Bliss Cua Lim is a Professor at the Cinema Studies Institute, University of Toronto, specializing in Philippine cinema, film archiving, and queer theory. She is the author of The Archival Afterlives of Philippine Cinema (2024) and Translating Time: Cinema, the Fantastic, and Temporal Critique (2009), which was a John Hope Franklin Book Prize recipient. Education: PhD in Cinema Studies, New York University; BA in English, University of the Philippines, Diliman Her research explores intersections of cinema, folklore, and political histories, with a focus on archival fragility, transnational horror genres, and camp aesthetics in Southeast Asian media. Recent work analyzes the crisis of state-run film archives and the role of folklore in queer transmedia storytelling. Key trends in her publications include: Queering the Filipinx Zombie Movie (2025) and Cosmopolitan Animisms (2022), which examine genre hybridity and postcolonial spectralities. Her 2013 writings on Philippine archival advocacy and 2015 essays on queer aswang narratives highlight institutional and cultural challenges in media preservation. Scientific Awards: Selected John Hope Franklin Book Prize (2009) Lim serves on the Editorial Collective of Camera Obscura and the Advisory Board of Plaridel: A Philippine Journal of Communication . Her teaching includes courses on Queer Asian Cinemas, Sound and Animation, and Film Cultures II.
Pheng Cheah serves as Professor at the University of California, Berkeley, specializing in interdisciplinary research bridging philosophy, literature, and political theory with global implications. His academic credentials include: PhD from Cornell University LLB from University of Sydney His research spans continental philosophy from Kant to Derrida, postcolonial theory, world literature, and globalization studies, with concentrated focus on human rights frameworks, cosmopolitan/national tensions, feminist perspectives, and contemporary Chinese cinema. His methodology integrates literary analysis with political philosophy to examine power dynamics in transnational contexts, particularly across postcolonial Asia where he conducts fieldwork with filmmakers. Publication analysis reveals an evolving trajectory from foundational cosmopolitan/national theory toward biopolitical human rights frameworks and cinematic representations of globalization. His work consistently centers non-Western perspectives—especially Chinese, Southeast Asian, and global South contexts—challenging Eurocentric paradigms through comparative analysis of cultural production and political transformation. No scientific awards are documented in available sources. Professor Cheah mentors graduate students in critical theory and postcolonial studies, guiding research on literature's political dimensions. His scholarly activities are supported by standard academic funding mechanisms enabling extensive archival work and international collaborations, particularly with Asian film communities. He maintains active participation in global studies consortia and postcolonial research networks, frequently collaborating with filmmakers and scholars across the three Chinas through interview-based methodologies.
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.
California State University, Long BeachUnited States
Dr. Rowena Santos Aquino is a Part-Time Lecturer in the Department of Cinematic Arts at California State University, Long Beach's College of the Arts. She holds a BA in English from Scripps College, MA and PhD in Cinema & Media Studies from UCLA, with additional training in photography from the Armory Center for the Arts. Specializes in documentary film theory and transnational cinema Research emphasizes docufiction forms, historiography in image-making, and cross-cultural encounters Teaches Film History, Documentary Film History & Theory, and international cinemas Her publications analyze intersections of memory, trauma, and performance in global documentary practices, with a focus on Asian and Middle Eastern contexts. She maintains active engagement with archival studies and experimental narrative forms. Contact: Rowena.Aquino@csulb.edu
Dr. Philippa Lovatt is a Lecturer in Film Studies at the University of St Andrews, specializing in artists’ moving image, sound studies, eco-criticism, and Southeast Asian independent film cultures. She leads a monograph project on sound politics in artists’ film and co-directs the oral history project Parallel Practices: Oral Histories of Southeast Asian Film and Video Cultures with Prof. Jasmine Nadua Trice (UCLA). Her research bridges ecological crises, audiovisual practices, and regional art histories. Her key awards include a 2020 Carnegie Research Incentive Grant for studying environmental responses in Hanoi and Chiang Mai. Research outputs include edited dossiers for Journal of Cinema and Media Studies and Screen , alongside publications in Southeast of Now and Antennae . Collaborative projects emphasize transnational Southeast Asian film networks and decolonial art methodologies. Her work interrogates intersections of ecology, sound, and regional identity through case studies like Nguyen Trinh Thi’s mycological film practices and Apichatpong Weerasethakul’s therapeutic narratives. Current projects explore material histories of extractivism and anthropocentric critiques in moving image art.
Professor Barley Norton is a distinguished ethnomusicologist and filmmaker at Goldsmiths, University of London, where he serves as Director of the Asian Music Unit (AsMU), convenor of the MA in Music (Ethnomusicology), and leader of the Goldsmiths Gamelan Group. His academic career focuses on the music and culture of Southeast Asia, particularly Vietnam, where he has conducted extensive field research. His research interests span ethnomusicological filmmaking and theory, the cultural politics of musical practice, discourse on cultural heritage and music revival, music and religious experience, music and emotion, music and gender theory, music censorship, improvisation, and performance and modal theory. Norton's academic work is deeply informed by his practical musical engagement; during his field research in Vietnam, he learned to play the dan day and dan nguyet lutes, and he also performs Sundanese music from Indonesia on the kacapi zither and in the gamelan degung orchestra. Norton's scholarly output reveals significant trends in Southeast Asian music studies, particularly focusing on the intersection of traditional musical practices with contemporary political and social contexts. His work consistently examines how musical traditions navigate processes of canonization, heritage safeguarding, and creative innovation within rapidly changing cultural landscapes. A notable thread throughout his research is the relationship between music, ritual, and identity in Vietnamese cultural contexts, with increasing attention to environmental concerns and climate change impacts on musical heritage in his most recent work. American Musicology Society's 2014 Ruth A. Solie Award for 'Music and Protest in 1968' Commendation - Intangible Culture Film Prize at the Royal Anthropological Institute's 12th International Festival of Ethnographic Film for 'Hanoi Eclipse: The Music of Dai Lam Linh' Professor Norton has supervised numerous doctoral students including Christopher Hanby (Applied Ethnomusicology and Jèrriais language revitalization), Lin Lin (Creative Realization in the Compositional Process), Clare Salaman (Reimagining the trumpet marine), and Jasmine Hornabrook (Transnational networks in London's Tamil diaspora). His research has been generously funded by the Getty Foundation, Arts and Humanities Research Council, British Academy, and ASEASUK, supporting projects on Vietnamese music revival and audiovisual archiving. He has also undertaken consultancy work with UNESCO, the British Council, and Vietnamese cultural institutions on music heritage projects. As a key figure in the field, Norton directs Goldsmiths' Asian Music Unit, which serves as a hub for research, performance, and teaching focused on Asian musical traditions. The unit facilitates cross-cultural musical dialogue and supports field research in Asia, while the Goldsmiths Gamelan Group provides hands-on experience with Indonesian musical traditions. His leadership extends to international scholarly organizations, having served as Chair of the British Forum for Ethnomusicology (2015-2018) and as a member of the Society for Ethnomusicology Council (2017-2020).
Professor Janet Harbord is a Professor of Film Studies within the School of Languages, Linguistics and Film at Queen Mary University of London, where she serves as Principal Investigator for the Wellcome Trust-funded 'Autism through Cinema' project and contributes to the Centre for Film and Ethics. Her academic leadership spans research, teaching of core courses including Film Archaeology and Modern/Postmodern Cinema, and supervision of doctoral candidates. Her research interrogates cinema's relationship with embodiment, environments, and philosophical frameworks—particularly through Giorgio Agamben's theories—while pioneering intersections between autism studies, neurodiversity, and film representation. Key trajectories include film archaeology's exploration of sensory discipline, public space media's transformation of urban environments, and avant-garde practices challenging conventional narrative structures. This intellectual breadth manifests in analyses of medical film, entertainment cinema, and artists like Chris Marker and Apichatpong Weerasethakul. Recent publications demonstrate sustained engagement with film philosophy and archaeology, evolving from historical analyses of cinematic institutions toward contemporary concerns about attention, distraction, and neurodiverse embodiment. Her work consistently bridges theoretical rigor with empirical investigations of film festivals, autism representation, and the ethical dimensions of screen-based media across public and private spheres. Her major research awards include: Wellcome Trust Award for 'Autism through Cinema' (2018-2022, £657,000) AHRC International Network Grant for 'Bazaar Cinema' (2012-2014, £45,000) AHRC Researcher in Residence Scheme (2013, £40,000) EPSRC and AHRC Grant for 'MediaCity' (2009-2010) Leverhulme Trust Grant for 'Spaces of the Media' (2008-2012) Professor Harbord currently supervises three PhD candidates: Songyan Du (Chinese subtitling of English-language films), Cathy Lomax (screen makeup and female identity), and Tashi Petter (Lotte Reiniger's silhouette films). Her grant portfolio reflects strategic focus on cinema's evolving relationship with public space, philosophical inquiry, and neurodiversity, securing over £1 million in competitive funding from major UK research councils. As an active member of Queen Mary's Centre for Film and Ethics, she contributes to interdisciplinary dialogues examining cinema's ethical dimensions, while her 'Autism through Cinema' project fosters collaboration between medical researchers, filmmakers, and neurodiverse communities to reimagine cinematic representation.
Kirstin Squint serves as Professor in the English Department at East Carolina University, specializing in Native American literatures of the U.S. Southeast. Her distinguished career includes the Whichard Visiting Distinguished Professorship in Humanities (2019-2022) and prior appointments at High Point University, Southern University-Baton Rouge, and Louisiana State University. Her educational background spans a BA from Eureka College, MA from Miami University, and PhD from Louisiana State University. Research focuses on Indigenous literary traditions with interdisciplinary connections to ecocriticism and gender studies. Scholarly output reveals consistent engagement with Native American sovereignty, Southern environmental narratives, and multi-ethnic literary intersections. Her publications demonstrate evolving emphasis from Appalachian identity studies toward climate justice frameworks within Indigenous ecocriticism, particularly examining Gulf Coast and Southeastern tribal communities. ECU Scholar-Teacher Award (2024) American Book Award for criticism (2020) Weatherford Award for nonfiction (2019) CELJ Award for Public Intellectual Special Issue (2023) As faculty in ECU's PhD program in Rhetoric, Writing, and Professional Communication, she mentors doctoral candidates while teaching graduate seminars on Native American literatures and multi-ethnic writing. Her editorial work with North Carolina Literary Review and collaborative projects like Swamp Souths demonstrate significant contributions to regional literary scholarship.
Andrew Russell is a Lecturer at the School of Film, Media and Creative Technologies, University of Portsmouth. His research focuses on cross-cultural representation in global cinema, particularly examining Western portrayals of Southeast Asia and the evolution of transnational film genres. PhD in Film Studies (University of Portsmouth, 2021) Research Interests include: Postcolonial media analysis Japanese cinema and Takashi Miike's filmography Representation of Thailand in Hollywood Critical race theory in entertainment media Slow cinema movement Recent publications analyze: Exoticization patterns in contemporary screen media Racial stereotyping in WWE's entertainment model Intercultural dynamics in transnational filmmaking Temporal aesthetics in global cinema trends Active in academic service through journal peer-reviewing for Transnational Screens and conference participation in film genre studies. His doctoral thesis explored the duality of Thailand's cinematic representation in both Western and local film traditions.
MaoHui Deng is a Lecturer in Film Studies and Drama at the University of Manchester. His research focuses on interdisciplinary studies intersecting cinema with aging, dementia, and temporality, as well as Southeast Asian cinemas and modernity. He holds a PhD in Drama from the University of Manchester, following his BA and MA in related fields there. He has been recognized for his teaching, receiving the 2020-21 Faculty of Humanities Outstanding Teaching Award, and has contributed to academic organizations like BAFTSS. Education background includes: Bachelor of Arts in Drama and Screen Studies at the University of Manchester Master of Arts in Screen Studies at the University of Manchester Doctor of Philosophy (PhD) in Drama at the University of Manchester His research interests span: Cinema and time, exploring temporal performances in film Cultural narratives around aging, care, and dementia Modernity and decoloniality in film studies Film distribution, exhibition, and reception His monograph Ageing, Dementia and Time in Film: Temporal Performances (2023) examines intersecting temporalities of cinema and dementia, winning the BAFTSS Runner-Up for Best First Monograph in 2024. Scientific awards include: 2020-21 Faculty of Humanities Outstanding Teaching Award BAFTSS Best Doctoral Student Article (2021) for Singapore as Non-Place... Runner-Up BAFTSS Best First Monograph (2024) Dr. Deng advises PhD students in areas like cinema and time, ageing narratives, and Southeast Asian cinemas. He is part of the Manchester Urban Ageing Research Group (MUARG), focusing on aging-in-place and urban contexts. Though specific grants aren't detailed, his involvement in collaborative projects highlights his engagement in interdisciplinary research. He is a member of the Manchester Urban Ageing Research Group (MUARG), contributing to interdisciplinary research on urban aging and related societal challenges.
University of California, Los AngelesUnited States
Robert Lemelson is an Adjunct Professor of Anthropology at the University of California, Los Angeles (UCLA) and a Research Anthropologist at the Semel Institute of Neuroscience. He holds an M.A. from the University of Chicago (1987) and a Ph.D. in Anthropology from UCLA (1999). His work focuses on transcultural psychiatry, psychological anthropology, and ethnographic filmmaking in Indonesia, particularly Bali and Java. Lemelson has produced over a dozen award-winning documentaries exploring mental illness, trauma, and cultural practices, including 40 Years of Silence: An Indonesian Tragedy and the Afflictions series. He founded Elemental Productions (2007) and serves as President of the Foundation for Psychocultural Research since 1999, promoting interdisciplinary research in neuroscience and social sciences. His research investigates the intersections of culture, history, and mental health, with a focus on topics like structural violence, gender-based violence, and the efficacy of traditional healing systems. He has conducted fieldwork in Indonesia since 1997, producing longitudinal studies on neuropsychiatric disorders such as schizophrenia, PTSD, and OCD through both academic and cinematic mediums. Lemelson’s work bridges anthropological theory with applied filmmaking, emphasizing ethical representation and participatory methodologies. Award highlights include the Distinguished Teaching Award (2003) and numerous film accolades like the Silver Screen Award (2010) and Best Asian Documentary (2013). His films have screened globally at festivals such as the Berlin International Film Festival and the Taiwan International Ethnographic Film Festival. Lemelson continues to explore innovative ways to document and analyze cultural dimensions of mental health through interdisciplinary collaboration.
Kenji Ishizaka is the 2024-25 Toyota Visiting Professor at the University of Michigan's Center for Japanese Studies (CJS) . He concurrently serves as provost and director of the International Exchange Center at the Japan Institute of the Moving Image (JIMI) , Japan's first film university founded by director Shohei Imamura. His academic roles include teaching Asian film history, documentary film history, and film distribution theory. Education & Background: Born in Tokyo (1960), he holds an MA from Waseda University. From 1990–2007, he worked at the Japan Foundation as Film Coordinator, organizing over 70 film events focusing on Asian and Arab cinema. Since 2007, he has been a senior programmer for the Asian film section of the Toyota International Film Festival , curating films across East Asia and the Middle East. Research Focus: Asian Cinema: Specializes in festival-driven research, regional film industries, and cross-cultural cinema narratives Documentary Cinema: Expertise in Japanese environmental documentaries, particularly Minamata disease chronicling, and long-term ethnographic film projects Professional Engagements: Jury member at film festivals in Hawaii, Delhi, Busan, and Bangkok. Active in international film exchange programs and cultural diplomacy initiatives. Labs/Teams: Oversees international exchange programs at JIMI and curates film sections for major festivals. Collaborates with filmmakers across Asia through his research and programming work.
Felicia Chan is a Senior Lecturer in Screen Studies and Head of Drama & Film at The University of Manchester. She holds a PhD from the University of Nottingham (2007) and has held roles including Research Fellow at the Research Institute for Cosmopolitan Cultures. Her research focuses on socio-economic structures in cultural production, curation as research, and socio-economic histories of cinemagoing, with a geographic emphasis on East/Southeast Asia. Her academic contributions include founding the Chinese Film Forum UK (2008), supported by an AHRC grant (2012–2014), which promotes Chinese cinema in the UK through curated screenings and academic symposia. She serves as External Examiner for film programs at the University of Westminster and University of East London. Key research areas include film historiography, cultural translation, and the intersections between cinema architecture and socio-cultural geographies. Her work engages with marginalized cultural texts and the politics of knowledge production. She actively supervises PhD candidates exploring themes related to cultural production and reception frameworks. Professional activities include invited talks at venues like the Royal Exchange Theatre and HOME, alongside peer-review roles for journals like Journal of Chinese Cinemas . Her impact extends through collaborations with institutions such as the Centre for Contemporary Chinese Art and National University of Singapore’s Asia Research Institute.
Dr. Mark Frost serves as an Associate Professor in the Department of History at University College London (UCL), specializing in Asian historical studies with particular focus on Southeast Asia, colonial history, and war memory. His scholarly work bridges historical research with contemporary public history debates, especially regarding the 'comfort women' issue and historical reconciliation in East Asia. Frost's research interests span colonial history , transnational historical narratives , Southeast Asian studies (particularly Singapore), cosmopolitanism in historical contexts , and war memory politics . His work demonstrates how historical narratives shape contemporary geopolitical relations, especially in East and Southeast Asia. A recurring theme in his scholarship examines the tension between national historical narratives and transnational memory frameworks. His recent publications reveal a strong focus on the 'comfort women' controversy as a case study in public history, examining how historical scholarship interacts with advocacy, commemoration, and geopolitical tensions. The 2021 special issue of Asia-Pacific Journal: Japan Focus that he co-edited demonstrates his commitment to presenting nuanced historical perspectives on contentious issues. His work on Singapore's history, particularly 'Singapore Songlines: Revisited,' examines the relationship between urban development, national identity, and historical memory in the city-state. Frost's scholarly contributions demonstrate consistent engagement with major historical debates in Asian studies, with publications appearing in respected journals such as Modern Asian Studies , Journal of Imperial and Commonwealth History , and Past and Present . His monograph Singapore: A Biography (2013) represents a significant contribution to Singapore historiography, presenting the nation's history through multiple perspectives and timelines.
Paul McBain is an Assistant Professor at Thammasat University, specializing in religious studies with a focus on Southeast Asian Buddhism and its intersections with literature, film, and landscape. His academic journey spans institutions including the School of Oriental and African Studies (University of London), the University of Chicago, and the University of Pennsylvania, where he completed his PhD in Religious Studies. Education: BA in Japanese, School of Oriental and African Studies, University of London MA in Divinity, University of Chicago PhD in Religious Studies, University of Pennsylvania His research explores the aesthetics of Buddhism in poetry, narrative, and film, particularly in Thai and Japanese contexts. He is interested in Buddhist modernism, phenomenological approaches to religion, and the interplay between modernity and religious understanding. A central theme in his work is the inscription of Buddhist narratives into physical and cultural landscapes, especially in early Bangkok. The available publication reflects a strong interdisciplinary approach combining religious studies, literary analysis, and cultural geography, focusing on the 19th-century Thai poet Sunthorn Phu. The work investigates how Buddhist themes are embedded in local landscapes through poetic expression. Scientific Awards: Paul McBain has advised no publicly listed students and has not received any named scientific awards in the provided text. He has been involved in education-based NGO work in Southeast Asia and has produced short films on Buddhism, indicating an applied and public-facing dimension to his scholarship. His time at the University of Pennsylvania included training in literary theory and filmmaking, supporting his multimedia research approach. Labs, Teams, and Collaborative Work: While no formal lab or research team is mentioned, his interdisciplinary background and filmmaking suggest collaborative and field-based research practices, particularly in Thailand where he currently resides.
