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date: 17 November 2019

(p. ix) Contributors

(p. ix) Contributors

Lee Berger



is currently the president of the film division of Los Angeles-based Rhythm & Hues Studios. Rhythm & Hues provides high-end computer-generated character animation and visual effects for Hollywood motion pictures and television commercials. His company won an Academy Award for best visual effects in the 2007 film, The Golden Compass.



Tom Bernard



is the copresident and cofounder of Sony Pictures Classics, an autonomous division of Sony Pictures Entertainment, currently celebrating its fifteenth anniversary. Sony Pictures Classics distributes, produces, and acquires independent films from the United States and around the world.



Jay David Bolter



is Wesley Chair of New Media and director of the Wesley New Media Center at the Georgia Institute of Technology. He is the author of Turing's Man: Western Culture in the Computer Age (1984); Writing Space: The Computer, Hypertext, and the History of Writing (1991, 2001); Remediation (with Richard Grusin, 1999); and Windows and Mirrors (with Diane Gromala, 2003).



Warren Buckland



is senior lecturer in film studies, Oxford Brookes University, and author of Directed by Steven Spielberg (2006); Film Studies (2nd ed., 2003); Studying Contemporary American Film (with Thomas Elsaesser, 2002); The Cognitive Semiotics of Film (2000); and editor of The Film Spectator (1995) and Complex Storytelling in Contemporary World Cinema (2008). He is also editor of the journal New Review of Film and Television Studies.



John T. Caldwell



is chair of film and television critical studies at UCLA. His books include Televisuality: Style, Crisis, and Authority in American Television (1995); Electronic Media and Technoculture (1995, editor); New Media: Theories and Practices of Digitextuality (2003, coeditor); and Production Culture: Industrial Reflexivity and Critical Practice in Film/Television (2008).



Evans Chan



(www.evanschan.com), New York-based critic and filmmaker, is originally from Hong Kong. Chan's filmography includes four narrative features: To Liv(e) (1991) , Crossings (1994) , Bauhinia (2002), and The Map of Sex and Love (2001)—and five documentaries, including Journey to Beijing (1998), Adeus Macau (p. x) (2000), and The Life and Times of Wu Zhong Xin (2003). His most recent documentary, Sorceress of the New Piano, was released on DVD by Mode Records in 2008 and his filming of Tan's performance of George Crumb's Makrokosmos I & II can also be found on DVD. Chan has edited and translated (into Chinese) two books by Susan Sontag.



Andrew Flibbert



is an assistant professor in the Department of Political Science at Trinity College in Hartford, Connecticut. He is the author of Commerce in Culture: States and Markets in the World Film Trade (2007).



David Golumbia



writes about and teaches cultural studies, digital media, and theories of language at the University of Virginia. He is author of The Cultural Logic of Computation (2009) from which his chapter is excerpted.



Frances Guerin



teaches in the Department of Film at the University of Kent. She is the author of A Culture of Light (2005) and a coeditor of The Image and the Witness (2007). She is currently completing a book on amateur film and photography from Nazi Germany, Through Amateur Eyes.



Richard Hollander



has been active in the effects industry for over twenty-five years, with work on such films as the China Syndrome; Star Trek; Blade Runner; Titanic; Harry Potter and the Sorcerer's Stone; The Lion, The Witch, and The Wardrobe; Superman Returns; and The Golden Compass. He cofounded VIFX, which later merged with Rhythm & Hues where he was president of the film division for eight years before joining PIXAR, Inc. as a producer. He has been awarded a Scientific and Technical Achievement Award from the Academy of Motion Picture Arts and Sciences and a CLIO for his work in computer-generated animation.



Peter Jaszi



teaches at the Washington College of Law of American University in Washington, D.C., where he also directs the Glushko-Samuelson Intellectual Property Law Clinic. He specializes in domestic and international copyright law. In 1994, he was a member of the Library of Congress Advisory Commission on Copyright Registration and Deposit. He is a trustee of the Copyright Society of the U.S.A. and a member of the editorial board of its journal. Since 1995 he has been active in the Digital Future Coalition, which he helped to organize. Alone and with Martha Woodmansee, he has written several articles on copyright history and theory; together they edited The Construction of Authorship (1994).



Mariana Johnson



is assistant professor of film studies at the University of North Carolina, Wilmington. She has published articles on French avant-garde and Latin American film and is currently working on a book about contemporary Cuban cinema.



(p. xi) Robert Kolker



is emeritus professor at the University of Maryland and lecturer in media studies at the University of Virginia. He is the author of many books, including A Cinema of Loneliness: Penn, Kubrick, Scorsese, Spielberg, and Altman (2000); The Altering Eye: Contemporary International Cinema (1983) (http://otal.umd.edu/~rkolker/AlteringEye); Film, Form, and Culture (2007); and Media Studies (2008).



Gina Marchetti



is on the faculty at the University of Hong Kong. She is author of Romance and the “Yellow Peril”: Race, Sex and Discursive Strategies in Hollywood Fiction (1994); and From Tian'anmen to Times Square: Transnational China and the Chinese Diaspora on Global Screens, 1989–1991 (2006).



Tara McPherson



teaches courses in new media and popular culture in the University of Southern California's School of Cinema–TV. She is author of Reconstructing Dixie: Race, Gender and Nostalgia in the Imagined South (2003) and a coeditor of the anthology Hop on Pop: The Politics and Pleasures of Popular Culture (2003). She has edited Digital Youth: Innovation and the Unexpected (2008) (for the MacArthur Foundation) and recently launched Vectors, a new multimedia peer-reviewed journal (http://www.vectorsjournal.org). She is a member of the Academic Advisory Board of the Academy of Television Arts and Sciences Archives.



Toby Miller



is professor of English, sociology, and women's studies, and director of the Program in Film and Visual Culture, at the University of California, Riverside. He is the author and editor of more than twenty books and has published essays in more than thirty journals and fifty volumes. His current research covers the success of Hollywood overseas, the links between culture and citizenship, and anti-Americanism.



Devin Orgeron



is an associate professor of film studies at North Carolina State University, where he has taught courses on cinematic realism and the documentary. He also collects, shows, and writes about home movies from the 1940s to the 1970s. He is the author of Road Movies: From Muybridge and Méliés to Lynch and Kiarostami (2008).



Marsha Orgeron



is an associate professor of film studies at North Carolina State University. Her research interests include the star system and movie fan culture through the studio era; Sam Fuller, Ida Lupino, and other independent filmmakers of the 1940s and 1950s; home movies and industrial and educational films; and the intersections between film and other art forms such as literature. She is the author of Hollywood Ambitions: Celebrity in the Movie Age (2008).



(p. xii) Manjunath Pendakur



is dean of the Dorothy F. Schmidt College of Arts & Letters, Florida Atlantic University. He worked in the Indian film industry prior to emigrating to Canada. His research interests are in the political economy of communication, ethnography, critical cultural theory, and third world cinema. He has done field research in the United States, Canada, Africa, and India. His current work focuses on globalization of the U.S. and Indian film industries and public policy. Pendakur's publications include Citizenship and Participation in the Information Age (edited with Roma Harris, 2002), and Indian Popular Cinema: Industry, Ideology, and Consciousness (2003).



Brian Price



is assistant professor of film studies at Oklahoma State University. He is also coeditor of Framework: The Journal of Film and Media Studies.



Jeannene M. Przyblyski



is an artist, historian, and associate professor in the School for Interdisciplinary Studies at the San Francisco Art Institute. She has published widely on art, photography, and urban visual culture. Most recently she coedited The Nineteenth-Century Visual Culture Reader (2004).



Joseph Christopher Schaub



is an associate professor in the Communication Arts Department at the College of Notre Dame of Maryland. He is currently writing a book on contemporary Japanese popular culture.



William Uricchio



is professor and director of comparative media studies at MIT and professor of comparative media history at Utrecht University in the Netherlands.



Cristina Venegas



is assistant professor in film and media studies at the University of California Santa Barbara. Her teaching and writing focus on Latin American media, Spanish-language media in the United States, international cinema, and cultural studies. Her essays have appeared in various journals and anthologies, including a monograph dealing with cyberculture in Cuba. She has curated numerous film programs on Latin American and indigenous film in the United States and Canada. She is cofounder and artistic director (since 2004) of the Latino CineMedia International Film Festival in Santa Barbara, which is now copresented with the Santa Barbara International Film Festival.



Paul Young



is director of film studies and assistant professor of English at Vanderbilt University. He is the author of The Cinema Dreams Its Rivals: Media Fantasy Films from Radio to the Internet (2006) and is currently writing Mobilizing Pictures: Realism, Transformation, Early American Cinema. His article, “Telling Descriptions: Frank Norris's Kinetoscopic Naturalism and the Future of the Novel, 1899,” appeared in Modernism and Modernity (2007).