Malini Guha is an Associate Professor of Film Studies at Carleton University. Her research and teaching are broadly concerned with spatiality and the cinema, with an emphasis on postcolonial and post-imperial modes of mobility, migration, displacement and settlement. She is the author of From Empire to the World: Migrant London and Paris in Cinema, published by Edinburgh University Press in 2015.

Dr. Warren Crichlow is Associate Professor at York University Toronto, Canada where he teaches cultural studies and education. He is a co-editor of Spaces of New Colonialism: Reading Schools, Museums and Cities in the Tumult of Globalization (Peter Lang, 2020). His most recent article (with Kass Banning) is “A Grand Panorama: Isaac Julien, Frederick Douglass, and Lessons of the Hour,” in Film Quarterly, Summer 2020. His current project is a co-edited book on intersections of education and architecture in the prose-fiction of W. G. Sebald (1944-2001), tentatively titled Unsettling Complacency: Hope and Ethical Responsibility.

Catherine Russell is Distinguished Professor of Film Studies at the Mel Hoppenheim School of Cinema at Concordia University in Montreal, Canada. She is the author of five books, including Experimental Ethnography: The Work of Film in the Age of Video (1999), and Archiveology: Walter Benjamin and Archival Film Practices (2018). She has published articles on experimental film, Japanese film, and Hollywood cinema in Cinema Journal, Camera Obscura, Criticism, Visual Anthropology, Scope, Transformations, Framework, and she is a contributing writer for Cineaste Magazine.

Lisa Myers is a member of Chimnissing, Beausoleil First Nation. She works as an independent curator, artist and also as an Associate Professor in the Faculty of Environmental and Urban Change at York University. Her research encompasses both an art and curatorial practice. Through printmaking, stop-motion animation and performance she considers spaces of sustenance. She has exhibited her artwork in venues including the Art Gallery of Ontario, Art Gallery of Peterborough, and Queens Museum. Recent curatorial projects include touring exhibitions: Beads, they’re sewn so tight (2018); Carry Forward (2017); and wnoondwaamin | we hear them (2016). Her writing has been published in many exhibition publications, in addition to journals and art periodicals such as Senses and Society, C Magazine and Inuit Art Quarterly. Myers has an MFA in Criticism and Curatorial practice from OCAD University. She is Toronto and Port Severn, ON based.

Mahlet Cuff is an emerging interdisciplinary artist and curator producing work through audiovisual storytelling. Using analog and digital photography, found and generated recordings, they explore subjects of healing, memory and collective care to question relationships between kin and the relationship they have with themselves. Cuff draws inspiration from the idea of creating their own worlds, building and rebuilding what it means to generate bonds with one another. She is a part of the curatorial team Patterns Collective where they have showcased work for Plug In ICA, Gallery 1c03, UManitoba School of Art Gallery. Cuff’s work has been shown locally and nationally.

Nadine Valcin is an award-winning filmmaker and media artist whose practice spans documentary, experimental and narrative film as well as installation and virtual reality. Her work explores questions of memory, identity and language. She holds a professional degree in architecture from McGill University and was an artist’s residence at Library and Archives Canada through Archive/Counter Archive. She is currently in production on a documentary about Black actor/model Johanne Harrelle with funding from The Canada Council for the Arts, Telefilm Canada, the Canada Media Fund and TFO which grew out of her work with Archive/Counter Archive. Nadine is a professor in the Film and Television program at Sheridan College. 

Lisa Sloniowski has multiple roles at York University as a humanities librarian in the Scott Library, as a PhD candidate in Social and Political Thought, and as a faculty member in the Graduate Program in English. Her research examines the affective labour of librarians as knowledge and memory workers, from a feminist perspective. Her most current work explores the specific archival challenges posed by two special collections: the Barbara Godard library, and an archival collection of feminist pornography

My initial career plans were to be a professional orchestral musician. When I decided that was not a path I wanted to continue to pursue, I was delighted to find a new path in music librarianship—a career that allowed me to combine my knowledge and passion for music with my love for libraries. I also discovered I have a love of classification, metadata and information systems. Something I fostered as a music cataloguer at York University and later in roles related to digital humanities and linked data. I delved further into my love of music and information with a PhD in Humanities at York where my dissertation entitled: “Fugitive Phrases: Arcade Fire, Love Song, and the Amorous Self” draws on Luhmann’s theory of love as information system to discuss the ways music supports and promotes amorous communications.

I am Citizen of the Métis Nation of Ontario and I have long been active in research, and professional and community work related to social justice and equity. I am an active member of professional associations and am currently Chair of the Indigenous Matters Standing Committee of IFLA, a community lead in the National Knowledge and Language Alliance and a member of many other advisory bodies. I believe strongly in finding ways to make access to information more equitable and have been involved in open access initiatives in North America for many years with strong ties within the “open” movement. I am a very active member the Wikimedia community where I focus the bulk of my energy on Wikidata. However, I do write and edit Wikipedia articles in my spare time.

Dorit Naaman is a documentarist and film theorist from Jerusalem, and a professor of Film and Media and Cultural Studies at Queen’s University.  In 2016 she released an innovative interactive documentary, Jerusalem, We Are Here, offering a model for digital witnessing.  The project creates a novel platform that documentarist Liz Miller claimed “will become a ‘go to’ reference for educators working on the intersections of new media, oral history, geography and more.” Jerusalem, We Are Here was presented to live audiences thirty times, won two awards, and was written about in half a dozen languages. 

Dorit’s publications focus on Israeli and to a lesser extent Palestinian cinemas and media (primarily from post-colonialist and feminist perspectives).

Anna Hudson is an art historian, curator, and writer specializing in Canadian Art, Curatorial and Indigenous Studies. Hudson is currently leading Mobilizing Inuit Cultural Heritage, a SSSHRC-supported research/creation collaboration aimed at recovering, preserving, documenting, facilitating, and disseminating Inuit knowledge, culture, and creativity. Dr. Hudson’s curatorial credits include Tunirrusiangit: Kenojuak Ashevak and Tim Pitsiulak (curated with Koomuatuk Curley, Taqralik Partridge, Jocelyn Piirainen, Laakkuluk Williamson Bathory, and Georgiana Uhlyarik, Art Gallery of Ontario, 2018); inVisibility: Indigenous in the City, part of INVISIBILITY: An Urban Aboriginal Education Connections Project (with Dr. Susan Dion and Dr. Carla Rice, Aird Gallery, Toronto, 2013); and Painting Canada: Tom Thomson and the Group of Seven (with Ian Dejardin and Katerina Atanassova, Dulwich Picture Gallery, London, UK, 2011). Professor Hudson continues to pursue research in the area of her doctoral dissertation, Art and Social Progress: the Toronto Community of Painters (1933-1950).