Jonathan Beller is Professor of English and Humanities and Critical and Visual Studies, Pratt Institute.  He is the author of The Cinematic Mode of Production: Towards A Political Economy of the Society of the Spectacle, (Lebanon: Dartmouth College/University Press of New England, 2006) and Acquiring Eyes: Philippine Visuality, Nationalist Struggle and The World Media-System, (Manila: Ateneo de Manila University Press, 2006). He has  written numerous articles including “21st Century Fascism, ‘Political’ Killing, and the Crisis of Representation,” Kontra-Gahum: Academics Against Political Killings, ed., Sarah Raymundo, Manila: Ibon Publications, 2006, “Kino-I, Kino World: Notes on the Cinematic Mode of Production,” in The Visual Culture Reader, Second Edition, ed. Nicholas Mirzoeff, Routledge, 2002 and “Third Cinema in a Global Frame: Curacha, Yahoo!, and  Ishmael Bernal’s Manila By Night,” Positions  9:2 Fall 2001, 331-368. He has also written the entries for “Third Cinema and Visual Culture” in The New Dictionary of the History of Ideas, New York: Scribner’s Sons, 2005 and a variety of occasional pieces including film reviews for radio, newspaper and the web. His current book project is entitled, The Tortured Signifier: Signs of the State of Exception.  For his work on Philippine Visual Culture he has been the recipient of a Fulbright Senior Scholar Award and a Getty Grant. Recent grants and honors include Mellon Research Stipends and Travel Awards in 2005, 2006 and 2007 and the selection of his essay “Paying Attention,” published in Cabinet #24 (New York: Distributed Art Publishers, 2007), for Documenta XII.  He has taught at Barnard College, Pratt Institute, University of California, Santa Cruz, San Francisco State University, and the University of the Philippines.

Tina Campt is Associate Professor of Women's Studies and History at Duke University. An interdisciplinary scholar by necessity, her work theorizes gender, memory and racial formation among African Diasporic communities in Europe and Germany in particular. In addition to article publications in New German Critique, Radical History Review, Meridians and Callaloo, she is the author of Other Germans:Black Germans and the Politics of Race, Gender and Memory in the Third Reich (2004), which examines the mutual constitution of racial and gendered formations among German Blacks in the Third Reich. She is co-editor with Michelle M. Wright of a special issue of Callaloo (2003) on the Black German experience, and together with Paul Gilroy, she co-edited the volume Der Black Atlantik (2004), a collection of essays emerging out of their work as guest curators of the multimedia cultural project “The Black Atlantic:Traveling Cultures, Counter-History and Networked Identities” at the House of World Cultures in Berlin. Her new project, Imaging Black Europe: Archive,Photography and the African Diaspora, is a study of how two different Black European communities - Black Britons and Black Germans - used photography as an expressive cultural practice to create forms of identification and community in the first half of the twentieth century in Germany and the UK. Together with Deborah Thomas, she is co-convener of the scholarly and curricular project “Diasporic Hegemonies: Gendering the Diaspora and Racing the Transnational.” In addition to her published writing, Campt holds advisory positions as a Corresponding Editor for Feminist Review, on the Board of Editors of the Journal of Women's History, and the Editorial Advisory Board of Duke University Press.

Hazel Carby is the Charles C. and Dorothea S. Dilley Professor of African American Studies, Professor of American Studies, and Director of the Initiative on Race Gender and Globalization at Yale University.  Her books include Reconstructing Womanhood (OUP, 1987), Race Men (Harvard, 1998), and Cultures in Babylon (Verso, 1999). Recent publications include: “A Strange and Bitter Crop: The Spectacle of Torture,” Open Democracy; the Foreword to making race matter: bodies, space & identity, eds. Claire Alexander and Caroline Knowles; and two essays, “The New Auction Block: Blackness and the Marketplace,” in Companion to African American Literature, ed. Lewis Gordon and “Postcolonial Translations” for Ethnic and Racial Studies. Her current work in progress is Child of Empire: Racializing Subjects in Post WWII Britain. 

Anne Anlin Cheng is Professor of English and the Associate Chair in the Department of English and a core faculty in the Center for African American Studies at Princeton University. She specializes in race studies and psychoanalytic theory and works in twentieth-century American literature, with special focus on Asian American and African American literatures. She is the author of The Melancholy of Race: Assimilation, Psychoanalysis, and Hidden Grief (Oxford University Press), which explores the notion of racial grief at the intersection of culture, history, and law. She is currently completing a manuscript on Josephine Baker and the intimate relationship between the theatricalization of racialized skin in the early twentieth century and the Modernist ideal of the denuded surface.

Atina Grossmann teaches Modern German and European History, and Gender Studies. A graduate of the City College of New York (BA) and Rutgers University (Ph.D), she has held fellowships from the National Endowment for the Humanities, German Marshall Fund, American Council of Learned Societies, the Institute for Advanced Study in Princeton, and the American Academy in Berlin. Her publications include Reforming Sex: The German Movement for Birth Control and Abortion Reform, 1920-1950 (1995,97), Crimes of War: Guilt and Denial in the Twentieth Century (co-editor with Bartov and Nolan, 2001), and When Biology Became Destiny: Women in Weimar and Nazi Germany (co-editor with Renate Bridenthal and Marion Kaplan, 1984). Her most recent book is Jews, Germans, and Allies: Close Encounters in Occupied Germany, 1945-1949 (Princeton University Press, 2007)

Martha S. Jones is Associate Professor of History and Afroamerican Studies, and Visiting Professor of Law at the University of Michigan, Ann Arbor. Jones holds a Ph.D. in history from Columbia University (2001) and a J.D. from the CUNY School of Law (1987). She currently serves as a 2008 Visiting Scholar at the University of Pennsylvania Law School and the National Constitution Center. Jones has been a fellow with the Library Company of Philadelphia and the Gilder-Lehrman Institute of American History, a recipient of the AHA’s Littleton-Griswold research grant (2002), and a visiting professor at the École des Hautes Études en Sciences Sociales, in Paris (2006 and 2007). She directs the Law and Slavery and Freedom Project, an international research collaborative with Rebecca J. Scott (Michigan) and Jean Hébrard (EHESS) and serves on the editorial board of the Journal of Women's History. Jones is the author of All Bound Up Together: The Woman Question in African American Public Culture, 1830-1900(2007), which examines nineteenth-century debates over the rights of women. Her current work includes two book projects: Overturning Dred Scott: Everyday Life at the Intersection of Race and Law in an Antebellum City and Riding the Atlantic World Circuit: One Household's Journey Through the Law of Slavery and Freedom, a comparative study of slavery and law in the late-eighteenth and early-nineteenth century French Caribbean and United States.

Anne McClintock's research interests include: Victorian British Literature and Culture, Twentieth Century American Culture and Literature, Gender Studies and Theories of Sexuality, Colonial and Postcolonial Literature and Culture, Irish Literature and Culture.  She is the author of Simone de Beauvoir (1990); Olive Shreiner (1991); Imperial Leather: Race, Gender, and Sexuality in the Colonial Contest (1995) and co-editor of Dangerous Liaisons: Gender, Nation and Postcolonial Perspectives (1997); and Of Race and Queer Sexuality (1999).

Susan Meiselas' first major photographic essay focused on the lives of women doing striptease at New England country fairs. She photographed the carnivals during three consecutive summers while teaching photography in the New York public schools. Carnival Strippers was published in 1976, and a selection of the images was installed at the Whitney Museum of Art in June 2000. Meiselas received her BA from Sarah Lawrence College, New York, and her MA in visual education from Harvard University. She joined Magnum Photos in 1976. Best known for her coverage of the insurrection in Nicaragua and for her documentation of human rights issues in Latin America, her second monograph, Nicaragua, June 1978-July 1979, appeared in 1981.

Meiselas edited and contributed to El Salvador: The Work of 30 Photographers and edited Chile from Within, which features work by photographers living under the regime of Augusto Pinochet. She has co-directed two films: Living at Risk: The Story of a Nicaraguan Family (1986) and Pictures from a Revolution (1991) with Richard P. Rogers and Alfred Guzzetti. In 1997 she completed a six-year project curating a 100-year visual history of Kurdistan. Her 2001 monograph, Pandora's Box, which explores a New York S&M club, was followed by Encounters with the Dani, an account of an indigenous people living in Indonesia's Papua highlands.

Meiselas received the Robert Capa Gold Medal for 'outstanding courage and reporting' from the Overseas Press Club for her work in Nicaragua; the Maria Moors Cabot Prize from Columbia University for her coverage of Latin America; and, in 2005, the Cornell Capa Infinity Award. In 1992 she was named a MacArthur Fellow.

Nancy K. Miller is currently working on a project about the experience of girls and young women in the American 1950s, about private life and middlebrow culture; also a project on the nature of extreme experience and its recording in testimony and other documents. Continuing interests include questions of autobiography and memoir, feminist theory, women's writing, trauma and testimony.  Her publications include:  Getting Personal: Feminist Occasions and Other Autobiographical Acts. New York and London: Routledge, 1991; French Dressing: Women, Men and Ancien Régime Fiction. New York and London: Routledge, 1995; and Bequest and Betrayal: Memoirs of a Parent's Death. New York: Oxford University Press, 1996; paperback edition, Bloomington: Indiana University Press, 2000.

Karen Newman's books include Fetal Positions: Individualism, Science, Visuality (Stanford, 1996); Fashioning Femininity and English Renaissance Drama (Chicago, 1991); and Shakespeare's Rhetoric of Comic Character: Dramatic Convention in Classical and Renaissance Comedy (Methuen, 1985) and Cultural Capitals: Early Modern London and Paris (Princeton, 2007). Her articles have appeared in various journals, including PMLA, Shakespeare Quarterly and Renaissance Drama. She is on the editorial board of differences: A Journal of Feminist Cultural Studies and has held numerous fellowships including a Guggenheim and an NEH.

Lorie Novak's photographs, installations, and Internet projects have been in numerous exhibitions including solo exhibitions at ArtSway, Hampshire, England; The International Center of Photography, NY; Center for Creative Photography, Tucson, AZ; The Museum of Contemporary Art, Chicago; the Houston Center for Photography; Breda Fotografica, the Netherlands; Jayne Baum Gallery, NY; University Art Museum, California State Univ. Long Beach; Addison Gallery, Andover, MA; and Stanford University Art Museum. Her work has been in group exhibitions at the Museum of Modern Art, NY; The Smithsonian Institution, Washington, D.C.; National Museum of American Art, Washington, DC.; Art Institute of Chicago; Museum of Fine Arts, Houston; The Jewish Museum, NY; and The Southeast Museum of Photography, Daytona Beach, FL; among others. She has been the recipient of a National Endowment for the Arts Fellowship, a New York Foundation for the Arts Fellowship, a Louis Comfort Tiffany Foundation Grant, and residencies at the Rockefeller Foundation's Bellagio Center, MacDowell Colony, Yaddo, Djerassi Foundation, and ArtSway. Her photographs are in numerous permanent collections including the Art Institute of Chicago; Bibliotheque Nationale, Paris; Center for Creative Photography, Tucson, AZ; Fogg Art Museum, Cambridge, MA; George Eastman House, Rochester, NY; Museum of Fine Arts, Houston, TX; Museum of Modern Art, NY; San Francisco Museum of Modern Art; and the Victoria and Albert Museum, London. Lorie Novak is co-director of Urban Ensemble through which Tisch School Of the Arts students engage in community-based arts projects, and she has also initiated the community collaboration program in the Photography and Imaging Department.

Barbara D. Savage is Geraldine R. Segal Professor of American Social Thought and Professor of History at the University of Pennsylvania, where she has taught since 1995. She teaches graduate and undergraduate courses in twentieth century African American history; the history of American religious and social reform movements; and the history of the relationship between media and politics.

She is the author of Broadcasting Freedom: Radio, War, and the Politics of Race, 1938-1948 (University of North Carolina Press, 1999) which won the Herbert Hoover Presidential Library Award for the best book in American history in the period 1916-1966. In addition, she is co-editor of Women and Religion in the African Diaspora (Johns Hopkins University Press, 2006), a collection of new work from scholars associated with a three-year Ford Funded project coordinated with Professor R. Marie Griffith at Princeton University.

Her most recent book, Your Spirits Walk Beside Us: The Politics of Black Religion (Harvard University Press, 2008), is an historical examination of debates about the public responsibility of black churches and the role of religion in racial leadership. Savage has published several articles related to that project, including "Biblical and Historical Imperatives: Toward a History of Ideas about the Political Role of Black Churches," in African Americans and the Bible: Sacred Texts and Social Textures, ed., Vincent Wimbush (New York: Continuum Press, 2000) and "W. E. B. Du Bois and 'the Negro Church,'" Annals of the American Academy of Political and Social Science (March, 2000).

She was awarded a Postdoctoral Fellowship by the Smithsonian Institution for work on her first book. She also has received fellowship awards for work on her current project from: the Radcliffe Institute for Advanced Studies, Harvard University; the Princeton University Center for the Study of Religion; and the Scholars-in-Residence Program at the Schomburg Center on Black Culture.

Savage received her doctorate in history from Yale in 1995, and also holds a law degree from Georgetown University and an undergraduate degree from the University of Virginia. Prior to entering graduate school, she worked in Washington, DC, as a Congressional staff member and as a member of the staff of the Children's Defense Fund. During graduate school, she served as Director of Federal Relations, Office of the General Counsel at Yale University.

At Penn, among other University commitments, she served as a member of the recent Presidential Search Committee. She also is a faculty member for the National Endowment for the Humanities College and University Teachers' Institute on the Civil Rights Movement, held during the summers at Harvard University's W. E. B. Du Bois Institute.

Professor Valerie Smith returned to Princeton from UCLA in 2001 and is the director of the Center for African American Studies. She is a specialist in African American literature and culture, with specific interests in black feminist theory and film studies. She received a Guggenheim Felllowship in 2005-06 and an Alphonse G. Fletcher, Sr. Fellowship in 2006-07.  At present, she is completing a book on the Civil Rights Movement in cultural memory.

LEO SPITZER is the Vernon Professor of History Emeritus at Dartmouth College and Visiting Professor of History, Columbia University.  Born in La Paz, Bolivia to refugee parents who fled Nazi persecution in Austria, he now lives in the U.S., splitting his home residency between Norwich, Vermont and New York city.  Trained in comparative history, he received his Bachelor of Arts degree from Brandeis University and his Masters and Doctorate from the University of Wisconsin, Madison.  His interests range widely – from questions concerning emancipation and reactions to exclusion and domination in Latin America, Africa, and Central Europe, to issues of historical memory, refugeehood, and representations of trauma in photography, film and video.  He is the author of Hotel Bolivia: The Culture of Memory in a Refuge from Nazism.  He has also written Lives in Between: Assimilation and Marginality in Austria, Brazil and West Africa; The Creoles of Sierra Leone: Responses to Colonialism; and is co-editor with Mieke Bal and Jonathan Crewe of Acts of Memory: Cultural Recall in the Present.  A former Chair of the History Department and the founding Chair of the Jewish Studies Program at Dartmouth, he was the Lucius Littauer Fellow at the National Humanities Center (1992-93) and has been the recipient of John Simon Guggenheim, Ford, Social Science Research Council, American Council of Learned Societies, Whiting, National Endowment for the Humanities, and Rockefeller/Bellagio, and Bogliasco Foundation awards and fellowships.  In 1996-98, he was a National Humanities Center Distinguished Lecturer. In collaboration with Marianne Hirsch his most recent book, Ghosts of Home: The Afterlife of Czernowitz in Jewish Memory, is forthcoming in 2009 from the University of California Press. 

Marita Sturken's work spans the fields of cultural studies, visual culture, American studies, and art and technology. It is interdisciplinary with an emphasis on cultural memory, national identity, consumer culture, the social function of art, and the cultural effects of technology.

Diana Taylor is the author of Theatre of Crisis: Drama and Politics in Latin America (1991), which won the Best Book Award given by New England Council on Latin American Studies and Honorable Mention in the Joe E. Callaway Prize for the Best Book on Drama, of Disappearing Acts: Spectacles of Gender and Nationalism in Argentina's 'Dirty War', Duke U.P., 1997, and The Archive and the Repertoire: Performing Cultural Memory in the Americas (Duke U.P., 2003) which won the ATHE Research Award in Theatre Practice and Pedagogy and the Modern Language Association Katherine Singer Kovacs Prize for the best book in Latin American and Spanish Literatures and Culture (2004). She is editor of Stages of Conflict: A Reader in Latin American Theatre and Performance (forthcoming Michigan U. P.) and co-editor of Holy Terrors: Latin American Women Perform (Duke U.P., 2004), Defiant Acts/Actos Desafiantes: Four Plays by Diana Raznovich, Bucknell U. P., 2002, Negotiating Performance in Latin/o America: Gender, Sexuality and Theatricality, Duke U.P., 1994, and The Politics of Motherhood: Activists from Left to Right, University Press of New England, 1997. She has edited five volumes of critical essays on Latin American, Latino, and Spanish playwrights. Her articles on Latin American and Latino performance have appeared in The Drama Review, Theatre Journal, Performing Arts Journal, Latin American Theatre Review, Estreno, Gestos, Signs, MLQ and other scholarly journals. She has also been invited to participate in discussions on the role of new technologies in the arts and humanities in important conferences and commissions in the Americas (i.e. ACLS Commission on Cyberinfrastructure). Diana Taylor is founding Director of the Hemispheric Institute of Performance and Politics, funded by the Ford and Rockefeller Foundations.

Laura Wexler is co-Principal Investigator of the Women, Religion and Globalization project. She is the author of Tender Violence: Domestic Visions in an Age of U. S. Imperialism (University of North Carolina Press, 2000) and Pregnant Pictures (Routledge, 2000), co-authored with Sandra Matthews. Tender Violence was awarded the 2001 annual Joan Kelley Memorial Prize of the American Historical Association for the best book in women’s history and/or feminist theory. She also co-edited, along with Laura Frost, Amy Hungerford and John MacKay, the volume Interpretation and the Holocaust, a special issue of the Yale Journal of Criticism. Professor Wexler’s many other publications include a recent essay entitled “’Laughing Ben’” on ‘The Old Plantation’,” in Photography and Race Forum, edited by Elizabeth Abel and Leigh Raiford, in English Language Notes 44.2 (Fall/Winter 2006); and a recent chapter entitled “The Fair Ensemble: Kate Chopin in St. Louis in 1904,” in Haunted by Empire; Geographies of Intimacy in North American History, edited by Ann Laura Stoler (Duke University Press, 2006). Her current research centers on visual representations of the gendered politics of race in the United States and includes forthcoming studies of the writer Kate Chopin and the photographers Diane Arbus and Roman Vishniac. She co-founded, and for the past eight years has directed, the Photographic Memory Workshop at Yale. She has served on the editorial boards of American Quarterly, Genders, and the Yale Journal of Criticism. She is a member of the Steering Committee and of the Advisory Council of the Women Faculty Forum, and serves on the American Studies, Women’s, Gender and Sexuality Studies, International Affairs, and Judaic Studies Councils.

Deb Willis has an affiliated appointment with the College of Arts and Sciences, Africana Studies. She was a 2005 Guggenheim Fellow and Fletcher Fellow, and a 2000 MacArthur Fellow, as well as the 1996 recipient of the Anonymous Was a Woman Foundation award. She has pursued a dual professional career as an art photographer and as one of the nation's leading historians of African American photography and curator of African American culture. Exhibitions of her work include: A Sense of Place, Frick, University of Pittsburgh, 2005; Regarding Beauty, University of Wisconsin, 2003; Embracing Eatonville, Light Works, Syracuse, NY, 2003-4; HairStories, Scottsdale Contemporary Art Museum, Scottsdale, AZ 2003-4; The Comforts of Home, Hand Workshop Art Center, Richmond, VA, 1999; Re/Righting History: Counternarratives by Contemporary African-American Artists, Katonah Museum of Art, 1999; Memorable Histories and Historic Memories, Bowdoin College Museum of Art, 1998; Cultural Baggage, Rice University, Houston, TX, 1995. Her curated Exhibitions include: Engulfed by Katrina: Photographs before and After the Storm, Nathan Cummings Foundation, and Imagining Families—Images and Voices and Reflections in Black. Other notable projects include The Black Female Body A Photographic History with Carla Williams (Temple University Press, Philadephia, 2002); A Small Nation of People: W.E.B. DuBois and the Photographs from the Paris Exposition (Amistad Press, 2003); Reflections in Black: A History of Black Photographers - 1840 to the Present (New York: W.W. Norton); Visual Journal: Photography in Harlem and DC in the Thirties and Forties (Smithsonian Institution Press, Washington, DC, 1996); Picturing Us: African American Identity in Photography (The New Press, New York, NY, 1994); and VANDERZEE: The Portraits of James VanDerZee (Harry Abrams Publishing, New York, NY, 1993).