Mark Betz is Reader in Film Studies at King's College London, UK. He is the author of Beyond the Subtitle: Remapping European Art Cinema (Minnesota UP, 2009), as well as several articles and book chapters on postwar art cinema and film culture, the reception of foreign films in North America, the history of film studies, and contemporary manifestations of art film aesthetics with an emphasis on Asia. His work has been published in Screen, Cinema Journal, The Moving Image, and Camera Obscura, and in the collections Defining Cult Movies, Inventing Film Studies, and Global Art Cinema, among others.
Adam Bingham is Lecturer in film and television at Nottingham Trent University and the author of Japanese Cinema Since Hana-Bi (EUP, 2015). He writes regularly for Cineaste and has contributed to recent books on female filmmakers, neo-noir in Hong Kong cinema and on representations of prostitution.
David Bordwell is Jacques Ledoux Professor Emeritus of Film Studies at the University of Wisconsin-Madison. He has written several books on film history and aesthetics, including Ozu and the Poetics of Cinema (BFI, 1988; Princeton University Press, 1994), Poetics of Cinema (Routledge, 2007), and Planet Hong Kong: Popular Cinema and the Art of Entertainment (Harvard University Press, 2000; 2d ed., 2011). With Kristin Thompson he has written Film Art: An Introduction (McGraw-Hill, 2013) and Film History: An Introduction (McGraw-Hill, 2009). They write about cinema at www.davidbordwell.net/blog <http://www.davidbordwell.net/blog>.
William Brown is Senior Lecturer in Film at the University of Roehampton, London. He is the author of Non-Cinema: Global Digital Filmmaking and the Multitude (Bloomsbury, forthcoming), Supercinema: Film-Philosophy for the Digital Age (Berghahn, 2013), and Moving People, Moving Images: Cinema and Trafficking in the New Europe (with Dina Iordanova and Leshu Torchin, St Andrews Film Studies, 2010). He also the co-editor of Deleuze and Film (with David Martin-Jones, Edinburgh University Press, 2012). He has published numerous essays in journals and edited collections, and has directed various films, including En Attendant Godard (2009), Circle/Line (2016), Letters to Ariadne (2016) and The Benefit of Doubt (2017).
Jinhee Choi is Senior Lecturer in film studies at King's College London, UK. She is the author of The South Korean Film Renaissance: Local Hitmakers Global Provocateurs (Wesleyan University Press, 2010) and has co-edited three volumes, Cine-Ethics: Ethical Dimensions of Film Theory, Practice and Spectatorship (Routledge, 2014), Horror to the Extreme: Changing Boundaries in Asian Cinema (Hong Kong University Press, 2009) and Philosophy of Film and Motion Pictures (Blackwell Publishing, 2006).
Darrell W. Davis is a recognized expert on East Asian cinema, with books and articles on Japanese, Taiwanese, Hong Kong, and pan-Asian film and media industries. His latest project is an analysis, evaluation and prognosis of Chinese connected viewing, conducted with UC Santa Barbara and Warner Bros. He lives and teaches in Hong Kong.
David Deamer is the author of Deleuze, Japanese Cinema and the Atom Bomb: The Spectre of Impossibility (Bloomsbury, 2014) and Deleuze's Cinema Books: Three Introductions to the Taxonomy of Images (Edinburgh University Press, 2016); and has also published a few journal articles and book chapters here and there. Deamer's interests lie at the intersection of cinema and culture with history, politics and the philosophy of Deleuze and Nietzsche. Deamer is a semi-independent scholar affiliated with the English, Art and Philosophy departments of Manchester Metropolitan University, UK; and blogs online at www.daviddeamer.com <http://www.daviddeamer.com>.
Albert Elduque is Postdoctoral Researcher in the Univesity of Reading (UK), where he is part of the project 'Towards an Intermedial History of Brazilian Cinema: Exploring Intermediality as a Historiographic Method' ('IntermIdia'). His Ph.D. thesis (Universitat Pompeu Fabra, Barcelona, 2014) dealt with the notions of hunger, consumption and vomit in the cinema of the 60s and 70s, taking into account European and Brazilian filmmakers such as Pier Paolo Pasolini, Marco Ferreri and Glauber Rocha. His main research interests are Brazilian cinema (particularly its relation with music traditions), Latin American cinema overall and the aesthetics of political film. He is the co-editor of film journal Cinema Comparat/ive Cinema, published by UPF.
Manuel Garin is Senior Lecturer in film studies at Universitat Pompeu Fabra, Barcelona. He has been a visiting scholar at the Tokyo University of The Arts and the University of Southern California, where he developed the comparative media project Gameplaygag. Between Silent Film and New Media. He is the author of El gag visual. De Buster Keaton a Super Mario (Cátedra, 2014) and has published in peer-reviewed journals such as Feminist Media Studies, International Journal of Cultural Studies, L'Atalante and Communication & Society. Trained as a musician, he holds an MA in Film Scoring from ESMUC Music School.
Aaron Gerow is Professor in Japanese cinema at Yale University and has published widely on variety of topics in Japanese cinema and popular culture. His publications include Visions of Japanese Modernity: Articulations of Cinema, Nation, and Spectatorship, 1895-1925 (University of California Press, 2010), A Page of Madness: Cinema and Modernity in 1920s Japan (Center for Japanese Studies at the University of Michigan, 2008), and Kitano Takeshi (British Film Institute, 2007). With Abé Mark Nornes he also wrote Research Guide to Japanese Film Studies (Center for Japanese Studies at the University of Michigan, 2009). He is currently writing about the history of Japanese film theory and about Japanese cinema of the 1990s.
Daisuke Miyao is Professor and the Hajime Mori Chair in Japanese Language and Literature at the University of California, San Diego. Miyao is the author of The Aesthetics of Shadow: Lighting and Japanese Cinema (Durham: Duke University Press, 2013), Eiga wa neko dearu: Hajimete no cinema sutad?zu (Cinema Is a Cat: Introduction to Cinema Studies) (Tokyo: Heibonsha, 2011), and Sessue Hayakawa: Silent Cinema and Transnational Stardom (Durham: Duke University Press, 2007). He also edited Oxford Handbook of Japanese Cinema (New York: Oxford University Press, 2014) and co-edited Transnational Cinematography Studies (Lanham, MD: Rowman & Littlefield, 2017) with Lindsay Coleman and Roberto Schaefer, ASC.
Michael Raine is Assistant Professor of film studies at Western University, Canada. His most recent publications are an introduction to Matsumoto Toshio in Cinema Journal 51.4 (2012), an article "Adaptation as Transcultural Mimesis" in The Oxford Handbook of Japanese Cinema (2014), and an article "From Hybridity to Dispersion: Film Subtitling as an Adaptive Practice" in Media and Translation (2014). He is also co-editing a book of essays, The Culture of the Sound Image in Prewar Japan for Amsterdam University Press.
Yuki Takinami is Associate Professor of Media Studies at Josai International University. He completed his dissertation, "Reflecting Hollywood: Mobility and Lightness in the Early Silent Films of Ozu Yasujiro, 1927-1933," at the University of Chicago and published articles in Japanese on silent films directed by Ozu. He also translated into Japanese essays written by Miriam Hansen, Katherine Hayles and others, and published articles on television and music video.
Kate Taylor-Jones is Senior Lecturer in East Asian Studies at the University of Sheffield. She is the co-editor of International Cinema and the Girl (Palgrave Macmillan, 2015) and has published widely in a variety of fields including a forthcoming edited collection entitled Prostitution and Sex Work in Global Visual Media: New Takes on Fallen Women (Palgrave Macmillan). Her latest monograph study, Divine Work: Japanese Colonial Cinema and its Legacy has recently been published with Bloomsbury Press. Kate is editor-in-chief of the East Asian Journal of Popular Culture.
Mitsuyo Wada-Marciano is Professor of Film Studies at Carleton University (Canada). Her research interests include Japanese cinema and East Asian cinema in global culture. She is the author of Nippon Modern: Japanese Cinema of the 1920s and 1930s (University of Hawaii Press, 2008) and the co-editor of Horror to the Extreme: Changing Boundaries in Asian Cinema (Hong Kong University Press, 2009). She recently published Japanese Cinema in the Digital Age (University of Hawaii Press, 2012) and edited Viewing "Postwar" in the 1950s Japanese Cinema (in Japanese, 2012). She is currently finalizing a book manuscript on the cinema in post-Occupation Japan.
Junji Yoshida has taught Japanese film and literature at Wesleyan University, the University of Chicago (post-doctoral fellow in Japanese Studies), and New York University (Faculty Fellow in East Asian Studies) since receiving a Ph.D. in Japanese Literature in Film from the University of Oregon in 2006. In July 2012, he became a tenure-track Assistant Professor of Japanese at Old Dominion University. His primary research interests include Japanese film/literature, film comedy, and theory of mass culture. He is currently revising a book manuscript, tentatively titled "Origins of Japanese Film Comedy and Questions of Colonial Modernity." His book tries to offer alternative readings of mainstream feature films directed by Inagaki Hiroshi, Ozu Yasujiro, Kinoshita Keisuke, and Imamura Shohei as each of these directors squared the circle of eluding the trappings of tradition, while making sense of what it means to be modern and Japanese at once. Yoshida has presented conference papers on various topics such as anti-government ludic protests in Meiji-era Japan, parody of silent film narrators called benshi, Cold-War Japanese reconstruction of war memories, and remake of Hollywood screwball comedy in postmodern Japan.
