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  • Contributors to Issue 12:2

Geoff Brown was Chief Researcher on the AHRC-funded project British Silent Cinema and the Transition to Sound, 1927–1933, and is a Research Fellow at the Cinema and Television History Research Institute, De Montfort University. A classical music critic and former film critic for The Times, his film writings have appeared in The Historical Journal of Film, Radio and Television, Journal of British Cinema and Television, Film History, and numerous book collections including Destination London: German-speaking Émigrés and British Cinema, 1925–1950 (2008) and Ealing Revisited (2012).

Bryony Dixon is a curator with responsibility for the BFI National Archive's extensive silent film collection. She has researched and written on many aspects of early and silent film, as well as programming for a variety of specialist film festivals and events worldwide. Her book 100 Silent Films, in the BFI Screen Guides series, was published in 2011 and she contributes regularly to Sight & Sound's Primal Screen column. She is lead curator in the BFI National Archive's series of annual silent film restorations and is currently working on a book about Victorian film.

Maike Helmers trained as an Assistant Film Editor and Sound Editor with the Film Department of the British Broadcasting Corporation. While working at the BBC, she contributed to a number of award-winning documentaries, drama series, and features. After transferring from the broadcast sector to Higher Education, Maike became a Senior Lecturer at Bournemouth University, where she teaches editing and sound design to MA students. She is involved in an international academic network researching Entangled Media History. Maike's wider research interests include early sound film; cinema's role in defining national identity; the confluence of editing and sound in shaping filmic narrative.

John Izod is Emeritus Professor of Screen Analysis in Communications, Media and Culture at the University of Stirling, and also a shamanic practitioner. As principal investigator funded by an AHRC grant, he led a three-year project (2007–2010) on the cinema of Lindsay Anderson. He was a co-investigator on the AHRC-funded British Silent Cinema and the Transition to Sound (2014–2018). His books include: Reading the Screen, Hollywood and the Box Office, 1895–1986, The Films of Nicolas Roeg: Myth and Mind, An Introduction to Television Documentary (with Richard Kilborn), Myth, Mind and the Screen: Understanding the Heroes of our Time, Screen, Culture, Psyche: A Post-Jungian Approach to Working with the Audience, Lindsay Anderson: Cinema Authorship (with Karl Magee, Kathryn Hannan and Isabelle Gourdin-Sangouard), and Cinema as Therapy: Grief and Transformational Film (with Joanna Dovalis).

Sarah Neely is a Senior Lecturer at the University of Stirling. She was a co-investigator on the three-year AHRC-funded project British Silent Cinema and the Transition to Sound (2014–2018). She is currently co-investigator on The Major [End Page 269] Minor Cinema: Highlands and Islands Film Guild ( and is also leading a year-long project celebrating the centenary of the Scottish filmmaker and poet, Margaret Tait ( Her recent book, Between Categories: The Films of Margaret Tait, was published by Peter Lang in 2016.

Özge Özyılmaz is Assistant Professor at İstanbul Şehir University, Cinema and Television Department. She has written on film culture in the 1930s and transition to sound cinema in Turkey. She is currently researching music and sound in the silent era and in early talkies in Turkey.

Laraine Porter is Reader in Cinema History at De Montfort University in Leicester. She was Principal Investigator on the recent AHRC-funded project British Silent Cinema and the Transition to Sound (2014-2018) and has been a director of the British Silent Film Festival since 1998. She has published on music and silent cinema, women in silent cinema, cinema and the First World War, and British silent film comedy, and was the co-editor on The Routledge Companion to British Cinema History. She is currently writing a monograph looking at the British cinema industry between 1927 and 1933.


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