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Jonathan Stubbs is an Professor in the Faculty of Communication at Cyprus International University. Prior to this he taught at the University of East Anglia in the UK, where he also completed his PhD, and at the University of British Columbia in Canada. His book Historical Film: A Critical Introduction was published by Bloomsbury Academic in 2013. His research has also been published in various academic journals including The Historical Journal of Film and Television, The Journal of Popular Culture, The Journal of British Cinema and Television, Exemplaria, and theJournal of American Studies of Turkey. Author affiliation details are correct at time of print publication.

Murray Pomerance is an independent scholar living in Toronto, Canada. He is the editor of the "Techniques of the Moving Image" series and the Horizons of Cinema series, and co-editor, with Lester D. Friedman and Adrienne L. McLean respectively, of the Screen Decades and Star Decades series. Pomerance has written, edited and co-edited several books, including Cinema, If You Please (2018), Moment of Action (2016), Alfred Hitchcock's America (2013), The Horse who Drank the Sky: Film Experience beyond Narrative and Theory (2008), and two BFI Classics on Marnie (2014) and The Man Who Knew Too Much (2016). Author affiliation details are correct at time of print publication.

Doris Berger is a curator at the Skirball Cultural Center in Los Angeles, USA. She was a postdoctoral fellow at the Getty Research Institute in Los Angeles and the director of the Kunstverein Wolfsburg, Germany. Her practice includes writing, teaching, curatorial and audiovisual work focusing on intersections of art and film in modern and contemporary American and European art. Author affiliation details are correct at time of print publication.

Alexis Krasilovsky is professor of screenwriting and Media theory and Criticism at California State University, Northridge, teaching courses in Screenplay Adaptation and Film as Literature. Krasilovsky is a member of the Writers Guild of America, West, and is writer/director of the award-winning global documentaries Women Behind the Camera (2007) and Let Them Eat Cake (2014). She is also author of Women Behind the Camera: Conversations with Camerawomen (1997), and co-author of Shooting Women: Behind the Camera, Around the World (2015). Krasilovsky’s narrative film, Blood (1976), was reviewed in the Los Angeles Times as “in its stream-of-consciousness way, more powerful than Martin Scorsese’s Taxi Driver.” Author affiliation details are correct at time of print publication.

Doris Berger is a curator at the Skirball Cultural Center in Los Angeles, USA. She was a postdoctoral fellow at the Getty Research Institute in Los Angeles and the director of the Kunstverein Wolfsburg, Germany. Her practice includes writing, teaching, curatorial and audiovisual work focusing on intersections of art and film in modern and contemporary American and European art. Author affiliation details are correct at time of print publication.

Doris Berger is a curator at the Skirball Cultural Center in Los Angeles, USA. She was a postdoctoral fellow at the Getty Research Institute in Los Angeles and the director of the Kunstverein Wolfsburg, Germany. Her practice includes writing, teaching, curatorial and audiovisual work focusing on intersections of art and film in modern and contemporary American and European art. Author affiliation details are correct at time of print publication.

Doris Berger is a curator at the Skirball Cultural Center in Los Angeles, USA. She was a postdoctoral fellow at the Getty Research Institute in Los Angeles and the director of the Kunstverein Wolfsburg, Germany. Her practice includes writing, teaching, curatorial and audiovisual work focusing on intersections of art and film in modern and contemporary American and European art. Author affiliation details are correct at time of print publication.

Julia Erhart is Associate Professor in the School of Humanities and Creative Arts at Flinders University. She researches in the areas of contemporary women filmmakers and feminist and LGBT representations in film and television and is the recipient of a grant from the Australian Academy of the Humanities (2016), a Citation for Outstanding Contribution to Student Learning from the Australian Office for Learning and Teaching (2014), and a fellowship from Fulbright (2000). Author affiliation details are correct at time of print publication.

Mariana Liz is a post-doctoral fellow at the University of Lisbon, Portugal. She is the author of Euro-Visions (2016), editor of Portugal's Global Cinema (2017) and co-editor of The Europeanness of European Cinema (2015). She was at Queen Mary University of London and at the University of Leeds, UK, between 2013 and 2016. Author affiliation details are correct at time of print publication.