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Francis M. Agnoli is a recent graduate of the Film Studies MA program at the University of Iowa, currently unaffiliated with an institution or department.

Jeffrey Gordon Baker is an artist, social worker and a PhD student in the department of Psychosocial Studies at Birkbeck College, University of London. He has Masters degrees in Experimental Performance, Social Work and Psychosocial Studies, and his doctoral research centres around hermeneutic cross-interpretations and conceptualisations of monstrosity in horror genre films and texts, and clinical and popular literature on attachment theory, adoption and the family.

Kenneth Berger is a PhD candidate in the Department of Modern Culture and Media at
Brown University. He received an MFA from the Department of Art at UCLA and has taught art history and theory at the University of Southern California, UC Irvine, and Otis College of Art and Design.

Swagato Chakravorty is a Ph.D. student in the History of Art and Film and Media Studies (combined) at Yale University. He works at the interstices of screen practices, screen architectures, and embodied spectatorial experience. Related interests include aesthetics and the philosophy of art (especially modern and contemporary art), histories of film theory, visuality in the long 19th century, the history of science and technology, and contemporary media theory. For 2015–2016, he is a Mellon Museum Research Consortium Fellow in the Department of Media and Performance Art at the Museum of Modern Art.

Matt Connolly is a Ph.D. candidate in film studies in the Department of Communication Arts at the University of Wisconsin-Madison. He studies the aesthetics and industrial history of LGBT and queer cinema in the United States, with a particular focus on the 1960s and 1970s. His essay, “Liberating the Screen: Gay and Lesbian Protests of LGBT Cinematic Representation, 1969-1974,” won second place in the 2015 SCMS Student Writing contest.

Iggy Cortez is a PhD candidate in the History of Art at the University of Pennsylvania where he specializes in Cinema Studies and Contemporary Art. Previously, he earned an MA from the Courtauld Institute of Art, University of London and a BA from Columbia University. He was the co-curator of Itinerant Belongings, a multisite exhibition and series of events featuring the work of Apichatpong Weerasethakul, Yael Bartana, William Pope.L and Krzysztof Wodiczko among others. His dissertation project focuses on the aesthetic, political and ethical implications of nighttime filmmaking across a range of cinematic media.

David Cottis is a postgraduate student at Birkbeck College, researching The Screenwriting of British Stage Playwrights 1930-1956, with special reference to the work of R.C Sherriff. He has taught at Mountview Theatre Academy and the Universities of East Anglia, Northampton, East London and Middlesex. He is also Artistic Director of the award-winning Instant Classics Theatre Company. His chapter ‘Anthony Newley and Leslie Bricusse: Autobiography and Adaptation’ will appear in the forthcoming Oxford Companion to the British Musical.

Matthew Durkin is a Ph.D. candidate at Duquesne University in Pittsburgh, PA where he focuses on African literatures and cinema, Caribbean and African American literatures, Queer Theory, and Affect Theory. He is currently working on his dissertation that focuses on the dynamic relationship between utopias and negative affects in African literatures.

James N. Gilmore is a Ph.D. student in Indiana University’s Department of Communication and Culture. His current work examines the ways information technologies inform popular culture, media circulation, and practices of everyday life. He is the co-editor of Superhero Synergies: Comic Book Characters Go Digital (Rowman & Littlefield, 2014), and his work is published or forthcoming in New Media and Society, The Quarterly Review of Film and Video, and Mediascape.

Adam Hebert is a PhD student in the University of Pittsburgh’s Film Studies program, with participation in the Department of English. He holds a Bachelor of Arts degree in Cinematography from Emerson College and a Master of Arts degree in Film Studies/English from North Carolina State University. His research interests include visual rhetoric in the war film, questions of influence and intertextuality, skateboard culture and its image making, theories of affect, and the so-called “transcendental” style of cinema.

Anthony E. Jones is a 3rd year Ph.D. student in English literature at the University of Florida. His scholarship focuses on the (re)presentation of the Great Migration in African American letters. Affect Theory, cultural studies, Critical Race Theory, and Foucauldian notions of history/genealogy offer critical lenses for his research. He holds a J.D. degree from the University of Florida.

Kristin Juarez is a third year PhD student in the Moving Image Studies program at Georgia State University. She has a background in contemporary art and curatorial practice in the public sphere. Her current work concentrates film and videos made for fine art exhibition that engage ideas of race and counter-archives. She has served on the editorial board of liquid blackness—a research group on blackness and aesthetics at Georgia State, and has held posts at the High Museum and Spelman College Museum of Fine Art.

Anastasia Kostina is a PhD student in the joint program in Film and Media Studies & Slavic Languages and Literatures at Yale University. She holds MA in American Studies from the University of Massachusetts, Boston. Anastasia’s academic interests lie within post-Soviet documentary with particular focus on the relationships between documentary and ideology and problems of credibility and representation. Prior to joining Yale University she worked as a documentary film editor for RT TV-channel.

Jamicia Lackey is a doctoral candidate in African American Studies and Film Studies at Yale University. Her research focuses on the disjunctures of anticolonial, postcolonial and diasporic theories and the politics of black spectatorship. She is currently completing her dissertation, which considers how political films and their spectators work through the affective limits of “the postcolonial.”

Cooper Long recently completed his MA in Cinema Studies at the Cinema Studies Institute, University of Toronto. He also holds a Bachelor of Arts and Science from McMaster University’s interdisciplinary Arts and Science Program. At present, his main area of academic interest and activity is film philosophy, particularly the work of Stanley Cavell.

Danning Ma is a recent graduate of Columbia University’s Film Studies MA program.

Ingrid Nordgaard is a second year PhD student in Slavic Languages and Literatures at Yale University. She holds a Bachelor of Arts in Slavic Studies from the University of Tromsoe, Norway, and in 2013 she completed a Master of Arts in Russian Studies at New York University. Her current research project focuses on the animal figure in 20th century Russian short prose, with an emphasis on its connection to pain and inexpressibility.

Carrie Reese is a PhD Student at the University of Toronto’s Cinema Studies Institute. Her work involves historical and theoretical intersections of deconstruction and media in post-WWII French cinema, especially where they concern the politics of place, cross-cultural filmmaking, and directors who work in more than one national cinema. She is originally from Cleveland, Ohio.

Ignasi Gozalo i Salellas, University of Pennsylvania

Nicole Scalissi is a 5th year Ph.D candidate in the History of Art & Architecture at the University of Pittsburgh. Her research focuses on USAmerican contemporary artworks that stage realistic, but totally faked, acts of violence, especially artworks that engage historically marginalized communities in the US. This research addresses the political and affective dimensions of such images, questioning how grief or pleasure is found within this tension between the real and the staged. Nicole carries a Master’s degree from Pennsylvania State University. Her qualifying paper addressed female masculinity and 3D optical effects in Andy Warhol’s 1962 painting of a female wrestler.

Nova Smith is a Ph.D. candidate in the Department of Cinema and Media Studies at the University of Chicago. Her dissertation, “For Us, By Us (On the Low…)”: Resistance, Subversion, and a ‘Post-Racial’ Black Cinematic Aesthetic, seeks to reframe black film aesthetics to contend with the shifting racial politics of an emerging group of black directors making white-coded films. She can be contacted at

Annie Sullivan is a PhD Candidate in the Screen Cultures program at Northwestern University. She holds a BA from the University of Michigan and an MA in Film Studies from the University of Iowa. Her dissertation project examines issues of race, mobility, and local media production alongside broader historical processes of urban development and social change in post-industrial Detroit.

Michael Svedman is a graduate student at the University of Pittsburgh. His work deals with nonfiction and experimental film, especially ethnographic film, personal documentary, and cinéma vérité. More broadly, I’m interested in film and philosophy and questions of ethics, aesthetics, and knowledge.

John P. Taylor is a third year PhD student in Film Studies at the University of Pittsburgh. His major research interests involve examining the politics of landscape in film scholarship, as well as exploring and expanding the definition of how films may function as forms of political and cultural opposition.