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.

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.
 

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.

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.

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.

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.

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.
 

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 Inuit communities. She is a member of the Steering Committee on Canada’s Archives Taskforce to respond to the “Calls to Action” Report from the Truth and Reconciliation Commission and the co-chair of the Association of Canadian Archivists Indigenous Matters Working 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).

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).