Contributors
- Contributors
Jaimie Baron is associate professor of film studies at the University of Alberta. She is the author of The Archive Effect: Found Footage and the Audiovisual Experience of History (2013). She is also director of the Festival of (In)appropriation and coeditor of Docalogue.
Antoine Damiens is a Fonds de Recherche du Québec, Société et Culture Postdoctoral Fellow at McGill University. His first monograph, LGBTQ Film Festivals: Curating Queerness, is forthcoming from Amsterdam University Press in 2020.
Tessa Dwyer is lecturer in film and screen studies at Monash University, Melbourne. She is the author of Speaking in Subtitles: Revaluing Screen Translation (2017), coeditor of Seeing into Screens: Eye Tracking the Moving Image (2018), and committee president of the journal Senses of Cinema.
Jennifer O'Meara is assistant professor in film studies at Trinity College Dublin. She has published on a range of film and media topics, including the monograph Engaging Dialogue: Cinematic Verbalism in American Independent Cinema (2018). She is currently completing a book on women's voices in the digital era.
Nicholas O'Riordan is a PhD candidate in film studies at University College Cork, where he is a member of the editorial board of Alphaville: Journal of Film and Screen Media. His research primarily focuses on Irish film, Irish identity on-screen, and accent performance and styling in film. He also works as a filmmaker.
Pooja Rangan is associate professor of English and film and media studies at Amherst College. Her book Immediations: The Humanitarian Impulse in Documentary (2017) won the American Comparative Literature Association's 2019 Harry Levin Prize for Outstanding First Book. Rangan's current project, Audibilities, examines documentary listening and auditory regimes.
Elena Razlogova is associate professor of history at Concordia University in Montréal. She is the author of The Listener's Voice: Early Radio and the American Public (University of Pennsylvania Press, 2011). She is currently working on a history of simultaneous film translation and transnational networks at Soviet film festivals. [End Page 189]
