Chris Berry is the Professor of Film and Television Studies in the Department of Media and Communication at Goldsmiths, University of London. His academic research is grounded in work on Chinese cinema and other Chinese screen-based media, as well as neighboring countries. Primary publications include: (with Mary Farquhar) Cinema and the National: China on Screen (Columbia University Press and Hong Kong University Press, 2006); Postsocialist Cinema in Post-Mao China: the Cultural Revolution after the Cultural Revolution (New York: Routledge, 2004); (edited with Lu Xinyu and Lisa Rofel), The New Chinese Documentary Film Movement: For the Public Record (Hong Kong: Hong Kong University Press, 2010); (edited with Kim Soyoung and Lynn Spigel), Electronic Elsewheres: Media, Technology, and Social Space (Minneapolis: University of Minnesota Press, 2010); (edited with Nicola Liscutin and Jonathan D. Mackintosh), Cultural Studies and Cultural Industries in Northeast Asia: What a Difference a Region Makes (Hong Kong: Hong Kong University Press, 2009); (edited with Ying Zhu) TV China (Indiana University Press, 2008); (editor) Chinese Films in Focus II (British Film Institute, 2008); and (edited with Feii Lu) Island on the Edge: Taiwan New Cinema and After (Hong Kong: Hong Kong University Press, 2005).
Philip Crang is Professor of Cultural Geography at Royal Holloway, University of London. As a Cultural Geographer he is drawn both to the feel of particular places and to understanding the movements of things, people and ideas that help to give places their distinctive textures. For his most recent AHRC funded research project ‘Fashioning Diaspora Space’, he led an interdisciplinary research team at Royal Holloway and the V&A that considered the place of South Asian clothing textiles in British culture, both past and present. A general interest V&A book from this project – British Asian Style; eds. Christopher Breward, Philip Crang and Rosemary Crill – was published in 2010. More generally, Philip was involved in the foundation of the interdisciplinary journal Cultural Geographies (nee Ecumene) and served as its editor from 1999-2008. To date he has been principal supervisor for thirty-one PhD students, from the UK and abroad, and is a member of Royal Holloway’s Social and Cultural Geography Research Group, which is marked by a particularly vibrant postgraduate community, a consistent source of intellectual nourishment and inspiration.
Marianne Franklin is Reader and Convener of the MA in Global Media & Transnational Communications at Goldsmiths. Previous books are Postcolonial Politics, the Internet, and Everyday Life (Routledge) and Resounding International Relations: On Music, Culture, and Politics (Palgrave). Her latest book, Understanding Research: Coping with the Qualitative-Quantitative Divide (Routledge) is due out in March 2012.
Anthony Gardner is an ARC Research Fellow through the Art History programme at the University of Melbourne, Australia, and was the 2010-2011 Research Forum / Andrew Mellon Foundation Postdoctoral Fellow at the Courtauld Institute of Art, London. He writes extensively on postcolonialism, postsocialism and curatorial histories, with essays most recently in Third Text, Postcolonial Studies, The Australian and New Zealand Journal of Art and the books Global Studies: Mapping Contemporary Art and Culture and The Cambridge Companion to Australian Art. Among his current book projects are a monograph on Mega-Exhibitions: Biennales, Triennales and Documentas (with Charles Green), the anthology Mapping South on south-south cultural relations, and Politically Unbecoming: Postsocialist Art’s Critiques of Democracy, a study of European installation art in relation to postsocialist political philosophy. He lives and works in London and Melbourne.
Rachel Garfield is an artist. Her work explores the formation of subjectivity through video and writing and she teaches Fine Art at the University of Kent. Recent group exhibitions include, Beaconsfield London, Fraternise, 2011; Transmission Annual (eds) Michael Corris, Sharon Kivland, Jasper Joseph-Lester; The Strangers, Artwords Press, 2010; I’m Keeping An Eye On You, Arizona State University Museum, Miami Art Fair and CCA Santa Fe (2008/9); Just World Order, Artsway, UK, Aug ’08 (curated by Peter Bonnell). Her artwork has featured in Blackwells Companion to Contemporary Art since 1945, ed. Amelia Jones (2006); The Undecidability of Difference: The Work of Rachel Garfield, Amelia Jones (2006) and Unframed: The Practices and Politics of Women Painting, IB Tauris Ltd, (2003). Garfield has published critical writings in Third Text, The Journal of Media Practice, Art Monthly and the Jewish Quarterly. Other recent published texts are, ‘A Particular Incoherence; Some Films of Vivienne Dick’, Between Truth and Fiction, The Films of Vivienne Dick, (ed. Treasa O’Brian), chapter monograph, Crawford Art Centre/Lux publication, 2009, and Zineb Sedira for the Centre Pompidou, Paris, Museum Ludwig (Koln, Germany) and the ‘Centre pour l’image contemporaine’, Geneva, Switzerland.
Janet Harbord is Professor of Film Studies at Queen Mary, University of London. She has written about the circulation of film and the creation of networks, the mutation of film and intermediality and the image, memory and screen media. She worked with Chris Berry and Rachel Moore on the Leverhulem funded ‘Tracking the Screen’ project in Cairo, London and Shanghai. Her books include The Evolution of Film (2006) and Chris Marker: La Jetée (2009).
Alan Ingram is Lecturer in Geography at University College London. He researches and teaches critical geopolitics and security and is the editor, with Klaus Dodds, of Geographies of the War on Terror: Spaces of Security and Insecurity (Ashgate: Farnham 2009). He holds a British Academy Mid Career Fellowship for the academic year 2011-2012, for which he is researching the responses of artists and art spaces in the UK to the invasion and occupation of Iraq.
Isaac Julien is one of the most important artists working in the area of moving image for over 25 years. His work incorporates different artistic disciplines, drawing from and commenting on film, dance, photography, music, theatre, painting and sculpture, and uniting them to create a unique poetic visual language in audio-visual film installations. Julien was nominated for the Turner Prize in 2001 for his films The Long Road to Mazatlán (1999) and Vagabondia (2000). In the same year, he received the Eugene McDermott Award from MIT in Massachusetts, USA. He received the Grand Jury Award at the KunstFilmBiennale in Cologne, Germany for his work, Baltimore (2003). In 2008 Julien collaborated with Tilda Swinton on a biopic about Derek Jarman simply entitled Derek, which premiered at the Sundance Film Festival the same year. His most recent work is a nine-screen installation, Ten Thousand Waves (2010), which was shot in China with Maggie Cheung, Zhao Tao and Yang Fudong. Julien is represented in museum and private collections throughout the world, including Tate; Museum of Modern Art, New York; Centre Pompidou; the Guggenheim Museum; the Hirshhorn Museum; and the Brandhorst Museum. He lives and works in London.
Shani Orgad is a Lecturer in Media and Communications at the London School of Economics and Political Science. She writes and teaches on the representation of suffering, migration, war and conflict in the media. She is particularly interested in how the way these issues are described is changing, and how they shape how we understand and feel about others and ourselves, in today’s global age. Dr Orgad explores these issues in her forthcoming book on Media Representation and the Global Imagination (Polity Press, 2012), and in a research project on Mediated Humanitarian Knowledge: Audiences’ Reactions and Moral Actions, which she co-directs. Dr Orgad’s other areas of interest include the Internet and online communication, narrative and media, and health and new media. She wrote about these in her previous book Storytelling Online: Talking Breast Cancer on the Internet (2005).
Juliet Steyn has published widely on art and cultural criticism focusing on art, the politics of memory and identity, the language of display in museums and galleries, notably in Other than Identity: the Subject, Politics and Art (1997) and The Jew: Assumptions of Identity (1999). She is currently editing and contributing to an anthology, Borderlines: Art, Migrants and Metaphors of Waste (2012) and a monograph, Remembering and Forgetting: The Cultural Politics of Friendship. Recent publications include, ‘Differentiating Difference in the Face of Identity’, Third Text (2010), ‘Forced Journeys’, Visual Culture in Britain (2010) and ‘In the Wake of Walter Benjamin’ Open Space: Vienna (forthcoming).