Archive/Counter-Archive's Researchers and Partners network spans across Canada and multiple disciplines. Read more about our them and their activities below!
A/CA Researchers & Partners
Gabriela Aceves Sepúlveda
Dr. Aceves Sepúlveda’s research bridges the histories of art, media, and technology with gender and women studies, and art and design practice. She is the author of Women Made Visible: Feminist Art and Media in post-1968 Mexico (University of Nebraska Press) and several peer-reviewed articles, book chapters, and research-creation projects on feminist media in Latin America, global networks of artistic exchange, aging and activism, and the histories of immersive technologies in the Global South. Currently, she is working on a book manuscript which explores the work of four Latin American composers working at the intersections of visual and sound art to suggest an alternative history of electronic music and twentieth-century avant-gardes. Her video and sculptural installations that explore the body as a site of cultural and gender inscriptions have been exhibited in Canada, Mexico, France, India, and Chile.
Charles R. Acland is Professor and Chair of the Department of Communication Studies, Concordia University, Montreal. Acland has been a visiting scholar at McGill University, University of Minnesota, Harvard University, and University of California-Santa Barbara. His monographs include Youth, Murder, Spectacle: The Cultural Politics of "Youth in Crisis" (Perseus/Westview Press, 1995), Screen Traffic: Movies, Multiplexes, and Global Culture (Duke UP, 2003), and Swift Viewing: The Popular Life of Subliminal Influence (Duke UP, 2012). Acland’s edited books are Harold Innis in the New Century: Reflections and Refractions (McGill-Queen’s UP, 1999) with William Buxton, Residual Media (U of Minnesota Press, 2007), and Useful Cinema (Duke UP, 2011) with Haidee Wasson.
Most recently, he co-edited with Eric Hoyt the open-access Arclight Guide to Media History and Digital Humanities (REFRAME Books/Project Arclight, 2016). Acland was Concordia University Research Chair (2004-2015) and editor, with Catherine Russell, of the Canadian Journal of Film Studies (2008-2016).
Stacy Allison-Cassin is an associate librarian in the Student Learning and Academic Success Department at York University Libraries, where she has a specialized focus on digital pedagogy. She has previously held the position of the W.P. Scott Chair in E-Librarianship as well as positions in digital humanities and metadata. Her research focuses on the intersections of digital structures, media, and critical theory and forthcoming work is analyzes the interrelationship between affect, digital networks, and the librarian body. With training in orchestral performance, Allison-Cassin frequently focuses on music and is currently completing a PhD in Humanities at York University. Her dissertation utilizes the information theory of Niklas Luhmann to analyze the music of Arcade Fire. As a citizen of the Métis Nation of Ontario, Allison-Cassin also works on issues related to Indigeneity, libraries and digital culture, with a specific focus on knowledge organization and metadata. A passionate advocate for social justice and knowledge equity, Allison-Cassin is an active member of the Wikimedia and open access communities.
Schem Rogerson Bader
Schem Rogerson Bader is a Mitacs Postdoctoral Fellow with York University and the ArQuives. With a PhD in Communication and Culture from the Joint Graduate Program at York/Ryerson Universities, and an MFA from The School of Visual Arts in New York, Schem embraces interdisciplinarity and intersections of theory and practice. Focusing on queer history, their research examines historical violence and persistence. Publications such as, Media Studies: Texts, Production and Context (Routledge, 2021. Co-authored with Paul Long), “I, Mabel Hampton: Political Power and The Archive” (PUBLIC, 2018) and “The Idiosyncratic Archive: Queerness, Duration and Photography” (Identities: Journal for Politics, Gender, and Culture, 2018), Schem places value and importance on discursive technologies while critiquing its complexities.
Keith Bennie is the Senior Manager of Adult Learning at the Toronto International Film Festival, where he oversees educational programming and partnerships for post-secondary and adult audiences at the organization's year-round home, TIFF Bell Lightbox. These programmes and initiatives offer audiences a platform to watch, talk, and learn about classic and contemporary cinema through on-stage conversations, lectures, and panels. Bennie has been at TIFF since 2011, before which time he worked on educational arts programming at the Ontario Science Centre, Theatre Museum Canada, BlogTO, and the International LGBTQ Youth Organization. He was a 2017-2018 Toronto Arts Council Leaders Lab fellow and in 2019 will be the Acting Director, Learning.
Karine Bertrand is a Métis scholar and an assistant professor in the Film and Media department of Queen’s University. Her research interests are centered around Indigenous film and media, Québec cinema, road movies, and oral practices of cinema. Her latest publications include a book chapter on film reception in Inuit communities (Dialogues avec le cinéma, Nota bene, 2016), an article on African and Indigenous cultural memory (Ciném’Action, June 2017), and an article on Arnait Video Productions (Canadian Review of Comparative Literature, March 2017). She is presently working on a project involving the creation of an international network for Indigenous women filmmakers.
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.
Angela Britto is the Executive Director of the Regent Park Film Festival. She is a writer and arts administrator who has supported equity and access in the arts through her work in the public and non-profit sectors. She has a background in communications, stakeholder relations, and program management. She holds an MA in English from the University of Pennsylvania and her creative writing most recently appeared in The Unpublished City II anthology (2018).
Jesse Brossoit holds a Master of Arts in Film Preservation and Collections Management from Ryerson University. He has previously worked on cataloguing and archiving film collections for the Art Gallery of Ontario and the Liaison of Independent Filmmakers of Toronto, and is currently the Distribution Coordinator for CFMDC.
Chloë Brushwood Rose
Chloë Brushwood Rose is an Associate Professor of Education at York University. Her research and writing take up visual and arts-based research methods, community-engaged media, self-representation and narrative, and feminist and queer cultures. Chloë has published widely in books and journals, including Qualitative Studies in Education, Gender and Education, and Visual Studies, and has edited several anthologies, including the Lambda finalist Brazen Femme: Queering Femininity. She is co-author of Community-based Media Pedagogies: Relational Practices of Listening in the Commons (Routledge).
Andrew Burke is an Associate Professor in the Department of English at the University of Winnipeg. He is the author of The Past Inside the Present: Cultural Memory and the Canadian 70s, which will be published in the fall of 2019. His research on space, place, architecture, cinema, music, memory, and media formats have been published in a number of journals and edited collections. His current project, “Cinema and the Object World of Modernity,” examines how sixties and seventies cinema serves as an invaluable archive of the everyday, capturing the processes of postwar modernization in the incidental objects that populate screen space.
Camille Callison, Tsesk iye (Crow) Clan of the Tahltan Nation, was the first Indigenous Services Librarian/Liaison Librarian now the Learning & Organizational Development Librarian and a PhD student (Anthropology) at the University of Manitoba. Camille is Vice-Chair, Indigenous Representative, Canadian Federation of Library Associations (CFLA-FCAB) & Chair, Indigenous Matters Committee, Copyright Committee member, chaired the Truth and Reconciliation Committee, an Indigenous Partner on The Response to the Report of the Truth and Reconciliation Commission Taskforce, and is on the Advisory Committee for the First Nations Concentration at UBC iSchool. She is a member of IFLA Indigenous Matters Section Standing Committee and the Canadian Commission for UNESCO Memory of the World Committee and Sector Commission on Culture, Communications & Information. Camille has presented extensively on the importance of respectful curation, preservation, access, and protection of Indigenous knowledge and cultural memory in libraries, museums, and archives and developing meaningful relationship with Indigenous communities.
May Chew is an Assistant Professor at the Mel Hoppenheim School of Cinema and Department of Art History at Concordia University. Chew collaborates on Houses on Pengarth, a research and curation project centred on developing a socially-engaged, experimental art lab in Toronto’s Lawrence Heights community. Her recent work includes a chapter in the anthology Material Cultures in Canada (WLU Press, 2015); articles in Imaginations, the International Journal of Heritage Studies, the Journal of Canadian Art History; and Public 57: Archives/Counter-Archives, which she co-edited with Susan Lord and Janine Marchessault.
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.
Katrina Cohen-Palacios is an archivist at the Clara Thomas Archives and Special Collects at York University. An active member of the archival profession, her involvement engaging the public with cultural heritage and archives spans over a decade. She is a graduate of Concordia University's undergraduate public history program and holds both a master of museum studies and information from the University of Toronto.
Dave Colangelo is Assistant Professor of Digital Creation and Communication in the School of Professional Communication (FCAD) at Ryerson University, Director (North America) of the Media Architecture Institute, and a founding member of Public Visualization Studio. His work as an artist, educator, and researcher focuses on urban media environments as sites for critical and creative engagements with the city, public art, and information. He is the author of The Building as Screen: A History, Theory, and Practice of Massive Media (Amsterdam University Press, 2020).
Ryan Conrad is a postdoctoral fellow in Film Studies at York University where he is currently working on a book entitled Radical VIHsion: Canadian AIDS Film & Video. Conrad completed his PhD in the Interdisciplinary Humanities program offered through the Centre for Interdisciplinary Studies in Society and Culture at Concordia University, where he has also been a part-time faculty member in the Interdisciplinary Sexuality Studies, Film Studies, and Studio Art programs. He also holds an MFA from Maine College of Art and is an active film and video maker.
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.
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.
Mahlet Cuff is an interdisciplinary artist from Treaty one territory so called Winnipeg, Manitoba that uses mediums such as photography, collaging and poetry. Through their work she hopes to create more awareness about the lack of representation of women of colour, queer people of colour in media. Their work has been shown at local galleries and events such as Ace Art inc and Black Space’s (Nuit blanche’s) Nuit Noire. Their work has been shown at the Art Space Window Gallery, Flip Fest, and in the artist run center “Tea Base” in Toronto, Ontario. She explores topics of feminism, Blackness and gender through her artistic and activist practice.
An experienced, passionate and committed Media Educator for the past 15 years, Jessie Curell has been teaching dynamic, production-based Media and Digital Literacy workshops across Canada, the US and Asia with the National Film Board of Canada and a wide variety of schools, museums, non-profit organizations and film festivals. She has met thousands of teachers and students, and has first-hand knowledge of specific needs and interests, which have helped shape the way she works with each group.
Antoine Damiens is a FRQSC Postdoctoral Fellow at McGill University. In 2018, he obtained a PhD in Film and Moving Image Studies from Concordia University. His first book, "LGBTQ Film Festivals: Curating Queerness," was recently published with Amsterdam University Press (2020). He is currently working on a short book on Cyril Collard's 1992 HIV/AIDS film Les nuits fauves (with McGill Queen's University Press). Antoine acts as co-chair for the Feminist and Queer Research Workgroup within the European Network for Cinema and Media Studies (NECS) and as co-editor for the Film Festivals Reviews section of the journal NECSUS.
Patricio Dávila is a designer, artist, and educator. He is currently Associate Professor in Design at OCAD University, Co-director of Public Visualization Lab, and a member of the OCADU Mobile Media Lab and Visual Analytics Lab. His research focuses on developing a theoretical framework for examining data visualization as assemblages of subjectivation and power.
In his creative practice he has created mobile applications, locative media projects, essay videos, new media installations, and participatory community projects including: Powers of Kin, Chthuluscene, Tent City Projections, The Line, and In The Air Tonight. His curatorial projects, including Multiplex and Diagrams of Power, investigate the essay film, data, and critical media practices. His research and practice focuses on the politics and aesthetics of participation in the visualization of spatial issues with a specific focus on urban experiences, mobile technologies, and large-scale interactive public installations.
Tamara de Szegheo Lang
Tamara de Szegheo Lang is Project Manager of the Vulnerable Media Lab and Postdoctoral Fellow in the Department of Film and Media at Queen’s University. She holds a doctorate in Gender, Feminist, and Women’s Studies from York University. Dr. de Szegheo Lang’s research takes up queer history, community-based archives, visual culture, and the affective relationships between LGBT2Q people and the past. Her publications have appeared in the Journal of the Canadian Historical Association, the Journal of Lesbian Studies, and the Journal of Homosexuality. Dr. de Szegheo Lang is also active in curatorial and programming roles. She is a member of the programming committee for the Reelout Queer Film Festival in Kingston, a co-programmer of the Born in Frames Screening Series at Queen’s University, and past curatorial committee co-chair of the Canadian Lesbian and Gay Archives.
Peter Dickinson is a Professor at Simon Fraser University, with a joint appointment in the School for the Contemporary Arts and the Department of English. He is also directs SFU’s Institute for Performance Studies. A performance studies scholar, Peter has published extensively on theatre, dance, film, and performance art, and he is the author, editor, or co-editor of ten books and special journal issues. Peter’s own plays include The Objecthood of Chairs (SFU Woodward’s, 2010), Positive ID (Berkeley Theatre, Toronto, 2012), Long Division (Pi Theatre, 2016/17), and The Bathers (excerpt, Zee Zee Theatre, 2017). As a writer, researcher, facilitator, outside eye, collaborator, and occasional mover, Peter has worked with several Vancouver-based dance artists and companies, including Justine A. Chambers and Alexa Mardon, plastic orchid factory, Ziyian Kwan/dumb instrument Dance, Tara Cheyenne Performance, Kokoro Dance, Vanessa Goodman/action at a distance, Lesley Telford/Inverso Dance, and Rob Kitsos.
Ben Donoghue is a Toronto based filmmaker and arts administrator who has instigated dialogue and change in the Canadian film and media arts sector since the early 2000s. His film work for cinema and gallery is focused on explorations of landscape, macro-economic phenomena, and architecture.
In his professional practice Ben is currently Director of the Media Arts Network of Ontario, where he has worked since 2013. He previously worked as the Executive Director of the Liaison of Independent Filmmakers of Toronto (LIFT) from 2007–2013, and has served in numerous boards and staff positions in artist-run organizations across Canada.
Zoë Druick is Professor of Communication at Simon Fraser University. Her research considers histories, theories,and trajectories of documentary and reality-based media with an emphasis on their intersection with biopolitical projects. This work has brought her into contact with numerous archives and developed her awareness of their precarity. She is author or editor of five books, including Cinephemera: Archives, Ephemeral Cinema, and New Screen Histories in Canada (McGill-Queen's) and The Grierson Effect: Documentary’s International Movement (BFI). Current projects include a SSHRC-funded project on the legacies of the NFB's Studio D, the women's studio, and a manuscript on UNESCO's biopolitical media strategies.
Jennifer Dysart is a short film director, set decorator, and archival researcher. She was born in Alberta (Blackfoot territory), lives in Hamilton, Ontario (Haudenosaunee territory), and has Cree roots from South Indian Lake, Manitoba. She was a commissioned filmmaker for the Home Made Visible project by Regent Park Film Festival and created Caribou in the Archive (2018/19), a short experimental found footage film. Dysart envisions more inclusive archives of the future that are relevant and accessible to the public, include the personal stories of individuals and small cultural groups, and expand the national and provincial narratives of history. She has a special interest in recovering historical materials about the large-scale hydro developments that have irreparably affected Cree territory in the north.
Monika Kin Gagnon
Monika Kin Gagnon is Professor of Communication Studies at Concordia University. She is author of Other Conundrums: Race, Culture, and Canadian Art (2000), 13 Conversations about Art and Cultural Race Politics (2002) with Richard Fung, and co-edited Reimagining Cinema: Film at Expo 67 (2014) with Janine Marchessault. She produced the DVD-catalogue restoration, Charles Gagnon: 4 Films (2009), on her late artist-father’s experimental 1960’s films, and related interactive Korsakow film, Archiving R69 (2011). She was co-curator of In Search of Expo 67 at the Musée d’art contemporain de Montréal for the 50th anniversary of Expo 67, including an expanded cinema program of digitally restored multi-screen films from Expo 67. She curated La Vie polaire/Polar Life, a digital simulation of the 11-screen Expo 67 film for Cinémathèque Québécoise (2014), and Theresa Hak Kyung Cha | Immatérial for DHC Art/Centre Phi (2015). She is working on Posthumous Cinema: Unfinished Films in the Archives.
Titulaire de deux maîtrises en Gestion de patrimoines audiovisuels (Institut national de l’audiovisuel, France, 2009) et en Arts et médias numériques (Paris 1 Panthéon-Sorbonne, France, 2011), Marina Gallet œuvre depuis dix ans dans le domaine de la préservation et de la valorisation du patrimoine audiovisuel. D’abord chargée de mission pour la numérisation d’archives audiovisuelles chorégraphiques en France, elle a rejoint la Cinémathèque québécoise en 2012 en tant que Chef de services des collections, avant d’y devenir Directrice des Collections en 2017.
Holder of two Masters in Audiovisual Heritage Management (National Audiovisual Institute, France, 2009) and Arts and Digital Media (Paris 1 Panthéon-Sorbonne, France, 2011), Marina Gallet has been working for ten years in the field of preservation and enhancement of audiovisual heritage. Initially in charge of the digitization of choreographic audiovisual archives in France, she joined the Cinémathèque Québécoise in 2012 as Head of Collections Services, before becoming Director of Collections in 2017.
Anne Golden is an independent curator and writer whose programs have been presented at Musée National du Québec, Edges Festival and Queer City Cinema, among others. She has written for FUSE and Canadian Theatre Review. Golden has participated in numerous panels on curatorial practices, independent distribution and, more recently, horror films. Golden is Artistic Director of Groupe Intervention Vidéo (GIV). She teaches in the Media Arts Department of John Abbott College. Her novel FROM THE ARCHIVES OF VIDÉO POPULAIRE (Pedlar Press) was released in March, 2016. Golden has made over twenty videos including LES AUTRES (1991), FAT CHANCE (1994), BIG GIRL TOWN (1998) and THE HORROR CYCLE (2016-2018).
John Greyson is a Toronto film/video artist whose 60+ award-winning features, installations, transmedia works, and shorts include Last Car (18), Towel (17), Pink: Diss (17), Murder In Passing (13), 14.3 Seconds (10), Rex Vs. Singh (10), Fig Trees (09), Covered (09), Orange Clouds (07), Proteus (03), Un©ut (96), Lilies (96), Zero Patience (93), The Making of Monsters (91), and Urinal (89).
Through inventive hybrids of documentary, drama, humour, and song, these works critically investigate such social justice issues as racism, homophobic violence, AIDS activism, anti-apartheid and anti-war struggles, queer and trans rights, conflicts in the middle east, police entrapment, and prison reform.
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.
Professor Hayashi specializes in Japanese cinema and media studies. Her research focuses on the intersection of visual culture and history. Her current research interests include digital mapping, architectures of cinema, and the resurgence of artistic and political collectives in urban Japan. She has published articles on Japanese pink cinema and the travel films of Shimizu Hiroshi, and is currently creating Mapping Protest Tokyo, a historical mapping website that analyzes the new media work of artistic collectives and new social movements in relation to artistic performance and political protest in Japan and globally from 1960 to the present.
Jacquelyn Hébert has worked in Arts Administration and Education since 2005, holding positions at Concordia University, Emily Carr University of Art and Design (ECUAD), Manitoba Arts Council and the Winnipeg Film Group to name a few. She is currently the Community and Programming Manager for VUCAVU.com as well as the Website Manager for the "Un Canadien errant" research project led by principal investigator Monica Heller at the University of Toronto. Jacquelyn is also an interdisciplinary artist who works primarily in moving image, photography and fibre-based practices. She has presented her work both nationally and internationally and, in 2011, was awarded a research-creation SSHRC grant in support of her project "Francophone-hybride". In addition to an MFA from Concordia University, she holds a Bachelor in Film, Video and Media Arts from ECUAD and a B.A. with a major in Anthropology from the University of Manitoba. She is currently participating in a yearlong residency for mid-career artists led by Le Labo in Toronto.
Kate Hennessy is an Associate Professor specializing in Media at Simon Fraser University’s School of Interactive Arts and Technology (SIAT). As an anthropologist of media and the director of the Making Culture Lab at SIAT, her research explores the role of digital technology in the documentation and safeguarding of cultural heritage. Her multimedia research-creation works and exhibitions investigate documentary methodologies to address Indigenous and settler histories of place and space. She is a founding member of the Ethnographic Terminalia Collective, which has curated exhibitions and projects at the intersection of anthropology and contemporary art since 2009.
A film artist of memory and association, Philip Hoffman has long been recognized as Canada’s pre-eminent diary filmmaker. Notable works include What These Ashes Wanted, All Fall Down, and Slaughterhouse. He currently teaches at York University in Toronto, and since 1994, he has been the artistic director of the Independent Imaging Retreat (Film Farm), a 1-week workshop in artisinal filmmaking which occurs on his farm in southern Ontario every summer. He has also given these 'Process Cinema' workshops in Cuba (EICTV), Spain, Helsinki, London, Halifax, Calgary, and Dawson City. In 2016 Hoffman received the Governor General’s Award in Visual and Media Arts. His new film,Vulture, uses several processing methods including flower/plant hand-processing, and follows grazing farm animals in their minute inter-species exchanges.
Heather Home has been the Public Services/Private Records Archivist at Queen's University Archives since September 2001. Prior to arriving at Queen's, she worked at the Provincial Archives of Alberta in the Private Records Division, as well as CBC Vancouver within the film archives. Heather holds a Master of Archival Studies (M.A.S.) from the University of British Columbia and a B.A. (Honours) in Cultural Studies from Trent University. Over the past decade she has served on a variety of local, and national, boards and committees for the Association of Canadian Archivists, the Cataraqui Archaeological Research Foundation, Archives Association of Ontario, Kingston Association of Museums, Art Galleries, and Historic Sites and the City of Kingston. Ms. Home’s research interests include the documentation and conservation of media arts heritage, early 20th century Canadian women artists archives, and the use of archival material in the creation of imaginative works.
Laura Horak investigates the history of transgender and gender-nonconforming film and media in the United States and Canada, and the history of sexuality in U.S. and Scandinavian cinema. Supported by a SSHRC Insight Development Grant, Horak is researching the history of trans, Two-Spirit, and gender-nonconforming filmmaking in Canada and the United States, and creating a pilot online database to promote these filmmakers.
She is author of Girls Will Be Boys: Cross-Dressed Women, Lesbians, and American Cinema, 1908-1934 (Rutgers University Press, 2016), co-editor of Silent Cinema and the Politics of Space (Indiana University Press, 2014), and Unwatchable (Rutgers University Press, January 2019). She also co-edited a special issue of Somatechnics on trans cinematic bodies. She regularly curates film screenings in Canada, Europe, and the United States.
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).
Heather Igloliorte is an Inuk Assistant Professor and University Research Chair in Indigenous Art History and Community Engagement at Concordia University, where she serves special advisor to the Provost on Advancing Indigenous Knowledges, and co-directs the Indigenous Futures Cluster of the Milieux Institute for Arts, Culture and Technology with Professor Jason Lewis. Her recent curatorial projects include SakKijâjuk: Art and Craft from Nunatsiavut (The Rooms Provincial Art Gallery, touring 2016-2020); Ilippunga: The Brousseau Inuit Art Collection at the Musée National des Beaux-Arts du Québec (permanent exhibition, opened 2016); and Decolonize Me (Ottawa Art Gallery, touring 2011 - 2015), and the forthcoming inaugural exhibition of the Inuit Art Centre at the Winnipeg Art Gallery. Igloliorte currently serves on the Board of Directors for the Inuit Art Foundation, Nunavut Film Board, Native North American Art Studies Association, and Faculty Council of the Otsego Institute for Native American Art History.
Jessica Jacobson-Konefall is a SSHRC postdoctoral research fellow at the University of Toronto in the Department of History of Art. Her current interests are in contemporary art, care work, creativity, labour, and ecology. She works as assistant to artists Rebecca Belmore and Osvaldo Yero, and as instructor at University of Winnipeg and University of Manitoba. She has published in many scholarly journals and books.
As an archivist at Urban Shaman: Contemporary Aboriginal Art Gallery, working for Director Daina Warren and Dr. Sherry Farell-Racette, her dissertation focused on her work archiving the gallery's programming history from its inception in 1996. As archivist for artist Rebecca Belmore, she digitized Belmore's works from 1980s-present day. Her chapter "Here: Our Alienation and Transformative Agencies" is forthcoming in grunt gallery's anthology Wordless: The Performance Art of Rebecca Belmore (Vancouver, 2019). She is a member of Winnipeg-based solidarity group Friends of Shoal Lake 40.
Aleksandra Kaminska is Assistant Professor in Media Studies and Research-Creation in the Department of Communication at the Université de Montréal, where she also co-directs the Artefact Lab. She has an ongoing interest in how communities are formed through activities of publishing and curation. Current projects include a SSHRC-funded media history of authentication, security printing, and high-tech paper as well as FRQSC-funded research on the technologies and practices of recognition in the media arts. Her first book is Polish Media Art in an Expanded Field (Intellect, 2016).
For over 30 years Senior Librarian Katherine Kasirer has worked at the National Film Board of Canada where she maintains a traditional library for employees, manages information about the film collection and provides research services for NFB filmmakers.
Philipp Dominik Keidl
Philipp Dominik Keidl is a postdoctoral fellow in the Graduate Research Training Program “Configurations of Film” at Goethe University Frankfurt. He holds an MA in Preservation and Presentation of the Moving Image from the University of Amsterdam and a PhD in Film and Moving Image Studies from Concordia University in Montreal. His research concentrates on fandom, media and material culture, and moving image preservation and exhibition.
Patrick Keilty is Assistant Professor in the Faculty of Information at the University of Toronto. Professor Keilty's primary research interest is the politics of digital infrastructures in the online pornography industry. His work spans issues in visual culture, sexual politics, technology studies, media studies, information studies, political economy, critical theory, and theories of gender, sexuality, and race. Professor Keilty is Archives Director of the Sexual Representation Collection at the University of Toronto, housed in the Bonham Centre for Sexual Diversity Studies. He is cross-appointed with the Cinema Studies Institute, Women and Gender Studies Institute, and a member of the Technoscience Research Unit.
Karen Knights is Manager of the Crista Dahl Media Library & Archive (CDMLA) and Development Officer at VIVO Media Art Centre (2013-present). She’s committed to the preservation and development of VIVO’s collection and oversees the CDMLA’s digitization projects of original media (most recently the Women’s Labour History Project Oral Histories; Celebration ’90 Gay Games III; Gayblevision community cable program). Previously, Knights was active in the artist-run community as a librarian, video art distributor, curator, and anti-censorship activist (1984-2000). As an independent curator and critic, she has completed several historical surveys of archives held by Canadian ARCs and contributed to solo exhibition catalogues for Sara Diamond and Jin-me Yoon. Knights is a Board member of the Audio-Visual Heritage Association of B.C.
Jason Edward Lewis is a digital media poet, artist, and software designer. He founded Obx Laboratory for Experimental Media, where he directs research/creation projects exploring computation as a creative and cultural material. Along with the artist Skawennati, he co-directs Aboriginal Territories in Cyberspace, Skins Workshops on Aboriginal Storytelling and Video Game Design, and the Initiative for Indigenous Futures. Lewis is deeply committed to developing intriguing new forms of expression by working on conceptual, critical, creative, and technical levels simultaneously. He is the Concordia University Research Chair in Computational Media and the Indigenous Future Imaginary, as well as Professor of Computation Arts at Concordia University, Montreal. Born and raised in northern California, Lewis is Cherokee, Hawaiian, and Samoan.
Niki Little | Wabiska Maengun is a mother, artist/observer, arts administrator, and a founding member of The Ephemerals (Jenny Western + Jaimie Isaac). Grounded in community-based initiatives that support Indigenous innovation, kinship, and economies, Little is Anishininew (Ojicree) / English from Kistiganwacheeng (Garden Hill, FN). She is the Artistic Director for the imagineNATIVE Film + Media Arts Festival. Little was the Director of the National Indigenous Media Arts Coalition, where she organized 'Listen, Witness, Transmit', a national Indigenous media arts gathering (June 12-15, 2018). As an independent curator, Niki and Becca Taylor co-curated 'níchiwamiskwém | nimidet | my sister | ma soeur', the La Biennale d’Art Contemporain Autochtone (May 03-June 19, 2018). They also co-hosted 'Migration' a three week on the land residency (August 13-31, 2018). Little will be part of the group commissioning exhibition 'Nests for the End of the World' at the Art Gallery of Alberta (January 24-May 03, 2020).
Brenda teaches in the Department of Cinema and Media Arts at York University and has published extensively on documentary, feminist film theory, and Canadian and Québec cinema. Her documentaries have been screened and broadcast internationally winning awards including Best Cultural Documentary for Tina in Mexico (2002) at the Havana International Film Festival, a Canadian Genie for Shadowmaker/Gwendolyn MacEwen, Poet (1998), and the Grand Prix at Oberhausen for Our Marilyn (1988).
Her work has included feminist archival projects as well as a series of short films, and a television documentary exploring the tenacity of fossil fuel addiction. Her interactive documentary, Offshore (2012) is available at http://offshore-interactive.com. She is currently working on a co-created documentary project and installation with formerly incarcerated women in Vancouver.
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).
Michelle Lovegrove Thomson
Michelle Lovegrove Thomson is the Manager of Rare Books and Archives at the Toronto Public Library, where her focus is on preservation of cultural heritage, increasing access to collections through programming and digitization initiatives, and public services. She previously held the position of Senior Manager, Film Reference Library at the Toronto International Film Festival. She holds a BFA in Film Production from York University, and Master of Arts in English from the University of Alberta, and a Master of Information from the University of Toronto iSchool. She is an alumna of the Northern Exposure to Leadership Institute (NELI), and served as planner for the 2019 OLA Super Conference Special Libraries Section.
Monica Lowe has been the Distribution Director at the Winnipeg Film Group since 2006. She has spearheaded many important projects, such as the re-striking of Guy Maddin’s Archangel and the construction of a climate-controlled media vault. She was the Editor on Finding Focus: Framing Canadian Métis and First Nations on Film, and the Managing Editor on Place: 13 Essays, 13 Filmmakers, 1 City. Monica founded the Women’s Film & Video Network in 2015 and is one the founding members of VUCAVU, a comprehensive distribution platform for independent Canadian film and video. Monica served as the Chair of Nuit Blanche Winnipeg between 2012 and 2018. In July 2018 Monica was promoted to Deputy Director of the Winnipeg Film Group.
Mary Elizabeth Luka
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).
Sharon is a founding member of the Halifax Women’s History Society. She is the co-author of the book Old Nova Scotian Quilts and a co-founder of the Nova Scotia Heritage Quilt Project. She has also done extensive research on hooked mats. Her M.A. thesis, “Hidden Costs, Hidden Labours: Women in Nova Scotia during Two World Wars,” explored the relief work of women volunteers. Her dissertation: “Neither Memsahibs nor Missionaries: Western Women Who Supported the Indian Independence Movement” is a collective biography about women from the West associated with Gandhi and social uplift in Indian villages. A latecomer to academia, she was over 60 when she completed her Ph.D. She continues to research, write and present women’s history, particularly focussing on early peace activism in Nova Scotia and women’s organizational culture.
Dolleen Tisawii'ashii Manning
Dolleen Tisawii’ashii Manning is a Queen's National Scholar in Anishinaabe Language, Knowledge and Culture (ALKC), Department of Philosophy and Interdisciplinary Graduate Program in Cultural Studies at Queen's University. A member of Kettle and Stoney Point First Nation and an interdisciplinary artist and scholar, she received a PhD from the Centre for the Study of Theory and Criticism at Western University (2018), and holds graduate degrees in critical theory (MA, Western, 2005), and in contemporary art (MFA, Simon Fraser, 1997). She points to her early childhood grounding in her mother’s Anishinaabe cultural lessons as her primary philosophical influence and source of creativity. Manning has wide-ranging interests in Anishinaabe ontology, critical theory, phenomenology, and art, investigating questions of Indigenous imaging practices, mnidoo interrelationality, epistemological sovereignty, and the debilitating impact of settler colonial logics. Her investment in archives stem from her family's land claim activism and the function of the archive in the colonial state, along with their counter archival counter narrative potentialities.
Janine Marchessault is a Professor of Cinema and Media Arts at York University, where she was the Canada Research Chair in Art, Digital Media, and Globalization (2003-2013). Dr. Marchessault is the author of ten monographs and edited volumes, and over fifty articles in books, journals, and catalogues devoted to cinema, new media, and contemporary art. She is a past President of the Film Studies Association of Canada and a Fellow of the Royal Society of Canada. Her recent monograph is Ecstatic Worlds: Media, Utopias, Ecologies (2017 MIT Press) and her monograph in preparation is Archival Imaginary: Expanded Memory. She is the Principal Investigator of Archive/Counter-Archive: Activating Canada’s Moving Image Heritage.
Pamila Matharu (1973-) is an immigrant-settler of Panjabi descent, born in Birmingham, England, based in Tkarón:to (Toronto). She primarily works in visual arts, arts education, and arts advocacy. A graduate of the Visual Arts and Fine Arts BEd programs from York University and a grant recipient of the Toronto, Ontario and Canada Art Councils; she has screened and exhibited her work locally, regionally, nationally. Recently she was awarded the 2019 Images Festival Homebrew Award and the Ontario Association of Art Galleries’ 2019 Exhibition of the Year, for her critically acclaimed first solo exhibit One of These Things Is Not Like The Other at A Space Gallery, Toronto (2019) and the 2020 CONTACT Festival’s Burtynsky Photobook Award for her upcoming monograph, INDEX (SOME OF ALL PARTS). Where Were You in ‘92? Is slated to debut at Agnes Etherington Art Centre (Kingston, ON), Or Gallery (Vancouver, BC) in Spring of 2022.
Angelina McLeod (Anishinaabekwe) is an emerging filmmaker, writer, and documentary subject from Shoal Lake First Nation. Angelina is a land and water defender that is passionate about sharing Anishinaabeg history, culture, languages and stories. Her research is focused on Midewiwin birch bark scrolls that were once held by her grand uncle James Redsky, WWI veteran and prominent member of the Midewiwin, interpreted the scrolls before they were sold to the Glenbow Museum in Calgary for preservation. Angelina is currently working on a series of short films with the National Film Board about her community Shoal Lake 40, First Nation, the source of Winnipeg’s drinking water.
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.
Kristin Moriah is an Assistant Professor of African American Literary Studies at Queen’s University. Her research interests include Sound Studies and Black feminist performance, particularly the circulation of African-American performance and its influence on the formation of national identity.
Suzanne Morrissette is a Métis artist, curator, and scholar from Winnipeg who is currently based out of Toronto. Her research in the areas of Indigenous histories of resistance, and the development of liberal political philosophy in Canada have come together in the form of artworks, exhibitions, articles, and her forthcoming book which examines the progression of Indigenous relations in Canada since the early 1900s against the context of growing inclusion in the arts. She has taught liberal arts and studio courses at various universities since 2011, and currently works as Assistant Professor at Brock University in the Department of Visual Arts.
Elizabeth Mudenyo works in event and project management rooted in community engagement. She is currently Special Projects Manager at the Regent Park Film Festival overseeing Home Made Visible, a nationwide archival project for IBPOC communities. She is also a writer with a background in film. She supports platforms for IBPOC voices through her all work, and is always collecting her tools as storyteller and organizer.
Lisa Myers is a member of Chimnissing, Beausoleil First Nation. She works as an independent curator, artist and also as an Assistant 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.
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).
Dr. Julie Nagam (Meětis-German/Syrian) is the Chair of the History of Indigenous Art in North America, a joint appointment between the University of Winnipeg and the Winnipeg Art Gallery. She is an Associate Professor in the department of Art History. Her current SSHRC funded projects include The Transactive Memory Keepers: Indigenous Public Engagement in Digital and New Media Labs and Exhibitions (www.glamcollective.ca), Inuit Futures in Arts Leadership: The Pilimmaksarniq Project; The Initiative for Indigenous Futures. Dr. Nagam hosted and organized, The Future is Indigenous (http://abtec.org/iif/symposia/3rd-annual-symposium/) and the International Indigenous curators exchange with Australia, Canada, Aotearoa (New Zealand), and Finland. She has published extensively in the area of Indigenous visual culture, methodologies, performance, digital and new media. Her artwork and scholarship has been shown nationally and internationally. Nagam is the Concordia University and Massey University Scholar in Residence for 2018/19, and is building an Indigenous Research Centre of Excellence and a Digital Media Lab in Winnipeg.
Photo Credit: Kali Spitzer
Ananya is most interested in exploring how what we say shapes who we become, especially as it applies to our ability to create inclusive and just communities through the arts. Till recently, she was the Executive Director of the Regent Park Film Festival, where she had the pleasure of being for 7 years. She continues to be the Artistic Director of the festival’s nation wide project Home Made Visible. Ananya feels very lucky to explore professionally what she studied theoretically - the intersections of community and media. She is also a part-time filmmaker and currently, a full-time mom! Most recently, she was a fellow of the Toronto Art Council’s Cultural Leaders Lab.
Louis Pelletier holds a PhD in Communication from Concordia University. He is currently professional researcher for the International Research Partnership Technès, researcher in residence at Cinémathèque québécoise, and instructor at Université de Montréal, Carleton University and Ryerson University. He is also research coordinator of the Canadian Educational, Sponsored, and Industrial Film project based at Concordia University, and co-editor of Nouvelles vues. He has published on early and silent cinema, film exhibition, useful cinema, film technology, experimental cinema and amateur film in Film History, The Moving Image, The Canadian Journal of Film Studies, 1895 and the Journal of Film Preservation.
Julianne Pidduck is associate professor in the Communication department at the Université de Montréal. Her research explores representations of gender and sexuality through the moving image, and more broadly across mediated public discourse. Author of Contemporary Costume Film (2004), she has published widely in Canadian and international academic journals. Her current project, Shadowplay and Afterimages, examines LGBTQ2+ produced film, video, and photography in Montréal from the 1950s until the 1990s as an archive of LGBTQ2+ lives and experience. As part of this project, she recently edited a special section of the online journal Jump Cut, returning to mythic Quebec filmmaker Claude Jutra in light of the 2016 allegations of pedophilia. Member of the core group of Queer Media Database Canada-Québec Project, she is presently co-curating an installation exploring 1970s Montréal lesbian bar culture and social life entitled, After Hours at Madame Arthur, to take place at Montréal’s Never Apart Centre from June-September 2019.
Stephanie Poruchnyk-Butler is a queer femme writer, artist and workshop facilitator from Winnipeg, Manitoba. She is the creator of several independently published zines, as well as a co-founding member of feminist arts collective, Sappho Zine (2012-2016). Building community through collaborative art making is a passion of hers, and she have been facilitating workshops for children, teenagers and adults at various arts organizations for over six years. Stephanie is thrilled to be assisting with Archive/Counter Archive, as part of her role as Distribution Coordinator at the Winnipeg Film Group.
Dr. Izabella Pruska-Oldenhof is a Toronto-based filmmaker and scholar. Her interests as an artist and scholar are interdisciplinary, and her works often probe intersections of art, body, and technology. Izabella’s films and installations have been recognized with awards, commissions, and public grants, and have been included in over 150 public presentations at major international film festivals, art museums, and centres in Canada and abroad, most notably: TIFF, Toronto; IFFR, Rotterdam; Centre George Pompidou, Paris; Guggenheim Museum, New York; Museum of the Moving Image, Astoria; and ZKM, Karlsruhe. Izabella’s writings on art, cinema, technology and culture, have appeared in academic journals, and in anthologies on media arts and on screendance, including chapters in The Oxford Handbook of Screendance Studies (2016) and Dance’s Duet with the Camera: Motion Pictures (2016). She is Associate Professor in Ryerson University’s School of Image Arts, and a member of three graduate programs (Communication and Culture, Documentary Media, and Film + Photographic Preservation Collections Management).
Dr. Lilian Radovac is a media and cultural historian and the director of the Alternative Toronto digital community archive project. Her research explores twentieth century urban history with a focus on sound, space and social movements, and has appeared in American Quarterly, Radical History Review, Communication and Critical/Cultural Studies and Continuum. As a community archivist, Lilian uses digital tools to intervene in established historical narratives, curating sounds, images and texts to tell stories about people and communities that remain in the margins of existing accounts. She’s also committed to building memory infrastructures that enable them to tell their own.
Ryan Randall is a cinematographer, technician, and educator who graduated from the Ontario College of Art & Design in 2002 with a major in Integrated Media. An Associate of the Canadian Society of Cinematographers for the past decade he actively shoots commercials, documentaries, shorts, and media arts projects. Ryan is also a Film and Media Technician for over 15 years between OCAD University and at Queen’s University as a Senior Technician and the Technical Supervisor for the Vulnerable Media Lab.
Dylan Robinson is a xwélméxw artist and writer of Stó:lō descent, and the Canada Research Chair in Indigenous Arts at Queen’s University. His current research focuses on Indigenous public art, and the incarceration of Indigenous songs in museums. Robinson’s publications include the edited volumes Music and Modernity Among Indigenous Peoples of North America (2018), Arts of Engagement: Taking Aesthetic Action in and Beyond the Truth and Reconciliation Commission of Canada (2016), and Opera Indigene (2011). His monograph, Hungry Listening, is forthcoming in 2019 with Minnesota University Press.
Shelly Rosenblum is Curator of Academic Programs at the UBC Morris and Helen Belkin Art Gallery. Shelly received her PhD at Brown University and has taught at Brown, Wesleyan, and The University Of British Columbia. Her research interests include discourses of the Black Atlantic, critical theory, narrative, performativity, and issues in contemporary art and museum theory. Her teaching covers the 17th to the 21st centuries. Shelly's role at the Belkin Art Gallery is to develop programs that increase outreach in both the University and the wider Vancouver community.
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.
Matt Salton has been an arts administrator, curator and film festival programmer since 2000. He has been the festival director of Calgary's FairyTales Queer Film Festival and is the current executive director of the Reelout Arts Project Inc. (Reelout Queer Film Festival) in Kingston, Ontario. Matt revels in combining artistic practice and social justice activism. He is an honours graduate from the Film and Media program at SAIT and has served on the MANO/RAMO board of directors, the City of Kingston Arts Advisory Committee and the Alberta Media Arts Alliance Society.
Verónica Sedano Alvarez
Verónica Sedano Alvarez holds both a Master's degree in Art History from the Université du Québec à Montréal (2019) and a Bachelor's degree in Art History from the University of Havana (2003). Her research, which focuses on the absence of Central American contemporary art in Latin American art historiography, received the Canada Graduate Scholarships-Master’s program from the SSHRC. In 2001, the University of Havana granted her the Alma Mater award for the most relevant contribution to the higher education. She taught Latin American Art History at the University of Havana from 2003 to 2008. Additionally, she collaborated with major institutions such as Thyssen-Bornemisza Art Contemporary (Vienna), Hayward Gallery (London, UK) and Mori Art Museum (Tokyo). From January to June 2019, she was coordinator of the visual art project Montréal ~ Habana: Rencontres en art actuel. Currently, she works as Communications and Special Projects Coordinator at Groupe Intervention Vidéo (GIV).
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
Sean Smith is a Senior Archivist in the Collections Development and Management Unit at the Archives of Ontario. He previously held positions at the Clara Thomas Archives at York University and Library and Archives Canada. In total, he has been preserving and sharing history for almost 20 years. He is an active member of the archival community as well as a runner, a reader, and a father of two.
Genne Speers is the Deputy Director of the CFMDC, one of Canada’s oldest artist run centres founded in 1967. The CFMDC is one of four member organizations of TMAC (Toronto Media Arts Centre). She is an advisory member of the TMAC board and serves on the boards of the Media Arts Network of Ontario and the Independent Media Arts Alliance. Genne holds a Masters of Cinema and Film Archiving from the University of East Anglia and is a PhD Candidate in Cinema and Media Studies at York University. Her current research concerns aerial images of violence and the interpretation and translation of instrumental aerial images within the context of the archive.
Raegan serves as the Executive Director of The ArQuives, formerly The Canadian Lesbian and Gay Archives. She holds a BA from Collège universitaire de Saint-Boniface and a Masters of Information from the University of Toronto iSchool. She has worked as an archivist at Library and Archives Canada, the Truth and Reconciliation Commission of Canada, Aanischaaukamikw Cree Cultural Institute, and as the Archival Advisor for the Council of Archives New Brunswick. She is currently working on her PhD, focusing on the role of community archives in First Nations and Inuit communities. She is member of the Steering Committee on Canada’s Archives Taskforce to respond to the “Calls to Action” Report from the Truth and Reconciliation Commission.
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.
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.
Kim Tomczak is a multidisciplinary artist primarily known for his work in performance, photography, video, and photo/text work. Since 1983, he has worked exclusively in collaboration with Lisa Steele. They have received numerous grants and awards including the Bell Canada prize for excellence in Video Art, a Toronto Arts Award and in 2005, a Governor General’s Award for lifetime achievement in Visual & Media Arts.
Tomczak is a co-founder of Vtape and teaches at the University of Toronto in the Visual Studies program, Daniels Faculty of Architecture, Landscape and Design. Steele and Tomczak were awarded an Honorary Doctorate by the University of British Columbia (Okanagan) in 2009.
Nadine Valcin is an award-winning bilingual producer, writer, and director. She has directed four documentary projects for the National Film Board of Canada, including the critically-acclaimed Black, Bold and Beautiful (1999) and Une école sans frontières (A School without Borders, 2008). She has written and directed three short films and is developing the virtual reality experience Ghosts of Remembrance about the forgotten history of slavery in Canada with funding from Ontario Creates and the Canada Media Fund. She holds a professional degree in architecture from McGill University and is an alumna of Doc Lab, Women in the Director’s Chair, and the National Screen Institute. She was an artist-in-residence at Osgoode Hall Law School at York University (2015/16) and the recipient of the 2016 WIFT-T/DGC Ontario Director Mentorship.
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.
Wanda vanderStoop provides continuing support to Vtape’s artists, promoting over 5000 independent productions to worldwide markets including museums, national and international festivals, broadcasters, educational institutions and mobile platforms. She is a committed advocate for artist’s rights and fees and contributes to a policy consultation process on the changing methods of dissemination in video and new media.
Daina Warren is from the Akamihk (Cree) Nation in Maskwacis (Bear Hills), AB. She was awarded two Canada Council's Aboriginal Curatorial Residencies the first to work with grunt gallery, Vancouver BC (2000-2001) and a second residency at the National Gallery of Canada in Ottawa, Ontario (2010-2011). She has a BFA from the Emily Carr University of Art (ECUAD) and Design (2003) and an MA from UBC (2012). Warren was awarded the 2015 Emily Award from Emily Carr University and was selected as one of six Indigenous women curators as part of the Canada Council for the Arts Delegation to participate in the International First Nations Curators Exchange that took place in Australia (2015), New Zealand (2016), and Canada (2017). Most recently she was also awarded with the Hnatyshyn Foundation Award for Curatorial Excellency (Sept. 2018). She is currently the Director of Urban Shaman Contemporary Aboriginal Art in Winnipeg, Manitoba.
Haidee Wasson is Professor of Film and Media in the School of Cinema, Concordia University, Montreal. She has taught also at the University of Minnesota and at Harvard University. She is author of the award-winning Museum Movies: The Museum of Modern Art and the Birth of Art Cinema. She is also co-editor of several volumes, including: Inventing Film Studies (with Lee Grieveson), Useful Cinema (with Charles Acland), and most recently a book on the American military and its use of film and film technologies, with University of California Press. She also co-edits the Cultural Histories of Cinema book series for the BFI, a series dedicated to analyzing cinema’s expansive role in the complex social, economic, and political dynamics of the twentieth and twenty-first centuries. Her current project maps the importance of portable projectors for the rise and spread of film as a dispersed technological platform, and as institutional and everyday media.
Born 1948, London, Ontario. Graduate of Guelph Collegiate, Western University, and Columbia University. Teacher, programmer, writer, critic, activist, swimmer, cyclist, cook, pianist, and sauna aficionado. Retired in 2017 after 41 years teaching film studies and sexuality/queer studies at Concordia University.
Author, compiler, or editor of 14 books, the most recent being Confess: Constructing the Self in Media and the Arts within the Third Sexual Revolution (co-edited with Brandon Arroyo, McGill Queen's University Press, 2019).
Co-editor with Matthew Hays of 19-book series Queer Film Classics (Arsenal Pulp Press, Vancouver 2008-2019).
Winner of SCMS Katherine Singer Kovacs Book Award (Society for Cinema and Media Studies, 2017) for the monograph The Conscience of Cinema: The Work of Joris Ivens, 1912-1989 (Amsterdam University Press). Founder of Concordia AIDS Project/Community Lecture Series on HIV/AIDS (1993-2017), and of Queer Media Database Canada Quebec (2006+).
Visiting Professor, Film Studies, English and Foreign Languages University, Hyderabad (2018-19).
Annaëlle is a PhD candidate at the Department of Library and Information Science (Université de Montréal). She holds a master degree in History and archival science from the University of Louvain (Belgium). Her research focuses on the notion of archive(s) in experimental films and videos. In parallel to her doctoral research, she is a programmer at the Montreal Underground Film Festival and artistic co-director of Groupe Intervention Vidéo (GIV).
Michael Zryd is Associate Professor in Cinema & Media Studies at York University in the Department of Cinema & Media Arts (School for the Arts, Media, Performance, & Design), and is appointed to the Graduate Programs in Cinema and Media Studies, Humanities, and Communication & Culture. Zryd is a researcher in experimental film and media (including video art, installation, and new media) with foci on its institutional ecologies, and the history of its intersection with the academy and the art world. He was founding co-chair of the Society for Cinema and Media Studies (SCMS) Experimental Film and Media Scholarly Interest Group (ExFM), and the Toronto Film & Media Seminar. In 2011, he was awarded the Faculty of Fine Arts Senior Faculty Teaching Award, and became a York Fellow of Massey College in 2014.