Mediapolis: Journal of Cities and Culture<\/span><\/em>.<\/p>\nNathan Holmes est professeur adjoint attach\u00e9 au d\u00e9partement d\u2019\u00e9tudes du cin\u00e9ma au Purchase College de SUNY. Ses recherches et ses publications se concentrent sur la culture et l\u2019histoire visuelles urbaines , l\u2019imagination politique de la culture de masse et la relation entre le film, les m\u00e9dia et l\u2019environnement. Il est l\u2019auteur de Welcome to Fear City: Crime Film, Crisis, and the Urban Imagination<\/span> <\/em>(SUNY Press, 2018). Il a \u00e9galement des essais publi\u00e9s ou sur le point de para\u00eetre dans la New Review of Film and Television Studies<\/span><\/em>, Thinking in the Dark: Cinema, Theory Practice<\/span><\/em> (Rutgers, 2016) et Race, Ethnicity, and the Suburbs in American Films<\/span><\/em> (SUNY Press). Il est \u00e0 pr\u00e9sent \u00e9diteur \u00e0 Mediapolis: Journal of Cities and Culture<\/span><\/em>.<\/p>\n
\nFraser McCallum<\/span> is an interdisciplinary artist living and working in Toronto, on the traditional territories of the Mississaugas of the Credit River, Anishinaabe, Haudenosaunee, and M\u00e9tis peoples. He holds a Master of Visual Studies from the University of Toronto and was a recent participant in Demos: Life in Common<\/span> at the Banff Centre (2015) and the Curatorial Incubator<\/span> at Vtape (2013). His work has been exhibited at The Art Museum at the University of Toronto, Modern Fuel, Xpace Cultural Centre, and widely in Toronto. Fraser\u2019s work has been supported by the Ontario Arts Council and Toronto Arts Council.<\/p>\nFraser McCallum est un artiste interdisciplinaire qui vit et travaille \u00e0 Toronto, sur les territoires traditionnels des peuples Mississaugas de la Credit River, Anishinaabe, Haudenosaunee et M\u00e9tis. Il d\u00e9tient un dipl\u00f4me de ma\u00eetrise en arts visuels de l\u2019Universit\u00e9 de Toronto et a r\u00e9cemment particip\u00e9 \u00e0 Demos: Life in Common au Banff Centre (2015) et au Curatorial Incubator \u00e0 Vtape (2013). Ses oeuvres ont \u00e9t\u00e9 expos\u00e9es au Mus\u00e9e d\u2019Art de l\u2019Universit\u00e9 de Toronto, au centres culturels Modern Fuel, Xpace, et dans de nombreux autres endroits \u00e0 Toronto. Le travail de Faser est financ\u00e9 par le Conseil des Arts de l\u2019Ontario et le Conseil des Arts de Toronto.<\/p>\n
\nAndrew Pendakis<\/span> is an Associate Professor of Theory and Rhetoric at Brock University and a Research Fellow at the Shanghai University of Finance and Economics. His essays on topics ranging from dialectics to plastics have appeared in South Atlantic Quarterly<\/span><\/em>, Jacobin<\/span><\/em>, Third Text<\/span><\/em>, E-Flux<\/span><\/em>, Critical Inquiry<\/span><\/em>, and other journals. He is also a co-editor of Contemporary Marxist Theory: A Reader<\/span><\/em>, The Bloomsbury Companion to Marx<\/span><\/em>, and the John Hopkins Guide to Theory<\/span><\/em>.<\/p>\nAndrew Pendakis est professeur agr\u00e9g\u00e9 de Th\u00e9orie et de R\u00e9thorique \u00e0 Brock University ainsi que membre de l\u2019Universit\u00e9 de finances et d\u2019\u00e9conomie de Shanga\u00ef. Ses essais sur des sujets allant de la dialectique au plastique ont paru dans South Atlantic Quarterly<\/em>, Jacobin<\/em>, Third Text<\/em>, E-Flux<\/em>, Critical Inquiry<\/em> et autres journaux acad\u00e9miques. Il est \u00e9galement co-\u00e9diteur de Contemporary Marxist Theory: A reader<\/em>, The Bloomsbury Companion to Marx<\/em>, et du Johns Hopkins Guide to Theory<\/em>.<\/p>\n
\nKaitlin Pomerantz<\/span> is a visual artist, writer and educator based in Philadelphia. Her interdisciplinary work explores transitional landscape, land use, and the relationship between humans and nature.\u00a0Pomerantz has recently participated in place-based residencies including Land Arts of the American West (Texas and South West USA), Cabin Time (Sierra Nevadas) and Lugo Land (Lugo, Italy). She has most recently shown work at Sierra Nevada College, Nevada; Texas Tech Museum, Lubbock, Texas; Fjord Gallery and Little Berlin, Philadelphia.\u00a0Pomerantz was part of Philadelphia\u2019s public art festival, Monument Lab, for which she did a project about stoops. Pomerantz is co-facilitator of the botanical arts project, WE THE WEEDS and an editor at Title Magazine<\/em>. She received her BA in art history from University of Chicago, a post-baccalaureate certificate in painting from Pafa, and her MFA in interdisciplinary visual art from University of Pennsylvania. She has taught and lectured at Pafa, Moore College of Art, University of Pennsylvania and Haverford College.<\/p>\nKaitlin Pomerantz est artiste visuelle, auteure, et \u00e9ducatrice bas\u00e9e \u00e0 Philapdelphie. Son travail interdisciplinaire explore le paysage traditionnel, l\u2019utilisation du terrain et la relation entre les humains et la nature. Pomerantz a r\u00e9cemment particip\u00e9 \u00e0 des r\u00e9sidences sur site tels que Land Arts of the American West (au Texas et dans le sud-ouest des Etats-Unis), Cabin Time (Sierra Nevada), et Lugo Land (\u00e0 Lugo en Italie). Plus r\u00e9cemment elle a expos\u00e9 des oeuvres au Sierra Nevada College dans le Nevada, au Texas Tech Museum de Lubbock au Texas, \u00e0 la Fjord Gallery et \u00e0 Little Berlin \u00e0 Philadelphie. Pomerantz a fait partie du Monument Lab au festival d\u2019art public de Philadelphie pour lequel elle a r\u00e9alis\u00e9 un projet sur les v\u00e9randas. Pomerantz est co-animatrice du projet d\u2019art botanique, WE THE WEED et \u00e9ditrice \u00e0 Title Magazine<\/em>. Elle a re\u00e7u sa license en histoire de l\u2019art \u00e0 l\u2019Universit\u00e9 de Chicago, un certificat post-baccalaur\u00e9at en peinture de Pafa et son MFA en art visuel interdisciplinaire de l\u2019Universit\u00e9 de Pennsylvanie. Elle a enseign\u00e9 et donn\u00e9 des conf\u00e9rences \u00e0 Pafa, au Moore College of Art, \u00e0 l\u2019Universit\u00e9 de Pennsylvanie et \u00e0 Haverford College.<\/p>\n
\nSeb Roberts<\/span> is a composer and sound engineer based in Toronto, Canada. He is currently completing his MA studies at York University\u2019s Humanities Department. In November of 2018, his improvisation duo with Juliana Pivato, Private Robots, will release their debut album, Poets Barrio TV<\/span><\/em>, on Montr\u00e9al\u2019s Squint _\u00a0_\u00a0_\u00a0_\u00a0_\u00a0_\u00a0_ Press.<\/p>\nSeb Roberts est un compositeur et ing\u00e9nieur du son bas\u00e9 \u00e0 Toronto au Canada. Il termine actuellement ses \u00e9tudes de ma\u00eetrise au d\u00e9partment des humanit\u00e9s \u00e0 York University. En novembre 2018, son duo d\u2019improvisation avec Juliana Pivato, \u201cPrivate Robots\u201d, sortira son premier album, Poet Barrio TV<\/span><\/em>, chez Squint _\u00a0_\u00a0_\u00a0_\u00a0_\u00a0_\u00a0_ Press de Montr\u00e9al.<\/p>\n
\nColin Williamson<\/span> is an Assistant Professor of Film and Screen Studies at Pace University (NYC). His research focuses on animation and special effects, early cinema, media archaeology, film theory, and nonfiction film. He is the author of\u00a0Hidden in Plain Sight: An Archaeology of Magic and the Cinema<\/span>\u00a0<\/em>(Rutgers University Press, 2015), and has published articles and essays in such edited collections and journals as Thinking in the Dark: Cinema, Theory, Practice<\/span><\/em> (Rutgers University Press, 2016), animation: an interdisciplinary journal<\/span><\/em>,\u00a0Leonardo: Journal of Arts<\/em>, Sciences, and Technology<\/em><\/span>, and\u00a0The Moving Image<\/span><\/em>.<\/p>\nColin Williamson est professeur adjoint d\u2019\u00e9tudes du film et de l\u2019\u00e9cran \u00e0 Pace University (NYC). Sa recherche se concentre sur l\u2019animation, les effets sp\u00e9ciaux, les d\u00e9buts du cin\u00e9ma, l\u2019arch\u00e9ologie des m\u00e9dia, la th\u00e9orie du film, et le film de non-fiction. Il est l\u2019auteur de Hidden in Plain Sight: An Archaeology of Magic and the Cinema<\/em> (Rutgers University Press, 2015) et il a publi\u00e9 des articles et des essais dans des collections et journaux acad\u00e9miques tels que Thinking in the Dark: Cinema, Theory, Practice<\/em> (Rutgers University Press, 2016), Animation: an Interdisciplinary Journal<\/em>, Leonardo: Journal of Arts, Sciences, and Technology<\/em> et The Moving Image<\/em>.<\/p>\n","protected":false},"excerpt":{"rendered":"Table of Contents | PDF coming soon Contributors K.R. Cornett is a lecturer and academic advisor in the department of Radio, Film and Television at Northwestern. She is interested in the politics of everyday life and its representation in American cinema and visual culture. Her dissertation,\u00a0Out of the Blur of the Background, is an examination […]<\/p>\n","protected":false},"author":7987,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2},"jetpack_post_was_ever_published":false},"categories":[136,4],"tags":[],"class_list":["post-10688","post","type-post","status-publish","format-standard","hentry","category-9-1-the-mise-en-scene-of-a-decade","category-article","wpautop"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p707hj-2Mo","_links":{"self":[{"href":"https:\/\/imaginations.space\/index.php?rest_route=\/wp\/v2\/posts\/10688","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/imaginations.space\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/imaginations.space\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/imaginations.space\/index.php?rest_route=\/wp\/v2\/users\/7987"}],"replies":[{"embeddable":true,"href":"https:\/\/imaginations.space\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=10688"}],"version-history":[{"count":10,"href":"https:\/\/imaginations.space\/index.php?rest_route=\/wp\/v2\/posts\/10688\/revisions"}],"predecessor-version":[{"id":10836,"href":"https:\/\/imaginations.space\/index.php?rest_route=\/wp\/v2\/posts\/10688\/revisions\/10836"}],"wp:attachment":[{"href":"https:\/\/imaginations.space\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=10688"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/imaginations.space\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=10688"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/imaginations.space\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=10688"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}