Contributors
- Contributors
Michael Chanan is a documentary filmmaker and Professor of Film and Video at Roehampton University, London. His most recent book is The Politics of Documentary (British Film Institute, 2007), and his most recent film is The American Who Electrified Russia (2009).
Ahmet Gürata teaches Film History and Theory in the Department of Communication and Design, Bilkent University. He has published articles on Turkish cinema and cross-cultural reception, and his research focuses on film history, reception, and world cinema.
Fatih Özgüven teaches in the Department of Film and Television at Bilgi University in Istanbul. He has translated Milan Kundera, Vladimir Nabokov, Henry James, Thomas Mann, Virginia Woolf, and others into Turkish. Since 1982, he has written film criticism for Turkish newspapers. Özgüven recently published three collections of short stories: Something Happens (2006), I Never Meant To (2007), and Stories of Those Who Always Wanted to Write (2010).
Louise Spence teaches Cinema Studies at Kadir Has University, Istanbul, and is the author of Watching Daytime Soap Operas: The Power of Pleasure (Wesleyan University Press, 2005) and coauthor of Writing Himself into History: Oscar Micheaux, His Silent Films, and His Audiences (Rutgers University Press, 2000). Spence has just completed a textbook coauthored with Vinicius Navarro on documentary aesthetics, Crafting Truth: Documentary Form and Meaning (Rutgers University Press).
Ravi Vasudevan works at the Centre for the Study of Developing Societies, Delhi. He is on the editorial advisory board of Screen and has edited Making Meaning in Indian Cinema (Oxford University Press, 2000). Vasudevan is one of the founding editors of the journal BioScope: South Asian Screen Studies, and author of The Melodramatic Public: Film Form and Spectatorship in Indian Cinema (Permanent Black and Palgrave Macmillan, 2010).
Valentina Vitali teaches Film History and Theory at the University of East London. She is the author of Hindi Action Cinema: Industries, Narratives, Bodies (Oxford University Press, 2008; Indiana University Press, 2010) and the coeditor, with Paul Willemen, of Theorising National Cinema (British Film Institute, 2006).
Esther C. M. Yau teaches Cinema Studies in the Department of Comparative Literature at the University of Hong Kong. She is the editor of At Full Speed: Hong Kong Cinema in a Borderless World (University of Minnesota Press, 2001) and coeditor of "Asia/Pacific: A Spectral Surface," a 2001 special issue of positions: east asia cultures critique. She has recently published in Chinese Connections: Critical Perspectives on Film, Identity, and Diaspora (2009). [End Page 166]
