James Newman, PhD, is a Research Professor in Media and University Teaching Fellow at Bath Spa University. He specializes in videogame studies, game sound/music, and media histories. As Senior Curator at the National Videogame Museum and co-founder of the Videogame Heritage Society, he focuses on preservation and digital heritage. His work spans academic research, public engagement, and creative practice. Education: Holds a PhD in Media Studies. Research: Explores game spectatorship, early game sound, and ludomusicology. Grants: Supported by ESRC, Wellcome Trust, AHRC, and others. Awards: Includes fellowships from Stanford University and ICHEG. Contributions: Co-authored White Papers, directed the All Your Bass festival, and collaborates with institutions like the British Library on the Game Sound Archive. Public Engagement: Regular media contributor (BBC, The Guardian) and international adviser on game studies. Creative Work: Composes electronic music using obsolete synthesis systems and game hardware.
Dr. Luisa Calè is a Professor of Romantic and Nineteenth-Century Literature & Visual Culture and Research Lead at Birkbeck, University of London. She holds degrees from the University of Rome 'La Sapienza' (1993), University of Genoa (1997), and the University of Oxford (M.St. 1998, D.Phil 2002). Her research explores the interplay between literature and visual/material culture, focusing on book history, intermediality, and practices of reading/collecting. Her Leverhulme Trust-funded project 'The Book Unbound' examines how works by Blake, Walpole, and Dickens subverted traditional book formats. Education: PhD in Literary Studies, University of Genoa (1997) D.Phil., University of Oxford (2002) M.St. in English, University of Oxford (1998) Letters Degree, University of Rome (1993) Her research interests include Romantic aesthetics, material texts, and critical disciplinarity. Notable publications include Fuseli’s Milton Gallery (2006) and co-edited volumes like Dante on View (2007). She edits Blake/An Illustrated Quarterly and serves on editorial boards for Word & Image and Romantic Circles Gallery . Recent awards include a Leverhulme Trust Research Fellowship (2019) and a Mercator Fellowship (2018-19). She supervises graduate students in Romantic literature, material culture, and book history.
Matthew Payne is an Associate Professor in the Department of Film, Television, and Theatre at the University of Notre Dame. His affiliations include roles as Director of Graduate Studies and regional director for the Learning Games Initiative, a multi-institute research collective focused on game archiving and education. His research spans video game studies, media literacy, military entertainment, and the cultural history of video games. He explores play theory, media and war, and the intersection of media production with new technologies. The 15 most recent articles highlight his focus on video game studies, transmedia narratives, and the cultural implications of gaming. These works cover topics from Nintendo Amiibo to slow game time mechanics in Red Dead Redemption 2, with recurring themes of military representation and ludic storytelling. Matthew Payne has co-edited notable works including How to Play Video Games and Joystick Soldiers , emphasizing collaborative approaches to game studies and critical analysis of military gaming.
Malini Guha is an Associate Professor of Film Studies at Carleton University , cross-appointed to the Institute for Studies in Art and Culture and affiliated with Migration and Diaspora Studies . She holds the Ruth and Mark Phillips Professorship (2025-2027), focusing on geographical thinking across disciplines. Education: B.A. (University of Toronto), M.A. (York University), PhD (University of Warwick) Research Interests : Guha's work spans cinema and the city , diasporic/postcolonial cinema , public projection art , and ciné-geography . Recent projects include SSHRC-funded research on traction, flight, and becoming in moving images. Selected Publications : Author of From Empire to the World: Migrant London and Paris in the Cinema (2015) and co-editor of London as Screen Gateway (2023). Her articles appear in Feminist Media Histories , Routledge Companion to Media and the City , and Canadian Journal of Film Studies . Scientific Awards : Ruth and Mark Phillips Professorship (2025-2027) FASS Mid-Career Research Grant (2021) SSHRC Insight Development Grant (2023-2025) Collaborative Work : Co-organized Carleton’s Racialized and Indigenous Faculty Alliance (2022-2024), co-taught interdisciplinary course on Race and Representation in the Arts (2023), and collaborates with artist Neven Lochhead on projects like Something Happened (2024).
Massachusetts Institute of TechnologyUnited States
T.L. Taylor is a Professor of Comparative Media Studies at MIT, affiliated with the School of Humanities, Arts, and Social Sciences. She holds the Margaret MacVicar Faculty Fellow distinction and directs the MIT Game Lab. Her expertise spans online gaming culture, sociology of technology, and digital media studies. Taylor’s research bridges qualitative methods with critical analyses of virtual worlds, esports, and live-streaming platforms. Education: M.A. (1997) and Ph.D. (2000) from Brandeis University; B.A. (1990) from UC Berkeley; community college graduate (Chaffey, 1988). She has taught courses on critical internet studies, qualitative methods, and gaming at MIT. Taylor co-founded the non-profit AnyKey and served on Twitch’s Safety Advisory Council (2020–2024), advocating for inclusive gaming environments. Research interests include digital culture, ethnography of online spaces, and the socio-technical dynamics of games. Her award-winning book Watch Me Play: Twitch and the Rise of Game Live Streaming (2018) explores live-streaming’s cultural impact. She also authored Raising the Stakes (2012) on esports professionalization and Play Between Worlds (2006) on MMOG communities. Awards include the 2019 MacVicar Faculty Fellow for undergraduate teaching excellence and the ASA CITAMS Book Award. Her work intersects academia and industry, with consulting roles at Microsoft Research and contributions to policy discussions at the White House and International Olympics Committee. Taylor’s current projects include studies on play in curated environments like Disney parks and the evolving socio-technical assemblages of theme parks. She advises on civic initiatives and regularly publishes on esports diversity, platform moderation, and digital cultural practices.
Kristi McKim is an Associate Professor at the School of Literature, Media, and Communication at Georgia Institute of Technology. Her research focuses on film studies with particular emphasis on ecocritical analysis, phenomenological approaches, and feminist cinema. She explores themes such as cinematic weather, love in film, and the intersection of capitalism and art. Her notable works include BFI Film Classics: Rushmore (2023), analyzing the film's critique of perfectionism through ecocritical and feminist lenses; Cinema as Weather (2013), examining weather's role in narrative and stylistic film techniques; and Love in the Time of Cinema (2011), which investigates love and temporality in cinema through close readings of key films. McKim teaches courses like Intro to Film and Contemporary American Indie Film . Her work bridges academic scholarship with accessible film analysis, emphasizing how cinema shapes our understanding of human connection and environmental dynamics.
Olivia Khoo is Professor of Film and Screen Studies and Head of Film, Screen and Culture in the Faculty of Arts at Monash University. She is a leading scholar in Asian Australian and Asian cinema studies, with extensive contributions to media diversity, gender and sexuality in media, and streaming technologies. She is actively involved in national research leadership, including roles in the Australian Research Council College of Experts and the Screen Diversity and Inclusion Network. PhD in Cultural Studies – University of Melbourne LL.B. (Hons) – University of New South Wales B.A. (Hons) in English Literature – University of Western Australia Graduate Certificate in Higher Education – Monash University Her research centers on screen media diversity, streaming platforms, and transnational Asian and Asian Australian cinema. She explores how gender, sexuality, and race intersect in media representation, with a strong focus on diasporic identities and cultural citizenship. Her work bridges cultural studies, legal frameworks, and media industry practices to advocate for inclusive screen ecosystems. The recent publications reflect a sustained engagement with streaming technologies, racial representation, leadership in Asian Australian communities, and policy development for media diversity. Her work spans academic monographs, journal articles, and influential policy reports, demonstrating both theoretical depth and real-world impact in shaping equitable media landscapes. Special Commendation for the Dean’s Award for Postgraduate Research Supervision (2022) Three-time nominee, Monash Graduate Association Supervisor of the Year Award Founding Series Editor, Gender, Sexualities and Cultures in Asia (Springer) Founding Associate Editor, Studies in World Cinema: A Critical Journal (Brill) Olivia has supervised 18 PhD and MA students to completion and has led major research projects, including two ARC Discovery Projects. She is currently leading interdisciplinary collaborations across Law, Business, and Arts at Monash, particularly on the Incentivising Australian Screen Diversity report. She also co-founded the Asian Australian Studies Research Network and has held fellowships at the Asia Research Institute (NUS) and the University of California Humanities Research Institute. She leads the Film, Screen and Culture program at Monash and is central to initiatives like the Streaming Industries & Genres Network. Her collaborative projects involve national and international institutions, focusing on media flows between Australia and East Asia, and the transformation of cultural identity through digital platforms.
Elena Gorfinkel is a Professor of Film Studies at King’s College London’s Faculty of Arts & Humanities. Previously, she was Associate Professor of Art History and Film Studies at the University of Wisconsin-Milwaukee (2009–2016). Her research focuses on independent/underground cinemas, women’s filmmaking, feminist film historiography, and materialist approaches to cinema. Key publications include Lewd Looks: American Sexploitation Cinema in the 1960s (Minnesota UP, 2017), Wanda (BFI Classics, 2025), and co-authored The Prop (Fordham UP, 2025). She has received the 2022 Kraszna-Krausz Award and a 2018 Andy Warhol Foundation Grant for her work on cinema’s materiality and feminist historiography. Gorfinkel actively engages in public scholarship through film curation (e.g., BFI’s Barbara Loden retrospective), editorial roles ( Journal of Cinema and Media Studies , ASAP/Journal ), and media writing ( Sight & Sound , Art Monthly ). Her research bridges academic and popular realms, emphasizing marginalized cinemas and feminist critique. Teaching focuses on experimental film, women’s filmmaking, and cinema history. She has led international symposia and lectures on topics ranging from Andy Warhol’s films to global art cinemas.
Dong Hoon Kim is an Associate Professor in the Cinema Studies department at the University of Oregon's College of Arts and Sciences . His work bridges media history and cultural studies, focusing on the ideological and visual frameworks of cinema in East Asia and beyond. Research Interests: His scholarship critically examines colonial cinema , socialist cinema , transnational media flows , and the intersection of media spectatorship with national identity. His studies span East Asian film, media, and popular culture, emphasizing historical and discursive formations. University of Oregon | Cinema Studies Email: donghoon@uoregon.edu Office Hours: Mondays 12-1:30p.m., Winter 25 Key Publications: Kim authored Eclipsed Cinema: The Film Culture of Colonial Korea (2017) and co-edited The Bloomsbury Handbook of North Korean Cinema (2025). His articles explore topics like socialist star-making in North Korea, transcolonial benshi practices, and the global impact of South Korea's Parasite . Teaching: Courses include Introduction to Korean Cinema , Studio Ghibli Animation , and seminars on Japanese New Wave cinema, transnational film genres, and violence in Korean cinema. He emphasizes interdisciplinary approaches to East Asian cultures.
Junko Yamazaki is an Assistant Professor of Japanese Media Studies at Princeton University, specializing in postwar Japanese cinema, media aesthetics, and cultural mediation. Her research interrogates the intersection of film spectatorship, sensory politics, and historical reckoning in 20th-century Japan. Ph.D. in Cinema & Media Studies & East Asian Languages and Civilizations, University of Chicago (2016) M.A. in Humanities with emphasis in Cinema & Media Studies, University of Chicago (2013) B.A. in Film Studies & Cognitive Psychology, University of California, Santa Barbara (2010) Her work critically examines: Jidaigeki films as contested cultural artifacts in postwar Japan Role of film music in shaping emotional and historical consciousness Intellectual debates around media's capacity for social transformation Postwar sensory politics and democratic reconstruction Recent publications analyze: 1950s Toei jidaigeki's aesthetic innovations Tsurumi Shunsuke's media theory through autobiographical criticism Ichikawa Kon's musical integration strategies in early postwar cinema She co-founded the interdisciplinary working group Gender and Criticism Workshop: Japan in the Trans-Pacific World (2019-), fostering transnational academic collaboration.
Dr. Leila Mukhida (they/them) serves as Lecturer in Modern German Studies at the University of Cambridge , affiliated with the Faculty of Modern & Medieval Languages and the Department of German & Dutch . Their work bridges visual culture, critical theory, and queer/decolonial praxis in German and Austrian contexts. Specializes in Frankfurt School critical theory Focuses on political aesthetics and sound studies in cinema Advocates for decolonization in German Studies curricula Recent publications analyze queer cinema , film soundscapes , and labor migration narratives , reflecting their engagement with post-digital media , intersectional frameworks , and European cultural history . They directed the film Das Schönste Geschenk (2011) and contributed to Cambridge's Q+ interdisciplinary initiative (2018-2024).
Dr. Alasdair King serves as Reader in Film at Queen Mary University of London , where he leads the Centre for Film and Ethics and contributes to the Finance Aesthetics research cluster. His work bridges film philosophy , critical political economy , and German cinema studies , with particular focus on financialization's impact on moving image aesthetics. DAAD Visiting Research Fellow (2015) Co-founder of CAPITAL FORMS (2020) graduate program in Economic Humanities PhD examiner at institutions including University of Warwick, University of Manchester, and University of Edinburgh He supervises doctoral projects on cinematic economics , AI media , and posthuman aesthetics , currently co-guiding two AHRC and LAHP-funded students. His 2023 monograph The Financial Image establishes frameworks for analyzing film's relationship to finance capital through works by Hito Steyerl , Harun Farocki , and Isaac Julien . A second monograph Hans Magnus Enzensberger: Writing, Media, Democracy (2007) remains foundational for understanding Frankfurt School media theory in West German context.
Dr. Sarah Bay-Cheng is Dean and Professor of Theatre & Performance Studies at York University’s School of the Arts, Media, Performance & Design (AMPD). Her research focuses on intersections between theatre, media, and digital technologies, with over 100 academic essays, lectures, and reviews. She authored or edited four books, including *Performance and Media: Taxonomies for a Changing Field* (2015) and *Mapping Intermediality in Performance* (2010). Prior to her role at York, she was Chair of Theater and Dance at Bowdoin College and Founding Director of the Techne Institute at the University at Buffalo. She holds a BA from Wellesley College and a PhD from the University of Michigan. Research Interests: Digital Humanities, intermediality, performance historiography, film studies, and technology’s role in contemporary performance. Awards include a 2015 Fulbright Senior Scholarship in Media and Cultural Studies. She serves on boards for Factory Theatre and StageView.com. Her work bridges historical and emerging digital practices, emphasizing how media shapes performance’s past, present, and future.
Ariella Aïsha Azoulay is a Professor of Comparative Literature and Modern Culture and Media at Brown University. Her work interrogates the intersections of photography, political philosophy, and decolonial praxis. She holds a PhD from Tel Aviv University (1997) and an MA from Université Paris VIII Saint Denis (1986). Her research focuses on photography’s political ontology, colonialism, and human rights discourses. Key works include Potential History: Unlearning Imperialism (2019), Civil Imagination: The Political Ontology of Photography (2012), and The Civil Contract of Photography (2008). She has curated exhibitions such as The Natural History of Rape (2022) and Enough! The Natural Violence of the New World Order (2016). Research Interests: Colonial archives, visual politics, decolonial methodologies, Palestinian liberation, and anti-imperial frameworks. Awards: Infinity Award (2002). Her teaching spans courses on colonialism, migration, and anti-colonial thought, including COLT 1815J: 1492 – Unlearning Single World Order and MCM 2100R: Potential History of Photography . She also directs film essays like Un-Documented: Undoing Imperial Plunder (2019) and The World Like a Jewel in the Hand (2022).
Ho Lok Victor Fan is a Research Professor in Film and Media Philosophy at King's College London's Department of Film Studies. He previously served as Assistant Professor at McGill University's Department of East Asian Studies (2010–2012), where he also chaired the Equity Subcommittee on Queer People. His expertise spans Chinese cinema (including Shanghai, Hong Kong, and Cantonese film histories), queer theory, Hollywood studies, and Buddhist film philosophy. His work contributes to UN Sustainable Development Goal 4 (Education) through academic research and pedagogy. Education: PhD: Film Studies, Yale University (2010) MFA: Film & TV Production, USC (1999) Bachelor of Music: University of Rochester (1996) Research Interests: Fan explores comparative world cinemas, Chinese film theory, Sino-Hollywood co-productions, queer theories, and Buddhist media philosophy. His work interrogates spatiality in Chinese cinema and the intersections between film and Buddhist thought. Recent talks include lectures on 'Karma: Cinematic Technicity-Consciousness' and 'Extraterritorial Life in Hong Kong Cinema.' Notable Works: His 2000 thesis film The Well won international acclaim. His 2022 book Cinema Illuminating Reality redefines media philosophy through Buddhist frameworks. Recent articles analyze Hong Kong's media politics and labor narratives in hybrid film-anime forms. Awards: Third Prize, Fort Lauderdale International Film Festival (2000) Grants/Advising: Supervised 8 academic works (details omitted). Active in editorial and peer-review roles for film studies journals. Engaged in interdisciplinary projects bridging media philosophy and cultural studies. Labs/Teams: Collaborates with King's College's Queer@King's initiative and global film studies networks. Research focuses on East Asian cinematic histories and transnational media dynamics.
