Amy Herzog is Coordinator of the Film Studies Certificate Program at the CUNY Graduate Center, where she is on the faculties of Music, Theatre, and Women’s Studies, and Associate Professor of Media Studies at Queens College. She is the author of Dreams of Difference, Songs of the Same: The Musical Moment in Film (Minnesota, 2010), and co-editor, with Carol Vernallis and John Richardson, of The Oxford Handbook of Sound and Image in Digital Media (Oxford University Press, 2013). She has published work on philosophy, film, popular music, pornography, architecture, and sideshow attractions.
In his videos, performances, and assemblage, Tara Mateik casts himself as myriad theoretical and cultural transvestites from media culture, competitive sport, and weird science. His practice includes regular collaboration with artists and collectives including Dykes Can Dance, Paper Tiger TV, and The Sylvia Rivera Law Project. In 2002 he founded The Society of Biological Insurgents (SBI), an embryonic cell organization that wages strategic operations to overthrow institutions of compulsory gender. Mateik’s work has been exhibited at international venues including MOMA PS1 Greater New York Cinema, The Solomon R. Guggenheim Museum, Dia at the Hispanic Society, Dixon Place and Reena Spaulings in New York; Outfest and LACE, Los Angeles, CA; Aurora Pictures, Houston, TX; Oberhausen Short Film Festival, Germany; and Museum of Contemporary Canadian Art, Toronto, Canada. He is an Assistant Professor of Digital Cinema Studies in the Media Culture Department at CUNY Staten Island. His videos are distributed by the Video Data Bank. His awards include a grant from the Creative Capital Foundation in film/video and an Electronic and Film Art Grant from the Experimental Television Center.
Edward D. Miller is Associate Professor of Film Studies and Theatre at the Graduate Center, and of Media Culture at College of Staten Island. He received his PhD in Performance Studies from the Tisch School of the Arts at New York University. He is the author of Emergency Broadcasting and 1930s American Radio (Temple University Press, 2003) and Tomboys, Pretty Boys, and Outspoken Women: The Media Revolution of 1973 (Michigan University Press, 2011). He has written essays and reviews for many publications including Bad Subjects, M/C – Media and Culture, Women and Performance, TDR, Popular Musicology Online, Social Policy, Bright Lights Film Journal, BorderTalks, and Papotage; he has contributed to the collections Beyond the Lavender Lexicon (edited by William Leap) and free103point9’s Audio Dispatch. His research and teaching interests include the history and theory of American nonfiction media, sound and cinema, and mediated performances of self.
Jordan Lavender-Smith is working toward a doctorate in English and film studies certificate at the Graduate Center. He serves as co-chair for the Cinema Studies Group and as the student co-representative for the Film Studies Certificate Program. His work in film and TV studies has appeared in Scope, FlowTV, and the edited collection Time in Television Narrative. His dissertation focuses on the narrative aesthetics of surveillance in contemporary film and literature.
Natalie Musteata is a Ph.D. student in Art History at the Graduate Center, and an adjunct lecturer at Parsons, The New School, where she teaches Performance and Participation in the 20th Century. In 2012, she curated UNREST: Revolt against Reason at apexart in New York, and organized the panel discussion How Can Art Affect Political Change? for the Vera List Center for Art and Politics.
Mike Phillips is a doctoral candidate in Comparative Literature at The Graduate Center, CUNY. His research focuses on the western genre film as a global phenomenon.
