Tami Williams (USA) (2019)
University of Wisconsin-Milwaukee
Department of English
P.O. Box 413
Milwaukee, WI 53201
Ian Christie (UK) (Vice-President – Europe, 2018)
Sarah Keller (USA) (2019)
Valentine Robert (Switzerland) (2019)
Dimitrios Latsis (Canada) 2022
MEMBERS AT LARGE
Clara Auclair (USA/France) (2021)
Camille Blot-Wellens (Sweden) (2022)
Michael Cowan (UK) (2019)
Patrick Ellis (USA) (2021)
Louis Pelletier (CAN) (2021)
Colin Williamson (USA) (2019)
Scott Curtis (USA/Qatar) (Past-President, 2019)
Tami M. Williams (PhD, UCLA) is an Associate Professor of English and Film Studies at the University of Wisconsin, Milwaukee. She is the author of Germaine Dulac: A Cinema of Sensations (University of Illinois Press, 2014), co-editor of Performing New Media, 1895-1915 (John Libbey Publishing, 2014), and Germaine Dulac: Au delà des Impressions (AFRHC, 2006). She is the guest editor of a special issue of The Moving Image, 16.1 on “Early Cinema and the Archive,” and co-editor of the collection Global Cinema Networks (Rutgers University Press, forthcoming). Her current research explores wordlessness and gesture in the Belle époque performance arts (modern pantomime, symbolist theater, dance), French cinematic impressionism, and contemporary contemplative cinema. She is coordinator of the Women Film Pioneers Project – France, theMedia Ecology Project-Domitor-Library of Congress (MEP-D-LOC) paper prints pilot, and the SCMS Silent Cinema Cultures Scholarly Interest Group. (www.tamiwilliams.com)
Ian Christie is professor of Film and Media History at Birkbeck College, and a film historian, curator and broadcaster. He has written and edited books on Powell and Pressburger, Russian cinema, Scorsese and Gilliam. He has also contributed to exhibitions ranging from Film as Film (Hayward, 1979) to Modernism: Designing a New World (V&A, 2006). In 1994 he wrote and co-produced The Last Machine, a BBC TV series on early cinema presented by Terry Gilliam. In 2006 he was Slade Professor of Fine Art at Cambridge University with a series of lectures entitled “The Cinema Has Not Yet Been Invented.” He is also a Fellow of the British Academy, director of the London Screen Study Collection, and a past president of Europa Cinemas. His recent publications include The Art of Film: John Box and Production Design (Columbia University Press, 2009), Audiences (Amsterdam University Press, 2012), Doctor Zhivago (Palgrave MacMillan, 2016), and chapters and articles on early film copyright, film in the museum, the representation of the ancient world in early cinema, trick films and special effects, stereoscopy, and space and place on screen. (www.ianchristie.org)
Sarah Keller is Assistant Professor of Art and Cinema Studies at the University of Massachusetts-Boston. She is co-editor of the collection Jean Epstein: Critical Essays and New Translations (Amsterdam University Press, 2012), and author of Maya Deren: Incomplete Control (Columbia University Press, 2014), which examines the role of unfinished cinematic works by focusing on Maya Deren’s oeuvre. She is currently working on a book on anxiety and cinephilia, from early cinema to the present.
Valentine Robert is an Assistant Professor of Film Studies at the University of Lausanne in Switzerland. She was a visiting scholar at the Université de Montréal (GRAFICS) and a Swiss National Researcher (SNSF) on the interdisciplinary project www.unil.ch/jesus. Her research focuses on the interplay between film and painting, especially about tableaux vivants, in connection with theater, photography, lantern slides, etc. She was the curator of the Tableaux Vivants program at the Pordenone Film Festival 2017 (then touring in Bonn, Munich, Helsinki…), the co-curator of the cinematic section of the Gustave Dore exhibition at the Musée d’Orsay (general curator Philippe Kaenel, 2014), the co-editor of Le film sur l’art, entre histoire de l’art et documentaire de création (PUR, 2015) and of Corporeality in Early Cinema: Viscera, Skin, and Physical Form (Indiana University Press, 2018). She is currently preparing a book titled L’origine picturale du cinéma.
Dimitrios Latsis is Assistant Professor of Film Studies at the School of Image Arts, Ryerson University in Toronto where he teaches in the Film Studies and Film and Photography Preservation and Collection Management programs. He received his PhD in Film Studies from the University of Iowa and completed a postdoctoral fellowship in Visual Data Curation at the Internet Archive where he served as film archivist. His work on American visual culture, early cinema and the Digital Humanities has been supported by the Smithsonian Institution, Domitor and the Mellon and Knight Foundations among others. He has published and lectured widely in the fields of American Visual Culture, the historiography and theory of cinema and archival studies. He recently edited a special issue of the journal of the Association of Moving Image Archivists on Digital Humanities and/in Film Archives. He is currently co-editing an anthology on documentaries about the visual arts in the 1950s and 60s (for Bloomsbury Academy), and writing a monograph on the historiography of American cinema during the early and silent years, tentatively entitled: Through a Glass Darkly: Film History in the Making, 1895-1930.
MEMBERS AT LARGE
Clara Auclair is a PhD Student in Visual and Cultural Studies at the University of Rochester (Rochester, NY) and in Histoire et Sémiologie du Texte et de l’Image at Université Paris Diderot (Paris, France). Her dissertation, entitled ‘Regards sur l’histoire: Mémoire(s) de l’industrie cinématographique française à Fort Lee, NJ,’ explores the history of the French film community settled in Fort Lee (NJ) in the 1910s through archival research, individual memoirs and film analyses. Clara’s research is interested in the franco-american network of relationships created in Fort Lee, and how it shaped both the film frame and the spaces of the burgeoning city.
Camille Blot-Wellens is an independent researcher and archivist. She has studied History at University Paris 1 and Film Archives at University Paris 8 and the European program Archimedia. She started collaborating with Filmoteca Española in 2000 as independent researcher, and more specifically on the identification and analysis the Sagarmínaga Collection (more than hundred films produced between 1895 and 1906) together with Encarni Rus Aguilar and the Joly-Normandin films of the Sagarmínaga collection and from the Cinemateca Portuguesa. Alongside, she obtained the grant Lavoisier from the French Ministry of Foreign Affairs (2001) to assist Luciano Berriatúa on the restoration of Der letzte Mann (F. W. Murnau, 1925). She continued working with Luciano Berriatúa on other Murnau’s films: Schloss Vogelöd (1921) and Phantom (1922) for the Murnau-Stiftung. In 2007, she joined the Cinémathèque française as Head of the Films Collections where she developed researches to better restore the silent films of the collections. Since 2012, she has been an independent researcher and historian residing in Stockholm, where she works on restoration and research projects for European and International archives.
Michael Cowan heads the Department of Film Studies at St Andrews University. He is the author of numerous books and articles on film, media history, visual culture, and German modernity, including the award-winning Walter Ruttmann and the Cinema of Multiplicity (2014). He also served as co-editor (with A. Kaes, N. Baer) of The Promise of Cinema: German Film Theory, from 1907-1933 (2016).
Patrick Ellis (PhD, Berkeley) is a Postdoctoral Fellow in the School of Literature, Media, and Communication at the Georgia Institute of Technology. His book project, Aeroscopics: Media Archaeology of the Bird’s-Eye View, provides a history of aerial vision in the era prior to commonplace flight. His interests beyond the history of film include the histories of cartography, medicine, and technology. He has work published or forthcoming in The British Journal for the History of Science, Cinema Journal, Early Popular Visual Culture, and Imago Mundi. He co-organized the Second International Berkeley Conference on Silent Cinema, and has curated exhibits and silent film programs for the Pacific Film Archive, the Wolfsonian Museum, RetroTECH, and Cambridge University.
Louis Pelletier (PhD, Concordia University) is a postdoctoral fellow at the International Research Partnership on Cinema Technology Technès, Université de Montréal. He wrote his PhD dissertation on the institutionalisation of film exhibition in Montreal. Some of the findings of his research on early and silent cinema, film exhibition, film preservation, film technology, and useful cinema have appeared in such journals as Film History, 1895, The Moving Image, The Journal of Film Preservation, and Cinémas. As a coordinator of a digitization project initiated by GRAFICS and Bibliothèque et Archives nationales du Québec, he has investigated the coverage of early cinema by Quebec newspapers and periodicals.
Colin Williamson (PhD, University of Chicago) is an Assistant Professor of Film and Screen Studies at Pace University as well as a fellow at the University of Pennsylvania’s Wolf Humanities Center. Previously, he was a fellow at the Center for Cultural Analysis at Rutgers University, and a visiting scholar at the American Academy of Arts and Sciences and Harvard University. His research focuses on aesthetics, intermediality, and animation and special effects in the proto-cinema and early cinema periods. He is the author of Hidden in Plain Sight: An Archaeology of Magic and the Cinema (Rutgers UP, 2015) and has published in Thinking in the Dark (Rutgers UP, 2015), The Moving Image, Leonardo, and animation: an interdisciplinary journal, where he serves as Reviews Editor.
Scott Curtis (PhD, University of Iowa) is an Associate Professor of Radio/Television/Film at Northwestern University in Evanston, Illinois, USA, and Director of the Communication Program at Northwestern University in Qatar. His areas of expertise include early German cinema and the early use of motion picture technology as a research tool, diagnostic instrument, or teaching aid in science, medicine, and education. His book on this topic, The Shape of Spectatorship: Art, Science, and Early Cinema in Germany (Columbia University Press, 2015), explores the collision between expert vision and moving images in various disciplines. He has published extensively on the use of motion pictures in a variety of scientific fields, such as biology, physics, psychology, and medicine. He has also written on more traditional topics in film history, including animation; early German film and theory; industrial film; the Motion Picture Patents Company; film sound; Alfred Hitchcock; and Douglas Fairbanks. His essays have appeared in numerous anthologies and such journals as Film History, Cinema et Cie, montage/av, Science in Context, and Zeitschrift für Medienwissenschaft.