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Contributors DANIEL BERNARDI is director of film and media studies at Arizona State University. He is the author of Star Trek and History: Race-ing Toward a White Future (1998) and the editor of The Birth of Whiteness: Race and the Emergence of U.S. Cinema (1996), Classic Hollywood, Classic Whiteness (2001),and The Persistence of Whiteness: Race and Contemporary Hollywood Cinema (2008). CHRISTOPHER BRADLEY started out as a professional actor, moving between New York, Los Angeles, and Europe doing stage, television, and films. He was then accepted into the master’s program in screenwriting at ucla, where he won several awards, including the Alfred P. Sloan Fellowship in Screenwriting. In addition to his acting and writing, he has taught screenwriting for ucla’s online Professional Program and is currently teaching screenwriting as well as producing and managing distance learning courses for the College of Liberal Arts at Arizona State University. JOHN THORNTON CALDWELL is professor and chair, Department of Cinema and Media Studies at ucla. A scholar and filmmaker (M.F.A., Cal Arts; Ph.D., Northwestern University), Caldwell has authored and edited several books, including Televisuality: Style, Crisis and Authority in American Television (1995), Electronic Media and Technoculture (2000), New Media: Digitextual Theories and Practices (2003), and Production Culture: Industrial Reflexivity and Critical Practice in Film and Television (2008). His critical and theoretical writings have been featured in Television and New Media, Cinema Journal, Genre, Quarterly Review of Film and Video, Emergences: Journal of Media and Composite Cultures, Medie Kultur, Film Quarterly, Aura, and the Los Angeles Times. In addition, he has contributed chapters to numerous books, including Television after tv; Mediaspace; The New Media Book; Issues in Contemporary Television; Film Theory: An Anthology; Television: The Critical View; Living Color: Race, Feminism, and Media; and American Television: History and Theory . Caldwell is the recipient of awards from the NEA (1979, 1985), Regional Fellowships from the afi/nea (1985, 1988), and awards from state arts councils (1984, 1985, 1989). His films have been screened in museums and fesT4989 .indb 357 T4989.indb 357 2/27/09 6:58:15 AM 2/27/09 6:58:15 AM 358 filming difference tivals in Amsterdam, Sundance, Paris, Berlin, Toulouse, Mexico City, Taipei, San Francisco, New York, Palm Springs, Santa Cruz, Hawaii, and Chicago and have been broadcast on sbs-tv Network/Australia, wttw-Chicago, wgbhBoston , WNED-Buffalo, and weiu-tv-Illinois. He is the producer-director of the award-winning documentaries Freak Street to Goa: Immigrants on the Rajpath (1989), a film about the migratory pattern of hippies in India and Nepal , and Rancho California (por favor) (2002), a troubling look at the migrant camps that house indigenous Mixteco workers in the arroyos of Southern California’s most affluent suburbs. DANIEL S. CUTRARA entered the Jesuit Order in 1981 with a B.A. in political science from the University of Florida. He was ordained in the Roman Catholic priesthood after extensive studies, including graduate studies at the Jesuit School of Theology at Berkeley, California. After working in a leprosy hospital in India and an inner-city parish in the United States, he turned to storytelling as a way to make sense of the social suffering he witnessed. He received his M.F.A. in film production and writing at the University of Southern California . After completing the degree, he worked as a story analyst for Imagine Entertainment and New Regency Productions while teaching screenwriting at Loyola Marymount University. In 2000, he left the priesthood to pursue his writing aspirations. He is currently assistant professor in film and media studies at Arizona State University. His latest screenplay, Kali Danced, is in development with Cape Cod Productions. CHIARA FERRARI is assistant professor of communication criticism in the Department of Communication Design at California State University, Chico. She is currently co-editing a volume on contemporary Italian media in the era of globalization. Her work examines the negotiations between the local and the global in the international import and export of television programs. In particular, she focuses on dubbing, analyzing how audiovisual translations allow national elements to be introduced within globally distributed programs. KATHRYN F. GALÁN is the executive director of the National Association of Latino Independent Producers (nalip), a nine-year-old professional arts organization committed to supporting Latino/a film, television, and documentary makers, and to increasing the quality and quantity of images by and about Latinos. nalip’s national signature programs include the Latino Writers Lab, Latino Producers...


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