application/pdf
2036-461X
16460
26-27
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
16
Contributors / Collaborators
2016-10-01
2021-09-22
2016-10-01
2024-02-14
Cinéma & Cie
2016/10/01
2036-461X
26-27
en
Biographies
https://riviste.unimi.it/index.php/cinemaetcie/article/download/16460/14544
16
Contributors / Collaborateurs




Diego Cavallotti is a PhD candidate at the University of Udine. His doctoral
research concerns amateur film and video practices in Italy between the 1970s
and the early 1990s. He published several papers concerning these topics for
Cinergie, Fata Morgana and Mimesis Scenari. In 2016 he co-edited (with Federico
Giordano and Leonardo Quaresima) the proceedings of the XXII International
Film Studies Conference A History of Cinema Without Names. He is currently a
member of the steering committee of the MAGIS Spring School and one of the
coordinators of its Media Archaeology section.

Monica Dall’Asta is an Associate Professor at the University of Bologna. Her
research interests span a broad range of topics, from silent cinema to gender
studies, from the history of film theories to the history of seriality. She has widely
published in major film journals and collections in Italian, English and French.
She is the author of Trame spezzate. Archeologia del film seriale (2009).

Miriam De Rosa is Senior Lecturer in Media and Communication at Coventry
University. She’s the author of the monograph Cinema e Postmedia (2013) and
of a number of texts focusing on film theories, artistic moving images, media
archeology and new screen media.

Shane Denson is Assistant Professor in the Department of Art & Art History
(Film & Media Program) at Stanford University. Previously, he held appoin-
tments and affiliations at Duke University, Leibniz Universität Hannover, and in
the “Popular Seriality—Aesthetics and Practice research collective” based at the
Freie Universität Berlin. He is the author of Postnaturalism: Frankenstein, Film,
and the Anthropotechnical Interface (2014) and co-editor of several collections:
Transnational Perspectives on Graphic Narratives (2013), Digital Seriality (special
issue of Eludamos: Journal for Computer Game Culture, 2014), and the open-
access book Post-Cinema: Theorizing 21st-Century Film (2016).

Simone Dotto is a PhD candidate at the University of Udine. His research
project that deals with the epistemology of sound recording and broadcasting

                                   Cinéma & Cie, vol. XVI, no. 26-27, Spring/Summer 2016
                                    Cinéma & Cie


media and the sonic representations of history during the interwar period in
Italy. He has published essay on several italian music and cinema magazines and
on national and international academic journals. Since 2016 he has been member
of the steering committee of the MAGIS international film studies Spring School
in Gorizia and a managing editor of Cinema&Cie. He has recently joined France-
sco Federici and Vincenzo Estremo in co-editing of the book series Cinema and
Contemporary Arts published by Mimesis International.

Vinzenz Hediger teaches Cinema Studies at Goethe-Universität Frankfurt. He
is a co-founder of NECS – European Network of Cinema and Media Studies
(www.necs.org) and the founding editor of the Zeitschrift für Medienwissenschaft
(www.zfmedienwissenschaft.de). Forthcoming from Amsterdam University
Press: The Miracle of Realism. André Bazin’s Cosmology of Film.

Kamil Lipiński is a PhD Candidate in Philosophy at the Adam Mickiewicz Uni-
versity of Poznań. He has published in the Journal of Aesthetics & Culture and
Cultural Studies Review. He has edited a special issue of the journal Sensus Histo-
riae entitled ‘French Cultural Theory. Contexts and Applications’. His research
interests oscillate between French Theory, spatial analysis, the aesthetics art film
and media, and visual culture. He is currently preparing a book based on his
PhD thesis under the working title: Mapping an Image. Between Aesthetic Theory
and Practice.

Ted Nannicelli is Lecturer in Film and Television Studies at the University of
Queensland. He is the author of A Philosophy of the Screenplay (Routledge, 2013)
and Appreciating the Art of Television: A Philosophical Perspective (Routledge,
forthcoming). He is co-editor, with Paul Taberham, of Cognitive Media Theory
(Routledge, 2014), and associate editor of Projections: The Journal for Movies
and Mind.

Sabrina Negri is a PhD Candidate in the Department of Cinema and Media
Studies at the University of Chicago. From the Università degli studi di Torino,
she earned a B.A. and an M.A. in Film Studies, as well as an M.A. in American
Studies. She is also a graduate of the L. Jeffrey Selznick School of Film Preserva-
tion at the George Eastman House in Rochester, NY, where she was awarded the
Haghefilm Foundation Fellowship in 2009. From 2009 to 2012, she worked as
a film archivist and restorer at the Museo Nazionale del Cinema in Torino, Italy.

Rachel Schaff is a PhD candidate in the Department of Cultural Studies of Com-
parative Literature and Moving Image Studies at the University of Minnesota.
She earned a B.F.A in Film and Television Production from New York Univer-
sity, and a M.A. in Film Studies from Columbia University. Her work has ap-
peared in the Spectator Journal of Film and TV Criticism. She received a 2015-16
Fulbright Fellowship to the Czech Republic, and will be a 2016-17 fellow at the

178
                            Contributors / Collaborateurs


U.S. Holocaust Memorial Museum where she will conduct research for her dis-
sertation, Melodrama and Memory: Historicizing Pathos in American, British and
Czechoslovak Holocaust Films.

Malcolm Turvey is the Sol Gittleman Professor in the Department of Art and
Art History and Director of the Film and Media Studies Program at Tufts Uni-
versity. He is an editor of October, and author of Doubting Vision: Film and the
Revelationist Tradition (Oxford University Press, 2008) and The Filming of Mod-
ern Life: European Avant-Garde Film of the 1920s (MIT Press, 2011). He is also
co-editor of Wittgenstein, Theory, and the Arts (Routledge, 2001). He is currently
finishing a book titled Play Time: Jacques Tati and Comedic Modernism.

Elisa Virgili is an indipendent researcher. She completed her Ph.D. in Philoso-
phy of Social Science at the University of Insubria (Varese-Como). In 2015 she
spent her visiting year researching at the Center for Gender Research in Uppsala
(Sweden). Her research interest lies in the area of language and gender, queer
theory and the relationship between sport and gender. Some of her pubblica-
tions are: Olimpiadi. L’imposizione di un sesso (Mimesis, 2012); Ermafroditi (Mi-
mesis, 2013) e Antigone, o l’eterna ironia della comunità (Alboversorio, 2014).
She is currently the Theory Coordinator for Archivio Queer Italia.

Saige Walton is Lecturer in Screen Studies at the University of South Australia.
Her research focuses on film and visual culture; American, European and World
cinemas and the relationship between film and the other arts. Her articles on
the embodiment of film/media aesthetics and film-philosophy have appeared in
journals such as NECSUS: European Journal of Media Studies, Culture, Theory
and Critique, Screening the Past, the Australian Journal of French Studies and
Senses of Cinema. Her first scholarly monograph, Cinema’s Baroque Flesh: Film,
Phenomenology and the Art of Entanglement, is forthcoming from Amsterdam
University Press/University of Chicago Press (Fall 2016).




                                                                              179
