Taking Place: Location and the Moving Image

Contributors

365 Contributors Rosalind Galt is senior lecturer in film studies at the University of Sussex. She is the author of The New European Cinema: Redrawing the Map (2006) and Pretty: Film and the Decorative Image (2011) and the coeditor of Global Art Cinema: New Theories and Histories (2010). Her articles have appeared in journals such as Screen, Cinema Journal, Senses of Cinema, and Discourse. Elena Gorfinkel is assistant professor in art history and film studies at the University of Wisconsin–Milwaukee. Her publications on erotic film culture, cinephilia, sexploitation, and cult film have appeared in Framework, Cineaste, World Picture, and the collections Cinephilia: Movies, Love, and Memory (2005) and Underground USA: Filmmaking beyond the Hollywood Canon (2002). She is at work on a book on American sexploitation cinema of the 1960s. Frances Guerin is lecturer in film studies at the University of Kent. She is the author of A Culture of Light: Cinema and Technology in 1920s Germany (Minnesota, 2005) and Through Amateur Eyes: Film and Photography in Nazi Germany (Minnesota, 2011). She is an editor of and contributor to The Image and the Witness: Trauma, Memory, and Visual Culture (2007). Her essays have appeared in numerous publications , including Cinema Journal, Screening the Past, and Film and History. Ji-hoon Kim is a doctoral candidate in the Department of Cinema Studies at New York University, where he is currently working on a dissertation titled “Relational Images: The Art of the Moving Image, Medium Specificity, and Media Exchange.” Prior to his doctoral study in the United States, Kim worked as a film critic, film festival programmer, and lecturer and also translated D. N. Rodowick’s Gilles Deleuze’s Time Machine. His research interests include film and media theory, experimental film and video, moving images in contemporary art, digital cinema and media art, and East Asian cinema. His essays have appeared in Screen and Global Art Cinema: New Theories and Histories (2010). 366 | CONTRIBUTORS Hugh S. Manon is associate professor and director of the Screen Studies Program at Clark University, where he specializes in Lacanian theory and film noir. He has published in Cinema Journal, Film Criticism, Framework, International Journal of Žižek Studies, and numerous anthologies, including articles on Tod Browning, Edgar G. Ulmer, Billy Wilder’s Double Indemnity, Michael Haneke’s Caché, and Stanley Kubrick’s films noirs. He is interested in lo-fi and punk representation in relation to the psychodynamics of failure and is currently developing a book project titled Lack and Losslessness: Toward a Lacanian Aesthetics. Born and raised in western Pennsylvania, Manon is a fourth-generation attendee of the University of Pittsburgh, where he earned his PhD in cultural and critical studies. Ara Osterweil is an artist, writer, and professor of film and cultural studies at McGill University in Montreal. She is currently working on several scholarly projects about American film and art in the 1960s and 1970s. Brian Price is associate professor of film and visual studies at the University of Toronto. He is author of Neither God nor Master: Robert Bresson and Radical Politics (Minnesota, 2011) and coeditor of On Michael Haneke (2010) and Color: The Film Reader (2006). He is a founding editor of World Picture. John David Rhodes is senior lecturer in literature and visual culture in the School of English at the University of Sussex. He is the author of Stupendous, Miserable City: Pasolini’s Rome and Meshes of the Afternoon (2011) as well as the coeditor of Antonioni: Centenary Essays (2011) and On Michael Haneke (2010). He is a founding coeditor of World Picture. Linda A. Robinson is assistant professor in the Communication Department of the School of Arts and Communication at the University of Wisconsin–Whitewater. She holds a PhD in film studies from Northwestern University, and her research interests include cinematic nostalgia and the interrelationships between the past, history, and film. Michael Siegel holds a PhD in modern culture and media from Brown University . His dissertation examined the films of Dario Argento in relation to the politics of urban change in post-1968 Rome. He has published on fascist Italy and neorealism and is currently translating a book on Hollywood cinema from Italian to English. He is a faculty member at Brown University and Clark University. CONTRIBUTORS | 367 Noa Steimatsky is associate professor in the Department of Cinema and Media Studies at the University of Chicago. She is author of Italian Locations: Reinhabiting the Past...