Biographies

**Melis Behlil** is a Ph.D. candidate at ASCA, University of Amsterdam and teaches Film Studies at Istanbul Bilgi University. She contributes to local radio and TV shows, as well as several publications. Her PhD research focuses on Hollywood's foreign directors in the last few decades. Her other areas of interest are film industries, musicals and online communities.

**Marijke de Valck** is a Ph.D. candidate at the Department of Media Studies, University of Amsterdam. She was co-organizer of the second graduate conference on cinephilia, *Cinephilia Take-Two: Re-mastering, Re-purposing, Re-framing*, held in Amsterdam in 2003. Her dissertation is a functional-historical analysis of the international film festival circuit that focuses on major European festivals. It includes case studies on Berlin, Cannes, Rotterdam and Venice.

**Thomas Elsaesser** is Professor in the Department of Media Studies and Director of Research Film and Television at the University of Amsterdam. Widely published and translated into some fifteen languages, his writings include essays on film history and historiography, Early Cinema, European Cinema and Hollywood, digital media, cultural memory and installation art. Among his books as author are: *Fassbinder's Germany: History, Identity, Subject* (1996), *Weimar Cinema and After* (2000), *Metropolis* (2000), *Studying Contemporary American Film* (2002, with Warren Buckland) and *Filmgeschichte und Frühes Kino* (2002). His most recent books as (co-) editor include *Cinema Futures: Cain, Abel or Cable?* (1998), *The BFI Companion to German Cinema* (1999), *The Last Great American Picture Show: Hollywood Films in the 1970s* (2004) and *Harun Farocki: Working on the Sightlines* (2004).

**Elena Gorfinkel** is a Ph.D. candidate in the Department of Cinema Studies at New York University. Her dissertation concerns American sexploitation films of the 1960s. Previous publications include articles in *Underground USA: Filmmaking Beyond the Hollywood Canon* (Wallflower, 2002), and in *Unruly Pleasures: The Cult Film and its Critics* (FAB, 2000.)

**Malte Hagener** teaches film in the Department of Media Studies at Friedrich-Schiller-Universität Jena. His interests include European avant-garde of the interwar period, popular cinema of the 1930s and German film history. (Co-)editor of *Als die Filme singen lernten: Innovation und Tradition im Musikfilm 1928-38*
(edition text + kritik 1999), *Geschlecht in Fesseln. Sexualität zwischen Aufklärung und Ausbeutung im Weimarer Kino* (edition text + kritik 2000), *Film: An International Bibliography* (Metzler 2002), *Die Spur durch den Spiegel. Der Film in der Kultur der Moderne* (Bertz 2004).

**Vinzenz Hediger** is Professor of Film and Media Studies at the Ruhr University, Bochum, Germany. His publications include a book on movie trailers, *Verführung zum Film. Der amerikanische Kinotrailer seit 1912* (Marburg: Schüren 2001; forthcoming in English as *Nostalgia for the Coming Attraction. American Movie Trailers and the Culture of Film Consumption*).

**Lucas Hilderbrand** is a Ph.D. candidate in cinema studies at New York University. His dissertation focuses on videotape bootlegging, U.S. fair use copyright codes, and home video aesthetics. His writings have appeared in *Camera Obscura* and *Film Quarterly*, and he has been a programmer for MIX: The New York Lesbian & Gay Experimental Film/Video Festival.

**Charles Leary** is a Ph.D. candidate in Cinema Studies at New York University. His dissertation focuses on the work of John Cassavetes and he has written on Hong Kong cinema for various publications.

**Jenna Pei-Suin Ng** graduated in law from the National University of Singapore and spent two years in private practice. She is currently a first-year PhD candidate in Film Studies at University College London, researching digital cinema. Her MA thesis, "Virtual Cinematography and the Digital Real", won third place in the 2004 SCMS Student Writing Awards and will be published in a forthcoming anthology, *The State of the Real: Essays on Aesthetics* (Damian Sutton, Ray MacKenzie, Sue Brind (eds.), I.B. Tauris, 2005).

**Drehli Robnik** teaches film studies at the University of Vienna and Masarykova univerzita Brno (focus: blockbuster culture; mass-market cinema's relation to history and memory). Other part-time occupations: film critic, disk-jockey, educator. Recent publications: 'Allegories of Post-Fordism in 1970s New Hollywood' in: Th. Elsaesser, A. Horwath, N. King (eds.): *The Last Great American Picture Show. New Hollywood Cinema in the 1970s*. Amsterdam University Press 2004; "Leben als Loch im Medium: Die Vermittlung des Films durch Siegfried Kracauer", kolik.film 2, 2004; "Ausrinnen als Einuebung: Splatterfilm als Perspektive auf flexibilisierte medienkulturelle Subjektivitaet", www.nachdemfilm.de; "Verschiebungen an der Ostfront: Bilder des Vernichtungskrieges der Wehrmacht in bundesdeutschen Spielfilmen", *Zeitgeschichte* 3, 31, 2004. Robnik lives in Vienna-Erdberg.
**Jan Simons** is Associate Professor in New Media at the Department of Media Studies at the University of Amsterdam. He was editor-in-chief of the Dutch film magazine *Skrien* and film critic for some of the country's leading news papers and weekly magazines. He is the author of *Playing the Waves: Lars von Trier's Games from Dogme to Dogville* (Amsterdam: Amsterdam University Press, forthcoming).

**Sutanya Singkhra** (Bow) graduated with a B.A. degree in English and Comparative Literature from Chulalongkorn University, in 2002. She worked as a freelance screenwriter for a few Thai films, a columnist for local movie magazines, and a subtitle translator for a local television cable network before joining the M.A. Film Studies Programme at the University of Amsterdam. After completing her thesis she wishes to pursue a career as a writer, in both fictional and academic worlds.

**Wanda Strauven** is Assistant Professor in Film Studies at the University of Amsterdam. She co-edited *Homo orthopedicus: le corps et ses prothèses à l'époque (post) moderniste* (Paris: L'Harmattan, 2001), and published on early and avant-garde cinema in various international editions and journals (CiNéMAS, Cinéma & Cie and *Narrativa*). Her monograph *Marinetti e il cinema: tra attrazione e sperimentazione* is forthcoming (Udine: Campanotto).

**Gerwin van der Pol** is a film lecturer at the Department of Media Studies at the University of Amsterdam. He specializes in film analysis, genre and sound, and is currently writing his dissertation on the 'auteur' film and spectators' emotions. His articles have appeared in the Dutch film magazine *Skrien*.

**Federico Windhausen** is completing a dissertation on the work of Hollis Frampton, Paul Sharits, and Ken Jacobs in the 1970s, at New York University's Department of Cinema Studies. He has published essays in *October*, *The Hitchcock Annual*, and *Cabinet*.
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