Jean Graham-Jones, Professor
(Graduate Center / Hunter College) Ph.D. in Hispanic Languages and Literatures, University of California, Los Angeles. Executive Officer of the Program in Theatre at the Graduate Center. Major publications include Exorcising History: Argentine Theater under Dictatorship (2000), Reason Obscured: Nine Plays by Ricardo Monti (ed. and trans., 2004), and BAiT: Buenos Aires in Translation (ed. and trans., 2008). She has published articles in such journals as Theatre Journal, Theatre Survey, Theatre Research International, Latin American Theatre Review, Tramoya, and Gestos; is a former editor of Theatre Journal; and currently serves on the editorial boards of Theatre Journal, Latin American Theatre Review and Contemporary Theatre Review. Her research and teaching specializations include contemporary and colonial Latin American (especially Argentine) theatre and performance in addition to theatre, performance, and cultural theories.  Her current research focuses on theatrical and extratheatrical responses to the ongoing socioeconomic crisis in Argentina and the national performances of such Argentinean “femiconic” figures as Camila O’Gorman, Eva Perón, and the Virgin of Luján. Her translations of Argentinean plays were presented at Performance Space 122 (New York) during the November 2006 Buenos Aires in Translation (BAiT) festival and served as the basis for supertitles at 2009's Teatro StageFest (New York).

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Marvin A. Carlson, Distinguished Professor
(Graduate Center) Ph.D.in Drama and Theatre, Cornell University. The Sidney E. Cohn Distinguished Professor of Theatre, Comparative Literature and Middle Eastern Studies. His research and teaching interests include dramatic theory and Western European theatre history and dramatic literature, especially of the 18th, 19th, and 20th centuries. He has been awarded the ATHE Career Achievement Award, the George Jean Nathan Prize, the Bernard Hewitt prize, the George Freedley Award, and a Guggenheim Fellowship. He has been a Walker-Ames Professor at the University of Washington, a Fellow of the Institute for Advanced Studies at Indiana University, a Visiting Professor at the Freie Universitat of Berlin, and a Fellow of the American Theatre. In 2005 he was awarded an honorary doctorate by the University of Athens. His best-known book, Theories of the Theatre (Cornell University Press, 1993), has been translated into seven languages.  His 2001 book, The Haunted Stage won the Calloway Prize.  His newest book, Speaking in Tongues, was published by the University of Michigan Press in 2006.

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Daniel Gerould, Distinguished Professor
(Graduate Center) Ph.D. in Comparative Literature, University of Chicago. Major publications include: Theatre/Theory: Theory/Theatre (ed. Applause, 1999); Guillotine: Its Legend and Lore (Blast Books, 1992); The Witkiewicz Reader (ed. and trans. Northwestern University Press, 1992); Doubles, Demons, and Dreamers: An International Collection of Symbolist Drama (editor. Performing Arts Journal Publications, 1983); and American Melodrama (editor. Performing Arts Journal Publications, 1982). He is also the series editor of "Polish and Eastern European Archives" (Harwood) and editor of Slavic and East European Performance. Specializations: Modern European Drama and Theatre (Polish and Russian); Genre Studies; Theatre Theory.

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Judith Milhous, Distinguished Professor
(Graduate Center) Ph.D. in Drama and Theatre, Cornell University, 1974. Major publications include: Italian Opera in Late Eighteenth-Century London (Clarendon Press, 1995, 2001) vol. 1 with Robert D. Hume and Curtis Price, vol. 2 with Gabriella Dideriksen and Hume; A Register of English Theatrical Documents, 1660-1737 (with Hume, Southern Illinois University Press, 1991); Producible Interpretation: Eight English Plays, 1675-1707 (with Hume, Southern Illinois University Press, 1985); and Thomas Betterton and the Management of Lincoln's Inn Fields, 1695-1708 (Southern Illinois University Press, 1979). Specializations: British Drama and Theatre, especially 17th-18th century; Theatre History and Historiography.

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David Savran,  Distinguished Professor
(Graduate Center), Vera Mowry Roberts Chair in American Theatre, Ph.D. in Theatre Arts, Cornell University. Major publications include: Breaking the Rules: The Wooster Group (1988); In Their Own Words: Contemporary American Playwrights (1988); Communists, Cowboys and Queers: The Politics of Masculinity in the Work of Arthur Miller and Tennessee Williams (1992); Taking it Like a Man: White Masculinity, Masochism, and Contemporary American Culture (1998); The Playwright's Voice: American Dramatists on Memory, Writing, and the Politics of Culture (1999); and A Queer Sort of Materialism: Recontextualizing American Theater (2003). He is the editor of the Journal of American Drama and Theatre and has served as the Vice President of the American Society for Theatre Research. He was a judge for the Village Voice Obie Awards for two years and has been a member of the nominating committee for the Lucille Lortel Awards since 2005. His most recent book is Highbrow/Lowdown: Theater, Jazz, and the Making of the New Middle Class, published by the University of Michigan Press.  His new project studies the history of theories of production, distribution, and consumption since Marx to argue that under late capitalism, relations of distribution (which include marketing, advertising, and branding) have become primary.  His intent is to use a theory of branding as cultural performance to analyze the exportation to U.S. theatre to Germany, Brazil, and China, and so rethink the economics of cultural imperialism.

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William Boddy (Baruch College)
Ph.D, Cinema Studies, New York University. Major publications include Fifties Television: The Industry and Its Critics (University of Illinois Press, 1990) and New Media and Popular Imagination: Launching Radio, Television, and Digital Media in the United States (Oxford University Press, 2004), as well as scores of articles and book chapters on media history, digital media, and film studies. Associate editor of Cinema Journal, Boddy also serves on the editorial advisory boards of Screen, Television and New Media, The Velvet Light Trap and the International Journal of Cultural Studies. His teaching interests include film theory, avant-garde film and video, new media, and the cultural history of electronic media.

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Jane Bowers (Hunter College)
Professor Bowers was educated at Harvard University and at U.C. Berkeley, where she received her Ph.D. in English in 1981. She has written two books on Gertrude Stein: They Watch Me as They Watch This: Gertrude Stein's Metadrama (University of Pennsylvania Press, 1991), which was selected as a Choice Outstanding Academic Book of 1991-1992, and Gertrude Stein, a general introduction to Stein's life and work published by MacMillan/St. Martin's in 1993 as a volume in their series on women writers. From 1995-2003 she was the co-editor of the Journal of American Drama and Theatre. As a fellow of the Bunting Institute at Harvard during the 1996-97 academic year, she began her current project, a book about American performance poetry. She has served as the Director of Academic Affairs for the City University of New York Honors College since 2001. Her fields of interest are twentieth-century American drama and performance.

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Jonathan Buchsbaum (Queens College)
Ph.D. in Cinema Studies, New York University. Publications include Cinema Engagé: Film and the Popular Front (University of Illinois Press, 1988); Cinema and the Sandinistas: Film in Revolutionary Nicaragua, 1979-1990 (University of California Press, forthcoming). Professor Buchsbaum was a participant in the First Festival of Central American Film and Video, Granada, Nicaragua, 1999. Teaching specializations include: Film and the Vietnam War; African Americans in American Film; history and theory of Third Cinema. Research interests include political filmmaking, French cinema, Latin American Cinema, revolutionary cinema in Nicaragua, film theory, film history, GATT and the audiovisual battle between Europe and the U.S.  

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Morris Dickstein Distinguished Professor (The Graduate Center)
Ph.D. Yale University. Major publications include: A Mirror in the Roadway: Literature and the Real World, Princeton University Press, 2005; Leopards in the Temple: The Transformation of American Fiction, 1945-1970, Harvard University Press, 2002, Double Agent: The Critic and Society (Oxford University Press, 1992, and Gates of Eden: American Culture in the Sixties, New York: Basic Books, 1977; Rpt. (revised) Penguin Books, 1989, nominated for National Book Critics Circle Award in Criticism, 1977, in Paperback March 2007. Specializations: American Cinema; Film Theory; and Criticism.

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Mira Felner (Hunter College)
Ph.D. in Drama, New York University. Major publications include: The World of Theatre:  Tradition and Innovation, Allyn and Bacon, 2006; Apostles of Silence: The Modern French Mimes, Fairleigh Dickenson University Press, 1985; Free to Act: An Integrated Approach to Acting Allyn & Bacon, 2004, 2ed.; and "Circus Techniques and the Actor's Craft" in The Drama Review, March 1972. She is the American Consultant Editor of the Bloomsbury Theatre Guide. Specializations: Modern European Drama and Theatre; Theories and Techniques of Acting.

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David Gerstner (College of Staten Island)
David A. Gerstner received his Ph. D in the Department of Film and Television at UCLA and is Professor of Cinema Studies. He is author of Manly Arts: Masculinity and Nation in Early American Cinema (Duke University Press, 2006); editor of The Routledge International Encyclopedia of Queer Culture (Routledge, 2006: selected as “Best of Reference 2007” by the New York Public Library); and co-editor with Janet Staiger of Authorship and Film (Routledge, 2003). His work has appeared in Film Quarterly, The Stanford Humanities Review, Cine-Action, The Velvet Light Trap, Cultural Critique, and Wide Angle. His work may also be read in The Spike Lee Reader (edited by Paula Massood, essay on the Inside Man); City that Never Sleeps (Rutgers University Press, essay on Andy Warhol); Marcel Duchamp and Eroticism (edited by Marc Décimo, also published in French by les press du réel); New Zealand Filmmakers (Wayne State University Press, essay on Peter Wells); two reprinted essays in Vincente Minnelli: The Art of Entertainment (edited by Joe McElhaney); and Hetero (edited by Sean Griffin). Forthcoming in 2010 are essays on queer history in “A Disturbing and Disintegrating Force”: Oscar Wilde’s Critical Essays and Christophe Honoré’s Love Songs in a collection edited by Steven Cohan (BFI-Palgrave). His new book, Queer Pollen: White Seduction, Black-Male Homosexuality, and the Cinematic is under contract with the University of Illinois Press’s “New Black Studies” series. http://davidgerstner.blogspot.com

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Alison Griffiths (Baruch College)
Ph.D New York University. Professor Griffiths is the author of Wondrous Difference: Cinema, Anthropology, and Turn of the Century Visual Culture (Columbia University Press, 2002), which won the Sixteenth Annual Society for Cinema and Media Studies Dissertation Award in 1999; the Katherine S. Kovacs Award for the best published book in film and media studies in 2003; and honorable mention for the Krazna Krausz Moving Image Book Award in 2004. Professor Griffiths has been the recipient of several fellowships and research awards: Distinguished Scholarship at Baruch College (2003); NEH Summer Stipend (2003); two Eugene Lang Junior Faculty Fellowship at Baruch College (1999 and 2002); the Felix Gross Award for outstanding research by a CUNY junior faculty member (2002); and a Woodrow Wilson Fellowship (1998). Her research on pre- and early cinema has appeared in such journals as Cinema Journal, Screen, Film History, Wide Angle, Continuum, Visual Anthropology Review, Early Popular Visual Culture, Journal of Popular Film and Television and in numerous anthologies on early cinema and media audiences. Her second book on the history of spectacle in old and new media contexts entitled Shivers Down Your Spine: Cinema and the History of the Immersive View is forthcoming from Columbia University Press. Her research includes visual studies, documentary film and television, early cinema, new media, television audiences, and a new book project on the ethics of image making entitled Their Lives Through Our Eyes: The Ethics of Images on the Edge.

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Heather Hendershot (Queens College)
Ph.D University of Rochester.  Professor Hendershot is the author of Saturday Morning Censors: Television Regulation before the V-Chip (Duke University Press, 1998) and Shaking the World for Jesus: Media and Conservative Evangelical Culture (University of Chicago Press, 2004); she is the editor of Nickelodeon Nation: The History, Politics and Economics of America's Only TV Channel for Kids (New York University Press, 2004).  She is currently writing a book on right-wing broadcasting of the 1950s and 60s.  She is on the editorial board of Cinema Journal, Television and New Media, and The Velvet Light Trap, and the advisory board of Film Quarterly. Professor Hendershot's classes include Silent Film, Animation History and Aesthetics, Children’s Television, The Horror Film, and The American Film Industry.

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Jonathan Kalb (Hunter College)
D.F.A. Yale University. Professor Kalb is Chair of the Theatre Department at Hunter College and editor of HotReview.org, the Hunter On-Line Theater Review.  Major publications include: Beckett in Performance (Cambridge University Press, 1989); Free Admissions: Collected Theatre Writings (Limelight Editions, 1993); The Theatre of Heiner Müller (Cambridge University Press, 1998); and Play by Play: Theater Essays and Reviews, 1993-2002 (Limelight Editions, 2003). He has also written numerous articles in The New York Times, Salmagundi, Modern Drama, Performing Arts Journal, New German Critique, The Threepenny Review, The Michigan Quarterly, Theatre heute, Theatre Three, Theater, Theatre Forum and many other journals and books. A winner of the George Jean Nathan Award for Dramatic Criticism, he was the theatre critic for New York Press from 1997-2001 and a theatre critic for the Village Voice from 1987-1997. Research and teaching specializations: Modern Drama and Theatre; Avant-Garde Theatre; German Theatre and Drama; Samuel Beckett; Heiner Müller; critical writing; dramaturgy; translation.

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Stuart Liebman (Queens College)
Professor Liebman has taught at Queens College since 1973 as well as at NYU and Columbia University. He served as founding Coordinator of the Film Studies Certificate Program at the CUNY Graduate Center (1993-2000) and completed a seven and a half year term as Chair of the Department of Media Studies at Queens College in June, 2003. He now serves as the Coordinator of the Film Studies Program at Queens College. In Spring 2004, he was a research Fellow at the United States Holocaust Memorial Museum in Washington, D.C. In 2006, he was named an "Academy Film Scholar" by the Academy of Motion Picture Arts and Sciences in Los Angeles.  His most recent essays include “Historiographie et Cinéma de l’Holocauste: Défis et avancées,” in Jean-Michel Frodon, ed., Le Cinéma et la Shoah (Paris: Cahiers du Cinéma, 2007); “Verdict on Auschwitz.” Cineaste Vol.XXXII, No. 4 (Fall 2007); “The New Battleship Potemkin.” Cineaste Vol. XXXIII, No. 4 (Fall 2008); “J’Accuse and La Roue by Abel Gance.” Cineaste Vol. XXXIV, No. 1 (Winter 2009); and “Réflexions sur les Polonais et les Juifs dans le cinema polonaise après la Seconde Guerre mondiale” in Jean-Charles Szurek and Annette Wieviorka, eds., Juifs et Polonais, 1939-2008 (Paris: Albin Michel, 2009). His edited anthology, Claude Lanzmann's Shoah: Key Essays was published in February 2007 by Oxford University Press. In 2008-09, he has been named a Fellow at the University of Connecticut’s Humanities Institute where he is working on a book about the first ten years of Holocaust representation in cinema.

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Ivone Margulies (Hunter College)
Ph.D. In Cinema Studies, New York University. She is the author of Nothing Happens: Chantal Akerman’s Hyperrealist Everyday (Duke U. Press, 1996) and editor of Rites of Realism: Essays on Corporeal Cinema (Duke U. Press, 2003), an anthology which includes her essay “Exemplary Bodies: Reenactment in Love in the City, Sons and Close up.” Her essays on Akerman and theatrical cinema have been translated in various international catalogues and books. She has published chapters on John Cassavetes, Jean Rouch and videomaker Steve Fagin. Recent publications include: “Le monologue sériel: formes d’engagement dans le cinema moderne” in La fiction éclatée. Petits et grands écrans français et francophones. (forthcoming in 2006); “Sacha Guitry, National Portraiture and the Artist’s Hand” French Cultural Studies 16: 3 (October 2005.) “Chronicle of a Summer (1960) as Autocritique (1959): A Transition in the French Left” QRFV 21.3 (July 2004). Her research and teaching interests include: aspects of theatricality in modern postwar cinema and contemporary visual media; cinema verité; French modernist cinema; women’s cinema; experimental film and video; questions of realism and the representation of the everyday in cinema.

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Paula Massood (Brooklyn College)
Ph.D. in Cinema Studies from New York University. Professor Massood is a Professor of Film Studies at Brooklyn College. She is the author of Black City Cinema: African American Urban Experiences in Film (Temple Univ. Press, 2003) and the editor of The Spike Lee Anthology (Temple Univ. Press, forthcoming 2008). Her articles on African American Cinema, the City and Film, and other topics have appeared in Cinema JournalAfrican American Review, Literature/Film Review, Cineaste, and a number of collections on African American Film, the City and Film, film adaptation, and Hollywood violence. She is also the Theater/Film subject editor for African American National Biography (Oxford Univ. Press, forthcoming 2008), and is currently working on a visual history (photography, film) of Harlem.

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Joe McElhaney (Hunter College)
Ph.D. in Cinema Studies, New York University.  Joe McElhaney is the author of The Death of Classical Cinema: Hitchcock, Lang, Minnelli (SUNY Press, 2006), Albert Maysles (University of Illinois Press, 2009) and the editor of Vincente Minnelli: The Art of Entertainment (Wayne State University Press, 2009).  He is the author of numerous essays in periodicals, including “Howard Hawks: American Gesture” (Journal of Film and Video) and Chris Marker: Primitive Projections (Millennium Film Journal), and in edited volumes, including “Rosemary’s Baby: Polanski, New York and the Urban Irrational” (The City That Never Sleeps/Rutgers University Press), “Preston Sturges and the Speed of Language” (Cinema and Modernity/Rutgers University Press), Fritz Lang and the Cinema of Tactility (I cinque sensi del cinema/XI Convengon Internazionale sul Cinema), “Hollywood, años cuarenta y cincuenta: transformación del modelo clásico Americano o de cómo Europa toma Hollywood por la fuerza,” for  En Tránsito:  De Berlin a Hollywood y Alrededors (Las Palmas), “Little Soldiers of the  New Frontier: American Movies in 1963” (The 1960s: Themes and Variations/Rutgers University Press) and “Walking a Straight Line: Fassbinder and Martha” (A Companion to Rainer Werner Fassbinder/Blackwell).  His essays on Hitchcock and Minnelli include “The Object and the Face: Notorious, Bergman and the Close-Up” (Hitchcock: Past and Future/Routledge), “Hitchcock: Metteur-en-Scène” (A Companion to Alfred Hitchcock/Blackwell), “Laughter and Agony in The Long, Long Trailer or: ‘Isn’t This Fun, Honey?’” (Blackwell’s History of American Film/Blackwell) and “Medium-Shot Gestures: Vincente Minnelli and Some Came Running,” originally published in 16:9 and reprinted in Vincente Minnell: The Art of Entertainment.  He is on the advisory editorial committee of The Velvet Light Trap.  McElhaney is currently working on a book on the human figure in cinema.

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Claudia Orenstein (Hunter College)
Ph.D. in Directing and Critical Theory, Stanford University, 1993. Major publications include: The World of Theatre: Tradition and Innovation (Allyn and Bacon, 2005) co-author with Mira Felner; Festive Revolutions: The Politics of Popular Theater and San Francisco Mime Troupe. Series in Performance Studies (Jacksonville: University Press of Mississippi, 1999) . Specializations/description of Interest Areas: Asian Theatre with an interest in intercultural performance; Political Theatre, focusing on strategies used by political activists; puppetry and performing objects, their use historically and in relation to new technological media.

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Joyce Rheuban (La Guardia College)
Ph.D. in Cinema Studies, New York University. Joyce Rheuban has taught graduate and undergraduate courses in film history, theory, and criticism at CUNY, Tisch School of the Arts of New York University, and the Germanic Languages Department of Columbia University. She has also lectured on American experimental film throughout the German Republic. Her publications include translations of the screenplays of two R.W. Fassbinder films, a book on silent film comedian Harry Langdon, and articles on German and American cinema. She is a co-editor of Persistence of Vision: The Journal of the Film Faculty of the City University of New York, and an analyst-in-training at the National Psychological Association for Psychoanalysis. She is the recipient of a NEH Fellowship for College Teachers, a Mellon Foundation award, and a number of PSC-CUNY Research Foundation awards.

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James Saslow (Queens College)
Ph.D. in Art History, Columbia University. He is a professor of Art History at Queens College, CUNY, and has also taught at Vassar, Columbia, and the Art History Program at the CUNY Graduate Center. His recent book on art and performance, The Medici Wedding of 1589: Florentine Festival as "Theatrum Mundi" (Yale, 1996), received the Phyllis Gordon Prize from the Renaissance Society of America. His previous publications include The Poetry of Michelangelo: An Annotated Translation (1991) and Ganymede in the Renaissance: Homosexuality in Art and Society (1986). Specializations: Renaissance Art and Theatre.

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Elisabeth Weis (Brooklyn College)
Ph.D. in Film, Columbia University. Professor Weis specializes in film sound aesthetics, American narrative film, and comedy. Her most recent book is Film Sound: Theory and Practice (co-editor, John Belton, Columbia University Press). Her earlier books are The Silent Scream: Alfred Hitchcock's Sound Track; Movie Comedy; and The National Society of Film Critics on the Movie Star. She was a founding editor of Persistence Vision: the Film Journal of the City University of New York, for which she guest-edited an issue on Humor in the Visual Arts. Professor Weis has served as the Executive Director of The National Society of Film Critics since 1974. In 2002 she was named an Honorable Professor by Peking University.

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Maurya Wickstrom (College of Staten Island)
Ph.D. in Theatre, Graduate Center/CUNY, M.F.A. in  Directing, Tulane University. Her book, Performing Consumers: Global Capital and its Theatrical Seductions, was published by Routledge in 2006. The book is a series of theorized case studies in the ways that corporations use theatrical, embodied methods to absorb consumers into brands. Stores in the book included Niketown, Ralph Lauren, Disney, the Forum Shops in Las Vegas, and the American Girl Doll store.  Journals in which she has published articles include Theatre Journal, Modern Drama, Theatre Survey, Theatre Annual, Journal of Dramatic Theory and Criticism, and PAJ: A Journal of Performance and Art.She has also published an article on Disney in the anthology, Rethinking Disney: Private Control, Public Dimensions from Wesleyan Press, and an essay in Changing the Subject: Marvin Carlson and Theatre Studies, 1959-2009, edited by Joseph Roach and forthcoming from Michigan Press in November, 2009. She is working on a new book called Neoliberal Speculating: Performance, Human Rights, Traveling Bodies. Her research and teaching interests include; transnational issues for performance and politics; neoliberalism and performance in and through human rights, international law, and development discourses; global political theatre; history of theatrical theory; cultural, political, and performance theory as well as contemporary philosophy.

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David Willinger (City College)
Ph.D. in Theatre, City University of New York, The Graduate Center. Major publications include: Three Fin-de-Siècle Farces (Peter Lang, 1996); Ghelderode (Host, 1990); "Four Works for the Theatre by Hugo Claus" (CASTA, 1990); "Theatrical Gestures: Works from the Belgian Avant-Garde" (New York Literary Forum, 1986); and An Anthology of Contemporary Belgian Plays (edited and translated, Whitston Publishing Company, 1984). He received The Jerome Foundation Award in 1997. Specialization: Belgian Theatre.

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James Wilson (La Guardia Community College)
Ph.D. in Theatre, Graduate Center/CUNY. His book Bulldaggers, Pansies, and Chocolate Babies: Performance, Race, and Sexuality in the Harlem Renaissance is under contract with University of Michigan Press and will be published in Spring 2010. His articles have appeared in Urban Education, Teaching English in the Two-Year College, and Theatre History Studies. He has also published articles in a number of anthologies including, Staging Desire: Queer Readings of American Theater History; “We Will Be Citizens”: New Essays on Gay and Lesbian Theatre; andReclaiming the Public University: Conversations on General & Liberal Education. Research interests and specializations include African American, queer, and political theatre and performance; US theatre history; and academic professionalization/pedagogy.

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