Notes on Contributors

Anna Backman Rogers is Professor of Aesthetics and Culture, specializing in feminist theory and film, at the University of Gothenburg, Sweden. She is the author of American Independent Cinema: Rites of Passage and the Crisis‐Image, Sofia Coppola: The Politics of Visual Pleasure, Still Life: Notes on Barbara Loden’s Wanda, and Picnic at Hanging Rock (BFI Film Classics). She has also edited multiple volumes dedicated to feminist theory and visual culture. She is the founder and co‐editor‐in‐chief of the journal MAI: Feminism and Visual Culture and oversees its press imprint with Punctum Books. She is currently working on a book exploring the iconography of Lana Del Rey.

James Bogdanski teaches film studies in the Visual and Media Arts department at Long Beach City College and the Fine Arts department at El Camino College in southern California. He holds an MFA in Screenwriting from Loyola Marymount University. He has published on the Gothic and queer authorship in the anthology Penny Dreadful and Adaptation: Reanimating and Transforming the Monster. As an invited speaker, he has presented his research at the ‘Alfred Hitchcock and I Confess’ conference at University College London and during Bergmanveckan (Bergman Week) on the island of Fårö, Sweden.

Tracy Cox‐Stanton is the founder and editor of the online scholarly journal of film studies The Cine‐Files. She is a video essayist, film scholar, and professor. Her work has appeared in the journals NECSUS, [in]Transition, Visual Arts Research, and camera obscura, as well as the anthology For the Love of Cinema, and her video essays have been screened internationally. She is a professor of cinema studies at Savannah College of Art and Design.

Brendan Dennerley is a PhD student at the University of Newcastle, currently writing his thesis on atmosphere in 1960s Japanese cinema. He is also a prolific no‐budget filmmaker, making short films such as The Wardrobe (2021), which won the We Make Films ‘Best Film Under £1,500’ award in 2021. In addition, he is an occasional contributor to the Maitland and Newcastle theatre scenes, performing in a variety of local theatre works.

Amanda Doxtater is Assistant Professor and Barbro Osher Endowed Chair of Swedish Studies in the Department of Scandinavian Studies at the University of Washington. Her book Visions and Victims: Art Melodrama in the Films of Carl Th. Dreyer (2024) explores intersections between popular film melodrama and Scandinavian art cinema. Writing widely on Nordic cinema, her work engages with melodrama, gender, queer historiography, childhood, and the family in the Nordic welfare state; and issues of class, race, and ethnicity. Her publications include ‘From Diversity to Precarity: Reading Childhood in Ruben Östlund’s Film Play (2011)’ ‘Terror Melodrama, Race and the Nation: Ulaa Salim’s Sons of Denmark,’ and ‘History as Embodied Encounter: Queer Pleasures and Temporal Drag in Benjamin Christensen’s Witchcraft Through the Ages’. Together with Maxine Savage, she provided a commentary track on a Kino Lorber Blu‐Ray edition of Carl Th. Dreyer’s classic of queer cinema, Michael (1924).

Samuel Robert Dunn has taught at the University of Utah since 1986. He holds degrees in theater–film from the University of Utah and History and Scandinavian studies from UCLA, and he has studied law, philosophy, and biology. He is a longstanding lover of all things Scandinavian. He has worked in the motion picture industry and has made short films and videos. Since the mid‐1980s, he has worked for the Sundance Institute and the Sundance Film Festival.

Jacob Engelberg is Assistant Professor of Film, Media, and Culture at the University of Amsterdam. He has published articles in the Journal of Bisexuality and Porn Studies, where he has also edited a special issue on bisexuality and pornography (2024). His essays appear in the following edited collections: Call Me by Your Name: Perspectives on the Film (2024), Screening Adult Cinema (2024), and Transnational Horror: Folklore, Genre, and Cultural Politics (2024). His forthcoming monograph considers the critical utility of cinematic figures of bisexual transgression for queer film studies.

Daniel Fairfax teaches at the Institute of Theater, Film, and Media Studies at the Goethe University, Frankfurt, where he coordinates the international masters degree in audiovisual and cinema studies. Daniel’s research has focused on French film theory in the post‐1968 period, resulting in the two‐volume monograph The Red Years of Cahiers du Cinéma (1968–1973) (2021), and he has translated the writings of Jean‐Louis Comolli, Christian Metz, and Jean‐Pierre Meunier. He is presently working on a research project looking at developments in film theory in the neoliberal era. Daniel is also a regular contributor to and former editor of the Australian online film journal Senses of Cinema.

Hamish Ford is Senior Lecturer in screen and cultural studies at the University of Newcastle, Australia. The author of Post‐War Cinema and Philosophy: Confronting Negativity and Time (Palve Macmillan, 2012), which features extensive analysis of Persona, he has written extensively on Bergman in a range of articles and essays for over two decades, plus other modernist European post‐war filmmaking and subsequent world cinema. Alongside the present Wiley Blackwell volume coedited with Daniel Humphrey, he is currently working on a monograph analysing the formally, aesthetically, philosophically, and politically radical aspects of Bergman’s 1960s cinema for Edinburgh University Press, as well as articles on Ousmane Sembene and Rainer Werner Fassbinder.

Shelleen Greene is Associate Professor of Cinema and Media Studies in the Department of Film, Television, and Digital Media at the University of California, Los Angeles. She was the 2020–2021 Fulbright Distinguished Chair at the University of Leeds. Her research interests include Italian cinema, Black European studies, and Black Digital Studies. Her book, Equivocal Subjects: Between Italy and Africa – Constructions of Racial and National Identity in the Italian Cinema (2012), examines racial discourses in the Italian national cinema. Her recent work has appeared in Italian Culture, Feminist Media Histories, California Italian Studies, the African American Review, and the Journal of Italian Cinema and Media Studies.

Fredrik Gustafsson has a PhD in cinema studies from the University of St Andrews, Scotland. He has written a book about Hasse Ekman, The Man From the Third Row (2016), and has worked at the Ingmar Bergman Archives in Stockholm. He has also worked as Ingmar Bergman festival coordinator at the Swedish Institute and curated a Hasse Ekman retrospective at MoMA in New York in 2015. He is chair of the Swedish Film Critics Association.

Jan Holmberg is CEO of the Ingmar Bergman Foundation, with a PhD in cinema studies from Stockholm University. He is the author of three books, most recently Författaren Ingmar Bergman (Ingmar Bergman, the writer), and numerous articles on early cinema, film aesthetics, digital media, archival theory and practice, and the work of Ingmar Bergman. He was the general editor of Ingmar Bergman’s collected writings in 2018.

Daniel Humphrey is Professor of Film and Media Studies and Women’s and Gender Studies at Texas A&M University. He is the author of Queer Bergman: Sexuality, Gender, and the European Art Cinema (2013) and Archaic Modernism: Queer Poetics in the Cinema of Pier Paolo Pasolini (2020) and numerous articles on queer cinema, the horror film, cinema authorship, and European modernist film. He has been co‐chair of the Nordic Studies Scholarly Interest Group for the Society for Cinema and Media Studies since 2020.

Soohyun Jeon is a PhD student in the Department of English at Texas A&M University. His research interests include twentieth‐ and twenty‐first‐century literature and culture, disability studies, health humanities, and film studies.

Maaret Koskinen is Professor Emerita at Stockholm University. She was the first scholar given access to Ingmar Bergman’s private papers during the last years of his life, which led to the formation of the Bergman Foundation. Her monographs in English include Ingmar Bergman Revisited: Cinema, Performance, and the Arts (2008) and Ingmar Bergman’s The Silence: Pictures in the Typewriter, Writings on the Screen (2010), and her Swedish‐language book on Bergman as writer was published in Spanish as Ingmar Bergman y sus primeros escritos. En el principio era la palabra (2018). Her most recent books include the anthologies Now About All These Women in the Swedish Film Industry (2023) and Ingmar Bergman at the Crossroads: Between Theory and Practice (2023), both co‐edited with Louise Wallenberg. Between 1981 and 2011 she was film critic for Sweden’s largest national daily Dagens Nyheter, and she has also served as Board Member of the Swedish Film Institute and the Broadcasting Commission, as well as Chair of the Film Academy.

Angelos Koutsourakis is Associate Professor in Film...