Brandon Hocura is filmmaker, writer, producer, and archivist. He is the founder and creative director of Séance Centre, and his reissue work over the last 10 years has helped revive under-known new-age, gwo ka, disco, soca, pantsula and kwaito artists. In 2017 he directed The Lake Sutra, a short film focussing on the influence of landscape on the work of Canadian musician Beverly Glenn-Copeland. His work intersects with experimental poetics and ethnography, and explores the complex relationships between music, landscape, technology and culture. He is currently a PhD candidate at Queen’s University, and is helping to build standards and best practices for audio archiving as part of the Vulnerable Media Lab.

Thomas Gow is a PhD student in Film and Moving Image Studies at Concordia University, where he is also the Secretary of the Film Doctoral Students Association. He is a settler scholar studying the relationships between cinematic narratives and settler colonialism in its contemporary institutional and discursive dimensions. His research currently focuses on feature films and television series produced by Indigenous filmmakers working in the context of diverse nation-states including Canada, Australia, and Israel/Palestine. He holds a BA and MA in Cinema Studies from the University of Toronto.

Philipp Dominik Keidl is Assistant Professor of Screen Media in Transition in the Department of Media and Culture Studies at Utrecht University. He was a postdoctoral fellow in the Graduate Research Training Program “Configurations of Film” at Goethe University from 2019 to 2022. His research on fandom, media and material culture, and film heritage has been published in journals including JCSM: Journal of Cinema and Media Studies, Journal of Popular Culture, Film Criticism, The Moving Image, and American Behavioral Scientist. Philipp has also co-edited volumes on film archiving, the COVID-19 pandemic, and history-making as fan practice.

Philipp Dominik Keidl is Assistant Professor of Screen Media in Transition in the Department of Media and Culture Studies at Utrecht University. He was a postdoctoral fellow in the Graduate Research Training Program “Configurations of Film” at Goethe University from 2019 to 2022. His research on fandom, media and material culture, and film heritage has been published in journals including JCSM: Journal of Cinema and Media Studies, Journal of Popular Culture, Film Criticism, The Moving Image, and American Behavioral Scientist. Philipp has also co-edited volumes on film archiving, the COVID-19 pandemic, and history-making as fan practice.

Nicholas Avedisian-Cohen is a researcher in film and moving image studies at Concordia University's Mel Hoppenheim School of Cinema. His area of concern focuses on early archives of war and how moving image practices have come to inform public awareness of imperialism and global violence. He has worked on preservation projects at the Yale Film Archive, the Hugh Hefner Moving Image Archive at USC, and Eye Filmmuseum Nederlands, and is currently overseeing exhibition of a film series drawing from Concordia's film archive. In addition to his background in moving image archives, he has worked as a librarian and educator in Washington D.C. and Los Angeles.

Louis Pelletier holds a PhD in Communication from Concordia University. He has completed a SSHRC-funded postdoctoral research on early fiction film production in Quebec at Université de Montréal, where he currently holds a postdoctoral appointment with the International Research Partnership Technès. He is research coordinator of the Canadian Educational, Sponsored and Industrial Film project (Media History Research Center, Concordia University), and has published on early and silent cinema, film exhibition, useful cinema, amateur cinema, experimental cinema and film technology in many journals, including Film History, The Moving Image, 1895, The Canadian Journal of Film Studies, Found Footage, and The Journal of Film Preservation. He is in the process of completing a manuscript entitled The Fellows Who Dress the Pictures: Montreal Film Exhibitors in the Days of Vertical Integration, 1912-1952 for McGill-Queen’s University Press.

Dr. Antoine Damiens was a MITACS Post-doctoral Fellow at York University. He holds 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). Antoine Damiens's research examines the cultural impact of LGBTQ film festivals, the role played by research-creation and research-curation in academic knowledge production, and the differences between Canadian and French modes of queerness. Antoine Damiens co-chairs the Feminist and Queer Research Workgroup within the European Network for Cinema and Media Studies (NECS) and co-edits the Film festivals reviews section of the journal NECSUS. 

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.

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.

Daniel is a PhD Candidate at the Cinema Studies Institute and a member of the Collaborative Graduate Program in Sexual Diversity Studies at the University of Toronto. His SSHRC-funded research explores how a subgenre of online gay pornography featuring heterosexual performers claims authenticity through confession, amateur aesthetics, and on notions of straightness that are coded in terms of race and class. His other research and teaching interests include reality television, the queer archive, and pre-AIDS sexual identities.