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Cinéma & Cie. Film and Media Studies Journal
Biographies
Text.Serial.Journal
https://riviste.unimi.it/index.php/cinemaetcie
20
Contributors / Collaborators
2020-03-01
2021-09-01
2020-03-11
2024-03-11
Cinéma & Cie
2020/03/01
2036-461X
34
en
Biographies
https://riviste.unimi.it/index.php/cinemaetcie/article/download/16168/14470
20
Contributors / Collaborateurs




Oksana Chefranova is a postdoctoral Associate Research Scholar in Film and
Media Studies, Yale University, where she works on her first book, From Garden
to Kino: Evgenii Bauer, Cinema, and Genealogies of Built Environment in Russia
Circa 1900. The book studies the mutual history of image-making and designing
milieu between 1876 and 1917 while offering a new approach to cinema through
practices and theories of built environment. This research is supported by
Andrew Mellon International Dissertation Research Fellowship, Yale MacMillan
Center for International and Area Studies, and National Endowment for the
Humanities Fellowship. Oksana’s other projects focus on artists’ moving image.

Polina Golovátina-Mora, PhD, is Professor and researcher at Faculty of Social
Communication-Journalism, Universidad Pontificia Bolivariana, Medellín, Colombia.
In her research she combines cultural studies, memory studies and social theory,
art-based pedagogy and research methodology. She has been recently exploring
relations with matter, organic artistic practices, questions of inner migration. She
sees her artistic practice as a way of connecting to the world and learn about it
and self in it. Exploring relations between different media, techniques, materials
and the potentialities of such unity, she sees art as a story-making and searches
to weave the textual storytelling into visual artistic practice. She is the author of
articles and book chapters.

Sarah Keller is Associate Professor of Art and Cinema Studies at the University
of Massachusetts Boston. Her research focuses on experimental forms and
feminist issues in cinema. She co-edited the collection Jean Epstein: Critical
Essays and New Translations, and in her book Maya Deren: Incomplete Control
she examines the role of unfinished work, focusing on Deren’s oeuvre. Most
recently, she published her book Anxious Cinephilia (2020), which centers on
the intertwined role of love and anxiety in encounters with cinema, and she has
just completed a manuscript on the career of experimental filmmaker and artist
Barbara Hammer (forthcoming 2021).

Ana María López Carmona, PhD, is Professor and researcher at Faculty of
Social Communication-Journalism, Universidad Pontificia Bolivariana, Medellín,

                                               Cinéma & Cie, vol. XX, no. 34, Spring 2020
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Colombia. In her professional trajectory, she worked as audio-visual producer for
television and documentary projects, and analyst of media of communication. Her
research interests include topics of creative and art-based research, memory and
territory, audio-visual narratives, unfolding of the collective memory and trauma
in Latin American fiction and documentary cinema and modes of production in
the documentary cinema and their aesthetics. She is the author of articles and
book chapters, editor of the collective volumes and journal special issues, member
of international research networks and professional associations.

Shana MacDonald is an Associate Professor in the Department of Communication
Arts at the University of Waterloo. Her interdisciplinary scholarship is
situated between film, media and performance studies, and examines feminist
experimental media. She has published in Feminist Media Histories, Media
Theory Journal, Performance Research, Canadian Theatre Review, and the
Canadian Journal of Film Studies. She runs the online archive Feminists Do Media
(Instagram: @aesthetic.resistance). She is an internationally curated artist who
explores the community-building potential of practice-based research through
her work with the qcollaborative (www.qcollaborative.com), a feminist design
lab dedicated to developing new forms of relationality through technologies of
public performance.

Elena Marcheschi is Junior Assistant Professor at the University of Pisa. She
teaches ‘Cinema and the Arts’ and ‘Art and Multimedia’. Her research, on
which she has written books, articles and essays in volumes, concerns video art,
experimental cinema and video installation forms, with particular attention to the
analysis of the contemporary world, female languages and self-representation. She
is part of the editorial staff of Cinéma&CIE. International Film Studies Journal and
since 2005 she is artist consultant of INVIDEO, Mostra internazionale di video
e cinema oltre (Milan). Among her publications, the monographs Videoestetiche
dell’emergenza. L’immagine della crisi nella sperimentazione audiovisiva (Kaplan,
Torino 2015), Sguardi eccentrici. Il fantastico nelle arti elettroniche (ETS, Pisa
2012) and the she’s the editor of Videogame Cult. Formazione, arte, musica. (ETS,
Pisa 2019).

Ivelise Perniola is Associate Professor at the University of Roma Tre. She is the
author of the following monographs: Chris Marker o del film saggio (2003, II
ed. 2011), Oltre il neorealismo (2004), L’immagine spezzata. Il cinema di Claude
Lanzmann (2007), L’era postdocumentaria (2014), Gillo Pontecorvo o del cinema
necessario (2016). She is currently working on the relationship between cinema
and iconoclasm.

John Powers is Assistant Professor in Film and Media Studies at Washington
University in St. Louis. His writing on experimental cinema has appeared or
is forthcoming in Cinema Journal, Screen, October, Millennium Film Journal,

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and A Companion to Experimental Cinema (Wiley-Blackwell). He is currently
preparing a book manuscript on semiprofessional film technology and the
postwar American avant-garde.

Rebecca A. Sheehan is Associate Professor of Cinema and Television Arts at
California State University, Fullerton. Her book, American Avant-Garde Cinema’s
Philosophy of the In-Between (Oxford University Press, 2020) examines the
intersections between American avant-garde cinema and film-philosophy. She
is also the co-editor of Border Cinema: Reimagining Identity Through Aesthetics
(Rutgers University Press, 2019), a collection that looks at border studies through
the lens of media aesthetics. Her work on topics ranging from experimental
cinema, sculpture and cinema, epistolary cinema, the biopic, and border cinema
has appeared in edited book collections and various journals including Discourse,
Screen, Film Studies and Screening the Past.

Bridget Sheridan, PhD, is a lecturer in visual arts at the University of Toulouse,
France. She belongs to the LLA CREATIS research lab. Art walking and the body
in motion are at the heart of her research, which incites her to explore collective
memory via walking in the landscape, photography and video practice. Both in
her research and with her artistic practice she invites to imagine a metaphorical
process of weaving between creative work and theory that awakens a curiosity
for historical, anthropological, philosophical and architectural subjects. She is
the author of articles and book chapters. As an artist, she has exhibited her work
across France and England.

Giulia Simi is Junior Assistant Professor at the University of Sassari. She obtained
her PhD in History of Art and Media at the University of Pisa with a thesis
focused on the relationship between amateur cinema practices and the Rome-
based 1960s Avant-Garde. Her research interests include Post-War Italian arts
scene and the entanglement between experimental, amateur and autobiographical
practices, particularly in women’s cinema. She published articles in international
peer-reviewed journals and essays in edited volumes. She’s the author of the
monography Corpi in rivolta: Maria Klonaris e Katerina Thomadaki tra cinema
espanso e femminismo (ETS, 2019).

Anita Trivelli is a Full professor of Cinema Studies at the Department of Modern
Languages, Literatures and Cultures of the University ‘G. d’Annunzio’. She was
awarded US and by CNR (Centro Nazionale delle Ricerche) fellowships, and has
taught in Italy and abroad. Her studies have mainly focused on experimental and
research cinema, in the light of the issues of experientiality and nomadism, and
of the questions raised by feminist film theory and gender studies. Speaker at
international conferences (at the universities of Innsbruck, Mainz, Leipzig, Paris,
Timisoara, Varshaw, Vienna, Yale, Pescara, Rome, Turin), and collaborator of film
magazines (Imago. Studi di cinema e media, Bianco & Nero, La Valle dell’Eden,

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Cinema Sessanta), she is the author of numerous essays and three books (L’altra
metà del sguardo; Sulle tracce di Maya Deren. Il cinema come progetto e avventura;
Il cinema di Jane Campion. Dai cortometraggi a Top of the Lake). She realized the
educational DVD Jonas Mekas e il New American Cinema, and translated the
book by the same filmmaker My Night Life into Italian (La mia vita notturna).

Lydia Tuan is a PhD student in the Departments of Italian and Film and Media
Studies at Yale University. She works on the formal and aesthetic developments
of contemporary Italian cinema and at the intersection between new media and
cinema. She has previously worked as a lectrice in the Department of English
at the Université Paul-Valéry Montpellier 3, as well studied at the Universities
of Padua and Cambridge, the latter from where she received an MPhil in Film
and Screen Studies in 2017. Her recent research on Paolo Sorrentino has been
published in the Journal of Italian Cinema and Media Studies and will be reprinted
in the forthcoming edited volume Paolo Sorrentino’s Transnational Cinema and
Television (Intellect, 2021).




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