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  • Contributors

Gillian B. Anderson is an orchestral conductor and musicologist. Her reconstruction and performance of Nosferatu (Murnau, 1921) with the Brandenburg Philharmonic (Potsdam), Carmen (DeMille, 1915) with the London Philharmonic, Haexan (Christiansen, 1922) with an ensemble from Prague, and Pandora’s Box (Pabst, 1928) with the Michigan Sinfonietta were released by BMG Classics, Video Artists International, and Criterion Films. To her bibliography Music for Silent Films, 1894–1929: A Guide (Library of Congress, 1988), she adds her translation of Ennio Morricone and Sergio Miceli’s Composing for the Cinema, forthcoming from Scarecrow Press. With Ron Sadoff, she is the coeditor of the journal Music and the Moving Image (University of Illinois Press). Her film Inganni, with Italian painter Lidia Bagnoli, was commissioned by the National Gallery of Art, and is available through YouTube. For more information, and to see a nifty home page, see www.gilliananderson.it.

J. Brandon Colvin is a PhD candidate in film studies at the University of Wisconsin–Madison. He is currently preparing a dissertation on acting styles, contexts, and discourses in recent low-budget American cinema. His additional scholarly interests include minimalist art cinema and Scandinavian national cinemas. He is also an advanced film production instructor and independent filmmaker. His debut feature film, Frames (2012), is available online; his second feature, Sabbatical, will be released in 2014.

Camille Deprez is a research assistant professor at the Academy of Film of Hong Kong Baptist University. Her initial research areas were the Indian mainstream film—or Bollywood—and television industries. Two single-authored books, La télévision indienne: Un modèle d’appropriation culturelle (2006) and Bollywood: Cinéma et mondialisation (2010), academic articles, and book chapters came out of these two long-term research projects. She is currently developing new research projects on Indian documentary film and French colonial documentary film in Asia.

Paul Gansky is a PhD candidate in the Radio-TV-Film Department at the University of Texas at Austin. He researches Gorilla Glass, haptics, insanity, telephony, [End Page 174] and film preservation and runs an experimental cinema and video screening series in Austin.

Amy Lawrence is professor of film and media studies at Dartmouth College. She is the author of The Passion of Montgomery Clift (California, 2010), Echo and Narcissus: Women’s Voices in Classical Hollywood Cinema (1991), The Films of Peter Greenaway (1996), and essays on acting and stardom (Rudolph Valentino, James Mason).

Jacqueline Reich is professor and chair of the Department of Communication and Media Studies at Fordham University. She is the author of Beyond the Latin Lover: Marcello Mastroianni, Masculinity, and Italian Cinema (Indiana University Press, 2004) and coeditor of Re-viewing Fascism: Italian Cinema, 1922–1942 (Indiana University Press, 2002). She also curates the book series New Directions in National Cinemas for Indiana University Press. At present, she is working on two book projects: a study of the Maciste films of Italian silent cinema, to be published by Indiana University Press, and a study of Italian masculinity and stardom (Il Castoro, 2014). In fall 2011, she was awarded a mid-career fellowship from the Howard Foundation at Brown University. [End Page 175]

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