{"id":18,"date":"2013-02-05T09:30:48","date_gmt":"2013-02-05T09:30:48","guid":{"rendered":"http:\/\/reframe.sussex.ac.uk\/sequence2\/?page_id=18"},"modified":"2017-08-04T09:14:23","modified_gmt":"2017-08-04T09:14:23","slug":"sequence-two-contributors","status":"publish","type":"page","link":"https:\/\/reframe.sussex.ac.uk\/sequence2\/about-sequence-two\/sequence-two-contributors\/","title":{"rendered":"Contributors"},"content":{"rendered":"

Pam Cook<\/a>\u00a0<\/strong>(author of\u00a0SEQUENCE 2.2 [2015]<\/a>)\u00a0is Professor Emerita in Film at the University of Southampton. She is author of numerous publications on moving image history and culture and editor of\u00a0The Cinema Book<\/em>\u00a0Third Edition (2007). Her research spans feminism and film, memory and nostalgia in cinema, national cinemas, visual design, authorship, stardom and performance. Her latest book is a study of Nicole Kidman as global star phenomenon (2012), and she has recently extended her work into videography.<\/p>\n

Katherine Farrimond<\/a>\u00a0<\/strong>(co-editor\/producer of\u00a0SEQUENCE<\/a>\u00a0since December 2014, and co-editor of SEQUENCE 2.2<\/a>) is Teaching Fellow in Media and Cultural Studies at the University of Sussex. She is currently working on a monograph entitled\u00a0Beyond Backlash: The Femme Fatale in Contemporary American Cinema<\/em>\u00a0arising from her doctoral research. Her broader research interests include the intersections between the body, sexuality and gender in popular culture, feminist theory, and film and television genre. She has published widely on gender, sexuality and popular culture.<\/p>\n

Catherine Grant<\/a><\/strong> (founder of SEQUENCE<\/a>, co-editor\/producer of SEQUENCE Two<\/a>\u00a0with Katherine Farromond, and co-editor\/producer, with\u00a0Russell Glasso<\/a>n<\/a>, of\u00a0SEQUENCE<\/a> and SEQUENCE One<\/a>) is, from September 2017, Professor of Digital Media and Screen Studies at Birkbeck, University of London, UK.\u00a0She was the founding editor of REFRAME<\/a>, the digital platform for research in media, film and music, hosted by the School of Media, Film and Music<\/a>, University of Sussex, which publishes SEQUENCE<\/a>.\u00a0She is also a founding co-editor of\u00a0[in]TRANSITION<\/a>, a new videographic film and moving image studies journal. Her\u00a0multimedia essay,\u00a0which reflects on classical Hollywood melodramas and feminist film theory: \u2018The Marriages of Laurel Dallas: Or, The Maternal Melodrama of the Unknown Feminist Film Spectator<\/a>\u2019, was published at\u00a0Mediascape<\/em>, in Fall 2014<\/a>.<\/p>\n

Mandy Merck<\/strong><\/a> (author of SEQUENCE 2.3 [2017]<\/a>) is Professor of Media Arts at Royal Holloway, University of London.\u00a0 Her books, relevant to her article for SEQUENCE, include Perversions: Deviant Readings<\/em> (Virago\/Routledge, 1993), In Your Face: Nine Sexual Studies<\/em> (NYU Press, 2000), \u00a0Further Adventures of The Dialectic of Sex<\/em> (Palgrave Macmillan, co-edited with Stella Sanford, 2010) and, forthcoming, The Melodrama of Celebrity<\/em>.<\/p>\n

Sue Thornham<\/strong><\/a> (author of SEQUENCE 2.1 [2013])<\/a> is Professor of Media and Film and Head of the School of Media, Film and Music at the University of Sussex. She has published widely on feminism, film, and media and cultural theory. She is author of Passionate Detachments <\/em>(1997), Feminist Theory and Cultural Studies <\/em>(2001), Approaches to TV Drama<\/em> (2004, with Tony Purvis), and Women, Feminism and Media<\/em> (2007). Her most recent book is What if I Had Been the Hero? Investigating Women\u2019s Filmmaking <\/em><\/a>(London: BFI\/Palgrave Macmillan, 2012). She is also editor of two key collections, Feminist Film Theory: A Reader<\/em> (1999) and, with Paul Marris and Caroline Bassett, Media Studies: A Reader <\/em>(third edition 2009).<\/p>\n","protected":false},"excerpt":{"rendered":"

Pam Cook\u00a0(author of\u00a0SEQUENCE 2.2 [2015])\u00a0is Professor Emerita in Film at the University of Southampton. She is author of numerous publications […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":9,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"page-templates\/full-width.php","meta":{"jetpack_post_was_ever_published":false,"footnotes":""},"class_list":["post-18","page","type-page","status-publish","hentry"],"jetpack_shortlink":"https:\/\/wp.me\/P2Y6Ix-i","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/reframe.sussex.ac.uk\/sequence2\/wp-json\/wp\/v2\/pages\/18","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/reframe.sussex.ac.uk\/sequence2\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/reframe.sussex.ac.uk\/sequence2\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/reframe.sussex.ac.uk\/sequence2\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/reframe.sussex.ac.uk\/sequence2\/wp-json\/wp\/v2\/comments?post=18"}],"version-history":[{"count":26,"href":"https:\/\/reframe.sussex.ac.uk\/sequence2\/wp-json\/wp\/v2\/pages\/18\/revisions"}],"predecessor-version":[{"id":488,"href":"https:\/\/reframe.sussex.ac.uk\/sequence2\/wp-json\/wp\/v2\/pages\/18\/revisions\/488"}],"up":[{"embeddable":true,"href":"https:\/\/reframe.sussex.ac.uk\/sequence2\/wp-json\/wp\/v2\/pages\/9"}],"wp:attachment":[{"href":"https:\/\/reframe.sussex.ac.uk\/sequence2\/wp-json\/wp\/v2\/media?parent=18"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}