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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 Virtuoso: Film Performance and the Actor’s Magic (2019), A Dream of Hitchcock (2019), 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.

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 Virtuoso: Film Performance and the Actor’s Magic (2019), A Dream of Hitchcock (2019), 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.

Sandra Meiri is a senior lecturer and academic supervisor of film studies in the Department of Literature, Linguistics and Art, The Open University of Israel. She has taught many undergraduate, graduate courses, and seminars (on film theories, gender, sexuality, film history, film and psychoanalysis) in the Department of Film and Television, Tel Aviv University. Author affiliation details are correct at time of print publication.

Odeya Kohen Raz is a lecturer and coordinator of film theory teaching at the Sapir Academic College, a teaching coordinator in the Department of Literature, Linguistics and Art, The Open University of Israel, and teaches in the Department of Film and Television, Tel Aviv University. Author affiliation details are correct at time of print publication.

Benjamin Bratt is a visual effects artist based out of Dallas, Texas who has worked as a digital artist on recent movies such as Underworld: Rise of the Lycans, Race to Witch Mountain, Obsessed, and The Proposal. He is currently the lead compositor at Radium/Reel FX in Dallas. Clients include the Dallas Cowboys, Coors, Ram Truck, and more. Benjamin has also taught Visual Effects and Rotoscoping classes at the Academy of Art. 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 Virtuoso: Film Performance and the Actor’s Magic (2019), A Dream of Hitchcock (2019), 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.

Sandra Meiri is a senior lecturer and academic supervisor of film studies in the Department of Literature, Linguistics and Art, The Open University of Israel. She has taught many undergraduate, graduate courses, and seminars (on film theories, gender, sexuality, film history, film and psychoanalysis) in the Department of Film and Television, Tel Aviv University. Author affiliation details are correct at time of print publication.

Odeya Kohen Raz is a lecturer and coordinator of film theory teaching at the Sapir Academic College, a teaching coordinator in the Department of Literature, Linguistics and Art, The Open University of Israel, and teaches in the Department of Film and Television, Tel Aviv University. Author affiliation details are correct at time of print publication.

Barbara Plotz is Associate Lecturer at London College of Communication and she also teaches in the Department of Film Studies at King’s College London, UK. She is a film scholar working at the intersection of film and cultural studies, with a focus on representation, gender, the body, and genre – specifically horror cinema. Author affiliation details are correct at time of print publication.

Laura Mulvey is Professor of Film and Media Studies at Birkbeck College, University of London. She is the author of Visual and Other Pleasures (1989; second edition 2009), Fetishism and Curiosity (1996; second edition 2013), Citizen Kane (1992; second edition 2012) and Death Twenty-four Times a Second: Stillness and the Moving Image (2006). She made six films in collaboration with Peter Wollen, including Riddles of the Sphinx (1977) and Frida Kahlo & Tina Modotti (1984) as well as Disgraced Monuments (1996) with artist/fi lmmaker Mark Lewis. Author affiliation details are correct at time of print publication.

Celine Tricart is an independent filmmaker and stereographer (aka 3D specialist) who is particularly interested in storytelling for stereoscopic cinema. Author affiliation details are correct at time of print publication.

Gemma Commane is Lecturer in Media and Communications at the Birmingham School of Media, Birmingham City University, UK. She is active in research in the fields of media and cultural studies, and gender and sexuality. She has published in peer-reviewed journals and edited collections. Author affiliation details are correct at time of print publication.