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299 CONTRIBUTORS REBECCA BELL-METEREAU, professor of film at Texas State University, directs the Media Studies Minor Program there and is the author of Hollywood Androgyny and Simone Weil and essays in Cinema and Modernity; American Cinema of the 1950s; Film and Television after 9/11; Bad: Infamy, Darkness, Evil, and Slime on Screen; The Family in America; Ladies and Gentlemen, Boys and Girls; Writing With; Cultural Conflicts in 20th Century Literature; Technological Imperatives; Women Worldwalkers; College English; Quarterly Review of Film and Video; Journal of Popular Film & Television ; and Cinema Journal. CHARLES RAMÍREZ BERG is University Distinguished Teaching Professor in the Department of Radio-Television-Film at the University of Texas at Austin. He is the author of Latino Images in Film; Cinema of Solitude: A Critical Study of Mexican Film; and Posters from the Golden Age of Mexican Cinema. His articles have appeared in journals such as CineAction, Film Criticism, Aztlan, The Howard Journal of Communications, and Jump Cut. He has published numerous book chapters and encyclopedia entries on film history, theory, and criticism, and provided onscreen commentary for The Bronze Screen, Twin Peaks: The First Season, and audio commentary (with Thomas Schatz) for the DVD of Hitchcock’s Spellbound. MATTHEW H. BERNSTEIN teaches at Emory University, where he currently chairs the Department of Film Studies. His publications include Screening a Lynching: Leo Frank on Film and TV; Walter Wanger, Hollywood Independent; and edited collections on Hollywood censorship, John Ford sound westerns, and Michael Moore. DENNIS BINGHAM teaches English and film studies in the Indiana University School of Liberal Arts at Indiana University Purdue University Indianapolis. He is the author of Whose Lives Are They Anyway? The Biopic as Contemporary Film Genre and numerous writings on stardom, acting, genre, and gender in cinema. TOM CONLEY is Lowell Professor of Romance Languages and Visual and Environmental Studies at Harvard University, author of Cartographic Cinema, and translator of Christian Jacob’s The Sovereign Map and Marc Augé’s Casablanca: 300 CONTRIBUTORS Movies and Memory. He has completed An Errant Eye and a forthcoming new edition of The Self-Made Map: Cartographic Writing in Early Modern France. CHRISTINE CORNEA is a lecturer with the School of Film and Television at the University of East Anglia. She has published extensively on science fiction in film and television, including her book Science Fiction Cinema: Between Fantasy and Reality. She has also published on screen performance and theory, including her most recent, edited book, Genre and Performance: Film and Television. At present , she is working on Post-Apocalypse on the Small Screen. COREY K. CREEKMUR is associate professor of English and Film Studies at the University of Iowa, where he also directs the Institute for Cinema and Culture. His publications and research focus on popular Hindi cinema, film genres, film music, comics, and representations of race, gender, and sexuality in popular culture . He is the co-editor of Out in Culture: Gay, Lesbian, and Queer Essays on Popular Culture, Cinema, Law, and the State in Asia and The International Film Musical, and the author of forthcoming studies of gender and sexuality in the western and of the neglect of Indian cinema by film studies. VICTORIA DUCKETT is a lecturer in film and the arts in the Centre for Ideas, Victorian College of the Arts and Music, University of Melbourne. In 2006 she curated the film series “Performing Passions: Sarah Bernhardt and the Silent Screen” for the Cinema Ritrovato Festival (Bologna). She has recently published in Senses of Cinema and contributed to the anthologies Reclaiming the Archive: Feminism and Film History and Méliès’ Trip to the Moon: Fantastic Voyages of the Cinematic Imagination. An early participant in the Women and the Silent Screen conference (Utrecht, 1999), she is currently completing a book on Sarah Bernhardt and silent film as well as editing an issue on gender and early film for the journal Nineteenth Century Theatre and Film. BILL KROHN has been the Los Angeles correspondent for Cahiers du cinéma since 1978. He co-wrote, co-directed, and co-produced It’s All True: Based on an Unfinished Film by Orson Welles. His books include Hitchcock at Work; Luis Buñuel: Chimera; the French monographs Stanley Kubrick and Alfred Hitchcock (published in English in 2010); and Serial Killer Dreams, forthcoming in 2011. Besides publishing regularly in the Cahiers, he writes for Cineaste, Cinema Scope and Trafic, and reviews films for The Economist. DOUGLAS MCFARLAND is professor of Liberal Arts...

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