List of contributors


Ruth Adams has worked as Lecturer in Cultural and Creative Industries at King’s College London since 2003, where she convenes a Masters programme and teaches courses on Heritage, Youth Subcultures and Culture and Commerce. She has written about museum culture and punk rock, and is currently interested in the interplay between high art and popular culture and how perceptions of the past shape our understanding of the present.

Erin Bell is Senior Lecturer in History at the University of Lincoln, and previously worked with Professor Ann Gray on the AHRC-funded project ‘Televising History 1995–2010’. The co-authored monograph based on the project’s findings, History on Television, was published by Routledge in 2013. Her current research interests include the representation of the past on television and other audio-visual media, and early modern religious, gender and cultural history.

Elisabeth Bronfen is Professor of English and American Studies at the University of Zurich. A specialist in nineteenth- and twentieth-century literature, she has also published widely in gender studies, psychoanalysis, film, cultural theory and visual culture. Her most recent books include an introduction to the writings of Stanley Cavell as well as a collection of essays on visual culture, both of which appeared in German in 2009, Specters of War: Hollywood’s Engagement with Military Conflict (Rutgers University Press, 2012) and Night Passages: Philosophy, Literature, Film (Columbia University Press, 2012). Current research projects include a study of Elizabeth I as the first political diva.

Ian Christie is a film and media historian, curator and broadcaster. He has written and edited books on Powell and Pressburger, Russian cinema, Scorsese and Gilliam, and contributed to exhibitions ranging from ‘Film as Film’ (Hayward, 1979) to ‘Modernism: Designing a New World’ (V&A, 2006). A Fellow of the British Academy, he is Professor of Film and Media History at Birkbeck, University of London, 2006 Slade Professor of Fine Art at Cambridge University, director of the London Screen Study Collection and past president of Europa Cinemas. Recent publications include The Art of Film: John Box and Production Design (Wallflower, 2009) and the edited collection Audiences (Amsterdam University Press, 2012) and articles on Patrick Keiller, early film copyright, film in the museum and stereoscopy.

Jude Cowan Montague works in the Reuters Archive at ITN Source. She has a PhD in the History of Film and Visual Media from Birkbeck, University of London and has conducted research on early British cinema. She is a writer, artist and composer and the author of For the Messengers (Donut Press, 2011), a collection of poetry about Reuters Television news stories during 2008.

Glyn Davis is Chancellor’s Fellow and Reader in Screen Studies at the University of Edinburgh. He is the author of Superstar: The Karen Carpenter Story (Columbia University Press, 2008) and Far from Heaven (Edinburgh University Press, 2011) and co-editor with Gary Needham of Queer TV: Theories, Histories, Politics (Routledge, 2009) and Warhol in Ten Takes (BFI, 2013).

James Downs is currently conducting doctoral research on nineteenth-century photography at the University of Exeter. His published work on photographic history has appeared in The Innes Review and Studies in Photography: The Journal of the Scottish Society for the History of Photography and he is the editor of A Carnal Medium: Fin-de-siècle Essays on the Photographic Nude (Callum James Books, 2013). Current research projects include a book on nineteenth-century Hungarian photographer Ivan Szabo and a biography of Anton Walbrook.

Victoria Duckett teaches film history in the Centre for Ideas, Victorian College of the Arts, University of Melbourne. She has published broadly in early cinema, has programmed films for Cinema Ritrovato, Bologna, and convened the 2013 ‘Women and Silent Screen’ conference in Melbourne as well as a related film programme at the Australian Centre for the Moving Image. She is currently completing ‘A Little Too Much is Enough for Me’: Sarah Bernhardt and the Silent Film for the University of Illinois Press.

Steven Fielding is Professor of Political History and Director of the Centre for British Politics at the University of Nottingham. He is especially interested in the representation of politics in television and film in the UK and US. He has presented BBC Radio 4 documentaries on screen representations of New Labour and political conspiracies. His book State of Play: British Politics on the Screen, Stage and Page since Trollope was published by Bloomsbury in 2013.

Deidre Gilfedder is Senior Lecturer in English at the University of Paris-Dauphine. She specialises in Australian cultural studies and has published on First World War commemoration, the visual culture of Australia and Australian indigenous issues of testimony. Her forthcoming book is titled Se souvenir des Anzacs: la mémoire de la Grande Guerre en Australie.

Basil Glynn is Lecturer in Film and Television at Middlesex University. Together with James Ashton and Beth Johnson he co-edited the collection Television, Sex and Society (Bloomsbury/Continuum, 2012) and has published on topics including body horror and popular drama, transnational television, East Asian television drama and Korean pop music.

Ann Gray is Emerita Professor of Cultural Studies at the University of Lincoln. She was Principal Investigator on the AHRC-funded ‘Televising History 1995–2010’ project. In addition to her co-authored monograph with Erin Bell, History on Television (Routledge, 2013), she has published on television documentary, methods for memory studies, research practice and the history of cultural studies. She is a founding editor of the European Journal of Cultural Studies.

Andrew Higson is Greg Dyke Professor of Film and Television at the University of York, UK, where he is Head of the Department of Theatre, Film and Television. He has published widely on British cinema, national/transnational cinema and heritage cinema. His books include Film England: Culturally English Filmmaking since the 1990s (I.B.Tauris, 2011), English Heritage, English Cinema: The Costume Drama since 1980 (Oxford University Press, 2003) and Waving the Flag: Constructing a National Cinema in Britain (Oxford University Press, 1995). He is currently leading a collaborative European research project, ‘Mediating Cultural Encounters through European Screens’ ( ).

Jane Landman is Senior Lecturer at Victoria University in Melbourne, where she teaches media studies. An editor of the forthcoming Wiley-Blackwell Companion to Australian Cinema, she explores representations of Australia and the Pacific in film history. She is the author of ‘The Tread of a White Man’s Foot’: Australian Pacific Colonialism and the Cinema (Pandanus Books, ANU, 2006). Recent work includes editing (with Felicity Collins) a theme issue of Studies in Australasian Cinema focusing on ‘decolonising screens’.

Karen Lury is currently Dean of Research for the College of Arts at the University of Glasgow and an editor of the film and television journal Screen. She has published widely on children and film, on screen performance and on television. Her most recent monograph is The Child in Film: Tears, Fears and Fairy Tales (I.B.Tauris, 2010). Research for her chapter in this collection draws upon her recently completed AHRC-funded project on ‘Children and Amateur Media in Scotland 1927–2010’. With Ryan Shand, Karen is writing a co-authored monograph based on the project titled Show and Tell: Children and Amateur Media (Edinburgh University Press, forthcoming).

Mandy Merck is Professor of Media Arts, Royal Holloway, University of London. She is the author of Perversions: Deviant Readings (Virago/Routledge, 1993), In Your Face: Nine Sexual Studies (New York University Press, 2000) and Hollywood’s American Tragedies: Dreiser, Eisenstein, Sternberg, Stevens (Berg, 2007). Among her edited collections are After Diana: Irreverent Elegies (Verso, 1998), America First: Naming the Nation in US Film (Routledge, 2007) and, most recently, Further Adventures of the Dialectic of Sex (co-edited with Stella Sandford, Palgrave Macmillan, 2010). Her next book is provisionally titled The Melodrama of Celebrity: Personal Worth and Public Attention.

Nicola Rehling has taught film and literature at Aristotle University of Thessaloniki and CITY College, International Faculty of the University of Sheffield. Her research interests include feminist film theory, popular cinema, gender theory and critical race theory. She is the author of Extra-Ordinary Men: White Heterosexual Masculinity in Contemporary Popular Cinema (Lexington, 2009) and is currently researching the relationship between cinema and cultural memory.

Jo Stephenson is a PhD candidate in Film at Queen Mary University of London. Her doctoral research is on the use of British film to promote the branding of the nation and its fashion industry, ranging from the 1940s British Pathé Cinemagazine to the films of the Central Office of Information in the 1960s.

Barbara Straumann is Senior Lecturer in the English Department of the University of Zurich. She is the co-author, with Elisabeth Bronfen, of Die Diva: Eine Geschichte der Bewunderung (Schirmer/Mosel, 2002) and the author of Figurations of Exile in Hitchcock and Nabokov (Edinburgh University Press, 2008). She is currently completing a monograph on female performer voices in narrative fiction in the nineteenth century and, with Elisabeth Bronfen, a study of Queen Elizabeth I as the first political diva. Her new research focuses on debt in the Victorian novel.

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