Savag Arslan is an assistant professor in the Film and Television Department at Bahcesehir University, Istanbul. His work on various aspects of Turkish cinema has been presented at international conferences in the U.S. and in Italy and published in several books and magazines in Turkey. Among these are studies of the language of film criticism in Turkey, center-periphery differences in melodramas, and remakes and adaptations of Western films such as The Exorcist, Superman, and Zorro. He is also one of the founding editors and writers of Geceyarisi Sinemasi [Midnight Cinema], a film magazine specializing in low-budget cinema. He is currently a regular contributor to Altyazi [Subtitle], a mainstream film magazine.

Daniel Biltereyst is a professor in film, television, and cultural media studies in the Department of Communication Studies, Ghent University (Belgium), where he leads the Working Group Film and Television Studies. He is the promoter of several wide-scale research projects funded by the National Research Council of Belgium, including one on cinema, controversy, and censorship in the low countries (Forbidden Images, 2003-2006). He has been published widely in various European and international journals (including European Journal of Communication, European Journal of Cultural Studies, Journal of Media Practice, Journal of International Communication, Media, Culture & Society, and Studies in French Cinema) and readers (such as The Media Handbook, Understanding Reality TV, Media Cultures in a Changing Europe, Cinema of the Low Countries, Big Brother International, Rebel Without a Cause: Approaches to a Maverick Masterwork, and Communication Theory and Research in Europe). He has been chosen recently as a member of the group of academics within the European Science Foundation's program, Changing Europe, Changing Media.

Mick Broderick teaches Media Analysis at Murdoch University, Western Australia, and is Associate Director of the Centre for Millennial Studies at the University of Sydney. He is the author of Nuclear Movies (1991) and Hibakusha Cinema: Hiroshima, Nagasaki and the Nuclear Image in Japanese Film (1996; trans. 1999). His scholarly writing has been published in numerous international collections and peer-reviewed journals, with translations into French, Japanese, and Italian. He is currently in preproduction on an ABC-commissioned television documentary, Sins of the Father, and co-curating a national touring exhibition of atomic cultural artifacts entitled ''Half Lives: Everyday Ephemera of the Nuclear Age.''

Susan Driver is Assistant Professor of Contemporary Studies at Wilfrid Laurier University in Toronto, and has written a thesis and published articles on representations of queer maternal sexuality. She works on social constructions of gender identities and sexual desires and is currently focusing on visual cultures of ''girl power'' in film, television, and advertising as part of a broader attempt to integrate feminist and queer theories with interpretive work on youth cultures. Central to this project is a detailed examination of images and narratives of queer girl desires across popular media and sub-cultural practices.

Santiago Fouz-Hernandez lectures on Spanish cinema at the University of Durham (U.K.). He earned his PhD at the University of Newcastle upon Tyne in 2002, where he wrote his dissertation on masculinity in recent films. He has published articles in Romance Studies, Leeds Iberian Papers, Moenia, and The Journal of Iberian and Latin American Studies, and has contributed to Territories of Desire in Queer Culture (2000). He coedited a collection of essays on the performer Madonna, Madonna's Drowned Worlds: New Approaches to Her Cultural Transformations, 1983-2003 (2004). He is currently working on research about Pedro Almodovar, youth in Spanish cinema, Spanish actor Javier Bardem, and British actor Ewan McGregor. Fouz-Hernandez is also the review editor of Studies in Hispanic Cinemas.

Scott Henderson is currently a lecturer in Film Studies and Popular Culture in the Department of Communications, Popular Culture and Film at Brock University in St. Catharines, Ontario, Canada. He has taught numerous film and popular culture courses at Brock since 1991. At present, he is in the final stages of a PhD program at the University of East Anglia in Norwich, England. His thesis is titled''Youth on Film, Youth in Culture: Liminality, Identity and the Construction of Cultural Spaces.'' His essay ''Youth Identity and the 'Musical Moment' in Contemporary Youth Cinema'' will be part of a collection, Musical Moments: Film and the Performance of Song and Dance, edited by Ian Conrich and Estella Tincknell.

Aniko Imre earned her PhD in English from the University of Washington in 2002. She is the editor of East European Cinemas (2005) in the AFI's Film Readers series. She also has a book in progress: Allegories of the Global: Post-Socialist Central European Films and Identities. She has published articles in such journals as Camera Obscura, Framework, and Screen, as well as a number of chapters in books on Eastern European cinema.

Sonia Cristina Lino earned a PhD from Universidade Federal Fluminense (UFF) in 1995 with the thesis "Historia e cinema: Uma imagem do Brasil nos anos 30'' (History and Cinema: An Image of Brazil in the '30s). She has been an adjunct professor at the Universidade Federal de Juiz de Fora (UFJF), Minas Gerais, Brazil, since 1997, and teaches contemporary and cultural history, film and media history, and cultural studies. Since 2002, she has presided over the editorial board of Locus—Revista de Historia [Locus—History Magazine], published by UFJF. Recently, her work has focused on the representations of history and identity in Brazilian cinema and television.

Kimberley Bercov Monteyne is completing her doctoral dissertation in the Cinema Studies Department at New York University. Her previous work has focused primarily on French New Wave cinema and issues of technology, gender, and urban space.

Laura Podalsky is Assistant Professor of Latin American film and cultural studies at Ohio State University. She is the author of Specular City: Transforming Culture, Consumption, and Space in Buenos Aires, 1955-1973 (2004). She has published articles on prerevolutionary Cuban cinema, Brazilian director Ana Carolina, tango films, and Mexican telenovelas in journals such as Archivos de la Filmoteca (Spain), Cinemais (Brasil), and Screen, as well as in anthologies such as Contemporary Latin American Cultural Studies (2003), Visible Nations (2000), Framing Latin American Cinema (1997), and Mediating Two Worlds (1993). She is currently working on a book on Latin American film, the politics of affect, and the contemporary public sphere.

Murray Pomerance is Professor and Chair of the Department of Sociology at Ryerson University (Toronto), and the author of An Eye for Hitchcock (2004), as well as the editor of numerous volumes including BAD: Infamy, Darkness, Evil, and Slime on Screen (2002), Enfant Terrible! Jerry Lewis in American Film (2003), and, with Frances Gateward, Where the Boys Are: Cinemas of Masculinity and Youth (2004). He is editor of the ''Horizons of Cinema'' series at SUNY Press, and with Lester D. Friedman, coeditor of the ''Screen Decades'' series at Rutgers University Press.

Claudia Preckel is currently a member of the junior research group Islamic Networks in Local and Transnational Contexts (Volkswagen Foundation) at the Ruhr-University Bochum, Germany. She is presently writing her dissertation on the Islamic Princely State of Bhopal (nineteenth century). Besides her interest in Islamic movements, she is publishing on Indian and Arabic cinema.

Sarah Projansky is an Associate Professor in the Unit for Cinema Studies and the Gender and Women's Studies Program at the University of Illinois, Urbana-Champaign. She is a coeditor of Enterprise Zones: Critical Positions on Star Trek (1996) and author of Watching Rape: Film, Television, and Postfeminist Culture (2001). She has published on topics such as sports, girls, rape, whiteness, authorship, and Asian Americans in film, television, and popular culture, in journals such as Cinema Journal and Signs, and in various anthologies. She is currently writing a book on high-profile, disruptive girls in 20th/2ist century popular culture.

Alexandra Seibel is a PhD candidate in Cinema Studies at New York University and is currently teaching film at the University of Vienna. Her main areas of research include representations of the city of Vienna in international filmmaking from 1920 to 1950, teen films and youth culture, and feminist film and video practice. Her publications include ''A Topography of Excess: Visions of Vienna in Erich von Stroheim's The Wedding March (1928),'' in Reverberations: Representations of Modernity, Tradition and Cultural Value in-between Central Europe and North America (2002), and ''Carnival of Repression: German Left Wing Politics and The Lost Honor of Katharina Blum," in Film and Literature (2004).

Timothy Shary is Associate Professor and Director of the Screen Studies Program at Clark University in Worcester, Massachusetts, where he teaches courses on film and television. He is the author of numerous articles on teen films, including two books, Generation Multiplex: The Image of Youth in Contemporary American Cinema (2002) and Teen Films: American Youth on Screen (2005). His commentary has appeared in over 30 newspapers and magazines around the world, and in 2004 he was named Outstanding Teacher of the Year at Clark University and given the Distinguished Alumni Award by Ohio University.

Stephen Tropiano is the founding director of the Ithaca College Communications Program in Los Angeles, where he teaches courses in film and television studies. He is the author of The Prime Time Closet: A History of Gays and Lesbians on Television (2002) and Rebels and Chicks: A History of the Hollywood Teen Movie (2006). Stephen contributes a bi-monthly column for the Web site PopMatters entitled, ''The Prime Time Closet,'' which addresses issues on contemporary queer representation on television. He is currently editor of the Journal of Film and Video, the oldest film journal in the United States.

Mary M. Wiles published an essay on Rivette's film adaptation of Debussy's Pelléas et Mélisande in the anthology Between Opera and Cinema (2002). Other publications include ''French Folie: Memory and Madness in Bunuel's Belle de Jour," in Paroles Gelées: UCLA French Studies, and an essay on Luc Besson's La Femme Nikita in the journal Post Identity. Her future projects include a book that traces the figure of the coming-of-age girl in contemporary international cinema. She has published an essay on the construction of lesbian subjectivity and the coming-of-age girl in Dorothy Allison's Bastard Out of Carolina and she is currently working on an essay on Julie Dash's Daughters of the Dust, in which the coming-of-age narrative of girlhood overlaps with themes of race and nationalism. This piece will be included in a forthcoming anthology titled On the Fringe and in the Center: Women and Avant-Garde Filmmaking 1920-2000.

Xuelin Zhou is a lecturer in the Department of Film, Television and Media Studies at the University of Auckland, New Zealand. He has published research on British popular culture and Chinese-language film, and his recent research has focused on the representation of ''marginalized youth'' in a variety of national and semi-national cinemas in East Asia, such as those of Japan, South Korea, mainland China, Hong Kong, and Taiwan. His forthcoming book on ''young rebels'' in contemporary Chinese cinema will be published by Hong Kong University Press.

Film Making

Film Making

If you have ever wanted the secrets to making your own film, here it is: Indy Film Insider Tips And Basics To Film Making. Have you ever wanted to make your own film? Is there a story you want to tell? You might even think that this is impossible. Studios make films, not the little guy. This is probably what you tell yourself. Do you watch films with more than a casual eye? You probably want to know how they were able to get perfect lighting in your favorite scene, or how to write a professional screenplay.

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