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Charles Acland is Professor and Concordia University Research Chair in Communication Studies. He received a PhD in Cultural Studies from the Institute of Communications Research, University of Illinois. Charles Acland specializes on film institutions.
François Albera is Professor, section d'histoire et d'esthétique du cinéma et l'Université de Lausanne. He is one of the most prominent specialist on the theory and history of cinema in Europe. He has published numerous works and essays on the avant-garde, soviet cinema and the history of French cinema.
Michael Cowan is Associate Professor in the Department of Languages, Literatures and Cultures and the Program in World Cinemas at McGill University. His research focuses on film and visual culture in Germany and Europe in the early 20th century.
John Hunting (BA Trent University, BFA Concordia University, MA University of Ottawa, PhD McGill University) is a Humanities teacher at Dawson College. He received a PhD in Communications from McGill. His dissertation Affect, Melodrama and Cinema: an Essay on Embodied Passivity explored the relevance of the philosophy of Emmanuel Levinas for melodrama and cinema.
Born in 1960 in a working-class region of eastern of France, Laurent Jullier is director of research at the Institut de Recherches sur le Cinéma et l’Audiovisuel (IRCAV) at the University of Paris III-Sorbonne Nouvelle and professor of film studies at the Institut Européen de Cinéma et d’Audiovisuel (IECA) at the University of Nancy II.
Martin Lefebvre is University Research Chair in Film Studies and Director of the Advanced Research Team on the History and Epistemology of Moving Image Studies (ARTHEMIS, http://www.arthemis-cinema.ca/). He is also Director of the Doctoral Program in Film and Moving Image Studies at Concordia University.
Julianne Pidduck is professor in the Communication Department at the Université de Montréal. Her research focuses on gender and sexuality (notably queer theory) in in the context of moving image studies. Her research focuses on the power of cinema as a cultural form, notably the articulation of difference in genre and narrative and cinematic theories of space and time.
Dana Polan (B.A., Cornell; M.A., Ph.D., Stanford; Doctorat d’État, Université de la Sorbonne Nouvelle) is Professor of Cinema Studies at New York University. He is one of the most prominent specialist in film studies in the United States.