvey<br />
S<strong>in</strong>gapore and Malaysian<br />
c<strong>in</strong>ema<br />
Song Hwee Lim<br />
S<strong>in</strong>gapore c<strong>in</strong>ema<br />
Kenneth Paul Tan<br />
S<strong>in</strong>g<strong>in</strong>' <strong>in</strong> the Ra<strong>in</strong><br />
Liz Greene
s<strong>in</strong>g<strong>in</strong>g<br />
Liz Greene<br />
s<strong>in</strong>gularity<br />
Tiago de Luca<br />
S<strong>in</strong>ofrench<br />
Michelle Bloom<br />
S<strong>in</strong>o-Japanese war<br />
Thomas Waugh<br />
s<strong>in</strong>ology<br />
Kim Toft Hansen<br />
S<strong>in</strong>o-Soviet relations<br />
T<strong>in</strong>a Mai Chen<br />
Sirkbeach<br />
Fiona Handyside<br />
Sixth Generation<br />
Michael Fitzhenry<br />
sk<strong>in</strong> colour<br />
Sonora Jha<br />
sk<strong>in</strong>/screen<br />
Sebastian Scholz<br />
Sk<strong>in</strong>s<br />
Ann-Marie Cook<br />
Slovak new wave<br />
Jonathan Owen<br />
Slovenia<br />
Lizelle Bisschoff<br />
Slumdog Millionaire<br />
Sunera Thobani<br />
smugglers<br />
Dom<strong>in</strong>ic Keown<br />
Snowtown<br />
Dylan Walker<br />
soap opera<br />
Frances Hard<strong>in</strong>g<br />
soap operas<br />
Lyn Thomas<br />
soccer<br />
Adewole Adejayan<br />
sociability<br />
Yiu Fai Chow<br />
social change<br />
Gitte Bang Stald<br />
social class displacements<br />
Clara Garavelli<br />
social divisions<br />
Gabriele Mueller<br />
Social Genocide<br />
Verónica Garibotto<br />
Antonio Gómez<br />
social history<br />
Steven J. Ross<br />
social issue c<strong>in</strong>ema<br />
Paul Beg<strong>in</strong><br />
social justice<br />
Bernadette Brennan<br />
social justice media<br />
Debbie James<br />
social media<br />
Jonathan Dockney<br />
social network<strong>in</strong>g<br />
Ishani Mukherjee<br />
social realism<br />
Karol<strong>in</strong>a Kos<strong>in</strong>ska<br />
social support systems<br />
Mara Adelman<br />
social turn<br />
Harry Weeks<br />
social-issue c<strong>in</strong>ema<br />
Matthew J. Marr<br />
socialist c<strong>in</strong>ema<br />
Xiaon<strong>in</strong>g Lu<br />
socialist culture<br />
T<strong>in</strong>a Mai Chen<br />
socialist realism<br />
Karol<strong>in</strong>a Kos<strong>in</strong>ska<br />
Socialist realism<br />
Petra Hanakova<br />
socialist realist film<br />
V<strong>in</strong>cent Bohl<strong>in</strong>ger<br />
socialist-fem<strong>in</strong>ism<br />
Jyotsna Kapur<br />
sociology<br />
Mark Bedford<br />
Yves Laberge<br />
Narendra Panjwani<br />
Luc Pauwels<br />
socio-psychological impact of<br />
war<br />
Sarah Trott<br />
sodomy laws<br />
Jim Supanick<br />
Soi Cheang<br />
Gary Bett<strong>in</strong>son<br />
Soiuzdetfil'm<br />
Birgit Beumers
Nikolai Izvolov<br />
Jamie Miller<br />
Natalia Riabchikova<br />
Sokurov<br />
José Alaniz<br />
Solanas<br />
Deborah Shaw<br />
Soldados de Salam<strong>in</strong>a<br />
Mercedes Cam<strong>in</strong>o<br />
solidarity film<br />
Thomas Waugh<br />
somatization<br />
Ryan Prout<br />
Sonder<br />
Axel Bangert<br />
song<br />
Andrew McGregor<br />
sonic media<br />
Sarah Atk<strong>in</strong>son<br />
Sonic Outlaws<br />
Patrik Sjoberg<br />
Sönke Wortmann<br />
Matthias Uecker<br />
sound<br />
David Beer<br />
Samba Diop<br />
Iben Have<br />
Mart<strong>in</strong>e Huvenne<br />
Selm<strong>in</strong> Kara<br />
James Leahy<br />
Adrian Mart<strong>in</strong><br />
Leo Murray<br />
Christopher Neilan<br />
Sunedria Nicholls-Gärtner<br />
Matthew P<strong>in</strong>k<br />
Jennifer Porst<br />
Lisa Schmidt<br />
Mart<strong>in</strong> Sh<strong>in</strong>gler<br />
Kather<strong>in</strong>e Spr<strong>in</strong>g<br />
George Chun Han Wang<br />
Mar<strong>in</strong>a Warner<br />
sound art<br />
David Chapman<br />
sound design<br />
Maike Helmers<br />
Sandra Pauletto<br />
Matthew P<strong>in</strong>k<br />
David Toop<br />
sound edit<strong>in</strong>g<br />
Roger Crittenden<br />
sound effects<br />
Larry Sider<br />
sound film<br />
Lilya Kaganovsky<br />
sound of language<br />
Thomas Mart<strong>in</strong>ec<br />
sound performance<br />
Ir<strong>in</strong>a Sandomirskaia<br />
sound record<strong>in</strong>g<br />
Jacob Smith<br />
sound sources<br />
Christos Manolas<br />
sound synthesis<br />
Sandra Pauletto<br />
soundscape<br />
Hildegard Westerkamp<br />
soundscape composition<br />
Hildegard Westerkamp<br />
soundtrack<br />
Polona Petek<br />
Matthew P<strong>in</strong>k<br />
George Chun Han Wang<br />
soundtracks<br />
Karen Coll<strong>in</strong>s<br />
South Africa<br />
Michael Carkl<strong>in</strong><br />
David M. M. Riep<br />
South African c<strong>in</strong>ema<br />
Michael Audette-Longo<br />
South Asia<br />
Ananya Jahanara Kabir<br />
South Asian (Indian) c<strong>in</strong>ema<br />
Mantra Roy<br />
South Asian anglophone<br />
literature<br />
Alka Kurian<br />
South Asian c<strong>in</strong>ema<br />
Alka Kurian<br />
Krishna Manavalli<br />
Rebecca J. Manr<strong>in</strong>g<br />
Monika Mehta<br />
Ishani Mukherjee<br />
South Asian film<br />
Amar Kanwar<br />
South Asian novel<br />
Karen Remedios<br />
South Australia<br />
Dylan Walker<br />
South East Asia<br />
Tilman Baumgärtel<br />
South East Asian C<strong>in</strong>emas<br />
Terence McSweeney<br />
South East Asian <strong>in</strong>dies<br />
Gaik Cheng Khoo<br />
South Korean c<strong>in</strong>ema<br />
Soo Jeong Ahn
South Korean C<strong>in</strong>ema<br />
Jake Bevan<br />
Southeast Asia<br />
Sophia Siddique Harvey<br />
Southeast Asian film-makers<br />
Gaik Cheng Khoo<br />
Southern Cone literature<br />
Lee Williams<br />
sovereignty<br />
John Morton<br />
Soviet and Russian<br />
documentary film<br />
Jeremy Hicks<br />
Soviet c<strong>in</strong>ema<br />
Maria Belodubrovskaya<br />
V<strong>in</strong>cent Bohl<strong>in</strong>ger<br />
Vitaly Chernetsky<br />
Robert Efird<br />
Jeremy Hicks<br />
Sergei Kapterev<br />
Naum Kleiman<br />
Anna Lawton<br />
David MacFadyen<br />
Richard Taylor<br />
Eugénie Zvonk<strong>in</strong>e<br />
Soviet C<strong>in</strong>ema<br />
Karla Oeler<br />
Soviet culture<br />
Alexander Prokhorov<br />
Soviet psychiatry<br />
Ir<strong>in</strong>a Sandomirskaia<br />
Soviet Toys<br />
Lora Wheeler Mjolsness<br />
Soviet–German cultural<br />
relations<br />
Birgit Beumers<br />
Maya Turovskaya<br />
space<br />
John Edmond<br />
Claudia Esposito<br />
Wendy Everett<br />
David Foster<br />
Gabor Gergely<br />
Guo-Ju<strong>in</strong> Hong<br />
Gaik Cheng Khoo<br />
Tarja La<strong>in</strong>e<br />
Anthony Lambert<br />
Laura Rascaroli<br />
Les Roberts<br />
Robert Robertson<br />
Jane Sillars<br />
Jeremi Szaniawski<br />
Daniel Yacavone<br />
space and place<br />
Michael Carkl<strong>in</strong><br />
Space Invaders<br />
Karen Coll<strong>in</strong>s<br />
Spa<strong>in</strong><br />
David Corkill<br />
David George<br />
Spanish c<strong>in</strong>ema<br />
Isol<strong>in</strong>a Ballesteros<br />
Sandra Barriales-Bouche<br />
Paul Beg<strong>in</strong><br />
Enric Bou<br />
Peter Buse<br />
Gerard Dapena<br />
Ann Davies<br />
Sally Faulkner<br />
Santiago Fouz-Hernández<br />
Carmen Herrero<br />
Barry Jordan<br />
Rebecca Naughten<br />
Vicente Rodríguez Ortega<br />
Brígida M. Pastor<br />
Tatjana Pavlović<br />
Adrián Pérez Melgosa<br />
Chris Perriam<br />
Dom<strong>in</strong>ique Russell<br />
Isabel Santaolalla<br />
Rob Stone<br />
Andrew Willis<br />
Spanish civil war<br />
Christiane Passevant<br />
Spanish Civil War<br />
Sandra Barriales-Bouche<br />
Mercedes Cam<strong>in</strong>o<br />
Roger Hillman<br />
Daniel O'Brien<br />
Anton Pujol<br />
Spanish comedy<br />
Valeria Camporesi<br />
Spanish culture<br />
Germán Labrador Méndez<br />
Spanish docudramas<br />
Victoria Pastor-González<br />
Spanish film<br />
L<strong>in</strong>da Craig<br />
Spanish literature<br />
Marit Knollmueller<br />
Matt Losada<br />
Germán Labrador Méndez<br />
Spanish music<br />
Mar<strong>in</strong>a Díaz López<br />
Spanish Pen<strong>in</strong>sular literature<br />
Enric Bou<br />
Spanish silent c<strong>in</strong>ema<br />
Susan Larson<br />
Spanishness<br />
Ann Davies<br />
spatial practices<br />
Isis Sadek<br />
spatialization<br />
Christos Manolas<br />
spatialization of sound sources<br />
Sandra Pauletto<br />
special effects<br />
William Brown<br />
Helen Hok-sze Leung<br />
Dan North<br />
special period<br />
Glenda Mejía
specialized festivals<br />
Sergi Mesonero Burgos<br />
spectator<br />
James Aston<br />
Anne Eak<strong>in</strong> Moss<br />
Maria Tortajada<br />
spectatorial experience<br />
Joyce Jesionowski<br />
spectatorship<br />
Markos Hadjioannou<br />
Greg Ha<strong>in</strong>ge<br />
Xiaon<strong>in</strong>g Lu<br />
Davide Morena<br />
Constant<strong>in</strong>e V. Nakassis<br />
Jörg Sternagel<br />
Cather<strong>in</strong>e Wheatley<br />
speech culture<br />
Ir<strong>in</strong>a Sandomirskaia<br />
speech-act theory<br />
Julian Str<strong>in</strong>ger<br />
Spike Lee<br />
Ruth Doughty<br />
spirituality<br />
Christopher Partridge<br />
Victoria Pastor-González<br />
Splat<br />
Mar<strong>in</strong>a Warner<br />
split attention<br />
Nitzan Ben-Shaul<br />
split screen<br />
Mirosław Przylipiak<br />
spontaneity<br />
Thomas Mart<strong>in</strong>ec<br />
sport<br />
Toby Miller<br />
Spr<strong>in</strong>g <strong>in</strong> a Small Town<br />
Susan Daruvala<br />
spy drama<br />
Paul Cobley<br />
Srdan Golubovic<br />
Jurica Pavicic<br />
St Petersburg<br />
David Gillespie<br />
Elena Smirnova<br />
Frederick H. White<br />
stagnation<br />
David MacFadyen<br />
Stal<strong>in</strong><br />
Julian Graffy<br />
Stal<strong>in</strong>ism<br />
Wolfgang Beilenhoff<br />
Alexander Etk<strong>in</strong>d<br />
Jamie Miller<br />
Richard Taylor<br />
Stal<strong>in</strong>ist c<strong>in</strong>ema<br />
Benjam<strong>in</strong> E. Raikl<strong>in</strong><br />
Stalker<br />
David Foster<br />
stand-up comedy<br />
Brett Mills<br />
star<br />
Helle Kannik Haastrup<br />
Laura Hubner<br />
Myriam Juan<br />
Raphaëlle Mo<strong>in</strong>e<br />
star body<br />
Susan Hayward<br />
star discourse<br />
Brian Hu<br />
stardom<br />
Jonathan Driskell<br />
Mary Farquhar<br />
Adrian Horrocks<br />
Sarah Leahy<br />
Victoria Lowe<br />
Nhamo Anthony Mhiripiri<br />
Jeffrey Middents<br />
Rebecca Naughten<br />
Tony Williams<br />
stars<br />
Jacquel<strong>in</strong>e Nacache<br />
Chris Perriam<br />
Niamh Thornton<br />
Yi Zheng<br />
state <strong>in</strong>dustry relations<br />
Melis Behlil<br />
state policy<br />
Cacilda M. Rego<br />
statistics<br />
Charles O'Brien<br />
Steele Rudd<br />
Julieanne Lamond<br />
Steeman<br />
Judith Mayne<br />
stereotypes<br />
Santiago Fouz-Hernández<br />
Elisabetta Girelli<br />
Obed Nkunzimana<br />
Ann-Krist<strong>in</strong> Wallengren<br />
Sternberg<br />
Peter Baxter<br />
Steven Soderbergh<br />
Frank P. Tomasulo<br />
stigma<br />
Andrew Asibong<br />
stolen generations<br />
Cather<strong>in</strong>e Kev<strong>in</strong><br />
Marguerite Nolan<br />
Stolen Generations<br />
John Morton
stortytell<strong>in</strong>g<br />
Paul Willeman<br />
story<br />
Craig Batty<br />
storytell<strong>in</strong>g<br />
Erik Knudsen<br />
storytell<strong>in</strong>g analysis<br />
Francesco Caviglia<br />
strategy<br />
Michael Pokorny<br />
John Sedgwick<br />
Striped Socks Productions<br />
Liza Palmer<br />
strobe act<strong>in</strong>g<br />
Laleen Jayamanne<br />
Stroheim<br />
Clara Laurent<br />
Pierre Lethier<br />
structure<br />
Craig Batty<br />
Ben Tyrer<br />
studio<br />
Jerod Ra’Del Hollyfield<br />
Arne Lunde<br />
Charles O'Brien<br />
Studio Ghibli<br />
Jonathan Ellis<br />
studio system<br />
Halldór Laxness<br />
studios<br />
Natalia Riabchikova<br />
Sturges<br />
Dom<strong>in</strong>ic Power<br />
Sturm und Drang<br />
Adrian Horrocks<br />
style<br />
Charles O'Brien<br />
Aaron Taylor<br />
Paul Willeman<br />
styles<br />
Y<strong>in</strong>gj<strong>in</strong> Zhang<br />
subjective documentary<br />
Ben Tyrer<br />
subjectivity<br />
Julián Daniel Gutiérrez Albilla<br />
Jérôme Game<br />
Matthew J. Marr<br />
Fabio Vighi<br />
Y<strong>in</strong>gj<strong>in</strong> Zhang<br />
sublim<strong>in</strong>al media<br />
Jacob Smith<br />
subversion of copyrights<br />
Patrik Sjoberg<br />
Sudden Impact<br />
Deborah Allison<br />
suicide bombers<br />
Mike Dillon<br />
Summer with Monika<br />
Laura Hubner<br />
Sunsh<strong>in</strong>e policy<br />
Jake Bevan<br />
superhero bodies<br />
Aaron Taylor<br />
supernatural<br />
Torben Grodal<br />
Frances Hard<strong>in</strong>g<br />
Brian Hauser<br />
supernatural literature<br />
Germán Gil Curiel<br />
supernaturalism<br />
Kim Toft Hansen<br />
superposition<br />
Michael Goddard<br />
superstructure<br />
Paul Kerr<br />
support<strong>in</strong>g player<br />
Aaron Taylor<br />
surrealism<br />
Marit Knollmueller<br />
Leigh Mercer<br />
Eric Rebillard<br />
John Savage<br />
surrealism <strong>in</strong> Spa<strong>in</strong><br />
Gerard Dapena<br />
surround sound<br />
Christos Manolas<br />
Sandra Pauletto<br />
surveillance art<br />
Jennifer Burris<br />
surveillance film<br />
Esther Leslie<br />
survey<br />
Stig Hjarvard<br />
Susanna<br />
Daniela Flesler<br />
suspense<br />
Paul Cobley<br />
suture<br />
Steven Marchant
Suzanne Wasserman<br />
Paul Buhle<br />
Svetlana Vasilenko<br />
Yelena Furman<br />
Sweden<br />
Daniel Brodén<br />
Erik Hedl<strong>in</strong>g<br />
Per Vesterlund<br />
Rochelle Wright<br />
Swedish and Danish TV crime<br />
fiction<br />
Gunhild Agger<br />
Swedish childrens films<br />
Anders Wilhelm Aberg<br />
Swedish c<strong>in</strong>ema<br />
Anders Wilhelm Aberg<br />
Lars Gustaf Andersson<br />
Olof Hedl<strong>in</strong>g<br />
Laura Hubner<br />
John Sundholm<br />
Michael Tapper<br />
Swedish modernism<br />
Maaret Kosk<strong>in</strong>en<br />
Swedish s<strong>in</strong><br />
Søren Birkvad<br />
Sweet Death'<br />
Reg<strong>in</strong>a Standún<br />
swimm<strong>in</strong>g<br />
Julian Graffy<br />
Swiss<br />
Davide Caputo<br />
Steven Yates<br />
Switzerland<br />
Davide Caputo<br />
Steven Yates<br />
symbolic order<br />
Huang Yiju<br />
symbolism<br />
Vlad Strukov<br />
symphony<br />
Dom<strong>in</strong>ic Power<br />
synaesthesia<br />
Georg<strong>in</strong>a Evans<br />
synchrony<br />
Stephen Deutsch<br />
synecdoche<br />
Philip Tagg<br />
systemic-functional semiotics<br />
Angela Ungoed Hughes<br />
systems theory<br />
David Chirico<br />
tabloid newspapers<br />
Kar<strong>in</strong> Wahl-Jorgensen<br />
tabloid press<br />
Ulrik Lehrmann<br />
Taipei<br />
Shen Shiao-Y<strong>in</strong>g<br />
Taipei Film Festivals<br />
Menghs<strong>in</strong> C. Horng<br />
Taiwan<br />
Menghs<strong>in</strong> C. Horng<br />
Song Hwee Lim<br />
M<strong>in</strong>g-Yeh T. Rawnsley<br />
George Chun Han Wang<br />
Tony Williams<br />
Taiwan c<strong>in</strong>ema<br />
Shen Shiao-Y<strong>in</strong>g<br />
Taiwan C<strong>in</strong>ema<br />
Michelle Bloom<br />
Taiwanese c<strong>in</strong>ema<br />
G<strong>in</strong>a Marchetti<br />
Fran Mart<strong>in</strong><br />
Eija Niskanen<br />
James Wicks<br />
Taiwanese dialect<br />
Guo-Ju<strong>in</strong> Hong<br />
Taiwanese gangster culture<br />
G<strong>in</strong>a Marchetti<br />
Taiwanese popular music<br />
Menghs<strong>in</strong> C. Horng<br />
Takashige Ichise<br />
Jasper Sharp<br />
Take Away Shows<br />
Cian Traynor<br />
Tamil c<strong>in</strong>ema<br />
Constant<strong>in</strong>e V. Nakassis<br />
Tan P<strong>in</strong> P<strong>in</strong><br />
Kenneth Paul Tan<br />
Tang Pao-yun<br />
Menghs<strong>in</strong> C. Horng<br />
tangibility<br />
Yiu Fai Chow<br />
Jeroen de Kloet<br />
tango<br />
Marv<strong>in</strong> D'Lugo<br />
Tarkovsky<br />
Claire Thomson<br />
Tasmania<br />
Emily Bullock<br />
taste<br />
Polona Petek<br />
teach<strong>in</strong>g film<br />
Mart<strong>in</strong> Barker<br />
Ernest Mathijs
teach<strong>in</strong>g language<br />
Maura Bergonzoni<br />
Tearoom<br />
Jim Supanick<br />
technology<br />
Sarah Berry<br />
Sean Cubitt<br />
Brian R. Jacobson<br />
Sonora Jha<br />
Ohad Landesman<br />
Dan North<br />
Jennifer Porst<br />
Björn Þór Vilhjálmsson<br />
televised fiction<br />
Anders Wilhelm Aberg<br />
television<br />
Keith Beattie<br />
Ib Bondebjerg<br />
Lynn Schofield Clark<br />
John R. Cook<br />
Robert Crawford<br />
Greg Dolgopolov<br />
Raj<strong>in</strong>der Dudrah<br />
Leen Engelen<br />
Tobias Hochscherf<br />
Henrik Jensen<br />
Janice Kaye<br />
Consuelo L<strong>in</strong>s<br />
Anker Br<strong>in</strong>k Lund<br />
Patrick McGilligan<br />
Stuart Murray<br />
Leo Murray<br />
Stephen M. Norris<br />
Derek Paget<br />
Philippe Pereb<strong>in</strong>ossoff<br />
Leah Shafer<br />
Paul Sutton<br />
Isabelle Vanderschelden<br />
Leung W<strong>in</strong>g-Fai<br />
Roel Vande W<strong>in</strong>kel<br />
television authorship<br />
Concepción Cascajosa Vir<strong>in</strong>o<br />
television fiction<br />
L<strong>in</strong>e Nybro Petersen<br />
television films<br />
Alyssa DeBlasio<br />
television <strong>in</strong> Spa<strong>in</strong><br />
Concepción Cascajosa Vir<strong>in</strong>o<br />
television series<br />
James Chapman<br />
Paul Cobley<br />
television series/serials<br />
Kathr<strong>in</strong> Rothemund<br />
television studies<br />
Lauren Kogen<br />
Telluride<br />
Gary M. Kramer<br />
Telluride Film Festival<br />
Greil Marcus<br />
temporality<br />
Sarah Cooper<br />
Hamish Ford<br />
Conn Holohan<br />
Todd W. Reeser<br />
Ten Canoes<br />
Louise Hamby<br />
terrir<br />
Alfredo Luiz Suppia<br />
terror<br />
Bruce Bennett<br />
Sunera Thobani<br />
terrorism<br />
Sushmita Chatterjee<br />
Paul Cobley<br />
Mike Dillon<br />
Aaron Mushengyezi<br />
Terry Gilliam<br />
Jan Lumholdt<br />
testimonial pac<br />
Friedman Rég<strong>in</strong>e-Mihal<br />
testimony<br />
Cosetta M. Veronese<br />
Janet Walker<br />
Teta i la lluna<br />
Dom<strong>in</strong>ic Keown<br />
textual<br />
Niels Brügger<br />
textual analysis<br />
Brett Mills<br />
Kathr<strong>in</strong> Rothemund<br />
texture<br />
Laleen Jayamanne<br />
Thai c<strong>in</strong>ema<br />
May Adadol Ingawanij<br />
Leon Hunt<br />
Thaw<br />
Nancy Condee<br />
Laura Pontieri Hlavacek<br />
Alexander Prokhorov<br />
The Best of Youth<br />
Marco Cupolo<br />
The Big Picture<br />
Scott Jordan Harris<br />
The Birth of a Nation<br />
Gillian B. Anderson<br />
the blacklist<br />
Claus Tieber<br />
the Bolivarian revolution<br />
Mike Wayne<br />
the British Empire<br />
Richard A Voeltz<br />
The Broken Wall<br />
Wisdom Agorde<br />
the city<br />
Paul Melo e Castro
the commodity form<br />
Mike Wayne<br />
The Conversation<br />
Gustavo Costant<strong>in</strong>i<br />
The Cranes are Fly<strong>in</strong>g<br />
Nancy Condee<br />
the crisis of <strong>in</strong>wardness<br />
George Toles<br />
the Cultural Revolution<br />
Sun Hongyun<br />
The Dead Pool<br />
Deborah Allison<br />
The Dog <strong>in</strong> the Manger<br />
Ela<strong>in</strong>e Cann<strong>in</strong>g<br />
The Dream of Olwen<br />
Philip Tagg<br />
The Enforcer<br />
Deborah Allison<br />
The Estado Novo<br />
Lisa Shaw<br />
the European Union<br />
Roderick Coover<br />
The Fantastic Factory<br />
Xavier Mendik<br />
The F<strong>in</strong>al Girl<br />
Judith Halberstam<br />
The F<strong>in</strong>ished People<br />
Helen Grace<br />
The Five Obstructions<br />
Claire Perk<strong>in</strong>s<br />
The Fog of War<br />
Ira Jaffe<br />
The Full Monty<br />
Chantal Cornut-Gentille D'Arcy<br />
The Game is Over<br />
Kate Griffiths<br />
the Gernsback Cont<strong>in</strong>uum<br />
Marek Wasielewski<br />
The Globalisation Tapes<br />
Richard Edwards<br />
The Great Gatsby<br />
Noel K<strong>in</strong>g<br />
The Hidden Blade<br />
Charles Shir Inouye<br />
the history of Namibia<br />
Richard A Voeltz<br />
The Home Song Stories<br />
Tony Ayres<br />
The Hour of the Furnaces<br />
Verónica Garibotto<br />
Antonio Gómez<br />
The Idiot<br />
Yuna De Lannoy<br />
The Incredible Hulk<br />
G<strong>in</strong>a Marchetti<br />
The Italian Job (1969)<br />
Jan Lumholdt<br />
the Kashmir conflict<br />
Ananya Jahanara Kabir<br />
The Kill<strong>in</strong>g<br />
Gunhild Agger<br />
The Last Laugh/Der Letzte<br />
Mann<br />
Murray Pomerance<br />
The Last of England<br />
Paul Dave<br />
The Locket<br />
George Toles<br />
The Long Tail<br />
Marijke de Valck<br />
the mach<strong>in</strong>e state<br />
Andrew Gordon<br />
The Magic Lantern<br />
Maaret Kosk<strong>in</strong>en<br />
The Miracle Woman<br />
Tom Paulus<br />
The Murmur<strong>in</strong>g<br />
Kim Soyoung<br />
the new Soviet woman<br />
Anna Cabak Rédei<br />
The N<strong>in</strong>th Day/Der neunte Tag<br />
Jaimey Fisher<br />
the other<br />
Susanne Gannon<br />
the Other<br />
Rochelle Wright<br />
The Other Half (2006)<br />
Eija Niskanen<br />
the outsider<br />
Adrian Horrocks<br />
The Proposition<br />
Tanya Dalziell
The R<strong>in</strong>g<br />
Jasper Sharp<br />
The Roll<strong>in</strong>g Stones<br />
Liz Stephens<br />
the Romantic voice of the artist<br />
Ian Garwood<br />
The Silence of Lorna/Le<br />
Silence de Lorna<br />
Bert Cardullo<br />
the Sixth Generation<br />
Xuelian Zhang<br />
The Sound of Music<br />
Philip Tagg<br />
The Spectator<br />
Scott Jordan Harris<br />
The Spectator Arts Blog<br />
Scott Jordan Harris<br />
The Spider and the Fly<br />
Robert Murphy<br />
The Spirit of the Beehive/El<br />
esptitu de la colmena<br />
Alberto Elena Díaz<br />
The Story of Qiu Ju<br />
Evans Chan<br />
The Thief of Baghdad<br />
Gillian B. Anderson<br />
The Third Man<br />
Robert Murphy<br />
the Titan City project<br />
Marek Wasielewski<br />
The Way We Were<br />
Claus Tieber<br />
The Wayward Cloud<br />
Eija Niskanen<br />
The Wire<br />
David Toop<br />
the work<strong>in</strong>g class<br />
Bert Cardullo<br />
The X Files<br />
Brian Hauser<br />
theatre<br />
Gbemisola Adeoti<br />
Daniel Deshays<br />
Julia Dobson<br />
Victoria Lowe<br />
Raphaëlle Mo<strong>in</strong>e<br />
Suzanne Osmond<br />
Derek Paget<br />
theatre studies<br />
Urther Rwafa<br />
theatricality<br />
Ela<strong>in</strong>e Cann<strong>in</strong>g<br />
Mary Wiles<br />
theology<br />
Johannes H. Christensen<br />
theories of film spectatorship<br />
Joanna Page<br />
theories of place and space<br />
Anita Angelone<br />
theory<br />
Kees Bakker<br />
Paul G. Pickowicz<br />
Charles Warren<br />
theory of ideology<br />
Brian Michael Goss<br />
theory of representation<br />
Maria Tortajada<br />
Thierry Henry<br />
Adewole Adejayan<br />
th<strong>in</strong>k<strong>in</strong>g<br />
Nancy Graham Holm<br />
Third C<strong>in</strong>ema<br />
Verónica Garibotto<br />
Antonio Gómez<br />
P. Julie Papaioannou<br />
Adrián Pérez Melgosa<br />
Third Reich<br />
Christ<strong>in</strong>e Haase<br />
Third Republic<br />
Col<strong>in</strong> Davis<br />
third space<br />
Rob Burns<br />
Third Space<br />
P. Julie Papaioannou<br />
third worldist discourses<br />
Dolores Tierney<br />
Thomas V<strong>in</strong>terberg<br />
Birger Langkjær<br />
Three Colours trilogy<br />
Daniel Yacavone<br />
Three Men and a Cradle<br />
Brigitte E. Humbert<br />
three-act structure<br />
Patrick Keat<strong>in</strong>g<br />
thriller<br />
Mark All<strong>in</strong>son<br />
Carmen Herrero<br />
Geneviève Sellier<br />
Thunder <strong>in</strong> Guyana<br />
Paul Buhle
THX 1138<br />
Andrew Gordon<br />
Tian bian yi duo yun<br />
Eija Niskanen<br />
Tian Zhuangzhuang<br />
Kwai-Cheung Lo<br />
Tiananmen Square<br />
Mike Ingham<br />
time<br />
Tarja La<strong>in</strong>e<br />
Kristi McKim<br />
David Montero<br />
Todd W. Reeser<br />
Douglas Smith<br />
time and c<strong>in</strong>ema<br />
Temenuga Trifonova<br />
Time of the Wolf<br />
James Aston<br />
T<strong>in</strong>to Brass<br />
Amy R Handler<br />
Tire au flanc<br />
Jennifer Porst<br />
Titicut Follies<br />
Jillian Smith<br />
Tlaltelolco<br />
Kerry Hegarty<br />
Tokyo Chorus<br />
Kathe Geist<br />
Tokyo Story<br />
David Scott Diffrient<br />
Tom Tykwer<br />
Klemens Czyzydlo<br />
Tomándote<br />
Daniela Flesler<br />
Tomislav Gotovac<br />
Nikica Gilic<br />
Ton<strong>in</strong>o Guerra<br />
Riikka Pelo<br />
Toronto<br />
Gary M. Kramer<br />
torture<br />
Hilary Neroni<br />
torture <strong>in</strong> film<br />
Dom<strong>in</strong>ique Russell<br />
torture porn<br />
Steve Jones<br />
total c<strong>in</strong>ema<br />
Germán Gil Curiel<br />
totalitarian culture<br />
Wolfgang Beilenhoff<br />
touch<br />
Just<strong>in</strong> L. Barrett<br />
Ryan G. Hornbeck<br />
Laura McMahon<br />
tourism<br />
Alfio Leotta<br />
David Mart<strong>in</strong>-Jones<br />
Peta Mitchell<br />
Les Roberts<br />
Jane Stadler<br />
track-lay<br />
Roger Crittenden<br />
tradition<br />
Peter Brown<br />
tragedy<br />
Reni Celeste<br />
Carl Freedman<br />
tragic idealism<br />
Ken Chen<br />
transcendental style<br />
Casper Tybjerg<br />
transcultural vision<br />
Meg Johnston<br />
transculturalism<br />
Alice Burg<strong>in</strong><br />
Crist<strong>in</strong>a Johnston<br />
Isabel Santaolalla<br />
transdiegetic<br />
Krist<strong>in</strong>e Jørgensen<br />
transformation<br />
Lisa Gaughan<br />
José Luis Rodríguez<br />
Spela Zajec<br />
transgender<br />
Nick Rees-Roberts<br />
trans-generational grief<br />
Kev<strong>in</strong> Anderson<br />
transgression<br />
Asbjørn Grønstad<br />
transition<br />
Dom<strong>in</strong>ique Russell<br />
translation<br />
Lucas O’Connor<br />
Thomas Deane Tucker<br />
Pasquale Verdicchio<br />
Michelle Woods<br />
transmedia<br />
Anna Zaluczkowska<br />
transmediality<br />
Rossella Ferrari<br />
transmission of knowledge<br />
Raphaël Bassan<br />
Gérard Courant
Dom<strong>in</strong>ique Noguez<br />
'trans'modernism<br />
Jeremi Szaniawski<br />
transnational<br />
Keith Beattie<br />
Bruce Bennett<br />
Chris Berry<br />
Allan Cameron<br />
Sean Cubitt<br />
Carmen Herrero<br />
Roger Hillman<br />
Mike Ingham<br />
Abigail Keat<strong>in</strong>g<br />
Christ<strong>in</strong>a Kle<strong>in</strong><br />
Andrew McGregor<br />
Laikwan Pang<br />
Laura Podalsky<br />
Pamela Thoma<br />
transnational c<strong>in</strong>ema<br />
Sarah Barrow<br />
Tilman Baumgärtel<br />
William Brown<br />
Klemens Czyzydlo<br />
Ruth Doughty<br />
Daniel Herbert<br />
Pietari Kääpä<br />
Armida De La Garza<br />
Saër Maty Bâ<br />
Elzbieta Ostrowska<br />
Chris Perriam<br />
Aga Skrodzka<br />
Hunter Vaughan<br />
Yi Zheng<br />
transnational c<strong>in</strong>ema<br />
community<br />
Thomas Elsaesser<br />
transnational c<strong>in</strong>emas<br />
Dale Hudson<br />
Song Hwee Lim<br />
transnational communication<br />
Lee-Von Kim<br />
transnational Europe<br />
Elizabeth Ezra<br />
transnational flow<br />
Eleftheria Thanouli<br />
transnational identity<br />
David Mart<strong>in</strong>-Jones<br />
transnational stardom<br />
Brett Farmer<br />
transnational utopias<br />
Pam Cook<br />
transnationalism<br />
Rob Burns<br />
L<strong>in</strong>da Craig<br />
Rossella Ferrari<br />
Mariana Johnson<br />
Crist<strong>in</strong>a Johnston<br />
Pietari Kääpä<br />
Brian McIlroy<br />
James Wicks<br />
transnationality<br />
Elisabetta Girelli<br />
Michelle Woods<br />
transplant<br />
Ryan Prout<br />
transport<strong>in</strong>g films<br />
Ross Thorne<br />
transsexualism<br />
Todd W. Reeser<br />
transvergence<br />
Michael Goddard<br />
Transylvania<br />
Sue Harper<br />
trauma<br />
Guy Aust<strong>in</strong><br />
Carol<strong>in</strong> Overhoff Ferreira<br />
Volha Isakava<br />
Janet Walker<br />
Janet Wilson<br />
Emma Wilson<br />
trauma theory<br />
Laura Beadl<strong>in</strong>g<br />
travel<br />
Ewa Mazierska<br />
travell<strong>in</strong>g shot<br />
John Edmond<br />
travesty<br />
Lisa Gaughan<br />
trick film<br />
Leigh Mercer<br />
Tr<strong>in</strong>h Thi<br />
Sophie Bélot<br />
Tristana<br />
Gwénaëlle Le Gras<br />
Trois couleurs: Bleu/Three<br />
Colours: Blue<br />
Georg<strong>in</strong>a Evans<br />
Trouble Every Day<br />
Sebastian Scholz<br />
trucker<br />
Jerod Ra’Del Hollyfield<br />
Trueba<br />
Roger Hillman<br />
trust<br />
Kate Nash<br />
truth<br />
Ilana Gershon<br />
Ohad Landesman<br />
Joshua Malitsky<br />
Tsai M<strong>in</strong>g-liang<br />
Michelle Bloom<br />
Kenneth Chan<br />
Wai Siam Hee<br />
Song Hwee Lim<br />
Jean Ma<br />
Tsai M<strong>in</strong>g-Liang<br />
Robert Chen
Tunisia<br />
Jeffrey Ruoff<br />
Turkey<br />
Dilek Kaya Mutlu<br />
Turkish c<strong>in</strong>ema<br />
Melis Behlil<br />
N. Buket Cengiz<br />
Dilek Kaya Mutlu<br />
Kev<strong>in</strong> Smets<br />
Turkish media<br />
Nezih Erdoğan<br />
Turkish-German c<strong>in</strong>ema<br />
Roger Hillman<br />
Barış Kılıçbay<br />
TV<br />
David George<br />
TV censorship<br />
Sofia Bull<br />
tv drama<br />
John R. Cook<br />
tv history<br />
John R. Cook<br />
TV production<br />
Anne Marit Waade<br />
TV series<br />
Sofia Bull<br />
twenties<br />
Myriam Juan<br />
twentieth-century French<br />
literature<br />
Renate Günther<br />
twentieth-century Spanish<br />
<strong>in</strong>tellectual history<br />
Tatjana Pavlović<br />
Twilight Samurai<br />
Charles Shir Inouye<br />
Two Laws<br />
Faye G<strong>in</strong>sburg<br />
Jill Godmilow<br />
Bill Nichols<br />
Tykwer<br />
Alexandra Ludewig<br />
typology<br />
Kim Christian Schrøder<br />
Ud<strong>in</strong>e<br />
George Chun Han Wang<br />
Uganda<br />
Aaron Mushengyezi<br />
Ukra<strong>in</strong>ian c<strong>in</strong>ema<br />
Vitaly Chernetsky<br />
Yelena Furman<br />
Ulrich Gregor<br />
Erika Gregor<br />
D<strong>in</strong>a Iordanova<br />
ultra-modern<br />
May Adadol Ingawanij<br />
uncanny<br />
Alison Peirse<br />
Emma Radley<br />
David Sorfa<br />
uncha<strong>in</strong>ed camera<br />
Ian Roberts<br />
underground c<strong>in</strong>ema<br />
Paul G. Pickowicz<br />
une certa<strong>in</strong>e tendance du<br />
c<strong>in</strong>éma français<br />
Isabelle Gourd<strong>in</strong>-Sangouard<br />
unemployment<br />
Chantal Cornut-Gentille D'Arcy<br />
unhomel<strong>in</strong>ess<br />
Silvana Tuccio<br />
unions<br />
Dimitra Kessenides<br />
up-and-com<strong>in</strong>g directors<br />
Edward Bowen<br />
urban cultural studies<br />
Les Roberts<br />
urban cultures<br />
Ranjani Mazumdar<br />
urban history<br />
Ute Hermanns<br />
urban social issues<br />
Edward Bowen<br />
urban space<br />
Mia Carter<br />
urban studies<br />
Susan Ingram<br />
Urban studies<br />
Emanuela Guano<br />
user-generated content<br />
Andrew Williams<br />
US–Japan cultural relations<br />
Michael J. Blou<strong>in</strong><br />
USSR C<strong>in</strong>ema Association<br />
Carol<strong>in</strong>e Mo<strong>in</strong>e<br />
utopia<br />
Lúcia Nagib<br />
Jean Olivier Tchouaffe<br />
utopian landscapes<br />
Erik Hedl<strong>in</strong>g
utopian romanticism<br />
Richard Suchenski<br />
utopianism<br />
Jonathan Owen<br />
Uttam Kumar<br />
Saayan Chattopadhyay<br />
Uttar Pradesh<br />
Suzanne L. Schulz<br />
valuation<br />
Monika Farukuoye<br />
values<br />
Olivia Khoo<br />
vampire<br />
Alison Peirse<br />
vampire films<br />
Rochelle Wright<br />
vanguard and film<br />
Lee Williams<br />
Vargas era<br />
Lisa Shaw<br />
Vasyl' Stefanyk<br />
Vitaly Chernetsky<br />
vehicle<br />
John Edmond<br />
Venezuela<br />
Mike Wayne<br />
ventriloquic<br />
Trish FitzSimons<br />
ventriloquists<br />
Chu-Li Shewr<strong>in</strong>g<br />
Ventura Pons<br />
Sally Faulkner<br />
Vergangenheitsbewältigung<br />
Alexandra Ludewig<br />
verisimilitude<br />
Debra Beattie<br />
vernacular c<strong>in</strong>ema<br />
Jeroen de Kloet<br />
vernacular concepts<br />
Mart<strong>in</strong> Barker<br />
Ernest Mathijs<br />
Vertigo<br />
David Montero<br />
Viacheslav Ivanov<br />
Robert Bird<br />
Vicente Aranda<br />
Sally Faulkner<br />
Christiane Passevant<br />
Vichy France<br />
G<strong>in</strong>ette V<strong>in</strong>cendeau<br />
Victor Erice<br />
Alberto Elena Díaz<br />
Víctor Erice<br />
Daniel O'Brien<br />
Victorian studies<br />
Coste Bénédicte<br />
video<br />
Gbemisola Adeoti<br />
Keith Beattie<br />
Steven Maras<br />
Eiv<strong>in</strong>d Røssaak<br />
Duncan White<br />
Video Documentary Lab<br />
Marco Bertozzi<br />
video game sound<br />
Rob Bridgett<br />
video game theory<br />
Terence McSweeney<br />
video games<br />
Michael Leader<br />
video games music<br />
Karen Coll<strong>in</strong>s<br />
video halls<br />
Laurian Kipeja<br />
video technologies<br />
Sergi Mesonero Burgos<br />
video-film<br />
John C. McCall<br />
Videogramme e<strong>in</strong>er Revolution<br />
Esther Leslie<br />
video-parlor<br />
Onookome Okome<br />
Vietnam<br />
Scott Brook<br />
Srilata Ravi<br />
vigilante justice<br />
Helena Goscilo<br />
Viktor Deni<br />
Lora Wheeler Mjolsness<br />
Vilgot Sjöman<br />
Anders Wilhelm Aberg<br />
villa<strong>in</strong>y<br />
Aaron Taylor<br />
violence<br />
Robert Burgoyne<br />
Yelena Furman<br />
Jane Hanley<br />
Ute Hermanns
Jason E Klodt<br />
Rajiv Kannan Menon<br />
Mart<strong>in</strong> O'Shaughnessy<br />
Bland<strong>in</strong>e Stefanson<br />
Kenneth Paul Tan<br />
Amit Thakkar<br />
Janet Wilson<br />
Barbara Zecchi<br />
violent crime<br />
Kar<strong>in</strong> Ljusl<strong>in</strong>der<br />
Jurga Mataityte-Dirziene<br />
Lisbeth Morlandstø<br />
virg<strong>in</strong>ity<br />
Robert J. Miles<br />
Viridiana<br />
José Luis Rodríguez<br />
virtual<br />
Just<strong>in</strong> L. Barrett<br />
Ryan G. Hornbeck<br />
virtual reality<br />
Debra Beattie<br />
Alexia Bowler<br />
visions<br />
John Hughes<br />
Visions of Johanna<br />
Ian Garwood<br />
visual<br />
Geoffrey Cox<br />
visual culture<br />
Laura Beadl<strong>in</strong>g<br />
Andrew Burke<br />
Emanuela Guano<br />
Vivian Lee<br />
Sunil Manghani<br />
Kate E Taylor<br />
Elizabeth Walden<br />
visual depiction of the masses<br />
Paola Margulis<br />
visual effects<br />
Dan North<br />
visual perception<br />
Till Förster<br />
visual representation<br />
Sebastian Scholz<br />
visual storytell<strong>in</strong>g<br />
J. J. Murphy<br />
visual style<br />
Jakob Isak Nielsen<br />
Jennifer Porst<br />
visuality<br />
Rey Chow<br />
Monika Farukuoye<br />
Vit Klusak<br />
Roderick Coover<br />
Vogler<br />
Helen Jacey<br />
voice<br />
Trish FitzSimons<br />
Liz Greene<br />
Berber Hagedoorn<br />
Victoria Lowe<br />
Joseph Mai<br />
Lee Parpart<br />
voice of documentary<br />
Wolfgang Beilenhoff<br />
voices<br />
Daniel Deshays<br />
volcanoes<br />
Pascale De Souza<br />
Von Trotta<br />
Chris Homewood<br />
Waati (1995)<br />
Rachael Langford<br />
Wales<br />
Daniel Garrett<br />
Graeme Harper<br />
Wallander<br />
Anne Marit Waade<br />
Walter Benjam<strong>in</strong><br />
Carl Cassegard<br />
Susan Larson<br />
Jillian Smith<br />
Walter Rodney<br />
Paul Buhle<br />
Walter Salles<br />
Lúcia Nagib<br />
Victoria Ruétalo<br />
wander<strong>in</strong>g<br />
Joe Hardwick<br />
war<br />
Ken Chen<br />
Nicholas J. Cull<br />
Carol<strong>in</strong> Overhoff Ferreira<br />
Thomas Riegler<br />
Grace Russo Bullaro<br />
Julian Ward<br />
Susan We<strong>in</strong>er<br />
war film<br />
Robert Burgoyne<br />
war films<br />
Jeremy Hicks<br />
war of position<br />
Mauro Sassi<br />
web 2.0<br />
Bjørn Sørenssen<br />
Web 2.0<br />
Stefano Odorico<br />
web media<br />
Henrik Jensen<br />
Anker Br<strong>in</strong>k Lund
website<br />
Niels Brügger<br />
Weimar Expressionism<br />
Ian Roberts<br />
welfare state<br />
Daniel Brodén<br />
Erik Hedl<strong>in</strong>g<br />
Welsh culture<br />
Graeme Harper<br />
Wenders<br />
John E. Davidson<br />
Werckmeister Harmonies<br />
Steven Marchant<br />
Werner Herzog<br />
Brad Prager<br />
West African literature<br />
Karen Remedios<br />
Western<br />
Cécile Sor<strong>in</strong><br />
What Did the Lady Forget?<br />
Kathe Geist<br />
white women<br />
Tanya Dalziell<br />
whiteness<br />
Alice Bardan<br />
Benjam<strong>in</strong> Miller<br />
Mark Straw<br />
widescreen films<br />
James H Krukones<br />
Wild Side<br />
Todd W. Reeser<br />
William Fox<br />
David Scott Diffrient<br />
William Gibson<br />
Carl Cassegard<br />
Wiseman<br />
Brian W<strong>in</strong>ston<br />
witness<strong>in</strong>g<br />
Friedman Rég<strong>in</strong>e-Mihal<br />
Wittig<br />
Renate Günther<br />
WNET<br />
Brian W<strong>in</strong>ston<br />
Wolfgang Becker<br />
Matthias Uecker<br />
Wolfgang Murnberger<br />
Reg<strong>in</strong>a Standún<br />
women<br />
Sonora Jha<br />
Sarah Leahy<br />
Glenda Mejía<br />
Graciela Michelotti<br />
Nathalie Morris<br />
Brigitte Rollet<br />
Bel<strong>in</strong>da Smaill<br />
Kate E Taylor<br />
Silvana Tuccio<br />
women film-makers<br />
Sarah Perks<br />
women <strong>in</strong> c<strong>in</strong>ema<br />
Anke Brouwers<br />
women studies<br />
Shahnaz Khan<br />
women writers<br />
Srilata Ravi<br />
Emma Wilson<br />
women's c<strong>in</strong>ema<br />
Elisa Costa-Villaverde<br />
Kate Ince<br />
Núria Triana-Toribio<br />
women's film<br />
Joshua First<br />
Cather<strong>in</strong>e Wheatley<br />
women's health<br />
Surabhi Sharma<br />
womens literature<br />
Laura Beadl<strong>in</strong>g<br />
women's literature<br />
Pamela Thoma<br />
womens studies<br />
Laura Beadl<strong>in</strong>g<br />
women's studies<br />
Carolyn A. Durham<br />
Ingeborg Majer-O’Sickey<br />
women's voices<br />
Wendy Everett<br />
women-writers<br />
Clarissa Clò<br />
Wong Kar-wai<br />
Carl Cassegard<br />
Ludmila Moreira Macedo de<br />
Carvalho<br />
Wong Kar-Wai<br />
Frank P. Tomasulo<br />
word and image<br />
Nariman Skakov<br />
work<strong>in</strong>g class<br />
Bert Hogenkamp<br />
Work<strong>in</strong>g Girl<br />
Wenchi L<strong>in</strong><br />
Work<strong>in</strong>g Peoples Alliance<br />
Paul Buhle
work<strong>in</strong>g-class history<br />
Steven J. Ross<br />
workshop movement<br />
Tobias Hochscherf<br />
James Leggott<br />
world c<strong>in</strong>ema<br />
May Adadol Ingawanij<br />
William Brown<br />
David Mart<strong>in</strong>-Jones<br />
Sharon L<strong>in</strong> Tay<br />
World c<strong>in</strong>ema<br />
Eleftheria Thanouli<br />
World literatures <strong>in</strong> English<br />
Alka Kurian<br />
World Trade Organization<br />
(WTO)<br />
Richard Edwards<br />
World War I<br />
Kev<strong>in</strong> Anderson<br />
World War II<br />
Brett Bowles<br />
Stella Hockenhull<br />
Mark Jancovich<br />
Liew Kai Khiun<br />
worthwhileness<br />
Kim Christian Schrøder<br />
Wortmann<br />
Alexandra Ludewig<br />
wrestl<strong>in</strong>g films<br />
Evan Lieberman<br />
writer<br />
Stephanie Dickison<br />
writer-director<br />
Patrick McGilligan<br />
writer-director relationship<br />
Riikka Pelo<br />
writ<strong>in</strong>g<br />
Duncan White<br />
writ<strong>in</strong>g credit<br />
Susan Rogers<br />
writ<strong>in</strong>g for performance<br />
Garry Lyons<br />
writ<strong>in</strong>g for television<br />
Adam Ganz<br />
wuxia (martial arts genre)<br />
Yi Zheng<br />
Y aura-t-il de la neige à Noël?<br />
Florian Grandena<br />
Yaaba<br />
Marie-Magdele<strong>in</strong>e Chirol<br />
Yamada Yji<br />
Charles Shir Inouye<br />
Yam<strong>in</strong>a Benguigui<br />
Leslie Kealhofer<br />
Yeelen (1987)<br />
Rachael Langford<br />
Yoruba<br />
Gbemisola Adeoti<br />
young German c<strong>in</strong>ema<br />
Claudia Pummer<br />
young readers<br />
Annika Bergstrom<br />
young talent<br />
Edward Bowen<br />
Yousef Chah<strong>in</strong>e<br />
Omar Hassan<br />
youth and technology<br />
Nishant Shah<br />
youth culture<br />
Kerry Hegarty<br />
youth cultures<br />
Clarissa Clò<br />
youth subculture<br />
G<strong>in</strong>a Marchetti<br />
Youth Without Youth<br />
Gustavo Costant<strong>in</strong>i<br />
YouTube<br />
Charles Musser<br />
Niamh Thornton<br />
Ystad<br />
Anne Marit Waade<br />
Yugoslav c<strong>in</strong>ema<br />
Greg DeCuir, Jr.<br />
Yugoslavia<br />
Allyson Fiddler<br />
Yukong<br />
Sun Hongyun<br />
Zabriskie Po<strong>in</strong>t<br />
Nikolaj Lübecker<br />
Zach Orji<br />
Brian Lark<strong>in</strong><br />
Zhang Yimou<br />
Evans Chan<br />
Robert Chen<br />
Wendy Larson<br />
Ma N<strong>in</strong>g<br />
Huang Yiju
Zimbabwe<br />
Urther Rwafa<br />
Zimbabwean music <strong>in</strong>dustry<br />
Nhamo Anthony Mhiripiri<br />
Zionism<br />
Haim Bresheeth<br />
Žižek<br />
C. David Bertol<strong>in</strong>i<br />
Mart<strong>in</strong> O'Shaughnessy<br />
Zola<br />
Kate Griffiths<br />
Susan Hayward<br />
zoom <strong>in</strong> popular c<strong>in</strong>ema<br />
Paul Willeman<br />
Zurich<br />
Davide Caputo