Noël Carroll is Distinguished Professor of Philosophy at the Graduate Center of the City University of New York. He is the author of Philosophical Problems of Classical Film Theory (Princeton University Press, 1988), Mystifying Movies: Fads and Fallacies in Contemporary Film Theory (Columbia University Press, 1988), Theorizing The Moving Image (Cambridge University Press, 1996), A Philosophy of Mass Art (Oxford University Press, 1998), Interpreting The Moving Image (Cambridge University Press, 1998), Philosophy of Art: A Contemporary Introduction (Routledge, 1999), Engaging the Moving Image (Yale University Press, 2003). Comedy Incarnate: Buster Keaton, Physical Humor and Bodily Coping (Blackwell, 2007), The Philosophy of Motion Pictures (Blackwell, 2008), Art in Three Dimensions (Oxford University Press, 2010), the editor of Theories of Art Today (University of Wisconsin Press, 2000), and the co-editor of Post-Theory: Reconstructing Film Studies (University of Wisconsin Press, 1996) with David Bordwell, among others.
Web page

Jinhee Choi is Lecturer in Film Studies at King's College London. She is the author of The South Korean Film Renaissance: Local Hitmakers Global Provocateurs (Wesleyan University Press, 2010) and the co-editor of Philosophy of Film and Motion Pictures (Oxford: Blackwell, 2005) with Noël Carroll and Horror To the Extreme: Changing Boundaries in Asian Cinema (Hong Kong University Press, 2009) with Mitsuyo Wada-Marciano.
Web page 

Elisabeth Cowie is Professor of Film Studies at the School of Arts – University of Kent since 1982. Her monograph, Representing the Woman: Psychoanalysis and Cinema, (London: Macmillan and Minneapolis: Minnesota University Press, 1997, 397 pp.) developed from her work on m/f, focus on feminine spectatorship in cinema. More recently, she has been concerned with documentary film, television and video art, which has led to a number of articles and her new monograph, Recording Reality, Desiring the Real. She edited the 1978 catalogue of films funded by the British Film Institute Production Board, involving avant-garde and independent short and feature length films, and taught film at a number of institutions and universities in London. At the same time, she was involved in a work on women and film, and founded the feminist theory journal, m/f, with Parveen Adams, Rosalind Coward and later Beverley Brown. The journal, which published 12 issues between 1978-1986, was committed to developing theoretical work on the social and psychical organisation of sexual difference, drawing on the work of Michel Foucault and of Jacques Lacan in his 'return to Freud'. In 1990, The MIT Press published a collection from the journal as The Woman in Question, edited by Parveen Adams and Elizabeth Cowie. She has been also closely involved with the American journal Camera Obscura and its founder-editors, and with the Visible Evidence conference series.
Web page

D. N. Rodowick is chair and William R. Kenan, Jr. Professor of Visual and Environmental Studies and director of Graduate Studies for Film and Visual Arts at Harvard University. He is the author of The Crisis of Political Modernism: Criticism and Ideology in Contemporary Film Theory (University of Illinois Press, 1989; 2nd edn., University of California Press, 1994), The Difficulty of Difference: Psychoanalysis, Sexual Difference, and Film Theory (Routledge, 1991), Gilles Deleuze's Time Machine (Duke University Press, 1997), Reading the Figural, or, Philosophy after the New Media (Duke University Press, 2001), and The Virtual Life of Film (Harvard University Press, 2007), and the editor of The Afterimages of Gilles Deleuze's Film Philosophy (University of Minnesota Press, 2009).
Web page

Murray Smith is Professor of Film Studies and director of research of the Faculty of Humanities at the University of Kent. He is the author of Engaging Characters: Fiction, Emotion, and the Cinema (Oxford University Press, 1995) and Trainspotting (BFI, 2002), and the co-editor of Contemporary Hollywood Cinema (Routledge, 1998) with Steve Neale, Film Theory and Philosophy (Oxford University Press, 1999) with Richard Allen, and Thinking Through Cinema: Film as Philosophy (Blackwell, 2006) with Thomas E. Wartenberg.
Web page