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  • Contributors

Mark Lynn Anderson is an associate professor of film studies in the Department of English at the University of Pittsburgh. Anderson has previously published essays on film historiography, the star system, censorship, and early film education, and he is the author of Twilight of the Idols: Hollywood and the Human Sciences in 1920s America (2011).

Kaveh Askari is an associate professor in the English Department at Western Washington University. He has published articles on the magic lantern, early cinema and art education, and early 16mm color. In 2008, he edited a special issue of Early Popular Visual Culture on the Middle East and North Africa. He is currently at work on his book Making Movies into Art: Picture Craft from the Magic Lantern to Early Hollywood (BFI, forthcoming).

Hilde D’haeyere is a photographer and film historian. Her work focuses on visual aspects of silent cinema with a specific interest in the connections between film technology, special-effects photography, natural color processes, and comedy. She works as postdoctoral researcher at the School of Arts, University College Ghent in Belgium. Correspondence to: hilde.dhaeyere@hogent.be.

Eric Hoyt is an assistant professor of media and cultural studies in the Department of Communication Arts at the University of Wisconsin-Madison. He is the author of Hollywood Vault: Film Libraries before Home Video (University of California Press, 2014) and codirector of the Media History Digital Library (http://mediahistoryproject.org). He designed, developed, and produced the MHDL’s search and visualization platform, Lantern (http://lantern.mediahist.org), which received the 2014 Anne Friedberg Innovative Scholarship Award from the Society for Cinema and Media Studies. His new book project, Trade Press Wars: An Archival and Algorithmic History, combines archival research and computational analysis to examine how the trade press functioned within the entertainment industry ecosystem.

Brian R. Jacobson is lecturer in film studies at the University of St. Andrews. In 2013, he was awarded the SCMS Dissertation Award. He is currently completing a [End Page 169] book about the origins of film studio architecture and the emergence of cinematic space.

Charlie Keil is director of the Cinema Studies Institute and professor in the History Department at the University of Toronto. He has published extensively on the topic of early cinema, especially the pivotal transitional era of the early 1910s, in such books as Early American Cinema in Transition (2001), American Cinema’s Transitional Era (coedited with Shelley Stamp, 2004), and American Cinema of the 1910s (coedited with Ben Singer, 2009). He is currently editing an anthology on D. W. Griffith for Wiley-Blackwell and completing research on a history of the origins of Hollywood.

Rob King is an associate professor at Columbia University’s Film Program, where he is currently working on a history of short-subject slapstick during the early sound era. He is the author of The Fun Factory: The Keystone Film Company and the Emergence of Mass Culture (2009) and coeditor of the volumes Early Cinema and the “National” (2008), Slapstick Comedy (2011), and Beyond the Screen: Institutions, Networks, and Publics of Early Cinema (2012). [End Page 170]

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Additional Information

ISSN
1553-3905
Print ISSN
0892-2160
Pages
pp. 169-170
Launched on MUSE
2014-07-05
Open Access
No
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