Contributors
- Contributors
Dudley Andrew is R. Selden Rose Professor of Film and Comparative Literature at Yale. Biographer of André Bazin, he extends Bazin’s thought in What Cinema Is! (2011) and in the edited volume Opening Bazin (2012). He recently translated a new collection, André Bazin’s New Media. Working in aesthetics, hermeneutics, and cultural history, he published Film in the Aura of Art in 1984, then turned to French film with Mists of Regret (1995) and Popular Front Paris. He coedited The Companion to François Truffaut (2013). For these publications, he was named Officier de l’Ordre des Arts et des Lettres by the French Ministry of Culture.
Neil Archer is a lecturer in film studies at Keele University. His main research interest is the relationship between European and Hollywood cinemas, with a particular interest in film aesthetics across national contexts. His books include The French Road Movie (Berghahn, 2013), Hot Fuzz (Auteur, 2015), and The Road Movie: In Search of Meaning (Wallflower, 2016).
Karen Beckman is Elliot and Roslyn Jaffe Professor of Cinema and Modern Media in the Department of the History of Art at the University of Pennsylvania. She is most recently author of Crash: Cinema and the Politics of Speed and Stasis (Duke University Press, 2010) and editor of Animating Film Theory (Duke University Press, 2014).
Timothy Corrigan is a professor of English, cinema studies, and history of art at the University of Pennsylvania. His work in cinema studies has focused on modern American and contemporary international cinema. His most recent books include The Film Experience (Bedford/St. Martin’s, coauthored with Patricia White, 2015); Critical Visions: Readings in Classic and Contemporary Film Theory (Bedford/St. Martin’s, coauthored with Patricia White and Meta Mazaj, 2011); and The Essay Film: From Montaigne, after Marker (Oxford University Press, 2011), winner of the 2012 Katherine Singer Kovács Award for the outstanding book in film and media studies.
Tina Kendall is senior lecturer in film studies at Anglia Ruskin University. Her research addresses questions of negative affect, materiality, violence, and spectatorship in contemporary film and media, with a particular interest in extreme cinemas. She is coeditor of The New Extremism in Cinema: From France to Europe (Edinburgh University Press, 2011) and editor of Film-Philosophy’s special issue on disgust and spectatorship.
Kim Knowles is lecturer in film studies at Aberystwyth University and experimental film programmer at Edinburgh International Film Festival. Her current research [End Page 157] centers on contemporary experimental film aesthetics, particularly in relation to photochemical practice in the digital era. Her writings on avant-garde film, poetry, and photography have been published in numerous journals. Her monograph A Cinematic Artist: The Films of Man Ray (Peter Lang, 2009) was republished in 2012.
Lisa Purse is associate professor in film in the Department of Film, Theatre, and Television at the University of Reading. She is the author of Digital Imaging in Popular Cinema (Edinburgh University Press, 2013) and Contemporary Action Cinema (Edinburgh University Press, 2011), and has published widely on genre cinema, digital aesthetics, and the relationships between film style and the politics of representation in mainstream cinema. [End Page 158]
