Contributors
- Contributors
Alberto Anile is an Italian film critic and journalist. He is author of Orson Welles in Italy (Indiana University Press, 2013), translated by Marcus Perryman, first published in Italian as Orson Welles in Italia (Il Castoro, 2006), and of several books and essays about director Roberto Rossellini and comedy actor Totò. His most recent book (coauthored with Maria Gabriella Giannice) is Operazione Gattopardo (Feltrinelli, 2014), concerning Tomasi di Lampedusa’s and Luchino Visconti’s The Leopard. He is the editor of L’“Otello” senz’acca / “Othello” without the H (Rubbettino-Cineteca Nazionale, 2015), about the Italian version of Othello.
Nathaniel Brennan is a doctoral candidate in the Department of Cinema Studies at New York University currently completing a dissertation on the film studies research and analysis projects undertaken at the Museum of Modern Art Film Library on behalf of the federal government during World War II. His writing on New York City film history has appeared in the Journal of Chinese Cinemas and the anthologies Global Neorealism: The Transnational History of a Film Style and American and Chinese-Language Cinemas: Examining Cultural Flows. In addition to research and teaching, he is archivist of the William K. Everson and Robert Sklar papers at the Amberg Memorial Film Study Center of the Department of Cinema Studies, NYU. In spring 2015 he served as visiting assistant professor of film and media studies at Amherst College.
Colin Burnett is assistant professor of film and media studies at Washington University in St. Louis. He is currently writing an article on Roger Leenhardt’s Syria and Lebanon documentary, L’orient qui vient (1937), in light of interwar socialist and colonial politics and completing a book entitled The Invention of Robert Bresson: Cinephilia, the Avant-Garde, and the Making of an Auteur (forthcoming, Indiana University Press).
Daniela Treveri Gennari is reader in film studies at Oxford Brookes University, United Kingdom. Her research on Catholic cinema in Italy was published in the volume Post-War Italian Cinema: American Intervention, Vatican Interests (Routledge, 2009). Her work on Italian cinema, censorship, and Catholicism has also appeared in readers such as Italy on Screen (Peter Lang) and Silencing Cinema [End Page 193] (Palgrave) as well as in journals such as October and New Review of Film and Television Studies. After a pilot project on audiences and memories of cinema-going in postwar Rome undertaken as part of a successful British Academy Mid Career Fellowship, she is now leading a major Arts and Humanities Research Council–funded project on audiences in 1950s Italy.
Donna Kornhaber is an assistant professor in the Department of English at the University of Texas at Austin, where she teaches film. She is the author of Charlie Chaplin, Director (Northwestern University Press, 2014) and the Oxford Bibliographies entry on Chaplin.
Jan Olsson is a professor of cinema studies at Stockholm University. His latest books are Los Angeles before Hollywood: Journalism and American Film Culture, 1905 to 1915 (National Library of Sweden, 2008) and Hitchcock à la Carte (Duke University Press, 2015).
John Sedgwick is a professor in the Business School of the University of Portsmouth and associate researcher in the Research Institute for History and Culture (OGC) at the University of Utrecht. He investigates the business and economic history of cinema and has published articles in various business, economic, and film history journals. He has also published a monograph, Popular Filmgoing in 1930s Britain: A Choice of Pleasures (University of Exeter Press, 2000). [End Page 194]
