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Cinéma & Cie. Film and Media Studies Journal
Biographies
Text.Serial.Journal
https://riviste.unimi.it/index.php/cinemaetcie
19
Contributors / Collaborators
2019-03-01
2021-09-02
2019-03-01
2024-02-14
Cinéma & Cie
2019/03/01
2036-461X
32
en
Biographies
https://riviste.unimi.it/index.php/cinemaetcie/article/download/16210/14476
19
Contributors / Collaborateurs




   William Carroll is a PhD candidate at the University of Chicago. He is
pursuing a joint degree in the Department of Cinema and Media Studies and
Department of East Asian Languages and Civilizations. His main research
interests include Japanese Cinema from the 1920s to the 1960s, cinephilia, and
international popular genre cinemas. His work has been published in the Journal
of Japanese and Korean Cinema. He is writing his dissertation, ‘Suzuki Seijun &
the Redemption of Cinephilia’, which he anticipates completing in 2019.

  Anna Caterina Dalmasso is postdoctoral fellow at Saint-Louis University,
Brussels. She is the author of Le Corps, c’est l’écran. La philosophie du visuel
de Merleau-Ponty, Mimésis, 2018), and the co-editor of Vivre par(mi) les écrans
(Presses du réel, 2016) and Des pouvoirs des écrans (forthcoming, Mimésis,
2018). She has lectured in Aesthetics, Philosophy of Art and Visual Culture at
University of Lyon 3, University of Lyon 2 and University of Milan.

   Paul Frith is a Research Associate working on the project ‘The Eastmancolor
Revolution and British Cinema, 1955–85’ at the University of East Anglia. In
2014, he completed his thesis on horror and realism in Britain during the 1940s,
with publications on this subject appearing in The Journal of British Cinema
and Television and Horror Studies. His research specialism is in British cinema
with an emphasis upon censorship and the horror film. He has recently been
researching the use of colour by amateur filmmakers and the rise of colour in
British horror cinema.

   Elena Gipponi is a postdoctoral fellow at IULM University of Milan, where
she obtained her PhD in ‘Communication and New Technologies’, with a thesis
that explores the use of colour in Italian home movies and amateur cinema.
Since 2008, she collaborates to Iulm’s courses of History of Cinema. She has
published many essays, particularly on contemporary Italian cinema and on the
transition from black and white to colour in the Italian media landscape. She is
in the editorial staff of Cinéma & Cie. International Film Studies Journal and of
Cinergie. Il cinema e le altre arti.

                                            Cinéma & Cie, vol. XIX, no. 32, Spring 2019
                                   Cinéma & Cie


   Keith M. Johnston is Reader in Film & Television Studies at the University
of East Anglia. He is co-investigator on ‘The Eastmancolor Revolution and
British Cinema, 1955–85’. His research focuses on the interplay of technology,
aesthetics and industry in British cinema, including Ealing Studio’s use of colour
(1948–57), British stereoscopic 3-D (1950s and modern), and special effects in
1940s Ealing films. He is also the author of Coming Soon: Film Trailers and the
Selling of Hollywood Technology (McFarland&Co, 2009), Science Fiction Film:
A Critical Introduction (Berg, 2011), and co-editor of Ealing Revisited (BFI/
Palgrave Macmillan, 2012).

   Bregt Lameris is a Postdoctoral Researcher ERC Advanced Grant project
FilmColors. She has a PhD in Media and Culture Studies (Utrecht University).
Her research interests are the film archiving, film historiography, film
colours, medical images, and the representation of madness. Her monograph
Film Museum Practice and Film Historiography was published in 2017 with
Amsterdam University Press. Lameris has also worked as a Research Associate
for the Leverhulme Trust funded project ‘Colour in the 1920s: Cinema and Its
Intermedial Contexts’. She has taught a large variety of courses at the University
of Amsterdam, Utrecht University and the University of Zurich.

    Justus Nieland is Professor of English and teaches in the Film Studies
Program at Michigan State University. He is the author of Feeling Modern: The
Eccentricities of Public Life (2008), David Lynch (2012), and co-author of Film
Noir: Hard-Boiled Modernity and the Cultures of Globalization (2010). His most
recent book, Happiness by Design: Modernism and Media in the Eames Era, is
forthcoming from the University of Minnesota Press in 2019. With Jennifer Fay,
he is co-editor of the Contemporary Film Directors series at the University of
Illinois Press.

   Federico Pierotti is an Associate Professor of Cinema and Visual Culture
at the University of Florence. He has published the books La seduzione dello
spettro: Storia e cultura del colore nel cinema (Le Mani, 2012), Un’archeologia
del colore nel cinema italiano: dal Technicolor ad Antonioni (ETS, 2016), and
Diorama lusitano. Il cinema portoghese come archeologia dello sguardo (Mimesis,
2018). He has also published several essays on Italian cinema, Portuguese
cinema, and the relationship between technology and visual culture. He is part
of the scientific committee of L’avventura: International Journal of Italian Film
and Media Landscapes and Immagine: Note di Storia del Cinema. In 2016 he was
the recipient of an Italian Academy fellowship at Columbia University.

   Carolyn Rickards is a Research Associate working on the AHRC project ‘The
Eastmancolor Revolution and British Cinema, 1955–85’ based at the University
of Bristol. She received her PhD from the University of East Anglia in 2015 with
publications from this appearing in the Journal of British Cinema and Television

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                           Contributors / Collaborateurs


and Fantasy / Animation: Connections Between Media, Mediums and Genres
(Routledge, 2018). Her current research focuses on the impact of colour on the
fantastic with further interests in costume, design and intermediality.

   Sarah Street is Professor of Film at the University of Bristol, UK. She has
published widely including British National Cinema (1997; 2nd ed. 2009),
Transatlantic Crossings: British Feature Films in the USA (2002), Costume and
Cinema (2001), Black Narcissus (2005) and (co-authored with Tim Bergfelder
and Sue Harris) Film Architecture and the Transnational Imagination: Set
Design in 1930s European Cinema (2007). Her book Colour Films in Britain:
The Negotiation of Innovation, 1900–55 (2012) won the British Association of
Film, Television and Screen Studies’ Award for Best Monograph. She has also
co-edited (with Simon Brown and Liz Watkins) Color and the Moving Image:
History, Theory, Aesthetics, Archive (2012) and British Colour Cinema: Practices
and Theories (2013). She is currently Principal Investigator on ‘The Eastmancolor
Revolution and British Cinema, 1955–85’ AHRC-funded project. Her latest
book, Chromatic Modernity: Color, Cinema, and Media of the 1920s (2019) is co-
authored with Joshua Yumibe.

   Kirsten Moana Thompson is Professor of Film Studies and Director of the Film
Programme at Seattle University. She writes on animation and material colour
history as well as classical Hollywood cinema, New Zealand and Pacific studies.
She is the author of a number of articles on colour processes and animation in
Animation Practice, Process and Production, Animation Studies, Refractory, and
The Moving Image as well as The Colour Fantastic: Chromatic Worlds of Silent
Cinema. She is currently working on several new books: Color, Visual Culture
and American Cel Animation; Bubbles, and Advertising and Animation, co-edited
with Malcolm Cook.

   Joshua Yumibe is Associate Professor and Director of Film Studies at Michigan
State University. He is the author of Moving Color: Early Film, Mass Culture,
Modernism (Rutgers University Press, 2012), co-author of Fantasia of Color in
Early Cinema (Amsterdam University Press, 2015) with Giovanna Fossati, Tom
Gunning, and Jonathon Rosen, and most recently of Chromatic Modernity: Color,
Cinema, and Media of the 1920s (Columbia University Press, 2019) with Sarah
Street.




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