About the Authors
- About the Authors
carolin overhoff Ferreira is a faculty member at the Department of Art History, at the Federal University of São Paulo. She has lectured at the Portuguese Catholic University, University of Coimbra, Berlin’s Free University, and the University for Applied Arts and Design in Hanover. Her authored books include Cinema Português—Aproximações à Sua História e Indisciplinaridade (2013), Identity and Difference—Postcoloniality and Transnationality in Lusophone Films (2012), Diálogos Africanos: um Continente no Cinema (2012), and Neue Tendenzen in der Dramaturgie Lateinamerikas (1999). She is the editor of O Cinema Português através dos Seus Filmes (2007 and 2014), Dekalog—On Manoel de Oliveira (2008), Terra em Transe - Ética e estética no cinema português (2012), Manoel de Oliveira—Novas Perspectivas sobre a Sua Obra (2013), and África—Um Continente no Cinema (2014). Her articles on film and drama have been published in Adaptation, Camera Obscura, Journal of African Cinemas, Transnational Cinemas, Latin American Theatre Review, Modern Drama, Rebeca, Studies in European Cinema, Tempo Brasileiro, Third Text, and Transnational Cinemas, among others.
robert kosovsky is the curator of rare books and manuscripts for the Music Division of the New York Public Library. He teaches music theory through the Extension Division of Mannes College the New School for Music.
dr. danijela kulezic-wilson teaches film music, film sound, and intermedia studies at University College Cork. Her research interests include approaches to film that emphasize its inherent musical properties, the use of musique concrète and silence in film, the musicality of sound design, and musical aspects of Beckett’s plays. She is the author of The Musicality of Narrative Film (Palgrave Macmillan) and has been published in journals such as Music and the Moving Image, Journal of Musicology, Film and Film Culture, The New Soundtrack, Music, Sound and the Moving Image, and Alphaville. She is coeditor of The Palgrave Handbook of Sound Design and Music: Integrated Soundtracks (forthcoming).
david larkin is a lecturer in music at the University of Sydney. After studies at University College Dublin and the University of Cambridge, he returned to Ireland to take up an IRCHSS [End Page 62] postdoctoral research fellowship. His research is primarily in the area of nineteenth-century German music, with particular focus on Franz Liszt, Richard Wagner, and Richard Strauss. He has published articles in 19th-Century Music, The Musical Quarterly, and The Cambridge Companion to Richard Strauss, and has written book chapters for several edited collections. He is currently working on an extended study of selected progressive composers in the nineteenth century, exploring how they conceived their relationship with the audience. Larkin has been commissioned to write Experiencing Wagner: A Listener’s Companion for the series published by Scarecrow Press. He regularly gives preconcert talks at the Sydney Opera House and reviews classical concerts and opera performances for the online classical-music database Bachtrack.
katherine reed is a lecturer in humanities at Utah Valley University. She is a recent graduate of the University of Florida, where she earned a PhD in musicology and served as humanities teaching fellow. She is also an active performer and trombone instructor, holding an M.M. in trombone performance from the University of Missouri—Kansas City. Dr. Reed has presented her research at musicology, cinema studies, and popular music conferences in North America and Europe. Her research interests include film music, intersections of music and politics, and British popular music. Her dissertation, “Musical Appropriation and Cultural Memory in Contemporary American Cinema,” addresses reuse and memory in the films of David Lynch, Terrence Malick, and Todd Haynes.
warren m. sherk is the manager of special collections at the Academy of Motion Picture Arts and Sciences’ Margaret Herrick Library in Beverly Hills, California. His previous roles in the department include database archivist and music specialist. He is the author of Film and Television Music: A Guide to Books, Articles, and Composer Interviews, published by Scarecrow Press in 2010. Trained as a composer, he worked extensively as an orchestration proofreader in the field of music preparation for film and has provided orchestrations for films from Dragonheart: A New Beginning to Like Mike. He serves on the boards of the Film...
