Kriss Ravetto is the author of The Unmaking of Fascist Aesthetics, and is finishing a book titled Mythopoetic: Cinema on the Margins of Europe. She has published in Camera Obscura, Representations, Screen, Journal of Modern Greek Studies,Third Text, Film Quarterly, PAJ, LEA and a number of other journals and collected volumes. She is the co-Film Series editor at Edinburgh University Press. She has taught at California Institute of the Arts, UCLA, University of Edinburgh and is now a Professor of Cinema and Technocultural Studies at UC Davis. Her research has developed in two related directions: One cluster has been in film studies and theory (focusing mostly on political, sexual, and ethnic violence), and the other in new media and digital art (dispersed techno-human encounters, image and embodied perception, theories of affect, and the technological unconscious).
Daniel Bernardi is Professor and Chair of the Cinema Department at San Francisco State University. Bernardi earned a Bachelor of Arts in Radio-TV (1984) and a Masters of Arts in Media Arts (1988) from the University of Arizona. He went on to earn a PhD in Film and Television Studies from UCLA (1994). His main academic interests are: cultural studies, critical race theory, early cinema, contemporary television and new media, all with an emphasis on whiteness as a historical formation of meanings. Bernardi has taught film, television and new media at UCLA (1999 and 2000), UC Riverside (1997–1998), the University of Arizona (1999–2004), Arizona State University (2004–2011), and SFSU (2011-Present).
Tarek Elhaik (Ph.D., UC Berkeley, 2007) is an anthropologist, moving-image curator, and an Assistant Professor of Cinema Studies at San Francisco State University. He is interested in articulations between so-called national-peripheral anthropological traditions, the historical avant-gardes, contemporary art worlds and moving-image culture. He is currently working on a manuscript titled Curatorial Work: Ensouling, Assembling, Installing. He curated several experimental film programs from Latin America and Middle East at the Pacific Film Archive, Ruhr Trienale, San Francisco Cinematheque, Tangiers Cinematheque, De Young Museum, Rice University, and the Museum of Fine Arts, Houston. He has published in several journals including Framework: The Journal of Cinema & Media, Roots-Routes: Studies in Visual Culture, and Revista de Antropologia Social.
Jennifer Hammett received M.A., J.D., and Ph.D. degrees from the University of California, Berkeley. She is an expert in film theory and aesthetics, with a focus on the notion of the sublime. Her research interests encompass feminist film theory and film history. Recent publications include the article “‘You Never Had a Camera Inside My Head’: The Masculine Subject of the Postmodern Sublime” in Criticism.
Aaron Kerner wrote his Ph.D. at Macquarie University in Sydney, Australia examining Julia Kristeva’s concepts of abjection and the ugly. His fields of expertise include Freudian and Lacanian psychoanalytic theory, aesthetics, and visual culture. He recently had published "The Alpha and the Omega: The Work of Katsuhige Nakahashi," in Camerawork, and Representing the Catastrophic, by Edwin Mellen Press. His exhibition “Katsushige Nakahashi: The Depth of Memory” was shown at SF Camerawork last year.
Jenny Lau received a doctorate in Cinema Studies from Northwestern University, specializing in Colonial and Chinese cinema. Her research has examined problems of national identity in light of colonialism, specifically her book Multiple Modernities: Cinemas and Popular Media in Transcultural East Asia. Other publications include chapters on contemporary urban globalism as well as issues of gender and genre in East Asian film. She was awarded the “Marquis Who’s Who of American Women” by Marquis Publications in 2006-2007 as well as the “Marquis Who’s Who in American” in 2004.
Bill Nichols earned his undergraduate degree from Duke University and his graduate degrees from UCLA. He is considered a foremost authority in numerous areas within Cinema Studies, including documentary and ethnographic film, film history and theory, and rhetoric and visual representation. Many of his numerous publications are standard texts in undergraduate and graduate cinema programs around the world, including Representing Reality: Issues and Concepts in Documentary (Indiana University Press, 1999) and Movies and Methods, Volumes I & II (Berkeley: University of California Press, 1976, 1985).
R.L. Rutsky studied English at the University of Florida (M.A.) and Film & Television Studies at UCLA (Ph.D.). If it is possible to specify his many research interests, they include film, media, and cultural theory; technology and new media issues; popular culture; and third world cinema. He co-edited Consumption in an Age of Information (Berg Publishing, 2005) and Film Analysis: A Norton Reader (Norton, 2005).