Martin Barnier is professor of Film History at the Université Lumière Lyon 2, France. He specialises in the history of film sound, biopics, spectatorship, and 3-D cinema. His recent publications include Bruits, cris, musiques de films : les projections avant 1914 (2010); with Kira Kitsopanodou, Le Cinéma 3-D : histoire, économie, technique, esthétique (2015), and with Laurent Jullier, Une brève histoire du cinéma (1895–2015) (2017).
Charles Barr is emeritus professor at the University of East Anglia, where he helped to set up one of the first UK programmes in Film Studies, including the pioneer MA course in Film Archiving; he has also taught in St Louis, Dublin, and Galway. He has published extensively on British film history and on the work of Alfred Hitchcock. He has co-edited, with Bruce Babington, a collection entitled The Call of the Heart: John M. Stahl and Hollywood Melodrama (2018).
Geoff Brown is chief researcher on the Arts and Humanities Research Council-funded project British Silent Cinema and the Transition to Sound, 1927–1933, and a member of the Cinema and Television History Research Centre, De Montfort University, Leicester. A film historian, classical music critic, and former film critic for The Times, he has written on the early sound period, multilingual film-making, and the British film industry’s continental connections in The Historical Journal of Film, Radio and Television, Journal of British Cinema and Television, Film History, and the book collections Destination London (2008) and Ealing Revisited (2012).
Paolo Cherchi Usai, senior curator of the Moving Image Department at the George Eastman Museum in Rochester, NY, is adjunct professor of Film at the University of Rochester, resident curator at the Telluride Film Festival, and curator emeritus of the National Film and Sound Archive of Australia. He co-founded the Giornate del Cinema Muto in Pordenone and the
L. Jeffrey Selznick School of Film Preservation, of which he is currently director. His most recent publications include Film Curatorship: Archives, Museums, and the Digital Marketplace (2008), ‘The Lindgren Manifesto’ (2010), and A History of Cinema in 1,000 Words (2012). He is author of the experimental feature films Passio (2007), adapted from his book The Death of Cinema (2001), and Picture (2015).
(p.xiv) Thomas C. Christensen received his MA in film studies from the University of Copenhagen in 1993. After teaching film history, film analysis, and production at the University of Copenhagen and University of Aarhus, he was appointed curator at the Danish Film Institute in 1998. He has supervised several film restorations and a series of DVD publications. He has been involved in several EU projects, most recently in EFG1914, FORWARD (on orphan film works), and I-Media-Cities. He was head of the FIAF Technical Commission (2006–11), and secretary-general for the Association des cinémathèques européennes (ACE, 2010–16). He is currently working on a Nordic comparative research project on film heritage preservation and the transition from analogue to digital film.
Jean-François Cornu is a professional translator specialising in subtitling and the translation from English into French of books on cinema and art. A former senior lecturer at the University of Rennes-2, France, he is also an independent film researcher focusing on the history and practice of film translation, and the work of Alfred Hitchcock. In 2014, he published Le Doublage et le sous-titrage : histoire et esthétique (Dubbing and Subtitling: History and Aesthetics). He is a member of the Association des traducteurs adaptateurs de l’audiovisuel (ATAA), the French association of audiovisual translators, and co-founder of its e-journal, L’Écran traduit.
Bryony Dixon is curator of silent film for the British Film Institute National Archive. She has researched and written on many aspects of early and silent film, and programmed for a variety of specialist film festivals and events worldwide including the Giornate del Cinema Muto in Pordenone, Bologna’s Il Cinema Ritrovato, the San Francisco Silent Film Festival, and the BFI London Film Festival. She has co-directed the annual British Silent Film Festival for 19 years. Her book 100 Silent Films, in the BFI Screen Guides series, was published in 2011. She was lead curator on major silent film restorations including the BFI’s 2012 Silent Hitchcock project.
Claire Dupré la Tour is an affiliate researcher at the Institute for Cultural Inquiry, Utrecht University, where she was awarded a Ph.D. in 2016 for her thesis entitled ‘Intertitre et film narratif de fiction—Genèses, développements, et logiques d’un procédé filmographique, 1895–1916 : l’exemple de la production aux États-Unis et le cas d’Intolerance (D. W. Griffith, 1916)’ (Intertitles and narrative fiction film—Genesis and development 1895–1916: Production in the United States and the case of D. W. Griffith’s Intolerance, 1916). She has published extensively on intertitles and early cinema, and has organised conferences and co-edited books on cinema history and theory. She is a member of the Magic Lantern Society UK, Domitor, Les Amis (p.xv) de G. Méliès, and other associations. She has been co-editor of the journal Iris since 1992.
Adrián Fuentes-Luque received his doctorate in Translation and Interpretation from the University of Granada in 2001. He is a senior lecturer at the Universidad Pablo Olavide in Seville, Spain. His research interests include audiovisual translation, humour in translation, and translation and tourism. He has published on, among many other topics, the translation of the Marx Brothers films and audiovisual translation in Nigeria. He also has a background in professional translation, having been a senior translator at the Australian Embassy in Madrid.
Carla Mereu Keating holds a Ph.D. in Italian Studies from the University of Reading. She is the author of The Politics of Dubbing (2016) and has contributed to various publications on film history, censorship, dubbing, and subtitling. She is currently a British Academy postdoctoral research fellow at the School of Modern Languages, University of Bristol. She co-organises ‘Migrating Texts’, a series of seminars exploring subtitling, translation, and adaptation hosted annually by the Institute of Modern Languages Research, University of London.
Dominique Moustacchi took up studies in film history and archiving after working as an art restorer specialising in paintings. From 2004 to 2008 she was a project officer at the Archives Directorate of the Institut national de l’audiovisuel (INA) in Paris, where she supervised the inventory and documenting of a corpus of early television films. In 2009 she joined the Film Heritage Directorate of the Centre national du cinéma et de l’image animée (CNC, French Film Centre), as the administrator of its documentary database.
Christopher Natzén has held a post as researcher at the Collection and Research Development Division, National Library of Sweden since 2009. His Ph.D. dissertation, completed in 2010, is entitled ‘The Coming of Sound Film in Sweden 1928–1932: New and Old Technologies’. His current research explores the formation of a music practice in Swedish cinema from 1905 to 1915. He is also leading a project aiming to provide remote access to the National Library’s audiovisual collections across national borders. He is involved with the online archival projects filmarkivforskning.se and filmarkivet.se, two sites that aim to facilitate access to Swedish film heritage.
Charles O’Brien teaches in the Film Studies programme at Carleton University in Ottawa, Canada. He is the author of Cinema’s Conversion to Sound: (p.xvi) Technology and Film Style in France and the U.S. (2005), as well as chapters and articles on various topics in film history, which include a piece on the effects of location shooting in California on the style of D. W. Griffith’s Biograph films. His second book, Movies, Songs, and Electric Sound: Transatlantic Trends, is forthcoming. He is currently developing a new project that investigates the effects of digital conversion on the aesthetics of film sound.
Carol O’Sullivan is a senior lecturer in Translation Studies in the School of Modern Languages at the University of Bristol. She has published articles and book chapters on audiovisual translation, film history, translation history, and literary translation. Her monograph Translating Popular Film was published in 2011. She is editor-in-chief of the journal Translation Studies and a former board member of the European Society for Translation Studies.
Rachel Weissbrod is an associate professor and head of the Department of Translation and Interpreting Studies at Bar-Ilan University, Israel. Her areas of research include theory of translation, literary translation into Hebrew, film and TV translation, multimodality, and the interrelation between translation and other forms of transfer. She has published in Target, The Translator, Meta, Babel, Journal of Adaptation in Film and Performance, Translation Studies, and more. Her book Not by Word Alone, Fundamental Issues in Translation (in Hebrew) was published in 2007.