Felicity Collins has a PhD and is a Reader/Associate Professor in the Department of Creative Arts and English, La Trobe University. In the1980s she was commissioned by Filmnews to research articles on the origin, history and impact of the Australian Film Institute and the Australian Film and Television School. Her doctoral research in the 1990s drew on the archives of the Women’s Film Fund at the Australian Film Commission, and oral history interviews with members of the Sydney Women’s Film Group and Feminist Film Workers. This early work gave rise to an abiding interest in how screen cultures mediate identity, memory and history. She has written on women, cinema and modernity in The Films of Gillian Armstrong (ATOM/AFI, 1999), and on settler‐colonial memory and historical backtracking in Australian Cinema After Mabo (Cambridge University Press, 2004). She has co‐edited themed journal issues, including ‘Decolonizing Screens’, Studies in Australasian Cinema 7(2–3), and ‘Rethinking Witnessing Across History, Culture and Time’, Continuum: Journal of Media and Cultural Studies 31(5). She has published a series of articles and chapters on the films of the Blak Wave and the politics of reconciliation, most recently in Critical Arts 31(5), The Routledge Companion to Cinema and Politics (Tzoumakis and Molloy, eds, 2016) and Contemporary Publics (Marshall, et al, eds, 2016). She was Chief Investigator on the ARC Discovery Project ‘Screen Comedy and the National’ with Sue Turnbull and Susan Bye. Current collaborations include a recognition app, Where Do You Think You Are? and Looking Again, with Hester Joyce and La Trobe’s Centre for the Study of the Inland.

Jane Landman has a PhD and was a Senior Lecturer at Victoria University, Melbourne, teaching and coordinating programs in media and communication. She took retirement during the early stages of preparation of this book and now focuses on her garden in Victoria’s goldfields district. She is the author of The Tread of a White Man’s Foot: Australian Pacific Colonialism and the Cinema 1925–1962 (Pandanus Books, ANU, 2006), an historical reception and textual study of ‘resource adventures’ set in Australian colonial territories. She has published in various journals and edited books including Studies in Australasian Cinema (also guest editor), Continuum: Journal of Media and Cultural Studies, and the Journal of Pacific History (also guest editor). She served on the Editorial Board of The Moving Image. The principal thread in Landman’s research is Australian film history, and the role of the cinema in the process and cultures of colonialism and decolonisation, with focus on intersections between political change and historical practices of public relations. This includes the filmic reporting and promotion of late colonial policy on Papua and New Guinea in productions made by the Commonwealth Film Unit. Landman’s other research thread concerns contemporary television formats, such as daytime chat shows, feminist comedy, serial SF television, and quality TV series set in the Torres Strait.

Susan Bye has a PhD and is an Education Programmer at the Australian Centre for the Moving Image (ACMI) in Melbourne. She is involved in building education programs for schools and teachers that foster creative and critical engagement with the moving image. In her role as programmer she has sustained a focus on extending student knowledge of Australian films and animation as well as supporting senior students studying English and Media. In consultation with ACMI curators, she has offered Education and Public Programs in relation to a wide range of exhibitions including Hollywood Costume, David Bowie is and Scorsese. At ACMI she has participated in the Melbourne Writers Festival (2012–2017), Screen Futures (2016) and the Arts Learning Festival (2017). An associate of La Trobe University, she completed a PhD (2004) focusing on the introduction of television into Australia and received a post‐doctoral fellowship (2006–2009) to work with Felicity Collins and Sue Turnbull on an Australian Research Council Discovery Project on Australian Screen Comedy. As part of this project she convened an international conference and symposium, and published a number of articles focusing on Australian television comedy. She was the Reviews Editor for Media International Australia (2008–2014) and is now an editorial adviser. She has published widely in the field of film, television, media history and screen education and has co‐edited special theme issues of Media International Australia (on Light Entertainment) and Continuum (on Television and the National). She has co‐convened international conferences in the area of Screen Studies and was a keynote speaker at the Australian Association for Teaching English Conference in 2017.

James Bennett is Senior Lecturer in History at University of Newcastle, Australia. He is co‐editor of Making Film and Television Histories: Australia and New Zealand (2011) and co‐editor of the anthology Radical Newcastle (2015). His research interests include history through film and television, gender and sexuality, the labour movement, Australian and New Zealand history, transnational histories, and the First World War. He has had several articles published on screen representations of war in the Journal of New Zealand Studies (2012), Continuum (2014), and the Journal of Australian Studies (2014).

Susan Bye is a member of the Education Team at the Australian Centre for the Moving Image and an Associate of La Trobe University. She has published extensively in the area of Australian Screen Comedy and Australian Media History.

Maddee Clark is a Yugambeh PhD student at the University of Melbourne, and a curator and freelance writer. She is one of the 2018 editors of Un Magazine, and writes on Indigenous Futurism and queer politics.

Felicity Collins is Reader/Associate Professor in Screen Studies in the Department of Creative Arts at La Trobe University. She is the author of Australian Cinema after Mabo with Therese Davis, and The Films of Gillian Armstrong. She has published widely on Australian screen culture, its institutions, feminist interventions, and popular genres. Her research on the Blak Wave of film and television production is informed by memory and trauma studies, and contributes to debates on decolonising ethics and aesthetics, as well as agonistic and transitional modes of reconciliation.

Corinn Columpar is Director of the Cinema Studies Institute and Associate Professor of Cinema Studies at University of Toronto. She is author of Unsettling Sights: The Fourth World on Film (2010), a monograph about the construction of Aboriginality in contemporary cinema, and co‐editor, with Sophie Mayer, of There She Goes: Feminist Filmmaking and Beyond (2009), an anthology dedicated to the flows and exchanges that characterise feminist cultural production. She has published in numerous anthologies and journals, including Camera Obscura, Quarterly Review of Film and Video, Women Studies Quarterly, and Refractory.

Stuart Cunningham AM is Distinguished Professor of Media and Communications, Queensland University of Technology. Publications include Digital Disruption: Cinema Moves Online (with Dina Iordanova, 2012), Key Concepts in Creative Industries (with John Hartley, Jason Potts, Terry Flew, John Banks and Michael Keane, 2013), Hidden Innovation: Policy, Industry and the Creative Sector (2013), Screen Distribution and the New King Kongs of the Online World (with Jon Silver, 2013), The Media and Communications in Australia (with Sue Turnbull, 2014) and Media Economics (with Terry Flew and Adam Swift, 2015).

Felicity Ford is a PhD candidate in Screen and Cultural Studies in the School of Culture and Communication at the University of Melbourne where she tutors in gender, media and film studies. Her research is primarily concerned with disruptions to cinematic form in relation to sound, movement, vision and time. She is interested in how contemporary film intersects with narratives of guilt, consent, trauma, criminality and sexuality. Her work has been published in Film Philosophy, Screen Education, Metro and Senses of Cinema. She is the Secretary for the Melbourne Cinematheque and a Project Co‐ordinator for the Graduate Researcher Network at the Graduate Student Association.

Lisa French is Dean, Media and Communication and Professor in the School of Media and Communication at RMIT University. She is the co‐author of Shining a Light: 50 Years of the Australian Film Institute (2009), and editor of the anthology Womenvision: Women and the Moving Image in Australia (2003). Her professional history includes directing the St Kilda Film Festival, and nine years as a non‐executive director of the Australian Film Institute. Recently, she has worked with six industry partners on the status and representation of women in Victoria’s film and television industries, including digital media and games.

Stephen Gaunson is Head of Cinema Studies in the School of Media and Communication at RMIT University. His research explores the subject of adaptation on the screen. He is the author of The Ned Kelly Films: A Cultural History of Kelly History (Intellect, 2013) and is working on his next book, which will examine the distribution and exhibition of adaptation films in the global market.

Ross Gibson is Centenary Professor in Creative and Cultural Research at the University of Canberra. Recent works include the books The Summer Exercises and 26 Views of the Starburst World, both published by UWAP.

Ben Goldsmith is an Independent Scholar with expertise in film, television, media policy, creative labour and creative industries. He has held academic positions at University of the Sunshine Coast, University of Technology, Queensland and Swinburne University of Technology. His publications include the co‐edited Directory of World Cinema: Australia and New Zealand (2015), Creative Work Beyond the Creative Industries (2014), and the co‐authored book, Rating the Audience: The Business of Media (2011).

Helen Goritsas is Senior Lecturer in Film Studies and Coordinator of Bachelor of Interactive Media at Academy of Information Technology in Sydney. She served as President of Women in Film and Television NSW, and Director of the Greek Film Festival. She has judged the 16th–20th WOW Film Festival and Tour, the 48 Hour Film Project, Dendy Awards, Sydney Film Festival, the Kidz Flicks International Film Festival, and the IPAF ATOM awards. She contributed an installation to VIVID, Sydney, http://www.vividsydney.com/event/light/lightwell and co‐produced the feature film Alex & Eve (2015).

Helen Grace is a new media artist, filmmaker, writer and academic. She is the author of Culture, Aesthetics and Affect in Ubiquitous Media: The Prosaic Image, and Founding Director of the MA in Visual Culture Studies at the Chinese University of Hong Kong. She is associate in Gender and Cultural Studies and research affiliate of Sydney College of the Arts, University of Sydney; a co‐investigator on public space transformation in Hong Kong, and a member of the Film Advisory Board of Sydney International Film Festival, focusing on Asian and independent cinema.

Odette Kelada teaches in the School of Culture and Communication at the University of Melbourne. She publishes in the area of race, whiteness and gender studies. Key interests include the constructions of nation, body and identity in creative representations and the teaching of racial literacy. Publications include Drawing Sybylla: The Real and Imagined Lives of Australia’s Women Writers, ‘The Stolen River: Possession and Race Representation in Grenville's Colonial Narrative’ (JASAL), ‘Is the Personal Still Political?’ (Australian Cultural History Journal) and ‘White Blindness: A National Emergency?' (ACRAWSA Journal).

Olivia Khoo is a Associate Professor in Film and Screen Studies at Monash University. She is the author of The Chinese Exotic: Modern Diasporic Femininity (Hong Kong University Press, 2007) and co‐author (with Belinda Smaill and Audrey Yue) of Transnational Australian Cinema: Ethics in the Asian Diasporas (Lexington, 2013). She is co‐editor (with Sean Metzger) of Futures of Chinese Cinema: Technologies and Temporalities in Chinese Screen Cultures (Intellect, 2009) and (with Audrey Yue) of Sinophone Cinemas (Palgrave Macmillan, 2014).

Anthony Lambert teaches in the Department of Media, Music, Communication and Cultural Studies, Macquarie University. He researches and has published widely in the areas of Australian film and Australian culture. He is co‐editor and author of Diasporas of Australian Cinema (Intellect, 2009), and editor‐in‐chief of the internationally refereed journal Studies in Australasian Cinema.

Jane Landman is an adjunct fellow at Victoria University. Her research in film history explores Australia and the Pacific. She is author of ‘The Tread of a White Man’s Foot’: Australian Pacific Colonialism and the Cinema (Pandanus Books, ANU, 2006). Recent work includes co‐editing a double issue of Studies in Australasian Cinema 7 (2–3) on ‘Decolonising Screens’, and publication of ‘Renewing Imperial Ties: The Queen in Australia’, in Mandy Merck (ed), The British Monarchy on Screen (2016).

Amanda Malel Trevisanut is an early career researcher and teaches in the School of Culture and Communications, University of Melbourne. Her doctoral thesis, SBS Independent: Productive Diversity and Countermemory analyses SBS Independent as a cultural institution in relation to policy developments, elucidating how the commissioning house shaped new practices of production, distribution and counter‐memorial representation in the independent film and public broadcasting sectors between 1994 and 2007. She is a research assistant for the Digital Humanities Research Incubator (DHI) at University of Melbourne.

P. David Marshall holds a research professorship and personal chair in new media, communication and cultural studies at Deakin University. He has published many books that have studied the public personality and celebrity including Celebrity and Power (2nd edition 2014), Companion to Celebrity (2015), Celebrity Culture Reader (2006), Fame Games (2000) and New Media Cultures (2004). His current work explores the area of Persona Studies and investigates the online construction and presentation of identity as well the proliferation of public personas throughout contemporary culture.

Marion McCutcheon is a Research Associate with the Queensland University of Technology and an Honorary Research Fellow at the University of Wollongong. A communications economist with a background in telecommunications and broadcasting policy, her research interests include evaluating the benefits derived from cultural and creative goods and services, and the role of creative skills in economic systems.

Norie Neumark is a theorist and sound/media artist. Collaborating with Maria Miranda as out‐of‐sync (www.out‐of‐sync.com) their work has been exhibited widely nationally and internationally. Her 2017 monograph, Voicetracks: Attuning to Voice in Media and the Arts (MIT Press) explores voice and new materialism. Neumark co‐edited Voice: Vocal Aesthetics in Digital Arts and Media (2010) and At a Distance: Precursors to Internet Art and Activism (2005). She is Honorary Professorial Fellow at VCA, Melbourne University and Emeritus Professor, La Trobe University. She is founding editor, Unlikely: Journal for Creative Arts http://unlikely.net.au.

Anne Rutherford is Associate Professor in Cinema Studies, School of Humanities and Communication Arts, University of Western Sydney, and is the author of ‘What Makes a Film Tick?’: Cinematic Affect, Materiality and Mimetic Innervation. She has published widely on cinematic affect, embodiment and materiality, mise en scène, film sound and Indigenous cinema. Recent research explores affective dimensions of film sound in the work of Kobayashi Masaki and Takemitsu Toru; ‘animate thought’ in the ethnographic photographs of Donald Thomson and their heritage in Ten Canoes; and montage and performativity in the work of William Kentridge.

Diana Sandars is a lecturer in Screen, Gender, New Media and Cultural studies in the School of Culture and Communication, University of Melbourne. Her research focus is on the child in screen media. She has published widely, including book chapters on Ally McBeal and Buffy the Vampire Slayer. Forthcoming publications include: ‘Aliens and Monstrous Girls in Lilo and Stitch’ in The Grimm Mouse: Violence in Post‐9/11 Animated Disney Films, and a chapter on SheZow in Superheroes and Me.

Belinda Smaill is Associate Professor of Film and Screen Studies at Monash University in Melbourne. She is the author of The Documentary: Politics, Emotion, Culture (2010), co‐author of Transnational Australian Cinema: Ethics in the Asian Diasporas (2013) and Regarding Life: Animals and the Documentary Moving Image (2016). Her essays have appeared in international journals including Camera Obscura, Quarterly Review of Film and Video, Film Criticism and Feminist Media Studies.

Jane Stadler is Professor of Film and Media Studies in the Department of Media and Communication at Swinburne University, Australia. She led a collaborative Australian Research Council project on landscape and location in Australian narratives (2011–2014) and co‐authored a book on this topic (Imagined Landscapes, 2016). She is author of Pulling Focus (2008), co‐author of Screen Media (2009) and Media and Society (2016), and co‐editor of an anthology on adaptation, Pockets of Change (2011). Her research is informed by phenomenological and philosophical approaches to spectatorship.

Adam Swift has a PhD and is a Research Fellow at Queensland University of Technology’s Digital Media Research Centre. He is currently part of a team researching the disruptive and innovative forms of production and distribution in the new global screen ecology. Publications include Media Economics (with Stuart Cunningham and Terry Flew) and Politics, Media and Democracy in Australia (with Brian McNair, Terry Flew and Stephen Harrington).

Ana Tiwary is a director/producer based in Sydney, Australia. She runs a production company called 'indiVisual films' that specialises in making diverse content for Australian and international audiences. She began her career working as an Assistant Director on big budget feature films in the 'Bollywood' industry in India. She went on to work at National Geographic Channel and has directed several documentaries, including over 20 films for ABC TV. She is a full member of the Australian Directors Guild and was selected by Screen Australia for the 2018 Developing the Developer program.

Sue Turnbull is Professor of Communication and Media Studies, University of Wollongong. Publications include The Media and Communications in Australia (2014 edited with Stuart Cunningham) and The Television Crime Drama (Edinburgh University Press 2014). She is editor of the journal Media International Australia and joint editor of Participations: Journal of Audience and Reception Studies. She is also a media commentator on television and radio in Australia and writes on crime fiction for The Sydney Morning Herald and The Age.

Constantine Verevis is Associate Professor in Film and Screen Studies, Monash University. He is author of Film Remakes (2006), co‐author of Australian Film Theory and Criticism, Vol 1: Critical Positions (2013) and co‐editor of Second Takes: Critical Approaches to the Film Sequel (2010); After Taste: Cultural Value and the Moving Image (2011); Film Trilogies: New Critical Approaches (2012), Film Remakes, Adaptations and Fan Productions: Remake/Remodel (2012), B Is For Bad Cinema: Aesthetics, Politics and Cultural Value (2014) and US Independent Film After 1989: Possible Films (2015).

Deane Williams is Associate Professor in Film and Screen Studies, Monash University. His recent books include the three‐volume Australian Film Theory and Criticism (with Noel King and Con Verevis) 2013–2015, The Grierson Effect: Tracing Documentary’s International Movement (with Zoë Druick) 2014, and The Cinema of Sean Penn: In and Out of Place (2015).

Audrey Yue is Professor in Communications and New Media, University of Singapore. Her books include Promoting Sustainable Living (with Karakiewicz & Paladino), Sinophone Cinemas (with Khoo), Transnational Australian Cinema (with Khoo and Smaill), Queer Singapore (with Pow), Ann Hui’s Song of the Exile, AsiaPacifiQueer (with Martin, Jackson and McLelland) and Mobile Cultures: New Media in Queer Asia (with Berry and Martin). She is on the board of Sexualities, Feminist Media Studies, International Journal of Chinese Cinemas, Cultural Studies Review and Hong Kong Studies.