Thomas Waugh, born the year of Aag, Boogie-Doodle, Feeling of Hostility, Louisiana Story, Rope, and La Terra Trema, is Concordia Research Chair in Sexual Representation and Documentary. His research publications and teaching on documentary have touched on Quebec direct cinema, Joris Ivens, the National Film Board of Canada, independent work from India, and committed cinema. His interests in sexual representation span queer film and video, pornography and homoeroticism in moving image media as well as photography and graphic art, Canadian and Quebec cinema, and HIV/AIDS. Waugh’s books include the anthologies, Show Us Life: Towards a History and Aesthetics of the Committed Documentary (1984) , Challenge for Change: Activist Documentary at the National Film Board of Canada (with Michael Baker and Ezra Winton, 2010), and The Perils of Pedagogy: The Works of John Greyson (with Brenda Longfellow and Scott MacKenzie, 2013); the collections The Fruit Machine: Twenty Years of Writings on Queer Cinema (2000) and The Right to Play Oneself: Looking back on Documentary Film (2011); the monographs Hard to Imagine: Gay Male Eroticism in Photography and Film from their Beginnings to Stonewall (1996), The Romance of Transgression in Canada: Sexualities, Nations, Moving Images (2006), Montreal Main (2010); and the edited art books Outlines: Underground Gay Graphics From Before Stonewall (2002), Lust Unearthed: Vintage Gay Graphics from the Dubek Collection. (with Willie Walker, 2004), Gay Art: A Historic Collection (scholarly edition, with Felix Lance Falkon, 2006), and Comin’ At Ya! The Homoerotic 3-D Photographs of Denny Denfield. (with David L. Chapman, 2007). Forthcoming is the monograph Joris Ivens: Essays on the Career of a Radical Documentarist, and his current research interests are an interdisciplinary approach to confessionality. He is also co-editor with Matthew Hays of the series of 19 monographs Queer Film Classics (Arsenal Pulp Press, Vancouver). He was director of the Concordia Community Lecture Series on HIV/AIDS from 1993 to 2003.
Luca Caminati’s areas of research encompass post-colonial theory and orientalist discourses in Italian and European cinema, with a specific interest in auteur documentary, travel films, and hybrid non-fictions.
He is the author of Orientalismo eretico. Pier Paolo Pasolini e il cinema del Terzo Mondo (Milan: Bruno Mondadori, 2007); Il cinema come happening. Il primitivismo pasoliniano e la scena artistica italiana degli anniSessanta/ Cinema as Happening. Pasolini’s Primitivism and the Sixties Italian Art Scene (bilingual edition, Milan: Postmedia, 2010), Roberto Rossellini documentarista. Una cultura della realtà (Rome: CSC/Carocci, 2012), and articles on contemporary Italian fiction and non-fiction filmmakers. In 2009-2010 he was the recipient of the Paul Mellon/National Endowments for the Humanities “Rome Prize”, a residential fellowship awarded by the American Academy in Rome. He previously taught at Colgate University and the University of Florida.
Joshua Neves’ research explores global media formations and theory, with a particular interest in contemporary Asian media cultures. His work focuses on specific cities (e.g. Beijing), as well as comparative (e.g. intermedial, regional) approaches to media and sociality. He is particularly interested in informal or illicit film/video and TV practices, and their relation to broader media urban phenomena: billboards, urban screens, infrastructure, planning’s visual culture, media events, piracy. Central to these investigations is the role audiovisual media play in social transformation and public culture. While rooted in cultural theory and textuality, he also draws on media ethnography—aiming to generate new theoretical understandings by beginning with the careful study of site-specific forms and practices. Current projects explore cinema exhibition in China, marginal film festivals, Asian video cultures, and transportation TV, as well as issues related to media urbanism, discourses of the fake, globalizing media theory, and subaltern forms of globalization.
Daniel Cross is co-founder of EYESTEELFILM in Montreal, named by RealScreen Magazine as a top 100 non-fiction production company in the world. He is an Associate Professor and the Chair of the Mel Hoppenheim School of Cinema, Concordia University, a member of the University’s Circle of Distinction and serves as member on the University’s Board of Governors. Cross is a multi-disciplined award winning documentary filmmaker with a long history of directing and producing theatrical documentaries. He made his mark directing feature length films concerning issues of homelessness, The Street: a film with the homeless, S.P.I.T: Squeegee Punks In Traffic and the UN award winning website http://www.HomelessNation.Org. Together with eight Inuit students he directed the film; Inuuvunga: I am Inuk I am alive. In 2013 he co-directed the film Atanasoff, with Mila Aung-Thwin. With his colleagues at EyeSteelFilm Cross has co-produced 25 feature documentaries including the Genie award-winning films Up the Yangtze, which also won the Golden Horse in Taiwan and Last Train Home, which also won two Emmy‘s and a Jutra. In 2014 two EyeSteelFilm feature documentaries Chameleon and Juanicas will have their world premieres in competitions at International festivals, in 2013 Fruit Hunters premiered in Berlin, 2012 saw China Heavyweight at Sundance and 2011 saw Unfortunate Son and Vanishing Spring Light awarded the IDFA First Appearances Award. Rip: A Remix Manifesto won People’s Choice Awards in Amsterdam, Whistler, Sao Paulo and South Africa. Daniel is active in the film community having won the both the Trailblazer award at MIP-DOC, and the inaugural Mentor of the Year award from the CMPA. He participates in the IDFA Academy and serves on the boards of HOT DOCS, Documentary Organization of Canada and The Concordia University Documentary Centre. He was recently honored as one of the inaugural 40 great Concordians to celebrate the University’s 40th Anniversary. He is currently directing 2 films: Blues for the Devil and The Turcot.
As an independent documentary maker, trans-media artist, and professor who lived in Central and South America for over six years, I am committed to producing work that connects individuals across cultures. Over fifteen years of community media experience and a background in political economics, electronic media art, and Latin American studies, fuel my exploration of new media as art and as an educational tool. I am interested in new approaches to community collaborations and the documentary format and my work connects personal stories to larger social concerns. My new project, The Shore Line, is in interactive documentary looking at the tensions between unchecked development and climate change on coastal towns and cities around the world.