EDITED BY LISA PATTI
Image: "Better than Ever" (detail), Nicholas H. Ruth, 2017
Jaimie Baron is an Associate Professor of Film Studies at the University of Alberta. Her first book, The Archive Effect: Found Footage and the Audiovisual Experience of History, was published in 2014. She is currently working on a new book entitled Misuse: The Ethics of Audiovisual Appropriation in the Digital Era. She is the founder, director, and co-curator of the Festival of (In)appropriation, a yearly international festival of short experimental found footage films and videos. She is also a co-founder of Docalogue, an online space for scholars and filmmakers to engage in conversations about contemporary documentary, soon to also be a book series published by Routledge Press.
Christine Becker is an Associate Professor in the Department of Film, Television, and Theatre at the University of Notre Dame specializing in film and television history and critical analysis. Her book It’s the Pictures That Got Small: Hollywood Film Stars on 1950s Television (Wesleyan University Press, 2009) won the 2011 IAMHIST Michael Nelson Prize for a Work in
Media and History. She is currently working on a research project exploring issues of cultural taste in contemporary American and British television. She is also a co-host and co-producer of Aca-Media, the official podcast for the Society for Cinema and Media Studies.
Lauren S. Berliner is an Associate Professor at University of Washington Bothell where she teaches in the Media & Communication and Cultural Studies programs. She is the author of Producing Queer Youth: The Paradox of Digital Media Empowerment (Routledge, 2018) and co-editor (with Ron Krabill) of Feminist Interventions in Participatory Media: Pedagogy, Publics,
Practice (Routledge, 2018). She is also a co-curator of The Festival of (In)Appropriation, an annual showcase of experimental films.
Nilanjana Bhattacharjya is an Honors Faculty Fellow and Senior Lecturer at Barrett, the Honors College at Arizona State University in Tempe. Her research focuses on the relationship between music and narrative in popular Hindi films, as well as on how music helps define identity in South Asian diasporic locations. Her writing has appeared in the journals Framework: The Journal of Cinema and Media, South Asian Popular Culture, Asian Music, and
South Asian History and Culture, as well as in the edited volumes From Bombay to Bollywood: Tracking Cinematic and Musical Tours (Minnesota, 2008) and South Asian Transnationalisms: Cultural Exchange in the Twentieth Century (Routledge, 2012).
Bronwyn Coate is a cultural economist and Senior Lecturer in the School of Economics, Finance and Marketing at RMIT University with expertise in the economic analysis of the arts and creative industries. She applies a range of economic and econometric techniques to cultural data and works with multidisciplinary teams to develop innovative approaches and
techniques that are data driven and empirically based. Bronwyn is a member of the Kinomatics Project.
Beth Corzo-Duchardt holds a PhD in Screen Cultures from Northwestern University and has taught media studies and gender studies courses at Northwestern University, DePaul University, Muhlenberg College, and Lafayette College. She is currently working on two book projects related to screen media. The first, Primal Screen: Primitivism and American Silent
Film Spectatorship, investigates how popular ideas about the early cinema’s universal appeal were shaped by colonialist and primitivist discourses. The second is a media history of outdoor advertising in North America that aims to provide crucial historical context for understanding contemporary multi-media outdoor landscapes.
Lauren McLeod Cramer is an Assistant Professor in the Cinema Studies Institute at the University of Toronto. Her current research project, “A Hip-Hop Joint: The Architecture of Blackness,” uses architectural design to theorize about hip-hop’s “joints,” the points of articulation between the aesthetics of Blackness and visual culture. Lauren is a founding
member of liquid blackness, a research collective and peer-reviewed journal focused on Blackness and aesthetics, and currently serves on its Editorial Board. Her writing has appeared in The Black Scholar, Black Camera, Film Criticism, liquid blackness, and In Media Res.
Glyn Davis is Reader in Screen Studies at the University of Edinburgh. He is the co-editor, with Gary Needham, of Warhol in Ten Takes (BFI, 2013) and the co-author, with Kay Dickinson, Lisa Patti, and Amy Villarejo, of Film Studies: A Global Introduction (Routledge, 2015). His writing has been published in journals including Aniki, Cinema Journal, MIRAJ, and Screen.
From 2016 to 2019, Glyn was the Project Leader of “Cruising the 1970s: Unearthing Pre-HIV/AIDS Sexual Cultures,” a pan-European queer history project funded by HERA (www.crusev.ed.ac.uk).
Nick Davis is Associate Professor of English and Gender & Sexuality Studies at Northwestern University, with a courtesy appointment in Radio/TV/Film. His book The Desiring-Image (Oxford University Press, 2013) developed new aesthetic and theoretical paradigms for contemporary queer cinema, drawing heavily on Deleuzian philosophies of cinema, desire, and collective formations. He has published additional essays on work by James Baldwin,
Leos Carax, David Cronenberg, Alfonso Cuarón, Julie Dash, John Cameron Mitchell, and the actresses Julie Christie and Vanessa Redgrave, and is developing a new book project based on movies produced and released in the year 1999. He is currently a Contributing Editor at Film Comment Magazine and writes the film reviews at www.Nick-Davis.com.
Allyson Nadia Field is Associate Professor of Cinema and Media Studies at The University of Chicago. A scholar of African American cinema, her work combines archival research with concerns of film form, media theory, and broader cultural questions of representation across periods and practices. She is the author of Uplift Cinema: The Emergence of African
American Film and the Possibility of Black Modernity (Duke University Press, 2015) and co-editor with Jan-Christopher Horak and Jacqueline Stewart of L.A. Rebellion: Creating a New Black Cinema (University of California Press, 2015). With Marsha Gordon, she is the co-editor of Screening Race in American Nontheatrical Film (Duke University Press, 2019).
Terri Francis directs the Black Film Center/Archive at Indiana University, Bloomington. Her interview with transformative lesbian filmmaker Cheryl Dunye appears in the 2018 winter issue of Film Quarterly. She guest edited a close-up on Afrosurrealism in film and video for the 2013 fall issue of Black Camera. In 2011, Francis published her study of Jamaican nontheatrical
films in “Sounding the Nation: Martin Rennalls and the Jamaica Film Unit,1951– 1961” in Film History. Her book The Cinematic Prism of Josephine Baker, a study of how the entertainer used humor to master her precarity, is forthcoming from Indiana University Press. Francis’s film commentary can be found on NPR, in the Chicago Tribune, and in The Guardian.
Tejaswini Ganti is Associate Professor in the Department of Anthropology and core faculty in the Program in Culture & Media at New York University. A cultural and visual anthropologist specializing in South Asia, her research and teaching interests include anthropology of media, Indian cinema, media industries, production cultures, visual culture, neoliberalism and globalization. She has been conducting ethnographic research about the social world and filmmaking practices of the Hindi film industry since 1996 and is the author of Producing Bollywood: Inside the Contemporary Hindi Film Industry (Duke University Press 2012) and Bollywood: A Guidebook to Popular Hindi Cinema (Routledge 2004; 2nd edition 2013). Her current research examines the politics of language and translation within the Bombay film
industry; the formalization and professionalization of film training through film schools in India; and a social history of Indian cinema in the U.S.
Chiara Grizzaffi is adjunct faculty at Università IULM, in Milan, where she obtained her PhD in 2015. Her book on video essays, I film attraverso I film. Dal “testo introvabile” ai video essay was published in 2017 by Mimesis; her essays have appeared in journals such as Bianco e Nero and Cinergie, and in books such as Critofilm. Cinema che pensa il cinema, edited by Adriano Aprà (2016), and Harun Farocki. Pensare con gli occhi, edited by Luisella Farinotti and Barbara Grespi (2017). She is co-editor of [in]Transition, and member of the editorial staffs of Cinergie and L’avventura.
Katherine Groo is an Assistant Professor of Film and Media Studies at Lafayette College. Her essays have appeared in Discourse, Cinema Journal, Framework, and Frames as well as several edited collections. She is coeditor of New Silent Cinema (Routledge/AFI, 2015) and author of Bad Film Histories: Ethnography and the Early Archive (University of Minnesota
Dale Hudson is an associate professor of Film and New Media at New York University Abu Dhabi and digital curator for the Finger Lakes Environmental Film Festival (FLEFF). His research examines film and digital media, globalization, migration, and environmentalism, particularly in relation to the Middle East, South Asia, and North America. He is author
of Vampires, Race, and Transnational Hollywoods (Edinburgh, 2017) and coauthor
with Patricia R. Zimmermann of Thinking through Digital Media:Transnational Environments and Locative Places (Palgrave Macmillan, 2015). His essays and other writings appear in Afterimage, American Quarterly, Cinema Journal, Film Quarterly, French Cultural Studies, Immerse, Jadaliyya, Screen, Studies in Documentary Film, and other journals and anthologies.
Henry Jenkins is the Provost's Professor of Communication, Journalism, Cinematic Art, and Education at the University of Southern California and the founder and former co-director of the MIT Comparative Media Studies Program. He blogs at henryjenkins.org, and he is the co-host of the podcast, How Do You Like It So Far? He has written or edited more than 20 books on various aspects of media and cultural studies, including Textual Poachers: Television Fans and Participatory Culture (Routledge,1992), Convergence Culture: Where Old and New Media Collide (New York University Press, 2006), Spreadable Media: Creating Meaning and Value in
a Networked Society (New York University Press, 2013), By Any Media Necessary: The New Youth Activists (New York University Press, 2016), and the forthcoming Popular Culture and the Civic Imagination: Case Studies of Creative Social Change.
Derek Johnson is Professor of Media and Cultural Studies in the Department of Communication Arts at the University of Wisconsin-Madison. He is the author of Transgenerational Media Industries: Adults, Children, and the Reproduction of Culture (University of Michigan Press, 2019) as well as Media Franchising: Creative License and Collaboration in the Culture Industries (New York University Press, 2013).
Olivia Khoo is Associate Professor in Film and Screen Studies at Monash University, Australia. She is the author of The Chinese Exotic: Modern Diasporic Femininity (Hong Kong University Press, 2007), and co-author (with Belinda Smaill and Audrey Yue) of Transnational Australian Cinema: Ethics in the Asian Diasporas (Lexington, 2013).
Alicia Kozma is Assistant Professor of Communication and Media Studies at Washington College. Her research focuses on women’s labor in the entertainment industries. Her recent project documents women’s labor across the neo-art house movement, alongside a book manuscript that examines the links between Hollywood’s historical and contemporary
hiring and employment practices and their impact on institutionalized gendered labor disparities. Dr. Kozma’s recent work has been published in Television & New Media, Camera Obscura, and Film Comment. She is the series editor of New Histories of Women in Entertainment (Peter Lang) and the editor of ReFocus: The Films of Doris Wishman (U of Edinburgh).
Virginia Kuhn is a Professor in the USC School of Cinematic Arts. Her work centers on visual and digital rhetoric, feminist theory, and algorithmic research methods. She leads the Video Analysis Tableau project, a tool that uses machine-reading algorithms to facilitate research with video archives. Kuhn defended a media-rich digital dissertation in 2005, and has since published several collections of peer reviewed digital scholarship. Kuhn serves on the editorial boards of several journals and directs a graduate certificate in Digital Media + Culture and an undergraduate multimedia Honors program.
S. Heijin Lee is Assistant Professor of Social and Cultural Analysis at New York University. Lee is co-editor of Fashion and Beauty in the Time of Asia (NYU Press, 2019) and Pop Empires: Transnational and Diasporic Flows of India and Korea (University of Hawai'i Press, 2019) as well as author of The Geopolitics of Beauty: Transnational Circulations of Plastic Surgery, Pop,
and Pleasure (forthcoming). Lee has been featured on National Public Radio’s Code Switch as well as The Korea Society's “K-Pop 101” Series.
Alice Leppert is Assistant Professor of Media and Communication Studies at Ursinus College. Her work has appeared in Television and New Media, Cinema Journal, Celebrity Studies, and Genders and in several edited collections. She serves as the book review editor for Film Criticism, and her first book, TV Family Values: Gender, Domestic Labor, and 1980s Sitcoms is
forthcoming from Rutgers University Press.
Ramon Lobato is Senior Research Fellow in the School of Media and Communication at RMIT University, Melbourne. His books include Shadow Economies of Cinema (BFI, 2012), The Informal Media Economy (Polity, 2015), Geoblocking and Global Video Culture (INC, 2016) and Netflix Nations (NYU Press, 2019).
Jennifer Malkowski is an Assistant Professor of Film and Media Studies at Smith College. They are the author of Dying in Full Detail: Mortality and Digital Documentary (Duke University Press, 2017) and the co-editor of Gaming Representation: Race, Gender, and Sexuality in Video Games (Indiana University Press, 2017). Their work has also been published in Cinema Journal, Jump Cut, Film Quarterly, and the edited collections Queers in American Popular Culture, Unwatchable, and A Tumblr Book: Platform and Cultures.
Tijana Mamula is a film scholar, filmmaker, and translator. She is currently engaged in a second, practice-based doctorate at Newcastle University, exploring the ways in which literary adaptation might be conceived and produced as a mode of film theory. She is the author of Cinema and Language Loss: Displacement, Visuality and the Filmic Image (Routledge, 2013)
and co-editor, with Lisa Patti, of The Multilingual Screen: New Reflections on Cinema and Linguistic Difference (Bloomsbury, 2016).
Monika Mehta is Associate Professor of English at State University of New York, Binghamton. Her research and teaching interests include new media and film studies; cinema in South Asia; theories of nation-state; feminist studies; postcolonial critique; and globalization and cultural production. She is the author of Censorship and Sexuality in Bombay Cinema (University of Texas Press, 2011; Permanent Black, 2012). Her articles and chapters examining trans/national film regulation; globalization and cultural production in India; DVD compilations; music awards; cinephilia; and authorship have appeared in journals such as The Velvet Light Trap, Studies in South Asian Film and Media, South Asian Popular Culture as well as edited collections such as Global Bollywood: Travels of Hindi Song and Dance, Music in Contemporary Indian Film, and Postcolonial Studies Meets Media Studies. Her co-edited collection, Pop Empires: Transnational and Diasporic Flows of Korea and India (University of Hawai’i Press) is forthcoming.
Jeffrey Middents is Associate Professor of Literature at American University in Washington, DC, where he studies and teaches film and world literature. His book, Writing National Cinema: Film Journals and Film Culture in Peru (UPNE, 2009) investigates the historical place of cultural writing within a national discourse by tracing how Peruvian cinema was shaped by local film criticism. He has also published essays – in print and video versions – on a variety of other topics, including documentary aesthetics in the work of Chilean filmmaker Patricio Guzmán, Peruvian director Luis Llosa’s films made under producer Roger Corman, the sense of place in contemporary Latin American cinema, movie stardom and “the indigenous” in the works of Dolores del Rio and Magaly Solier, and the pedagogy of teaching “world cinema.” He is currently working on a monograph on transnational auteurism and the work of Alfonso Cuarón.
Jasmine Mitchell is an Assistant Professor of American Studies at the State University of New York-Old Westbury. She holds a PhD in American Studies from the University of Minnesota. Professor Mitchell’s research focuses on transnational constructions of race, gender, sexuality, and national identity in U.S. and Brazilian media. Her book, Imagining the Mulatta: Blackness in U.S. and Brazilian Media is forthcoming from University of Illinois Press.
Rahul Mukherjee has been researching and teaching about environmental media and global media at University of Pennsylvania. He has been part of two collaborative projects, one concerned with circulation of local music videos through memory cards in India and the other dealing with ICT (platform jumping) practices in Zambia. He is presently working on two book projects: one concerned with mediations of radiation emitting technologies and their environmental impact titled Radiant Infrastructures: Media, Environment, and Cultures of Uncertainty (forthcoming, Duke University Press) and the other about aspirational mobilities unleashed by mobile media technologies called (Un)Limited India: Memory Card, WhatsApp,
and Jio. During 2017–2018, Rahul was at Cornell University's Society for the Humanities as the Atkinson Center for a Sustainable Future Fellow. He is part of the editorial board of the Journal of Visual Culture.
TreaAndrea M. Russworm, an Associate Professor of English at the University of Massachusetts, Amherst, teaches classes on video games, digital cultural studies, and African American popular culture. She is the author of Blackness is Burning: Civil Rights, Popular Culture, and the Problem of Recognition (Wayne State University Press, 2016) and a co-editor of From Madea to Media Mogul: Theorizing Tyler Perry (University of Mississippi Press, 2016) and Gaming Representation: Race, Gender, and Sexuality in Video Games (Indiana University Press, 2017). She is currently writing a fourth book on race, technology, and the politics of play.
Leah Shafer is Associate Professor in the Media and Society Program at Hobart and William Smith Colleges. Her criticism appears in: FLOW: A Critical Forum on Television and Media Culture, Film Criticism, The Journal of Interactive Technology and Pedagogy, and Cinema Journal Teaching Dossier. She has published in anthologies including The 25 Sitcoms that Changed Television: From I Love Lucy to Modern Family and Feminist Interventions in Digital Pedagogy. A scholar/artist, she was awarded a residency with media art collaborative Signal Culture and her experimental documentary Declaration of Sentiments Wesleyan Chapel was screened in the Finger Lakes Environmental Film Festival.
Kirsten Stevens is Lecturer in Arts and Cultural Management at the University of Melbourne. Her research explores film festivals and film culture events with particular interests in the impacts of digital technology and the infl uence of festivals within national screen industries. She is the author of Australian Film Festivals: Audience, Place and Exhibition Culture
(Palgrave Macmillan, 2016) and has taught extensively in screen and media studies. She is deputy director of the Melbourne Women in Film Festival and Vice President of Senses of Cinema journal.
Jasmine Nadua Trice is an Assistant Professor of Cinema and Media Studies at the University of California, Los Angeles, where she researches and teaches on Asian cinemas,
transnational media, urban film cultures, and exhibition and moviegoing. Her book, Speculative Publics: Cinema Circulation and Alternative Film Culture in Manila, Philippines, is under contract with Duke University Press. From 2016– 2018, she was Co-Investigator of the
“Southeast Asian Cinemas Research Network (SEACRN): Promoting Dialogue Across Critical and Creative Practice,” funded through the Arts and Humanities Research Council. Her academic work has been published in Asian Cinema, the International Journal of Cultural Studies, the Quarterly Review of Film and Video, Feminist Media Studies, Projector: Journal of Media and Culture, and Feminist Media Histories. Her research has been funded through the American Association for University Women, the Asian Cultural Council, and the Hellman Fellows.
Deb Verhoeven is Canada 150 Research Chair in Gender and Cultural Informatics at the University of Alberta. She is Director of the Kinomatics Project.
Carol Vernallis teaches at Stanford University. Her books include Experiencing Music Video: Aesthetics and Cultural Context (Columbia University Press, 2004) and Unruly Media: YouTube, Music Video, and the New Digital Cinema (Oxford University Press, 2013), as well as two co-edited handbooks on contemporary audiovisual aesthetics, The Oxford Handbook of
New Audiovisual Aesthetics and The Oxford Handbook of Sound and Image in Digital Media (Oxford University Press, 2013). Her articles have appeared in American Music, Cinema Journal, The Journal of Popular Music Studies, Journal of the Society for American Music, Music Sound and the Moving Image, Popular Music, the Quarterly Review of Film and Video, and Screen.
Holly Willis is a Research Professor in the School of Cinematic Arts at the University of Southern California where she served as the founding chair of the Media Arts + Practice division. She teaches courses on new and emerging media forms, especially as they relate to moving-image storytelling. She is the author of Fast Forward: The Future(s) of the Cinematic
Arts and New Digital Cinema: Reinventing the Moving Image, as well the editor of The New Ecology of Things, a collection of essays about ubiquitous computing. The co-founder of Filmmaker Magazine, dedicated to independent film, she served as the editor of RES Magazine and co-curator of RESFEST, a festival of experimental media, for several years, and
she writes frequently for diverse publications about experimental film, video, new media and creative nonfiction. Her work has appeared in publications as diverse as Film Comment, Afterimage, ArtWeek, Variety, and The Normal School.
Julie Wilson is Associate Professor of Communication Arts and Community and Justice Studies at Allegheny College where she teaches courses in media and cultural studies. She is co-author, with Emily Chivers Yochim, of Mothering through Precarity: Women’s Work and Digital Media (Duke University Press, 2017). Julie is also author of Neoliberalism (Routledge,
2017) and has published articles in numerous journals including Cinema Journal, Cultural Studies, Television and New Media, and Celebrity Studies.
Kyle Wrather is a PhD Candidate at the University of Texas at Austin in the Department of Radio-Television-Film. He holds a BA in English and BA in Communication with a focus on journalism and a minor in broadcasting from Mississippi State University. His MA thesis at Georgia State University examined regulation modalities of network neutrality. His research interests include podcasting and the intersection of media industries and new technologies.
Fan Yang is an Associate Professor in the Department of Media and Communication
Studies at the University of Maryland, Baltimore County (UMBC). She is the author of Faked in China: Nation Branding, Counterfeit Culture, and Globalization (Indiana University Press, 2016). Yang works at the intersection of transnational media studies, globalization and communication, postcolonial studies, and contemporary China. Her scholarship on cultural studies and global China, transnational media culture, and urban visual culture has appeared in Critical Studies in Media Communication, Theory, Culture & Society, positions: asia critique, Journal of Asian American Studies, Quarterly Review of Film and Video, and Verge: Studies in Global Asias, among others. She is working on a new book that examines the growing number of transnational media artifacts that bring the imaginary amalgamation of China and America – or “ Chimerica” – into being.
Emily Chivers Yochim is Associate Professor of Communication Arts and Women’s, Gender, and Sexuality Studies at Allegheny College where she teaches courses in media and cultural studies. She is co-author, with Julie Wilson, of Mothering through Precarity: Women’s Work and Digital Media (Duke University Press, 2017). Emily is also author of Skate Life: Re-Imagining White Masculinity (University of Michigan Digital Culture Books) and has
published articles in numerous journals including Cultural Studies, Communication
and Critical/Cultural Studies, and The Sociology of Sport Journal.
Patricia R. Zimmermann is Professor of Screen Studies in the Roy H. Park School of Communications at Ithaca College and Codirector of the Finger Lakes Environmental Film Festival (FLEFF). Her most recent books exploring new media, independent film and video history, and experimental and documentary theory include Thinking Through Digital Media: Transnational Environments and Locative Places with Dale Hudson (Palgrave Macmillan,
2015); Open Spaces: Openings, Closings, and Thresholds of Independent Public Media (University of St. Andrews, 2016); The Flaherty: Decades in the Cause of Independent Film with Scott MacDonald (Indiana University Press, 2017); and Open Space New Media Documentary: A Toolkit for Theory and Practice with Helen De Michiel (Routledge, 2018).