François Albera is Professor of the History and Aesthetics of Cinema at the University of Lausanne. He is the author of Notes sur l’esthétique d’Eisenstein, Jean-Luc Godard and Eisenstein et le constructivisme russe. He has also edited two collections of Eisenstein’s writings, Cinématisme: peinture et cinéma and Le mouvement de l’art, and two catalogues for the Locarno Festival: Boris Barnet: Ecrits, documents, études, filmographie (with Roland Cosandey) and Kuléchov et les siens.
Ian Christie is Head of Special Projects at the British Film Institute, where he has organised many Soviet and Russian retrospectives and events. His books include FEKS, Formalism, Futurism: ‘Eccentrism’ and Soviet Cinema 1918–36 (with John Gillett), Powell, Pressburger and Others and Arrows of Desire: The Films of Michael Powell and Emeric Pressburger. With Richard Taylor he has co-edited The Film Factory: Russian and Soviet Cinema in Documents 1896–1939 and Inside the Film Factory: New Approaches to Russian and Soviet Cinema; and with Julian Graffy, Iakov Protazanov: The Continuity of Russian Cinema,
Edoardo G.Grossi is a doctoral candidate at the University of Paris 3. He has published widely on Eisenstein’s aesthetics and on twentieth-century Russian theatre, and is the author of Eisenstein. L’ottava arte.
Arun Khopkar is a film-maker who trained at the Film and Television Institute of India as a film director and now teaches there regularly. He has made several short films, some of which have won national and international awards, and is the author of a book on the Indian director Guru Dutt.
Naum Kleiman is Director of the Central Film Museum, Moscow, and Curator of the Eisenstein Kabinet Museum. He assisted Per a Attasheva in editing the original Russian six-volume edition of Eisenstein’s writings and has helped restore and reconstruct many of the films, as well as guiding scholars from many countries in their study of Eisenstein and Soviet cinema. His expanded version of Eisenstein’s memoirs, YO! Ich Selbst, appeared in German in 1987 and is forthcoming in English.
N.M.Lary is Associate Professor of Humanities at York University, Toronto. He is the author of Dostoevsky and Dickens and Dostoevsky and Soviet Film. His current projects include a translation of Medvedkin’s scripts and film writings, and books on Viktor Shklovsky and on Eisenstein and the Elizabethans.
Robert Leach is Senior Lecturer in Drama and Theatre Arts at the University of Birmingham. He has experimented practically with Biomechanics and Expressive Acting and staged Tretyakov’s Gas Masks in Britain, as well as directing the Russian premiere of I Want a Baby in Moscow in 1990. He is the author of Vsevolod Meyerhold and the forthcoming Revolutionary Theatre, and is editing The Cambridge History of Russian Theatre.
Håkan Lövgren is a translator and a researcher at Stockholm University. He is co-editor, with Lars Kleberg, of Eisenstein Revisited and has published a number of articles on Eisenstein and on Soviet cinema and theatre.
Michael O’Pray is a Course Co-ordinator in the Department of Art and Design of the University of East London. He has edited Andy Warhol: Film Factory and, with Jayne Pilling, Into the Pleasure Dome: The Films of Kenneth Anger, and has published widely, especially on avant-garde film. He is a Contributing Editor of Sight and Sound and is currently working on books about Adrian Stokes and film aesthetics and about Derek Jarman.
Elena Pinto Simon is Associate Dean and Adjunct Assistant Professor of Cultural History at the Tisch School of the Arts of New York University. She is revising her Guide to the Arts Resources of New York City and is co-author of From the Storehouse of Creation: Reconstructing Eisenstein’s ‘Bezhin Meadow’. She is executrix of the estate of Jay Leyda, is cataloguing the Leyda papers and co-curated the exhibition Jay Leyda: A Life’s Work.
David Stirk is Instructor in Photography at the Tisch School of the Arts at New York University. He is co-author of From the Storehouse of Creation: Reconstructing Eisenstein’s ‘Bezhin Meadow’ and is completing doctoral work at Yale University in American Studies.
Richard Taylor is Reader in Politics and Russian Studies at the University of Swansea, Wales. He is General Editor of the British Film Institute’s edition of Eisenstein’s Selected Writings. His books include Film Propaganda: Soviet Russia and Nazi Germany and The Politics of the Soviet Cinema, 1917–1929. He has edited, with Ian Christie, The Film Factory: Russian and Soviet Cinema in Documents, 1896–1939 and Inside the Film Factory: New Approaches to Russian and Soviet Cinema; and, with Derek Spring, Stalinism and Soviet Cinema.
Kristin Thompson is an Honorary Fellow in the Communication Arts Department at the University of Wisconsin-Madison. Her most recent books are Breaking the Glass Armour: Neoformalist Film Analysis and Wooster Proposes, Jeeves Disposes: or, The Mot Juste, a study of P.G. Wodehouse. She is currently collaborating with David Bordwell on an introductory history of international cinema.
Myriam Tsikounas is a Lecturer in Contemporary History at the University of Paris I, Panthéon-Sorbonne, teaching social history and the history of cinema. She has studied the portrayal of the Paris Commune in Kozintsev and Trauberg’s New Babylon and her book Les origines du cinéma soviétique: un regard neuf is based on her doctoral thesis. Current research interests include Tsarist cinema and the representation of social themes in French nineteenth-century literature.
Yuri Tsivian graduated from the Latvian State University and has since been a Senior Research Fellow of the Latvian Academy of Sciences. He held a Visiting Research Fellowship at the British Film Institute in 1990 and has been a Visiting Professor in the School of Cinema and Television at the University of Southern California since 1991. He supervised the restoration of early Russian films at Gosfilmofond and edited (with others) Silent Witnesses: Russian Films 1908–1919. His book on the history of film reception in Russia from 1896–1930 is forthcoming from Routledge.
Mikhail Yampolsky graduated from the Moscow Pedagogical Institute and was a Senior Research Fellow at the All-Union Institute for the History of Cinema, during which time he published numerous articles in Iskusstvo kino and Soviet Film. His work has appeared in translation in Iris, Afterimage and the Historical Journal of Film, Radio and Television, as well as in Inside the Film Factory.