ADDITIONAL OFFICERS & MEMBERS AT LARGE
Ian Christie (UK) (Vice-President – Europe, 2018)
Scott Curtis (USA/Qatar) (Past-President, 2019
Valentine Robert (Switzerland) (2019)
Colin Williamson (USA) (2019)
Artemis Willis (USA) (2017)
Joshua Yumibe (USA) (Vice-President – N. America, 2018)
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 World Cinemas/Global 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, the Media 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)
Joshua Yumibe(PhD, University of Chicago) is an Associate Professor and Director of Film Studies at Michigan State University. He has published Moving Color: Early Film, Mass Culture, Modernism (Rutgers University Press, 2012) and co-authored Fantasia of Color in Early Cinema (Amsterdam University Press, 2015) with Giovanna Fossati, Tom Gunning, and Jonathon Rosen. With the support of the Leverhulme Trust, he is currently working on a monograph co-authored with Sarah Street entitled, Chromatic Modernity: Color, Cinema, and Media of the 1920s (under contract with Columbia University Press). Since 2003, he has been the co-director of the Davide Turconi Project at the George Eastman Museum.
Oliver Gaycken (PhD, University of Chicago) is an Associate Professor in the Department of English and a core faculty member of the Film Studies and Comparative Literature Programs at the University of Maryland, College Park. He is the author of Devices of Curiosity: Early Cinema and Popular Science (Oxford University Press, 2015). His articles have appeared in Historical Journal of Film, Radio, and Television; Science in Context; Journal of Visual Culture; Early Popular Visual Culture; Screen;and the collection Learning with the Lights Off (Oxford University Press, 2012).
Viva Paci (PhD, University of Montreal) is Film Studies Professor at the University of Quebec at Montreal (UQAM), and director of the Master of Arts of Cinema and Moving Images program. She has been a visiting professor at the University of Lausanne, University of Bologna, as well as a postdoctoral fellow at McGill University. She is the assistant director of the Center for Research into Intermediality (CRI), a member of GRAFICS and of the Institut du Patrimoine. Since 2014 she has been part of the Board at the Cinémathèque Québécoise. Paci is the author of La machine à voir: À propos de cinéma, attraction, exhibition (Presses Universitaires du Septentrion, 2012); La comédie musicale et la double vie du cinéma (Aleas, 2011); Il Cinema di Chris Marker (2005); co-author with André Habib of Chris Marker et l’imprimerie du regard (2008); and co-author with Michael Cowan and Alanna Thain of an anthology about “streets” in contemporary European cinemas (CiNéMAS, 2010). She directed some projects on practice-based research with her Lab-Doc: http://www.webdoc.chrismarker.ca (2013) and http://highline.webdocumentary.ca/ (2014). With André Gaudreault and Martin Lefebvre, she co-directed the International Conference: "The Magic of Special Effects: Cinema–Technology–Reception" (2013); and with André Gaudreault: "A Switchedon TV: The Arts in the Black and White of the Cathode Ray Tube" (2015).
Vito Adriaensens is Adjunct Assistant Professor at Columbia University’s School of the Arts and a Postdoctoral Fellow from the Belgian American Educational Foundation. He holds a PhD from the University of Antwerp, was a visiting scholar at the University of Copenhagen, and has also taught at the School of Arts, University College in Ghent and the VU University in Amsterdam. His research focuses on the aesthetic, cultural and (art) historical interaction between film, theatre and visual arts, with an emphasis on silent cinema. He is currently finishing two books for Edinburgh University Press that will come out in 2016: the co-authored Sculpture in Cinema (with Steven Jacobs, Susan Felleman and Lisa Colpaert), which deals with sculptural motifs from Georges Méliès's animation of statues to experiments in expanded cinema; and the monograph Velvet Curtains and Gilded Frames: The Art of Early European Cinema, on early European cinema's appropriation of nineteenth-century theatrical and pictorial strategies.
MEMBERS AT LARGE
Valentine Robert (PhD, University of Lausanne) is a Lecturer of Film History and Aesthetics at the University of Lausanne. She has been an Invited Scholar at the University of Montreal (GRAFICS) and a Researcher for the Swiss National Foundation of Science on the interdisciplinary project www.unil.ch/jesus. Her research focuses on the interplay between film and painting, in all its forms, from the origins of cinema and through its detours in the realms of theatre, photography, lantern slides. She is the author of numerous articles and chapters about tableaux vivants in early and contemporary cinema; films on art; Christ iconography in film history; theory and practice of the point-of-view shot and the close-up. She was the co-curator of the cinematic section of the Gustave Doreexhibition at the Musée d’Orsay and the National Gallery of Canada (general curator Philippe Kaenel, 2014) and the co-editor of Le film sur l’art, entre histoire de l’art et documentaire de création (PUR, 2015). She is currently preparing a book entitled L’origine picturale du cinéma, and a Domitor program called Tableaux Vivants ! for the Giornate del cinema muto 2017.
Colin Williamson (PhD, University of Chicago) is a Visiting Assistant Professor of Film and Media Studies at Franklin and Marshall College, and he was a visiting scholar at the American Academy of Arts and Sciences and Harvard University. His research focuses on aesthetics, intermediality, and visual education in the proto-cinema and early cinema periods. He is the author of numerous articles and chapters on early animation and special effects, science and the cinema, Walter Benjamin and film theory, visual anthropology, the cinema’s transition to sound, and the Paper Print Collections at the Library of Congress. His first book, Hidden in Plain Sight: An Archaeology of Magic and the Cinema (Rutgers University Press, 2015), relates the experience of wondering at illusions to how audiences have learned about technological innovations in moving image culture from philosophical toys to CGI.
Artemis Willis is a Ph.D. Candidate in the Department of Cinema and Media Studies at the University of Chicago. Her research concerns the international history, practice and aesthetics of the magic lantern from the 1870s to the 1930s. Other interests include early popular visual culture, the nonfiction tradition, and stage-screen relations. She has organized lantern shows and other events at the Smithsonian Institution, the National Gallery of Art, the Museum of Fine Arts Boston, and the Film Society of Lincoln Center. She is also a documentary filmmaker.
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.