Dudley Andrew is the R. Selden Rose Professor Emeritus of Film and Comparative Literature at Yale where he moved in 2000 after thirty years at the Univ. of Iowa. His first three books commented on film theory, and included a biography of André Bazin, whose thought he has broadcast in What Cinema Is!, Opening Bazin, and translations of Bazin's collected essays on subjects like new technologies, adaptation, and documentary. From the aesthetic and hermeneutic explorations of Film in the Aura of Art (1984), he turned to cultural historiography in Mists of Regret (1995) and Popular Front Paris (2005). An elected Fellow of the American Academy of Arts and Sciences and an appointed Commandeur de l'ordre des arts et des lettres, he is currently completing Encountering World Cinema and A Very Short Introductoin to French Film.
Timothy Corrigan is a Professor of English and Cinema Studies at the University of Pennsylvania. His work in Cinema Studies has focused on modern American and contemporary international cinema and documentary, adaptation studies, and documentary film and media. Books include New German Film: The Displaced Image, The Films of Werner Herzog: Between Mirage and History, Writing about Film (9th ed.), A Cinema without Walls: Movies and Culture after Vietnam, Film and Literature: An Introduction and Reader (2nd ed.), The Film Experience (5th ed., co-authored with Patricia White), Critical Visions: Readings in Classic and Contemporary Film Theory (co-authored with Patricia White and Meta Mazaj), American Cinema of the 2000s, Essays on the Essay film (co-authored with Nora Alter), and The Essay Film: From Montaigne, After Marker, winner of the 2012 Katherine Singer Kovács Award for the outstanding book in film and media studies. He has published essays in Film Quarterly, Discourse, and Cinema Journal, among other collections, and is also an editor of the journal Adaptation and a former editorial board member of Cinema Journal. He is a member of graduate groups and an affiliated faculty member in the departments of English, History of Art, German, Women's Studies, Comparative Literature, and Italian. In 2014 he received the Society for Cinema and Media Studies Award for Outstanding Pedagogical Achievement and the Ira H. Abrams Memorial Award for Distinguished Teaching in the School of Arts and Sciences at the University of Pennsylvania.
Lucy Fischer is a Distinguished Professor, Emerita Film Studies at the University of Pittsburgh. She is the author of Jacques Tati; Shot/Countershot: Film Tradition and Women's Cinema; Imitation of Life; Cinematernity: Film, Motherhood, Genre; Sunrise; Designing Women: Art Deco, Cinema and the Female Form; Stars: The Film Reader; American Cinema of the 1920s: Themes and Variations; Teaching Film; Body Double: The Author Incarnate in the Cinema; Art Direction and Production Design and Cinema by Design: Art Nouveau, Modernism, and Film History; and Cinemagritte: René Magritte Within the Frame of Film History, Theory and Practice. She held a curatorial position at The Museum of Modern Art and received fellowships from the National Endowments for the Arts and for the Humanities. She was President of the Society for Cinema and Media Studies and received its Distinguished Service Award. At Pitt, she received the Provost's Mentorship Award and the Chancellor's Distinguished Research Award.
Angus Fletcher is Professor of Story Science at Ohio State's Project Narrative. His most recent books are Wonderworks: The 25 Most Powerful Inventions in the History of Literature (2021) and Storythinking (forthcoming).
Patrice Petro is Professor of Film and Media Studies, Dick Wolf Director of the Carsey-Wolf Center, and Presidential Chair in Media Studies. She is the author, editor, and co-editor of thirteen books, including The Routledge Companion to Cinema and Gender (with Kristin Hole, Dijana Jelaca, and E. Ann Kaplan, 2017), After Capitalilsm: Horizons of Finance, Culture, and Citizenship (with Kennan Ferguson, 2016), Teaching Film (with Lucy Fischer, 2012), Idols of Modernity: Movie Stars of the 1920s (2010), Rethinking Global Security: Media, Popular Culture, and the "War on Terror" (with Andrew Martin, 2006), and Aftershocks of the New: Feminism and Film History (2002). She served two terms as President of the Society for Cinema and Media Studies, the largest U.S. professional organization for college and university educators, filmmakers, historians, critics, scholars, and others devoted to the study of the moving image.
Dana Polan is a professor of Cinema Studies in the Tisch School of the Arts at New York University. He is the author of ten books in film and media studies (one, on The Great Escape, is in press) and of approximately 200 essays, reviews, and review-essays. He has done DVD commentaries for close to a dozen films. He is a former president of the Society for Cinema Studies, the primary professional organization for the field, and former editor of its publication, Cinema Journal. He has a Ph.D. from Stanford and a Doctorat d'Etat from the Sorbonne Nouvelle. He has been knighted by the Ministry of Culture of the French government for contributions to cross-cultural exchange. In 2002, he was selected as one of the two Academy Scholars for that year by the Academy of Motion Picture Arts and Sciences. A few years back, he served as a juror for non-fiction submissions for the Peabody Awards for Excellence in Broadcasting, and he helped judge the first ever Teheran Silent Film Festival. He currently has two book projects--a co-authored analysis (with music producer Charles L. Granata) on Frank Sinatra's upbeat and downbeat music in the 1950s, and a co-authored study (with film scholar Caryl Flinn) of the TV classic The Patty Duke Show.
Ellen Scott is Associate Professor of Cinema and Media Studies and Associate Dean of Equity, Diversity and Inclusion at UCLA in the School of Theater, Film, and Television. Her research focuses on the meanings and reverberations of film in African-American communities. Her first book, Cinema Civil Rights (2015) exposed the Classical Hollywood-era studio system's repression of civil rights issues but also their stuttered appearance through latent, symptomatic signifiers taken up by Black reviewers and activists. She is working on two book projects. Cinema's Peculiar Institution, supported by several grants including an Academy Scholars grant, examines the history of slavery on the American screen and Bitter Ironies, Tender Hopes explores Black women film critics from the dawn of cinema until the first Black woman made a feature film in 1980.
Murray Smith is Professor of Film at the University of Kent, Canterbury, UK, where he has taught since 1992. He is a founding member of the Society for Cognitive Studies of the Moving Image, and served as president from 2014 to 2017. For 2017-2018, he was a Laurance S. Rockefeller Fellow at Princeton University's Center for Human Values. He has published widely on film, art, and aesthetics. In addition to Film, Art, and the Third Culture: A Naturalized Aesthetics of Film (Oxford, 2017), his publications include Engaging Characters: Fiction, Emotion, and the Cinema (revised second edition 2022); Trainspotting (BFI, revised second edition 2021); Film Theory and Philosophy (co-edited with Richard Allen, 1997); Contemporary Hollywood Cinema (co-edited with Steve Neale, 1998); and Thinking through Cinema (co-edited with Tom Wartenberg, 2006).
Patricia White is Professor of Film and Media Studies at Swarthmore College. She is the author of Rebecca (2021), Women's Cinema/World Cinema: Projecting Contemporary Feminisms (2015) and Uninvited: Classical Hollywood Cinema and Lesbian Representability (1999). Her work in feminist and queer film studies has been published in Cinema Journal, Film Quarterly, GLQ, Screen and in Indie Reframed, Out in Culture, and A Feminist Reader in Early Cinema, among other collections. She is co-author with Timothy Corrigan of The Film Experience (6th ed. 2021) and co-editor, with Corrigan and Meta Mazaj, of Critical Visions in Film Theory (2011). White serves on the boards of Women Make Movies and Film Quarterly. A member of the editorial collective of Camera Obscura, she edited a recent special issue of the journal on the work and legacy of Chantal Akerman.
