application/pdf
2036-461X
16227
31
en
https://creativecommons.org/licenses/by/4.0
Cinéma & Cie. Film and Media Studies Journal
Biographies
Text.Serial.Journal
https://riviste.unimi.it/index.php/cinemaetcie
19
Contributors / Collaborators
2018-10-01
2021-09-03
2018-10-01
2024-02-14
Cinéma & Cie
2018/10/01
2036-461X
31
en
Biographies
https://riviste.unimi.it/index.php/cinemaetcie/article/download/16227/14479
19
Contributors / Collaborateurs




   Maria Ida Bernabei received her Ph.D in Visual Culture and Études
Cinématographiques (Università Iuav di Venezia and Université Paris 8) with
a dissertation on the avant-garde reception of scientific films in the 1920s. She
authored La linea sperimentale. Un percorso di ricerca attraverso quarant’anni di
cinema documentario italiano (2013) and her essays have appeared in 1895. Revue
de l’association française de recherche sur l’histoire du cinéma, Fata Morgana and
Immagine. Note di Storia del Cinema. She is currently editing the Italian edition
of Ado Kyrou’s Amour-Erotisme et Cinéma (1957).

   Alessandro Bratus received his PhD in Musicology in 2009 from the University
of Pavia, where he is currently a Senior Lecturer in popular music. He received
research grants from the European Network for Musicological Research
(London), Fondazione Cariplo (post-doc training in DH) and Pavia/Boston
Exchange Program (Tufts University). His teaching and research activities focus
on analytical approaches to music and audiovisual media in Anglo-American and
Italian popular culture since the 1960s.

  Maurizio Corbella is Senior Lecturer in musicology at the University of Milan,
where he received his PhD in 2010. He taught at the Universities of Vienna and
Kiel and received research grants by the German Academic Exchange Service
(DAAD) and the Paul Sacher Stiftung, Basel. His chief interests and publications
focus on music and sound in audiovisual media, remediation theory and cultural
musicology. He co-chairs the NECS Workgroup on Music and Sound in Media.

   Massimo Locatelli, Associate Professor, Università Cattolica del Sacro Cuore,
Milan. Founding member of NECS, the European Network for Cinema and
Media Studies, he serves on the editorial boards of CS/Comunicazioni Sociali.
Journal of Media, Performing Arts and Cultural Studies and Cinéma&Cie. His
main research areas are the history of film theory and the social and technological
history of Italian cinema. Among his publications, Cinema e sonoro in Italia
(1945-1970) (special issue of CS/Comunicazioni Sociali, 2011, co-edited with
Elena Mosconi).

                                                Cinéma & Cie, vol. XIX, no. 31, Fall 2018
                                   Cinéma & Cie


   Ewa Mazierska is Professor of Film Studies, at the University of Central
Lancashire. She published over twenty monographs and edited collections
on film and popular music. They include Popular Music in Eastern Europe:
Breaking the Cold War Paradigm (2016), Relocating Popular Music (2015), edited
with Georgina Gregory, Falco and Beyond: Neo Nothing Post of All (2014). She
also guest-edited a special issue of Popular Music History, devoted to popular
music in the North of England (2015). She is principal editor of a Routledge
journal, Studies in Eastern European Cinema.

   Miguel Mera is a composer of music for the moving image and a musicologist.
His film and television music has been screened and broadcast around the world.
He is the author of Mychael Danna’s The Ice Storm: A Film Score Guide (2007),
and co-editor of European Film Music (2006) and The Routledge Companion
to Screen Music and Sound (2017). He serves on the editorial boards of Music,
Sound, and the Moving Image, Music and the Moving Image, The Journal of Film
Music, and The Soundtrack. Miguel is a Reader in the Department of Music and
Associate Dean (Research and Enterprise) for the School of Arts and Social
Sciences at City, University of London.

   Anja Mølle Lindelof, Associate Professor, PhD, Head of Studies of
Performance Design at Roskilde University. Her research focuses on music and
media, arts institutions, liveness and audience experiences. Recent publications
include the co-edited volume (with Matthew Reason): Experiencing Liveness in
Contemporary Performance: Interdisciplinary Perspectives (2017).

   Giulia Simi is an independent researcher and curator. She obtained her Ph.D
in History of Art and Media at the University of Pisa in 2014, with a thesis
focused on the relationship between amateur cinema practices and the Rome-
based 1960s Avant-Garde. Her research interests include the Post-War Italian
arts scene and its relations with cinema and media image, experimental cinema
and amateur practices and feminist theory. She has published articles and
essays in international peer-reviewed journals and edited volumes and curated
a programme on women’s experimental cinema in Italy from 1960s up to the
present for the 54th Pesaro International Film Festival. As a digital communication
consultant, she worked for ten years with film production companies, non-profit
organisations, museums and publishing houses.




160
