Contributors
- Contributors
Marsha Gordon is associate professor of film studies at North Carolina State University. She is the author of Hollywood Ambitions: Celebrity in the Movie Age (Wesleyan University Press, 2008) and the coeditor of Learning with the Lights Off: Educational Film in the United States with Devin Orgeron and Dan Streible (Oxford University Press, 2012). She has published more than a dozen articles in books and journals such as Film Quarterly, The Moving Image, Cinema Journal, and Quarterly Review of Film & Video. She is currently at work on a book about director Sam Fuller’s war films, as well as articles about diary records of moviegoing in Cleveland, Ohio, during the studio era and about Felicia, a short documentary depicting a young girl growing up in Watts during the 1960s.
Alison Griffiths is professor of film and media at Baruch College, The City University of New York, and at the CUNY Graduate Center. She is the author of the award-winning Wondrous Difference: Cinema, Anthropology, and Turn-of-the-Century Visual Culture (Columbia, 2002), Shivers Down Your Spine: Cinema, Museums, and the Immersive View (Columbia, 2008), and a large number of essays on nineteenth-century visual culture, museums, and intersections across cinema and medieval visual studies. She is working on a book entitled Screens Behind Bars: Cinema, Prisons, and the Making of Modern America (Columbia).
Peter Lester is an assistant professor in the Department of Communication, Popular Culture, and Film at Brock University. He has a particular interest in the history of 16mm film in Canada and has published a number of articles and book chapters on the history of the Canadian film industry.
Scott MacDonald is author of the series A Critical Cinema: Interviews with Independent Filmmakers, now in five volumes from University of California Press, and eight other books, including Avant-Garde Film: Motion Studies (Cambridge), The Garden in the Machine: A Field Guide to Independent Films about Place (California), and, most recently, Adventures of Perception: Cinema as Exploration (California, 2009) and American Ethnographic Film and Personal Documentary: The Cambridge Turn (California, 2013). He has curated screenings at the Museum of Modern Art in New York, the Harvard Film Archive, the Pacific Film Archive, the [End Page 174] San Francisco Museum of Modern Art, and many other venues. He was named a Film Preservation Honoree by Anthology Film Archives in 1999 and an Academy Scholar by the Academy of Motion Picture Arts and Sciences in 2012. He teaches film history at Hamilton College.
Jennifer Porst is a PhD Candidate in cinema and media studies at the University of California, Los Angeles. Her work has appeared in Studies in French Cinema, In Media Res, and Mediascape, and her dissertation focuses on the struggle over the licensing and sale of Hollywood’s feature films to television before 1955.
Rosaleen Smyth (BA, Sydney; MA, School of Oriental and African Studies, London; PhD, London) is currently working for the ACU (Australian Catholic University) Refugee Program on the Thai-Burma border. She has previously lectured at universities in Australia, Tanzania, Dubai, Zambia, Fiji, Taiwan, and Papua New Guinea and is a past member of the editorial board of the Historical Journal of Film, Radio, and Television. She is acknowledged as a pioneering scholar in the field of colonial cinema, having published in the area in the Historical Journal of Film, Radio, and Television, African Affairs, Journal of African History, Journal of Imperial and Commonwealth History, Social Policy, and, most recently, in Lee Grieveson and Colin MacCabe, eds., Film and the End of Empire (Palgrave Macmillan, 2011).
Gregory A. Waller is the editor of Film History and a professor of film and media studies at Indiana University. His recent publications have focused on the history of 16mm and nontheatrical cinema, particularly in the rural United States. He is currently completing a manuscript entitled “Nontheatrical Cinema in 1915: Sites, Sponsors, and Circulation.” [End Page 175]
