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  • Notes on Contributors

Olivier Barlet
Olivier Barlet is a member of the Syndicat Français de la Critique de Cinéma, a delegate for Africa at the Cannes Festival Critics Week, and a film correspondent for Africultures, Continental, and Afriscope. He runs the Images plurielles collection on cinema for L’Harmattan publishing house. His book Les Cinémas d’Afrique noire: le regard en question has been translated into English as African Cinemas: Decolonizing the Gaze (Zed Books, 2000), as well as into German and Italian. From 1997 to 2004, Barlet was chief editor of Africultures, an African cultural journal that features a paper edition and a website (www.africultures.com). He has also published articles in numerous journals and is a member of the African Federation of Film Critics (www.africine.org).

Emmanuelle Cherel
Emmanuelle Cherel analyzes the political dimensions of art, using her background studies in geography, sociology, anthropology, and art history. She teaches art history at the Ecole Supérieure des Beaux-Arts in Nantes and has written numerous articles, including “‘X and Y v. France: The Case for a Legal Precedent,’ a Proposal of Olive Martin and Patrick Bernier,” in Multitudes (2014); “Defacing the Figure: Latifa Laâbissi,” in the Journal des Laboratoires d’Aubervilliers (2014), coauthored with Elisabeth Pasquier; and “Fiction and Real,” in Lieux communs 16 (2013). Her book The Memorial of the Abolition of Slavery in Nantes—Issues and Controversies (2012) provides an overview and analysis of the genealogy of the memorial project. She is currently working on a new book entitled What about the Postcolonial in the Field of Art in France?

Amy Corbin
Amy Corbin is an assistant professor of film studies and media and communication at Muhlenberg College, where she teaches courses in film history, genre, and American film. She holds a PhD from the University of California, Berkeley, and writes on race and cultural geography in American film. Her current book project, Traveling Spectators: Cinema, Geography, and Cultural Difference in America, theorizes the geographical relations that are inherent in film spectatorship and the way these relationships reveal racial and cultural hierarchies—grounded in a case study of the post-sixties era and its images of [End Page 237] Indian Country, the South, the inner city, and the suburbs. She has published on the representation of southern white heroines as multicultural models in 1980s film and on locations as identities in Native American writer-director Sherman Alexie’s film The Business of Fancydancing (2002).

Jeanne Garane
Jeanne Garane is a professor of French and comparative literature in the Department of Languages, Literatures, and Cultures at the University of South Carolina. She teaches courses on francophone literature and film, post-colonial theory, translation, and comparative literary studies. She translated Franco-Djiboutian author Abdourahman Waberi’s Pays sans ombre / The Shadowless Land (University of Virginia Press, 2005), and spearheaded the new edition of Senegalese woman writer Ken Bugul’s Abandoned Baobab (University of Virginia Press, 2008). She has published articles, introductions, and interviews on francophone literature and film as well as an edited volume, Discursive Geographies: Writing Space in French/Géographies Discursives: L’écriture de l’espace en français (Rodopi, 2006), and a coedited volume with James Day, Translation in/and French and Francophone Literature and Film (Rodopi, 2009). She is currently completing a book on francophone literatures and translation, as well as a full-length literary translation entitled Leopard Boy, under contract with the University of Virginia Press.

Tsitsi Jaji
Tsitsi Jaji is an assistant professor of English at the University of Pennsylvania, where her research focuses on transnational exchanges in African, African American, and Caribbean literatures, and on relationships between music and literature. Her first book, Africa in Stereo: Modernism, Music and Pan-African Solidarity (Oxford University Press, 2014), examines the impact of African American popular music on literature and film from Ghana, Senegal, and South Africa. She has received fellowships from the Radcliffe Institute for Advanced Study, the Mellon Foundation, and the Penn Women’s Trustees Council, among others.

Delphine Letort
Delphine Letort is an associate professor in the English Department at the Université du Maine (France), where she teaches American civilization and film studies. Her...

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