Contributors
- Contributors
Justin J. Morris is a PhD candidate at the University of Toronto's Cinema Studies Institute. His SSHRC-funded dissertation research examines the cross-medial intersections of popular American series media between the 1930s and the 1970s. Morris's related interests include intermediality, material culture historiography, and musical performance on film. His writing has appeared in CineAction and the Velvet Light Trap.
Baden Pailthorpe is currently a postdoctoral fellow at the University of New South Wales' iCinema Research Centre. He received his PhD from the University of New South Wales (UNSW), MFA from l'Université Paris VIII, MA from UNSW's College of Fine Arts, and BA from the University of Sydney. Pailthorpe was recently awarded an Asialink/Australia Council residency with the renowned Japanese digital art collective teamLab, and, in 2013, was invited to be the inaugural artist in residence at the Australian War Memorial, where he produced Spatial Operations (2015). He has held additional residencies at Screen Space (Melbourne) and la Cité internationale des arts (Paris). Since 2008, Pailthorpe's animations, videos, and sculptures engaging contemporary geopolitics and global capital have been widely exhibited in Australia and abroad, including Centre Pompidou, Artspace (Sydney), La Gaîté Lyrique, 21st Triennale di Milano, and Palais de Tokyo. His work is held in multiple private and public collections throughout the world.
Dominic Pettman is a professor of culture and media at the New School for Social Research and Eugene Lang College and is the author of numerous books on technology, humans, and other animals, including the recent Creaturely Love (University of Minnesota Press, 2017) and Sonic Intimacy (Stanford University Press, 2017). [End Page 138]
Michele Pierson is a senior lecturer in film studies at King's College London. She is the author of Special Effects: Still in Search of Wonder (Columbia University Press, 2002) and a coeditor with Paul Arthur and David E. James of Optic Antics: The Cinema of Ken Jacobs (Oxford University Press, 2011).
John Rhym teaches courses on film and writing in the English Department at the University of Pittsburgh, where he has recently completed a dissertation on the aporetic aesthetics of Alain Resnais's postwar modernist cinema.
Jordan Schonig holds a PhD in cinema and media studies from the University of Chicago, where he is currently a postdoctoral teaching fellow in the humanities. His dissertation, "Cinema's Motion Forms: Film Theory, the Digital Turn, and the Possibilities of Cinematic Motion," rethinks central debates in film theory by examining the phenomenology of cinematic motion. Schonig is broadly interested in the intersections between philosophical aesthetics and film theory, phenomenological approaches to film studies, and genealogies of modernism in film and the other arts.
Domietta Torlasco is a critical theorist, filmmaker, and associate professor of Italian and comparative literature at Northwestern University. She is the author of The Time of the Crime: Phenomenology, Psychoanalysis, Italian Film (Stanford University Press, 2008) and The Heretical Archive: Digital Memory at the End of Film (University of Minnesota Press, 2013), both investigating the relation between vision and temporality as it impinges upon our capacity to remember forgotten pasts and imagine alternative futures. Torlasco is currently completing a manuscript titled Rhythm against Measure: Cinema, Montage, and the Time of Images, which aims at positioning rhythm as a pivotal mode of resistance to power and thus a key element in defining the relation between the aesthetic and the political. Torlasco's video essays interlace disparate materials--documentary shots, film excerpts, written and voice-over texts--taking as their starting point the hybrid nature not only of cinema but also of life. They attempt to perform an inquiry into the political implications of a series of aesthetic operations--the framing of spaces, the tracing of borders, the delimitation of enclosures (domestic or otherwise)--wherein people are asked to live together. Torlasco's recent videos (Philosophy in the Kitchen, House Arrest, and Sunken Gardens) have screened at national and international venues, including the Galerie Campagne Première in Berlin, the Walker Art Center in Minneapolis, and (forthcoming) the Museum of Contemporary Art, Los Angeles. [End Page 139]
