and books in aesthetics, including Art and Intention (Oxford University Press 2005), “History of the Ontology of Art” (Stanford Encyclopedia of Philosophy), and Cinema, Philosophy, Bergman (Oxford University Press 2009).
Anne Ahn Lund is co-founder of Jordnær Creative and Nordic Eco Media Alliance (NEMA). She is teaching creative sustainability in the Nordic countries, has trained production assistants and runners in sustainable practices, and has presented recommendations directly to the Danish Minister of Culture. Lund is a filmmaker and has taught film production practices at University of Copenhagen and The Royal Academy of Fine Arts. She holds an MA in film studies with a focus on embodied aesthetics.
Josefine Madsen founded Jordnær Creative in 2017 to fight for climate action and social justice in the creative industries. She has put the climate footprint of the cultural sector on the Danish public agenda with appearances and press coverage in national radio as well as news media. Madsen is also a co-founding member of Nordic Eco Media Alliance (NEMA). She holds a BA and an MA in film and media studies from the University of Copenhagen, and specialized in sustainable film and TV production as the first Danish student to do so. Furthermore, Madsen has worked with documentaries and film financing.
Ruth McElroy is professor of creative industries and faculty head of research at the University of South Wales. She is co-director with professor Lisa Lewis of the Centre for the Study of Media and Culture in Small Nations. In public life, McElroy is chair of Ffilm Cymru Wales and a member of Ofcom’s Advisory Committee Wales. She helps inform media policy through her membership of the Institute of Welsh Affair’s Media Policy Group. McElroy’s main research interests are in film and TV studies, media policy and cultural identity with a particular interest in minority-language media.
Dooley Murphy is an audiovisual media researcher poised to receive his PhD from the University of Copenhagen, Department of Communication. His recently-completed doctoral thesis addresses the form and function of interactive virtual reality (VR) artworks from a cognitive–analytic perspective, with a particular focus on manifestations of narrative. He has published on video game player and VR participant experience, the structure and process of audiovisual narration, and design strategies in interactive storytelling. His next avenue of research will likely be avatars, characters, and virtual embodiment. In his spare time, he likes to make media art about the wonderful mundanity of technology and culture.
Ted Nannicelli teaches at the University of Queensland. His most recent books are Artistic Creation and Ethical Criticism (Oxford University Press, 2020) and Truth in Visual Media: Aesthetics, Ethics Politics (co-edited with Marguerite La Caze, Edinburgh University Press, 2021). He is the editor of Projections: The Journal for Movies and Mind.
Dr. Caitriona Noonan is senior lecturer in media and communication in the School of Journalism, Media and Cultural Studies, Cardiff University. She is an active researcher in the areas of film and television production, creative labor, and cultural policy. She is co-author of the book Producing British Television Drama Local Production in a Global Era (2019) with Ruth McElroy. More information about her research is available at smallnationsscreen.org.
Tom O’Regan was a key figure in the development of cultural and media studies in Australia. His major works include Australian Television Culture (1993), Australian National Cinema (1996), The Film Studio: Film Production in the Global Economy (2005, with Ben Goldsmith), Local Hollywood: Global Film Production and the Gold Coast (2010, with Ben Goldsmith and Susan Ward), and Rating the Audience: The Business of Media (2011, with Mark Balnaves and Ben Goldsmith). He co-founded Continuum: Journal for Media & Cultural Studies and edited it between 1987 and 1994. In addition to his prolific and influential research output, Professor O’Regan held a series of key leadership roles throughout his career. He was director of the Centre for Research in Culture and Communication from 1996 to 1998 at Murdoch University and Director of the Australian Key Centre for Cultural and Media Policy at Griffith University from 1999 to 2002. He was Australia’s UNESCO professor of communication from 2001 to 2003 and elected a fellow of the Australian Academy of the Humanities in 2002.
Glenn Parsons is an associate professor of philosophy at Ryerson University in Toronto. His interests include aesthetics, metaphysics, and the philosophy of science. His book Aesthetics and Nature (Bloomsbury 2008) is currently being revised for a new edition.
Dr. Karen Pearlman is a senior lecturer in screen practice and production at Macquarie University and the author of Cutting Rhythms (Focal Press 2016). Her research into creative practice, distributed cognition, and feminist film histories has produced a number of published articles and chapters, and three award winning short films about Soviet women filmmakers in the 1920s and the 1930s. The third of this trilogy, I want to make a film about women (2019), the case study for the chapter in this volume, was long-listed for an Oscar, short-listed for an Australian Academy of Cinema and Television Arts Award, and has won three best directing awards (from the Australian Directors’ Guild, Women in Film and Television Australia, and Cinéfest Oz), along with 10 other nationally competitive awards.
Carl Plantinga is Arthur H. De Kruyter chair of communication at Calvin University. His two latest books are Alternative Realities (2020) and Screen Stories: Emotion and the Ethics of Engagement (2018). He is also co-editor of Passionate Views: Film, Cognition, and Emotion (1999) and The Routledge Companion to Philosophy and Film (2009). He is former president of the Society for Cognitive Studies of the Moving Image (SCSMI).
Anna Potter is an associate professor of creative industries at the University of the Sunshine Coast. She is a researcher focusing on children’s screen production cultures and distribution networks, media industries, and communication policy. She is the author of Creativity, Culture, and Commerce: Producing Australian Children’s Television with Public Value (Intellect 2015), Producing Children’s Television in the On-Demand Age (Intellect 2020) and multiple journal articles and book chapters.Potter is chief investigator (with Amanda Lotz and Kevin Sanson) on the Australian Research Council Discovery project (2021–2023) “Making Australian Television in the 21st Century.” This project investigates the intertwined implications of non-Australian ownership, technological adjustments, policy changes, and support adjustments enacted since the mid-2000s that have challenged the making of “Australian” television.
Willemien Sanders is a lecturer at the department of media and culture studies and an affiliated researcher at the Institute for Cultural Inquiry at Utrecht University. She also conducts research at the Netherlands Institute for Sound and Vision. Her research interests include, but are not limited to, documentary film and non-fiction, film and television production, and digital humanities/data studies with a focus on questions of ethics, production cultures, and gender. She is currently a co-chair of the Media Production Analysis Working Group of International Association for Media and Communication Research. She is also an avid traveler.
Kaia Scott holds a PhD in film and moving image studies from Concordia University in Montreal, Quebec. Her dissertation, Picturing the Damaged Mind: Film and Techniques of Visualization in the Modernization of World War II Military Psychiatry is a critical history of the role of media in the modernization of the United States military’s psychiatry program during World War II. She specializes in institutional visual culture and is a contributing author to Cinema’s Military Industrial Complex.
Khatereh Sheibani is a scholar, author, and curator of Iranian cinema and Persian literature and culture. She has established multiple courses in Persian studies (language, literature, and culture) at York University, where she is working as a lecturer. Sheibani completed her doctorate degree in comparative literature and film studies at the University of Alberta, Canada in 2007. Her book entitled The Poetics of Iranian Cinema: Aesthetics, Modernity, and Film after the Revolution was published in November 2011 by I. B. Tauris, United Kingdom. She has co-edited a special issue of Iran Namag on Abbas Kiarostami (University of Toronto
