Contributors
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Ariel Smith
Ariel Smith (Nêhiyaw/Jewish) is a filmmaker, video artist, writer and cultural worker based in Ottawa Ontario. Having created independent media art since 2001 much of her work has shown at festivals and galleries across Canada and internationally including: Inside Out Film Festival (Toronto, Ontario), imagineNative Film&Media Art Festival (Toronto, Ontario), Mix Experimental Film Festival (NYC), Santa Fe Indian Market, Boston GLBT Film Festival (Boston, MA), Five Myle Gallery (NYC) Urban Shaman (Winnipeg, Manitoba), WARC Gallery (Toronto, Ontario), Galerie SAW Gallery (Ottawa, Ontario), MAI (Montreal, Québec) Gallery Sans Nom (Moncton, NB),Cold Creation Gallery (Barcelona, Spain), Solid Screens (Cairns, Australia). Ariel is largely self-taught, but honed many of her skills by becoming heavily involved in artist-run centres and film/video cooperatives in Vancouver, Montreal, Toronto and Ottawa. Her passion for artist-run culture has informed her methodology and become an integral part of her practice. Ariel also works in arts advocacy and administration as Director of The National Indigenous Media Arts Coalition (NIMAC) as well as teaching media arts workshops, and providing freelance video production services . She currently sits on the board of directors for both the Independent Media Arts Alliance and Media Arts Network Ontario.
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Carlos Solano
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Michael Sooriyakumaran
Michael Sooriyakumaran is a Ph.D. candidate in Cinema Studies at the University of Toronto. His writing has appeared in Asian Cinema, Bright Lights Film Journal, Frames Cinema Journal, and The Journal of Visual Narration.
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Andrea G. Sotelo
Andrea G. Sotelo has a BA in History from the Universidad Nacional Autónoma de México (UNAM) and has previously been an Assistant Professor for Fashion History at the Facultad de Filosofía y Letras. As a horror fan from a young age, her research areas are Gender Studies and Fashion History with an emphasis in horror film. Currently she’s researching the relationship between fashion and femininity in Slasher cinema as part of her ongoing thesis project.
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Ryan Spence
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Barry Spinello
From 1967-72 Spinello made films without camera or tape recorder by handpainting sound and picture onto clear 16mm leader (see Sonata for Pen, Brush and Ruler; Soundtrack; Six Loop Paintings). The idea was to integrate both sound and picture in a single creative process, using the same tool.
Since 1972, Spinello has made documentary films, including the Academy Award nominated A Day in the Life of Bonnie Consolo.
Recently Spinello returned to the ideas of filmpainting, but now working completely on computers. Towards an Art Form of the 21st Century will be completed soon.
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Vedant Srinivas
Vedant Srinivas pursued a Bachelor’s degree in Philosophy from Delhi University and went on to study filmmaking in Prague. A devout cinephile and a voracious reader, he is equally interested in film theory and the history of cinema, with a passion for avant-garde and formalist works. Vedant currently works with a film production company in Mumbai.
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Frédéric St-Hilaire
Frédéric St-Hilaire is a freelance writer based in Montréal. His research interests include Japanese cinema and sexual representation, the two of which converge in his long-standing project on Pink cinema. You will most likely find him at the cinema or boring someone with his thoughts on Portuguese cinema.
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Hans Staats
Hans Staats is a Ph.D. candidate in the Department of Cultural Analysis & Theory at Stony Brook University. The title of his dissertation is “The Bad Seed: A Theoretical and Historical Analysis of Horror Cinema, Media, and Childhood in the Long Twentieth Century.” His works have appeared in CineAction, the Irish Journal of Gothic and Horror Studies, Cinespect, and Journal of the Fantastic in the Arts.
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Bran Stakhage
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Irini Stamatopoulos
Born in Athens, Greece, in 1974, Irini Stamatopoulos graduated from the Panteion University (Athens) in 1996 with a degree in Communication (Cultural management), and in April 2003 she obtained her PhD in Cinema Narratology. Her research subject was A Comparative Study of Cinematic and Literary Discourse. Her main topics of specialty are Film Theory and History, along with an interest in Gender Studies. For the past few years she has been giving lectures at Panteion University in the History of Cinema and Feminist Approaches to Film History. She also teaches courses in Film Theory at the Thessaloniki University Film Studies Department. Recent Publications include: “The Romantic Hero in Cinema” (Western, New Wave, Road Movie) – in the Greek journal of theory and criticism Notes; and “The Freudian Background of the Films of Contemporary Greek Cinema” (forthcoming in a collection on the representation of childhood in modern Greek cinema).
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Charles Stankievech
Charles Stankievech has formally studied theology, literature, philosophy, and fine art (B.A Honours, MFA). Recently, his work has been presented at the Planetary Collegium’s Altered States, England; Eyebeam, NYC; Subtle Technologies’ Responsive Architectures, Toronto; artLAB residency, Venice, Italy; and MIT Press’ Leonardo Music Journal. In 2007, he will be attending residencies at the Banff Centre for the Arts and PRIM. While completing his MFA he also taught specialized sound courses such as “Sound Drawing Architecture” and “Sculptural + Material Practices” at Concordia University in Montréal, and now teaches full-time at KIAC School of Visual Art in Dawson City, Yukon, Canada.
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Daniel Stefik
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Tom Stempel
Tom Stempel is a Professor Emeritus in Film at Los Angeles City College, where he taught film history and screenwriting from 1971 to 2011. He is the author of six books on film, including Screenwriter: the Life and Times of Nunnally Johnson, FrameWork: A History of Screenwriting in the American Film, Storytellers to the Nation: A History of American Television Writing, and most recently Understanding Screenwriting: Learning from Good, Not-Quirte-So-Good, and Bad Screenplays. His shorter writings have appear in Film Quarterly, Los Angeles Times, Sight & Sound, Film Comment, Creative Screenwriting, Film & History, Senses of Cinema, and Journal of Screenwriting. Since 2008 he has written the online column “Script Magazine” (see link below).
Stempel photograph ©Alix Parson
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Valery Stepanov
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Jonathan Sterne
Jonathan Sterne teaches in the Department of Art History and Communication Studies and the History and Philosophy of Science Program at McGill University. He is author of The Audible Past: Cultural Origins of Sound Reproduction (Duke, 2003) and numerous articles on media, technologies, and the politics of culture. His next book is tentatively titled MP3: The Meaning of a Format.
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Christina Stojanova
Christina Stojanova is Associate Professor at the Department of Film, University of Regina, Canada. She contributes regularly to the specialized and academic print and on-line media, and her writings are translated into many languages. Co-editor of the critical anthologies Wittgenstein at the Movies (2011) and The Legacies of Jean-Luc Godard (2014), she is the editor of The New Romanian Cinema (2017) and The Legacy of German Expressionism (2018). Her book on Canadian animator Caroline Leaf is forthcoming in 2018. Member of the Quebec Film Critics Association, Christina regularly sits on international film festival juries.
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Meryl Suissa
Meryl Suissa is a recent graduate of the Film Studies masters degree at Oxford Brookes University. She started her BA in English literature and Film Studies in Lyon (France) and received a scholarship to finish her degree in the UK. She has been a literary as well as a film reviewer in her University Newspaper. She wrote her MA dissertation on Jouissance, trauma and identity in Israeli cinema. Her research interests are Israeli cinema, gender studies, trauma theory and psychoanalysis.
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Astria Suparak
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Sara Swain
Sara Swain recently received her Ph.D. from the Joint Program in Communication and Culture at York and Ryerson Universities. She holds a B.A. in English Literature from Memorial University, and an M.A. in Film Studies from Concordia University. She has published essays on representations of virginity and sexual initiation in Joss Whedon’s TV series “Buffy the Vampire Slayer” (2010), and on the gendered critical backlash against Jenny McCarthy’s boundary-pushing gross-out comedy Dirty Love (2013). Her interests are eclectic and broad, ranging from film aesthetics, cinematic realism, film genres (horror and comedy especially), and gender and spectatorship, to communication history and theory, philosophy of technology, and the history of ideas. Her current research probes the complex theoretical, historical, and material relationships between animals and the imagination and development of media technologies.
