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PRESIDENT

Scott Curtis (2015)
Department of Radio-Television-Film
Northwestern University
1920 Campus Drive
Evanston, IL 60208
USA
tel: 847.491.2249
email: scurtis@northwestern.edu

SECRETARIES

Viva Paci (Canada) (2018)
Tami Williams (USA) (2015)
email: domitorsecretary@gmail.com

TREASURER

Vito Adriaensens (Belgium)
email: domitortreasurer@gmail.com

EXECUTIVE COMMITTEE

Teresa Castro (France) (2015)
email: teresa.castro@univ-paris3.fr

Ian Christie (USA) (2017)
email:

Matthew Solomon (USA) (2015)
email: mpsolo@umich.edu

Artemis Willis (USA) (2017)
email: abwillis@uchicago.edu

Joshua Yumibe (USA) (2015)
email: yumibe@msu.edu

Full Biographies

PRESIDENT

Scott Curtis is Associate Professor of Radio/Television/Film at Northwestern University in Evanston, Illinois, USA. His areas of expertise include early German cinema and the early institutional appropriation of motion pictures, such as educational filmmaking or the use of moving image technology as a scientific research tool or diagnostic instrument. He has published on a wide variety of topics, including early film theory; film sound; animation; Alfred Hitchcock; Douglas Fairbanks; the Motion Picture Patents Company; industrial film; and the scientific use of motion pictures, such as medical cinematography and microcinematography. 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. His book, The Shape of Spectatorship: Art, Science, and Early Cinema in Germany, will be published by Columbia University Press in Fall 2015.

SECRETARIES

Viva Paci is Film Theories Full Professor at UQAM, and director of the MA “Cinéma et images en mouvement.” Ph.D. from Université de Montréal, she has been visiting professor at Université de Lausanne, Università di Bologna, as well as a postdoctoral fellow at McGill University. She is the assistant director of Center of intermedial research in arts, literatures and technologies (CRIalt), member of the Groupe de recherche sur l’avènement et la formation du spectacle cinématographique et scénique (GRAFICS) and of the Institut du Patrimoine at the Faculté des arts, UQAM. Since 2014 she’s part of the Board at the Cinémathèque Québécoise. Paci is the author of La machine à voir: À propos de cinéma, attraction, exhibition (2012); La comédie musicale et la double vie du cinéma (2011); Il Cinema di Chris Marker (2005). Co­author with André Habib of Chris Marker et l’imprimerie du regard (2008); 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 UQAM Lab on webdocumentary: http://www.webdoc.chrismarker.ca (2013) and http://highline.webdocumentary.ca/ (2014). She codirected with André Gaudreault and Martin Lefebvre 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).

Tami Williams is Associate Professor of English & Film Studies, and Graduate Coordinator of Media, Cinema & Digital Studies at University of Wisconsin, Milwaukee. She is the author of Germaine Dulac: A Cinema of Sensations (University of Illinois, 2014), co­editor of Performing New Media, 1895-­1915 (2014), and guest editor of a special issue of The Moving Image on Early Cinema and the Archives (forthcoming). Her current research explores wordlessness and gesture in the Belle époque performance arts (modern pantomime, symbolist theater, burlesque, modern dance), silent cinema, and contemporary contemplative cinema. She is coordinator for the Women Film Pioneers Project (France), and the Media Ecology Project­Domitor­Library of Congress (MEPD­LOC) Paper Prints project.

TREASURER

EXECUTIVE COMMITTEE

Teresa Castro is Associate Professor of Film Studies at the University of Paris 3 – Sorbonne Nouvelle. Her research interests include visual culture problems from the end of the nineteenth century to the beginning of the twentieth century (panoramas, photography, cinema) and the history of early non-fiction film, as well as the relationships between cinema, archival images, and contemporary art. She has published a number of articles on Albert Kahn’s Archives de la Planète. Her book La Pensée cartographique des images. Cinéma et culture visuelle was published by Aléas, Lyon, in 2011.

Ian Christie is a film and media historian, curator and broadcaster. He has written and edited books on Powell and Pressburger, Scorsese, Gilliam, Russian cinema and a BBC television project on early film, The Last Machine; and contributed to exhibitions ranging from Film as Film (Hayward, 1979) to Modernism: Designing a New World (V&A, 2006). 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.” A Fellow of the British Academy, he is Professor of Film and Media History at Birkbeck College, director of the London Screen Study Collection and a past president of Europa Cinemas. Recent publications include The Art of Film: John Box and Production Design (2009) and an edited collection Audiences (2012), and articles and chapters on Patrick Keiller, John Smith, early film copyright, ancient-world spectacles, trick films and stereoscopy. www.ianchristie.org.

Matthew Solomon is Associate Professor at the Department of Screen Arts and Cultures at the University of Michigan. He is interested in cinema’s relations to the popular and performing arts and has published on topics ranging from the origins of moving pictures to radio drama and Hollywood films of the forties. He is the author of Disappearing Tricks: Silent Film, Houdini, and the New Magic of the Twentieth Century (Urbana: University of Illinois Press, 2010) and the editor of Fantastic Voyages of the Cinematic Imagination: Georges Méliès’s Trip to the Moon (Albany: SUNY Press, 2011). He is currently working on a book about Méliès and modern visual culture.

Gregory Waller is Professor in the Department of Communication and Culture at Indiana University in Bloomington, Indiana, USA. His books include Main Street Amusements: Film and Commercial Entertainment in a Southern City, 1896-1930, which won the Theatre Library Association award and the Katherine Singer Kovacs award from the Society for Cinema Studies, and Moviegoing in America: A Sourcebook in the History of Film Exhibition. His current projects include Japan-in-America: The Turn of the Twentieth Century, a study of the representation of Japan in motion pictures and other commercial media in the United States, 1890-1915, and Adventures in 16mm, a history of 16mm and non-theatrical cinema in the 1930s-1940s, which includes a chapter on exhibition outside American movie theaters in the mid-1910s.

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 stage­screen 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.

Joshua Yumibe is assistant professor and director of Film Studies at Michigan State University and also holds a joint appointment as lecturer of Film Studies at the University of St Andrews. He has published, Moving Color: Early Film, Mass Culture, Modernism, has been published with (Rutgers University Press, 2012), and also co­authored with Giovanna Fossati, Tom Gunning, and Jonathon Rosen, Fantasia of Color in Early Cinema (Amsterdam University Press, 2015). He is the editor of a special issue on “Restoring Color” of The Moving Image (2015), and is one of the co­editors of the Domitor volume, Performing New Media: 1890–1915 (John Libbey, 2014). With Sarah Street, he is working on the Leverhulme Trust funded project, Color in the 1920s: Cinema and Its Intermedial Contexts, and he has been the Project Co­Director of the Davide Turconi Project at George Eastman House since 2003.