Hector Amaya is Professor of Media Studies at the University of Virginia. He writes on globalization, Latino media studies, the cultural production of political identities, and Latin American film/media. He is the author of two books, Screening Cuba: Film Criticism as Political Performance During the Cold War (2010) and Citizenship Excess: Latinos/as, Media, and the Nation (2013). Dr. Amaya’s journal articles have appeared in Media, Culture and Society, Television & New Media, Studies in Hispanic Cinemas, New Cinemas, Critical Discourse Studies, Latino Studies, and Text and Performance Quarterly.

Aniko Bodroghkozy is a media historian and Professor of Media Studies at the University of Virginia. She is author of Groove Tube: Sixties Television and the Youth Rebellion (2001) and Equal Time: Television and the Civil Rights Movement (2012), and is currently completing a third book project: Black Weekend: The Assassination of John F. Kennedy, Television News, and the Birth of our Media World. Her articles on film and television in the 1960s, social change movements, and the upheavals of that era have appeared in numerous anthologies as well as in journals such as Screen, Cinema Journal, Television and New Media, and The Sixties: A Journal of History, Politics, and Culture.

Norma Coates is Associate Professor at Western University – Canada. Her research on popular music and identity, and popular music and television is published in several leading anthologies and journals of popular music topics and taught internationally. Her recent publications include an article about pioneering television rock and roll producer Jack Good and an analysis of the week that John Lennon and Yoko Ono co‐hosted The Mike Douglas Show. She is a former co‐chair of the Sound Studies Special Interest Group of the Society for Cinema and Media Studies, and was a visiting fellow at the International Institute of Popular Culture at the University of Turku, Finland in 2015.

Susan J. Douglas is the Catherine Neafie Kellogg Professor of Communication Studies at the University of Michigan and former Chair of the Department. She is author of The Rise of Enlightened Sexism: How Pop Culture Took Us from Girl Power to Girls Gone Wild (2010); The Mommy Myth: The Idealization of Motherhood and How it Undermines Women (with Meredith Michaels, 2004); Listening In: Radio and the American Imagination (1999), which won the Hacker Prize in 2000 from the Society for the History of Technology for the best popular book about technology and culture; Where the Girls Are: Growing Up Female with the Mass Media (1994); and Inventing American Broadcasting, 1899–1922 (1987). She served on the Board of the George Foster Peabody awards from 2005 to 2010, and in 2010 was selected as Chair of the Board. She is the 2009 recipient of the Leonardo Da Vinci Prize, the highest honor given by the Society for the History of Technology to an individual who has greatly contributed to the history of technology through research, teaching, publications, and other activities.

Gary R. Edgerton is Professor of Creative Media and Entertainment at Butler University. He has published twelve books, including The Columbia History of American Television (2007) and more than eighty essays on a variety of television, film, and culture topics in a wide assortment of books, scholarly journals, and encyclopedias. He also co‐edits the Journal of Popular Film and Television.

Bambi Haggins is Associate Professor in the Department of Film and Media Studies at the University of California‐Irvine. Her work explores race, class, gender, and sexuality in American film and television, with a focus on comedy. Haggins received the Katherine Singer Kovács Book Award for her first book, Laughing Mad: the Black Comic Persona in Post Soul America (2007). Haggins’ work has been published in Cinema Journal, Framework, Ms., and the New York Times, as well as in several edited collections. Haggins wrote Showtime’s 2013 Why We Laugh: Funny Women. Currently she is working on an edited collection: Television Memories: Love Letters to Our Television Past as well as a single authored work: Black Laughter Matters, which explores blackness and comedy in the age of Obama and beyond.

Michele Hilmes is Professor Emerita at the University of Wisconsin‐Madison. Her research and publication focus on media history, with an emphasis on radio and sound studies and on transnational media flows. Her books include Radio Voices: American Broadcasting 1922–1952 (1997); Network Nations: A Transnational History of British and American Broadcasting (2011); Only Connect: A Cultural History of Broadcasting in the United States (4th edition, 2013); and most recently Radio’s New Wave: Global Sound in the Digital Era (co‐edited with Jason Loviglio, 2013). Current projects include co‐editing Contemporary Transatlantic Television Drama. A history of the American radio feature is in the research stage. Hilmes is also co‐editor of The Radio Journal: International Studies in Radio and Audio Media.

Julia Himberg is Assistant Professor of Film and Media Studies at Arizona State University. Her work focuses on gender, sexuality, television, digital media, branding, and consumer culture. Her book, The New Gay for Pay: the Sexual Politics of American Television Production (2017) examines how the television industry constructs and reinforces popular thinking and widely held beliefs about sexuality and identity‐based politics.

Jennifer Holt is Associate Professor of Film and Media Studies at the University of California, Santa Barbara. She is the author of Empires of Entertainment and the co‐editor of Media Industries: History, Theory, and Method (2009); Connected Viewing: Selling, Sharing, and Streaming Media in the Digital Era (2014); and Distribution Revolution (2014). Her work has appeared in journals and anthologies, including the Journal of Information Policy, Cinema Journal, and Signal Traffic: Critical Studies of Media Infrastructure. She is also a founding member of the Media Industries journal editorial collective.

Victoria E. Johnson is Associate Professor in the Department of Film and Media Studies at the University of California, Irvine, where she is also faculty in African American Studies. Her Heartland TV: Prime Time Television and the Struggle for US Identity (2008) was the Society for Cinema and Media Studies’ Katherine Singer Kovács book award winner in 2009. Her book, Sports Television is forthcoming.

Michael Kackman is Associate Teaching Professor in the Department of Film, Television, and Theatre at the University of Notre Dame. He is the author of Citizen Spy: Television, Espionage, and Cold War Culture (2005), and co‐editor of Flow TV: Television in the Age of Media Convergence (2010) and The Craft of Criticism: Critical Media Studies in Practice (2018).

Laura LaPlaca is an archivist and historian of American radio and television broadcasting. She is currently Director of Archives & Research at the National Comedy Center in New York, and has designed and implemented media preservation projects at the Library of Congress, the Warner Brothers Archives, the Paley Center for Media, and other institutions. From 2015 to 2017, she managed the Northwestern University Radio Archive Project and served on the board of the Radio Preservation Task Force. Currently a PhD candidate in Northwestern University’s Screen Cultures Program, she is completing her dissertation, “Show Rooms: Domestic Sitcom Architecture.”

Elana Levine is Professor in the Department of Journalism, Advertising, and Media Studies at the University of Wisconsin‐Milwaukee. She is the author of Wallowing in Sex: the New Sexual Culture of 1970s American Television (2007), and co‐author of Legitimating Television: Media Convergence and Cultural Status (2012). She is currently writing a history of US daytime television soap opera.

Amanda D. Lotz is a Professor in the Departments of Communication Studies and Screen Arts and Cultures at the University of Michigan. She is the author of Cable Guys: Television and American Masculinities in the 21st Century (2014), The Television Will Be Revolutionized (2007; rev. 2nd ed. 2014), and Redesigning Women: Television After the Network Era (2006), and editor of Beyond Prime Time: Television Programming in the Post‐Network Era (2009). She is co‐author, with Timothy Havens, of Understanding Media Industries (2011; 2nd ed. 2016) and, with Jonathan Gray, of Television Studies (2011).

Allison McCracken is Associate Professor of American Studies at DePaul University. She is the author of the award‐winning book Real Men Don’t Sing: Crooning and American Culture (2015), which centers in large part on the early years of radio broadcasting in the 1920s and 1930s.

Eileen R. Meehan is Professor Emerita in the College of Mass Communication and Media Arts at Southern Illinois University and the author of Why TV Is Not Our Fault (2006). She also co‐edited Sex and Money: Feminism and Political Economy in Media Studies (2002). Her research has been published in such journals as Critical Studies in Media and Communication, International Journal of Media and Cultural Politics, Journal of Communication, and Journal of Broadcasting and Electronic Media and in numerous anthologies. In 2015, she was spotlighted and interviewed in the volume, Key Thinkers in Critical Communication Research: From the Pioneers to the Next Generation.

Robin R. Means Coleman is a Professor in the Departments of Communication Studies and Afroamerican and African Studies at the University of Michigan. Prof. Coleman is the author of Horror Noire: Blacks in American Horror Films from the 1890s to Present (2011) and African‐American Viewers and the Black Situation Comedy: Situating Racial Humor (2000). She is co‐author of Intercultural Communication for Everyday Life (2014), editor of Say It Loud! African American Audiences, Media, and Identity (2002), and co‐editor of Fight the Power! The Spike Lee Reader (2008).

Susan Murray is Associate Professor of Media, Culture and Communication at New York University. She is the author of Bright Signals: a History of Color Television (2018); Hitch Your Antenna to the Stars: Early Television and Broadcast Stardom (2005) and a co‐editor with Laurie Ouellette of Reality TV: Remaking Television Culture (2004, 2009).

Allison Perlman is Associate Professor in the Departments of Film and Media Studies and History at the University of California, Irvine. She is the author of Public Interests: Media Advocacy and Struggles over US Television (2016) and co‐editor of Flow TV: Television in the Age of Convergent Media (2010).

Alexander Russo is Associate Professor in the Department of Media Studies at the Catholic University of America in Washington, DC. He is the author of Points on the Dial: Golden Age Radio Beyond the Networks (2010), as well as articles and book chapters on the technology and cultural form of radio and television, sound studies, the history of music and society, and media infrastructures.

Josh Shepperd is Assistant Professor of Media and Communication Studies at the Catholic University of America. He is also Director of the Library of Congress’ Radio Preservation Task Force, and is a Sound History Fellow at the Library of Congress’ National Recording Preservation Board.

Stacy Takacs is Associate Professor and Director of American Studies at Oklahoma State University and a member of the faculty in Screen Studies. She is the author of Terrorism TV: Popular Entertainment in Post‐9/11 America (2012), and Interrogating Popular Culture (2014); most recently she co‐edited a volume on the history of military‐themed entertainment programming on US television called American Militarism on the Small Screen (with Anna Froula, 2015). She is currently writing a manuscript about the American Forces Television Service. Her work has appeared in such journals as Cultural Critique, Cultural Studies, Feminist Media Studies, and Quarterly Review of Film and Video.

Shawn VanCour is Assistant Professor of Media Archival Studies in the Department of Information Studies at UCLA. He is author of Making Radio: Early Radio Production and the Rise of Modern Sound Culture (forthcoming) and has published articles on radio and television history, media archives, technology studies, and music and sound studies.

Mark J. Williams is Associate Professor of Film and Media Studies at Dartmouth College where he also directs the Media Ecology Project. His book Remote Possibilities: A History of Early Television in Los Angeles is forthcoming.