Khaled Abdulwahed, born 1975 in Syria, is an artist, photographer and filmmaker based in Leipzig. Between 1996 and 2000 he studied Fine Arts and Graphic Design at Adham Ismail art school in Damascus / Syria, and at Frederick University in Nicosia / Cyprus. Between 2002 and 2008 he exhibited his artworks in art spaces and galleries in the Middle East and Europe. Between 2011 and 2015 Khaled Abdulwahed directed and produced the three video artworks Bullet (2011), Tuj (2012) and Slot In Memory (2013) which were amongst others screened at Berlin Art Biennale, Centre Georges Pompidou, Impakt Festival in Utrecht and by ARTE. In 2015 Khaled was invited to Berlinale Talents / DOC Station for his first feature length experimental documentary Jellyfish. The film was selected for Berlinale Forum, 2016. In 2017 he participated with other artists and filmmakers in the SPOTS campaign for the “Tribunal Unraveling the NSU complex”.

Anthony Adah is a Professor of Film Studies at Minnesota State University Moorhead, USA. His teaching and research areas are African cinemas and Indigenous filmmaking in Australia, Canada, and Aotearoa/New Zealand. He has published in PostScript, Film Criticism, Intellectbook’s Journal of Media and Cultural Politics. He is a current U.S. Fulbright Scholar at Pan-Atlantic University, Lagos, Nigeria, where he is editing a volume on the Family in African Film and Media at the Nollywood Studies Center.

My filmmaking practice is situated in relation to an ongoing interest in excavating marginal histories from the conflict in Ireland and exploring how their ongoing legacies ‘haunt’ the present. I have made short documentary work that has been screened at festivals and galleries in Britain and abroad. My short films have been broadcast on CH4, FIVE and ITV London. Recently, I received an AHRC technē scholarship for part-time PhD study at the University of Brighton. I also work as a part-time senior lecturer at the University for the Creative Arts on the BA Film Production.

Añulika Agina is a Senior Lecturer in media studies at the Pan-Atlantic University, Lagos and a postdoctoral research fellow on an ERC-funded African Screen Worlds project at SOAS, University of London, where she researches the Nigerian film industry as well as historical and contemporary cinema audiences. She is currently co-editing a book on African Screen Worlds: Decolonising Film and Screen Studies.

Angela J. Aguayo is Associate Professor in the Department of Media and Cinema Studies and Dean’s Fellow in the College of Media at the University of Illinois, Urbana-Champaign. She is a scholar-media artist specializing in participatory and engaged cinema. Her most recent book, Documentary Resistance: Social Change and Participatory Media (Oxford University Press, 2019) investigates the political impact and democratic possibilities of engaged production practice. Aguayo is an award-winning writer, director, and producer of documentary shorts utilized in community engagement campaigns, screening at festivals and museums around the world.

Neta Alexander is Assistant Professor of Film and Media at Colgate University, New York, and an Assistant Editor at JCMS: Journal of Cinema and Media Studies. She has published articles in Cinema Journal, Film Quarterly, Media Fields Journal, and Flow Journal, among other publications. Her first book, Failure (2020; cowritten with Arjun Appadurai), studies how Silicon Valley and Wall Street monetize failure and forgetfulness.

Ra’anan Alexandrowicz is a filmmaker, writer, and teacher. His work on Israel and Palestine has challenged political and formal conventions and premiered at venues such as Sundance, Berlin, and Cannes. Alexandrowic’s latest work The Viewing Booth (2019) was screened at the forum section of the 2020 Berlinale, was shortlisted in the 2020 IDA awards competition and received the critics’ award for best film at HSDFF. Alexandrowicz’s film The Law in These Parts (2011), received the Grand Jury Award in the international documentary competition at the Sundance Film Festival, a Peabody award, and numerous other prizes.

Diana Allan is an Associate Professor of Anthropology at McGill University and a Canada Research Chair in ethnographic archives. She received her training in filmmaking in the Sensory Ethnography Lab and was a Harvard Film Study Center Fellow. Her films include Shatila, Beirut, Terrace of the Sea, Still Life and So Dear, So Lovely. Diana is also the co-founder and co-director of the Nakba Archive, a testimonial project that has recorded interviews on film with first generation Palestinian refugees living in Lebanon. During the 2006 Lebanon/Israel war she established ‘Lens on Lebanon’, a participatory film and photographic initiative funded by the Soros Foundation, Oxfam and the Prince Claus Fund.

Nora M. Alter is a Professor of Film and Media Arts and the author of Vietnam Protest Theatre: The Television War on Stage (1996), Projecting History: Non-Fiction German Film (2002), Chris Marker (2006), The Essay Film After Fact and Fiction (2018), co-editor with L. Koepnick of Sound Matters: Essays on the Acoustics of Modern German Culture (2004), and co-editor with T. Corrigan, Essays on the Essay Film (2017). She is completing a new book on Harun Farocki.

Catalina Alvarez is a film director and artist, and assistant professor of media arts at Antioch College. Her films draw on local research and are informed by theories of gender performativity and sound studies. She is a recipient of fellowships and residencies from the Flaherty Seminar, the Virginia Center for the Creative Arts, Flux Factory, and the Wexner Center for the Arts. Her films have screened at festivals including Slamdance, Fantastic Fest, New Orleans, and Palm Springs, and venues such as the ICA Philadelphia, the San Diego Art Institute, and the Museum of the Moving Image.

Amel Alzakout, born 1988 in Syria, is an artist, puppet maker and filmmaker based in Leipzig. Between 2010 and 2013 she studied Journalism at Cairo University (Egypt). Between 2017 and 2018 she studied art at Weißensee Art Academy in Berlin. Since 2019 she studies media art at the Academy of visual art (HGB) in Leipzig. In 2013, she started creating a series of puppet-characters for her future experimental video projects and writing about them. In 2017 she participated with other artists in the video installation TRUST US in the 3rd Herbstsalon at the Maxim Gorki Theater in Berlin.

Kari Andén-Papadopoulos is Professor at the Department of Media Studies, Stockholm University. She has published internationally on photojournalism in times of crisis and war, with particular interest in grassroots visual practices and new digital media. Her recent research projects have focused on how the proliferation of citizen-created eyewitness imagery is recasting the production, reception and recollection of global crisis news; and on how forms and practices of camera-mediated activism in the Middle East contributes to produce and contest political power.

Steve Anderson is a former documentary film editor who works at the intersection of media, history, technology and culture. He is Interim Chair and Professor of Film, Television & Digital Media at UCLA with a joint appointment in Design Media Arts. Most recently, he is the author of Technologies of Vision: The War Between Data and Images (MIT 2017), and, co-editor with Christie Milliken of the anthology Reclaiming Popular Documentary (IUP 2021).

Zachariah Anderson is a PhD candidate in the Media, Cinema, and Digital Studies program at the University of Wisconsin-Milwaukee. His primary research interests include media historiography, the role of image-based media as historical evidence, and the relationship between archival filmmaking practices and written historiography.

Emily Apter is a curator, archivist, and filmmaker based in Brooklyn, NY. She works as a Cinema Programmer & Development Associate at the Maysles Documentary Center, a nonprofit cinema founded by Albert Maysles. She previously worked as the Assistant Director/Curator at the NYC Film-Makers’ Cooperative, where she assisted with the distribution, archiving, and curation of their 16mm experimental film collection. Emily has curated in collaboration with the Museum of the City of NY, City College, and Peephole Cinema. She is a graduate of Wesleyan University’s Film Studies program. Image-making, archives, labor, and landscape are core themes of her work.

Natalija Arlauskaite is a scholar of film, literature, and visual studies, and a Professor at the Institute of International Relations and Political Science at Vilnius University. Her current academic interests include forms of historical imagination, reflections on war atrocities in film and the arts, and medical imagery. She serves as editor-in-chief of the book series Writings on Film, published by the Lithuanian “Mintis” press and is the translator of Sergei Eisenstein into Lithuanian. Her most recent book is Severe Peace: Photographs of Collapsed Regimes in Documentary Film (2020, Vilnius University Press).

Alice Arnold is a documentary media maker and educator. She creates, edits, designs, writes and photographs projects that explore the urban environment and visual culture—from street art to advertising and from sidewalks to electric signs. Her films are in the collections of university libraries throughout the United States and have screened at MoMA and elsewhere. She is a NYFA Photography Fellow, a Fulbright Fellow in film and an Adjunct Professor at CUNY. Recent and current projects include a book chapter in Bauhaus Futures (MIT Press); a documentary film about the arcades in Prague; and a book project on visual construction for media makers.

Judith Aston is Co-founder of i-Docs and an Associate Professor in Immersive Media at the University of the West of England in Bristol. She has an interdisciplinary background in anthropology, geography, interaction design and creative media practice. As an active member of the University’s Digital Cultures Research Centre, she is also an experienced tutor and PhD supervisor. At the heart of her work is the desire to put evolving media technologies into the service of promoting multi-perspectival thinking and understanding. She has published widely on this and her current collaboration with Odorico on The Poetics and Politics of Polyphony is the latest manifestation of this ongoing endeavour.

Patricia Aufderheide is University Professor of Communication Studies at American University. She founded the School’s Center for Media & Social Impact, where she continues as Senior Research Fellow. Her books include Reclaiming Fair Use: How to Put Balance Back in Copyright (University of Chicago), with Peter Jaszi; Documentary: A Very Short Introduction (Oxford), The Daily Planet (University of Minnesota Press), and Communications Policy in the Public Interest (Guilford Press). She received the career achievement award from the International Digital Media and Arts Association and the Scholarship and Preservation Award from the International Documentary Association.

Nicholas Baer is Assistant Professor of Film at the University of Groningen and Research Fellow at the Alfried Krupp Institute for Advanced Study in Greifswald. He co-edited the award-winning The Promise of Cinema: German Film Theory, 1907–1933 (University of California Press, 2016) and Unwatchable (Rutgers University Press, 2019). Baer has published on film and media, critical theory, and intellectual history in journals such as Film Quarterly, Los Angeles Review of Books, Public Seminar, and October, and his writings have been translated into six languages. At present, he is completing a monograph, Historical Turns: Weimar Cinema and the Crisis of Historicism.

Anirban Baishya is an Assistant Professor at the Communication and Media Studies Department, Fordham University. His current research examines selfies and the rise of digital selfhood in India. His research interests New Media and Digital Cultures, Social Media & Political Culture, Media Aesthetics, Surveillance Studies, and Global and South Asian Cinema & Media. His work has been published in International Journal of Communication, Communication, Culture & Critique, South Asian Popular Culture, Porn Studies, Media, Culture & Society and South Asia: Journal of South Asian Studies.

Zane Balčus is a junior research assistant at the Advanced Research Centre of the Latvian Academy of Culture and a PhD candidate at the Latvian Academy of Culture. Balčus is a co-author of the book Inscenējumu realitāte. Latvijas aktierkino vēsture (Reality of Fiction. History of Latvian Fiction Film, Riga: 2011), Rolanda Kalniņa telpa (Cinematic Space of Rolands Kalniņš, Riga: 2018), and a freelance film critic writing on cinema for various publications (including websites Film New Europe, Kino Raksti, etc.). Her main research interests are documentary cinema and audience studies.

Professor Kass Banning teaches in the Cinema Studies Institute at the University of Toronto, where she researches and teaches Black Diaspora and “minor” Canadian moving image practices, focusing on documentary and artists’ moving image installation. Banning co-edited the anthology Gendering the Nation: Canadian Women’s Cinema (Toronto, Canada: University of Toronto Press, 1999), and co-founded and co-edited two Canadian quarterlies, CineAction and Borderlines, for over a decade, and has written numerous articles on “minor” Canadian documentary and the work of John Akomfrah. Her most recent publication – co-written with Warren Crichlow – A Grand Panorama: Isaac Julien, Frederick Douglass and Lessons of the Hour appears in Film Quarterly, Summer 2020. She co-organized and co-hosted Toronto’s Visible Evidence 22 (2015).

Hongwei Bao is Associate Professor in Media Studies at the University of Nottingham, UK, where he also directs the Centre for Contemporary East Asian Cultural Studies. His research primarily focuses on queer media and culture in contemporary China. He is the author of Queer Comrades: Gay Identity and Tongzhi Activism in Postsocialist China (NIAS Press, 2018), Queer China: Lesbian and Gay Literature and Visual Culture under Postsocialism (Routledge, 2020) and Queer Media in China (Routledge, 2021).

Renata Carvalho Barreto is an artist and historian preoccupied with the archive and the violence it contains. Her work as a documentary filmmaker concerns the reading and rewriting of the audiovisual archive, pondering over its hermeneutical content. As a historian, she reflects upon the fabrications of power that permit the existence of a hegemonic historiography. Framed by postcolonial theory, critical race theory, philosophical hermeneutics, and theory of history, her film practice is poetic and experimental, although critical and engaged. She holds a BA in History (University of Brasília) and a MFA in Film, Video, Animation and New Genres (University of Wisconsin Milwaukee). She is a second year PhD student in the Department of Critical Media Practices at the University of Colorado.

Nico Baumbach, Associate Professor of Film and Media Studies at Columbia University. He is the author of Cinema/Politics/Philosophy published by Columbia University Press in 2019. His writing can be found in Artforum, Film Comment, Social Text, New Review of Film and Television, Comparative Critical Studies, Discourse, among other publications. He is currently working on a book entitled The Anonymous Image.

Nilgun Bayraktar is Assistant Professor of Film at the History of Art and Visual Culture Program and Film Program at California College of the Arts. Her work, focusing on migrant and diasporic cinema, contemporary art, and critical border studies, has been published in journals including Journal of European Studies and New Cinemas: Journal of Contemporary Film. Her recent book, Mobility and Migration in Film and Moving Image Art: Cinema Beyond Europe (Routledge 2016), examines cinematic and artistic representations of migration and mobility in Europe since the 1990s. She recently curated the exhibition No Place Else: Dystopian Sci-Fi Imagination (CCA San Francisco), which explored concepts of the dystopian city, the post-human, AI, and ecological crises.

Aggie Ebrahimi Bazaz is an award-winning, Iranian-American documentary artist and writer whose works aim toward Freirean praxis wherein the processes of theorizing, making, and social transformation are linked. Aggie’s films have screened internationally and have been supported by artist residencies and fellowships including the Wexner Center for the Arts, the BAVC National Mediamaker Fellowship, and the iMEdD International Incubator supporting independence and transparency in journalism. She earned her M.F.A. in film from Temple University and holds a master’s degree in multicultural literature and women’s studies from the University of Georgia, where she was researcher for the Civil Rights Digital Library. She is Assistant Professor of filmmaking at Georgia State University.

Melis Behlil is an Associate Professor of Cinema Studies and Chair of Radio, Television and Cinema Department at Kadir Has University in Istanbul, Turkey. She also writes film reviews for various publications, co-hosts a weekly radio show, and is a member of the Turkish Film Critics Association.

Melanie Bell is Associate Professor of Film at the University of Leeds. She has published widely on many aspects of gender and British film including a monograph on star labour and feminism (Julie Christie, BFI, 2016), an article on women’s soundwork and the foley artist Beryl Mortimer (Screen, 2017) and the work of women editors and directors in the British non-fiction sector (Feminist Media Histories, 2018). Her latest monograph draws on oral histories and trade union records to write a feminist revisionist history of women in film. Entitled Movie Workers: The Women Who Made British Cinema it will be published by the University of Illinois Press in June 2021.

Catherine L. Benamou is Associate Professor of Film and Media Studies and Chicano-Latino Studies at the University of California-Irvine, where she also participates on the faculty of Latin American Studies, Visual Studies, and Gender and Sexuality Studies. She is the author of It’s All True: Orson Welles’s Pan-American Odyssey (2007), as well as numerous articles, including on Latin American documentary, women’s cinema and media, and the films of Raúl Ruiz. She is currently completing a book, Transnational Television and its Diasporic Latinx Audiences: Abrazos Electrónicos.

Madeleine Bernstorff, Berlin. film programmer, writer, teacher, exploring the cinema of avant-garde groups, migration and resistance movements, as well as early cinema in research-based, feminist motivated and mostly collaborative projects. She teaches film history for art students, f.e. documentary theory, experimental film, boundaries of documentary, the small form. Member of the selection committee of the International Short Film Festival Oberhausen. In 2016/17 she worked with a group producing short video spots mobilizing against the right-wing structural racism in the context of NSU-Complex: www.tribunal-spots.net. Her Essay transnational learning at dffb  has recently been published in English by Harun Farocki Institut.

Marion Biet is a doctoral candidate within the research training group „Documentary Practices. Excess and Privation“. Her doctoral thesis focuses on longitudinal documentaries (e.g. Die Kinder von Golzow, Seven Up, Private Universe) and the effect of the longue durée on documentary practices. Marion studied European film and media in Lyon, Weimar, and Utrecht.

Christa Blümlinger is Professor in Film Studies at the University Paris VIII. Her publications include books about the essay film, avant-garde and archival film aesthetics. She co-directs the research group Théâtres de la mémoire and has investigated face, gesture, landscape and memory in documentary. Recent publications include: Morgan Fisher, Off-Screen Cinema, edited with Jean-Philippe Antoine (Les Presses du Réel, 2017), Geste filmé, gestes filmiques, edited with Mathias Lavin (Mimesis international, 2018) and (with Emmanuelle André, Sylvie Lindeperg and others), Michèle Lagny, Hors cadre : imaginaires cinématographiques de l’histoire (Hermann, 2020). Forthcoming: Harun Farocki. Du cinema au musée (2021, P.O.L.).

Wolfgang Boehm is a PhD student in the Cinema and Media Studies Department at the University of Chicago. He received his MA in moving image studies from the School of Film, Media and Theatre at Georgia State University and a BA in philosophy from Sewanee: The University of the South. His areas of research include North American animation, film theory, paranoia and media, and science fiction and horror genre studies.

Rebecca Boguska is an Assistant Professor in Film Studies at the Institute for Film, Theater, Media and Cultural Studies at the Johannes Gutenberg University Mainz. Her forthcoming book Guantánamo Frames (meson press 2022) is based on her dissertation with the same title that she has completed at the “Configurations of Film” research training program in Frankfurt from 2017 to 2020. Currently, the focus of her research lies on images, techniques and experimental environments of coastal research.

Eli Boonin-Vail is a PhD student in Film and Media Studies at the University of Pittsburgh specializing in film history. His research focuses on the classical Hollywood studio system, 1920 – 1960, with a particular emphasis on studio infrastructure and its relationship and collaboration with penal institutions. He has also written on race and comic books, as well as French film production culture. His work can be found or is forthcoming in Animation Studies, Inks, Film Criticism, French Screen Studies, and the edited collection Desegregating Comics: Debating Blackness in Early Comics, 1900-1960.

Etami Borjan works as Assistant Professor of Film Studies at the University of Zagreb in Croatia. She teaches courses on Italian, ethnographic, documentary, and European cinemas. She holds MA in Film Studies from the University La Sapienza in Rome and PhD in Film Studies from the University of Zagreb. In 2010 she was granted a Fulbright Fellowship as a Visiting Researcher at New York University. She has published articles on theory and history of documentary cinema, ethnographic film, Italian cinema and post-Yugoslav cinemas in English, Italian and Croatian language and the book Others on Screen: Ethnographic Film and Indigenous Filmmaking (2013).

Gabriel Bortzmeyer holds a PhD in Cinema Studies from University Paris 8 (2017), and has since held a teaching position (cinema and literature) at a college-preparatory program (in Rouen). He is a member of the editorial committee of ‘Débordements’ and frequently collaborates with other film magazines, such as Trafic, Vacarme, Fata Morgana or La Furia Umana. His research focuses on the links between cinematic figurations and political and ecological imaginaries (mainly in contemporary cinema). He is the author of Le peuple précaire du cinema contemporain (Hermann, 2020) and, in collaboration with Alice Leroy, of a book of interviews with Raymond Bellour, Dans la compagnie des œuvres (Rouge profond, 2017).

Chloë Boxer writes television and fiction. Her fiction appears in Joyland, DIAGRAM, and The Michigan Quarterly Review. She was co-producer of the Emmy-winning true crime series A Crime to Remember, which aired on the ID channel from 2013-2018. She holds an MFA in fiction from Arizona State University. She’s currently writing a serial killer novel.

Deirdre Boyle is Emerita Professor of Media Studies at The New School in New York. She is the author of Ferryman of Memories: The Films of Rithy Panh, forthcoming from Rutgers University Press. She has written numerous essays on independent video and film and edited or written seven books, including Subject to Change: Guerrilla Television Revisited (Oxford University Press). She is the former director of the Graduate Certificate in Documentary Studies at The New School which honored her with the University’s Distinguished Teaching Award. She has received Guggenheim, Fulbright, and Asian Cultural Council Fellowships and residencies at various artist colonies. She is a licensed social worker and psychotherapist.

Nicole Braida is Postdoc researcher at Johannes Gutenberg University of Mainz, where she is currently working in a Digital Film studies project. She holds a Ph.D. in Media Dramaturgy from the same University and she has been a doctoral candidate in the research collective “Configurations of Film” at the Goethe University of Frankfurt. For her dissertation she researched Interactive Practices about Migration such as serious games, newsgames, interactive maps and data visualizations. For her next project, she is working on how data infrastructures within humanitarian aid are used to produce visualizations.

Lukas Brasiskis is a PhD candidate at New York University in the Department of Cinema Studies. His research explores the history and theory of how the non-human is represented in film and media. He is also deeply invested in contemporary debates on World Cinema (with an emphasis on Eastern European cinema) and the intersection of philosophy, cinema and contemporary art. He is currently completing his graduate work as a Graduate Dissertation Fellow at NYU Shanghai.

Dominique Brégent-Heald is an Associate Professor of History at Memorial University of Newfoundland. She is the author of Borderland Films: The American Cinema, Mexico, and Canada During the Progressive Era (University of Nebraska Press, 2015). She has published articles in such journals as Western Historical Quarterly, Historical Journal of Film, Radio, and Television, The Canadian Journal of Film Studies, and The Journal of Canadian Studies. She is currently working on a history of film and tourism in Canada during the first half of the twentieth century.

Bentley Brown (PhD Candidate in Critical Media Practices, University of Colorado-Boulder) moved as a child with his family from the United States to Chad, where he grew up speaking an Arabic dialect very close to that of Sudan’s, and where he began making films. His filmography, largely in Arabic and French, revolves around subjects of third culture identity, loss, and belonging, and includes Oustaz (Berlinale 2016), First Feature (IFF Rotterdam 2019) and Revolution From Afar (New York African Film Festival 2021). Brown has also served as an international election observer, working in Lebanon, Libya, Egypt, Tunisia, in addition to ten states across Sudan, and, prior to starting his doctoral studies, taught in a filmmaking in Jeddah, Saudi Arabia.

Cynthia Browne is currently an anthropologist and media practitioner based in Germany. Her current research focuses on the material afterlives of mining and operates at the intersection of media studies, sensory ethnography, science and technology studies, and the anthropology of extraction. Currently she is a post-doctoral research associate with the interdisciplinary research training group “Documentary Practices: Excess and Privation” at the Ruhr University in Bochum Germany, as well as a 2020/2021 Fellow at the Institute for Sustainability Studies in Potsdam, Germany. She is also an alumni of the Critical Media Practice program at Harvard University, where she received her doctorate in Social Anthropology in 2019. Her book manuscript Utopic Wastelands: Site-Specific Art and the Re-making of Germany’s Ruhr region, examines the multiple, conflicting temporalities inhering in efforts to aesthetically and pragmatically reframe Germany’s former coal and steel heartland into a post-industrial “cultural metropolis.”

Elisabeth Brun is a filmmaker, artist and scholar working in the intersection between documentary, philosophy and visual art. She holds a PhD in Media and Communication studies from University of Oslo, with the
thesis Essay Film as Topography, and she has a background as a
documentary director in Norwegian Public Broadcasting (NRK 2001-2014). In 2020, her doctoral film-experiment 3xShapes of Home (2020) won the
Ivan Juritz Prize for Creative Experiment in the category of Visual Arts. The film-experiment has also screened at festivals such as International Short Film Festival Oberhausen, Vienna Shorts, Uppsala Short Film Festival and Montreal Festival du Nouveau Cinema (FNC).

Chris Cagle is Associate Professor of Film History and Theory in the Film and Media Arts Department at Temple University in Philadelphia. His book, Sociology on Film: Postwar Hollywood’s Prestige Commodity (Rutgers UP, 2016), examines the 1940s social problem film as both a form of popular sociology and a strain of middlebrow “prestige” cinema. His recent publications include essays in number of edited volumes, including Cinematography (ed. Patrick Keating, 2014) and Middlebrow Cinema (ed. Sally Faulkner, 2016). His forthcoming book, The Film Festival Documentary, is an examination of an international “festival film” style in contemporary documentary.

James Leo Cahill’s research focuses on French cinema and cultural history, nonfiction and experimental media, critical theory, and historiography. He has a special interest in scientific cinema and animals and moving image media. His first book, Zoological Surrealism: The Nonhuman Cinema of Jean Painlevé (University of Minnesota Press) examines the tangled histories of cinema, Surrealism, and scientific research in the early work of French filmmaker Jean Painlevé and develops an account of cinema’s Copernican vocation, or its capacities as an instrument of scientific discovery and anti-anthropocentric displacement.

Aline Caillet, Associate Professor of Aesthetics and Philosophy of Art In the Sorbonne school of arts, at Université Paris 1 Panthéon-Sorbonne. Interested on the critical function of art, she has been focused her research work, over the last ten years, on new documentary practices in visual art. In 2014, she published Dispositifs critiques. Le documentaire du cinema aux arts visuels (Presses Universitaires de Rennes publisher). In 2017, she has edited, with Frédéric Pouillaude, a collective volume on documentary practices in art : Un art documentaire. Enjeux esthétiques, politiques et éthiques (Presses Universitaires de Rennes publisher). She recently published L’Art de l’enquête. Savoirs pratiques et sciences sociales (Mimésis, 2019).

Ariel Caine is a Jerusalem-born, London based artist where he is a researcher and project coordinator at the Forensic Architecture research agency. He completed his PhD at the Centre for Research Architecture, Goldsmiths University of London.

Ariel’s practice focuses on the intersection of spatial optical imaging, modelling and survey technologies and their operation within the production of cultural memory and national narratives. Ariel teaches at the RCA (London), ISIA (Urbino) and Bezalel (Jerusalem). His works and writing have been exhibited extensively internationally.

Sonia Campanini is Assistant Professor of Film Culture at Goethe University Frankfurt am Main, where she is responsible for the master program “Film Culture: Archiving, Programming, Presentation”. Her research interests encompass film history and theory as well as film archiving and film curatorship, with a special focus on the material, technological, aesthetic and memorial dimensions of audio-visual heritage. She co-edited L’archivio/ The Archive (2012), her book Film Sound in Preservation and Presentation is upcoming.

Özge Çelikaslan, lives and works in Karlsruhe. She graduated from the film studies departments (BA, MA) in Turkey. She is a co-founder and member of archive and video collectives. She is involved in artistic and political projects focusing on forced migration, displacement, urban labor, commoning practices, and activist archiving. She worked as an independent film programmer and curator in festivals and art institutions. Çelikaslan pursues her academic research as a Ph.D. scholar on the politics of image through archive commons practices at Braunschweig University of Art (HBK). Co-editor of the books Surplus of Istanbul (2014) and Autonomous Archiving (2016 dpr-barcelona) and contributed to publications on film, video, activism, and archiving.

Lorena Cervera (BA, MA) is a filmmaker, researcher and lecturer. She is doing a practice-based PhD in Film Studies at UCL, funded by the LAHP. Her research looks at Latin American women’s documentary cinema from 1975 to 1994. She has published in peer-reviewed journals. In 2021, she co-organized the international conference Cozinhando imagens, tejiendo feminismos. Latin American Feminist Film and Visual Art Collectives. Since 2009, she has worked as cinematographer and editor of non-fiction films and has directed Pilas (2019) and co-directed #PrecarityStory (2020). Both documentaries have been showcased and awarded prizes at international film festivals, such as ZagrebDox, Alcances and Málaga Film Festival.

Filipa César is an artist and filmmaker interested in the fictional aspects of the documentary, the porous borders between cinema and its reception, and the politics and poetics inherent to the moving image and imaging technologies. Since 2011, she has been researching the origins of the cinema of the African Liberation Movement in Guinea Bissau as a collective laboratory of decolonising epistemologies. The resulting body of work comprises, films, archival practices, seminars, screenings, publications and ongoing collaborations with artists, theorists and activists in particular with Diana McCarty, Sónia Vaz Borges, Marinho de Pina and Sana na N’Hada, with whom she initiated the Mediateca Onshore project.

Stephen Charbonneau is Associate Professor of Film Studies and Graduate Director of the School of Communication and Multimedia Studies at Florida Atlantic University. His work on media pedagogy, youth media, and documentary film has been published in several anthologies as well as Screening the Past, Journal of Popular Film and Television, Jump Cut, Framework, Spectator, and the Journal of Popular Culture. His books include Projecting Race: Postwar America, Civil Rights and Documentary Film (Wallflower/Columbia UP, 2016) and InsUrgent Media from the Front: A Global Media Activism Reader (co-edited with Chris Robé; Indiana UP, 2020).

Didi Cheeka is co-founder and curator of Lagos Film Society – an alternative cinema center dedicated to the founding of Nigeria’s first arthouse cinema. He is the artistic director of Decasia – Berlin-Lagos Archive Film Festival. Didi is currently researching and digitizing Nigeria’s rediscovered audiovisual archives.

Agustina Comedi is a screenwriter and filmmaker. She studied Modern Literature. In 2017 her first film Silence is a Falling Body premiered at IDFA. The film was multi-awarded and selected in more than 50 international festivals. In 2019 she programmed a special section for CineMigrante together with Suely Rolnik, called 10 Woman/10 film essays/10 years. That year she premiered Playback, at Mar del Plata Film Festival, where the film won the prize for Best Short Film, and in 2020 the Teddy Award Berlinale 2020. She is currently working on her next film.

Luís Costa is a PhD candidate in Social History at Universidade Federal do Rio de Janeiro (UFRJ), in Rio, Brazil, where currently develops a thesis about Brazilian direct documentaries in the 1960’s. He was visiting scholar at Columbia University, USA, from 10/2019 to 03/2020, at the School of The Arts.

Sasha Crawford-Holland is a doctoral student in the Department of Cinema & Media Studies at the University of Chicago who studies how people use nonfiction media to (re)organize power relations. Current research examines the aesthetic politics of thermal evidence in documentary film, television, and digital media. Sasha’s writing on the politics of media is published in Film History, Television & New Media, Synoptique, and American Quarterly, and received Screen’s Annette Kuhn Debut Essay Award.

Camille Crichlow is a writer, researcher and first-year PhD student at the Sarah Parker Remond Centre for the Study of Racism and Racialisation at University College London. Her research interrogates visual typographies of race and the construction of the normative and non-normative contours of the body as they relate to themes of legibility and recognition in today’s surveillance culture. Informed by an emergent body of critical scholarship on racialized biases reproduced in machine learning and artificial intelligence, her work aims to connect nineteenth century colonial regimes of biometric racial governance to twenty-first century assumptions through which the black face is rendered both hypervisible and undetectable in contemporary fields of facial recognition technology.

Dr. Warren Crichlow, Associate Professor in the Faculty of Education at York University Toronto, Canada. His, Baldwin’s Rendezvous with the Twenty-First Century: I am Not Your Negro, appears in Film Quarterly (summer 2017), and he is co-author, A Grand Panorama: Isaac Julien’s Lessons of the Hour, Film Quarterly (Summer 2020). He is a co-editor of Race, Identify and Education (1993 and 2005), and a co-editor of the forthcoming Spaces of New Colonialism: Reading Schools, Museums and Cities in the Tumult of Globalization (Peter Lang, 2020).

Efrén Cuevas is Professor of Film Studies at Universidad de Navarra. His main research interests include home movies, documentary cinema, and autobiography. On these topics, he co-edited the book La casa abierta. El cine doméstico y sus reciclajes contemporáneos (2010), and co-edited The Man without the Movie Camera: The Cinema of Alan Berliner (2002), and Landscapes of the Self: The Cinema of Ross McElwee (2008). He has also contributed to books such as Amateur Filmmaking: the Home Movie, the Archive, the Web (2014), and The Cinema of Me (2012). His latest forthcoming book is titled Filming History from Below: Microhistorical Documentaries.

Jelena Ćulibrk is a Ph.D. Candidate in the Department of Cinema and Media Studies, USC School of Cinematic Arts. Previously, she received an MA in Film Studies (University College London, 2014) and an MA in Comparative History (Central European University, 2015). Her scholarly interests include the relationship between visual knowledge production, neoliberalism, and post-World War II reconstruction in Britain, the U.S., and Yugoslavia. Her dissertation project Televising The Invisible Hand: The BBC and postwar (neo)liberalism, 1968-1980 is supported by the Annenberg Fellowship (USC), and the Silas Palmer Fellowship (Stanford University).

Scott Curtis is associate professor in the Department of Radio/Television/Film at Northwestern University and in the Communication Program at Northwestern University in Qatar. The author of The Shape of Spectatorship: Art, Science, and Early Cinema in Germany (Columbia University Press, 2015) and editor of Animation (Rutgers University Press, 2019), Curtis has published extensively on the scientific and medical uses of moving-image technology.

Mona Damluji is Assistant Professor of Film & Media Studies at UCSB and producer of the documentary series The Secret Life of Muslims. Her work engages media histories of oil and infrastructure with a focus on the Middle East and its diasporas. Mona’s current book project Pipeline Cinema is a history of how multinational petroleum companies shaped cultural norms and popular imaginaries of oil and the Middle East through film and media sponsorship in the 20th century. Her publications appear in Urban History; Comparative Studies of South Asia, Africa and the Middle East; International Journal of Islamic Architecture, and more.

Anat Dan is a doctoral student at the program in Comparative Literature and the program in Cinema and Media Studies at Penn University. She works at the intersection of Film and Media studies, Human Rights studies, and Environmental Humanities. Anat holds an MFA degree and an MA degree from The Steve Tisch School of Film and Television at Tel Aviv University.

Sharon Daniel is a media artist who creates interactive and participatory documentary artworks addressing issues of social, racial, and environmental injustice, focusing principally on mass incarceration and the criminal legal system. She develops innovative online interfaces and multi-media installations that visualize and materialize the testimony of incarcerated people. Her work has been exhibited in museums and festivals internationally. Documentation of exhibitions and links to projects and publications can be found at http://sharondaniel.net. Daniel is a Professor of Film and Digital Media at the University of California, Santa Cruz.

Miriam De Rosa is Associate Professor at Ca’ Foscari, University of Venice, and an independent curator. She researches and teaches film theories and philosophy, experimental cinema and screen media arts. She is the author of Cinema & Postmedia (2013), the editor of Post-what? Post-when? with Vinzenz Hediger (2016), Gesture (2019) and Film & Domestic Space (2020). She is currently writing on the cinema and art of Gianikian and Ricci Lucchi.

Ankita Deb is a PhD Candidate in the Department of Art History-Film and Media Studies at Stanford University. She did her Masters in Arts and Aesthetics and MPhil in Cinema Studies from Jawaharlal Nehru University, New Delhi, India. She is interested in media infrastructures, piracy, queerness and sexuality in Global South, archival memory, etc.

Lisa Deml is a Midlands4Cities funded doctoral researcher at Birmingham City University. She holds degrees in Art History and Philosophy from the Courtauld Institute of Art, London, and the Ludwig-Maximilians-University, Munich. Initially trained as a journalist, she subsequently worked for public cultural institutions and non-profit organisations internationally, including Haus der Kulturen der Welt (HKW), Berlin, Haus der Kunst, Munich, and Ashkal Alwan, Beirut. Her research interests focus on visual articulations of citizenship and artistic strategies to foster transnational solidarity and resistance, particularly in the framework of documentary practices and visual culture in the Middle East and North Africa.

Lars Diurlin holds a PhD in film studies from Lund University, Sweden. Diurlin’s thesis, The First Avant-Gardist of the Film Reform is an examination of the productional conditions of experimental films and the artist’s role within the framework of the Swedish welfare state’s cultural policy. He is developing a research project on SIDA:s audiovisual information strategies. Among his latest publications is a co- written article, published in the International Journal of Cultural Policy, on the Swedish National Board of Health’s collaborations with cultural workers during the 1970s.

Maria do Carmo Piçarra is researcher at ICNOVA (Universidade Nova de Lisboa), Assistant Professor at the Universidade Autónoma de Lisboa, and film programmer. She is author of books on newsreels and documentary in Portuguese Estado Novo, about (anti)colonial propaganda and censorship and militant films. On these topics, she single-authored Salazar goes to the movies (2006, 2011, in Portuguese), Ultramarine Blues. Colonial propaganda and censorship on Estado Novo’s cinema (2015, in Portuguese) and she co-edited (with Teresa Castro) (Re)Imagining African Independence. Film, Visual Arts and the Fall of the Portuguese Empire (2017).

Emily Drummer (b. 1990, San Francisco, CA) is a filmmaker who uses immersive research as a starting point to investigate the dynamic between technology and the natural world. She received her MFA in Film and Video Production from the University of Iowa and her BA from Hampshire College. She is a Princess Grace Film Honoraria recipient and a Flaherty Film Seminar fellow. Drummer’s work has been showcased by venues including Art of the Real at the Film Society of Lincoln Center, Black Box at Edinburgh International Film Festival, Ji.hlava International Documentary Film Festival, Camden International Film Festival, Tacoma Film Festival, and Toronto’s Pleasure Dome. Articles about her work have appeared in the Brooklyn Rail and Millennium Film Journal. She lives in Brooklyn, NY where she teaches at Pratt Institute.

Ifor Duncan is a writer and inter-disciplinary researcher and a post-doctoral fellow in environmental humanities at the Center for the Humanities and Social Change at Ca’Foscari University of Venice. His research focuses on the imbrications of political violence with degrading watery ecosystems. He encounters these concerns through visual cultures, cultural memory, and fieldwork practice. He completed his PhD at the Centre for Research Architecture, and has taught at CRA and on the Media Studies programme in the School of Architecture at the Royal College of Art.

Debjani Dutta is a doctoral candidate in Cinema and Media Studies at the USC School of Cinematic Arts, and holds the Andrew W. Mellon Humanities in a Digital World Fellowship (2018-20). She received graduate training in Sociology and Film Studies from the Jawaharlal Nehru University in New Delhi. Her current research connects the aesthetic and philosophical concerns raised by the movement of the earth to the visual and avisual movements of cinema and media.

Jonathan Echeverri is assistant Professor at the Universidad de Antioquia, in Medellín, Colombia. He received a PhD in Anthropology of the University of California, Davis. His main topic of interest is human movement. In his research trajectory, he develops the concept of errance as an alternative to understand the travel stories of Africans who look for better horizons beyond the African continent. He is currently developing a research project in the Northwest tip of Colombia entitled Following the thread of errance: itineraries of South-South travelers through Uraba. Another research interest is audiovisual and its potential for creating with what comes out of ethnography.

Hyginus Ekwuazi is a Professor of Broadcasting & Film. As the Director General of the Nigeria Film Corporation, he was, in effect, the chief adviser to the Federal government of Nigeria on all film issues. Played significant roles in the formulation of The National Film Policy, the film censorship guidelines, and the National Film Archive Policy. Chaired the committees that designed the film training programme for the polytechnics and the Universities. Has headed two key film production training institutions. Was Lead Trainer/Consultant: GEM-World Bank Capacity Building Project for Nollywood. Research interests: film policy; film content creation and utilization.

Jihan El Tahri is a multi-award-winning film director, writer, visual artist, and producer. She currently serves as the General Director of the Berlin-based documentary support institution DOX BOX. El Tahri has been a member of The Academy (Oscars) since 2017 and is currently on the selection committee of the Locarno International Film Festival. She has directed more than 15 films and her visual art exhibitions have traveled to renowned museums and several Biennales around the world. Her writings include Les Sept Vies de Yasser Arafat (Grasset) and Israel and the Arabs, The 50 Years War (Penguin). She continues to mentor and direct various documentary and filmmaking labs. El Tahri has served on the boards of several African film organizations including the Federation of Pan African Cinema and The Guild of African Filmmakers in the Diaspora.

Albert Elduque is Lecturer in Film Studies at Universitat Pompeu Fabra (UPF). His research areas are intermediality and film, political cinema, representations of national identities in film, and music documentaries, with a focus on Spanish and Brazilian cinema. He has published articles and book chapters on filmmakers such as Glauber Rocha, Júlio Bressane, Leon Hirszman, Pier Paolo Pasolini, Rainer Werner Fassbinder, Werner Herzog and Marta Rodríguez, as well as on Spanish censorship and folkloric actresses Estrellita Castro and Imperio Argentina. Since 2016 he is co-editor of the peer-reviewed academic journal Comparative Cinema, published by Universitat Pompeu Fabra.

Henning Engelke is a German Research Foundation Fellow in the Department of Media Studies at Philipps University Marburg. He has written on topics including the media history and theory of research films, ethnographic film, art documentaries, and experimental film culture. His current research focuses on intersections between social science films, film activism and experimental film in the 1960s and 1970s. His books include Dokumentarfilm und Fotografie: Bildstrategien in der englischsprachigen Ethnologe, 1936-1986 (Berlin: Gebr. Mann, 2007) and Metaphern einer anderen Filmgeschichte: Amerikanischer Experimentalfilm, 1940–1960 (Marburg: Schüren, 2018).

Kareem Estefan is a PhD candidate in Modern Culture and Media at Brown University. His dissertation, Witnessing as Worldbuilding: Imagining Decolonization and Repair in Palestinian Visual Culture, examines the poetics and politics of opaque and speculative modes of witnessing among contemporary Palestinian artists and filmmakers. Kareem is co-editor of Assuming Boycott: Resistance, Agency, and Cultural Production (OR Books, 2017), an anthology of essays on artists’ activism, cultural boycotts, and transnational solidarity. His writing been published in magazines and journals including Artforum, Art in America, Frieze, the Journal of Palestine Studies, The New Inquiry, and Third Text, among others.

Daniel Fairfax is assistant professor in Film Studies at the Goethe Universität-Frankfurt, and an editor of Senses of Cinema.

After a degree in Philosophy between Rome and Berlin, Ludovica graduated in Documentary Direction at the UK National Film and Television School in 2011 and started working as a documentary filmmaker. Following a PhD in Audiovisual Studies between Italy and the UK, she started lecturing in documentary, experimental and interactive storytelling at University College London. Ludovica is active both as a filmmaker and researcher, exploring forms of subjectivity through participatory narratives and forms of emancipation of personal and collective spectatoriality, through the relationship with new media and expanded cinema. With an approach combining Film studies, Media studies and Postcolonial studies, she also programs documentary and experimental films for “Festival dei Popoli”.

Kris Fallon, associate professor at UC Davis, is a film and digital media scholar whose research focuses on non-fiction visual culture across a range of platforms, from still photography to data visualization. His essays on digital technology and documentary have appeared in Film Quarterly, Screen, and several anthologies. His recent book is Where Truth Lies: Digital Culture and Documentary Media After 9/11.

Ali Feser is currently a Harper Schmidt Fellow and Collegiate Assistant Professor in the Social Science at the University of Chicago. She is a cultural anthropologist trained at Bard College and the University of Chicago, and her work is situated at the intersection of visual studies, science studies, queer and feminist theory, and the anthropology of late industrialism. Her book manuscript, Photochemical Life in the Imaging Capital of the World, is an ethnography of U.S. visual culture, industrial capitalism, and political fantasy through a material history of Kodak film. She is also working in collaboration with artist Jason Lazarus on a series of installations based on her research. The first of these will be exhibited at the Ringling Museum in Sarasota, Florida in November 2021.

Daniel Fetzner (*1966), Media Artist and Media Scientist. Professor for Design and Artistic Research at Hochschule Offenburg and head of the Media Ecology Lab.

2002-2014 Professor for Media Design at Furtwangen University. 2007 Visiting Professor at San Francisco State University and Guest Artist at ZKM Karlsruhe. 2009-2011 Professor at German University Cairo as Head of the Media Design Department. 2012 Visiting Professor at Srishti School, Bangalore.

Paul Fileri is a Professorial Lecturer in the Cinema Studies program in the Department of Literature at American University, in Washington, DC. He has taught at New York University where he received a PhD in Cinema Studies. His work focuses on documentary and nonfiction screen media, especially the place of audiovisual media in the critical historiography of race, nation, diaspora, and colonial empire. He is currently at work on a book about documentary media, state bureaucratic form, and struggles over the meanings of decolonization entitled “Unsettling Subjects: Documentary and Decolonization in the French Colonial Empire.” His writing has appeared in such publications as Film Quarterly, Film Comment, and Senses of Cinema, and he has an essay in the edited collection A Companion to Documentary Film History (Wiley-Blackwell, 2021).

Adam Fish is Scientia Fellow at University of New South Wales, Sydney and Senior Research Fellow at the Weizenbaum Institute for the Networked Society, Berlin. He is a cultural anthropologist and documentary producer working across social science, computer engineering, environmental science, and the visual arts. Fish has authored 3 books: Hacker States (2020 MIT); Technoliberalism (Palgrave Macmillan 2017); and After the Internet (Polity 2017). His 4th book, Drone Justice, is forthcoming (MIT).

Dr. Cristina Formenti is Postdoctoral Fellow at the University of Udine, Italy, where she works on the project of national interest “F-ACTOR: Forms of Contemporary Media Professional Acting. Training, Recruitment and Management, Social Discourse in Italy (2000–2020)”. She is author of the monographs Il mockumentary: la fiction si maschera da documentario (Mimesis 2013) and The Classical Animated Documentary and Its Contemporary Evolution (forthcoming from Bloomsbury), as well as editor of Mariangela Melato tra cinema, teatro e televisione (Mimesis 2016) and Valentina Cortese: una diva intermediale (Mimesis 2018).

Jason Fox is the Founding Editor of World Records. He has taught Media Studies at Princeton University, Vassar College, and CUNY Hunter College.

Iris Fraueneder studied film and media studies and philosophy at the University of Vienna. Currently she is working on her dissertation project on contemporary filmic and curatorial interventions in the unavailability or absence of (moving) images in Lebanon and Palestine-Israel. PhD candidate in Cultural Analysis (University of Zurich) and in the PhD lab “Epistemologies of Aesthetic Practices” (Collegium Helveticum). 2017–2021: SNF-research fellow, University of Zurich. Since 2021: Ludwig Boltzmann Institute for Digital History, Vienna. Additionally, she has been active with the film curating collective “Diskollektiv” since 2015.

Theodor Frisorger received his B.A. and M.A. in Media Studies from the Braunschweig University of Art. Since October 2019 he is a PhD candidate and research fellow at the “Documentary Practices. Excess and Privation” research training program at the Ruhr-University Bochum. His PhD project investigates the use of production stills and behind-the-scenes photography in film magazines and postwar photojournalism.

Kristen Fuhs is Associate Professor of Media Studies at Woodbury University in Los Angeles. She writes about documentary film, the American criminal justice system, and contemporary celebrity, and her work has appeared in journals such as Cultural Studies, The Historical Journal of Film, Radio, and Television, and the Journal of Sport & Social Issues. She is also the co-founder and editor of Docalogue, as well as the co-editor of the related books I Am Not Your Negro: A Docalogue (2020) and Kedi: A Docalogue (2021).

Hideaki Fujiki is Professor of cinema studies, Nagoya University, Japan. His publications include Making Audiences: A Social History of Japanese Cinema and Media (Oxford University Press, 2022), Making Personas: Transnational Film Stardom in Modern Japan (Harvard University Asia Center, 2013), and The Japanese Cinema Book, co-edited with Alastair Phillips (British Film Institute, 2020). He is currently completing a monograph provisionally titled The Radioactive Screen: Ecology from Fukushima to the Globe.

Rania Gaafar (PhD) is a lecturer in the Media Studies Department at University of Siegen (Germany), and has previously held positions at the American University of Beirut, Department of Sociology, Anthropology, and Media (Media Studies Program) and the University of Art and Design/ZKM, Media Art Department, Karlsruhe (Germany). She has published on postcolonial media theory, contemporary media and film art and artistic research. Her main research interests are film and video art, postcolonial media art, affective media, and contemporary moving image art from the MENA. She has co-edited Technology and Desire. The Transgressive Art of Moving Images (2014). Forthcoming by her is: Phänomenotechniken des Films – Zur Medialität der Erfahrung des Anderen in postkinematographischen Bildreflexionen (2021).

Jane M. Gaines is Professor of Film at Columbia University, and Professor Emerita of Literature and English at Duke University. In 2018 she received the Society for Cinema and Media Studies Distinguished Career Award. She is author of three award-winning books: Contested Culture: The Image, the Voice and the Law (North Carolina, 1991) and Fire and Desire: Mixed Race Movies in the Silent Era (Chicago, 2001) and Pink-Slipped: What Happened to Women in the Silent Film Industries? (Illinois, 2018). Her articles on intellectual property and piracies, documentary theory and radicalism, feminism and film, early cinema, and critical race theory have appeared in Cinema Journal, Screen, Critical Inquiry, Cultural Studies, Framework, Camera Obscura, and Women and Performance. Most recently she has been engaged in a critique of the “historical turn” in film and media studies and is part of a group researching the internationalization of workers film and photo leagues in the 1930s.

Chloé Galibert-Laîné is a French researcher and filmmaker, currently working as a researcher at the Lucerne School of Art and Design in Switzerland. Her work explores the intersections between cinema and online media, with a particular interest for questions related to modes of spectatorship, gestures of appropriation, processes of knowledge production and mediated memory. Her films have been presented at venues including IFFRotterdam, FIDMarseille, Ji.hlava IDFF, Internationale Kurzfilmtage Oberhausen, True/False Festival, transmediale, Images Festival, EMAF, and Ars Electronica Festival.

Gao Ang, born in 1991, is a PhD candidate in documentary filmmaking at Newcastle University in the UK. Her practice-led research interrogates contemporary forms of observational filmmaking as an embodied, self-reflexive, critical and creative practice through her own filmmaking practice and other filmmakers in the Folk Memory Project of Caochangdi Workstation in Beijing, China. This research challenges the naïve and outdated approaches of observational documentary, and explores more experimental forms of observational filmmaking rooted in embodied, creative practice as a form of ‘looking’, ‘being’ and ‘presence’. Reading Jiaoxing Village: Chapter one is her first documentary film, filming in her home village.

Sonia García López is a Lecturer in Film, Television and Media at the University Carlos III of Madrid and has held visiting scholarships at New York University and Paris-Sorbonne Université. Her research interests include Film and History, Documentary, Avant-Garde film, and the Archive. She is the author of Spain is US. La guerra civil española en el cine del Popular Front (1936-1939) and co-editor of Piedra, papel y tijera: el collage en el cine documental and Contraculturas y subculturas en el cine latinoamericano (1975-2015). She is currently researching female filmmaking students at the Spanish Official Film School (1947-1976).

Kelly Gates is Associate Professor in the Department of Communication and Director of the Science Studies Program at UC San Diego. She specializes in the study of surveillance, digital media and visual culture, from an analytical perspective that bridges science and technology studies and cultural and media studies. Her first book, Our Biometric Future: Facial Recognition Technology and the Culture of Surveillance (NYU Press, 2011) is a critical-cultural study of the automation of facial recognition and facial expression analysis, focusing on the applications of these experimental technologies in policing, security, social media, and the measurement of emotion. In her current research, Gates is investigating the emerging professional field of forensic video analysis, looking at the ways in which new visual imaging and archiving technologies are being incorporated into, and transforming, modern investigatory and evidentiary practices.

Oliver Gaycken is an Associate Professor in the Department of English and a core faculty member of the Cinema and Media Studies and Comparative Literature Programs at the University of Maryland, College Park. He is the author of Devices of Curiosity: Early Cinema and Popular Science (Oxford University Press, 2015). His articles have appeared in Historical Journal of Film, Radio, and Television; Science in Context; Journal of Visual Culture; Early Popular Visual Culture; Screen; and the collection Learning with the Lights Off.

Gabriel N. Gee holds a PhD in contemporary art history from the Université Paris X Nanterre. His doctoral research focused on Aesthetics and politics in the North of England from the 1980s onwards. His book Art in the North of England. 1979-2008 was published by Ashgate (now Routledge) in 2017. He joined Franklin University in 2011, where he teaches contemporary art history and theory. His current research interests include 20th century British and Irish art, the changing representations and imaginaries of port cities in the second half of the 20th century, as well as interconnected global histories. He recently edited with Caroline Wiedmer a publication on Maritime Poetics: From Coast to Hinterland (Transcript, Spring 2021). He is co-founder of the TETI group, for Textures and Experiences of Trans-Industriality.

Molly Geidel is a Lecturer in American Studies at the University of Manchester. She is the author of Peace Corps Fantasies: How Development Shaped the Global Sixties (University of Minnesota Press, 2015). She is working on two books, one on documentary film and development in the Americas, and the other on the figure of the girl in global counterinsurgency culture and doctrine. You can find her recent work the development film in American Quarterly and European Journal of American Studies.

Jeffrey Geiger is professor of Film Studies at the University of Essex, UK. His books include: American Documentary Film: Projecting the Nation (2011); Facing the Pacific: Polynesia and the U.S. Imperial Imagination (2007); Film Analysis: A Norton Reader (with R. L. Rutsky, 2nd ed 2013); and Cinematicity in Media History (2013, with Karin Littau).

Dan Geva is an associate professor at Beit-Berl College. He graduated from JSFS in 1994 with honors. He earned his BA, MA, and Ph.D. from Tel-Aviv University. Geva has made over 25 full-length documentary films, garnering world acclaim in festivals and broadcasts alike.

He has served as a visiting scholar at the Johns Hopkins University and the Maryland Institute of Art (2010). He is the recipient of numerous honors, including the lucrative Tel-Aviv University 2011 Dan David Prize for Promising Researcher in Cinema and Society; the 2017 CILECT Teacher Award; and Beit Berl’s 2020 Innovative Pedagogy Award.

Professor Geva is the founder of “The Ethics Lab”— A CILECT project (2016). His publications include Toward a Philosophy of the Documentarian (Palgrave, 2018); The Ethics Lab Guidebook (CILECT, 2019); and A Philosophical History of Documentary, 1895-1959 (Palgrave, 2021).

Dr. Gharabaghi’s archival research has focused on the declassified USIA paper-trail at NARA II regarding the early history of the formation of the USIA and the emergence of documentary diplomacy in the United States, Iran and the broader region during the 1950s. He is an adjunct assistant professor at Drew University. His publications on the genealogy of documentary diplomacy in Iran and the Arab world brings scholarly attention to the largely ignored role of media in relation to diplomatic relations, and the neglected production histories of the USIA as the infrastructural means of civic media discourse during an earlier history of democratic crises.

Shohini Ghosh is the Sajjad Zaheer Professor of media at the AJK Mass Communication Research Center, Jamia Millia Islamia. She is an essayist on popular culture and a documentary filmmaker.

Bishnupriya Ghosh is Professor of Global Studies and English at the University of California, Santa Barbara. Her first two books, When Borne Across: Literary Cosmopolitics in the Contemporary Indian Novel (Rutgers University Press, 2004) and Global Icons: Apertures to the Popular (Duke University Press, 2011), addressed cultures of globalization. Her recent work is placed at the intersection of global studies and environmental media studies. She has co-edited (with Bhaskar Sarkar) The Routledge Companion to Media and Risk (Routledge, 2020) and is completing a book on viral emergence, The Virus Touch: Theorizing Epidemic Media.

Iram Ghufran is a filmmaker, researcher and educator based in New Delhi. Her work has been shown in several international art and cinematic contexts including the Forum Expanded at Berlinale, Experimenta India, SAARC Film Festival and Open Frame among others. Her work has won several awards including two National Film Awards and Mary Kay First Prize at the International Women’s Film Festival, Seoul. She is currently pursuing a PhD by practice in documentary film at the Centre for Research and Education in Arts and Media, University of Westminster, London.

John Gibbs is Professor of Film and Research Dean for Heritage and Creativity at the University of Reading. He is a member of the editorial board of Movie: A Journal of Film Criticism and series (co-)editor of Palgrave Close Readings in Film and Television. His publications include Mise-en-scène: Film Style and Interpretation (2002), Filmmakers’ Choices (2006, 2015), The Long Take: Critical Approaches (2017, co-edited with Douglas Pye), and a number of audiovisual essays.

https://vimeo.com/profjohngibbs

Harjant Gill is an Associate Professor of anthropology at Towson University. His research examines the intersections of masculinity, modernity, transnational migration and popular culture in India. Gill is also an award-winning filmmaker and has made several ethnographic films that have screened at international film festivals and on television channels worldwide including BBC, Doordarshan (Indian National TV) and PBS. He co-directed the SVA Film & Media Festival (2012-2014), and currently serves on the board of directors of Society for Visual Anthropology (SVA) and co-edits the Multimodal Anthropologies section of the journal American Anthropologist. His website is HarjantGill.com

Joshua Glick is the Isabelle Peregrin Assistant Professor of English, Film, and Media Studies at Hendrix College. He is the author of Los Angeles Documentary and the Production of Public History (UC Press, 2018) and is currently co-editing the Oxford Handbook of Documentary with Patricia Aufderheide.

Marcy Goldberg teaches documentary theory and cultural studies at the Lucerne University of Applied Arts, and is a doctoral candidate at the University of Zurich film studies department. She holds an M.F.A. from York University (Toronto), with a thesis on documentary film and the philosophy of the everyday. Her research areas include: Swiss film history, committed documentary, ethnographic film, feminist film history and gender studies. Together with Simon Spiegel and Andrea Reiter, she co-edited Utopia and Reality: Documentary, Activism and Imagined Worlds (University of Wales Press, 2020)

Tanya Goldman is currently a PhD candidate in Cinema Studies at New York University (defense scheduled for August). Her research explores the history of nontheatrical film distribution as a political practice. Her dissertation articulates this idea through the career of American Film and Photo League member-turned-nontheatrical film distributor Tom Brandon. Her essays related to the distribution of radical documentaries have been published in Cineaste, Feminist Media Histories, the Historical Journal of Film, Radio, and Television, and edited volume InsUrgent Media from the Front: A Media Activism Reader.

Leo Goldsmith is Assistant Professor of Culture and Media at Eugene Lang College, The New School. In 2018, he received his PhD from the Department of Cinema Studies at New York University, where he completed a dissertation on found footage and image circulation. He is a co-author of Keywords In Subversive Film/Media Aesthetics (Wiley-Blackwell 2015), by Robert Stam and Richard Porton, and his critical writing on film and contemporary art has appeared in Artforum, Art Agenda, Cinema Scope, and The Brooklyn Rail, whose Film section he edited from 2011 to 2018. He is an advisor to the programming team of the New York Film Festival.

Juliano Gomes is a film critic and programmer based in Rio de Janeiro, Brazil. He works as a programmer for Sheffield DocFest and for Sessão Cinética at IMS-Rio and São Paulo. He is co-editor-in-chief of Brazilian film criticism online journal Revista Cinética.

Sara Gómez (* November 1943 in Havanna; † June 1974 in Havanna) studied literature, piano and ethnography before turning to cinema. In 1961 she started working for the Cuban Institute of Cinematographic Art and Industry (ICAIC). Here she worked as assistant director alongside Tomás Gutiérrez Alea, Jorge Fraga and Agnès Varda (SALUT LES CUBAINS, 1963). 1962 she shot her first short PLAZA VIEJA.

Jessica Gordon-Burroughs is a Lecturer in Latin American Studies and Visual Culture at the University of Edinburgh. Her manuscript in preparation is titled Foreign Elements: Latin American cinematic experiments in dis-placement. Her essays have appeared in Journal of Latin American Cultural Studies, Cinema Journal, Discourse, among other journals and collections.

Catherine Gough-Brady is an award-winning documentary producer and director who has published on the emergent use of video as a method of academic discourse, and the relational nature of documentary production processes. Catherine Gough-Brady produced and directed six ABC TV documentary series, including Legal Briefs (2016) and Ethics Matters (2017). Catherine created 11 radio features for ABC Radio National. Catherine is currently in development for an ABC TV series The Human Environment, which examines human relationships to our environments. Catherine is an associate editor of Screenworks, a peer-reviewed journal.

Sophia Gräfe (M.A.) is Research Associate of the project “Transdisciplinary Networks of Media Knowledge” at Philipps-University of Marburg as well as guest researcher at the Museum of Natural History in Berlin. Before she has been working in the Department of History and Theory of Culture at Humboldt-University Berlin (2015–2019) She has been a member of the Research Area “Knowledge of Life” at Leibniz-Zentrum für Literatur- und Kulturforschung in 2019. Her research interests are the media history of behavioral science, research film as well as cultural animals studies. She is co-publisher of the JCMS Online-Dossier “Teaching Nontheatrical and Useful Media.”

Slava Greenberg is a postdoctoral teaching fellow at the University of Southern California School of Cinematic Arts and Casden Institute. His research explores the potential of mainstream and emerging media forms to offer transformative experiences in reference to disability studies, trans* studies, and gender. He is the author of Animation and Disability: Cripping Spectatorship (Indiana UP 2022) and co-editor of Fireflies: Journal of Film and Television II. His articles have appeared in Review of Disability Studies, Animation, TSQ: Transgender Studies Quarterly, Jewish Film and New Media, Frames Cinema Journal, and forthcoming in The Moving Image: The Journal of the Association of Moving Image Archivists and Journal of Feminist Studies in Religion. He has also contributed to anthologies on disability, documentary, queer media, and Israeli new media.

Michael Griffin teaches in Media and Cultural Studies at Macalester College, Saint Paul, MN, USA. He earned his Ph.D. at the Annenberg School for Communication at the University of Pennsylvania, where he was also an Annenberg Scholars Postdoctoral Fellow. He writes on the history, theory and practice of visual representation, and the use of visual images in news media, and has three times served as Chair of the Visual Communication Studies Division of the International Communication Association. He also serves on the editorial boards of the Journal of Communication, Media, War & Conflict, Visual Communication, and Visual Communication Quarterly, among others.

Noelle Griffis is an assistant professor of Communication and Media Arts at Marymount Manhattan College and the Reviews Editor for Mediapolis Journal. Her work on location production, film policy, and media activism has appeared in the recent volumes Screening Race in American Nontheatrical Film (Duke UP, 2019) and Media Crossroads: Intersections of Space and Identity in Screen Cultures (Duke UP, 2021). Her research on minority apprentice programs and the politics of the urban location shoot is forthcoming in the Journal of Cinema and Media Studies. Noelle is currently working on a manuscript tentatively titled Filmmaking to Save the City in Crisis: New York on Location, 1966-74.

Roy Grundmann is Associate Professor of Film Studies at Boston University. Author of Andy Warhol’s Blow Job (2003); editor of A Companion to Michael Haneke (2010) and Werner Schroeter (2018); co-editor of The Wiley-Blackwell History of American Film, Vols. 1-4, Michael Haneke: Interviews (2020), and Labour in a Single Shot: Critical Perspectives on Antje Ehmann and Harun Farocki’s Global Video Workshop (2021). Current research: how ships have shaped the visual and literary imaginaries of modernity and postmodernity (war, migration, colonialism, globalization). Monograph Refugees at Sea: The MS St. Louis in History, Film, and Popular Memory (SUNY Press) will publish 2022.

Cassandra Xin Guan is a Dean’s Faculty Fellow and Visiting Assistant Professor in the Program of Science, Technology, and Society at Brown University. Her current research examines how biological plasticity became an object of scientific knowledge, aesthetic experience, and political intervention in the work of animation. Guan is co-editor, with Adam O’Brien, of the 2020 Screen dossier, Natural Aesthetics, and the author of an article in the winter 2021 issue of October, titled Critique of Flowers: The Exigency of Life in the Era of Its Technical Reproducibility.

Frances Guerin teaches Film, Art and Visual Culture at the University of Kent. She has written extensively on questions of memorializing the past through images and art objects. She is author of multiple books, and articles including Through Amateur Eyes: Film and Photography in Nazi Germany (University of Minnesota Press, 2011) The Image and the Witness: Trauma, Memory and Visual Culture (Columbia University Press, 2007) and most recently, The Truth is Always Grey: A History of Modernist Painting (University of Minnesota Press, 2018). She also recently edited a special issue of the Journal of European Studies on European Photography Today (Volume 47, Issue 4, December 2017). Her monograph on the contemporary American painter, Jacqueline Humphries, is forthcoming from Lund Humphries.

Marie-Hélène Gutberlet studied history of art, philosophy, and film studies in Frankfurt/Main and Basel. She worked for many years in the film studies sector and as an independent curator, writer, and film scholar; since 2020 she is professor for film at the University for Art and Design Offenbach (Germany).

Her latest projects include the festival cum exhibition Cours, cours, camarade, le vieux monde est derrière toi—The Cinema of Med Hondo (Berlin 2017-2019 together with Brigitta Kuster and Enoka Ayemba and its publications, and with Annett Busch, Women on Aeroplanes (http://woa.kein.org/).

Gutberlet has published widely both in academic and non-academic contexts.

Shaleece Haas is an Emmy-winning documentary filmmaker, Senior Producer at Prandial Pictures, and a documentary film instructor. Her films have premiered at festivals in more than 20 countries, including SXSW and Tribeca, and have been broadcast on PBS (Independent Lens) and the Sundance Channel, among others.

Alex Hack is currently a Ph.D. candidate in Cinema and Media Studies at the University of Southern California. Having a background in communication and UI design, her current research examines digital media, the invisible, and matters of minoritized experience and embodiment that remain unreal and undervalued. Her dissertation project takes up medicine and its software as fertile ground for humanistic analysis as they force us to consider that racial harm lies too in supposed benevolence, that it has become elemental and rhizomatic, and that its killer instinct doesn’t simply resolve with better data or more training.

Malte Hagener is Professor in Media and Film Studies at Philipps-Universität Marburg. Publications include Moving Forward, Looking Back. The European Avant-garde and the Invention of Film Culture, 1919-1939 (Amsterdam University Press 2007). The Emergence of Film Culture. Knowledge Production, Institution Building and the Fate of the Avant-garde in Europe, 1919-1945 (London: Berghahn 2014), for which he won the Limina prize for best international film book. He is also the director of the DFG-funded project media/rep/ – Institution of an Open Access-repository for media studies (https://mediarep.org/) and principal investigator of the DFG-funded graduate research group „Configurations of film“ (https://konfigurationen-des-films.de/en/).

Ghassan Halwani lives and works in Beirut. After a brief experience with the profession of artist, and in the aftermath of the 2006 Israeli atrocious war on Lebanon, he gave up the artist career and retired to an artisan job to sustain his economies. In 2012, he judged it inevitable not to work on a renewed political discourse on the matter of the disappeared and mass-graves in Lebanon, and completed the film Erased, __Ascent of the Invisible in 2018. Additionally, he has been contributing to the creation of a national archive dedicated to the enforced disappearances in Lebanon.

Ellen M. Harrington has been director of the DFF – Deutsches Filminstitut & Filmmuseum in Frankfurt since 2018. Prior to that she was the Director of Exhibitions and Collections for the forthcoming Academy Museum of Motion Pictures in Los Angeles. As a curator and programmer, she has produced more than 500 public film events and educational programs and 80 exhibitions globally, was the founding director of the Academy’s International Outreach program, and co-founded the Academy’s Media Literacy program. Harrington previously worked for Dustin Hoffman’s Punch Productions, Creative Artists Agency (CAA) and the New York Shakespeare Festival’s Public Theater. She is a graduate of Dartmouth College and New York University, where she studied Comparative Literature, Art History and Film Studies.

Britta Hartmann, professor of film studies and audiovisual media culture at Bonn University and one of the editors of the scholarly journal «Montage AV». She received her Ph.D. from Utrecht University in the Netherlands with a dissertation on the textual pragmatics and narratology of film beginnings and is currently doing research work as one of the principal investigators of the project Attention Strategies of Video Activism in the Social Web.

Vinzenz Hediger is professor of cinema studies at Goethe University Frankfurt, where he directs the Graduate Research Training Program “Configurations of Film”. His publications include Films That Work. Industrial Film and the Productivity of Media (AUP 2009, with Patrick Vonderau) and Films That Work Harder. The Circulations of Industrial Film (AUP 2022, with Yvonne Zimmermann and Florian Hoof). He is a principal investigator in the “Normative Orders” and “ConTrust” research groups at Goethe University.

Stefan Helmreich received his PhD in Anthropology from Stanford University and prior to coming to MIT held fellowships at Cornell, Rutgers, and NYU. Helmreich’s essays have appeared in Critical Inquiry, Representations, American Anthropologist, Cabinet, and The Wire.

Dr. Kay Hoffmann is a film journalist and historian. Since 2007 head of research at the Documentary Film Center (Haus des Dokumentarfilms) in Stuttgart. 2018-2021 Offenburg University: Franco-German RhInedits project (Cinematheque Upper Rhine Valley). 1989 PhD degree in cultural studies University Marburg. Since 1995, numerous projects for the Documentary Film Center. Part of the research project on the history of nonfiction film in Germany before 1945, supported by the German Research Fund (DFG). Overall coordinator of the DFG-project on German nonfiction film 1945-2005, which will be online 2021. Organization of conferences and festivals (Berlinale, Input, NaturVision). Numerous publications.

Maria Hofmann is an Independent Scholar. Her research focuses on contemporary documentary film, theories of spectatorship, and videographic criticism. She participated in an NEH-sponsored summer workshop on Videographic Criticism in 2018, and is currently working on a multimodal monograph on documentary film in the post-truth era in which traditional written chapters are paired with videographic essays. Her research has been published in [in]transition, Studies in Documentary Film, and others.

Tom Holert is an art historian and critic based in Berlin. He (co-)authored various books and has curated a number of exhibitions (most recently, “Neolithic Childhood. Art in a False Present, c. 1930”, together with Anselm Franke, and “Education Shock. Learning, Politics and Architecture in the 1960s and 1970s”, both at Haus der Kulturen der Welt, Berlin). In 2015 he co-founded the Harun Farocki Institut in Berlin. Current research interests and projects pertain, among others, to the histories of spatial and educational politics during the Cold War, the knowledge politics of contemporary art, the performativity and aesthetics of the flag, and the year 1972 as chronotopical intersection of image, violence, and method.

Brenda Hollweg is Research Fellow in the School of Fine Art, History of Art and Cultural Studies at the University of Leeds. She has published widely on the cinematic essay, incl. the works of Patricio Guzman, Kathy High, Agnès Varda and Olivier Zuchuat. In 2019, she co-edited World Cinema and the Essay Film (EUP, with Igor Kristić), focusing on the labour of essayistic film practice in transnational contexts. Currently, she explores how women artists and filmmakers engage with the essayistic to resist systemic forms of violence in affective and aesthetic ways. In March 2021, she co-published Days In Between: Marianna Christofides (Hatje Cantz).

Ilona Hongisto is Professor in Film Studies at the Norwegian University of Science and Technology (NTNU, Trondheim). Hongisto works across Film and Media Studies, specializing in documentary cinema and its threshold with the fictitious. Focusing on questions of speculation, imagination and fabulation, she works towards redefining the work of documentary media in the contemporary world. Her most recent work focuses on the functions of fabulation in post-1989 Eastern European documentary cinema. Hongisto is the author of Soul of the Documentary: Framing, Expression, Ethics (Amsterdam University Press, 2016).

Florian Hoof is currently a Professor for Media Systems and Media Organization at Paderborn University. His research interests include film and media history, industrial film, social theory and digital cultures. He is the author of Angels of Efficiency. A Media History of Consulting (Oxford University Press, 2020) and coeditor of the forthcoming book Films that Work Harder. The Global Circulation of Industrial Cinema (Amsterdam University Press, 2021). Recently published articles include: “Between the Frontlines. Vocational Training Films, Machine Guns and the Great War.” In: L. Grieveson, H. Wasson (eds.) Cinema’s Military Industrial Complex, (University of California Press, 2018).

Tanya Horeck is an Associate Professor in Film & Media at Anglia Ruskin University in the UK. She writes on true crime documentaries, binge watching, celebrity culture, internet memes, and social media, and is the author of Public Rape: Representing Violation in Fiction and Film and Justice on Demand: True Crime in the Digital Streaming Era. Her current research projects include an AHRC funded study on online sexual risks and gendered harms for young people during Covid-19, and a study on the rise of consent culture and intimacy coordination.

Hu Tao was born in Shanxi province. He studied cinematography at Xi’an Academy of Fine Arts and graduated in 2015. He joined the Folk Memory Project in 2013. His film Dumb Man nominated for the TAIWAN International Documentary Film Festival “Chinese Documentary Award”.

Dale Hudson is an associate professor at NYU Abu Dhabi. His research focuses on film, digital, and interactive media in Middle East/North Africa/South Asia and on environmentalism. His work on documentary appears in Cinema Journal, Journal of Palestine Studies, Studies in Documentary Film, Studies in South Asian Film and Media and anthologies. He is author of Vampires, Race, and Transnational Hollywoods (2017), co-author of Thinking through Digital Media (2015), and co-editor of a double issue of Middle East Journal of Culture and Communication (2021).

Rembert Hueser is Professor of Media Studies at the Goethe University, Frankfurt. His work focuses on film and media studies, history of science, cultural studies, contemporary art and architecture. He is particularly interested in the rhetoric of scholarly writing. How do you observe something that already observes itself within its own respective media? How do you get engaged with a certain topic? How do you get rolling? “There is always a way out” (A. Kluge).

Helen Hughes is a senior lecturer in German and film studies at the University of Surrey. Her research has engaged with documentary studies, German-language cinema, and environmental humanities. She is the author of Radioactive Documentary (Intellect, 2021), Green Documentary (Intellect, 2014), co-editor of Documentary and Disability (Palgrave Macmillan, 2017), co-translator History and Obstinacy, (Kluge, Negt, 2014) and has also published several chapters and articles in journals such as Screen and Continuum. She is currently working on a project about the GDR filmmakers Andrew and Annelie Thorndike with the working title Red Documentary.

Laura-Zoë Humphreys is Assistant Professor in the Department of Communication at Tulane University. Her monograph, Fidel between the Lines: Paranoia and Ambivalence in Late Socialist Cuban Cinema (Duke UP, 2019), tracks the changing dynamics of social criticism and censorship in late socialist Cuba through a focus on cinema. She is currently working on a Wenner-Gren funded project on digital media piracy, transnational media, and urbanism in Cuba. Her writing has also appeared in Social Text and Mediapolis: A Journal of Cities and Culture.

Haley Hvdson is a doctoral candidate at the University of Southern California’s Division of Cinema & Media Studies. Situated in the instances of stickiness between media studies, Black feminist epistemology, and abolitionist theory, Haley’s dissertation work is a media archaeology that investigates the interfaces that constitute the borders of the prison—from the rolled steel of jail bars to the LED screens of video visitation pods—and looks after the fugitive possibilities that flicker in the formation of intimacies at these boundaries. Her work is forthcoming in Journal of American Studies and Synoptique.

Dr. Raluca Iacob is an independent scholar who works with documentary film festivals. Between 2020 and 2021 she was a Visiting Fellow at the Institute of Advanced Studies, Budapest, where she worked on a project on archival documentaries and the ways in which the reuse of audiovisual footage function from a contemporary perspective. She obtained a PhD in Film Studies from the University of St. Andrews. Her main research interests lie in world cinema, especially in minor/ peripheral cinemas, documentary studies and critical theory.

David E. James taught in the School of Cinematic Arts at USC. His teaching and research interests focused on avant-garde cinema, East-Asian cinema, and working-class culture. His books include Rock ‘N’ Film: Cinema’s Dance With Popular Music and Power Misses II: Cinema, Asian and Modern, and the edited collection, The Hidden Foundation: Cinema and the Question of Class.

Dr. Rachel Webb Jekanowski is an interdisciplinary scholar working across film and media studies and the environmental/energy humanities. Dr. Jekanowski is an incoming Assistant Professor at Memorial University – Grenfell, on the ancestral lands of the Mi’kmaq, Beothuk, Innu, and Inuit (Newfoundland and Labrador). She is developing a book project on nontheatrical and documentary filmmaking entitled Cinemas of Extraction: Land, Resources, Settler Imaginaries.

http://rjekanowski.ca/

Alex Johnston is a documentarian, media maker, and scholar. His award-winning work, including the films Evidence of the Evidence and NOW! AGAIN!, have screened at a wide range of venues, such as the Berlinale, AFI, London Short Film Festival, Camden International Film Festival, and the Miners’ Colfax Medical Center, a convalescent home for retired hard rock and coal miners in Raton, New Mexico. He is an editor of the radical online media journal NOW! A Journal of Urgent Praxis, (NOW-Journal.com) and is an assistant professor of film at Seattle University.

Melina C. Kalfelis has lately been working in the Social and Cultural Anthropology Department at the University of Bayreuth. In December 2021, she joined the research initiative “ConTrust: Trust in Conflict – Political Life under Conditions of Uncertainty” at the Goethe University Frankfurt. Her recent project deals with trust, violence, and justice in the context of current conflicts in the Sahel region. More generally, her research interests include politics, labour, transnationalism, civil society, law, ethics, and philosophical anthropology and ethnographic methodology. Melina also works as a photographer and filmmaker. In 2019 she released her second documentary film, “NGO Crossroads”, at the FESPACO Festival in Ouagadougou. It engages with the vulnerability of grassroots NGOs in Burkina Faso through their cooperation with international donors.

Jyotsna Kapur is a Professor of Cinema and Media Studies, who is cross-appointed with Sociology at Southern Illinois University, Carbondale. Her research and teaching interests include: Marxist-feminist theory of media arts and culture; the politics of labor, class, race, and sexuality in neoliberalism; History and theory of the documentary idea; Third Cinema; and Global children’s media culture. She is the author of The Politics of Time and Youth in Brand India: Bargaining with Capital (2013); Coining for Capital: Movies, Marketing, and the Transformation of Childhood (2005); and with Keith Wagner, Neoliberalism and Global Cinema: Capital, Culture and Marxist Critique (2012)

Michael Karrer graduated in Political Science and Philosophy and holds a master’s degree in Literary and Cultural Studies from the University of Tübingen. He is an associate member of the PhD Programme “Entangled Temporalities of the Global South” at the same university. Currently he is working on his dissertation No Home Movies. Re-Visions of the Family Archive in Argentine and Brazilian Cinema, which focuses on different uses and reuses of family films in the context of postmemory discourses. His research interests include Latin American literature and film, autoethnography and queerfeminist documentary.

Ritika Kaushik is a PhD candidate in the Cinema and Media Studies at the University of Chicago. Her dissertation Sarkari Film: State Sponsored Documentary Film Practice in India (1960s-1970s) studies the relation between documentary film, the state, and bureaucracy, through state sponsored documentary film institutions in India during 1960s and 1970s. Her scholarly interests range from documentary film, government film, compilation film/found footage/appropriation film, and are located at the intersections of film historiography, aesthetics, theories of the public sphere, and critical archival studies. Her work has been published in the peer reviewed publication Bioscope: South Asian Screen Studies (2017, 2020) and in Economics and Political Weekly (2020).

Olivier Keller is a PhD candidate at the University of Zurich. He holds an MA in History of the Contemporary World and Latin American Studies, which he completed with a Master Thesis on the wartime cooperation between the Office of Inter-American Affairs and the Walt Disney Productions, aimed at propagating Hemisphere solidarity in the Americas through animated movies. Currently, he is researching the US Railway Mission to Mexico, one of the closest cooperation projects between Mexico and the USA during World War II.

Theodore Kennedy is an artist based in New York and Michigan. They received an MFA from Bard College and have exhibited work at The Art of the Real, Microscope Gallery and BAM.

Jasmin Kermanchi is a research assistant and doctoral student at the Institute of Media and Communication at the University of Hamburg, where she is working on a dissertation in the area of interactive documentaries. From April to September 2020 she also worked as a research assistant in the teaching lab project “Onlinekurs dokumentarischer Film im digitalen Transfer” (“Online Course Documentary Film in Digital Transfer”) funded by the German Federal Ministry of Education and Research. Her main research interests include new documentary forms, especially in the digital age, theory of documentary film and realism in film. Jasmin Kermanchi is the author of Interaktiv investigativ. Zum Funktionswandel des investigativen Journalismus in interaktiven Webprojekten (2019) about investigative journalism in interactive web projects.

Hahkyung Darline Kim is a doctoral candidate in the Film and Digital Media Ph.D. program at University of California, Santa Cruz. Her research and filmmaking practices focus on transcultural and transmedia articulations of documentary, experimental ethnography, state media, and immigration historiography. Most recently, her video artwork based on USIS-Korea films, MemoRandom, was exhibited at the Korean Media Art Festival in New York. Other films and video works have been screened and exhibited in Seoul, Madrid, and New York.

Jihoon Kim (chungang.academia.edu/JKIM) is associate professor of cinema and media studies at Chung-ang University, and currently a visiting scholar in the Film and Media Studies program at Columbia University. He is the author of Documentary’s Expanded Fields: New Media and the Twenty-First-Century Documentary (forthcoming in Oxford University Press, Feb 2022) and Between Film, Video, and the Digital: Hybrid Moving Images in the Post-media Age (Bloomsbury, 2018/16). He is also finalizing Post-verité Turns: Korean Documentary Cinema in the 21st Century, the first-ever English-written scholarly monograph on the Korean nonfiction film and video in the private and independent sectors since the 1980s.

Anthony Kinik is a film studies professor whose areas of specialization include documentary and experimental film, as well as cinema’s complex relationship with the urban environment. Together with Steven Jacobs and Eva Hielscher, he co-edited The City Symphony Phenomenon: Cinema, Art, and Urban Modernity Between the Wars (Routledge 2019). His essay Minimum and Maximum Rock ’n’ Roll: Nick Cave, the Bad Seeds, and Rockumentary Form From The Road to God Knows Where (1990) to 20,000 Days on Earth (2014) will appear in the edited collection Images and Sounds of Fury: Mapping the Rockumentary (Edinburgh University Press, 2021).

Vika Kirchenbauer is an artist, filmmaker, writer and music producer based in Berlin. In her work she examines violence as it attaches to different forms of visibility and invisibility.
Recently, the Kunstverein für die Rheinlande und Westfalen, Düsseldorf, has presented a comprehensive solo exhibition of her practice. Her work has also been exhibited in group shows and screenings at, among others, the Tainan Art Museum, Taiwan; the Whitechapel Gallery, London; Kunsthal Charlottenborg, Copenhagen; Neuer Berliner Kunstverein, Berlin; the Berlin International Film Festival, the New York Film Festival, and the Toronto International Film Festival.

Gertrud Koch is Professor Emerita for Cinema Studies at the Freie Universität, Berlin, where she was also the director of the research center “Aesthetic Experience Under the Banner of the Dissolution of Artistic Limits” from 2006-2014. Koch has held numerous appointments as senior research fellow and visiting professor at Brown University, NYU, Columbia University, UC Berkeley, Tel Aviv University, Getty Research Center in Los Angeles, et al. She has written books on Herbert Marcuse and Siegfried Kracauer, on aesthetics, perception and film theory, and on women’s cinema and the representation of Jewish history. Koch is co-editor and advisory board member for several magazines, including Babylon, Frauen und Film, October, Constellations and Philosophy & Social Criticism. Her recent books include Breaking Out, Breaking Bad, Breaking Even (Dipahanes 2017); Die Wiederkehr der Illusion: Film und die Künste (der Gegenwart, Berlin 2016); Zwischen Raubtier und Chamäleon (Texte zu Film, Medien, 2016).

Sima Kokotović is a PhD candidate in Film and Moving Image Studies program at Concordia University. His research investigates how a variety of film cultural workers have mobilized different aspects of circulation of films, peoples, and ideas to contribute to renewed impulse of struggles that have emerged this past decade across the globe. He is a part of MediaLabour collective, and he organized “Cinema in the Midst of Struggle,” as well as “Politics of Alternative Media,” projects aimed at fostering the exchange of ideas about grassroots, non-commercial and emancipatory practices using media as instruments of mobilization, empowerment, and community building.

Anastasia Kostina is a PhD candidate in the joint program in Film and Media Studies & Slavic Languages and Literatures at Yale University. Her dissertation research focuses on the career of Soviet documentary pioneer Esfir Shub. Anastasia’s broader academic interests include documentary history and theory, Soviet and post-Soviet documentary, transgressions between documentary and fiction, history of women’s cinema, environmental film. In recent years Anastasia’s writings on documentary cinema have been published in Feminist Media Histories, Film Quarterly, Senses of Cinema and KinoKultura.

Merle Kröger is a novelist, screenwriter and dramaturg based in Berlin. She co-founded pong film with Philip Scheffner in 2001 and worked as a co-author for Scheffner’s documentary films. Kröger has published five novels until now, with her newest book Die Experten being released in February 2021. Her novels have received numerous awards.

S Topiary Landberg is a digital artist, curator and independent scholar. She completed her PhD in Film and Digital Media from University of California, Santa Cruz in 2020 and was the 2018-2020 Mellon Curatorial Fellow at the Oakland Museum of California, where she produced/co-curated a micro-site on Dorothea Lange: https://dorothealange.museumca.org/. Topiary’s multi-media work have been presented at The Kitchen, Thread Waxing Space, Southern Exposure and many other theaters, galleries and film festivals in NYC, SF and internationally. Her critical writing has appeared in Camera Obscura, Film Quarterly and Rethinking Popular Documentary (Indiana University Press, 2021).

Ohad Landesman is a Lecturer in Film Studies at the Steve Tisch School of Film and Television at Tel Aviv University. He holds a PhD from the Department of Cinema Studies at New York University (2013). He co-edited the anthology Truth or Dare: Essays on Documentary Cinema (Am Oved Publishing House, 2021) and is currently writing a book on travelogues in Israel (forthcoming in SUNY Press). He has published broadly on documentary, digital cinema and animation in several anthologies and in peer-reviewed journals such as Visual Anthropology Review, Studies in Documentary Film, Projections: The Journal for Movies and Mind, and Animation: An Interdisciplinary Journal.

Richard E. Langston is Professor of German Literature in the Department of Germanic & Slavic Languages and Literatures and Carolina-Duke Graduate Program in German Studies at The University of North Carolina at Chapel Hill. His research focuses primarily on twentieth- and twenty-first century literature and its relationship to visual culture and philosophy. He has published widely on German-language prose, poetry, avant-garde and experimental cinema, as well as the visual arts. While much of Langston’s recent scholarship has focused primarily on the work of author and filmmaker Alexander Kluge and social philosopher Oskar Negt, he has recently started a new project about money, value and knowledge in modern and contemporary German literature. In 2011-2012 Langston was a fellow with the Alexander von Humboldt Foundation and from 2014-2018 he was appointed the Zachary Smith Distinguished Term Chair in Teaching and Research.

Michael LaRocco is an assistant professor of digital media at Bellarmine University in Louisville, Kentucky. Both his academic scholarship and his creative work as a filmmaker and media artist investigate the historical development of media technologies and their application in production practices. His recent publications include articles in Film History and Journal of Visual Culture, and his current book project traces the evolution of digital video camera technology across various communities of practice.

Sherry Millner & Ernie Larsen collaborate on film, video, photo-text, book, curatorial and other research projects. Co-creators of the collaborative video project State of Emergency (involving 20 artists), they have also produced several situationist films, two anti-documentaries redefining criminality, and a series of semi-autobiographical videos focusing on authoritarian structures indispensable to capital. In 2008, at the Oberhausen Film Festival, they co-curated Border-Crossers and Trouble-Makers, 10-programs that aimed to rewrite the conventional history of experimental political media. They co-curated Disruptive Film: Everyday Resistance to Power, two DVD volumes of political/experimental short-form films and videos, for Facets Media. Their photo-text projects on Vietnam and on Greece have been published in Rethinking Marxism and online in Social Text and in e-flux conver­sa­tions. Their collaborative book, Capital’s Greek Cage (Autonomedia), explores of the immiseration of the Greek population by the EU and the related growth of fascism.

Millner produces installations, such as The Domestic Boobytrap, which exploits U.S. army manuals to demonstrate the radical instability of domestic space and many photomontage series, currently including No Respirator Included. Larsen writes fiction and media criticism. His most recent book The Trial before The Trial, an account of his experiences on a Manhattion grand jury, is available from Autonomedia Press.

Dimitrios Latsis is Assistant Professor of Film Studies at the School of Image Arts, Ryerson University in Toronto where he teaches in the Film Studies and Film and Photography Preservation and Collection Management programs. He received his PhD in Film Studies from the University of Iowa and completed a postdoctoral fellowship in Visual Data Curation at the Internet Archive where he served as film archivist. His work on American visual culture, early cinema and the Digital Humanities has been supported by the Smithsonian Institution, Domitor and the Mellon and Knight Foundations, among others.

Lorenzo Lazzari is interested in the relationship between the moving image and politics. His research is about those forms of display capable of generating dissent, questioning normalising patterns. In 2018 he was a research fellow at the Iuav University of Venice and in 2019 he won the i-Portunus Creative Europe grant. In 2021 he participate in the Guest Researchers Programme at MACBA—Museum of Contemporary Art of Barcelona. He is currently a PhD candidate in Art History, Film and Media Studies at the University of Udine.

Alisa Lebow is Professor of Screen Media at the University of Sussex. She is the award-winning author/maker of the interactive meta-documentary, Filming Revolution (Stanford UP, 2018), and her books include The Companion to Contemporary Documentary Film (co-edited with Alexandra Juhasz, Wiley-Blackwell, 2015), The Cinema of Me (Wallflower 2012), and First Person Jewish (University of Minnesota Press, 2008). She is the 2020 recipient of the SCMS Anne Friedberg Award for Innovative Scholarship.

Kevin B. Lee is a filmmaker, media artist and critic. He has produced over 360 video essays exploring film, media and spectatorship as critical lived experience. His award-winning Transformers: The Premake introduced the “desktop documentary” format and was named one of the best documentaries of 2014 by Sight & Sound. He received the 2018 Sundance Institute Art of Nonfiction Award and is 2021 Artist in Residence at London South Bank University. He is Professor of Crossmedia Publishing and Co-Director of the Master’s Program in Artistic Research at the Merz Akademie in Stuttgart.

Nam Lee (co-author) is Associate Professor of Film Studies at the Dodge College of Film and Media Arts, Chapman University. The 1980s in South Korean cinema has been one of her main research interests, and her publications includes articles on the influence of minjung aesthetics in Lee Jang-ho’s early 1980s films, socialist realism in The Night Before the Strike, and the book The Films of Bong Joon Ho.

Jesse Lerner is a filmmaker, curator, and writer. His documentaries Frontierland/Fronterilandia (1995), Ruins (1999), The American Egypt (2001), Atomic Sublime (2010), and The Absent Stone (2013) have screened at the New York’s Museum of Modern Art, the National Anthropology Museum in Mexico City, the Guggenheim Museums in New York and Bilbao, and the Sundance, Rotterdam, and Los Angeles Film Festivals, among many other venues. Washington’s National Gallery, the Anthology Film Archives, and Mexico’s Cineteca Nacional have presented mid-career surveys of his films. His books include The Maya of Modernism, F is for Phony, The Shock of Modernity, Ism Ism Ism, and The Catherwood Project.

Alice Leroy is Lecturer in Film and Media Studies at the Université Gustave Eiffel in Paris. Her research deals with the relationship between sciences and aesthetics through the visual imaginaries of the body. She is part of the editorial board of the Cahiers du cinéma and collaborates with the international documentary film festival “Cinéma du Réel” at the Centre Pompidou. With Antonio Somaini and Ada Ackerman, she has organized at the exhibition center Le BAL in Paris the programs of screenings and debates Humain / Non-humain (2017-2018), Machine Vision: images, pouvoirs, algorithmes (2018-2019), and Machine Vision, Machine Hearing: Surveillance, Simulation, Spéculation (2019-20).

Ophir Levy is Lecturer in Film Studies at the University Paris 8 – Vincennes – Saint-Denis. He is the author of Images clandestines. Métamorphoses d’une mémoire visuelle des “camps” (Paris: Hermann, 2016). His PhD thesis on the haunting memory of the Shoah in modern cinema was awarded the Inathèque – National Audiovisual Institute’s “Research Prize” in 2014.

Sasha Litvintseva is a lecturer in Film Theory and Practice at Queen Mary University of London and holds a PhD in Media, Communications and Cultural Studies from Goldsmiths. She is currently working on a book monograph.

Jason Livingston is a media artist, film programmer, and writer. His award-winning work has screened widely, including Rotterdam, Anthology, the Austrian Museum, and the Vancouver Art Gallery. Jason is pursuing a practice-based PhD with the Department of Media Study at the University at Buffalo. He currently serves on the Board of Trustees with the Flaherty Seminar.

Juan Llamas-Rodriguez is assistant professor of critical media studies at the University of Texas at Dallas. His research areas include digital media, border studies, infrastructure studies, and Latin American film and television. His writing has appeared in Feminist Media Histories, Television and New Media, and the Journal of Cinema and Media Studies, among others. His forthcoming book Border Tunnels argues for underground tunnels as media figures that reimagine the stakes in border-making processes.

Geoffrey Lokke is a theatre scholar, director, textual critic, and an editor of PAJ: A Journal of Performance and Art. He is currently at work on critical editions of plays by W. H. Auden, Christopher Isherwood, and Stephen Spender. He is a doctoral candidate in theatre and performance at Columbia University.

Brenda Longfellow is Professor of Cinema and Media Studies in the Department of Film, York University and an award-winning filmmaker. She has published articles on documentary, feminist film theory and Canadian cinema in Public, CineTracts, Screen, Camera Obscura and the Journal of Canadian Film Studies. She is a co-editor (with Scott MacKenzie and Tom Waugh) of the anthology The Perils of Pedagogy: The Works of John Greyson (2013). She was the 2018 recipient of the inaugural Faculty Research Award in the School of Arts, Media, Performance and Design at York University. Her most recent project, the interactive documentary Offshore, is available at: http://offshore-interactive.com/

Jordan Lord is a filmmaker, writer, and artist. Their work addresses the relationships between historical and emotional debts, framing and support, access and documentary. Their films have been shown at festivals and venues including MoMA Doc Fortnight, Dokufest Kosovo, BFMAF, CIFF, ARGOS, and Camden Arts Centre. They have presented solo exhibitions at Piper Keys and Artists Space, and their work has been featured in publications such as Artforum, Art in America, Filmmaker Magazine, and Hyperallergic.

Alice Lovejoy is Associate Professor in the Department of Cultural Studies and Comparative Literature and the Moving Image Studies program at the University of Minnesota. She is the author of Army Film and the Avant Garde: Cinema and Experiment in the Czechoslovak Military (2015) and co-editor of the forthcoming Remapping Cold War Media: Institutions, Infrastructures, Translations. She is at work on a book entitled Militant Chemistry: Film and its Raw Materials, and is co-editing a volume on the history of film stock.

Nikolaj Lübecker is Professor of French and Film Studies at the University of Oxford, UK. He is author of The Feel-Bad Film (2015, Edinburgh University Press) and co-editor (w. Daniele Rugo) of James Benning’s Environments (2018, EUP). His current book project – co-written with Daniele Rugo – examines the experiential nature of images of political violence in non-fiction films by Barbet Schröder, Chantal Akerman, Rithy Panh and Hara Kazuo among others.

Lecturer at TecnoCampus ESUPT, Universitat Pompeu Fabra. Advisor in ALADOS (Latin American Association of Documentary Filmmakers). Ph.D. in Communication at Universidad Autònoma de Barcelona. Former Coordinator of the Seminar Pensar lo Real (Muestra Internacional de Cine Documental de Bogota). Researcher in the group Narrativas de la Resistencia – TecnoCampus.

Laura Lux is a PhD candidate in the German Department at King’s College London with second supervision in the Film Studies Department. Her PhD research analyses the early films, media practices and texts of the German essay filmmaker Harun Farocki in the context of the West German 1968 student movement and the politics around technology and science.

Ma Ran teaches at the international program of “Japan-in-Asia” Cultural Studies and the program of Cinema Studies (eizogaku), Graduate School of Humanities, Nagoya University, Japan. Her research interests include East Asian independent cinemas and film festival studies, for which topics she has published several journal articles and book chapters, including contributions to Chinese Film Festivals: Sites of Translation (2017) and The Japanese Cinema Book (British Film Institute, 2020). Currently she is working on subjective filmmaking and self-documentary in postwar Japan. Ma is the author of Independent Filmmaking across Borders in Contemporary Asia (Amsterdam University Press, 2019).

Vera Mader studied Media and Cultural Studies and Cultural Anthropology in Freiburg, Germany and Amherst, Massachussetts. They are part of the graduate research training group “Documentary Practices. Excess and Privation” at Ruhr-University Bochum. Research interests include Black feminist theory, the poetics/practice of care and discourses on healing, i.e. in 20th century environmentalism.

Neepa Majumdar is Associate Professor of Film & Media Studies in the English Department at the University of Pittsburgh. She is the author of Wanted Cultured Ladies Only! Female Stardom and Cinema in India, 1930s to 1950s (University of Illinois Press, 2009). Her research interests include film sound, star studies, South Asian early cinema, and documentary film. She is a co-editor of the journals [In]Transition: Journal of Videographic Film and Moving Image Studies and Music, Sound, and the Moving Image.

Joshua Malitsky is Associate Professor in the Media School and Director of the Center for Documentary Research and Practice at Indiana University. He works on a range of topics related to documentary and other nonfiction media genres and has published a number of articles on documentary history and theory including topics such as nonfiction film and nation-building, the relationship between documentary and science, the conceptual intersections between both documentary studies and science studies and between documentary studies and linguistic anthropology, and on the sports documentary. He is the author of Post-Revolution Non-Fiction Film: Building the Soviet and Cuban Nations (Indiana UP, 2013) and A Companion to Documentary Film History (Wiley-Blackwell, 2021). He was the host of Visible Evidence XXV in Bloomington, IN.

Pavan Kumar Malreddy teaches English Literature at Goethe University Frankfurt. He is the author of a monograph, Orientalism, Terrorism, Indigenism: South Asian Readings in Postcolonialism (SAGE, 2015) and several co-edited collections, including Reworking Postcolonialism: Globalization, Labour and Rights (Palgrave, 2015) and Violence in South Asia: Contemporary Perspectives (Routledge, 2019).

Daniel Mann is a filmmaker and Leverhulme research fellow at the Film Studies Department at King’s College London. His films have been exhibited internationally at film festivals and venues such as The Berlin Film Festival, The Rotterdam Film Festival, Cinema du Reel, The Hong Kong Film Festival, New Horizons, Sonic Acts, and the ICA in London. His writing appeared in journals such as Media, Culture & Society, Screen, and World Records. His first book, titled Occupying Habits: Visual Media as Warfare in Israel\Palestine, is coming out in 2021 with Bloomsbury.

Ivone Margulies’s In Person: Reenactment in Postwar and Contemporary Cinema (2019) was launched with a related series at Anthology Film Archives. She is the author of Nothing Happens: Chantal Akerman’s Hyperrealist Everyday; the editor of Rites of Realism: Essays on Corporeal Cinema. (2003,) and co-editor of On Women’s Films: Across worlds and Generations (with Jeremi Szaniawski, 2019.) She has published extensively on performance and realism in French and Brazilian cinemas as well as on moving image artists. Margulies is Professor in the Film and Media Studies Dept. at Hunter College, and at the Graduate Center (CUNY).

Hannah Meszaros Martin is an artist and writer. She holds a PhD from the Centre for Research Architecture, Goldsmiths, University of London. She is currently an Advanced Researcher at Forensic Architecture (FA), which she has been a member of since 2012. With FA, she has exhibited at the House of World Cultures (Berlin), MACBA (Barcelona) and MUAC (Mexico City), and contributed to the book FORENSIS (Sternberg, 2014). She has exhibited solo work in Medellín, London, documenta(13), and Manifesta (Marseille). She has published with Open Democracy, Third Text and Different Skies, a publication that she co-founded in 2012.

Mitch McCabe is a queer artist and filmmaker who works across narrative, nonfiction and experimental film, mining themes of class, politics and identity grounded in their native Midwest America. Their films have screened at Sundance, True/False, New Directors/ New Films, IDFA, Ann Arbor, Camden, Visions du Real, Clermont-Ferrand, Winterthur, Edinburgh and New York Film Festival. A fellow of MacDowell and Flaherty Seminar, McCabe’s work has been supported by MASS MoCA, Yaddo, Princess Grace, LEF, Jerome, Djerassi, and McEvoy Foundations. They are currently working on the five-part speculative feature film project of Civil War Surveillance Poems and its multi-part installation.

Carter McCormick is a wildlife and environmental filmmaker from the United States. His filmmaking career began in 2012 working for the People’s National Party of Belize as a production correspondent. Carter’s work has taken him around the globe documenting wildlife issues. In the past he has collaborated with Smithsonian Tropical Research Institute, NOAA, Defenders of Wildlife, National Parks Arts Foundation, various NGOs, and a wide range of parks and conservation organizations. Last year he released The Wild Connection, which examines the relationship between humanity and wildlife. He has also previously worked as the Director of Photography on Free Puppies, a documentary film that explores the relocation of shelter animals that come from abusive portions of the United States. Carter resides in Ireland where he is a PhD candidate at University College Cork. There he is researching how to better formulate wildlife films in order to have a greater impact on conservation. He is currently in production of his third feature film, Forest Beneath The Waves, which is serving as a practice based component of his PhD research. While in Ireland Carter also founded the Ireland Wildlife Film Festival which brings stories of conservation from around the world to an Irish audience.

Cahal McLaughlin is professor of Film Studies at Queen’s University Belfast and director of the Prisons Memory Archive (www.prisonsmemoryarchive.com). He has worked on films in Ireland, South Africa and Haiti, exploring the legacies of state violence. His latest film is It Stays With You (2018).

Gabrielle McNally is a time-based artist and scholar and Associate Professor of Digital Cinema in the School of Art and Design at Northern Michigan University. Gabrielle’s scholarly work currently explores the notions of voice, improvisation, memory, performance, autobiography, and gender as they relate to nonfiction. She has publications through Oxford University Press, Afterimage online, and MAI Feminism and Visual Culture. As a practicing artist, Gabrielle works in experimental autobiographical and essayistic nonfiction. Her videos have screened internationally in several film festivals and galleries.

Judith Michalet, Associate Professor of Aesthetics and Philosophy of Art In the Sorbonne school of arts, at Université Paris 1 Panthéon-Sorbonne. Her work focuses on esthetic philosophy of Gilles Deleuze; emancipation and empowerment issues in contemporary thinking, as well as politics of images in contemporary art. Within the field of documentary studies, she interested in how methodological options and critical positions are related. She recently published Deleuze, penseur de l’image (Presses Universitaires de Vincennes, 2020).

Elizabeth (Liz) Miller is a Professor in Communication Studies at Concordia University and a documentary maker with an expertise in environmental media. She uses collaboration and interactivity as a way to connect personal stories to larger social issues such as water privatization, climate migration, gender & climate change. Her interactive media projects such as The Shore Line, Hands-on: Women, Climate, Change, and SwampScapes, have won awards and been screened in classrooms and at international festivals such as Hot Docs, Atlanta and RIDM. She is the co-author of Going Public: The Art of Participatory Practice (2017). The book has a companion website profiling twenty-nine socially engaged practitioners.

Christie Milliken is Associate Professor in the Department of Communication, Popular Culture and Film at Brock University. She is author of journal articles and book chapters on sex education film and video, 1960s cinema, and AIDS video activism. With Steve Anderson, she is co-editor of the anthology Reclaiming Popular Documentary (Indiana University Press, 2021).

Angelo Madsen Minax is an American artist, performer, and filmmaker. His projects have screened and/or exhibited at the Museum of Contemporary Art Chicago, Anthology Film Archives, Echo Park Film Center, BFI, European Media Art Festival, Ann Arbor, Edinburgh, Berwick, Alchemy and others. His short film The Eddies (2018) about a trans man who investigates the erotic culture of gun ownership in the Southern United States, earned awards from the Chicago Underground Film Festival, Berganale, Kurzfilm Hamburg, and FLEX Experimental Film Festival. Madsen’s new film North by Current premiered at Berlinale, and was supported by Field of Vision, PBS-POV, Sundance and Tribeca Film Institutes.

Darshana Sreedhar Mini is an Assistant Professor at the Department of Communication Arts, University of Wisconsin-Madison. Supported by the Social Science Research Council and American Institute of Indian Studies, her work explores precarious media formations such as low-budget films produced in the south Indian state of Kerala, mapping their transnational journeys. Her research interests broadly include Global Media Cultures, Transnational Cinemas and Migration, South Asian Cinema, and Feminist Media. Her work has been published in Feminist Media Histories, Film History, Bioscope: South Asian Screen Studies, South Asian Popular Culture, South Asian Film and Media, Journal for Ritual Studies and International Journal for Digital Television.

Sonia Misra is Visiting Instructor of Film and Media Studies at Franklin & Marshall College and a PhD Candidate in Cinema and Media Studies at the University of Southern California. Her dissertation, “Queer (Post-)Cinematic Futures: Temporality, the Digital, and the Limits of Representation,” focuses on contemporary queer cinematic production to explore how queerness becomes reoriented around the shifting relationships that define our digital age. She is currently co-editing a collection of Su Friedrich’s interviews and autobiographical writings to be published as part of the University Press of Mississippi’s “Conversations with Filmmakers” series.

Oscar Molina is a Colombian director, producer and cultural manager with more than 20 years of experience. His documentaries include: Ciudad a tres bandas (13m), Festival de La Habana and FIPATEL-Biarritz; El Reino Encantado (52m), Simón Bolívar National Journalism Award; La casa de Mama Icha (85m), Festival de Cartagena and broadcasting in the US via PBS’ POV series. Oscar holds undergraduate degrees in journalism and visual arts and MFA in Film and Media Arts from Temple University. He has led initiatives to promote film audience development and professionalize documentary filmmaking in Colombia.

Raya Morag is Professor of Cinema Studies in the Department of Communication and Journalism at the Hebrew University of Jerusalem, Israel. Her research and publications deal with post-traumatic cinema and ethics; cinema, war, and masculinity; perpetrator trauma; perpetratorhood, victimhood and collaboration in world cinema. She is the author of Defeated Masculinity: Post-Traumatic Cinema in the Aftermath of War (Peter Lang, 2009); The Defeated Male. Cinema, Trauma, War (Resling, 2011); Waltzing with Bashir: Perpetrator Trauma and Cinema (I.B. Tauris, 2013); Perpetrator Trauma and Israeli Intifada Cinema (Resling, 2017); and Perpetrator Cinema: Confronting Genocide in Cambodian Documentary (Columbia University Press, 2020).

Charles Musser teaches Film and Media Studies at Yale University. His many books on early cinema-related topics include The Emergence of Cinema: The American Screen to 1907 (1990) and Politicking and Emergent Media: US Presidential Elections of the 1890s (2016). He has written extensively about documentary, including the work of Paul Robeson, Carl Marzani and Union Films. His documentary Errol Morris: A Lightning Sketch (2014) was presented as a work in progress at the 2011 Visible Evidence conference. His essay “Documentary’s longue durée: Beginnings, formations, genealogies,” was recently published in NECSUS (The European Journal of Media Studies).

Dorit Naaman is a documentarist and film theorist from Jerusalem, and a professor of Film, Media and Cultural Studies at Queen’s University, Canada. In 2016 she released an innovative interactive documentary, Jerusalem, We Are Here, offering a model for digital witnessing. Dorit’s in-production collaborative project A Totem Pole on a Pile of Garbage: Contending with Colonial and Environmental Violence in Kingston, Ontario is situated in Belle Park and Belle Island, and continues her interest in using creative practice to make visible, legible and audible that which has been actively erased or obfuscated.

Lúcia Nagib is Professor of Film at the University of Reading. She is the author of many books, including Realist Cinema as World Cinema: Non-cinema, Intermedial Passages, Total Cinema (2020), World Cinema and the Ethics of Realism (2011) and Brazil on Screen: Cinema Novo, New Cinema, Utopia (2007). She is the editor, among others, of Impure Cinema: Intermedial and Intercultural Approaches to Film (with Anne Jerslev, 2013), Theorizing World Cinema (with Chris Perriam and Rajinder Dudrah, 2011), Realism and the Audiovisual Media (with Cecília Mello, 2009) and The New Brazilian Cinema (I.B. Tauris, 2003). She is the writer and director, with Samuel Paiva, of the award-winning documentary Passages.

Chafic Najem is a doctoral candidate in Media and Communication Studies at the Institute of Media Studies, Stockholm University. His research deals with themes of visual criminology, practices of amateur media mobilization, documentation and resistance in incarceration, and media witnessing, more precisely his current dissertation examines practices of media production by prisoners in Lebanese correction facilities.

Wakae Nakane is a PhD student in Cinema and Media Studies at the USC School of Cinematic Arts. Her research focuses on the essay film and Japanese feminist documentary, developing questions around feminist historiography and promoting previously marginalized woman filmmakers. She has been an active participant in Japan’s independent film scene, working at the Yamagata International Documentary Film Festival. Her publications include Constructing an Intimate Sphere Through Her Own Female Body: Naomi Kawase’s Documentary Films in Female Authorship and the Documentary Image (2018).

Fathima Nizaruddin is an academic and documentary filmmaker. She is an Assistant Professor at AJK Mass Communication Research Centre, Jamia Millia Islamia, New Delhi. Currently she is a postdoctoral fellow at the International Research Group on Authoritarianism and Counter-strategies of the Rosa Luxemburg Stiftung. Her film Nuclear Hallucinations (2016), which emerged out of her practice-based PhD at the University of Westminster, has been screened at various festivals and academic spaces.

Patrícia Nogueira is an Assistant Professor at University of Maia – ISMAI and an invited Professor at University of Coimbra. PhD in Digital Media, under the University of Texas at Austin – Portugal international program, Nogueira is a researcher at ICNOVA – iNOVA Media Lab, and co-leads the European research group CCVA – Cinema and Contemporary Visual Arts, under NECS. She is a documentary filmmaker, focusing mainly on female subjects. During 2015 Patrícia was in residence at the National Film Board of Canada and in 2016 she was a visiting researcher at the University of Texas at Austin. She co-created and co-teaches the class Death and Documentary, running both at UT Austin and University of Maia.

Heather Nolan holds a Master’s in Cinema and Media Studies from UCLA and is currently a PhD Candidate in Performance Studies with emphasis in Science and Technology Studies at UC Davis. Her current project looks at wearable monitoring devices in production of knowledge about the self. She has previously developed theater games workshops for foster youth related to the internet and social media. Heather received her BA from Dartmouth College. She has produced for theater, television, and film, and has taught film studies at community college.

Ersan Ocak is an academician and a filmmaker. He is the head of the Architecture and Urban Studies Master’s Program in TED University, Ankara, Turkey. He has given courses on urbanism, (visual) cultural studies, cinema, documentary, filmmaking, new media at undergraduate and graduate levels. He has publications on urbanism, urban poverty, oral history, memory, documentary, new media storytelling. Ersan also produces experimental video works; makes documentary films; and develops video performances and video installations. His recent core research interests are essay film and interactive documentary (i-docs).

Stefano Odorico is a Reader in Contemporary Screen Media at Leeds Trinity University where he is the director of IRIS (International Research Centre for Interactive Storytelling). He has published numerous works on film and media theory and practice, documentary studies, and interactive documentaries. He is the vice-chair of the MeCCSA (Media, Communication and Cultural Studies Association) practice network and he is a co-founder and member of the editorial team of Alphaville: Journal of Film and Screen Media. He is currently collaborating with Aston on a project focusing on polyphonic documentary theory and practice.

Vrääth Öhner, born in 1965, is a film and media scholar and works as a Researcher at the Ludwig Boltzmann Institute for Digital History since 2018. 2019/20 he was a Visiting Professor at the University of Bremen. From 2011 to 2017 he was a University Assistant (PostDoc) at the Institute of Theater, Film and Media Studies at the University of Vienna. His research interests include the theory, aesthetics and history of (documentary) film and television as well as of media and popular culture.

As a visual artist, María Ordoñez-Cruz has developed her artistic practice focused on collectivity as a way of creating careful and ethical engagement and sharing knowledge. For the last decade, she has been working with people affected by violence in Colombia, where she comes from. Currently, she is doing a PhD in the Department of Cultural Analysis at the University of Zurich, with a project focused on alternative ecologies and creative forms of re-encounter and recomposition of what has been affected by forced disappearance in Colombia.

Laurie Ouellette is Professor of Media and Cultural Studies at the University of Minnesota and the editor of Television & New Media. She writes about nonfiction television and technologies of citizenship, among other topics. Her books include Better Living Through Reality TV: Television and Post-Welfare Citizenship, Keywords for Media Studies, Lifestyle TV, and Viewers Like You: How Public Television Failed the People.

Shannon Owen is a documentary filmmaker and early career researcher based in Melbourne, Australia. Her work has been broadcast nationally and internationally, screened at festivals in Asia, Europe and North America and exhibited in Australia’s National Portrait Gallery. Shannon’s research practice engages with futures discourse and the possibilities and challenges it poses for documentary filmmaking. Alongside her filmmaking practice, she holds a lecturing position at the Victorian College of the Arts, University of Melbourne where she co-ordinates the documentary masters program.

Silke Panse is Reader in Film, Art and Philosophy at the University for the Creative Arts. She was the co-investigator of the Screening Nature Network (2013-14) and has published on documentary in James Benning’s Environments (2018),  A Companion to Contemporary Documentary Film (2015), Marx at the Movies (2014), Screening Nature: Cinema beyond the Human (2013), Rethinking Documentary (2008), Third Text (2006) and Docalogue (2020). She has co-edited A Critique of Judgment in Film and Television (2014) and edited the forthcoming Ethical Materialities in Art and Moving Images (2022). Her current research explores relations between the ethical and the material.

Volker Pantenburg is professor for Film Studies at the University of Zürich. He has published on essayistic film and video practices, experimental cinema, and contemporary moving image installations. Book publications in English include Farocki/Godard. Film as Theory (2015), Cinematographic Objects. Things and Operations (2015, Editor) and Screen Dynamics. Mapping the Borders of Cinema (Co-Editor). In 2015, he co-founded the Harun Farocki Institut, a platform for researching Farocki’s visual and discursive practice and supporting new projects that engage with the past, present and the future of image cultures.

Veronica Paredes is an assistant professor in the Department of Film, Television and Digital Media at the University of California, Los Angeles. Her research interests include reconfigured urban media spaces, feminist digital practices in pedagogy, and collective organizing. She is an active member of the networked feminist collective Situated Critical Race and Media (SCRAM) and FemTechNet. Her work has been published in Amodern and Feminist Media Histories, and work she has collaboratively written has been published in Frontiers: A Journal of Women Studies.

Dr Mirna Pedalo is a London-based architectural practitioner, researcher and scholar interested in the intersection of architecture, urban development and finance in post-conflict societies, particularly in the Western Balkans. Originally from Bosnia and Herzegovina, Mirna has lived and worked in the Netherlands, Republic of Ireland and the UK. She recently completed a PhD at the Centre for Research Architecture, Goldsmiths, University of London, and is a recipient of the RIBA President’s Award for Research 2019 in the Cities and Community category. Mirna is an Associate Lecturer at the Royal College of Art, Oxford Brookes University and University of Westminster.

Jennifer Lynn Peterson is the author of Education in the School of Dreams: Travelogues and Early Nonfiction Film (Duke UP, 2013). Her scholarly articles have been published in JCMS, Feminist Media Histories, Camera Obscura, Moving Image, Getty Research Journal, and numerous edited collections. She has published film, art, and book reviews in Millennium Film Journal, Film Quarterly, LA Review of Books, and Artforum.com. She is currently Professor and Chair of the Media Studies Department at Woodbury University in Los Angeles. Her book-in-progress, Cinema’s Ecological Past: Film History, Nature, and Endangerment Before 1960, is under contract for publication by Columbia University Press.

Hannah Peuker is a doctoral candidate at the DFG Research Training Group “Media Anthropology” at Bauhaus University Weimar, Germany. She writes her thesis on bodily aesthetics in transnational erotic cinemas of the 1970s with a special focus on Brazilian, Japanese, and Italian cinema. She completed her international master’s degree in “Audiovisual and Cinema Studies” at Goethe University Frankfurt, Germany, including research periods in São Paulo, Barcelona and Montreal. During her studies she received a scholarship from the Studienstiftung des deutschen Volkes.

Professor Agnieszka Piotrowska, PhD, is a Professor of Film and Cultural Studies at the University of Gdansk, Poland, and a professorial fellow at Oxford Brookes, UK. She is the former Head of School for Film, Media and Performing Arts at the UCA, UK. She an award-winning filmmaker and theorist, best known for her film Married to the Eiffel Tower. Her latest book is the Creative Practice Research in the Age of Neoliberal Hopelessness (2020). She has written extensively about film, gender and psychoanalysis and has also been making experimental work and video essays. She was a finalist in the Times Higher Competition in 2018 in the category of the Excellence and Innovation in the Arts.

Anna Polze is pursuing her PhD within the research training group „Documentary Practices. Excess and Privation“ at Ruhr-University Bochum. Her dissertation project focuses on postdigital evidence and documentary media witnessing with special emphasis on the video investigations by Forensic Architecture. Anna studied media culture and cultural history and theory in Weimar, Berlin, Lyon and Paris.

Maria Pramaggiore is Professor of Media Studies at Maynooth University. She has published widely on gender and sexuality in cinema and media. She is the author of three monographs, a co-authored film studies textbook, and co-edited collections on voices in documentary and bisexual theory.

Antoine Prévost-Balga is a Ph.D. candidate at the Goethe University Frankfurt and at Université Sorbonne Nouvelle – Paris 3. He studied Theater-, Film- and Media Studies at the Université Sorbonne-Nouvelle Paris 3, the University of Montreal and the Goethe Universität Frankfurt-am-Main. From 2017 to 2020, he was a member of the research collective “Configurations of Film” at the Goethe University, Frankfurt. He is a sessional lecturer at Université Sorbonne-Nouvelle Paris 3 and at PSL – Paris, Sciences et lettres. Since June 2019, he is a member of the NECS (European Network for Cinema and Media Studies) steering committee. Antoine is currently developing a dissertation on the images of microtemporalities, in film and photography, in art and science.

Hollie Price is a Research Fellow on the AHRC-funded Jill Craigie: Film Pioneer project at the University of Sussex. She is an associate producer on Independent Miss Craigie (Lizzie Thynne, 2021), and has previously published on aspects of British film and culture including post-war stardom and domestic modernity, Vivien Leigh’s homes, and the British Ministry of Information’s animated films. Her first monograph Picturing home: Domestic life and modernity in 1940s British Film was published by Manchester University Press in 2021.

Mirosław Przylipiak, professor of film and media studies in University of Gdańsk. His main publications include the four books on documentary cinema and about 160 academic papers on various aspects of film and media. He also made several documentary films and series of television educational programmes. Mirosław Przylipiak was a founder and first managing director of Academic Educational Television of Gdańsk University. His main areas of interest are: theory and aesthetics of cinema, documentary film, American direct cinema, and Polish cinema.

Ian Punnett received his Ph.D. in Journalism and Mass Communication from Arizona State University. He is the author of Toward A Theory of True Crime and A Black Night for the Bluegrass Belle. He is Professor of Practice at the A.Q. Miller School of Journalism and Mass Communications at Kansas State University. Punnett co-edited Moving Sounds: A Cultural History of Car Radio, and contributed to Religion and Technology Series: How Religions are Embracing Virtual Media, Social Networks, and Mobile Devices. Punnett has co-produced for PBS’ Great Performances, and writes and performs for the 600-station syndicated Coast to Coast AM.

Ying Qian is Assistant Professor of Chinese cinema and media at Columbia University. She’s interested in understanding the role of media and mediation in shaping politics, forming knowledge, and connecting realms of experience. Her forthcoming book, Becoming Reality: Documentary Cinema in Chinese Revolutions studies uses documentary as a prism to examine the role of media in producing and regulating the epistemological and emotional upheavals inherent to radical re-orderings of the society. Her articles have appeared in Critical Inquiry, New Left Review, China Perspectives, Oxford Handbook of Chinese Cinemas, New Literary History of Modern China, and other journals and volumes.

Paula Rabinowitz, Professor Emerita of English, University of Minnesota, serves as Editor-in-Chief of the Oxford Research Encyclopedia of Literature. She is the author or editor of numerous essays and books on mid-20th-century-American politics and culture, including They Must Be Represented: The Politics of Documentary, Black & White and Noir: America’s Pulp Modernism and the prize-winning American Pulp: How Paperbacks Brought Modernism to Main Street. Her co-edited 1987 collection, Writing Red: An Anthology of American Women’s Writings, 1930-1940, will be reissued by Haymarket Books. She is working on two books: “Into the Image,” essays written since 2000; and a double biography of two fathers’ secrets.

Pooja Rangan is a scholar and writer based in Amherst College, where she is Associate Professor of English and Film and Media Studies. Her work revolves around documentary politics and ethics. She is author of the award-winning book Immediations: The Humanitarian Impulse in Documentary and is currently completing her second book, Audibilities: On Documentary Listening as an ACLS Burkhardt fellow.

Laura Rascaroli is Professor of Film and Screen Media at University College Cork, Ireland. She is the author of five monographs, including How the Essay Film Thinks (Oxford UP, 2017), The Personal Camera: Subjective Cinema and the Essay Film (Wallflower, 2009), and Crossing New Europe: Postmodern Travel and the European Road Movie (with Ewa Mazierska, Wallflower, 2006), and the coeditor of collections including Expanding Cinema: Theorizing Film Through Contemporary Art (Amsterdam UP, 2020) and Antonioni: Centenary Essays (BFI, 2011). Her work has been translated into several languages. She is General Editor of Alphaville: Journal of Film and Screen Media.

Kriss Ravetto-Biagioli is a professor of Film, Television and Digital Media at UCLA. She is the author of Unmaking Fascist Aesthetics (2001), Mythopoetic Cinema (2017), and Digital Uncanny (2019). She is currently working on a co-authored book with Martine Beugnet, The Trouble with Ghosts, and a book on public anonymity.

Michael Reinhard is a PhD candidate in Cinema and Media Studies at the University of California, Los Angeles. He researches the ethnic politics and documentary production of the Tea Party movement by the political organization Citizens United. This research will appear in The Oxford Handbook of American Documentary (forthcoming) and has been presented at international conferences like the Society for Cinema and Media Studies and Screen Studies Conference. His work has been supported by the Plitt Southern Theater Employees Trust Fellowship, UCLA’s Dissertation Year Fellowship, and the Kemp R. Niver Scholarship in Film History.

Michael Renov, holder of the Haskell Wexler Chair in Documentary, is Professor of Cinema & Media Studies and Vice Dean for Academic Affairs in the School of Cinematic Arts at the University of Southern California. He is the author or editor of several books on documentary including Theorizing Documentary, Collecting Visible Evidence, and The Subject of Documentary. Renov has had the pleasure of hosting the Visible Evidence conference on three occasions – in 1994, 2009 and 2019.

David Resha is associate professor of Film and Media at Oxford College of Emory University. He is the author of The Cinema of Errol Morris (2015).

Dani and Sheilah ReStack have embarked on an artistic relationship that is formally and emotionally adjacent to their domestic lives, a quotidian zone they share with their young daughter Rose. “Both artists have established careers on their own. Neither’s work … could exactly prepare us for the force of the women’s collaborative efforts.” –(Cinema Scope, 2017). Their collaborations have shown at the Whitney Biennial, Toronto International Film Festival, Images Film Festival, Leslie Lohman Project Space, Columbus Museum of Art. Their work has been supported Carizzozo, Headlands and MacDowell. Their upcoming video, Future from Inside, received a Canada Council Project Grant.

Lucia Ricciardelli is an Associate Professor at Montana State University, where she teaches film studies and photography theory. Over the last two decades, Ricciardelli’s research has focused on the use of documentary filmmaking as an act of living resistance and sociopolitical action, resulting in publications, conference presentations and the production of documentary films that seek to raise awareness about cultural diversity. Particularly noteworthy is Ricciardelli’s cross-cultural partnership with Montana Indigenous tribes, which has led to the production of documentary films for the preservation and transmission of Native American oral stories, languages and cultures, contributing to their cause for self- determination.

Roberto Robalinhois a post doc researcher at Universidade Federal Fluminense and University of Tübingen as part of the research project Discomforting territories: images, narratives and objects of the Global South. He received his Ph.D. in Media Studies from Universidade Federal Fluminense in 2017. In 2015 he published a book on audiovisual narrative and the Iraq war based on his Masters. He has also lectured in the Media and Cultural Studies department at Universidade Federal Fluminense. He has directed short films and is in pre-production of his first long feature, a documentary that visits the geographical and symbolic landscape of Brazil´s backlands

Luke Robinson is Senior Lecturer in Film Studies in the Department of Media and Film, University of Sussex, UK. He is the author of Independent Chinese Documentary: From the Studio to the Street (Palgrave Macmillan, 2013), and the co-editor, with Chris Berry, of Chinese Film Festivals: Sites of Translation (Palgrave Macmillan, 2017). His writing on Chinese-language feature film, animation, documentary, and film festivals has appeared in journals including positions: asia cultures critique, Film Studies, Screen, Journal of Children and Media, and Journal of Chinese Cinemas.

Francesca Romeo is a Ph.D. Candidate in Film and Digital Media at the University of California at Santa Cruz. Her work deploys visual studies, political theory, and human rights discourse in order to interrogate the nature of information and advocacy in the digital age. Utilizing a theory/practice approach, she analyzes how networked power proliferates in a global context through the production, alteration, and circulation of images and envisions alternative ways of scripting resistance and securing social justice from “below” through the practice of open-source investigations.

Amy Rose is a practice-based PHD researcher at the Digital Cultures Research Centre in the University of the West of England. Her PHD is titled The Choroegraphy of Participation: the practice and politics of immersive non-fiction. She is also a co-founder of the award-winning creative studio Anagram. Winners of the 2015 Tribeca Storyscapes Award, the 2019 Sandbox Immersive Art Award, in Best VR in 2019 at the Venice Film Festival, Anagram were named in the Createch 100 by the Creative Industries Council and have been selected twice for Columbia University’s Digital Dozen Breakthroughs in Digital Storytelling (in 2015 and 2019).

Mandy Rose is Professor of Documentary & Digital Cultures at UWE Bristol, Director of the Digital Cultures Research Centre and Co-Convenor of the i-Docs Symposium. Mandy has worked in film, TV and interactive media. During 20 years at the BBC she oversaw award-winning participatory media initiatives including BBC 2’s ground-breaking Video Nation project. She is co-editor of i-docs: the evolving practices of interactive documentary – Wallflower Press 2017. As Co-Investigator on Virtual Realities: Immersive Documentary Encounters (2017-20) she led research into VR nonfiction ethics and audience experience. Her recent writing appears in Studies in Documentary Film, World Records and Convergence.

Christian Rossipal is a Ph.D. candidate in Cinema Studies at Tisch School of the Arts, New York University (NYU). He is also part of the Culture & Media Certificate Program at NYU’s Anthropology Department. His research interests include media, migration, war, and necropolitics. Christian’s work has been published in, among other journals and series, Social Text Online, The Global South, and Routledge Key Issues in Cultural Heritage, and he has forthcoming peer-reviewed articles in Film Quarterly; The Journal of Cinema and Media Studies; and the anthology Colonial Debts: Images of the Unseen (Manchester University Press).

Daniele Rugo is a filmmaker and scholar. His latest film, About a War (Rugo/Weaver, 2018) interrogates violence through the voices of fighters from the Lebanon’s Civil War. He is currently working on a book project (with Nikolaj Lübecker) and a documentary film (with Abi Weaver). He is currently a Senior Visiting Fellow at the London School of Economics and Reader at Brunel University London

Kathleen M. Ryan is a documentary filmmaker and oral historian. Her works focus on transformations in storytelling due to shifting media technologies. Her hybrid projects deal with issues of gender, self-identity, visuality and user/participant agency. She is an Associate Professor in the College of Media, Communication and Information at the University of Colorado Boulder.

Claudia Salamanca received her BFA from Universidad de Los Andes in Bogotá, Colombia with a scholarship for her work developing films with disenfranchised youth. Salamanca built her undergraduate education by combining art seminars, computer science courses and her community college education as an electronic technician. She started teaching early which made her art practice inseparable from pedagogy. Salamanca earned her M.A. from Rutgers University with a Fulbright Scholarship with emphasis in Science, Technology and Culture and holds a PhD in Philosophy in Rhetoric from UC Berkeley. Currently she is associate professor at Pontificia Universidad Javeriana de Colombia.

Vicente Sánchez-Biosca is Professor at the Universitat de Valencia (Spain), where he teaches Theory and Practice of Documentary Making. He has been visiting professor at NYU, Paris 3, Paris-Sorbonne, São Paulo, and the University of Montreal, and is the author of a dozen of books on documentary and newsreels in Spain, the Spanish Civil War, the Holocaust and the Cambodian genocide. He is currently leading a research project on the representation of perpetrators of mass crimes and genocide (www.repercri.com). His forthcoming book focuses on “perpetrator images”, i.e, images produced by the agents of mass crimes as part of their aggression to the victims.

Professor Aboubakar Sanogo teaches film studies at Carleton University in Ottawa and is one of the leading experts on the history of documentary in Africa. He is currently working on the Africa Film Heritage Project, a partnership between FEPACI, Martin Scorsese’s Film Foundation and UNESCO to preserve African cinema. In addition to teaching, Dr Sanogo is also a film curator and has curated film programs at institutions including the Smithsonian Institution in Washington DC and the Pan-African Film Festival of Ouagadougou (FESPACO) in Burkina Faso where he was Delegate General of Guilde’s Week, a parallel section of the festival.

Paige Sarlin is a filmmaker, scholar, and political activist. Her first film, The Last Slide Projector, premiered at the Rotterdam International Film Festival in 2007. Her manuscript entitled Interview Work: A Genealogy of a Documentary Form is forthcoming. She is Assistant Professor in the Department of Media Study at University at Buffalo, SUNY.

Anja Sattelmacher is a historian working on the edge between the history of science and media. She is currently academic staff at the German National Library of Science and Technology (TIB) where she is responsible for researching and developing the collection of the former institute for the scientific film. As of 1st of April she will be assistant professor at the Humboldt-University of Berlin in the Media Studies department. In her book project, she writes about the history of political education in (West-)Germany of the 1950s and 1960s.

Julia Schade is a performance scholar and post-doctoral research associate with the graduate research training group “Documentary Practices: Excess and Privation” at Ruhr-University Bochum. She researches decolonial, queer-feminist, (non-)human concepts of temporality and the question of their representability at the intersection of theory and performance. In her current project she investigates aesthetic practices of the Oceanic between migration, decolonization and relationality.

Joachim Schätz, born 1984, works as a postdoctoral University Assistant at the Department of Theatre, Film and Media Studies at the University of Vienna. He leads the FWF-funded project “Educational film practice in Austria” (2019-2022), which is carried out in collaboration with the Ludwig Boltzmann Institute for Digital History. He has published a monograph on Austrian industrial and advertising film, co-published a book on recent American comedy, co-edited a volume on German filmmaker Werner Hochbaum and an edition of peer-reviewed journal “zeitgeschichte” on sponsored films, among other writings on useful cinema, documentary film, comedy, and theories of the detail.

Raquel Schefer holds a PhD. in Film Studies from Sorbonne Nouvelle University, where she is a lecturer. She published the book Self-Portrait in Documentary, as well as several chapters and papers. She has taught at Grenoble Alpes University, Paris Est, Rennes 2, the University of Cinema of Buenos Aires, and the University of Communication in Mexico City. She was a Visiting Scholar at UCLA. She is a post-doctoral FCT fellow at the University of Lisbon, NOVA University of Lisbon, and the University of the Western Cape. She is a co-editor of the quarterly La Furia Umana.

Philip Scheffner has been working as a visual artist since 1985. His feature length documentaries like The Halfmoon Files, Day of the Sparrow, Revision and Havarie won numerous awards and were positively perceived and acknowledged by international critics. He co-founded pong film with Merle Kröger in 2001. Since October 2021 he is Professor for Documentary Practice at the Academy of Media Arts (KHM), Cologne.

Simona Schneider is a Postdoctoral Fellow in the department of Cinema, Photography, and Television at l’Università degli studi di Udine, Italy, where she is a researcher on the material history project “Standard 16mm. Cultures, institutions, and politics of a film format (circa 1934)” with Andrea Mariani and collaborating on the Calgary-based Canadian SSHRC Amateur Film Database Project. She has been a filmmaking fellow at the Film Study Center at Harvard University and a doctoral student at the University of California, Berkeley. Her academic and practical research examines moving images, archival remediation, and mise en scène through lyric and transmedial theory within a transnational framework.

Alexandra Schneider is professor of film studies and the director of the Gutenberg Graduate School of the Huamnities and Social Sciene at Johannes Gutenberg University Mainz. She is a principal investigator in the Graduate Research Training Program “Configurations of Film” and “DICI-Hub – A Research Hub for Digital Film Studies.”

She recently co-edited: Format Matters. Standards, Practices and Politics in Media Cultures (with Marek Jancovic and Axel Volmar), Lüneburg: Meson Press, 2020; her work has been published in: Zeitschrift für Medienwissenschaft, Necsus, Film History and montage/av.

Stefanie Schulte Strathaus is co-director of Arsenal – Institute for Film and Video Art. From 2006 – 2021 she was the founding director of the Berlinale section Forum Expanded. In 2011, she launched the ongoing “Living Archive – Archive Work as a Contemporary Artistic and Curatorial Practice” project; in 2015 she co-founded the “Film Feld Forschung” project at silent green Kulturquartier. She currently curates the collaborative project „Archive außer sich“ which resulted in the foundation of the archive festival „Archival Assembly“. Schulte Strathaus is on the boards of the Harun Farocki Institut, NAAS (Network of Arab Alternative Screens) and the Master program Film Culture at the University in Jos/Nigeria.

Benjamín Schultz-Figueroa is Assistant Professor in Film Studies at Seattle University. His research focuses on the history of scientific filmmaking, nontheatrical film, and animal representations on film. His recent published works include “Project Pigeon: Rendering the War Animal through Optical Technology,” in JCMS: Journal of Cinema and Media Studies and “From Cage to Classroom: Animal Testing and Behaviorist Educational Film” in Film History. His book The Celluloid Specimen: Moving Image Research into Animal Life is due to be published by UC Press in 2022.

Susan Schuppli is an artist-researcher based in the UK whose work examines material evidence from war and conflict to environmental disasters and climate change. Current work is focused on the politics of cold and is organised by the provocation of “Learning from Ice”. Creative projects have been exhibited throughout Europe, Asia, Canada, and the US. She is a recipient of a COP26 Creative Commission sponsored by the British Council. Schuppli has published widely within the context of media and politics and is author of the new book, Material Witness: Media, Forensics, Evidence published by MIT Press in 2020. She is Director of the Centre for Research Architecture, Goldsmiths University of London and is an affiliate artist-researcher and Board Chair of Forensic Architecture. Schuppli is the 2016 recipient of the ICP Infinity Award for Critical Writing and Research.

Isabel Seguí is a Leverhulme Early Career Fellow at the University of Edinburgh, where she is researching the history of women’s nonfiction filmmaking in Peru. She holds a PhD in Film Studies from the University of St Andrews. Her work has been published in journals and edited collections in Europe and the Americas and awarded by BAFTSS. She has co-organised the international conferences Latin American Women’s Filmmaking (London 2017) and Latin American Women’s Filmmaking II: Ways of Making and Doing (Madrid 2019) and is part of the steering committee of the research network RAMA.

Diego Semerene is Assistant Professor of Queer and Transgender Media and Cultural Analysis at the University of Amsterdam (Netherlands). Semerene is a member of the Amsterdam School for Cultural Analysis. She holds an M.A. in Cinema Studies from New York University and a Ph.D. in Media Arts and Practice from the University of Southern California. Her research is located at the intersection of queer theory, trans studies and psychoanalysis. Most recent publications include Tailoring the Impenetrable Body All Over Again: Digitality, Muscle, and the Men’s Suit for The Routledge Companion to Fashion Studies (2021) and Creampied to Death: Ejaculative Kinship in the Age of Normative Data Flows for the journal Psychoanalysis, Culture & Society (2021).

Aparna Sharma is a documentary filmmaker and theorist. Her films document experiences and narratives that are overlooked in the mainstream imagination of the Indian nation. She works in India’s northeastern region, documenting cultural practices of the region’s various communities. In the state of Assam, she has developed two films: Kamakha: Through Prayerful Eyes (2012, distributed by Berkeley Media LLC) and Mihin Sutta, Mihin Jibon (The Women Weavers of Assam, 2019). As a film theorist she is committed to writing about non-normative subjects in Indian cinema with an emphasis on documentary films. Her book-length study, Documentary Films in India: Critical Aesthetics at Work examines non-canonical documentary practices from India (2015). She works as Associate Professor at the Dept. of World Arts and Cultures/Dance, UCLA.

Masha Shpolberg is Assistant Professor of Film Studies at the University of North Carolina—Wilmington, where she teaches courses on global documentary and Russian and Eastern European cinema. Together with Lukas Brasiskis, she is co-editor of Cinema and the Environment in Eastern Europe, forthcoming from Berghahn Books. She holds a PhD in Film and Media Studies from Yale University.

Raisa Sidenova is a Lecturer in Film Theory at Newcastle University. Her research focuses on history and theory of non-fiction film, film history and historiography, cinemas of the Soviet republics, Russian and Soviet cinema. She’s currently working on a monograph, Pravda to Vérité: Soviet Documentary between Stalinism and Perestroika, which explores how Soviet documentary practice transformed with the changes in the mediascape, Soviet film industry and the public sphere from the end of World War II to the Gorbachev reforms of the late 1980s.

Joshua Simon, curator and author based in Philadelphia and Tel Aviv-Jaffa. Director of curatorial affairs at Artlink. Former director and chief curator of MoBY-Museums of Bat Yam, Tel Aviv (2012- 2017). Simon is visiting critic at the Fine Arts program at the University of Pennsylvania, and teaches at the Pennsylvania Academy of Fine Arts, and at Leuphana University, Germany. Recently curated The Dividual (The Kunstraum at Leuphana University, Lüneburg, 2021), and In the Liquid (PrintScreen Media Festival, 2018). Author of Neomaterialism (Sternberg, 2013) among others, and editor of Communists Anonymous (Sternberg, 2017), and Being Together Precedes Being: A Textbook for The Kids Want Communism (Archive, 2019), and Noa Yafe: Beyond the Distance – A Distance (Mousse, 2020), among others.

Julia Sirmons is a PhD candidate in Theater at Columbia University. Her research focuses on spectacles of emotion and violence in performance and media. Her dissertation explores the use of overblown theatrical aesthetics to represent political and social crises in post-War Europe. She received Columbia’s Teaching Scholars Fellowship to design and teach a course on the history of crime documentaries across media. She holds degrees in Media Studies from Columbia and the University of Chicago. Her writing has appeared in The Opera Quarterly, Framework, PAJ, and the feminist film journal Another Gaze.

Patrik Sjöberg is Assistant Professor and teaches at Stockholm University of the Arts. He is the author of essays on documentary film, experimental film and sound in Swedish and English, including the book, The World in Pieces – A Study on Compilation Film (2001); and contributions to anthologies, most recently (English): “Face Blind: Documentary Media and Subversion of Surveillance”, A Companion to Contemporary Documentary Film, Ed. Alexandra Juhasz, Alisa Lebow (2015); “The Fundamental Lie: Lip Sync, Dubbing, Ventriloquism, and the Othering of Voice in Documentary Media”, Vocal Projections: Voices in Documentary (2018). He is currently working on a project on global open-air cinema cultures.

Amy Skjerseth is a PhD Candidate in Cinema and Media Studies at the University of Chicago. She co-organizes the Great Lakes Association for Sound Studies and co-produces the sound studies podcast Phantom Power. As a Franke Institute for the Humanities Residential Fellow, she is completing her dissertation on music recording and broadcast technologies that inspired postwar media-makers to politicize popular music. From the transistor radio and multitracking to deepfakes, she examines how found sounds materialize historical moments by appealing to personal and collective memory. More broadly, she explores how devices from automata to deepfakes shape audio-visual ideologies and cultures.

Salomé Aguilera Skvirsky is Associate Professor in the Department of Cinema and Media Studies at the University of Chicago. She works on transnational political cinema, with a special focus on Latin America. Her first book, The Process Genre: Cinema and the Aesthetic of Labor, was published by Duke University Press (2020). Her essays have appeared in Cinema Journal, the Journal of Latin American Cultural Studies, Social Identities, Hispanófila, and in The Routledge Companion to Latin American Cinema. She is currently working on two projects: one titled Filming the Police; and a second one about the talking head in nonfiction filmmaking.

Belinda Smaill is an Associate Professor in Film and Screen Studies at Monash University in Melbourne. She is the author of The Documentary: Politics, Emotion, Culture (2010), Regarding Life: Animals and the Documentary Moving Image (2016) and co-author of Transnational Australian Cinema: Ethics in the Asian Diasporas (2013). She is the Leader of the Environment and Media Research Program at Monash and is currently the lead CI on an ARC Discovery Project titled “Remaking the Australian Environment Through Documentary Film and Television.” Her essay, “Petromodernity, the Environment and Historical Film Culture,” is forthcoming in Screen (2021).

Patrick Brian Smith is an incoming British Academy Postdoctoral Fellow in the Department of Film and Television Studies at the University of Warwick, where he will be working on a project entitled “Mediated Forensics.” His research interests include documentary theory and practice, spatial and political theory, forensic media, and human rights media activism. He has taught courses on visual culture, film and media histories, documentary theory, and activist media cultures. His work has been published in journals such as Afterimage, NECSUS, and Mediapolis.

Sanaz Sohrabi (b. Tehran) is a research-based artist, filmmaker, and Fonds de Recherche du Québec Société et Culture (FRQSC) doctoral fellow at the Center for Interdisciplinary Studies in Society and Culture at Concordia University, Montréal. Her work at large engages with the politics of recovery in photographic archives and the role of photography and film as technologies of public-making and subject positioning. Sohrabi’s works have screened internationally at Montréal International Documentary Film Festival, 50th International Film Festival Rotterdam (IFFR), Videonale 16 Bonn, Sheffield Doc/Fest, IndieLisboa, European Media Arts Festival, Kasseler Dokfest, Images Festival, and Beirut Art Center.

James Solomon made the documentary The Witness. The Witness re-investigates the infamous Kitty Genovese murder; it was shortlisted for the 2017 Academy Award for Best Feature Documentary. James received the Humanitas Prize for his screenplay The Conspirator. He was a lead writer and Executive Producer of the ESPN series The Bronx is Burning, based on events in 1977 New York City. A Directing Fellow at the American Film Institute, James has also written for several television series.

Antonio Somaini is Professor in Film, Media, and Visual Culture Theory at the Université Sorbonne Nouvelle in Paris. Among his main publications, the volumes La Glass House de Serguei Eisenstein. Cinématisme et architecture de verre (B2, 2017), Cultura visuale. Immagini, sguardi, media, dispositivi (with A. Pinotti, Einaudi 2016) and Ejzenštejn. Il cinema, le arti, il montaggio (Einaudi 2011). He is the editor of the collective volumes La haute et la basse définition des images. Photographie, cinéma, art contemporain, culture visuelle (with F. Casetti, Mimésis 2021), Pandemic Media. Notes Toward an Inventory (with Ph. D. Keidl, L. Melamed and V. Hediger, Meson 2020), and of translations in English, French and Italian of texts by Walter Benjamin, Sergei Eisenstein, László Moholy-Nagy and Dziga Vertov. In 2020 he has been the chief curator of the exhibition Time Machine: Cinematic Temporalities (catalogue Skira 2020, website www.timemachineexhibition.com). He is currently working on a book on the impact of machine learning technologies on contemporary visual culture and contemporary artistic practices.

Bjørn Sørenssen is professor emeritus at the Norwegian University of Science and Technology, Trondheim, Norway. He has published extensively on Norwegian film history, documentary film history and theory, and digital media. He has a strong interest in the history of alternative media and has recently published a chapter on Norwegian film maker Olav Dalgard in the anthology A Cultural History of the Avant-Garde in the Nordic Countries 1925-1950 (eds. Hjartarson, Kollnitz, Stounbjerg, Ørum) Leiden: Bill/Rodopi 2019.

Nicole-Antonia Spagnola is an artist and Ph.D. candidate at UCLA in the department of Cinema and Media Studies. Her research and academic work engages histories of non-human animal representation and visuality. Spagnola’s ongoing dissertation project, Animal Liberation is Our Liberation: Bearing witness, visual tactics, and testimonies in animal advocacy; 2001-2021, traces the testimonial significance of the animal-image in animal advocacy during the post-9/11, “Green Scare” era.

Simon Spiegel is Privatdozent at the University of Bayreuth and project manager in the ERC Advanced Grant research project FilmColors at the Department of Film Studies at the University of Zurich. From 2014 to 2018 he was a collaborator in the research project Alternative Worlds. The Political-activist Documentary Film which resulted in his professorial thesis Bilder einer besseren Welt on utopias in nonfiction films (Schüren 2019, translated as Utopias in Nonfiction Film, Palgrave Macmillan 2021). His PhD thesis on the science fiction film was published in 2007 as Die Konstitution des Wunderbaren (Schüren). He is co-editor of the interdisciplinary Zeitschrift für Fantastikforschung.

Brenda I. Steinecke Soto is a Colombian-German producer, cultural manager and choreographer with MA in philosophy from Hamburg University. After studying and working in Europe for 18 years, Brenda returned in 2013 to her hometown, Medellín, where she founded and is director of the Espacio Arte Foundation, a nonprofit organization based in rural sites of Medellín. Its approach relies on boosting dynamics of social transformation through multidisciplinary artistic projects, intertwining their work in a local and international context. As a film producer, Brenda concentrates in documentary and experimental projects in which she engages as a conceptual advisor and co-researcher.

Nora Stone is Visiting Instructor of media production at the University of Alabama and holds a PhD in Communication Arts from University of Wisconsin-Madison. Her first book project is a history of the commercialization of documentary films, 1960 to the present. Her research has appeared in Media Industries Journal, Historical Journal of Film, Radio and Television, and the Los Angeles Review of Books. She is also an active filmmaker, with her recent short films having played at the Maryland Film Festival, among others. She produced and art-directed the independent feature film A Dim Valley, being released in theaters in 2021.

Brett Story is a filmmaker and writer based out of Toronto. She is the director of the films The Prison in Twelve Landscapes and The Hottest August, and author of the book Prison Land: Mapping Carceral Power Across Neoliberal America. She is Assistant Professor of Image Arts at Ryerson University and her work has received support from the Sundance Institute and the Guggenheim Foundation.

Juan Antonio Suárez is a Professor of American Studies at the University of Murcia. He is the author of Bike Boys, Drag Queens, and Superstars, Pop Modernism, and Jim Jarmusch and the co-editor of Culture, Space, and Power, The Spatial Politics of Contemporary Fiction, and Reimaginar la disidencia sexual en la España de los 70. Recent essays have appeared in Screen, L’Atalante, The Journal of Cinema and Media Studies, and in several edited collections. He is currently completing the book Experimental Film and Queer Materiality.

Juana Suárez is an Associate Arts Professor in the Department of Cinema Studies at New York University’s Tisch School of the Arts and Director of its Moving Image Archiving & Preservation Program. She combines careers as a scholar, film critic, and media archivist/preservation activist. Her research interests include Media Preservation, Film Archives, Media Archeology, Administration of Memory Institutions, Film Studies, Latin American/Latino-a Cinema, Cultural Studies and Literature, Women’s and Gender Studies, and Immigration Studies.

She is the author of Sitios de Contienda. Producción Cultural y el Discurso de la Violencia (Iberoamericana-Vervuert, 2010), and Cinembargo Colombia. Ensayos críticos sobre cine y cultura colombiana (Universidad del Valle, 2009), published in English by Palgrave Macmillan in 2012. She is the co-editor of Humor in Latin American Cinema (Palgrave Macmillan, 2015). Currently, she is forwarding a research project entitled Audiovisual Archives, Cultural History and the Digital Turn in Latin America.

Karen Sztajnberg, a Brazillian filmmaker and researcher, accepted a Fulbright to finish her undergraduate studies at Bard College, then went on to pursue her M.F.A degree at Columbia University. She has just started her PhD research work at the Amsterdam School of Cultural Analysis with a project weaving South American cinema, Spectatorship and Psychoanalysis. Her latest trans-media project, The Beholder of the Eye, is still making festival rounds and bringing awareness to the imbalance between nude representations across the gender divide. She presented Elliptical Trajectories at NYU’s Cinema Studies Conference Frames, Windows, Mirrors in February’21, New Order at Fascist Imaginaries by Psychoanalysis and Politics in Berlin’21 and Lisbon Polytechnic’ Reconfigurations: New Narrative Challenges of the Moving Image’21, where she will present Ema: the Ekphrasis of the Spawn.

Tess Takahashi is a Toronto-based scholar, writer, and programmer who focuses on experimental moving image arts. She is currently working on two books, Impure Film: Medium Specificity and the North American Avant-Garde (1968-2008), which examines artists’ work with historically new media, and On Magnitude, which considers artists’ work against the scale of big data. She is a member of the experimental media programming collective Ad Hoc and the editorial collective for Camera Obscura: Feminism, Culture, and Media. Takahashi’s writing has been published there as well as in Cinema Journal, the Millennium Film Journal, Animation, MIRAGE, and Cinema Scope.

Ruti Talmor is Associate Professor of Media Studies at Pitzer College and Chair of the Intercollegiate Media Studies Program at the Claremont Colleges. An anthropologist with training in art history and ethnographic film, she teaches and publishes on the anthropology of media, photography, and documentary.

Pelin Tan is a sociologist and art historian based in Mardin, Turkey, and a professor in film at the University of Batman, Fine Arts Faculty. She is the 6th recipient of the Keith Haring Art & Activism Award (New York) and senior researcher of the center for arts, design, and social research (Boston). Tan was a Postdoctoral fellow on »Artistic Research« at ACT Program, MIT (2011), a Ph.D. researcher of DAAD – Art History, Humboldt Univ.Berlin (2006). She is a member of Artikisler Collective, with whom she has published a book on Autonomous Archiving. Recipient of Sharjah Short Film award 2020.

Stefan Tarnowski is a writer, translator and PhD Candidate at Columbia University’s Anthropology Department. His research focuses on Syria since the 2011 revolution, and in particular on the relations between technology, political economy and social imaginaries. His ethnographic fieldwork with Syrian media activists and civil society organisations was funded by a grant from the Wenner-Gren Foundation 2018-19, and the German Orient-Institut Beirut 2019-20.

Florian Thalhofer is a documentary filmmaker and the inventor of Korsakow, a software to create a new form of film and a principle to create a new kind of story. Florian’s system allows video makers to create nonlinear and interactive films and to tell stories through a number of links generated by keywords. Thalhofer’s Korsakow films include Planet Galata (2010), Gelt.gr (2013) and Codonaut (2019). Starting from a SNU (Smallest Narrative Units, as he calls them) his interactive documentary films are polyphonic representations of our world.

Lizzie Thynne is a film-maker and writer on media and film. She is Professor of Film at Sussex University. She is Principal Investigator on the AHRC-funded project Jill Craigie: Film Pioneer. Her work often focuses women’s life histories. Her feature documentaries include On the Border, 2012 (on her Finnish mother’s history) JMP Screenworks 4, Brighton: Symphony of A City, (Brighton Festival 2016/Symphonic Visions, Metier 2018) and Playing a Part: The Story of Claude Cahun (AHRC funded, 2005). She directed ten short videos for Sisterhood and After: An Oral History of Women’s Liberation (with the British Library), funded by the Leverhulme Trust.

Thomas Tode is a freelance filmmaker, writer, and curator, based in Hamburg. He focuses on essay film, the Soviet film avant-garde, and political documentary film. Furthermore films about architecture, about archeology, and the films of the ‘re-education’. His curatorial projects include PhotoFilm! (National Gallery of Art Washington, 2012; Tate Modern London, 2010), and bauhaus & film (Barbican Centre London, 2012; Weimar, Dessau, Berlin, Hamburg 2009), he has published books on Johan van der Keuken, Chris Marker, photo-film, essay-film, Bauhaus & film, and Potemkin-Meisel. He is the author of Dziga Vertov –Die Vertof-Sammlung im Osterreichischen Filmmuseum (2006), and Die linke Filmkultur der Weimarer Republik/Left Wing Film Culture of the Weimar Republic (2019).

Leshu Torchin is Senior Lecture in Film Studies at the University of St Andrews, where she researches and teaches on documentary, witnessing, and activism. She is author of Creating the Witness: Documenting Genocide on Film, Video, and the Internet, co-author of Moving People, Moving Images: Cinema and Trafficking in the New Europe, and co-editor of Film Festivals and Activism. She has contributed to journals such as Third Text, Film Quarterly, and Film & History, and finds a shocking amount to say about Borat. She launched the Themed Playlist Initiative at the start of the pandemic and hopes to keep it going.

Takuya Tsunoda is Assistant Professor of Japanese cinema and media in the Department of East Asian Languages and Cultures at Columbia University. His primary research centers on the interplay between institutions and media, technologies and socio-cultural practices, various modes of reflexivity, science and material culture, and representation and knowledge formations. He is currently working on a book that examines the history of audio-visual education and its relation to the new cinemas of the 1960s in Japan.

Daniel Tucker works as an educator, artist, writer, and organizer developing documentaries, publications, exhibitions, and events inspired by his interest in social movements and the people and places from which they emerge. His writings and lectures on the intersections of art and politics and his collaborative art projects have been published and presented widely and are documented on the archive miscprojects.com. Most recently his video essays were the focus of a month-long program at the Visual Studies Workshop. He is currently an Assistant Professor and the founding Graduate Program Director in Socially-Engaged Art at Moore College of Art & Design.

Mila Turajlic is an award-winning director born in Belgrade, Yugoslavia. Her documentary The Other Side of Everything won 32 awards including the prestigious IDFA Award for Best Documentary Film. It was nominated for the European Parliament’s LUX Prize. Mila’s previous film, Cinema Komunisto premiered at Tribeca and won 16 awards including the FOCAL Award for Creative Use of Archival Footage. In 2018 she was commissioned by MoMA to create archive-based video installations for their landmark exhibition on Yugoslav architecture. In 2020 Mila was a Chicken&Egg Award grantee and invited to join the AMPAS Documentary Branch.

Nagehan Uskan lives and works on Lesvos Island. After studying cinema at Bologna and Lyon Universities, in 2018 she finished her Ph.D. at the Sociology department of Mimar Sinan Fine Arts University in Istanbul, on the topic of Kurdish documentary cinema in Turkey. She was a postdoctoral research fellow at the Sociology department of the University of Fribourg/Switzerland with research on migration and its visual representation during 2019. She also works as a film programmer for different institutions and as an independent documentary filmmaker. She has organized visual storytelling workshops with migrant collectives in Lesvos Island and held several film lectures and workshops within different international institutions. She is currently a lecturer and researcher hosted by Humboldt-University.

Zeynep Merve Uygun received her PhD in trans-disciplinary documentary film from the University of Edinburgh in Scotland. Prior to her current occupation, she worked as a lecturer at Istanbul Bilgi University, Istanbul Şehir University and Koç University. Zeynep Merve Uygun has taken part in many international film festivals and workshops as a mentor, tutor and also jury member. Her animated and experimental documentaries such as IN OUT and Zigzag, besides receiving many international awards, have been screened at more than 50 international film festivals including Cannes, Boston Turkish Film Festival, Golden Orange and IF Istanbul Independent Film Festival. Her research interests include the visual representation of body and space in documentary film, digital ethnography, and new media documentary.

Cecilia Valenti is a postdoc researcher in film and media studies at Johannes Gutenberg University Mainz and a film curator. Cecilia is the author of the book «Das Amorphe im Medialen. Zur politischen Fernsehästhetik im italienischen Sendeformat Blob» and has a strong record of journal publications in the field of non-fiction film, feminist film theory, and media of political mourning. She is the co-editor, with Nikolaus Perneczky, Fabian Tietke and Lukas Foerster, of the anthology «Spuren eines Dritten Kinos. Zu Ästhetik, Politik und Ökonomie des World Cinema». As part of the film collective «The Canine Condition» she has organized several film series based on extensive archival research at Arsenal – Institute for Film and Video Art, the Zeughauskino and the Austrian Film Museum, among others.

Lennaart van Oldenborgh is a practice-based PhD candidate in Documentary Film Studies at Goldsmiths, University of London. In 1993-94 he worked for the UN mission in the former Yugoslavia (UNPROFOR), before settling in London in 1997, where he established himself as a documentary film editor. He edited the 2018 BAFTA winning documentary Basquiat: Rage to Riches for BBC Studios. He co-directed the feature-length documentary film Bitter Lemons with Adnan Hadzi, about the post-conflict situation in Cyprus, premiered at the Solothurn Film Festival in 2014, and published Performing the Real, in The State of the Real, (2007, I.B.Taurus).

Gail Vanstone is the coordinator of the Humanities and Culture & Expression programs at York University, Canada. She works at the intersection of feminist theory, new technology and women’s documentary film production. She is the author of D is for Daring, a history of Studio D the feminist film unit at Canada’s National Film Board; and, with Winston and Wang Chi, The Act of Documenting. Her recently published essays include ‘Scriptrix narrans’: Digital Documentary Storytelling’s Radical Potential (2018) and ‘I Wanted to Say How Beautiful We Are’: Cultural Politics in Loretta Todd’s Hands of History (2014).

Jaap Verheul is a Senior Teaching Fellow in Film Studies at the University of Southampton. His research focuses on transnational flows of film and television in European media industries, and how these affect the representation of identity on the screen. Among other subjects, he has written on the dual monolingualism of contemporary Flemish cinema, the co-production of a European heritage brand for British television, the failed formation of film stardom, and audience’s restricted access to cinema cultures on streaming platforms during the Covid-19 pandemic. Jaap recently edited a collection on The Cultural Life of James Bond: Specters of 007 (Amsterdam University Press, 2020), and is currently completing his monograph on the regulation of European screen cultures after 1989.

Prof. Dr. phil. Ursula von Keitz
Chair of Film Research and Education at the Film University Babelsberg, Potsdam, 2014-2020 also Director of the Filmmuseum Potsdam. 2012-2019 Co-Leader of the long-term DFG-Research Project „History of Documentary Film in Germany 1945-2005“. Research topics: Film history and aesthetics, audio-visual heritage, curational practices, documentary theory, and methods of scholarly film editing. She has published widely on silent cinema, film and hygienics, and Holocaust in film, and has curated a series of film exhibitions.

Dr. Vukoder is an instructor at the University of Delaware in the Department of English and a Research Associate at Swarthmore College. He recently earned his Ph.D. in Literary and Cultural Studies at Carnegie Mellon University. His research primarily concerns the history and extant archives of the U.S. Information Agency’s moving image operations. He co-directs the USIA pilot within Dartmouth’s Media Ecology Project (under Mark Williams) and is currently co-editing (with Hadi Gharabaghi) a special issue of the Journal of e-Media Studies on USIA moving image history, to be published in 2021.

Beny Wagner is a PhD candidate at the Archaeologies of Media and Technology Research Group at Winchester School of Art and was a researcher at Jan van Eyck Academy in 2015-6. He has lectured at several art academies in the Netherlands, Belgium and UK.

Malin Wahlberg is a Professor in Cinema Studies at the Department for Media Studies, at Stockholm University. She is the author of Documentary Time. Film and Phenomenology (University of Minnesota Press, 2008), and has also published on experimental film and video, science cinema, and documentary in early public broadcasting culture. Her present work seeks to theorize the aesthetics and experience of sonic traces, voice and aurality in documentary cinema and contemporary art. In 2013, Wahlberg co-organized Visible Evidence XX in Stockholm.

Janet Walker is Professor of Film and Media Studies at the University of California, Santa Barbara and author or co-editor of books including Feminism and Documentary (with Diane Waldman), Trauma Cinema, Documentary Testimonies (with Bhaskar Sarkar), and Sustainable Media (with Nicole Starosielski). She is co-recipient of a Mellon Sawyer Seminar grant for a continuing project on Energy Justice in Global Perspective and founding co-editor of the University of California Press open access journal, Media+Environment.

Dr. Shilyh Warren is Associate Professor of film and feminist studies in the School of Arts & Humanities at UT Dallas. She is the author of Subject to Reality: Women in Documentary (U of Illinois P, 2009), and essays on documentary, feminism, and women’s cinema. She’s curated several film programs featuring women’s documentary and experimental filmmaking in North Carolina, New York, and Dallas, and she often serves on the jury of the Dallas VideoFest.

Ryan Watson is Associate Professor of Film and Media Studies at Misericordia University in Dallas, PA. He is the author of Radical Documentary and Global Crises: Militant Evidence in the Digital Age which is forthcoming from Indiana University Press in October 2021. In 2019, he co-edited a special issue of Studies in Documentary Film on “Radical Documentary in the Globalized Age of New Media.” Watson’s writing has appeared in ​Afterimage, Animation Journal, Cinema Journal, Discourse, Feminist Media Studies, Journal of Film and Video, Review of Middle East Studies, and The Velvet Light Trap.

Abi Weaver is an award-winning producer/director who has worked across a range of visual media from independent feature to programming for major UK broadcasters (BBC, ITV, Channel 4, and Channel 5). Her latest film About a War (2018, Lebanon/UK) explores violence and change through the testimonies of ex-fighters from the Lebanese Civil War. Abi is a TECHNE-funded doctoral candidate at the University of Surrey and is also an affiliate of the Centre for Lebanese Studies. She is a consultant on academic research projects using documentary interview methods as tools for research and dissemination.

Thomas Weber is Professor for media studies at the University of Hamburg. He was one of the leaders of the DFG-project “History of the german documentary film after 1945” and leads several other projects in the field of documentary film (see www.dokartlabor.avinus.de) His books include: Medienkulturen des Dokumentarischen, 2017 (ed. with Carsten Heinze); Mediale Transformationen des Holocausts, 2013 (ed. with Ursula von Keitz); Documentary Film in Media Transformation, InterDisciplines – Journal of History and Sociology. Vol 4, No 1 (2013).

Diane Wei Lewis is an Assistant Professor of Film and Media Studies at Washington University in St. Louis. She specializes in film and media cultures in Japan, with a focus on gender, emotion, and labor. Her essays have appeared in Cinema Journal, positions: asia critique, Feminist Media Histories, and Screen. She is author of Powers of the Real: Cinema, Gender, and Emotion in Interwar Japan (Harvard University Asia Center, 2019) and is currently working on two projects: one on Prokino and one on women’s labor and 1980s information technology.

Franziska Weidle is a visual anthropologist, film/media maker and learning designer. She is currently a Research Assistant in the Learn & Play project at the Brandenburg Technical University Cottbus-Senftenberg. Her PhD was on media software and its role within the theory and practice of documentary and ethnographic filmmaking. As a key part of this, she looked at the Korsakow software and studied its role within different situated documentary practices. This made her question the ways we (as academics, makers and everyday users) interact with non-humans such as technology and how this interaction, in turn, influences the ways we see and engage with the world.

Janina Wellmann is a cultural historian of science. Her work focuses on the history and epistemology of the life sciences in the modern era. At present she is working at the research institute “Media Cultures of Computer Simulation” at Leuphana University Lüneburg. In 2017/2018, she held the Maury Green Fellowship at the Radcliffe Institute for Advanced Study at Harvard University and was invited to the Wissenschaftskolleg zu Berlin in 2013/14. She has published on the history of embryology, the visual culture of the life sciences and is currently finishing her second book on “Biological Motion.”

Anna Wiehl has been a research assistant at the University of Bayreuth, Germany, and has been a research fellow with i-docs at the Digital Cultures Research Centre, University of the West of England, Bristol. Her research focuses on digital media cultures and emerging documentary practices.
In 2010, she received her PhD in the international program Cultural Encounters. Apart from academia, she has been working for Arte. From 2017 to 2019, she directed a research project on interactive documentary and finished her habilitation on The ‘New’ Documentary Nexus. Currently, she is leading the research network The Documentary and the Digital.

Dr. Williams is Associate Professor of Film and Media Studies at Dartmouth College and director of The Media Ecology Project which is developing a virtuous cycle of new interdisciplinary scholarship about archival media that adds value back to participating archives. He has published widely on media history and historiography, and has been developing USIA studies via MEP since 2017. In March, 2021, Prof. Han Sang Kim (Ajou University) and Prof. Williams co-hosted a conference on the theme of “Excavated Footage”, asking how collections such as that of the USIA collection at NARA may define new progressive and post-colonial historiographies.

Artemis Willis is a media historian, media arts curator, and a Fellow at the Open Documentary Lab at MIT, where she is working on her first book, Lanternology: the Possibilities of the Projected Image. Her research and teaching explore old and emerging documentary forms, early cinema and media archaeology, and the international history, theory, and practice of the magic lantern. Her guest-curated film programs and magic lantern shows have been presented at the National Gallery of Art, Film Society of Lincoln Center, Smithsonian Institution, Anthology Film Archives, and the Museum of Fine Arts, Boston. She received her PhD in Cinema and Media Studies from the University of Chicago.

Siobhán Wills is professor of Law at Transitional Justice Institute, Ulster University. Her latest film is It Stays With You (2018) and has published widely on human rights.

Brian Winston has been involved with documentary since 1963 working for Granada TV and the BBC in the UK, WNET in the US and Lériethe O’Curraidhin in Ireland. In 1985, he won a US prime-time Emmy for documentary scriptwriting and has written widely on documentary: Fires Were Started, Claiming the Real II, Lies, Damn Lies and Documentaries, The Documentary Film Book and The Act of Documenting (with Gail Vanstone & Chi Wang). The BFI Docmedia Book – edited with Patricia Zimmermann, Hend Alawadhi, Tomás Crowther and Gail Vanstone – is in preparation. Winston has participated in Visible Evidence conferences since their inception.

Ezra Winton is Assistant Professor, Communication Studies (Precarious/Visiting) at Concordia University. His writing, teaching, research and curatorial practice engage in questions of representational politics, screen ethics and media curation/circulation. He is currently finishing his monograph with MQUP Buying in to Doing Good: Documentary Politics and Curatorial Ethics at the Hot Docs Film Festival as well as the co-edited (with Dana Claxton) anthology Insiders/Outsiders: The Cultural Politics and Ethics of Indigenous Representation and Participation in Canada’s Media Arts (WLUP). Ezra is co-founder and lead curator at Cinema Politica, an international documentary distribution and exhibition non-profit dedicated to politically engaged film.

David Wood is Researcher at the Instituto de Investigaciones Estéticas at the Universidad Nacional Autónoma de México in Mexico City and has held visiting scholarships and fellowships at the universities of Cambridge, Tübingen and Bielefeld. He is the author of El espectador pensante: el cine de Jorge Sanjinés y el Grupo Ukamau (2017) and co-editor of Latin American Cultural Studies: A Reader (2017), as well as numerous journal articles on diverse aspects of Latin American documentary and experimental film. He is currently writing a monograph on film archives and archive-films in Mexico.

Marie-Noëlle Yazdanpanah is a cultural historian and film educator. She works as a Researcher at the Ludwig Boltzmann Institute for Digital History. Former projects linked academic research and education focusing on film and urban studies, where she also co-edited an issue of the journal “zeitgeschichte” on film education. Recently, she realized a short film on the history of living conditions of women in Vienna and was part of the curatorial team of the exhibition “Red Vienna, 1919-1934” (Wien Museum). She researches and has published on visual history and consumer culture with a focus on interwar Vienna and on the history of media education.

Damon R. Young, Associate Professor of French and Film & Media at the University of California, Berkeley. He is the author of Making Sex Public and Other Cinematic Fantasies (Theory Q, Duke UP, 2018), shortlisted for the 2019 ASAP Book Prize, and author of numerous essays on film theory, queer theory, and digital media. Young’s current book project, After the Private Self, examines the relationship between media technologies and selfhood, from 18th century diaries and autobiographies to contemporary digital platforms.

Yu Shuang was born in 1997 in Zhejiang, China. Shuang graduated from Duke University in the USA with a bachelor’s degree in Cultural Anthropology. She started to participate in Caochangdi Workstation‘s “Folk Memory Project” in winter, 2019 and has been conducting interviews about personal memories and filming the everyday life of her home village, Huangpotan village since.

Kiki Tianqi Yu is a filmmaker and Senior Lecturer in Film at Queen Mary University of London. Her research focuses on documentary and non-fiction cinema, Chinese and East Asian cinema, Daoism and cinema, and women’s cinema. Her publications include China’s iGeneration: Cinema and Moving Image Culture for 21st Century (2014), ‘My’ Self on Camera: First Person Documentary Practice in an Individualising China (2019), ‘Women’s First Person Documentary in East Asia’ a special issue of Studies in Documentary Film (2020). Her films include Photographing Shenzhen (2006), Memory of Home (2009), China’s van Goghs (2016), and The Two Lives of Li Ermao (2019).

Genevieve Yue is Assistant Professor of Culture and Media and director of the Screen Studies program at Eugene Lang College, the New School. She is a member of the Board of Trustees of the Flaherty, and has written criticism for Film Comment, Film Quarterly, art-agenda, and Reverse Shot. author of Girl Head: Feminism and Film Materiality (Fordham University Press, 2020).

Norman Zafra is a Filipino documentary maker with an interest in political documentaries and transmedia storytelling. As a practitioner transitioning into academia, his research often straddles the border between theory and practice. Norman obtained his PhD in Media, Film and Television from the University of Auckland in New Zealand. He currently teaches media production and communication at De La Salle University in Manila.

Dr. Maria Zalewska is a media scholar who focuses on the relationship between interactivity, visual studies, and Holocaust memory. Her research develops new directions in Holocaust studies and innovative responses to the challenges facing Holocaust education in the digital age.

After receiving her M.Phil. in Russian and East European Studies from University in Oxford, she completed her Ph.D. in Cinema and Media from USC School of Cinematic Arts. While at USC, she was the recipient of the 2016-2018, Andrew W. Mellon Digital Humanities Fellowship. From 2019-2020, she was a postdoctoral teaching fellow at the USC School of Cinematic Arts, Cinema and Media Department.

She currently serves as the Executive Director of the Auschwitz-Birkenau Memorial Foundation. She holds the title of the Honorary Consul of the Auschwitz-Birkenau Memorial and Museum in the United States of America.

Zhang Mengqi was born in 1987. Since 2009, she has been a resident filmmaker and choreographer at Caochangdi Workstation in Beijing. A founding member of the Folk Memory Project. Mengqi has made nine feature-length documentaries filmed in her father’s village in Hebei Province, known as her “self-portrait series.” Her films have been selected by Yamagata International Documentary Film Festival, Cinéma du Réel, Visions du Réel, RIDM and more. Her latest film Self-Portrait: Sphinx in 47 KM Won the “White Goose Award” in DMZ International Documentary Film Festival. Her choreographic work was performed in Rencontres Chorégraphiques Internationales de Seine-Saint-Denis(France), ImPuls Tanz (Austria), Eurokaz (Croatia), Künstlerhaus Mousonturm(Germany)

Xinyi Zhao is a PhD candidate in East Asian Languages and Cultures at Columbia University with a focus on Japanese cinema and literature. Her dissertation traces the emergence of film spectatorship in colonial Manchuria under the rubric of visuality, gender, and colonial modernity. Her recent work on the first Japanese female director, Sakane Tazuko, will appear in The Routledge Companion to Queer Theory and Modernism.

Eszter Zimanyi is a Postdoctoral Fellow in Cinema and Media Studies at the University of Southern California. Her work is published or forthcoming in Journal of Cinema and Media Studies, Transnational Cinemas, Visual Anthropology, Feminist Media Studies, Media Fields Journal, Intermedialities, and Docalogue, among others. She is a former co-programmer of USC’s Middle East Film Screening Series and served as a consultant for The Wende Museum’s 2019 exhibit, Watching Socialism: The Television Revolution in Eastern Europe. Her research interests include migration, diaspora, and refugee studies, global and transnational media, postcolonial and postsocialist studies, documentary and digital media.

Yvonne Zimmermann is Professor of Media Studies at Philipps-University Marburg (Germany). She is the author of Bergführer Lorenz: Karriere eines missglückten Films (Career of a Failed Film, 2005) and editor and co-author of a volume on documentary and ‘useful cinema’ in Switzerland (Schaufenster Schweiz: Dokumentarische Gebrauchsfilme 1896-1964, 2011). She has published widely on industrial film, screen advertising, nonfiction and nontheatrical film.

Patricia R. Zimmermann is Professor of Screen Studies and codirector of the Finger Lakes Environmental Film Festival at Ithaca College, Ithaca, New York. Her most recent books are Documentary Across Platforms: Reverse Engineering Media, Place, and Politics (2019); Open Space New Media: A Toolkit for Theory and Practice with Helen De Michiel (2018); The Flaherty: Fifty Years in the Cause of Independent Cinema, with Scott MacDonald (2017); Open Spaces: Openings, Closings, and Thresholds in International Public Media (2016); Thinking through Digital Media:Transnational Environments and Locative Places with Dale Hudson (2015); Flash Flaherty:Tales from a Film Seminar (2021) with Scott MacDonald.