Brenda Austin-Smith is an Associate Professor in the Department of English, Film and Theatre at the University of Manitoba. She is co-editor, with George Melnyk, of the forthcoming collection The Gendered Screen: Canadian Women Filmmakers. She writes about film adaptation, Henry James and Alfred Hitchcock, Canadian film, and women who weep at classic Hollywood melodrama.

Elena del Río is Associate Professor of Film Studies at the University of Alberta. She is the author of Deleuze and the Cinemas of Performance: Powers of Affection(2008). Her essays on the intersections of cinema and the body in the areas of technology, affect, and performance have appeared in such journals as Camera Obscura, CJFS, Deleuze Studies, Discourse, Studies in French Cinema, and SubStance.

Larrie Dudenhoeffer is an Assistant Professor of English at Kennesaw State University and a doctoral candidate in Critical Theory, Film Studies, and Classical Rhetorics at Georgia State University. He is the author of “Monster Mishmash: Icon and Intertext in Tobe Hooper’s The Texas Chainsaw Massacre” in the latest issue of the Journal of the Fantastic in the Arts.

Brian Fauteux is a Ph.D. student in Communications at Concordia University, whose current research explores the ‘alternativeness’ of Canadian campus radio programming, independent music production and distribution, and the intersection of popular music and cinema. Upcoming research will look at Canadian campus radio history and its relationship to Canadian music scenes.

Alexandra Heller-Nicholas is a Ph.D. candidate in the School of Communication, Arts and Critical Enquiry at La Trobe University in Melbourne, Australia. She is currently writing her thesis on microhistory and paracinematic horror. She publishes frequently in Metro magazine, with forthcoming work to appear in Trash Cinema and Limina.

Jessica Hughes received her Honours B.A. in English and Film Studies from Wilfrid Laurier University, and is currently an M.A. Candidate at the University of British Columbia. Her research interests include Japanese youth culture, photography and memory, and the evolution of the vampire film in popular culture. Her recent work focuses on Japanese science fiction as a global genre.

Seung-hoon Jeong is a Ph.D. candidate in Film Studies and Comparative Literature at Yale University, completing his dissertation, “Cinematic Interfaces: Retheorizing Apparatus, Image, Subjectivity.” His publications include: “Grizzly Ghost: Herzog, Bazin, and the Cinematic Animal” in Screen 49.1 (2008) (coauthored with Dudley Andrew; reprinted in Trafic 68 in French).

Colleen Montgomery is an M.A. candidate in Film Studies at The University of British Columbia, completing her thesis “Pixar-ticulation: The Voice in Contemporary Animation.” Her essay “Post-Soviet Freakonomics” appeared in Cinephile 5.1. Her research interests include animation and translation studies. Forthcoming work will appear in Paradoxa

Murray Pomerance is Professor in the Department of Sociology at Ryerson University and the author of The Horse Who Drank the Sky: Film Experience Beyond Narrative and Theory, Johnny Depp Starts Here, An Eye for Hitchcock, and much other work. He edits the “Techniques of the Moving Image” series for Rutgers University Press.

Brent Strang is an M.A. candidate in Film Studies at the University of British Columbia, completing his thesis, “The Post-Mortem Western: Revisioning Masculinity, Violence and the Frontier Myth since 1990.” He presented “Cinema of Cruelty in the Films of Jan Švankmajer” at the 2008 FSAC Colloquium and published “Beyond Genre and Logos” in Cinephile 4.1.

R. Colin Tait is a Ph.D. student in Media Studies at The University of Texas at Austin. Recent publications include “Politics, Class and Allegory in Spike Lee’s Inside Man” (The Spike Lee Reader) and “Piercing Steven Soderbergh’s Bubble” (The Business of Entertainment). Currently, he is co-authoring The Cinema of Steven Soderbergh.