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.
Professor Andrew Klevan is a leading scholar in film aesthetics and close cinematic analysis, holding a professorial position at the University of Oxford's Faculty of English and serving as a Non-tutorial Fellow at St Anne's College. His work focuses on film form, performance, critical methodology, and pedagogy, advocating for detailed close analysis as a core practice in film studies. Research interests include the interplay between film medium and narrative structure, particularly exploring 'undramatic' forms that capture mundane experiences. He has authored monographs on film performance (e.g., Barbara Stanwyck studies), aesthetic evaluation frameworks, and the philosophy of film criticism. Recent work critiques theoretical approaches in film studies and develops 'ordinary language film studies' to emphasize practical criticism over abstract theory. Publications span over two decades, with notable contributions to journals like Movie , Film-Philosophy , and Aesthetic Investigations . His edited collection The Language and Style of Film Criticism (with Alex Clayton) remains influential in critical discourse. Teaching focuses on advanced film analysis and methodology. No formal academic awards are listed, though his contributions to film scholarship are widely recognized. He supervises Master’s and DPhil students in film studies, emphasizing close textual analysis and critical writing. His academic affiliations include the St Anne's College community and the broader Oxford film studies network.
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).
Michael Cottingham is an Associate Professor of Sport Administration in the Department of Health and Human Performance at the University of Houston's College of Liberal Arts and Social Sciences. He serves as the Director of Adaptive Athletics at UH, leading a comprehensive disability sport program and research lab that has produced over 50 publications and secured more than $1.3 million in external funding. Dr. Cottingham teaches senior-level undergraduate classes and is involved in the Sport Administration graduate program. B.A. in Political Science, Minor in Sociology at The University of Arizona, 2002 M.S. in Recreation Administration at The University of Southern Mississippi, 2008 Ph.D. in Human Performance concentration Sport Management at The University of Southern Mississippi, 2012 Dr. Cottingham's research focuses on disability sport, particularly examining perceptions of athletes with disabilities, spectatorship and sponsorship in disability sport, and broader topics in sport consumer behavior. His work explores promotional strategies in sport and how these apply specifically to disability contexts. He has conducted extensive research on wheelchair rugby, power soccer, and wheelchair tennis, examining consumer motivations, marketing approaches, and the experiences of athletes and spectators in these sports. Analysis of Dr. Cottingham's recent publications reveals a strong emphasis on disability sport consumer behavior across multiple disciplines including sports marketing, psychology, rehabilitation science, and sociology. His research spans both theoretical frameworks and practical applications, with particular attention to how disability sport programming impacts Latinx populations with mobility impairments. The publications demonstrate interdisciplinary collaboration with researchers in community health, rehabilitation, and sport management fields. As Director of Adaptive Athletics at UH, Dr. Cottingham oversees a program that hosts large-scale disability sport events including the annual Cougar Open wheelchair tennis tournament. The program partners with The Institute for Research and Rehabilitation and runs the Community Healthcare Worker Model Study, which examines the impact of disability sport programming on Latinx with mobility impairments. Through Adaptive Athletics, Dr. Cottingham has developed programs for wheelchair rugby and adaptive tennis, with plans to expand to power soccer and wheelchair basketball. The program has received funding from the National Institute on Disability, Independent Living, and Rehabilitation Research (NIDILRR) and has established partnerships with organizations including Houston Parks and Recreation, United States Quad Rugby Association, United States Tennis Association, Halliburton Charitable Foundation, and One Step Closer Foundation.
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.
Dr Leon Davis is a Senior Lecturer in Marketing and Events Management at Teesside University International Business School. He holds a PhD in Sports Event Sociology from Teesside University (2020), an MA in Sport, Culture and Community from Sheffield Hallam University (2012), and a Bachelor’s in Sports Sociology (2007). His research focuses on fandom, sports marketing, live event management, and prosumption. Notable projects include critical analysis of fan roles at PDC darts events and the impact of digital technologies on live spectacles. He has also explored EDI provisions at events and accessibility in sports venues. Recent publications (2023-2025) examine topics like fan engagement policy reforms, sportswashing in elite sports, and accessibility innovations at live events. His work has been published in journals like Managing Sport and Leisure and Cultural Trends . Leon is a Senior Fellow of the Higher Education Academy (SFHEA) and has extensive teaching experience across modules including Strategic Marketing and Research Methods. He supervises PhD, DBA, and postgraduate research projects.
Krista Lynes is a Professor of Communication Studies at Concordia University, holding the Canada Research Chair in Feminist Media Studies and directing the Feminist Media Studio. Their research focuses on intersectional frameworks addressing feminist media studies, queer theory, migration studies, critical race studies, environmental humanities, and infrastructure studies. Lynes employs research-creation methodologies to interrogate systems of power and mobility. Thesis supervision: Media Studies (MA), Communication (PhD), Humanities (PhD) Labs/Teams: Director of the Feminist Media Studio, a space for interdisciplinary art and activism Recent work examines vital energy in greenhouse infrastructures, queer migrant activisms, and decolonizing corporeal representations in art. Their scholarship bridges media theory with global social justice concerns, emphasizing transnational circuits and planetary aesthetics.
Serguei A. Oushakine is a Professor of Anthropology and Slavic Languages and Literatures at Princeton University, and Program Director of Russian, East European and Eurasian Studies (REEES) at the Princeton Institute for International and Regional Studies. He holds a PhD in Anthropology from Columbia University (2005). His research focuses on transitional cultural processes in post-Soviet societies, combining anthropological methods with postcolonial, materialist, and visual studies frameworks. Education: PhD in Anthropology (Columbia University, 2005) with distinction. Notable fieldwork locations include Siberia, Belarus, and Kyrgyzstan. Research Interests: Oushakine explores the intersection of emotion, memory, and power in transitional societies. His work analyzes how new national cultures emerged post-Soviet collapse, and investigates postcolonial legacies of communism. Current projects include: Early Soviet media’s role in shaping spectatorship (1920s-1930s) Comparative postcolonial frameworks for postcommunist studies Awards: Recipient of prestigious fellowships including Guggenheim (201?), ACLS Burkhardt Residential Fellowship, and Institute for Advanced Study membership (Princeton). Advising & Grants: While specific advising/grant details aren’t listed, his program director role suggests leadership in shaping academic initiatives. His publications indicate engagement with interdisciplinary collaborations. Labs/Teams: Active in Princeton’s REEES program, fostering collaboration between social sciences and humanities scholars studying Eurasia.
Susan Hopkins is a Senior Lecturer in Education (Curriculum and Pedagogy) and Associate Dean (Learning and Teaching) at the School of Education and Tertiary Access , University of the Sunshine Coast , Queensland, Australia. She earned her PhD from Queensland University of Technology and has also served as a Lecturer in Communication at the University of Southern Queensland. Institution: University of the Sunshine Coast School: School of Education and Tertiary Access Rank: Senior Lecturer Leadership Role: Associate Dean (Learning and Teaching) Her research centers on curriculum and pedagogy , with strong interdisciplinary interests in gender studies, media, cultural studies, and feminist theory . She critically examines representations of women, motherhood, sexuality, and power in film and television, often linking popular narratives to broader social and ethical issues such as animal welfare, digital abuse, and environmentalism. Her work frequently appears in public-facing platforms like The Conversation , where she bridges academic insight with accessible commentary. The trends in her recent articles reflect a consistent focus on popular culture as a site of ideological struggle , particularly how gender, power, and identity are constructed and challenged in media. She analyzes genres ranging from horror and documentary to romantic comedy and animated features, often highlighting feminist and postfeminist themes. Her writing reveals a deep engagement with cinematic history, celebrity culture, and the emotional dimensions of storytelling. Susan Hopkins has not been publicly recognized with scientific awards based on available information. She is actively involved in research supervision, consulting, speaking engagements, and media collaborations . Her institutional roles suggest leadership in academic program development and pedagogical innovation. Though no formal lab or research team is mentioned, her public scholarship indicates an influential voice in education and cultural critique.
Sarah Keller is a Professor in the Art Department at UMass Boston, specializing in Cinema and Media Studies. Her research bridges experimental film, feminist theory, and queer aesthetics, with a focus on historical and contemporary intersections of cinema, affect, and spectatorship. Books: Maya Deren: Incomplete Control , Anxious Cinephilia: Pleasure and Peril at the Movies , and Barbara Hammer: Pushing Out of the Frame . Edited Works: Co-edited Jean Epstein: Critical Essays and New Translations . Her scholarship explores cinephilia as a cultural and emotional phenomenon, analyzing films through lenses of anxiety, desire, and technological change. She has contributed to journals like Camera Obscura , Cinema Journal , and Studies in French Cinema , often connecting experimental filmmaking to broader socio-political contexts. Keller founded the Boston Cinema/Media Seminar, fostering academic discourse on film and media. Her work frequently engages with directors such as Maya Deren, Barbara Hammer, and Jean Epstein, emphasizing the enduring relevance of avant-garde practices in contemporary media landscapes.
Ariel Rogers serves as an Associate Professor in the Department of Radio/Television/Film at Northwestern University's School of Communication, where her research investigates the historical and theoretical dimensions of cinema and emerging media technologies with critical attention to spectatorship and technological change. Her academic credentials include a PhD in Cinema and Media Studies from the University of Chicago and a BA in Film Studies and Philosophy from Columbia University. Rogers' scholarship interrogates how historical contexts shape technological adoption and cinematic experience, challenging assumptions about media evolution through case studies spanning 1950s widescreen systems, digital cinema transitions, and contemporary virtual reality. Her work bridges film history, media archaeology, and screen theory to analyze dynamic relationships between technology, form, and audience engagement across diverse media landscapes. Publication trends reveal a sustained trajectory from historical analyses of screen technologies (2013-2019) toward immersive media frameworks, with recent scholarship (2022-2024) focusing on VR's reconfiguration of cinematic framing and spatial mediation—demonstrating continuity in examining how technological shifts redefine perceptual and narrative paradigms. Her research excellence has earned significant recognition: NEH Fellowship from the National Endowment for the Humanities (2022-2023) Clarence Simon Award for Outstanding Teaching and Mentoring (2019) ACLS Fellowship from the American Council of Learned Societies (2016-2017) Professor Rogers teaches foundational courses including RTVF 220 (Analyzing Media Texts), RTVF 312 (History of Film I), and RTVF 413 (Cultural History of New Media), integrating her research into undergraduate and graduate curricula. Her Clarence Simon Award highlights exceptional mentorship, while NEH/ACLS fellowships provided critical support for her monograph research. Current projects include a third book examining cinematic framing in virtual reality contexts. Affiliated with Northwestern's School of Communication, Rogers contributes to the Radio/Television/Film department's academic mission. The available documentation indicates no specific laboratory affiliations or team-based research initiatives beyond departmental collaborations.
Ellen T. Armour is the E. Rhodes and Leona B. Carpenter Professor of Feminist Theology at Vanderbilt Divinity School and the Graduate Department of Religion, where she directs the Carpenter Program in Religion, Gender, and Sexuality. She holds affiliated appointments in the Department of Philosophy and the Women’s and Gender Studies Program at Vanderbilt and served as a Faculty Fellow at the Robert Penn Warren Center for the Humanities (2017–2018). B.A., Stetson University (1980) M.A., Ph.D., Vanderbilt University (1989, 1993) Her research focuses on feminist theology, contemporary continental philosophy, and theories of sexuality, race, gender, disability, and embodiment. Her work engages interdisciplinary approaches to religion, particularly through poststructuralist and queer theoretical frameworks. Key themes in her publications include the intersection of religion and digital visual culture, decolonial ethics in theology, and the application of Judith Butler’s performativity theory to religious discourse. Her notable books include Seeing and Believing (2023), Signs and Wonders (2016), and Bodily Citations (co-editor, 2006). Scientific Awards: Clarence Day Dean’s Award for Outstanding Teaching (1999) Jameson Jones Award for Faculty Service (2005) Armour has held leadership roles such as Chair of the Religious Studies Department at Rhodes College (1991–2006) and Associate Dean of Academic Affairs at Vanderbilt (2019–present). Her affiliations include St. Augustine’s Chapel (formerly Baptist) and the Robert Penn Warren Center for the Humanities.
Stuart Reeves is an Associate Professor at the School of Computer Science, University of Nottingham, UK. He is a member of the Mixed Reality Lab, Horizon research institute, Centre for Doctoral Training (CDT), and Social Interaction and Technology (SIT) Special Interest Group. Reeves serves as an elected member of the University of Nottingham Senate with his term extending until 2026. His academic career spans over two decades with significant contributions to human-computer interaction, particularly focusing on social and collaborative technologies in real-world contexts. Reeves' research interests primarily focus on human-computer interaction, collaborative computing, design research, and the application of ethnomethodology and conversation analysis (EMCA) to technology studies. His work examines how people interact with diverse interactive devices and systems in real-world situations and places, with particular attention to public spaces, video gaming contexts, and collaborative work environments. Reeves has developed significant expertise in understanding spectatorship within interactive spaces and the 'work' involved in technological engagements. His publication record demonstrates consistent high-impact contributions to the field, with recent research focusing on robots and AI technologies in action, particularly examining how autonomous robots interact with humans in public streets. Reeves has received multiple prestigious awards including the HRI 2024 Best Paper Award for his work on public robot encounters and previous Best Paper Awards at CHI 2005 and CHI 2008. HRI 2024 Best Paper Award for 'Encountering autonomous robots on public streets' CHI 2015 Honourable Mention Award CHI 2008 Best Paper Award CHI 2005 Best Paper Award CHI 2012 Honourable Mention Award CHI 2020 Best Paper Award Reeves has secured substantial research funding including an EPSRC Early Career Fellowship, multiple EPSRC grants, and international collaborations. His teaching responsibilities include undergraduate and postgraduate supervision across various computer science modules, with a focus on sensor-based systems and software design principles. He maintains an active presence in the research community through publications, conference participation, and his Medium page where he shares insights on research methodology and practice.
Signy Lynch is an Assistant Professor in English and Drama at the University of Toronto Mississauga (UTM) and a graduate faculty member at the Centre for Drama, Theatre and Performance Studies. Her research focuses on contemporary intercultural/diasporic performance, Black theatre, participatory performance, audience research, and critical theatre criticism in Canada. Education : PhD and MA from York University, Hon. BA from Queen’s University Her work explores the intersections of digital media and intercultural performance, including immersive theatre practices and audience dynamics in pandemic-era performances. She co-edits Canadian Theatre Review and investigates epistemic violence in traditional criticism frameworks. In the 15 most recent publications , Lynch examines topics like racial dynamics in theatre criticism, intermedial performance technologies, audience complicity in Indigenous storytelling, and pandemic-era performance adaptations. Her articles appear in Theatre Research in Canada , Contemporary Theatre Review , and New Theatre Quarterly . Awards : Barbara Godard Prize (2021), Governor General’s Gold Medal (2022), CTCA Outstanding Critical Essay runner-up (2022) Lynch co-directs the Centre for Spectatorship and Audience Research and serves on Cahoots Theatre’s board. Her SSHRC-funded research addresses hiring equity in Canadian theatre academia and reimagines critical dramaturgy for digital futures.
