Lani's interests include the decolonization and de-Westernization of how we study film and media, and in the politics of representation

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.

Julia Polyck-O’Neill is an artist, curator, critic, poet, and writer. A former lecturer at the Obama Institute at Johannes Gutenberg Universität Mainz (2017-18) and international fellow of the Electronic Literature Organization, she is currently a Social Sciences and Humanities Research Council (SSHRC) Postdoctoral Fellow in the department of Visual Art and Art History and the Sensorium Centre for Digital Arts and Technology at York University (Toronto) where she studies digital, feminist approaches to interdisciplinary artists’ archives. Her writing has been published in Zeitschrift für Ästhetik und Allgemeine Kunstwissenschaft (The Journal for Aesthetics and General Art History), English Studies in Canada, DeGruyter Open Cultural Studies, BC Studies, Canadian Literature, and other places.

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.

Tamara de Szegheo Lang is Project Manager of the Vulnerable Media Lab and Adjunct Assistant Professor 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.

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.

Hannah Spaulding’s research examines histories of media and technologies in the home, with a specific focus on issues of gender, discourse, and domesticity. Her dissertation analyzed fantasies and practices of interactive television from 1960 to 1990, tracing the relationships between technological change, family life, and visions of domestic futures. Her current research explores a history of surveillance technologies in the home. Working from an explicitly feminist and media historical perspective, she examines the imbrication of such devices (baby monitors, closed-circuit television, burglar alarms, etc.) with discourses of security, practices of care, and possibilities of pleasure that shape understandings and expectations of domestic everyday life.