In lieu of an abstract, here is a brief excerpt of the content:

  • Contributors

Grace An is assistant professor of cinema studies and French at Oberlin College. She is at work on her manuscript “A Par-asian Imaginary: Franco-Asian Encounters since 1945.” Her main interests are French literature and cinema, especially documentary, of the second half of the twentieth century, with a focus on the French interest in East Asia since World War II.

Kristen Anderson Wagner is a PhD candidate at the University of Southern California School of Cinema-Television. She is writing her dissertation on the work of female comedians in American silent film.

Andreas Busche has an MA in Film Archiving from the University of East Anglia, England, and is currently working for the Stiftung Deutsche Kinemathek.

Nathan Carroll is assistant professor in the department of Communication and Theatre Arts at the College of St. Scholastica in Duluth, Minnesota.

John L. Hochheimer is professor and chair of the department of Radio-Television at Southern Illinois University, Carbondale. From 1988 to 2006 he was on the faculty of the departments of Journalism and Television/Radio at Ithaca College. His recent work has focused on the linkages between spirituality, communication media, and human meaning. His work in these areas has been published in Communications: The European Journal of Communications Research, Javnost/The Public, Journal of Communication Inquiry, Critical Arts: A South-North Journal of Cultural and Media Studies (South Africa), Media, Culture & Society, College Literature, and Nature, among others.

Jan-Christopher Horak is a visiting professor in critical studies at UCLA and acting director of the Moving Image Archives Studies Program. Horak is author of numerous books and articles, including Making Images Move: Photographers and Avant-Garde Cinema, Lovers of Cinema: The First American Film Avant-Garde, and The Dream Merchants: Making and Selling Films in Hollywood’s Golden Age.

Janna Jones is associate professor in the School of Communication at Northern Arizona University. She is also an advisor to Northeast Historic Film. She has published a number of articles about cinematic culture and cultural preservation. Her book The Southern Movie Palace: Rise, Fall, and Resurrection interprets the discursive and physical preservation of picture palaces. She is writing a book about the cultural significance of moving image archives in the United States.

Heidi Kenaga received her PhD in film from the University of Wisconsin–Madison. She is currently a research associate at the University of Memphis, where she teaches courses in film and literature. She has published essays on 1920s American cinema and culture in Film History and various U.S. and British anthologies and coedited (with Diane Carson) Sayles Talk: New Perspectives on Independent Filmmaker John Sayles (2005).

Jill Kozeluh lives in Chicago, where she is a community college instructor. She holds a Master of Arts degree in film studies from Ohio University.

Lindy Leong is a PhD candidate in the UCLA department of Film, Television, and Digital Media. She is working on a dissertation introducing and examining the politics and cultures of moving image archiving and preservation in Southeast Asia. Aside from her academic pursuits, she is an aspiring film archivist and currently works for the Academy Film Archive in Hollywood, California.

Joshua Mabe is a recent graduate of the Masters of Library Science program at the University of South Carolina in Columbia. As a student, he programmed several avant-garde film series at USC and Winthrop University.

Devin Orgeron is assistant professor of film studies at North Carolina State University. His book in progress, Motion Studies, traces the cinema’s longstanding interest in the subject of automobility. His writing has appeared in CineAction, COIL, Film Quarterly, Journal of Film and Video, College Literature, and Post Script. He also collects, shows, and writes about home movies from the 1940s to the 1970s.

Rick Schmidlin produced the reedit of Orson Welles’s Touch Of Evil (1958), which premiered at the Telluride Film Festival and Toronto Film Festivals in 1998. In 1999, he produced the reconstruction of Erich von Stroheim’s 1924 classic Greed for Turner Entertainment and Turner Classic Movies. In 2000, he produced the restoration of the Edison/Dickson Sound Test for The Library Of Congress. He is currently guest curator of a new exhibition on Erich von Stroheim...


Additional Information

Print ISSN
pp. 159-160
Launched on MUSE
Open Access
Back To Top

This website uses cookies to ensure you get the best experience on our website. Without cookies your experience may not be seamless.