Luca Caminati
Luca Caminati's areas of research encompass post-colonial theory and orientalist discourses in Italian and European cinema, with a specific interest in auteur documentary, travel films, and hybrid non-fictions. He is the author of Orientalismo eretico. Pier Paolo Pasolini e il cinema del Terzo Mondo (Milan: Bruno Mondadori, 2007); Il cinema come happening. Il primitivismo pasoliniano e la scena artistica italiana degli anniSessanta/ Cinema as Happening. Pasolini's Primitivism and the Sixties Italian Art Scene (bilingual edition, Milan: Postmedia, 2010), Roberto Rossellini documentarista. Una cultura della realtà (Rome: CSC/Carocci, 2012), and articles on contemporary Italian fiction and non-fiction filmmakers. In 2009-2010 he was the recipient of the Paul Mellon/National Endowments for the Humanities "Rome Prize", a residential fellowship awarded by the American Academy in Rome. He previously taught at Colgate University and the University of Florida.
Luca Caminati's areas of research encompass post-colonial theory and orientalist discourses in Italian and European cinema, with a specific interest in auteur documentary, travel films, and hybrid non-fictions. He is the author of Orientalismo eretico. Pier Paolo Pasolini e il cinema del Terzo Mondo (Milan: Bruno Mondadori, 2007); Il cinema come happening. Il primitivismo pasoliniano e la scena artistica italiana degli anniSessanta/ Cinema as Happening. Pasolini's Primitivism and the Sixties Italian Art Scene (bilingual edition, Milan: Postmedia, 2010), Roberto Rossellini documentarista. Una cultura della realtà (Rome: CSC/Carocci, 2012), and articles on contemporary Italian fiction and non-fiction filmmakers. In 2009-2010 he was the recipient of the Paul Mellon/National Endowments for the Humanities "Rome Prize", a residential fellowship awarded by the American Academy in Rome. He previously taught at Colgate University and the University of Florida.
Kay Dickinson
Kay Dickinson's research follows two distinct paths which sometimes merge. The first leads her into investigations of how various different media industries interact, particularly those of music, film and television. How are the boundaries between these forms drawn up and what is the political nature of the engagement between each one's traditions of production, representation, dissemination and consumption? Such questions have driven her editorship of Movie Music: A Film Reader (Routledge, 2002) and her monograph, Off Key: When Film and Music Won't Work Together (Oxford University Press, 2008). The latter, in particular, is concerned with an understanding of labour within the twentieth and twenty-first centuries as it maps out across the media industries and broader employment landscapes. At the same time, she has published in Screen, Camera Obscura, Framework, The Cinema Journal and Screening the Past on various aspects of Arab culture. She is currently working on a manuscript entitled Arab Cinema Travels: Syria, Palestine, Dubai, and Beyond and recently completed a co-edited anthology: The Arab Avant-Garde: Musical Innovation in the Middle East (Wesleyan University Press, 2013). She has contributed to two film festivals in the West Bank and is a member of the Revolutionary Archive Collective. Competitive fellowships for this research have taken her to Cornell University, as well as to Egypt, Palestine, Syria, Jordan, and the United Arab Emirates. Prior to her move to Concordia, Kay taught at King's College and Goldsmiths, both within the University of London.
Kay Dickinson's research follows two distinct paths which sometimes merge. The first leads her into investigations of how various different media industries interact, particularly those of music, film and television. How are the boundaries between these forms drawn up and what is the political nature of the engagement between each one's traditions of production, representation, dissemination and consumption? Such questions have driven her editorship of Movie Music: A Film Reader (Routledge, 2002) and her monograph, Off Key: When Film and Music Won't Work Together (Oxford University Press, 2008). The latter, in particular, is concerned with an understanding of labour within the twentieth and twenty-first centuries as it maps out across the media industries and broader employment landscapes. At the same time, she has published in Screen, Camera Obscura, Framework, The Cinema Journal and Screening the Past on various aspects of Arab culture. She is currently working on a manuscript entitled Arab Cinema Travels: Syria, Palestine, Dubai, and Beyond and recently completed a co-edited anthology: The Arab Avant-Garde: Musical Innovation in the Middle East (Wesleyan University Press, 2013). She has contributed to two film festivals in the West Bank and is a member of the Revolutionary Archive Collective. Competitive fellowships for this research have taken her to Cornell University, as well as to Egypt, Palestine, Syria, Jordan, and the United Arab Emirates. Prior to her move to Concordia, Kay taught at King's College and Goldsmiths, both within the University of London.
Tarek Elhaik
Tarek Elhaik is a media anthropologist, film curator, and Assistant Professor of Media and Culture at San Francisco State University. His work is informed by a research on Mexican experimental media and an ethnography of curatorial platforms in Mexico City. He has curated several experimental film programs at the Pacific Film Archive, Ruhrtriennale, San Francisco Cinematheque, Tangiers Cinematheque, Rice University, and the Museum of Fine Arts, Houston. His writings have appeared in books and journals including Framework, Revista de Antropologia Social, and Critical Arts. He has recently completed a manuscript titled Incurable-Image / Untimely Futures.
Tarek Elhaik is a media anthropologist, film curator, and Assistant Professor of Media and Culture at San Francisco State University. His work is informed by a research on Mexican experimental media and an ethnography of curatorial platforms in Mexico City. He has curated several experimental film programs at the Pacific Film Archive, Ruhrtriennale, San Francisco Cinematheque, Tangiers Cinematheque, Rice University, and the Museum of Fine Arts, Houston. His writings have appeared in books and journals including Framework, Revista de Antropologia Social, and Critical Arts. He has recently completed a manuscript titled Incurable-Image / Untimely Futures.
Bliss Cua Lim
Bliss Cua Lim is Associate Professor of Film and Media Studies and Visual Studies at the University of California, Irvine. She is the author of Translating Time: Cinema, the Fantastic and Temporal Critique (Duke University Press, 2009 and Ateneo de Manila University Press, 2011). Her research and teaching center on cinematic and queer temporality, Philippine cinema, postcolonial feminist theory, and transnational horror and the fantastic. She is currently working on a new book on the crises of archival preservation in Philippine cinema. She serves on the Advisory Boards of two scholarly journals, Plaridel: A Philippine Journal of Communication, Media and Society published by the University of the Philippines College of Mass Communication; and Camera Obscura: Feminism, Culture, and Media Studies, published by Duke University Press. Her work has appeared in the journals Discourse, positions, Camera Obscura, Velvet Light Trap, Asian Cinema, Spectator, Flow, and Art Journal; and in the book anthologies Film and Literature: A Reader; Geopolitics of the Visible: Essays on Philippine Film Cultures; Hong Kong Film, Hollywood And The New Global Cinema; and Neoliberalism and Global Cinema.
Bliss Cua Lim is Associate Professor of Film and Media Studies and Visual Studies at the University of California, Irvine. She is the author of Translating Time: Cinema, the Fantastic and Temporal Critique (Duke University Press, 2009 and Ateneo de Manila University Press, 2011). Her research and teaching center on cinematic and queer temporality, Philippine cinema, postcolonial feminist theory, and transnational horror and the fantastic. She is currently working on a new book on the crises of archival preservation in Philippine cinema. She serves on the Advisory Boards of two scholarly journals, Plaridel: A Philippine Journal of Communication, Media and Society published by the University of the Philippines College of Mass Communication; and Camera Obscura: Feminism, Culture, and Media Studies, published by Duke University Press. Her work has appeared in the journals Discourse, positions, Camera Obscura, Velvet Light Trap, Asian Cinema, Spectator, Flow, and Art Journal; and in the book anthologies Film and Literature: A Reader; Geopolitics of the Visible: Essays on Philippine Film Cultures; Hong Kong Film, Hollywood And The New Global Cinema; and Neoliberalism and Global Cinema.
Peter Limbrick
Peter Limbrick is Associate Professor of Film and Digital Media at the University of California, Santa Cruz. He is the author of Making Settler Cinemas: Film and Colonial Encounters in the United States, Australia, and New Zealand (Palgrave 2010) and has published on transnational cinema and postcolonial culture in journals such as Screening the Past, Cinema Journal, Camera Obscura, and Journal of Visual Culture. Prof. Limbrick is currently working on a book-length project about Moroccan filmmaker Moumen Smihi (an essay from this project appeared in a recent special issue of the journal Third Text) and is researching and teaching film and video from across the Middle East and North Africa. He curated the program "Moumen Smihi, Poet of Tangier" for the Pacific Film Archive at UC Berkeley in October 2013 (the first part in an ongoing retrospective, "Moumen Smihi: Moroccan Mythologies") and, with Omnia El Shakry, he organized the associated symposium and exhibition "Unfixed Itineraries: Film and Visual Culture from Arab Worlds" at UCSC.
Peter Limbrick is Associate Professor of Film and Digital Media at the University of California, Santa Cruz. He is the author of Making Settler Cinemas: Film and Colonial Encounters in the United States, Australia, and New Zealand (Palgrave 2010) and has published on transnational cinema and postcolonial culture in journals such as Screening the Past, Cinema Journal, Camera Obscura, and Journal of Visual Culture. Prof. Limbrick is currently working on a book-length project about Moroccan filmmaker Moumen Smihi (an essay from this project appeared in a recent special issue of the journal Third Text) and is researching and teaching film and video from across the Middle East and North Africa. He curated the program "Moumen Smihi, Poet of Tangier" for the Pacific Film Archive at UC Berkeley in October 2013 (the first part in an ongoing retrospective, "Moumen Smihi: Moroccan Mythologies") and, with Omnia El Shakry, he organized the associated symposium and exhibition "Unfixed Itineraries: Film and Visual Culture from Arab Worlds" at UCSC.
Krista Geneviève Lynes
Krista Lynes's research examines the intersections of video art, documentary, and independent film in making visible emergent feminist political subjects, as well as multiple visions of social life under conditions of duress, political struggle, disenfranchisement or exploitation. Her focus on the politics of visibility engages feminist and queer theories, theories of the body and gender (as articulated in and through contemporary art and media), postcolonial and transnational examinations of culture (nationalism, belonging, border politics), questions of witnessing, spectatorship and encounter, psychoanalysis and semiotics. She is currently working on two research projects: the first examines the aesthetics of ‘groundedness’ in representations of popular struggle and protest; the second representations of blood ties, blood, and kinship structures under the conditions of globalization and transnational migration.
Krista Lynes's research examines the intersections of video art, documentary, and independent film in making visible emergent feminist political subjects, as well as multiple visions of social life under conditions of duress, political struggle, disenfranchisement or exploitation. Her focus on the politics of visibility engages feminist and queer theories, theories of the body and gender (as articulated in and through contemporary art and media), postcolonial and transnational examinations of culture (nationalism, belonging, border politics), questions of witnessing, spectatorship and encounter, psychoanalysis and semiotics. She is currently working on two research projects: the first examines the aesthetics of ‘groundedness’ in representations of popular struggle and protest; the second representations of blood ties, blood, and kinship structures under the conditions of globalization and transnational migration.
Mariano Mestman
Marino Mestman is an Associate Professor at the University of Buenos Aires and researcher at the CONICET and Instituto Gino Germani (UBA, Argentina). He obtained his PhD in Film History at the Autonomous University of Madrid (Spain, 2004) and undertook postdoctoral research at the Universitá degli Studi di Roma Tre (Italy, 2008). He is author, along with Ana Longoni, of the book Del Di Tella a Tucumán Arde: Vanguardia artística y política en el 68 argentino (El Cielo por Asalto Ediciones, 2000) and has coordinated with Mirta Varela the collection Masas, pueblo, multitud en cine y televisión (Eudeba, 2013). Mariano’s most recent work comprises the study of the Rencontres Internationales pour un Nouveau Cinema in Montreal in 1974, which has resulted in the edited volume Estados Generales del Tercer Cine: Los documentos de Montreal, 1974 (2013-2014, Prometeo-Rehime: www.rehime.com.ar). In addition, he has published his work on cultural and film historiography in New Cinemas, Letterature d´America, Journal of Latin American Cultural Studies, Secuencias: Revista de Historia del Cine, Third Text: Critical Perspectives on Contemporary Art & Culture and Social Identities.
Marino Mestman is an Associate Professor at the University of Buenos Aires and researcher at the CONICET and Instituto Gino Germani (UBA, Argentina). He obtained his PhD in Film History at the Autonomous University of Madrid (Spain, 2004) and undertook postdoctoral research at the Universitá degli Studi di Roma Tre (Italy, 2008). He is author, along with Ana Longoni, of the book Del Di Tella a Tucumán Arde: Vanguardia artística y política en el 68 argentino (El Cielo por Asalto Ediciones, 2000) and has coordinated with Mirta Varela the collection Masas, pueblo, multitud en cine y televisión (Eudeba, 2013). Mariano’s most recent work comprises the study of the Rencontres Internationales pour un Nouveau Cinema in Montreal in 1974, which has resulted in the edited volume Estados Generales del Tercer Cine: Los documentos de Montreal, 1974 (2013-2014, Prometeo-Rehime: www.rehime.com.ar). In addition, he has published his work on cultural and film historiography in New Cinemas, Letterature d´America, Journal of Latin American Cultural Studies, Secuencias: Revista de Historia del Cine, Third Text: Critical Perspectives on Contemporary Art & Culture and Social Identities.
Fiamma Montezemolo
Fiamma Montezemolo is both a Cultural Anthropologist (PhD University Orientale of Naples) and an artist (MFA San Francisco Art Institute). She has thought for many years in Mexico, Italy and USA and she is currently teaching at the California College of the Arts, San Francisco. As an established scholar in border and urban studies, she has patiently designed rigorous and long-term ethnographic-artistic interventions at the Tijuana-San Diego border. She is widely published and the author of two monographs: on Zapatismo and on Chicano/a politics of representation, as well as co-author (with Rene’ Peralta and Heriberto Yepez) of Here is Tijuana (Blackdog Publishing, London, 2006) and co-editor (with Josh Kun) of Tijuana Dreaming, Life and Art at the Global border (Duke Press, 2012). As an artist she situates her work as a critical extension and overcoming of the ethnographic turn in contemporary art. She works with various media, including installation, cartography, video, digital photography, industrial materials, performance, archival documents. Her art work has been exhibited, among other places, in New York, San Francisco, San Diego, New Orleans, Dublin, Rome, Mexico City, Tijuana, Morelia.
Fiamma Montezemolo is both a Cultural Anthropologist (PhD University Orientale of Naples) and an artist (MFA San Francisco Art Institute). She has thought for many years in Mexico, Italy and USA and she is currently teaching at the California College of the Arts, San Francisco. As an established scholar in border and urban studies, she has patiently designed rigorous and long-term ethnographic-artistic interventions at the Tijuana-San Diego border. She is widely published and the author of two monographs: on Zapatismo and on Chicano/a politics of representation, as well as co-author (with Rene’ Peralta and Heriberto Yepez) of Here is Tijuana (Blackdog Publishing, London, 2006) and co-editor (with Josh Kun) of Tijuana Dreaming, Life and Art at the Global border (Duke Press, 2012). As an artist she situates her work as a critical extension and overcoming of the ethnographic turn in contemporary art. She works with various media, including installation, cartography, video, digital photography, industrial materials, performance, archival documents. Her art work has been exhibited, among other places, in New York, San Francisco, San Diego, New Orleans, Dublin, Rome, Mexico City, Tijuana, Morelia.
Masha Salazkina
Masha Salazkina's work incorporates transnational approaches to film theory and cultural history with a focus on early Soviet Union, Latin America, and Italy. Her first book In Excess: Sergei Eisenstein's Mexico (University of Chicago Press, 2009) positions Eisenstein's unfinished Mexican project and theoretical writings within the wider context of post-revolutionary Mexico and global cultures of modernity. Her new book project traces a trajectory of materialist film theory through the discourses of early Soviet cinema, institutional film cultures of the 1930s-1950s Italy, and critical debates surrounding the emergence of New Cinemas in Brazil, Argentina and Cuba. She has published in Cinema Journal, October, Screen, KinoKultura, and in several edited collections, and has recently co-edited the collection Sound, Speech, Music in Soviet and Post-Soviet Cinema (Indiana University Press, 2014) in addition to coordinating the web translation project of the Permanent Seminar on the History of Film Theories.
Masha Salazkina's work incorporates transnational approaches to film theory and cultural history with a focus on early Soviet Union, Latin America, and Italy. Her first book In Excess: Sergei Eisenstein's Mexico (University of Chicago Press, 2009) positions Eisenstein's unfinished Mexican project and theoretical writings within the wider context of post-revolutionary Mexico and global cultures of modernity. Her new book project traces a trajectory of materialist film theory through the discourses of early Soviet cinema, institutional film cultures of the 1930s-1950s Italy, and critical debates surrounding the emergence of New Cinemas in Brazil, Argentina and Cuba. She has published in Cinema Journal, October, Screen, KinoKultura, and in several edited collections, and has recently co-edited the collection Sound, Speech, Music in Soviet and Post-Soviet Cinema (Indiana University Press, 2014) in addition to coordinating the web translation project of the Permanent Seminar on the History of Film Theories.
Aboubakar Sanogo
Aboubakar Sanogo is an Assistant professor in Film Studies at Carlton University where he also founded the Carleton University World Cinema Forum devoted to the study of national, regional, continental and global film cultures, institutions, stakeholders and debates. His recent interests include African cinema, documentary, world cinema, colonial cinema, cinephilia and the relationship between film form, history and theory. His writings in both academic and journalistic outlets have appeared in Framework: The Journal of Cinema and Media, Ecce Journal (in Japanese), The Africa Report, Ecrans d’Afrique/African Screen as well as in the edited collections Empire and Film (Grieveson and McCabe, 2011) and Critical Approaches to African Cinema Discourse (Frank Ukadike, 2014) . He is currently preparing a monograph on the cinema of Med Hondo and editing a In Focus special issue of Cinema Journal on African cinema and media while working on publishing his dissertation about the history of documentary film in Africa in the colonial era. In addition to teaching, Dr. Sanogo is also a film curator and has curated film programs at such institutions as the Smithsonian Institution in Washington DC and at the Pan African Film Festival of Ouagadougou (FESPACO) in Burkina Faso.
Aboubakar Sanogo is an Assistant professor in Film Studies at Carlton University where he also founded the Carleton University World Cinema Forum devoted to the study of national, regional, continental and global film cultures, institutions, stakeholders and debates. His recent interests include African cinema, documentary, world cinema, colonial cinema, cinephilia and the relationship between film form, history and theory. His writings in both academic and journalistic outlets have appeared in Framework: The Journal of Cinema and Media, Ecce Journal (in Japanese), The Africa Report, Ecrans d’Afrique/African Screen as well as in the edited collections Empire and Film (Grieveson and McCabe, 2011) and Critical Approaches to African Cinema Discourse (Frank Ukadike, 2014) . He is currently preparing a monograph on the cinema of Med Hondo and editing a In Focus special issue of Cinema Journal on African cinema and media while working on publishing his dissertation about the history of documentary film in Africa in the colonial era. In addition to teaching, Dr. Sanogo is also a film curator and has curated film programs at such institutions as the Smithsonian Institution in Washington DC and at the Pan African Film Festival of Ouagadougou (FESPACO) in Burkina Faso.
Bhaskar Sarkar
Bhaskar Sarkar is an Associate Professor in the Department of Film and Media Studies at the University of California, Santa Barbara. His primary research interests include political economy of global media, history and memory, and speculative media. The author of Mourning the Nation: Indian Cinema in the Wake of Partition (Duke University Press, 2009), he has also coedited Documentary Testimonies: Global Archives of Suffering (Routledge, 2009), and two journal special issues: Postcolonial Studies: "The Subaltern and the Popular" (2005) and BioScope: "Indian Documentary Studies" (2012). Currently, he is finishing up a monograph, Cosmoplastics: Bolllywood's Global Gesture, and working on another project on piracy in the global south.
Bhaskar Sarkar is an Associate Professor in the Department of Film and Media Studies at the University of California, Santa Barbara. His primary research interests include political economy of global media, history and memory, and speculative media. The author of Mourning the Nation: Indian Cinema in the Wake of Partition (Duke University Press, 2009), he has also coedited Documentary Testimonies: Global Archives of Suffering (Routledge, 2009), and two journal special issues: Postcolonial Studies: "The Subaltern and the Popular" (2005) and BioScope: "Indian Documentary Studies" (2012). Currently, he is finishing up a monograph, Cosmoplastics: Bolllywood's Global Gesture, and working on another project on piracy in the global south.