Chloë Brushwood Rose is a Professor in the Faculty of Education and Vice-Provost Teaching & Learning at York University. Her research interests bridge several fields, including community-engaged visual research methods, media and arts-based education, and gender, feminist and queer studies. Chloë is also a Registered Psychotherapist (Qualifying) working with children, adolescents and their families, affiliated with the Canadian Institute for Child and Adolescent Psychoanalytic Psychotherapy.

She is the co-author of Community-based Media Pedagogies: Relational Approaches to Listening in the Commons (Routledge, 2016), and the co-editor of a recent special issue of the Journal of Teaching and Learning on the impacts of COVID-19 for children, youth and education. Her scholarly work has appeared in several journal publications, including the Psychoanalysis, Culture & Society; Qualitative Studies in Education; Visual Studies; Changing English; International Journal of Leadership in Education; and, Gender and Education. Chloë is co-editor of several anthologies, including two anthologies on queer culture: the Lambda short-listed Brazen Femme: Queering Femininity (Arsenal Pulp Press, 2002) and the winner of a Golden Crown Literary Society Award, And Baby Makes More: Known Donors, Queer Parents, and Our Unexpected Families (Insomniac Press, 2010).

Marta Braun is the Director of the Film + Photography Preservation and Collections Management MA program at Ryerson. She is author of Picturing Time: the Work of Etienne-Jules Marey (1830-1904) (UCP, 1992), Eadweard Muybridge (Reaktion, 2010) and the children’s book Muybridge and the Riddle of Locomotion (Firefly, 2013). Her essays have appeared in Italian Futurism, 1909-1944: Reconstructing the Universe, (ed. Vivien Greene 2014), Helios, the Art of Eadweard Muybridge (ed. Phillip Brookman, 2010), Musée de quai Branly; la collection, (ed. Yves le Fur, 2008), L’Art de la Photographie des origins à nos jours, (eds. André Gunthert and Michel Poivert, 2007). She has been made a fellow of the Internationales Kolleg für Kulturtechnikforschung und Medienphilosophie, Weimar Germany. (IKKM), a Chevalier de l’Ordre des Palmes Académiques (France), and a Fellow of the Royal Society of Canada.

Paul Moore is Associate Professor of Communication and Culture at Ryerson University. Overall, his research argues that amusement and leisure help constitute modern publics by providing spaces, rhetorics, and logics for collective gathering. He has studied the history of early cinema publicity and exhibition across Canada and North America, with a focus on rural spaces "in between," and with special attention to how viewing publics are premediated as reading publics through news and advertising.

Dr. Mary Elizabeth (“M.E.”) Luka is Assistant Professor of Arts & Media Management at the Department of Arts, Culture, Media (UTSC), cross-appointed to the Faculty of Information, University of Toronto. Dr. Luka is an award-winning scholar, policy maker, activist, and digital media maker for the arts and creative economy, broadcasting and telecommunications. She studies co-creative and collaborative modes of creative production and distribution in the digital age, to investigate how arts, culture, media, and civic sectors are networked together.

Dr. Luka has worked with 100+ cultural organizations as a consultant, staff member or advisor. She is Past Chair of the Board for Arts Nova Scotia, and past member of the Creative Nova Scotia Leadership Council, NSCAD University’s Board of Governors, and the Provincial and Territorial Advisory Group of the Cultural Human Resources Council. She is a founding member of research-creation and public art walking group, Narratives in Space + Time Society (NiS+TS).

Rosemary J. Coombe holds the Tier One Canada Research Chair in Law, Communication and Culture at York University in Toronto, where she is a Full Professor holding appointments in the Departments of Anthropology and Social Science. She also teaches in the Communications and Culture Joint PhD/MA Programme. Prior to being awarded one of Canada’s first Canada Research Chairs, she was Full Professor at the University of Toronto Faculty of Law. Her award winning book, The Cultural Life of Intellectual Properties was reprinted in 2008. She publishes in the fields of anthropology and critical legal studies. Her work addresses the cultural, political, and social implications of intellectual property laws, and the politics of cultural property and heritage management at the intersections of neoliberalism, informational capital, and human rights.

Alanna Thain is a professor of Cultural Studies and World Cinemas at McGill University, where she directs the Moving Image Research Laboratory and the Institute for Gender, Sexuality, and Feminist Studies. She is the author of Bodies in Suspense: Time and Affect in Cinema (University of Minnesota Press, 2017). Her current research includes Anarchival Outbursts on dance and the movement practices of post-digital cinema, and Cinema Out of the Box, a research-creation project around a mobile, bike powered cinema, and the global trend of outdoor cinemas.

Dr. Carla Taunton is an Associate Professor in the Division of Art History and Contemporary Culture at the Nova Scotia College of Art and Design University (NSCAD) and an Adjunct Associate Professor in the department of Cultural Studies at Queen’s University. Taunton is a white-settler scholar whose areas of expertise include arts-based critique of settler colonialism, Indigenous arts and methodologies, contemporary Canadian art, museum and curatorial studies, as well as theories of decolonization, anti-colonialism, and settler responsibility. Her recent collaborative research projects include: The GLAM Collective, The Pilimmaksarniq/Pijariuqsarniq Project: Inuit Futures in Arts Leadership (2017), Archive/Counter-Archive: Activating Canada’s Moving Image Heritage (2018 - 2024), Transactive Memory Keepers (2016-ongoing); This is What I Wish You Knew: Urban Aboriginal Artists (2015-ongoing), and Theories and Methodologies for Indigenous Arts in North America (2014-ongoing). Her recent publications include “Performing Sovereignty: Forces to be Reckoned With” in More Caught in the Act (2016), and “Embodying Sovereignty: Indigenous Women’s Performance Art in Canada,” in Narratives Unfolding (2017). With Dr. Julie Nagam and Dr. Heather Igloliorte, she co-edited PUBLIC 54: Indigenous Art, and in 2017 with Igloliorte she co-edited a special issue of RACAR on Indigenous art histories.

David Clark is a media artist interested in experimental narrative and cinematic use of the internet. Recent works include interactive narrative works for the web: 88 Constellations for Wittgenstein, Sign After the X, and A is for Apple and also the non-linear film Meanwhile and the feature film Maxwell’s Demon. His work has been exhibited at Sundance, SIGGRAPH, EMAF, Transmediale, and the Museum of Moving Images in New York. His work has won awards at FILE, Sao Paulo, and the SXSW Interactive Festival. 88 Constellations for Wittgenstein was included in the Electronic Literature Collection #2 and won the $25,000 2011 Nova Scotia Masterwork Award. He teaches Media Arts at NSCAD University in Halifax.

Jennifer VanderBurgh teaches film and media in the Department of English at Saint Mary's University (Halifax, NS). Her research investigates how Canadian films and TV shows "remember" ways of thinking and "leave footprints" on cultural understandings and built environments. Her manuscript, What Media Remember: Artefacts and Footprints of Television in Toronto, troubles the idea of “Canadian TV” by examining Toronto’s unique and mutually constitutive relationships with television.

Jennifer’s encounters with policies and practices that limit public access to Canada's TV heritage has led to a research and advocacy focus on how TV circulates outside of archives and institutions, particularly VHS recording, collecting, and preservation projects. Her research on the Margaret Perry case study excavates archival records and oral histories to expand the conceptual framework for the NS Film Bureau films beyond the limited scope of government propaganda and anti-modernism, to include women’s labour/cinema, progressive discourse, regional record, and aesthetics/artwork.

Susan Lord is Professor in the Department of Film and Media at Queen's University and Director of the Graduate Program in Cultural Studies. She is the Director of the Vulnerable Media Lab (with Dylan Robinson and Rosaleen Hill). With a background in feminist and critical theory, her research has been dedicated to the histories of vulnerable media and in the remediation of these histories through curatorial and cultural events. These projects are necessarily collaborative, engaging with other researchers, cultural producers, policy and social actors to advance citizenship practices, expand the civic spaces, and decolonize the lands on which we live and work.

Her publications include two recent special issues of PUBLIC: Archive/Counter Archives and Havana (http://www.publicjournal.ca/issues/). A book on the Afro-Cuban filmmaker Sara Gómez is forthcoming in 2019. Other books include Killing Women: Gender, Violence and Representation (with Annette Burfoot); New World Coming: The Sixties and the Shaping of Global Consciousness (with K. Dubinsky, et al); Fluid Screens/Expanded Cinema (with Janine Marchessault).