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GLQ: A Journal of Lesbian and Gay Studies 14.1 (2008) 165-167

About the Contributors

Bill Basquin is an award-winning filmmaker who lives in San Francisco ( His works include The Ride (2000), The Last Day of November (2001), Martin (2004), 14th and Valencia (2005), Range (2006), and The Odyssey: Book 16 (2007). He is currently at work on a short film about objects and physical absence called These Things Have Sentimental Value and a longer project about urban agriculture called Soiled. Bill works as a gaffer in the film industry and is an avid community gardener.

Maureen Bradley has attended, exhibited at, and helped organize queer film and video festivals in Canada since 1988. She has been producer and director of thirty-two short films and videos including the Canadian Broadcasting Corporation's weekly series Road Movies (1992). Among her prize-winning shorts are Queer across Canada (1994), Forever (1997), Go Dyke! Go! (1999), and You Fake (2003). She teaches film and video in the writing department of the University of Victoria (British Columbia), where she is making in 2007 her most recent narrative short, Pants on Fire.

Q. Allan Brocka was born in Guam and educated in Seattle. He studied film at the California Institute for the Arts, where his animated student film Rick and Steve the Happiest Gay Couple in All the World (1999) launched his career as a director. His features include the award-winning Eating Out (2004) and Boy Culture (2006), as well as Eating Out 2: Sloppy Seconds (2006, producer and writer). He is developing a feature film, Lino, about his uncle, the late Filipino gay director Lino Brocka.

Olivier Ducastel was born in Lyons in 1962, spent his adolescence in Rouen, and did some university studies in film and theater before attending IDHEC in Paris. Initially a film editor, he began his partnership with Jacques Martineau in 1995, codirecting their first feature, Jeanne et le garçon formidable (Jeanne and the Perfect Guy, 1998). Their next feature, the prizewinning Drôle de Félix (The Adventures of Felix, 2000), somewhat inspired by Ducastel's story (except for the North African twist), led to Ma vraie vie à Rouen (My Life on Ice, 2002), and most recently Crustacés et coquillages (Côte d'Azur, 2004). [End Page 165]

Will Fisher is associate professor of English at Lehman College, City University of New York. His first book, Materializing Gender in Early Modern English Literature and Culture, was published in 2006 by Cambridge University Press. He is working on a book about "bisexuality" in the early modern period.

Su Friedrich has since 1978 produced and directed seventeen 16 mm films and videos, including Seeing Red (2005), The Odds of Recovery (2002), Hide and Seek (1996), Sink or Swim (1990), Damned If You Don't (1987), The Ties That Bind (1984), and Gently Down the Stream (1981). Among many awards for her work are the Melbourne Film Festival Grand Prix and "Outstanding Documentary" at Outfest. She has received Rockefeller and Guggenheim Foundation fellowships; numerous grants from the Jerome Foundation, NYFA, NYSCA and ITVS; and the Alpert Award. Retrospectives of her work have been held at MoMA, the Whitney Museum of American Art, the Rotterdam Film Festival, and the National Film Theater in London, among others. She teaches film and video production at Princeton University.

Barbara Hammer, a pioneer of queer, experimental, and documentary cinema, began her filmmaking career in 1968 and has made over eighty works. Honored by retrospectives most recently in Argentina, Italy, and Taiwan, as well as by the Whitney Museum of American Art, the Flaherty Film Seminar, the Fulbright Foundation, and queer festivals around the world, her films range from Dyketactics (1974) to Lover/Other: Claude Cahun and Marcel Moore (2006). She lives and works in New York City.

Katie Hindmarch-Watson will be commencing her PhD in history at Johns Hopkins University in September 2007. Her research explores the history of sexuality and cultural production in nineteenth-century Britain and North America. "Lois Schwich, the Female...


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