Results

Philip Gillett is an independent film critic and writer and author of The British Working Class in Postwar Film. Author affiliation details are correct at time of print publication.

Alessandra Raengo teaches in the Moving Image Studies doctoral program at Georgia State University, USA. Her research focuses on blackness in the visual and aesthetic fields. She is the author of On the Sleeve of the Visual: Race as Face Value, and coordinator of liquid blackness, a research project on blackness and aesthetics. Author affiliation details are correct at time of print publication.

Alessandra Raengo teaches in the Moving Image Studies doctoral program at Georgia State University, USA. Her research focuses on blackness in the visual and aesthetic fields. She is the author of On the Sleeve of the Visual: Race as Face Value, and coordinator of liquid blackness, a research project on blackness and aesthetics. Author affiliation details are correct at time of print publication.

Elena del Río is Professor of Film Studies at the University of Alberta, Canada. Her essays have been featured in journals such as Camera Obscura, Discourse, Quarterly Review of Film and Video, Film-Philosophy, The New Review of Film and Television Studies, SubStance, and Deleuze Studies. She has also contributed essays to edited collections on the films of Atom Egoyan, Rainer W. Fassbinder, and on the philosophy of film, and Deleuze and cinema. She is the author of Deleuze and the Cinemas of Performance: Powers of Affection (2008). Author affiliation details are correct at time of print publication.

Eric Wilson is Professor of English and Z. Smith Reynolds Faculty Fellow at Wake Forest University. He is the author of four books, including The Spiritual History of Ice: Romanticism, Science, and the Imagination (Palgrave, 2000). Author affiliation details are correct at time of print publication.

Matthew Tinkcom is Associate Professor of Communication, Culture and Technology and Affiliate Faculty of English at Georgetown University, USA. He is the author of Working Like a Homosexual: Camp, Capital, Cinema and Grey Gardens, co-editor of Key Frames: Popular Cinema and Cultural Studies as well as articles that have appeared in Cinema Journal, South Atlantic Quarterly and collections from Duke University Press and the British Film Institute. He has served as Associate Dean for Academic Affairs in the Georgetown University School of Foreign Service in Qatar and Director of the Program in American Studies. Author affiliation details are correct at time of print publication.

Kenneth Chan

Elena del Río is Professor of Film Studies at the University of Alberta, Canada. Her essays have been featured in journals such as Camera Obscura, Discourse, Quarterly Review of Film and Video, Film-Philosophy, The New Review of Film and Television Studies, SubStance, and Deleuze Studies. She has also contributed essays to edited collections on the films of Atom Egoyan, Rainer W. Fassbinder, and on the philosophy of film, and Deleuze and cinema. She is the author of Deleuze and the Cinemas of Performance: Powers of Affection (2008). Author affiliation details are correct at time of print publication.

Matthew Tinkcom is Associate Professor of Communication, Culture and Technology and Affiliate Faculty of English at Georgetown University, USA. He is the author of Working Like a Homosexual: Camp, Capital, Cinema and Grey Gardens, co-editor of Key Frames: Popular Cinema and Cultural Studies as well as articles that have appeared in Cinema Journal, South Atlantic Quarterly and collections from Duke University Press and the British Film Institute. He has served as Associate Dean for Academic Affairs in the Georgetown University School of Foreign Service in Qatar and Director of the Program in American Studies. Author affiliation details are correct at time of print publication.

Alessandra Raengo teaches in the Moving Image Studies doctoral program at Georgia State University, USA. Her research focuses on blackness in the visual and aesthetic fields. She is the author of On the Sleeve of the Visual: Race as Face Value, and coordinator of liquid blackness, a research project on blackness and aesthetics. Author affiliation details are correct at time of print publication.