~~ A ~~
Rebecca A. Adelman (University of Maryland, Baltimore County (UMBC)) researches and teaches in visual culture, citizenship, and cultural studies of terrorism and war. Some of her work on these subjects has appeared in Continuum: Journal of Media & Cultural Studies, Reconstruction: Studies in Contemporary Culture, Photography and Culture, and the anthology Knowledge and Pain. Her book on the institutions that produce and regulate the American visual culture of the Global War on Terror will be published by the University of Massachusetts Press in 2014.
Hector Amaya (University of Virginia) teaches on globalization, the cultural production of political identities, Latin American film, citizenship, and Latina/os. His most recent book, Screening Cuba: Film Criticism as Political Performance During the Cold War, is now out. His latest project investigates neoliberalism on American citizenship, Latinas/os, and media. You can also find him here.
Robin Andersen (Fordham University) is author of A Century of Media: A Century of War, which won the Alpha Sigma Nu Book Award. She likes to interrogate persuasion, television, and consumer culture (see her first book Consumer Culture and TV Programming); how texts mediate the environment, and the unity of fact & fiction in media culture, especially war representations. Focusing on Treme, she recently published a piece contrasting its rhetorics to press coverage in Project Censored 2012.
Tim Anderson (Old Dominion University) is in his eleventh year as a full-time college teacher, with special research interests in popular music and media studies. He loves cats, his wife, his stepchildren, chess, yoga, and you, of course. You can follow him on Twitter @loganpoppy, and can also find him here.
Megan Sapnar Ankerson (University of Michigan) researches the intersections between new media industries and visual culture online, with a particular focus on web design practices during the dot-com bubble. Additional interests include software studies, graphic design, tivo, tennis (both in reality and on the wii), sci-fi, old computers, the Martha Stewart channel on satellite radio, and movies with body swapping plots.
Melissa Aronczyk (Rutgers University) writes about issues in promotional culture, nationalism, and globalization. She is the co-editor of Blowing Up the Brand: Critical Perspectives on Promotional Culture (with Devon Powers). Recently, Oxford University Press published her book Branding the Nation: The Global Business of National Identity.
Robert Asen (University of Wisconsin – Madison) researches and teaches about issues relating to public deliberation and public policy. He is the author of Invoking the Invisible Hand: Society Security and the Privatization Debates and Visions of Poverty: Welfare Policy and Political Imagination. He is the co-editor (with Daniel Brouwer) of Public Modalities: Rhetoric, Media, Culture, and the Shape of Public Life and Counterpublics and the State. Originally from Illinois, he has developed a strong love for fried cheese curds, brats, and fish fry. He does not wish the Packers harm, but he does not root for them, either.
Ben Aslinger (Bentley University) teaches courses on media history, globalization, creative industries, and video games. His work can be found in the collections Teen Television: Essays on Programming and Fandom, LGBT Identity and Online New Media, and Down to Earth: Satellite Technologies, Industries, and Cultures. When not working, he spends his time surfing Epicurious and planning his next meal. He can also be found here.
Jennifer Stevens Aubrey (University of Missouri – Columbia) studies the ways media influence young people’s self-perception, including sexuality, body image, and gender roles. She is co-editor of Bitten by Twilight: Young Culture, Media, & the Vampire Franchise, to be published by Peter Lang in June 2010.
Brenda Austin-Smith (University of Manitoba) researches film and affect, audience studies, and adaptation. She teaches courses in cult film, film and realism, gross-out comedies, and film and the city. Her most recent essays are on film acting, murdering mothers in melodramatic film, and the odd couple of Henry James and Alfred Hitchcock.
~~ B ~~
Cory Barker (Indiana University) researches the media industries, particularly television networks, their brand identities, and their involvement in the field of social TV. He is a contributor to TV.com and a co-founder/co-editor of This Was Television. He can be found on Twitter @corybarker.
Kyle S. Barnett (Bellarmine University) researches recording industry history and sound practices across media. His work has appeared in Music, Sound, and the Moving Image and The Journal of Popular Music Studies.
Christine Becker (University of Notre Dame) teaches film and television history and analysis. She is the author of It’s the Pictures That Got Small: Hollywood Film Stars on 1950s Television and is currently working on a manuscript comparing contemporary American and British television aesthetics. She also runs News for TV Majors, and can be found here.
Ron Becker (Miami University) is the author of Gay TV and Straight America (Rutgers University Press, 2006), which examines the rise of gay material on prime-time network programming during the 1990s in the context of post-network industry developments and gay rights politics. His work has also appeared in The Television Studies Reader; Queer TV: Theories, Histories, Politics; The Great American Makeover: Television, History and Nation; and Television and New Media.
Mary Beltrán (University of Texas – Austin) writes and teaches on the production of race, gender, and class in film, television, and celebrity culture; recent projects have explored mixed race and questioned “post-racial” representation. To that end, she’s fascinated with and trying to figure out Glee. She’s the author of Latina/o Stars in U.S. Eyes and co-editor of Mixed Race Hollywood.
James Bennett (Royal Holloway, University of London) is the author of Television Personalities: Stardom and the Small Screen and (with Niki Strange) editor of Television as Digital Media and (with Tom Brown) Film & Television after DVD.
Megan Biddinger (University of Michigan) studies the intersections of gender and sexuality and religion and spirituality in film and television. She’s also interested in popular music and the uses and meanings of sound recording and listening technologies.
Trevor J. Blank (Pennsylvania State University, Harrisburg) is a folklorist who studies humor on the Internet following mass-mediated disasters. He is the editor of Folklore and the Internet: Vernacular Expression in a Digital World, as well as the electronic journal New Directions in Folklore.
Anthony C. Bleach (Kutztown University) teaches courses in media studies, film studies, and music journalism. He has been published in Cinema Journal and Literature/Film Quarterly, runs the blog Total Trash, which sporadically reviews forgotten and neglected film, and can be found raving about hip-hop, chart pop, film, and Liverpool FC at @acbleach.
Aniko Bodroghkozy (University of Virginia) is a media historian with a focus on U.S. television in the 1960s. She is the author of two books, Groove Tube: Sixties Television and the Youth Rebellion and Equal Time: Television and the Civil Rights Movement. Currently she is working on a new book tentatively titled Black Weekend: Television News and the Assassination of John F. Kennedy. Her articles have appeared in Television and New Media, Cinema Journal, Screen, and in numerous anthologies about television.
Paul Booth (DePaul University) studies fandom and technology. He is the author of Digital Fandom: New Media Studies, Time on TV: Temporal Displacement and Mashup Television, and the editor of Fan Phenomena: Doctor Who. His upcoming book Playing Fans focuses on the intersection of media audiences and media industries. He can be followed on Twitter @pbooth81.
Andrew Bottomley (University of Wisconsin – Madison) researches media and cultural history, particularly cultural studies of media and technology; new media and technological convergence; radio, popular music, and sound studies; taste, cultural value, and social status; and broadcasting form and aesthetics. He is also the publisher/editor of the online music, arts, and entertainment magazine Skyscraper.
Courtney Brannon Donoghue (Oakland University) teaches courses on film and media industries, media globalization, conglomerate Hollywood, and Latin American cinema. She has published journal articles and book chapters on the Brazilian film industry, Spain and digital film piracy, and Ugly Betty and transnational telenovela flows. She can be followed on Twitter @Courtney_BD.
Piers Britton (University of Redlands) has written extensively on design for the screen, including the book Reading Between Designs (with Simon J. Barker). He is also the author of TARDISbound, which explores Doctor Who as a media-crossing text.
Will Brooker (Kingston University, London) researches popular texts and their relationship with audiences, often across different historical contexts. He has published widely, and his books include Batman Unmasked, Using the Force, Alice’s Adventures, The Audience Studies Reader, The Blade Runner Experience and the BFI Film Classics monograph on Star Wars. His most recent monograph is Hunting the Dark Knight: Twenty-First Century Batman.
Robert Alan Brookey (Northern Illinois University) teaches rhetoric and media, and he studies how the cultural industries use new media to collapsepromotion into product. He recently published Hollywood Gamers: Digital Convergence in the Film and Video Game Industries. His work has also appeared in Critical Studies in Media Communication, Games and Culture, and Convergence.
Chiara Bucaria (University of Bologna, Italy) investigates the translation and adaptation of audiovisual products for different lingua-cultural contexts, with a particular interest in the transfer of different forms of humor and their perception on the part of audiences. Chiara is co-editor of Between Text and Image: Updating Research in Screen Translation and author of Dark Humour As a Culture Specific Phenomenon: A Study in Audiovisual Translation. She can be found here.
Colin Burnett (Washington University in St. Louis) specializes in questions of authorial intention and problem-solving and in postwar French cinema, culture and film style. He is currently writing a study of Robert Bresson’s style in light of the cultural marketplace that emerged after the Liberation. He is also interested in the points of intersection between film studies and art history. He has written for Studies in French Cinema, New Review of Film and Television Studies, and has chapters in two recent anthologies, one on European film theory and one on Rudolf Arnheim.
Kristina Busse (independent scholar) has been an active media fan and has published a variety of essays on fan fiction and fan culture. Kristina is co-editor, with Karen Hellekson, of Fan Fiction and Fan Communities in the Age of the Internet (2006), and founding co-editors of Transformative Works and Cultures, an online-only international peer-reviewed journal about fan cultures and fan works. You can find her here.
~~ C ~~
Karma R. Chávez (University of Wisconsin – Madison) writes and teaches on social movement and coalition building, queer, feminist intersectional theory, and the rhetorical practices of marginalized groups. She is currently finishing a book, titled Queer/Migration Politics: Coalitional Possibilities and Belonging in U.S. Rhetorical Imaginaries, which examines where queer politics and migration politics intersect in the U.S. public sphere.
Mike Chopra-Gant (London Metropolitan University) is a cultural historian with broad interests in aspects of 20th and 21st century American pop culture, but particularly cinema and television. He is the author of Hollywood Genres and Postwar America: Masculinity, Family and Nation in Popular Movies and Film Noir, Cinema and History: The Telling of Stories, and The Waltons: Myth, Nostalgia and Seventies America. Mike is a member of the editorial advisory board of the Journal of Popular Culture.
Jennifer Clark (Fordham University) is currently thinking about emotional expressions and temporal experiences of masculinity in post-feminist culture; TV aesthetics and history; and gender, space, and trash/low cult texts. She has published in Television & New Media, Screen, and Spectator.
Melissa Click (University of Missouri – Columbia) has research interests that include audience and fan studies, ideological analysis of popular culture, particularly concerning messages around gender, race, class, and sexuality. She is co-editor of a forthcoming anthology on Twilight. Her work has been published in Fandom and in Popular Communication, Women’s Studies in Communication, and Flow. You can also find her here.
Norma Coates (University of Western Ontario) researches and writes about music, gender, television, age, race, culture, identity and a bunch of other things. She is working on a book about rock and roll on American network television in the 1950s and 1960s. She is exposed to way too much ‘tween television and music by dint of motherhood.
Andrea Comiskey (University of Wisconsin – Madison) researches U.S. film distribution, exhibition, and reception. Her other interests include animation and cinema’s relationship to new media technologies. Her publications include pieces in Post Script, The Classical Hollywood Reader, and Illuminace.
Matthew Connolly (University of Wisconsin – Madison) studies the history and aesthetics of LGBT cinema. His work has appeared in Film Comment, Reverse Shot, Slant Magazine, and other publications.
Kyle Conway (University of Ottawa) writes about globalization, media, and translation, paying special attention to the influence of policy and industry on the forms programs take and their circuits of distribution. He is the author of Everyone Says No: Public Service Broadcasting and the Failure of Translation. With Timothy Pasch, he is co-editor of Beyond the Border (forthcoming), about the role of the US-Canada border in the Great Plains and Prairies.
Christopher Cwynar (University of Wisconsin – Madison) researches questions pertaining to nations and nationalism as they intersect with the mass media and the virtual realm. He is interested in Canadian public broadcasting, particularly the manner in which nationalist discourses have developed around CBC Radio’s various channels and incarnations.
~~ D ~~
Evan Davis studies authorship and style in the films of Orson Welles. He is also interested in the history of American film criticism, developments in contemporary world cinema, and the films of Nicholas Ray. His work has appeared in Film Comment Magazine.
Max Dawson has published work on home video history, mobile television, and short-form web video in a number of journals and edited collections. Follow his 140-character rants on NBC’s demise, Survivor, and his cats Buddy and Landry @fymaxwell, or check out his website.
Bonnie Dow (Vanderbilt University) is a feminist scholar of rhetoric and media. She is the author of Prime-Time Feminism: Television, Media Culture, and the Women’s Movement Since 1970 and co-editor of the Handbook of Gender and Communication and the Aunt Lute Anthology of U.S. Women Writers, vol. 1, 17th-19th Centuries. She is currently working on a project about broadcast news coverage of the second wave of U.S. feminism.
Jimmy Draper (University of Michigan) has published on issues of gender and sexuality in Critical Studies in Media Communication, Popular Communication, and Television & New Media.
Sean C. Duncan (Indiana University) studies interactive media, learning, literacy, and fan communities, with a focus on digital games. He writes on gaming communities and learning, and is the co-editor (with Betty Hayes) of the upcoming book Videogames, Affinity Spaces, and New Media Literacies. Sean also blogs at Miami’s AIMS blog and his personal site se4n.org. He hopes to someday learn how to play a Spy in Team Fortress 2, if just because he’s always wanted to learn French.
~~ E ~~
Amanda Nell Edgar (University of Missouri – Columbia) studies gender, race, and sexuality as represented in popular culture. Her research focuses on the ways in which political messages about civil and human rights are filtered through the media production machine, covertly reappearing in music, television, film, and cultural rhetoric.
Liz Ellcessor (Indiana University) researches the ways in which the structures and policies of internet media shape social practices, with a particular focus on embodiment, identity and disability. She is also interested in online celebrity, video games, and MTV’s many media ventures. Her work has appeared in Information, Communication, & Society, Cinema Journal, and Television and New Media.
Tarik Ahmed Elseewi (Whitman College) is a Mellon Postdoctoral Fellow in Television Studies at Vassar College. As an Egyptian-American scholar, Tarik has been interested in both sides of the hyphen, writing and researching on Egyptian and Arab media and national identity, the representation of Arabs and Muslims in American media, the history of broadcasting and representational regimes in the United States, and transnational/global media issues especially around issues of national and cultural identities.
~~ F ~~
Brian Fauteux (University of Wisconsin – Madison) researches radio, sound, and music. The majority of his work is on Canadian campus radio and local music, though he also loves writing about his favourite bands (like Refused and Joy Division). He contributes to CultCap, a collaborative research project concerned with the digital music industry, and he can be followed on Twitter @brianfauteux
Terry Flew (Queensland University of Technology, Brisbane, Australia) studies creative industries, digital media, global media, media policy, and the impact of new technologies on journalism. He is the author of New Media: An Introduction, Understanding Global Media, and The Creative Industries, Culture and Policy, editor of Creative Industries and Urban Development: Creative Cities in the 21st Century, and co-author of the forthcoming Key Concepts in Creative Industries. He can be followed on Twitter at @flew and at his blog. His university web page is here.
Sam Ford (Peppercom Strategic Communications) studies television, popular culture, and digital communication. He is co-editor (with Abigail De Kosnik and C. Lee Harrington) of The Survival of Soap Opera: Transformations for a New Media Era and co-author (with Henry Jenkins and Joshua Green) of Spreadable Media: Creating Value and Meaning in a Networked Culture. His work has been/will be published in Transformative Works and Cultures, Third Person, The Essential Cult Television Reader, Bodies of Discourse, and the forthcoming Suiting Up. Sam publishes frequently for Fast Company and can be found on Twitter @Sam_Ford.
Joy V. Fuqua (Queens College/City University of New York) is author of the forthcoming Ill Effects: Prescribing Television in the Hospital and at Home. Fuqua’s current research examines the culture and economic aspects of disaster in relation to home. Some of her work may be found in the Journal of Television and New Media and Celebrity Studies.
~~ G ~~
Racquel Gates (College of Staten Island, CUNY) teaches a variety of courses in cinema and media studies, but specializes in racial representation in popular culture. Her work has been published in In Media Res, The Velvet Light Trap, and elsewhere. When she’s not glued to the latest offerings by Bravo and VH1, she can be found on Twitter @racquelgates and on Facebook.
Lindsay Giggey (University of California – Los Angeles) researches television, media industries, celebrity, and branding. She frequently spends her free time in an unending quest to clear out her DVR.
Kevin Glynn (University of Canterbury in Aotearoa/New Zealand) teaches media studies, cultural studies, and American studies. He has published widely in media and cultural studies journals and is author of Tabloid Culture: Trash Taste, Popular Power and the Transformation of American Television. His current research projects involve Indigenous media practices; media convergence; and intersections between popular culture, (cultural) citizenship, US political culture, and the media.
Keara Goin (University of Texas – Austin) teaches on Race, Ethnicity, and the Media and her research interests are primarily race, gender, identity, Afro-Caribbean, media ethnography, and Latina/o representation. She is the Senior Editor of Flow, where you can also find some of her work. She is currently working on two forthcoming articles: “Marginal Latinidad: Ambiguity and the Racialization of Rosario Dawson” and “Communicating Identity: Gendered Representation and the Influence of the Megadiva.” She can be followed @KearaGoin.
Ian Gordon (National University of Singapore) is an Australian historian of the USA who works on media. His works include Comic Strips and Consumer Culture, Comics and Ideology (ed), Film and Comic Books (ed), and an array of book chapters and essays.
Paul Grainge (University of Nottingham) teaches and writes on the media industries, with particular interesting in branding and promotion. His books include Ephemeral Media: Transitory Screen Culture from Television to YouTube (editor), Brand Hollywood: Selling Entertainment in a Global Media Age, Film Histories: An Introduction and Reader, Memory and Popular Film (editor) and Monochrome Memories: Nostalgia and Style in Retro America.
Jonathan Gray (University of Wisconsin – Madison) researches and consumes comedy, political entertainment, audiences (yummy), contemporary television, convergence, and international media. His most recent book, A Companion to Media Authorship (edited with Derek Johnson), joins Television Studies(co-authored with Amanda Lotz), monographs Show Sold Separately: Promos, Spoilers, and Other Media Paratexts, Television Entertainment, Watching with The Simpsons: Television, Parody, and Intertextuality, and the co-edited Satire TV, Fandom, and Battleground: The Media. He also blogs intermittently at The Extratextuals, and can be found here.
Hollis Griffin (Denison University) studies and teaches courses on media historiography, narrative analysis, queer & critical theory, and issues related to emotion, citizenship, and consumer culture. His work has been published in Popular Communication, Television & New Media, Velvet Light Trap, Spectator, JumpCut, In Media Res, Flow, and the anthology Film and Sexual Politics. Add him on Academia.edu or follow him on Twitter @profgrif.
~~ H ~~
Germaine Halegoua (University of Kansas) researches the relationship between new media technologies, practices and the urban environment; cultural geography of globalization; new media and civic engagement; ubiquitous computing; and telecommunications policy. She is currently finishing her dissertation titled, New Mediated Spaces and the Urban Environment.
Erin Hanna (University of Michigan) studies media industries and audiences. Her dissertation examines how the organization and control of space at Comic-Con produces and reinforces hierarchies that shape the relationship between media industries and fans. You can read her work in Cineaction and Television and New Media and follow her on Twitter @erinhanna.
Mary Beth Haralovich (University of Arizona) teaches television and film history in the School of Theatre, Film & Television. Among her studies of television are: the popular appeal of Magnum, p.i.; geo-politics of civil rights in I Spy; and third wave feminism in Mad Men. Her social history of the 1950s suburban family situation comedy has been reprinted several times. Co-editor of Television, History, and American Culture: Feminist Critical Essays, Haralovich is a founder and Board Member of the International Conference on Television, Video, New Media, Audio and Feminism: Console-ing Passions.
C. Lee Harrington (Miami University) researches audiences and fans, with a specific focus on the US daytime soap opera world for the past 20+ years. She co-edits Popular Communication: The International Journal of Media and Culture with Jonathan Gray and Cornel Sandvoss and recent publications appeared in International Journal of Cultural Studies and Transformative Works & Cultures.
Nate Harrison (School of the Museum of Fine Arts) is an artist and writer working at the intersection of intellectual property, cultural production and the formation of creative processes in modern media. He teaches a history, theory and practice of sound in art, and is completing his dissertation on appropriation art and legal history since the 1970s. His projects and writings can be found at www.nkhstudio.com.
John Hartley (Curtin University, Australia) has been “reading television” for quite a while, most recently in Television Truths. His latest book is The Uses of Digital Literacy. His interests include popular culture, media and journalism. Lately he has focused on creative industries and innovation, leading to current work on the convergence of evolutionary/complexity theory with the study of culture, a.k.a. ‘cultural science.’ John is editor of the International Journal of Cultural Studies.
Timothy Havens (University of Iowa) is the author of Black Television Travels: African American Media Around the Globe (NYU Press, 2013) and Global Television Marketplace (British Film Institute Publishing, 2006). He is co-author with Amanda D. Lotz on Understanding Media Industries (Oxford University Press, 2011). His published research has also appeared in Communication, Culture & Critique; Critical Studies in Media Communication; Media, Culture & Society; the Journal of Broadcasting and Electronic Media; Gazette; and the Global Media Journal.
Mark Hayward (Wilfred Laurier University) researches the relationship between media, identity and technology. One current research projects analyzes the internationalization of public service broadcasting. Another project focuses on debates about the transformation of subjectivity in relation to technology drawing on the work of Gilbert Simondon.
Heather Hendershot (MIT) studies children’s television, conservative media, horror films, comedy, and sci-fi. She is the editor of Nickelodeon Nation: The History, Politics, and Economics of America’s Only TV Channel for Kids and author of Saturday Morning Censors: Television Regulation before the V-Chip, Shaking the World for Jesus: Media and Conservative Evangelical Culture, and What’s Fair on the Air? Cold War Right-Wing Broadcasting and the Public Interest.
Brian Eugenio Herrera is, by turns, a writer, teacher, performer and scholar presently based in New Jersey, but forever rooted in New Mexico. Brian’s academic and creative work examines the history of gender, sexuality and race within and through popular performance. His first book Latin Numbers: Playing Latino in 20th Century US Popular Performance is forthcoming in 2015 from University of Michigan Press, and his next develops a scholarly history of casting in American entertainment. Brian can be found here and on Twitter@stinkylulu.
Matt Hills (Aberystwyth University) has published widely on fandom and cult media. His most recent book is Triumph of a Time Lord: Regenerating Doctor Who in the Twenty-first Century, and he’s working on a spin-off about the spin-off Torchwood. Matt can be found here and on Twitter @mat_hills.
Ashley Hinck (University of Wisconsin – Madison) studies the ways in which fan activism rhetoric blends fan community with political action, creating particular opportunities for the cultivation of political subjectivities, citizenship, and social movements. Working at the intersection of studies of rhetoric, fandom, and the internet, her work has been published in Transformative Works and Cultures and Argumentation and Advocacy. She can be found here.
Lindsay Hogan (Boston College) researches issues related to celebrity, television, and youth markets, including gender and the construction of teen/”tween” audiences; early teen gossip magazines; and gender, labor, and child stardom. She is an avid viewer of television for all ages, has a love/hate relationship with Miley Cyrus, and wishes more Baby Boomers had kept their old issues of 16 and TigerBeat.
Jennifer Holt (University of California – Santa Barbara) teaches courses on media industries, television studies, and digital media. She is the author of Empires of Entertainment: Media Industries and the Politics of Deregulation, 1980-1996 and co-editor of Media Industries: History, Theory, and Method. She is the co-director of UCSB’s Media Industries Project and can also be found here and here.
Jonah Horwitz (University of Wisconsin – Madison) teaches film and public speaking, and is researching the interactions between live television drama, theater, and film in the 1950s and early 1960s. His other interests include European silent film, photography and film, and film technology and aesthetics.
Robert Glenn Howard (University of Wisconsin – Madison) teaches network communication, the vernacular discourse, folklore, and religion. His ongoing scholarship looks at everyday online discourse such as his book Digital Jesus: The Making of a New Christian Fundamentalist Community on the Internet. His current projects combine more traditional ethnographic methods with network graphing to investigate the emergent power of everyday communication in digital enclaves. You can also find more on his current research and download many of his publications at http://rghoward.com.
Charlotte E. Howell (Georgia State University) studies and teaches courses on television, genre(s), and media history. She is an associate editor for In Media Res. She has a blog and can be followed on Twitter @cehowell6.
Eric Hoyt (University of Wisconsin – Madison) teaches digital media production and studies the relationships between media, industry, culture, and law. His articles have appeared in Cinema Journal, Jump Cut, The International Journal of Learning and Media, World Policy Journal, and Film History. He co-directs the Media History Digital Library and has been leading the development of its new database and fulltext search engine–an endeavor which leaves him twisting and turning at night with thoughts about Ruby on Rails and improperly formatted XML documents. You can follow him on Twitter @HoytEric and also find him here.
Kit Hughes (University of Wisconsin, Madison) researches institutional media and the politics of archives. Her dissertation offers a cultural history of the development of televisual technologies for American business and industry. Her work has been published in Media, Culture & Society, American Archivist, and Film Criticism.
Nina Huntemann (Suffolk University) researches new media technologies, particular video and computer games, and incorporates feminist, critical cultural studies and political economy perspectives. She co-edited with Matthew Thomas Payne the anthology Joystick Soldiers: The Politics of Play in Military Video Games, and she is producer, writer, and director of the forthcoming educational video, Game Over 2: Gender, Race and Violence in Video Games (to be distributed by the Media Education Foundation). She can also be found here.
Kyra Hunting (University of Kentucky) (formerly Kyra Glass von der Osten) researches depictions of family, gender and sexuality, and religious faith in contemporary popular film and television. She is particularly interested in how these loaded issues intersect in many programs. She also studies video games, particularly their relationships to control and the adaptation of children’s literature and film into video games. She still gets that love at first sight, slightly buzzed feeling when the lights go down in a movie theater and is glad to make use of the many hours her parents said she wasted as a child watching tv.
~~ J ~~
Josh David Jackson (University of California – Berkeley) researches the industrial and cultural impact of TV on the internet and the internet on TV. His other interests include ’70s rock music, antiquated recording media, comic books, and the representation of marsupials in popular culture.
Deborah L. Jaramillo (Boston University) teaches courses in television studies. She is author of Ugly War Pretty Package: How CNN and Fox News Made the Invasion of Iraq High Concept, and her work has also been published in Journal of Communication Inquiry, Television and New Media, Television: The Critical View, 7th edition, and The Survival of Soap Opera.
Sarah Jedd (University of Wisconsin – Madison) researches and teaches an upper level criticism course on the rhetoric of reproductive rights. Her work on the Planned Parenthood Federation of America explores the ways in which discourses of citizenship, pronatalism, and motherhood reproduce images of ideal families. Her most recent, co-authored, chapter appears in The Handbook of Rhetoric and Public Address.
Derek Johnson (University of Wisconsin – Madison) is the author of Media Franchising: Creative License and Collaboration in the Culture Industries, as well as the co-editor of A Companion to Media Authorship and Suiting Up: Cultures of Management in the Media Industries (forthcoming). His research focuses on the media industries, looking at how cultures of production negotiate creativity, convergence, and collaboration. Most recently he has started working on a new single-authored book project focusing on children’s media industries and the way in which producer identities cohere in relation to notions of age, taste, and the child audience. You can also find him here.
Jenell Johnson (University of Wisconsin – Madison) teaches courses on the rhetoric of science and medicine. She is the co-editor of The Neuroscientific Turn: Transdisciplinarity in the Age of the Brain and her work has also been published in Rhetoric Society Quarterly, Advances in Medical Sociology, Journal of Literary and Cultural Disability Studies, Medical Studies, and jac.
Jeffrey P. Jones (University of Georgia) is Director of the George Foster Peabody Awards. He writes and teaches on entertainment television and popular politics, including news and talk shows. He is the author of Entertaining Politics: Satiric Television and Political Engagement, and co-editor of Satire TV and The Essential HBO Reader. He also hopes Roger Ailes slips on black ice this winter.
Jennifer Lynn Jones (Indiana University) is a feminist media scholar, working primarily on the politics of identity, embodiment, and representation in media. Her dissertation is on celebrity, corpulence, and convergence in contemporary American culture, and she teaches on a wide variety of topics, most recently television genres and video production. You can peek into what’s currently crossing her screens here.
~~ K ~~
Katie Kapurch (Texas State University) teaches English courses in adolescent literature, fairy tales and myth, and critical theory. Her research focuses on girls and popular culture, and she has published articles in the Children’s Literature Association Quarterly and Neo-Victorian Studies, as well as chapters in edited collections published by Ashgate and Routledge. Her latest project is a book that theorizes melodrama in young adult literature and girl-authored media. You can also find her here and here .
Mary Celeste Kearney (University of Notre Dame) is author of Girls Make Media and editor of Mediated Girlhoods: New Explorations of Girls’ Media Culture and The Gender and Media Reader. She is a Console-ing Passions board member and Founding Director of Cinemakids, a program for inspiring young media producers. Mary’s blog, Girls Make Media, honors and promotes girl media producers and their work.
Amanda Keeler (Marquette University) teaches courses on film and television aesthetics, television criticism, and the history of broadcasting. She is the author of “Branding the Family Drama: Genre Formations and Critical Perspectives on Gilmore Girls” and her work has been published in The Moving Image, Sounding Out!, Antenna, and In Media Res. She can be followed on twitter @amanda_r_keeler.
Jen Kelly (DePaul University) is currently working on her thesis about the intersection of Tumblr, fandom, and queer identity. She is also interested in studying gender, television, and social media. She can be found on Twitter at @msjenkelly.
Kelly Kessler (DePaul University), when not comatose in front of her television or ranting on Facebook, teaches American television and film studies, often focusing on issues of gender, genre, and sexuality. Most recently she has been examining the musicalization of fictional television (because it’s cool when sitcoms sing) and the transtextual targeting and branding of the fans of Army Wives and Heroes. She is author of Destabilizing the Hollywood Musical, Music, Masculinity, and Mayhem.
Dina Khdair (DePaul University) researches globalization and popular Hindi cinema, transnational cultural flows, and the convergence of commercial entertainment industries. Her work has appeared in Studies in South Asian Film and Media.
Danny Kimball (Goucher College) studies and teaches about ‘new media’ technologies, media and telecommunications policy, and the cultural politics of the internet. He is currently writing a dissertation on the regulation of digital network infrastructures and its implications for access to and participation in the public sphere. You can also find him here and follow him on Twitter @djkimball.
Bill Kirkpatrick (Denison University) specializes in U.S. broadcast history, cultural approaches to media policy, and media and disability. His publications include articles in Radio Journal, Journal of the Society for American Music, The Journal of Popular Culture, and several anthologies, and he currently is working on a book project about localism in American media.
Amanda Ann Klein (East Carolina University) teaches and researches in the areas of film history and historiography, film genres, African American cinema, exploitation cinema, and reality television. She is author of the forthcoming American Film Cycles and their Audiences. You can find her here and read her blog here.
Simone Knox (University of Reading) researches and teaches television and film in relation to matters of the trans-national, aesthetics and medium specificity, and representations of the body. She has published in journals including Journal of Popular Film and Television and Critical Studies in Television. She also blogs at Screens and Stages and can be found here.
Derek Kompare (Southern Methodist University) is primarily interested in how media forms and genres develop at the intersection of culture and industry. He is the author of Rerun Nation: How Repeats Invented American Television, and CSI, as well as several articles on television form, genre, authorship, and fandom. An unrepentant Doctor Who fanboy with an agnostic interest in comics and cuisine, he occasionally also writes at his blog, but is usually more readily available on Twitter @d_kompare, and can be found here.
Jon Kraszewski (Seton Hall University) studies cultural production in the media industries, race and reality TV, and the cultural geography of mediated sports. He is author of The New Entrepreneurs: An Institutional History of Television Anthology Writers. He is currently working on a book project about mixed-race identities on reality TV programs in the 2000s.
Shanti Kumar (University of Texas – Austin) teaches courses on globalization of media; technology and culture; postcolonial theory and criticism and Indian cinema and television. He is the author of Gandhi Meets Primetime and the co-editor (with Lisa Parks) of Planet TV: A Global Television Reader.
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Jorie Lagerwey (University College Dublin) studies representations of religion and gender on American TV and teaches courses in TV history, TV genres, and cultural studies. She can be followed on Twitter @jlags3.
Tama Leaver (Curtin University, Australia) teaches and researches internet communications and the changing nature of media and identity. He is author of Artificial Culture: Identity, Technology, and Bodies. He can be found on Twitter @tamaleaver and his main web presence is TamaLeaver.net.
Suzanne Leonard (Simmons College) specializes in feminist media studies, women’s literature, and American cinema. She is the author of Fatal Attraction, and is currently working on a book about female adultery in popular culture.
Elana Levine (University of Wisconsin – Milwaukee) researches, writes about, teaches, and consumes a whole lot of television. In particular, her interests include gender, sexuality and popular culture, television history, and media production practices. She is the author of Wallowing in Sex: The New Sexual Culture of 1970s American Television, co-author (with Michael Newman) of Legitimating Television: Media Convergence and Cultural Status, and co-editor of Undead TV: Essays on Buffy the Vampire Slayer. She blogs (infrequently) at Dr. Television, and can also be found here.
Julia Leyda (Sophia University, Tokyo) teaches American literature and cinema in the Department of English Literature. Her current research projects center on David Simon and Todd Haynes. She has published work in Cinema Journal, American Quarterly, and the Japanese Journal of American Studies. Julia spends way too much time on Facebook and her film and television blog screen dreams, but she is also excited about the growth of academia.edu, where she is here.
Chris Lippard (University of Utah) teaches courses on transnational and national cinemas. He is the co-editor of the HIstorical Dictionary of Middle Eastern Cinema and his work has also been published in Cinema Journal, The Journal of FIlm and Video, and in several volumes of the Verlag-Trier/Bilingual Press Inter American Studies series.
Alexis Lothian (Indiana University of Pennsylvania) researches and teaches on queer cultural studies, speculative fiction, and digital media. She is the editor of the book Futures of Feminism and Fandom, coeditor of a Social Text Periscope dossier on Speculative Life, and a founding member of the editorial team for the journal Transformative Works and Cultures. Her work has been published or will soon appear in International Journal of Cultural Studies, Cinema Journal, Camera Obscura, and Journal of Digital Humanities. She maintains an academic blog and tweets copiously as @alothian.
Amanda Lotz (University of Michigan) has published books examining the rise of female-centered dramas and cable channels as a result of the competitive conditions of the 1990s (Redesigning Women: Television After the Network Era), and exploring how shifts in the television industry beginning in the 1980s changed the prime time content produced and the role of television in culture (The Television Will Be Revolutionized and Beyond Prime Time: Television Programming in the Post-Network Era). Her latest book, with Jonathan Gray, is Television Studies. You can also find her here.
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Madhavi Mallapragada (University of Texas – Austin) researches and writes about online media, Asian American cultures, satellite television and immigrant politics. She is working on a book about web cultures assembled around Indian American formations since the mid-90s. You can also find her here.
Daniel Marcus (Goucher College) writes on and teaches media and politics, documentary and alternative media, and cultural history. He wrote Happy Days and Wonder Years: The Fifties and the Sixties in Contemporary Cultural Politics and edited ROAR! The Paper Tiger Television Guide to Media Activism.
Alfred L. Martin, Jr. (University of Texas – Austin) studies critical race theory, queer theory, reception studies, television studies and black queer theory. His work has also been published in Spectator and the Journal of Black Masculinity and will have essays featured in forthcoming anthologies on Blaxploitation films and contemporary musicals. He also contributes to Flow and can be followed @AlMartinMedia on Twitter.
Stefania Marghitu (King’s College London) researches the intersections of television, feminism, authorship, and industry studies. She has presented, written, and published work on topics from Romanian national cinema, women’s reproductive rights in the US, and Mad Men. You can visit her website at www.stefaniamarghitu.com and follow her on Twitter @DearStefania
Kelli Marshall (University of Toledo) writes and teaches on film and Shakespeare. Originally from Louisiana, she now finds herself surviving Midwest winters, winding through corn mazes, and taking full advantage of Cedar Point. Anything related to Shakespeare, Gene Kelly, or cocker spaniels usually captures her undivided attention. Here is her blog as well as Facebook and Twitter pages.
Nick Marx (Colorado State University) researches sketch comedy and television’s multichannel era. He enjoys the music of MF Doom, crock-pot cookery, and NBA basketball. He is co-editor of Saturday Night Live and American TV.
Ernest Mathijs (University of British Columbia) teaches courses on film and media, especially cult cinema and media audiences. He is the (co-)author of 100 Cult Films, Cult Cinema, and The Cinema of David Cronenberg, editor of cultsurvey.org and cultmovieresearch.com, and co-editor of Watching The Lord of the Rings. His work has also been published in Screen, Cinema Journal, Literature/Film Quarterly, Cineaste, Television and New Media, and other journals. He also runs the book series Cultographies and can be followed @ErnestMathijs.
Vicki Mayer (Tulane University) researches various topics, ranging from grassroots video and reality TV to ethnic identity and cultural citizenship, all sharing an interest in how people construct a sense of community from their everyday cultural practices. She is author of Producing Dreams, Consuming Youth: Mexican Americans and Mass Media and Below the Line: Producers and Production Studies in the New Television Economy, co-editor of Production Studies: Cultural Studies of Media Industries, editor of Television and New Media, and proud to be associated with the low and trashy aspects of popular culture. You can also find her here.
Allison McCracken (DePaul University) studies U.S. media and popular culture and gender/sexuality issues. She is currently doing work on feminine-gendered fan communities at conventions and on Tumblr. Her book, Real Men Don’t Sing: Crooning in American Culture, is forthcoming in 2015. She can be found on Twitter at @shegiles2010.
John McMurria (University of California – San Diego) is interested in constructs of cultural citizenship in media institutions, regulatory arenas, and audiovisual texts with attention to contestations across registers of race, class, gender, sexuality, nation and globalization. He is currently working on a history of cable television and citizenship in the US. You can find him here too.
Myles McNutt (University of Wisconsin-Madison) researches the relationship between place-based authenticity and cultures of television production, the ever-evolving communities surrounding online television criticism, and the processes and procedures which shape the form and structure of the Emmy Awards, among other subjects. In addition to researching and teaching about television, he writes about it as a contributor for The A.V. Club and at his own blog, Cultural Learnings – you can also follow him on Twitter.
Ross Melnick (University of California, Santa Barbara) is the author of American Showman: Samuel ‘Roxy’ Rothafel and the Birth of the Entertainment Industry (Columbia University Press, 2012). His research interests include global film history, Hollywood and transnational circulation, early network broadcasting, media convergence, film and music publishing and recording, silent cinema, film exhibition, and archive industry, theory, and practice. He is currently writing his next book, Screening the World: Hollywood’s Global Exhibition Empires.
Cynthia B. Meyers (College of Mount Saint Vincent) teaches Media Studies, Media Industries, New Media, and Television Production and writes about the advertising and media industries, past and present. Her work has appeared in the anthology Media Industries: History, Theory, Method; Historical Journal of Film, Radio & Television; Journal of Radio and Audio Media, and other journals; and she is currently working on a book, A Word from Our Sponsor: Admen, Advertising, and the Golden Age of Radio. Other work can be found here, on her blog, and on Twitter as @AnneHummert.
Brandon Miller (University of Missouri-Columbia) researches representations of LGBT people in the media and the effects these depictions have on individuals and society, the framing of queer issues, and the ways in which LGBTQ people utilize traditional and interactive media.
Taylor Cole Miller (University of Wisconsin-Madison) researches and writes about queer and feminist media studies, television, and syndication. He has forthcoming book chapters on bisexual reception of Glee and the mediated mourning of Whitney Houston. He is also a contributor to The Huffington Post and watches way more Oprah Winfrey Network programming than he cares to admit. Follow him on Twitter @taycole or visit his website.
Sreya Mitra (American University of Sharjah) researches issues of stardom, national identity, gender, and sexuality in contemporary popular Hindi cinema (aka Bollywood). She watches way too much television (mostly TLC and Indian reality shows on YouTube) and Bollywood, and experiments with Indian cuisine on weekends. Her pet obsessions are Indian politicians and Mumbai mafiosi.
Jason Mittell (Middlebury College) teaches and researches American television and media. He is the author of Genre and Television: From Cop Shows to Cartoons in American Culture and Television and American Culture. He is currently writing a book on narrative complexity in contemporary American television. He blogs about television and other matters at Just TV.
Jeremy Morris (University of Wisconsin – Madison) researches the current state of the popular music industry, the digitization of cultural goods and commodities, and technologies of music production, circulation and consumption. He’s also currently working on a pretty nerdy project about software and business method patents. His work has been published in Fibreculture, First Monday and in an edited collection called Sonic Mediations. Links to some of his other work, hobbies, miscellany can be found at jeremywademorris.com, the web’s premier destination for all things Jeremy Morris.
Caryn Murphy (University of Wisconsin – Oshkosh) teaches film and television history and criticism. She researches intersections of gender, sexuality, race, and ethnicity in popular media and is currently working on a study of the 1960s television series Peyton Place. She is a feminist.
Susan Murray (New York University) is the author of Hitch Your Antenna to the Stars: Broadcast Stardom and Early Television and the co-editor with Laurie Ouellette of two editions of Reality TV: Remaking Television Culture. She is currently working on a history of color television.
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Philip M. Napoli (Rutgers University) teaches courses in media management, new media, and media regulation. His books includeFoundations of Communications Policy; Audience Economics, and Media Diversity and Localism, and Audience Evolution: New Technologies and the Transformation of Media Audiences; and Communications Research in Action. He blogs at Audience Evolution.
Diane Negra (University College Dublin) is the editor of Old and New Media After Katrina which will be published in August, and author of What a Girl Wants? Fantasizing the Reclamation of Self in Postfeminism and Off-White Hollywood: American Culture and Ethnic Female Stardom. With Su Holmes she is also author of the recent In the Limelight and Under the Microscope: Forms and Functions of Female Celebrity.
LeiLani Nishime (University of Washington) writes about multiracial Asian American identity, race and science fiction, and subcultural production. Her interests that, so far, have escaped the pull of academia include mid-century design, road trips, and fashion. She can also be found here.
Michael Z. Newman (University of Wisconsin – Milwaukee) studies American media and popular culture including cinema and television. Among his research interests are indie film culture and the cultural legitimation of television. He is author of Indie: An American Film Culture, and (with Elana Levine) of Legitimating Television: Media Convergence and Cultural Status. Here are his Twitter and blog.
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Eleanor Patterson (University of Wisconsin – Madison) is a feminist media scholar focusing on how the past is represented through radio, television, and new media. This includes considering media production cultures that are producing historical media, and how labor practices shape these representations, alongside audience studies to understand how listeners/viewers engage with past through media.
Allison Perlman (University of California – Irvine) is co-editor of Flow TV: Television in the Age of Media Convergence, and her work has appeared in Feminist Media Studies, Critical Studies in Media Communication, and the International Journal of Motorcycle Studies. She is currently working on a book on media activism, social movements, and media policy in the United States.
Alisa Perren (University of Texas – Austin) researches and teaches media industry studies, television studies, and US film and television history. She is the co-editor of Media Industries: History, Theory, and Method, author of Indie, Inc.: Miramax and the Transformation of Hollywood in the 1990s, and the Coordinating Editor of In Media Res. She also blogs at www.themediaindustries.net and tweets as @aperren.
Anne Helen Petersen (Buzzfeed) studies Hollywood stars, celebrity gossip, and American television. She enjoys trolling for old copies of scandal magazines on eBay and using her subscription to US Weekly as a tax write-off. You can find her regular musings at Celebrity Gossip, Academic Style.
Karen Petruska (University of California – Santa Barbara) is the Project Lead for the Media Industries Project’s Connected Viewing Initiative. Her research interests include digital distribution, television history, and regulatory policy. Her work appears or is forthcoming in The Velvet Light Trap, Creative Industries, Spectator, Popular Communication, In Media Res, Antenna, and three anthologies.
Devon Powers (Drexel University) primarily researches popular music, promotional culture, and 20th century history. She is the author of a forthcoming book on the history of rock criticism and the co-editor (with Melissa Aronczyk) of Blowing Up the Brand: Critical Perspectives on Promotional Culture. She has also published in International Journal of Communication, Popular Music & Society, and the Journal of Consumer Culture. Find her here or @devonjpowers.
William Proctor (University of Bournemouth) explores the reboot phenomenon in comic books, film and TV which has become a significant feature of the transmedia landscape in the 21st century. William has published several articles on the reboot alongside other peer-reviewed articles and book chapters including: “Regeneration and Rebirth: Anatomy of the Franchise Reboot” and “‘Holy Crap, More Star Wars! More Star Wars? What if They’re Crap?': Disney, Lucasfilm and Star Wars Online Fandom in the 21st Century.”
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Sharon Ross (Columbia College Chicago) teaches TV history and critical studies and her work focuses on audience reception (Beyond the Box: Television and the Internet). This position allows her to watch ridiculous amounts of TV in the name of research, so this bio is now being interrupted by her need to return to the TV set. She fully intends to raise her son with a healthy love of the medium.
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Rossend Sanchez-Baro (Universitat Pompeu Fabra) researches serial narrative and television authorship with a specific focus on Aaron Sorkin. He has written and published about television aesthetics and the intersections between comics, television and ancient drama. He also runs the blog 4actos and can be followed on Twitter @Ricosalamar.
Kevin Sanson (University of California – Santa Barbara) is the Manager of the Media Industries Project where he oversees various research projects, website content, and publications. His writing appears in Journal of Popular Communication, Velvet Light Trap, and on the MIP website. You can follow him on Twitter @ksanson or @MediaIndustries.
Avi Santo (Old Dominion University) likes superheroes in all their IP permutations. He really knows a lot about the Lone Ranger. He studies the cultural and creative roles licensers play in making popular heroes popular. He is also the co-creator of MediaCommons, FlowTV, and In Media Res. You can also find him here.
Emily Sauter (University of Wisconsin – Madison) researches intercultural rhetoric, globalization/transnational studies, and political communication with an emphasis on the intersections of feminist and public address theory. She is an avid world traveler and uses her academic work as a path to enrich both her personal and her political life. She can be found here.
Philip Scepanski (Concordia University Chicago) studies how television comedy engages and manages moments of national trauma.
Tom Schatz (University of Texas at Austin) has written four books on American film (and edited many others), including The Genius of the System: Hollywood Filmmaking in the Studio Era, and Boom and Bust: American Cinema in the 1940s. His writing on film has appeared in the New York Times, the Los Angeles Times, Premiere, The Nation, Film Comment, Film Quarterly, and elsewhere. He is currently writing a book-length study of conglomerate-era Hollywood.
Bradley Schauer (University of Arizona) teaches, researches, and writes about the contemporary media industries. His other interests include classical Hollywood, cult & exploitation cinema, and the American comic book industry. His dissertation, written at the University of Wisconsin, is entitled “The Pulp Paradox: Science Fiction and the Exploitation Tradition in Hollywood, 1950-1986.”
Adrienne Shaw (Temple University) studies and teaches courses on the intersections of digital gaming, cultural studies, feminist and queer theory, qualitative audience research, and the representation of marginalized groups in media (particularly LGBTQ representation). She also one of the current co-chairs of the GLBT Studies group for the International Communication Association. Her work has been published in Critical Studies in Media Communication, New Media and Society, and Games and Culture. More information on her work can be found here.
Josh Shepperd (Catholic University) conducts primary document research on the intellectual, regulatory, and aesthetic history of public and non-commercial broadcasting in the U.S. He also holds keen interests in cultural studies, critical theory, and phenomenology.
Shawn Shimpach (University of Massachusetts – Amherst) teaches and researches cinema, television, media, and cultural studies. His research has focused on the social and institutional construction of the media audience, the on-going transformation of television, the cultural history of entertainment, and the various ways that popular culture might matter to people. He is the author of Television in Transition: The Life and Afterlife of the Narrative Action Hero and various articles and book chapters. You can find him here and here.
Matt Sienkiewicz (Boston College) is a documentarian of modest repute and a media scholar with aspirations towards modest repute. His interests include Middle Eastern media, religion on the American screen, culture theory and baseball cards. He claims to be the only man on earth who both a) keeps a kosher kitchen b) once spent an hour in a room with Norwegian black metal band Satyricon debating whether or not they wanted to stick their hands in a vat of congealed pig fat. He is correct.
Erin Copple Smith (Austin College) researches the media industries—specifically conglomerates and the intersection of ownership and content, as well as various advertising and promotional strategies (including all the cool stuff ad agencies think they’ve created, but are really just variations on “old” techniques).
Jennifer Margret Smith (University of Wisconsin – Madison) studies the industry, fans, and texts of superhero comic books, with particular emphases on the politics of representation and the reorganization of comic book culture in the Web 2.0 era. She also holds an interest in the study of tween and teen media. She blogs about comics at Fantastic Fangirls and can be followed on Twitter @jmargretsmith.
Beretta E. Smith-Shomade (Tulane University) studies television representation, industry, and culture. Her first book is Shaded Lives: African- American Women and Television. Her second book, Pimpin’ Ain’t Easy: Selling Black Entertainment Television, tackles the significance of BET in our media landscape—an entity that has received only limited scholarly engagement. Smith-Shomade has published essays in Cinema Journal, Television and New Media, and Spectator. She has also worked in television news and continues to do documentary production.
Jason Sperb (Indiana University) is author of Disney’s Most Notorious Film: Race, Convergence, and the Hidden Histories of Song of the South and The Kubrick Facade: Faces and Voices in the Films of Stanley Kubrick, and co-editor of Cinephilia in the Age of Digital Reproduction: Film, Pleasure, and Digital Culture, Vols. 1 and 2. He is currently researching a project on images of Hawai’i in US film and television from 1935-1970. He has contributed articles to such journals as Cinema Journal, Quarterly Review of Film and Video, Biography, Culture, Theory and Critique and others. He maintains a horribly neglected blog, Jamais Vu.
Louisa Stein (Middlebury College) spends (too?) many of her waking hours thinking about the intersections of TV, transmedia culture, gender, generation, and fandom. She has published on audiences and transmedia engagement in a range of journals and edited collections including Cinema Journal, Popular Communication, and the forthcoming Flow TV anthology. She is co-editor (with Sharon Ross) of Teen Television: Essays on Programming and Fandom. She can also be found here and on Twitter.
Jonathan Sterne (McGill University) is, among other things, author of The Audible Past: Cultural Origins of Sound Reproduction, MP3: The Meaning of a Format, and editor of The Sound Studies Reader. He can be found online at http://sterneworks.org.
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R. Colin Tait (Texas Christian University) is the co-author of The Cinema of Steven Soderbergh: Indie Sex, Corporate Lies and Digital Videotape (with Andrew deWaard). His latest project, “Robert De Niro’s Method: Acting, Authorship and Agency in the New Hollywood” is the first academic study to use the newly acquired archival resource – the Robert De Niro Papers – to reassess De Niro’s significance within the Hollywood Renaissance. Other publications include work on genre cycles, television, and digital film distribution. He is the former co-coordinating editor of Flow and intermittently updates Watchin’ with my Wife. He can be found at www.rcolintait.com or on Twitter, @rcolintait.
Lynnell L. Thomas (University of Massachusetts – Boston) is a native New Orleanian whose teaching and research explore the relationship between history and memory within popular narratives. Her recent scholarship has appeared in American Quarterly, Performance Research, and Seeking Higher Ground: The Hurricane Katrina Crisis, Race, and Public Policy Reader, and she has contributed her expertise in various print media, on radio, and on television. Her current book project examines Hurricane Katrina through the lens of New Orleans’ racialized tourism narrative.
Ethan Thompson (Texas A&M University – Corpus Christi) teaches media and cultural studies and writes about historical and contemporary television comedy. He is the author of Parody and Taste in Postwar American Television Culture and co-editor of Satire TV. He can also be found here.
Chuck Tryon (Fayetteville State University) is the author of On Demand Culture: Digital Delivery and the Future of Movies and Reinventing Cinema: Movies in the Age of Media Convergence. He has also written several essays on the role of YouTube in the 2008 election, including “Political Video Mashups as Allegories of Citizen Empowerment” (with Richard L. Edwards) for First Monday, and “Pop Politics: Online Parody Videos, Intertextuality, and Political Participation,” for Popular Communication. He has also published an early essay on using blogs in the first-year composition classroom for the journal Pedagogy. He frequently writes about film and media at The Chutry Experiment, where he has been blogging since 2003.
Amy Tully (University of Wisconsin – Madison) studies the intersections of gender, military culture, and collective memory of the Vietnam War in contemporary American political discourse. She is currently working on a dissertation examining how these issues interact in discourse from the 2004 U.S. presidential election and on a project exploring the underrepresentation of women veterans in discourses about veterans’ mental health issues.
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Shawn VanCour (NYU-Steinhardt) teaches courses in media history, theory, industry studies, and sound studies. His research explores the aesthetics of media transition, tracing the origins and transformations of preferred programming forms and production practices for U.S. broadcasting. His publications include articles on early radio programming and TV production style, Rudolf Arnheim’s contributions to contemporary media theory, and the origins of modern broadcasting archives.
Neil Verma (University of Chicago) is a Harper-Schmidt Fellow who he teaches media aesthetics. His book Theater of the Mind: Imagination, Aesthetics and American Radio Drama (University of Chicago Press, 2012) is the winner of the Best First Book Award from the Society for Cinema & Media Studies.
Alyxandra Vesey (University of Wisconsin – Madison) is a feminist media scholar who studies the relationship(s) between gender, labor, music culture, and convergence. She also runs the blog Feminist Music Geek, is a frequent contributor for Bitch Magazine, and volunteers for Girls Rock Camp Madison. She can be reached @ms_vz.
Travis Vogan (University of Iowa) studies sport media with an emphasis on documentary film, television, and media industries. He is currently writing a book on NFL Films, the National Football League’s subsidiary film production company. His work has appeared in The Journal of Sport History, The Moving Image, The International Journal of Sport Communication, and various other places.
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Karin Wahl-Jorgensen (Cardiff University) teaches and does research on journalism and citizenship, and her books include Journalists and the Public, Citizens or Consumers? as well as two edited collections; the Handbook of Journalism Studies and Mediated Citizenship. She runs Cardiff’s MA in Journalism Studies and MA in Political Communications.
Kristen Warner (University of Alabama) studies/teaches courses on the intersection of production cultures and racial representation. Her work has also been published in In Media Res and Flow. She also runs Dear Black Woman and can be followed on Twitter @kristenwarner.
Thomas Jefferson West III (Syracuse University) researches the representation of history within film and television, with special interest in the genre of the epic, masculinity, and the representation of the body. His research and teaching also encompass feminist and queer film/TV theory, The Golden Girls, and industry studies. He is also an avid fan of all things Tolkien. He regularly contributes to In Media Res, blogs at Queerly Different, and you can follow him on Twitter @tjwest3.
Joe Wlodarz (University of Western Ontario) has published in Camera Obscura, The Velvet Light Trap, Queer TV: Theories, Histories, Politics, and Hollywood Reborn: Movie Stars of the 1970s. He is author of the forthcoming American Macho.
Pamela Robertson Wojcik (University of Notre Dame) teaches courses on childhood and film, the movie musical, popular music in film, Frank Sinatra, and Alfred Hitchcock. She is the author of The Apartment Plot: Urban Living in American Film and Popular Culture, 1945 to 1975 and Guilty Pleasures: Feminist Camp from Mae West to Madonna.
Faye Woods (University of Reading) researches and teaches film and television, with particular focus on youth representations, popular music and industry. She has published on Gilmore Girls and American Dreams and has work forthcoming on teen dance films, popular music and television narrative, structured reality programming, and the relationship between US and UK youth television. She also runs a blog and can be followed @FayebellineW.
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Andrew Zolides (University of Wisconsin-Madison) researches the growing convergence of reality, facilitated by new digital platforms, consumer-driven production, and corporate synergy. He examines the industrial production of celebrity personas, focusing on the ways technology, management, and creative agency intersect. He can be followed @DZolides.