Ivo Blom is Assistant Professor of Comparative Arts and Media Studies at VU University, Amsterdam. His dissertation, published as Jean Desmet and the Early Dutch Film Trade (2003), dealt with film distribution and exhibition in the 1910s and was based primarily on the Desmet Collection of EYE (formerly the Netherlands Filmmuseum), which is recognized by UNESCO as World Heritage. Blom’s current research focuses on the intervisual relationships between cinema and other arts, both in the work of Luchino Visconti and in Italian silent cinema. Blom has published extensively on early and Italian cinema in Dutch and foreign journals, volumes, and encyclopedias.
Christa Blümlinger teaches cinema studies at Université Paris 8 Vincennes—Saint Denis. She has published extensively on film and new media in France, Germany, and Austria (for Trafic, Parachute, Camera Austria, Texte zur Kunst). She is a board member of Forum Expanded (Section of the Berlinale Festival) and of the inter-university research group Théâtres de la Mémoire. She is the author of Kino aus zweiter Hand: Zur Ästhetik materieller Aneignung im Film und in der Medienkunst (2009).
Michael Cowan is a Professor of Film and Media History at the University of St Andrews. He has taught at universities in Canada, the US, the UK and Germany. He is the author of numerous books and articles on German film and media history, including Walter Ruttmann and the Cinema of Multiplicity (2014). His work has won awards from the leading Film Studies scholarly associations in North America, the UK, Germany and Italy.
Tom Gunning is the Edwin A. and Betty L. Bergman Distinguished Service Professor, Department of Art History, Department of Cinema and Media Studies at the University of Chicago. His published work has concentrated on early cinema as well as on the culture of modernity from which cinema arose. He has written extensively on the Avant-Garde film, both in its European pre-World War I manifestations and the American Avant-Garde film up to the present day. His publications include D.W. Griffith and the Origins of American Narrative Film (1994) and The Films of Fritz Lang: Allegories of Vision and Modernity (2000).
Malte Hagener teaches at the Intsitut für Medienwissenshaft at the University of Marburg. His publications include Moving Forward, Looking Back: The European Avant-garde and the Invention of Film Culture, 1919–1939 (2007) and The Emergence of Film Culture: Knowledge Production, Institution Building and the Fate of the Avant-Garde in Europa 1919–1945 (2014).
Eva Hielscher is a film scholar, curator, and moving image archivist. She holds an MA degree in “Preservation and Presentation of the Moving Image” from the University of Amsterdam, and has studied media culture and film history in Weimar and Utrecht. In 2007 she was awarded the “Kodak Fellowship in Film Preservation” by the Association of Moving Image Archivists and has worked at film archives and museums in Germany and the Netherlands. Most recently she worked as a PhD researcher at Ghent University, investigating the features and historiography of the city symphony. In 2018 she joined the research team on historical film colors at the University of Zurich.
Jan-Christopher Horak is currently Director of UCLA Film and Television Archive and Professor for Critical Studies. His book publications include Film and Photo in the 1920s (1979), Helmar Leski: Pioneer of Israeli Cinema (1983), Anti-Nazi-Films Made by German Jewish Refugees in Hollywood (1985), The Dream Merchants: Making and Selling Films in Hollywood’s Golden Age (1989), Lovers of Cinema: The First American Film Avant-Garde 1919–1945 (1995), Making Images Move: Photographers and Avant-Garde Cinema (1997), Saul Bass: Anatomy of Film Design (University Press of Kentucky, 2014). He is co-editor of L.A. Rebellion: Creating a New Black Cinema (University of California Press, forthcoming). He was founding Vice-President of the Association of Moving Image Archivists (AMIA), and has served on the Executive Committee of the Federation Internationale des Archivs du Film (FIAF). His bi-weekly blog can be read at: www.cinema.ucla.edu/blogs/archival-spaces
Steven Jacobs is an art historian specialized in the relation between film and the visual arts. His other research interests focus on the visualization of architecture, cities, and landscape in film and photography. He has published in journals such as Art Journal, History of Photography, Millennium Film Journal, October, and De Witte Raaf among others. He also authored The Wrong House: The Architecture of Alfred Hitchcock (2007), Framing Pictures: Film and the Visual Arts (2011), The Dark Galleries: A Museum Guide to Painted Portraits in Film Noir (2013, with Lisa Colpaert), and Screening Statues: Sculpture and Cinema (2017), with Susan Felleman, Vito Adriaensens, and Lisa Colpaert). He teaches at Ghent University and the University of Antwerp, Belgium.
Anthony Kinik’s work spans documentary, experimental, avant-garde, and industrial practices, and his principal focus in recent years has been on the cinematic depiction of the urban environment, including the city symphonies cycle of the interwar period and Montreal as a “cinematic city” in the 1960s. His most recent essay, “Celluloid City: Montreal and Multi-screen at Expo 67,” appeared in Janine Marchessault and Monika Kin Gagnon’s Reimagining Cinema: Film at Expo 67 (McGill-Queen’s University Press, 2014). He currently teaches at the Department of Communication, Popular Culture and Film at Brock University.
Cristina Meneguello is Associate Professor at the State University of Campinas (UNICAMP), São Paulo, Brazil. She holds a doctorate degree in History (Unicamp/University of Manchester, UK) and she was a researcher at the universities of Venice, Italy, and Coimbra, Portugal. She has published books on American cinema in Brazil and on studies on heritage.
Floris Paalman is a researcher, filmmaker, curator, and lecturer at the Department of Media Studies, Universiteit van Amsterdam (UvA). He obtained his PhD from the UvA with his thesis Cinematic Rotterdam (010 Publishers, 2011). He studied cultural anthropology (UvA), film and fine arts (Rietveld Academy Amsterdam, Piet Zwart Institute Rotterdam). He previously worked as a researcher in the field of architecture.
John David Rhodes is university lecturer in film in the Faculty of Modern and Medieval Languages at the University of Cambridge. He is the author of Stupendous, Miserable City: Pasolini’s Rome (2007), and Meshes of the Afternoon (2011), and the co-editor of three volumes: Taking Place: Location and the Moving Image (2011), Antonioni: Centenary Essays (2011), and On Michael Haneke (2010). His essays have appeared in Screen, Film History, Modernism/modernity, Framework, and in various other journals and edited volumes. He is a founding editor of the online journal World Picture.
Merrill Schleier is a professor of Art and Architectural History and Film Studies at the University of the Pacific. She has been the recipient of the Graves Award and a Graham Foundation Award. Her books include: Skyscraper Cinema: Architecture and Gender in American Film (2009), The Skyscraper in American Art (1990). Her articles have appeared in Journal of the Society of Architectural Historians, Critical Theory, Film Studies, Mosaic, Journal of Architecture, Cinema Journal, and the Quarterly Review of Film and Video. She is currently working on the chapter, “Palaces of Pleasure and Deceit Among the Clouds: the Depression-Era Cinematic Penthouse Plot” for Pamela Robertson Wojcik, ed., The Apartment Plot Reader (Duke, forthcoming 2015) and a full-length book on Frank Lloyd Wright, Taliesin and Cinema.
Malcolm Turvey holds the Sol Gittleman Professorship in Film and Media Studies at Tufts University and is an editor of the journal October. He is the author of Doubting Vision: Film and the Revelationist Tradition (Oxford University Press, 2008), and The Filming of Modern Life: European Avant-Garde Film of the 1920s (MIT Press, 2011), and co-editor of Wittgenstein, Theory and the Arts (Routledge, 2001). He is currently finishing a book titled Play Time: Jacques Tati and Comedic Modernism.