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Panelists

Laurel Ahnert is a PhD student in the Moving Image Studies program at Georgia State University. Her dissertation will be a philosophical take on the expression of the subject in contemporary global documentary. Her research interests include: other forms of nonfiction, such as ethnographic and experimental film, theories of affect and embodiment, studies in interactive media, and feminist film studies. She is particularly interested in the works of Jean-Luc Nancy and Gilles Deleuze. Beyond this, she is also a theme week coordinator for the Media Commons project In Media Res where she regularly contributes posts on documentary. She also has a publication in Interdisciplines: Journal of History and Sociology and she maintains a blog on interactive documentary that can be found at evidencingtheworld.com.

Kelsey Cameron is a doctoral student in Film and English at the University of Pittsburgh. She works at the intersections of television, new media, and sexuality studies, and her current project investigates how queer audiences build communities around online content. She is Managing Editor of Special Affects.

Daniel Carnie, University of Pittsburgh.

Brenna M. Casey is a doctoral candidate in English and Women’s Studies at Duke University.  Her research focuses on 19th and early 20th century American Literature and Visual Culture.  Brenna also holds an M.F.A. in Creative Writing from the University of Notre Dame.

Swagato Chakravorty is a doctoral student in the combined Film and Media Studies and History of Art Ph.D. program at Yale University. He works at the interstices of screen practices, screen architectures, and embodied spectatorial experience. Related interests include aesthetics, the philosophy of art (esp. modern and contemporary), histories of film theory, visuality in the long 19th century, the history of science and technology, and contemporary media theory.

Nicole Coffineau is a second-year PhD student in the History of Art and Architecture department at Pitt. She studies nineteenth-century Italian portrait photography and collecting. The paper she is reading today is part of the MA thesis she wrote at the University of Chicago, where she studied contemporary art and media theory. She has two sweet, precious cats.

Adam Cottrel is a doctoral candidate in the Department of Communication, Moving Image Studies at Georgia State University. His dissertation, Cinemas of Endurance, looks at the relationship between capitalism, the human body, and contemporary aesthetic trends in global art cinema. His work has appeared in, or forthcoming from The Žižek Dictionary, liquid blackness, Cinema, World Picture, and Paragraph. He is also a frequent contributor to the digital publishing platform In Media Res, a division of Media Commons, where he serves as Associate Editor.

Lauren M. Cramer is a doctoral student at Georgia State University in the Department of Communication’s Moving Image Studies program.  She earned her B.A. in Communication from Villanova University and her M.A. in Film Studies from Emory University.  Her research is focused on visual culture, popular culture, hip-hop, and the aesthetics of the racial encounter in everyday life.  She is an Associate Editor of the collaborative online scholarship project, In Media Res, part of Media Common’s digital scholarly network. Lauren is also on the Editorial Board of liquid blackness, a research collective focused on blackness and aesthetics based at Georgia State.

Anthony D’Agostino, Fordham University.

Debjani Dutta is a Phd candidate in Critical Studies at the USC School of Cinematic Arts. She holds a Masters degree in Sociology and an M.Phil in Cinema Studies from the Jawaharlal Nehru University in New Delhi. Her work focuses on fan cultures emerging around the Korean Wave, exploring the manner in which online interfaces affect notions of labour, space and materiality in a globalizing environment. She has previously worked as a film programmer with the Korean Cultural Centre India. Her current research looks at the impact of audio-visual forms of evidence on judicial proceedings in contemporary India.

Veronica Fitzpatrick is a Ph.D. candidate in English and Film and Media Studies at the University of Pittsburgh. Her dissertation concerns form, sexual trauma, and cinematic horror. Her writing appears herehere, and is forthcoming in The Apartment Complex: Apartment Plots in Global Context (ed. Pamela Robertson Wojcik).

Erin Gray is a Canadian-American writer and educator. She has read poems at the Scream Literary Festival in Toronto and was a founding editorial collective member of Upping the Anti: A Journal of Theory and Action. Her writing has appeared in Open Letter: A Canadian Journal of Writing and Theory, The International Feminist Journal of Politics, Broken Pencil, and Matrix Magazine. She has publications forthcoming in GLQ: A Journal of Lesbian and Gay Studies and Panorama: Journal of the Association of Historians of American Art. Erin is a PhD Candidate in History of Consciousness (Feminist Studies and Visual Studies) at UC Santa Cruz, where she is writing a dissertation entitled Laughing at Meat and Fury: U.S. Lynching Culture, Capital, and the Kinesthetic Racial State.

Todd Jurgess is a PhD candidate in the Department of English at the University of Florida. His dissertation, “Informatic Worlds: Digital Cinema’s Realist Intervention,” reads recent international digital filmmaking (by Jia, Costa, Iwai, and Noé) as interventions in the spatial logic of a wider digital image culture. Other research interests include silent film, horror and exploitation filmmaking, phenomenology, and cinephilia.

Vera Koshkina is a doctoral candidate in Slavic Languages and Literatures with a concentration in Film and Visual Studies at Harvard University. Her dissertation considers the poetics of experiment in Soviet cinema of the thaw. Her other research interests include theories of vision and visual representation and modernism in literary and visual arts.

Tess McClernon, Concordia University.

Fran McDonald is a Ph.D. candidate in the English department at Duke University. She received a MSt. in English and American Literature from the University of Oxford, and a BA in American Studies from Nottingham University, UK. Her dissertation is about laughter in contemporary American literature and film. Her most recent work can be found here.

Sean O’Reilly is a sixth-year doctoral student in Harvard University’s History and East Asian Languages department, set to graduate in May 2015 with a secondary field in Film and Visual Studies. He is currently completing a dissertation which analyzes popular history films of interwar and wartime Japan from a Fiskean perspective.

Troy Rhoades is a postdoctoral fellow in the Department of Communication at the Université de Montréal. His current research is dedicated to the interplay between image and movement perception, process philosophy, and art. He is a founding member of the SenseLab and a member of the editorial collective for Inflexions: A Journal for Research-Creation. His most recent publication is “Beyond Technology and Representation, What Can Interactive Art Do?” in Art Journal. He also has a forthcoming article titled “Encounters with Incipient Action: Robert Irwin’s ‘Line’ Paintings” to be published in the Journal of Visual Art Practice.

Eloise Ross is a PhD candidate and tutor at La Trobe University. Her research advances the critical study of late classical Hollywood cinema and soundscapes of the era. She is editorial assistant at Screening the Past, and works for the Melbourne Cinémathèque.

Karly-Lynne Scott is a Ph.D. student in Screen Cultures at Northwestern University. She holds an MA and a BA in Cinema Studies from the University of Toronto. Her dissertation explores the relationship between erotic media and historical shifts in the conceptualization of sexuality and the body. She is an assistant editor of World Picture Journal and formerly served as curator for the Leather Archives & Museum in Chicago.

Aurore Spiers is a master student in the film studies program at Columbia University. She is currently completing a research thesis on the new woman in early French cinema.

Andrew Vielkind is currently a PhD student in the History of Art and Film & Media Studies at Yale University. He also holds an MA in Humanities from the University of Chicago. His research interests include post-war American experimental film, expanded cinema practices, media archaeology, and new media theory.

Erin Yerby, Columbia University