Alice Haylett Bryan is a PhD candidate and Graduate Teaching Assistant at King's College London, where she has recently submitted a thesis on womb phantasies in international horror and extreme cinema. Her research interests include gender and sexuality in contemporary North American horror cinema, and Japanese psychoanalytic theory.
Troy Bordun will soon defend his dissertation in Cultural Studies at Trent University. His dissertation is about spectatorship and genre in the films of Carlos Reygadas and Catherine Breillat. He has recently published reviews and essays in Senses of Cinema, Film-Philosophy, Studies in European Cinema, CineAction, and Synoptique (forthcoming). Troy was also a former film-programmer for Trent Film Society. During his tenure for TFS he curated two exhibitions: one on the history of non-narrative cinema and the other on history of moving-image pornography up to 1972.
Dr Oliver Carter is a senior lecturer in media and cultural theory and a founding member of the Body Genres research cluster at the Birmingham Centre for Media and Cultural Research, Birmingham City University. His research focuses on alternative economies of media production, particularly fan enterprise and cult film distribution. He has published work discussing cult fan practices that appears in Murders and Acquisitions: Representations of the Serial Killer in Popular Culture (A MacDonald, Ed.) and The Piracy Effect (R. Braga and G. Caruso, Eds.) and is the author of the forthcoming monograph Making European Cult Cinema: Fan Enterprise in an Alternative Economy, published by Amsterdam University Press. He is currently co-editing a book about British media censorship with John Mercer (Birmingham City University) and Mark McKenna (Glyndŵr University).
Dr Costas Constandinides is Assistant Professor of Film Studies in the Department of Communications at the University of Nicosia. He is the author of From Film Adaptation to Post-celluloid Adaptation (Continuum, 2010) and co-editor of Cypriot Cinemas: Memory, Conflict, and Identity in the Margins of Europe (Bloomsbury, 2014). He is a member of the European Film Academy and a member of the Artistic Committee of Cyprus Film Days IFF.
Dr Neil Fox is a course co-ordinator in Film at Falmouth University. His research interests include film education and music documentaries, and he writes for The Quietus, Clash and The Big Picture in the UK Bright Wall/Dark Room in the US amongst others. He has recently contributed to books published by Intellect and Bloomsbury. He has written and produced award-winning short films, directed and curated international film festivals and is the co-founder and host of The Cinematologists podcast.
Jane Giles is Head of Content at the BFI, responsible for the department that includes Film Distribution and Video Publishing. She has worked extensively in film distribution and exhibition for companies including Tartan Films, the ICA and Channel 4 Television. Jane is author of The Films of Jean Genet (BFI), Criminal Desires (Creation), The Crying Game (BFI Modern Classics) and is currently writing a book about the Scala cinema where she was programmer from 1988-92.
Thomas Hödl has been studying film Theater-, Film- und Medienwissenschaft at the Universität Wien since 2010. Having received his Bachelor of Arts in the subject, he is now studying for a film masters degree, the study of Italian genre cinema being one of his specialist research subjects.
Simon Hobbs is a lecturer at the University of Portsmouth. His research areas include extreme art film, exploitation film, European art cinema and paratextual studies. He has published works on transnational extreme art cinemas (2015) the DVD presentation of Cannibal Holocaust (2015) and theorising Animal Snuff (2016).
Alex Marlow-Mann is lecturer in Italian at the University of Kent. He is the author of The New Neapolitan Cinema (EUP, 2011) and the editor of Archival Film Festivals (StAFS, 2013), and has written numerous articles on Italian cinema, with a particular focus on genres (musicals, crime films, gothic horror) and contemporary cinema (Mario Martone, Antonio Capuano, Paolo Sorrentino). He is joint editor of a new book series from Routledge, ‘Remapping World Cinema’, as well as the edited volume The Routledge Companion to World Cinema, both of which are forthcoming in 2017. He is also researching a monograph entitled The Political Thriller in Its Global Context: Genre, Ideology, Emotion and co-writing and co-producing the new feature-length documentary That’s La Morte: Italian Cult Film and the Years of Lead.
Xavier Mendik is Professor of Cult Cinema Studies in the School of Media at Birmingham City University, from where he runs the Cine-Excess International Film Festival. He has written extensively on cult and horror film traditions, and his publications (as author/editor/co-editor) include Bodies of Desire and Bodies in Distress: The Golden Age of Italian Cult Film 1970–1985 (2015), Peep Shows: Cult Film and the Cine-Erotic (2012), 100 Cult Films (with Ernest Mathijs, 2011), The Cult Film Reader (with Ernest Mathijs, 2008), Alternative Europe: Eurotrash and Exploitation Cinema Since 1945 (with Ernest Mathijs, 2004), Shocking Cinema of the Seventies (2004), Underground USA: Filmmaking Beyond the Hollywood Canon (2002), Dario Argento’s Tenebrae (2000) and Unruly Pleasures: The Cult Film and its Critics (2000).He is currently preparing the new feature-length documentary That’s La Morte: Italian Cult Film and the Years of Lead.
Doru Pop is professor at the Faculty of Theatre and Television, Babeş-Bolyai University in Cluj in Romania, where he researches visual culture and media studies. He has an MA in journalism and mass communication from the University of North Carolina at Chapel Hill and a PhD in the philosophy of visual culture from Babeș-Bolyai University. He was Fulbright junior fellow (1995-1996), Ron Brown fellow 2000-2002) and Fulbright Senior fellow (2012-2013). In 2012 he taught at Bard College, New York, where he presented a course on the Romanian recent cinema. He also taught at various universities such as ELTE (Hungary), Hochschule Mittweida (Germany), Tampere University (Finland), Milano-Bicocca (Italy. He is the editor in chief of the Ekphrasis academic journal. He also writes reviews, essays and studies in various Romanian cultural journals like Apostrof, Steaua, Observator cultural, Dilema veche etc. His most recent book is Romanian New Wave Cinema: An Introduction (McFarland & Company, 2014).
Joachim Schätz is a film scholar living in Vienna. He's currently working at the Ludwig Boltzmann Institute for History and Society on a project about travelogue writer and filmmaker Colin Ross. Upcoming publications include: Amerikanische Komödie. Kino | Fernsehen | Web, written together with Daniel Eschkötter, Lukas Foerster, Nikolaus Perneczky and Simon Rothöhler.
Isak Thorsen earned a Ph.D. in Film Studies from the University of Copenhagen with a dissertation titled ‘Isbjørnens anatomi – Nordisk Films Kompagni som erhvervsvirksomhed i perioden 1906–1928’. He has contributed to the anthology 100 Years of Nordisk Film (DFI 2006) and written for journals such as Film History, Kintop, Scandinavian–Canadian Studies and Kosmorama. He is the editor and author of the Danish entries Historical Dictionary of Scandinavian Cinema (Scarecrow Press, 2012). He is also an External Lecturer at the Section of Film and Media Studies, University of Copenhagen.
Troy Bordun will soon defend his dissertation in Cultural Studies at Trent University. His dissertation is about spectatorship and genre in the films of Carlos Reygadas and Catherine Breillat. He has recently published reviews and essays in Senses of Cinema, Film-Philosophy, Studies in European Cinema, CineAction, and Synoptique (forthcoming). Troy was also a former film-programmer for Trent Film Society. During his tenure for TFS he curated two exhibitions: one on the history of non-narrative cinema and the other on history of moving-image pornography up to 1972.
Dr Oliver Carter is a senior lecturer in media and cultural theory and a founding member of the Body Genres research cluster at the Birmingham Centre for Media and Cultural Research, Birmingham City University. His research focuses on alternative economies of media production, particularly fan enterprise and cult film distribution. He has published work discussing cult fan practices that appears in Murders and Acquisitions: Representations of the Serial Killer in Popular Culture (A MacDonald, Ed.) and The Piracy Effect (R. Braga and G. Caruso, Eds.) and is the author of the forthcoming monograph Making European Cult Cinema: Fan Enterprise in an Alternative Economy, published by Amsterdam University Press. He is currently co-editing a book about British media censorship with John Mercer (Birmingham City University) and Mark McKenna (Glyndŵr University).
Dr Costas Constandinides is Assistant Professor of Film Studies in the Department of Communications at the University of Nicosia. He is the author of From Film Adaptation to Post-celluloid Adaptation (Continuum, 2010) and co-editor of Cypriot Cinemas: Memory, Conflict, and Identity in the Margins of Europe (Bloomsbury, 2014). He is a member of the European Film Academy and a member of the Artistic Committee of Cyprus Film Days IFF.
Dr Neil Fox is a course co-ordinator in Film at Falmouth University. His research interests include film education and music documentaries, and he writes for The Quietus, Clash and The Big Picture in the UK Bright Wall/Dark Room in the US amongst others. He has recently contributed to books published by Intellect and Bloomsbury. He has written and produced award-winning short films, directed and curated international film festivals and is the co-founder and host of The Cinematologists podcast.
Jane Giles is Head of Content at the BFI, responsible for the department that includes Film Distribution and Video Publishing. She has worked extensively in film distribution and exhibition for companies including Tartan Films, the ICA and Channel 4 Television. Jane is author of The Films of Jean Genet (BFI), Criminal Desires (Creation), The Crying Game (BFI Modern Classics) and is currently writing a book about the Scala cinema where she was programmer from 1988-92.
Thomas Hödl has been studying film Theater-, Film- und Medienwissenschaft at the Universität Wien since 2010. Having received his Bachelor of Arts in the subject, he is now studying for a film masters degree, the study of Italian genre cinema being one of his specialist research subjects.
Simon Hobbs is a lecturer at the University of Portsmouth. His research areas include extreme art film, exploitation film, European art cinema and paratextual studies. He has published works on transnational extreme art cinemas (2015) the DVD presentation of Cannibal Holocaust (2015) and theorising Animal Snuff (2016).
Alex Marlow-Mann is lecturer in Italian at the University of Kent. He is the author of The New Neapolitan Cinema (EUP, 2011) and the editor of Archival Film Festivals (StAFS, 2013), and has written numerous articles on Italian cinema, with a particular focus on genres (musicals, crime films, gothic horror) and contemporary cinema (Mario Martone, Antonio Capuano, Paolo Sorrentino). He is joint editor of a new book series from Routledge, ‘Remapping World Cinema’, as well as the edited volume The Routledge Companion to World Cinema, both of which are forthcoming in 2017. He is also researching a monograph entitled The Political Thriller in Its Global Context: Genre, Ideology, Emotion and co-writing and co-producing the new feature-length documentary That’s La Morte: Italian Cult Film and the Years of Lead.
Xavier Mendik is Professor of Cult Cinema Studies in the School of Media at Birmingham City University, from where he runs the Cine-Excess International Film Festival. He has written extensively on cult and horror film traditions, and his publications (as author/editor/co-editor) include Bodies of Desire and Bodies in Distress: The Golden Age of Italian Cult Film 1970–1985 (2015), Peep Shows: Cult Film and the Cine-Erotic (2012), 100 Cult Films (with Ernest Mathijs, 2011), The Cult Film Reader (with Ernest Mathijs, 2008), Alternative Europe: Eurotrash and Exploitation Cinema Since 1945 (with Ernest Mathijs, 2004), Shocking Cinema of the Seventies (2004), Underground USA: Filmmaking Beyond the Hollywood Canon (2002), Dario Argento’s Tenebrae (2000) and Unruly Pleasures: The Cult Film and its Critics (2000).He is currently preparing the new feature-length documentary That’s La Morte: Italian Cult Film and the Years of Lead.
Doru Pop is professor at the Faculty of Theatre and Television, Babeş-Bolyai University in Cluj in Romania, where he researches visual culture and media studies. He has an MA in journalism and mass communication from the University of North Carolina at Chapel Hill and a PhD in the philosophy of visual culture from Babeș-Bolyai University. He was Fulbright junior fellow (1995-1996), Ron Brown fellow 2000-2002) and Fulbright Senior fellow (2012-2013). In 2012 he taught at Bard College, New York, where he presented a course on the Romanian recent cinema. He also taught at various universities such as ELTE (Hungary), Hochschule Mittweida (Germany), Tampere University (Finland), Milano-Bicocca (Italy. He is the editor in chief of the Ekphrasis academic journal. He also writes reviews, essays and studies in various Romanian cultural journals like Apostrof, Steaua, Observator cultural, Dilema veche etc. His most recent book is Romanian New Wave Cinema: An Introduction (McFarland & Company, 2014).
Joachim Schätz is a film scholar living in Vienna. He's currently working at the Ludwig Boltzmann Institute for History and Society on a project about travelogue writer and filmmaker Colin Ross. Upcoming publications include: Amerikanische Komödie. Kino | Fernsehen | Web, written together with Daniel Eschkötter, Lukas Foerster, Nikolaus Perneczky and Simon Rothöhler.
Isak Thorsen earned a Ph.D. in Film Studies from the University of Copenhagen with a dissertation titled ‘Isbjørnens anatomi – Nordisk Films Kompagni som erhvervsvirksomhed i perioden 1906–1928’. He has contributed to the anthology 100 Years of Nordisk Film (DFI 2006) and written for journals such as Film History, Kintop, Scandinavian–Canadian Studies and Kosmorama. He is the editor and author of the Danish entries Historical Dictionary of Scandinavian Cinema (Scarecrow Press, 2012). He is also an External Lecturer at the Section of Film and Media Studies, University of Copenhagen.