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  • Contributors to issue 2:1

Tim Anderson is Assistant Professor of Communication and Theatre Arts at Old Dominion University in the Department of Communication and Theater Arts. He has also published essays in Cultural Studies and the Questions of Method (Blackwell: Oxford, UK, 2006), and Movie Music: The Film Reader (Routledge: London, 2003), as well as in journals such as Spectator, Cinema Journal, The Velvet Light Trap, Stanford Humanities Review and the Journal of American Music. In 2006 he published Making Easy Listening: Material Culture and Postwar American Recording (University of Minnesota Press) which was awarded a certificate of merit in the category of 'Best Research in General History of Recorded Sound' by the Association for Recorded Sound Collections in 2007. His latest research focuses on the popular music industry in a neoliberal economy.

Kevin J. Donnelly is reader in Film Studies at the University of Southampton. He edited Film Music: Critical Approaches (Edinburgh University Press, 2001) and wrote Pop Music in British Cinema (BFI, 2001), The Spectre of Sound (BFI, 2005) and British Film Music and Film Musicals (Palgrave Macmillan, 2007). He is currently editing a reader called Music and the Moving Image for Edinburgh University Press.

Catherine Haworth is currently undertaking a PhD at the University of Leeds, where she also teaches various courses related to music in audio-visual media. Her thesis focuses on the role of the soundtrack in constructing agency for female characters in 1940s crime films.

Kathryn Kalinak is Professor of English and Film Studies at Rhode Island College where her teaching interests include silent film, film music, and Disney. She is the author of numerous articles on film music, the entry on Music in the Schirmer Encyclopedia of Film (Thomson-Gale, 2006) and the books Settling the Score: Music and the Classical Hollywood Film (Madison: University of Wisconsin Press, 1992), How the West was Sung: Music in the Westerns of John Ford (Berkeley: University of California Press, 2007), and the forthcoming A Very Short Introduction to Film Music (Oxford University Press).

Steve Lannin is Senior Lecturer in Graphic Design at Southampton Solent Univer sity, and is co-editor (with Matthew Caley) of Pop Fiction: The Song [End Page 105] in Cinema (Intellect Books, 2005). He has written articles concerning the sound/image intersection across a number of disciplines. Formerly an audio-visual design consultant to Corporate Sound, Basel, he has more recently directed a campaign for the British Heart Foundation shops division.

Brian Lock is a professional media composer. His film scores include The Land Girls, Vipère au Poing, The Gambler, Foreign Moon and A Gentle Creature. He is also Senior Lecturer in Composition and Music Technology at Royal Holloway, University of London.

Ben Winters is an Early Career Research Associate at the Institute of Musical Research, University of London. He completed his doctorate at the University of Oxford, and from 2006–2008 was University Research Fellow in musicology at City University, London. He is the author of Erich Wolfgang Korngold's The Adventures of Robin Hood: A Film Score Guide (Scarecrow Press, 2007), has contributed to the forthcoming Cambridge Companion to Film Music (edited by Peter Franklin and Robynn Stilwell), and has published on film music in the Journal of the Royal Musical Association.

Faye Woods is a lecturer in the Department of Film, Theatre and Television at the University of Reading. She recently completed her PhD on popular music in teen film and television at the University of Warwick. She has presented work on a range of shows including Freaks and Geeks, The O.C. and One Tree Hill and has recently published 'Generation Gap? Mothers, Daughters, and Music' in the edited collection Gilmore Girls and the Politics of Identity (ed. Ritch Calvin). [End Page 106]



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