Our Mentors

Film Matters celebrates the inspirational work — both in the classroom and during the publication process — of the mentors on behalf of our student authors.

Jose Arroyo is an associate professor at the University of Warwick. Formerly a founding member of The Montreal Mirror, associate editor of Cinema Canada, regular contributor to Sight & Sound, and editor of Action/Spectacle: A Sight and Sound Reader, he is currently working on contemporary film aesthetics. [Stephen Leach, FM 2.1, 2011]

Sanja Bahun is assistant professor of Literature and Film in the Department of Literature, Film, and Theatre Studies, University of Essex. She is the author of Modernism and Melancholia and the editor of The Avant-Garde and the Margin, Violence and Gender in the Globalized World, From Word to Canvas, and Myth and Violence in the Contemporary Female Text. [Emma Webb, FM 1.2, 2010]

Kass Banning’s research focuses on minoritarian cinema and screen alterity, from indigenous to diasporic to queer. She has also published in the areas of documentary and Canadian cinema, has co-edited an anthology on Canadian women’s cinema with University of Toronto Press, and co-founded CineAction and Borderlines. [Stephanie Wong, FM 2.4, 2011]

Khalid Bekkaoui is Professor of English and Cultural Studies in the Department of English at Sidi Mohamed Ben Abdellah University, Fez. He is the director of the Moroccan Cultural Studies Center, author of Signs of a Spectacular Resistance: The Spanish Moor and British Orientalism (1998) and editor of Lust‘s Dominion (1999), The Battle of Alcasar (2001), The Female Captive (2003), In Morocco (2005), The Riffian (2006), Imagining Morocco (2008) and other British and American narratives on Morocco. His forthcoming book under publication by Palgrave Macmillan is entitled White Women Captives in North Africa. [Lhoussain Simour, FM 1.3, 2010]

“Analyzing the Puzzle that is Amores Perros” is the product of a UCSB puzzle films class taught by one of the most highly acknowledged film theorists in the film studies world Edward Branigan. Professor Branigan’s areas of specialty include classical and contemporary film theory, film analysis, and film narratology. [Allison Stubbmann, FM 2.2, 2011]

Dr. Ruth Nicole Brown is an assistant professor in the Gender and Women’s Studies and Educational Policy Studies Departments at the University of Illinois at Urbana-Champaign. Her research documents, analyzes, and interrogates black girls’ lived experiences as it intersects with cultural constructions of black girlhood. She is developing her second book project, The Black Girl Community Handbook: Creating Accountable Truths, an ethnographic account of the creative processes black girls rely on to make intelligible the ways power, spirituality, memory, and performativity structure meanings of belonging. As an agent of change, she values the leadership development of her students and as a professor, she is committed to making the “classroom” a transformative public space that relates to and resonates with students’ experiences by incorporating their intellect, interests, and talents into the course content. [Lena Foote, FM 2.3, 2011]

Eric Bulson is an assistant professor in the Department of English at Hobart and William Smith Colleges. He is the author of The Cambridge Introduction to James Joyce and Novels, Maps, Modernity: The Spatial Imagination, 1850-2000. [Lucas O’Connor, FM 1.2, 2010]

Dr. Jon Burrows is an assistant professor in the Department of Film and Television Studies, University of Warwick, UK. He is the author of Legitimate Cinema: Theatre Stars in Silent British Films, 1908-1918 (Exeter: University of Exeter Press, 2003) and numerous articles on different aspects of British film culture in the silent era. [Matthew Hepburn, FM 1.3, 2010]

Mark Douglas is a senior lecturer on the Film Studies course at University College Falmouth. He is passionate about his work as an educationalist and is a registered practitioner with the Higher Education Academy. His research interests are focused on post-war British cinema and its cultural context. [Michael Daye, FM 2.1, 2011]

Christine Etherington-Wright is a Senior Lecturer in Film at the University of Portsmouth where she specializes in film theory, British film and adaptation studies. Her published writing includes material on autobiography and subjectivity in cultural texts. Gender, Professions, Discourse was published in 2008 and Understanding Film Theory in 2011. Her current research is on film adaptation and “new heritage” in British cinema.  [Martin Storhaug Gran, FM 2.2, 2011]

Theresa L. Geller is the EKI Assistant Professor of Film Theory and History at Grinnell College. She teaches courses on Queer Cinema, Film Genres, and Feminist Theory. Her current book project is titled, Generic Subversions. Professor Geller has published research on Maya Deren, Dorothy Arzner, Jean-François Lyotard, and Kaizo Hayashi. [Paul Dampier, FM 2.4, 2011; Kramer McLuckie, FM 2.4, 2011]

Rebecca M. Gordon is an Assistant Professor of English, Humanities, and Film Studies at Reed College. Her research is in affective responses to genre film, and in structures of feeling in Chicano/Latino film and television. She is always happy to see Reedies take horror seriously. [Stephanie Bastek, Isabel Lockhart Smith, and Kerstin Rosero, FM 2.4, 2011]

Adam Charles Hart is a PhD candidate at the University of Chicago, where he has taught courses on horror films and avant-garde cinema. He expects to finish his dissertation, “‘Something to Be Scared Of’: Placing the Horrific in the Cinema,” in June 2012. [Zulma Terrones, FM 3.1, 2012]

Dr. Daniel Herbert is an assistant professor in Screen Arts and Cultures, where he teaches classes on adaptations, apocalyptic film and television, the contemporary film industry, film history and film theory. He earned his doctorate in Critical Studies from the University of Southern California. [Brian Ford, FM 1.1, 2010]

David T. Johnson is an assistant professor of English at Salisbury University, where he teaches courses in film studies. His work has appeared in Film Criticism and Adpatation, and he is currently the co-editor of Literature/Film Quarterly, the long-running journal devoted to the study of adaptation. [Matthew Cohen, FM 1.2, 2010]

Nick Jones is a Ph.D. candidate at Queen Mary, University of London, researching issues of space and geography in the contemporary Hollywood action film. He is the managing editor of the Mapping Contemporary Cinema website. [Shanshan Chen, FM 2.2, 2011]

Darren Kerr is a senior lecturer in Film and Television at Southampton Solent University and the Solent’s screen research leader. Darren has published on matters of violence, horror, and sex on screen and is the co-editor of Hard to Swallow: Hard Core Pornography On Screen (Columbia University Press, 2012) and Tainted Love: Screening Sexual Perversities (I.B. Tauris, 2013). [Laura Anne Stephens, FM 3.1, 2012]

Catherine Kevin lectures in Australian history, body politics and memory at Flinders University. She has previously held positions at King’s College London and SBS Television. Catherine has recently edited Feminism and the Body: Interdisciplinary Perspectives (2009) and is currently working on a monograph entitled Great Expectations: A Political History of Pregnancy in Australia since 1945. [Carolyn Lake, FM 1.1, 2010]

James Kreul earned his Ph.D. from the University of Wisconsin Madison in 2004. His dissertation explored the commercial crossover of Andy Warhol and other experimental filmmakers in New York City in the late 1960s. His articles and interviews have appeared in Indiewire, Millennium Film Journal, and Senses of Cinema. Kreul’s interests also include film curating, and in 1999 he was a founding programmer of the Wisconsin Film Festival in Madison Art Center’s Wisconsin Triennial. Kreul’s ongoing research project explores the institutional histories of independent and experimental filmmaking in the United States. [Jacob Mertens, FM 2.3, 2011]

Jill Lane is an assistant professor in the Department of Spanish and Portuguese at New York University. In 2005, University of Pennsylvania Press published her book Blackface Cuba. She is the deputy director of the Hemispheric Institute of Performance and Politics and the editor of its online scholarly journal, e-misférica. [Kate Richardson, FM 1.2, 2010]

Leo Lensing is Professor of Film Studies and German Studies at Wesleyan University, where he teaches courses on the New German Cinema and on the films of the Weimar Republic. He is the editor of The Anarchy of the Imagination, a collection of Rainer Werner Fassbinder’s essays and interviews. [Zoë Beyer, FM 2.1, 2011]

Dr. Aaron Han Joon Magnan-Park is Assistant Professor in the Department of Comparative Literature at the University of Hong Kong. He received his PhD in Film Studies from the University of Iowa. He has previously taught at the University of Notre Dame, Victoria University of Wellington, Illinois State University, Illinois Wesleyan University, the University of Iowa, Université de Paris IV, and the American University of Paris. He specializes in pan-Asian cinema with a focus on Hong Kong action cinema and contemporary Korean cinema. He has published in The Journal of Korean Studies and Post Script as well as the anthologies Korean Wave, New Korean Cinema, Chinese Connections, The Politics of Community, and Hong Kong Film, Hollywood, and the New Global Cinema. [Javi Aitor Zubizarreta, FM 1.2, 2010; Eleanor Huntington, FM 1.4, 2010; Kathleen Bracke, FM 3.1, 2012; Eric Hinrichsen, FM 3.2, 2012; Grayson Nowak, FM 4.1, 2013; Rona Vaselaar, FM 4.2, 2013; Jee Hee Lim, FM 5.2, 2014; Alexander Espeland, FM 5.2, 2014; Viveca Tallgren, FM 5.3, 2014]

Dr. Kenneth Marshall is an associate professor of history at SUNY Oswego. His areas of specialization are in slavery, emancipation, race, and manhood. Last year, Dr. Marshall inaugurated a course on Blaxploitation Cinema. Recently he published his first book, Manhood Enslaved: Bondmen in Eighteenth- and Early Nineteenth-Century New Jersey. [Ashley Sauers, FM 3.1, 2012]

Rosanna Maule is Associate Professor of Film Studies at the MHSOC, Concordia University. She is the author of Beyond Auteurism: New Directions in Authorial Film Practices in France, Italy, and Spain since the 1980s (2008) and several articles, and the editor of In the Dark Room: Marguerite Duras and Cinema (2009). [Sonya Mladenova, FM 1.4, 2010]

Kristi McKim is an Assistant Professor of English and chair of the Film Studies Program at Hendrix College. Her forthcoming book, Love in the Time of Cinema (Palgrave Macmillan), studies films by Wenders, Varda, Kore-eda, Dörrie, and Assayas. She is currently writing Cinema as Weather: Stylistic Screens and Atmospheric Change. [Caufield Schnug, FM 2.2, 2011]

Dr. Jacqui Miller is Senior Lecturer in Film Studies at Liverpool Hope University. Her most recent publications are “The French New Wave and the New Hollywood: Le Samourai and its American legacy” in Film and Media Studies and “An American in Europe: US Colonialism in The Talented Mr Ripley and Ripley’s Game” in the Journal of European Popular Culture. [Patrick McMahon, FM 2.1, 2011]

Tim Palmer is Associate Professor of Film Studies at the University of North Carolina Wilmington. His book, Brutal Intimacy: Analyzing Contemporary French Cinema, has just been published by Wesleyan University Press. He has recently finished an extended interview with the filmmaker Julie Lopes-Curval, which he is preparing for publication. He is also at work co-editing the Directory of World Cinema: France for Intellect Books. [Emily Caulfield, FM 1.4, 2010; Royce Marcus, FM 2.2, 2011]

Dana Polan has written eight books on film and media including the forthcoming Julia Child’s The French Chef and done eight DVD commentaries. He was president of the Society for Cinema Studies. In 2003, he won a Foundation Scholar fellowship from the Academy of Motion Picture Arts and Sciences. [Daniel Langford, FM 2.2, 2011]

Karen Schneider received her PhD from Indiana University and has taught in the English Department at Western Kentucky University since 1992. Currently Head of the Department of English, Dr. Schneider teaches classes on Film Genre, Film Adaptation, and Special Topics in Film. [Brandon Colvin, FM 1.4, 2010]

Dr. Amy Shore is the chair of the Cinema & Screen Studies Program at SUNY Oswego. She has encouraged students to write on creative topics while applying traditional film scholarship to create fun and interesting criticism. She received her PhD from New York University. [Michael Potterton, FM 2.1, 2011; Kimberly Behzadi, FM 2.3, 2011; Kimberly Behzadi, FM 3.1, 2012]

Christopher Sieving is an Assistant Professor of Film Studies at the University of Georgia, where he teaches courses on film history, analysis, and genre. He is the author of Soul Searching: Black-Themed Cinema from the March on Washington to the Rise of Blaxploitation (2011), and his essay on Edie Sedgwick will be published in 2012 in the anthology New Constellations: Movie Stars of the 1960s. [Lauren Berg, FM 2.3, 2011; Will Stephenson, FM 2.3, 2011]

Matthew Solomon, PhD, is an associate professor of cinema studies in the Department of Media Culture at the College of Staten Island, City University of New York. He is the author of Disappearing Tricks: Silent Film, Houdini, and the New Magic of the Twentieth Century (Urbana: University of Illinois Press, 2010) and the editor of Méliès’s Trip to the Moon: Fantastic Voyages of the Cinematic Imagination (Albany: State University of New York Press, forthcoming). [Stephen Waldow, FM 1.3, 2010]

Temenuga Trifonova is Assistant Professor of Film Studies in the Department of Film, York University. She is the author of The Image in French Philosophy (2007) and European film Theory (2008). Her academic interests include film theory, screenwriting, European cinema, film remakes, film criticism, contemporary American cinema, and philosophy of film. [David Hollands, FM 1.3, 2010]

Jonathan Walley is an assistant professor of Cinema at Denison University. He specializes in avant-garde film and has written extensively on paracinema, works that reference cinema without using film. Dr. Walley has published essays in October, The Journal of Aesthetics and Art Criticism, Senses of Cinema and several major essay collections. [Jamie Marie Wagner, FM 1.1, 2010]

Kathrina Glitre is Senior Lecturer at the University of the West of England, teaching modules on Film Genres and Hollywood. She is the author of Hollywood Romantic Comedy: States of the Union, 1934–65, co-editor of Neo-Noir, and a member of the Editorial Board for Movie: A Journal of Film Criticism. [Shirley Welton, FM 2.4, 2011]

Guy Westwell is a Senior Lecturer in Film Studies at Queen Mary, University of London. He is the author of War Cinema: Hollywood on the Front Line (2006) and (with Annette Kuhn) The Oxford Dictionary of Film Studies (2012). [Harry Ryan, FM 2.3, 2011; Caterina Lotti, FM 3.1, 2012]

Dr. Aylish Wood has a background in the humanities and sciences. Her current teaching reflects her research interests in contemporary digital media in film, animation, computer games, and Internet art. Her approach is interdisciplinary in nature, drawing on cinema and media studies, and also science and technology studies. [Reuben Ross, FM 1.3, 2010]

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