Luka Arsenjuk is an assistant professor of film studies and comparative literature at the University of Maryland, College Park. He received his PhD in literature from Duke University in 2010. Arsenjuk works at the intersection of theory and film studies. He has written essays on the Soviet filmmaker and theorist Sergei Eisenstein, Jacques Rancière’s concept of politics, cinema as mass art, and the videographic essay film. Currently, Arsenjuk is working on a book about Sergei Eisenstein and his idea of cinema.
Claudia Breger is a professor of Germanic studies and is affiliated with cinema and media studies and gender studies at Indiana University, Bloomington. Her research and teaching focuses on twentieth- and twenty-first-century culture, emphasizing film, literary and cultural theory, and the intersections of gender, sexuality, and race. Breger’s recent publications include An Aesthetics of Narrative Performance: Transnational Film, Literature and Theater in Contemporary Germany (Columbus: Ohio State University Press, 2012), coedited with Benjamin Robinson; “Dossier: Complexity/Simplicity,” Modern Language Notes 130, no. 3 (April 2015): 417–553; and “Configuring Affect: Complex Worldmaking in Fatih Akın’s Auf der anderen Seite (The Edge of Heaven),” Cinema Journal 54, no. 1 (Fall 2014): 65–87. Breger is currently working on a book manuscript tentatively entitled “Making Worlds: Affect and Collectivity in Contemporary European Cinema.”
Kristopher L. Cannon is an assistant teaching professor in the Media and Screen Studies Program at Northeastern University. His research examines intersections between new media or technologies, queerness, and visual culture. Cannon’s current work utilizes aesthetics of failure as an interpretive framework to examine how avisual forms of images and objects can refigure our understanding [End Page 291] about bodies and ontologies of nonhuman beings. His work has been published in journals, including Photography & Culture, Spectator, and Critical Studies in Media Communication, and various edited collections, including Moving Data: The iPhone and the Future of Media (New York: Columbia University Press, 2012).
Angela Dalle Vacche is a professor of film studies at the Georgia Institute of Technology. She is the author of The Body in the Mirror: Shapes of History in Italian Cinema (Princeton University Press, 1992), Cinema and Painting: How Art Is Used in Film (University of Texas Press, 1996), and Diva: Defiance and Passion in Early Italian Cinema (University of Texas Press, 2008). Vacche has edited The Visual Turn: Classical Film Theory and Art History (Rutgers University Press, 2003) and Film, Art, New Media: Museum Without Walls? (Palgrave Macmillan, 2012) and coedited, with Brian Price, Color: The Film Reader (Routledge, 2006). She is currently working on a book titled André Bazin’s Cinema: Art, Religion, Science.
Matthew Flisfeder is an assistant professor in the Department of Rhetoric, Writing, and Communications at the University of Winnipeg. He is the author of The Symbolic, the Sublime, and Slavoj Žižek’s Theory of Film (2012) and coeditor of Žižek and Media Studies: A Reader (2014). Flisfeder’s book Postmodern Theory and Blade Runner is forthcoming in the Bloomsbury series Film Theory in Practice.
Amy Herzog is an associate professor of media studies at Queens College and coordinator of the Film Studies Program at the CUNY Graduate Center, where she is a faculty member in theater, music, film, and women’s studies. She is the author of Dreams of Difference, Songs of the Same: The Musical Moment in Film (University of Minnesota Press, 2010) and coeditor, with Carol Vernallis and John Richardson, of The Oxford Handbook of Sound and Image in Digital Media (Oxford University Press, 2013). Herzog has published essays on film and popular music, philosophy, pornography, gentrification, parasites, and dioramas. Her most recent research project centers on a history of peep show arcades in Times Square, New York.
John Kim is an associate professor of media and cultural studies at Macalester College. A theorist and practitioner of new media, Kim has published widely on issues including the history of the computer interface, augmented reality, and the experience of the material world. As a practitioner of new media, he has exhibited interactive art, sculpture, video games, and software internationally, including the Massachusetts Museum of Contemporary Art, [End Page 292] the DiaCenter for the Arts, ISEA International, the Walker Art...