Cécile Chevalier (co-editor of SEQUENCE Three) is Lecturer in Media Practice at the University of Sussex. She works with media art installation to discuss forms of digital cultural transformation in relation to ‘connective memory’. Her background is in Fine Art, Crafts and Media Studies, while her current interventions and investigations draw on the interdisciplinary fields of art practice, memory studies and critical studies. Chevalier is author of ‘Rendezvous: a collaboration between art, research and communities,‘ in Biggs (ed.) Remediating the social. Electronic Literature as a Model for Creativity and Innovation in Practice, (Bergen: University of Bergen, 2012) and co-author (with Woolford, Blackwell and Norman) of ‘Crafting a Critical Technical Practice’, Leonardo, Volume 43.2, 2010.  She has also exhibited her work across the UK and in Europe.

Albertine Fox (author of SEQUENCE 3.1) completed her PhD at Royal Holloway, University of London and is currently preparing her first monograph, Godard and Sound: Acoustic Innovation in the Late Films of Jean-Luc Godard. She is the author of ‘Constructing Voices in Jean-Luc Godard’s Sauve qui peut (la vie) (1979)’, Studies in French Cinema, 14:1 (2014), which won the 2014 Susan Hayward Prize, awarded by the Association for Studies in French Cinema Editorial Board. An earlier version of this article also won the Society for French Studies‘ 2012 R. H. Gapper Postgraduate Essay Prize. She has a chapter forthcoming in the volume Locating the Voice in Film: Critical Approaches and Global Practices, edited by Tom Whittaker and Sarah Wright, and her next research project is concerned with the documentary film interview.

Catherine Grant (co-editor of SEQUENCE Three) is Senior Lecturer in Film Studies at the University of Sussex. She established (and continues to curate for) the open access campaigning website Film Studies For Free, and the Audiovisualcy video group, and is also founding editor of the academic digital platform REFRAME (publisher of SEQUENCE). Grant has published widely on theories and practices of film authorship and intertextuality, and has edited volumes on world cinema, Latin American cinema, digital film and media studies, and the audiovisual essay. A relatively early adopter and prolific producer of the online short video form (including mashups and remixes), she is founding co-editor of [in]Transition: Journal of Videographic Film and Moving Image Studies. This new peer-reviewed publication was awarded the Society for Cinema and Media Studies’ Anne Friedberg Innovative Scholarship Award of Distinction for 2015.

Ed Hughes (co-editor of SEQUENCE Three) is Senior Lecturer and Head of the University of Sussex’s Music Department, in its School of Media, Film and Music. He is also a composer whose work has been described as ‘polyphonic, clear and unique’ (Richard Casey, pianist). Since 2010 he has received international performances, broadcasts and a major industry award (British Composer Award for ‘Chaconne for Jonathan Harvey’ (2014)). In addition to completing an opera, two discs profiling his work in the USA attracted excellent reviews from established journals such as Gramophone, International Record Review and the peer reviewed journal of contemporary music, Tempo. His research focuses on advances in composition through practice and he is currently PI on a project on Networking technologies and the experience of ensemble music-making, funded by the AHRC. He is a Royal College of Music external examiner for Masters Programmes in Composition and in Composition for Screen/Artist in Diploma composition. His music is published by University of York Music Press. His personal website is www.edhughes.org.uk