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

  • Contributors

Sandra Gibson and Luis Recoder. Collaborators for more than a decade, Sandra Gibson and Luis Recoder unite the rich traditions of the experimental film, particularly its structuralist and materialist strands, and the multimodal sensibility of expanded cinema that emerged in the 1960s in which the moving image was woven into the labile space of performance, sound, and audience interaction. Their larger body of work explores this interstice between avant-garde film practice and the incorporation of moving images and time-based media into the museum and art gallery. In 2012 Gibson and Recoder were Artists in Focus at the Courtisan Festival in Ghent, Belgium. From March 1 to April 7, 2013, the Madison Square Park Conservancy in New York exhibited their first public art commission, Topsy-Turvy: A Camera Obscura Installation. Gibson and Recoder live and work in New York.

Elena Gorfinkel is an assistant professor in art history and film studies at the University of Wisconsin–Milwaukee. Her writing on filmic corporeality, cinephilia, and marginal cinemas has appeared in Camera Obscura, Framework, Cineaste, World Picture, LOLA, and a number of edited collections, including Cinephilia: Movies, Love and Memory, and A Companion to Rainer Werner Fassbinder. She has edited, with John David Rhodes, Taking Place: Location and the Moving Image. Gorfinkel is at work on a book on 1960s sexploitation cinema.

Tung-Hui Hu is an assistant professor of English at the University of Michigan, where he co-organizes the Digital Environments Cluster. [End Page 357] Currently he is completing a book titled Cloud: A Pre-History of the Network.

Sandra So Hee Chi Kim is a PhD candidate in the Department of Comparative Literature at the University of Southern California. Her research interests include war and memory, trauma and identity, diaspora and phenomenology, the transnational circulation of postmemory, Korean literature and culture, and Asian American literature and culture. She has articles published and forthcoming in Diaspora: A Journal of Transnational Studies and positions: asia critique.

Rob King is an associate professor in Columbia University’s Film Program, where he is currently working on a study of early sound slapstick and Depression-era mass culture. He is the author of The Fun Factory: The Keystone Film Company and the Emergence of Mass Culture (University of California Press, 2009) and the coeditor of the volumes Early Cinema and the “National” (John Libbey, 2008), Slapstick Comedy (Routledge, 2011), and Beyond the Screen: Institutions, Networks and Publics of Early Cinema (John Libbey, 2012).

Annie Manion is a PhD candidate in the department of critical studies, School of Cinematic Arts at the University of Southern California (USC). She holds a master’s degree in East Asian studies, also from USC. Recently she spent a year in Tokyo as a Fulbright scholar doing archival research at Waseda University and is currently writing her dissertation on the history of Japanese animation in the period 1917–45.

Hilary Neroni is an associate professor of film and television studies at the University of Vermont. She has published essays on women directors, including Jane Campion, Claire Denis, and Agnès Varda, and on issues surrounding gender and violence in the cinema in her monograph The Violent Woman: Femininity, Narrative, and Violence in Contemporary American Cinema (SUNY Press, 2005) as well as in other essays.

Joshua Neves is an assistant professor of modern culture and media at Brown University. His research centers on comparative/global media, cultural theory, and media urbanism. His current book project explores the role of media technologies in shaping urbanism, development, and political society in Olympic-era China. [End Page 358]

Spyros Papapetros is an associate professor of theory and historiography at the School of Architecture and a member of the program in media and modernity at Princeton University. He studies the intersections between art, architecture, historiography, psychoanalysis, and the history of psychological aesthetics. He is the author of On the Animation of the Inorganic: Art, Architecture, and the Extension of Life (University of Chicago Press, 2012) and the editor of Space as Membrane by Siegfried Ebeling (Architectural Association, 2010).

Rebecca A. Sheehan is an assistant professor of radio, television, and film at California State University–Fullerton. She has work published or forthcoming on topics...

pdf

Additional Information

ISSN
1536-1810
Print ISSN
1522-5321
Pages
pp. 357-359
Launched on MUSE
2013-10-02
Open Access
No
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.