Vitaly Chernetsky (editor): Assistant Professor of Russian at Miami University (Ohio), where he is also an affiliate of the Film Studies, Jewish Studies, and Women’s Studies programs. A native of Ukraine, he holds a Ph.D. in Comparative Literature and Literary Theory from the University of Pennsylvania. Author of the book Mapping Postcommunist Cultures: Russia and Ukraine in the Context of Globalization (McGill—Queen’s University Press, 2007) and of a wide range of articles on modern Russian and Ukrainian literature and film. Co-editor of the anthology Crossing Centuries: The New Generation of Russian Poetry (Talisman House, 2000) and of the Ukrainian-language scholarly edition of Edward Said’s Culture and Imperialism (Krytyka, 2007). He has translated into English The Moscoviad, a novel by the Ukrainian writer Yuri Andrukhovych (Spuyten Duyvil, 2008), and many works of Russian and Ukrainian poetry and short fiction, published in a wide variety of journals and anthologies. Chernetsky is the current President of the American Association for Ukrainian Studies.
Maryna Y. Bazylevych: Ph.D. candidate in the Department of Anthropology, State University of New York at Albany, working on her dissertation tentatively titled “The Female Face of Post-Socialist Biomedicine: Ukrainian Women Physicians at Post-Socialist Crossroads. Changing Ideas of Professionalism and Morality.” She is also a part-time faculty in the Anthropology and History Department at Butler University (Indiana) and a visiting scholar at the Russian and East European Institute at Indiana University Bloomington. She has published in the Anthropology of East Europe Review, Journal of Contemporary Anthropology, and anthropology textbooks by McGraw—Hill Higher Education publishers. Her research focuses on the issues of state, citizenship, transnationalism, globalization, and gender.
Olga Bryukhovetska: Ph.D. in History and Theory of Culture from the Kyiv National Taras Shevchenko University, with the dissertation titled “Apparatus Theory (Psychoanalytic Concept of Subject in Film Theory).” She is an Associate Professor of Cultural Studies at the National University of Kyiv Mohyla Academy (Ukraine) and a specialist in cinema and visual culture with methodological ground in psychoanalysis and Marxism. Bryukhovetska cofounded (with the artist Sean Snyder) the Visual Culture Research Center at the Kyiv Mohyla Academy, and coordinates the project Art/Knowledge/Politics. Her research focuses on psychoanalytic film theory, and on Soviet and Japanese cinema. She is currently working on a project on the representation of nuclear trauma in cinema, supported by the Japan Foundation.
Herbert J. Eagle: Chair of the Department of Slavic Languages and Literatures at the University of Michigan. His research has focused on Russian and East European cinema, film theory, poetry, and controversial prose written under communism. He has published articles on Sergei Eisenstein, semiotics of cinema, and the work of East European filmmakers such as Menzel, Chytilová, Wajda, Polanski, Kieslowski, Pichul, Lungin, Gabor, Gothar, and Makavejev. His books include Russian Formalist Film Theory (1981)and the volume co-edited with Anna Lawton, Words in Revolution: Russian Futurist Manifestoes, 1912-1918 (republished 2006). Among his recent articles are “Power and the Visual Semantics of Polanski’s Films” in The Cinema of Roman Polanski, Elzbieta Ostrowska and John Orr, eds. (2007) and “Bipolar Assymetry, Indeterminacy, and Creativity in Cinema” in Lotman and Cultural Studies: Encounters and Extensions, Andreas Schonle, ed. (2006).
Rory Finnin: Lecturer in Ukrainian Studies at the University of Cambridge. His current project is a comparative study of literary allusions to the deportation of the Crimean Tatars in Ukrainian, Russian, and Turkish literatures.
Joshua First: Ph.D. in History from the University of Michigan (2008), with the dissertation titled “Scenes of Belonging: Cinema and the Nationality Question in Soviet Ukraine During the Long 1960s.” He is currently a research fellow at the Havighurst Center for Russian and Post-Soviet Studies at Miami University (Ohio). He has published a number of articles on Soviet-era film in Russia and Ukraine.
Volha Isakava: doctoral student in the Department of Modern Languages and Cultural Studies at the University of Alberta (Canada). Her research interests include contemporary and perestroika Russian cinema and culture, specifically the “dark” films, otherwise known as chernukha, which explore transgressive topics and impose an extremely bleak world-view. Her research investigates the grounds for comparison of the “dark” cinema of Russia and American film noir through the lens of trauma theory and problematization of ethics in cinema.
Deborah Jones: a doctoral student in linguistic anthropology at the University of Michigan. She holds an M.A. in Russian and Eastern European Studies from the University Michigan and a B.A. in Russian from Middlebury College (Vermont). Her current research interests include bilingual conversation as a social norm in Ukraine and conceptions of homeland among Uzbek-born Crimean Tatars.
Lars Kristensen: Ph.D. candidate in the department of Film Studies, University of St Andrews (Scotland), with the dissertation entitled “Russians Abroad in Postcommunist Cinema.” He has taught Russian and Comparative Literature at the University of Glasgow, where he also completed his M.Phil. research dissertation on Aleksei Balabanov.
Svitlana Krys: Ph.D. candidate, Department of Modern Languages and Cultural Studies, University of Alberta (Canada). Her dissertation focuses on the Gothic imagination in Ukrainian Romanticism. She has published two articles on a related topic: “A Comparative Analysis of Oleksa Storozhenko’s The Devil in Love and Jacques Cazotte’s The Devil in Love,” Slovo i chas (Kyiv, Ukraine) 9 (2006), and “Allusions to Hoffmann in Gogol'’s Early Ukrainian Horror Stories,” Canadian Slavonic Papers 51.2-3 (June-September 2009). Her other research interests include Ukrainian Realism and Modernism. She has also published an article devoted to the comparative feminist reading of Lesia Ukrainka’s and Henrik Ibsen’s Dramas in Canadian Review of Comparative Literature 34.4 (December 2007).
Bohdan Y. Nebesio: Ph.D. (University of Alberta), Assistant Professor of Film Studies at Brock University, Canada. Among his interests are Soviet film history, history of film theory, national cinemas and cognitive approaches to film. He is the author of Alexander Dovzhenko: A Guide to Published Sources (1995) and co-author of Historical Dictionary of Ukraine (with Zenon E. Kohut and Myroslav Yurkevich, 2005). His articles on Ukrainian cinema appeared in Historical Journal of Film, Radio and Television, Canadian Slavonic Papers, and Canadian Review of Comparative Literature.
Svitlana Matviyenko: Ph.D. Candidate in Film and New Media Theory and the psychoanalysis of Jacques Lacan, pursuing her doctoral degree at the University of Missouri-Columbia. She holds an M.A. (2001) in Theory of Literature from Kyiv Mohyla Academy (Ukraine). In 2001-2003, she worked as an editor-in-chief of Literatura Plus, a newspaper of the Ukrainian Writers’ Association; she is also the founder and a former editor-in-chief of Komentar, a political and cultural monthly. In 2004, she came to the US on a Fulbright Fellowship. She teaches film at the University of Missouri and writes her dissertation on gender identity (sexuation) and technology in the works of Andy Warhol, David Cronenberg, Matthew Barney, and in cyberspace. Since 2008, she curates a series of performance and installation projects at the Ukrainian Institute of America in New York City.
Stanislav Menzelevsky: completing his Ph.D. dissertation at the National University of Kyiv Mohyla Academy (Ukraine) on special effects in cinema, titled “Visual Tactics of Undermining Narrative Logic in Cinema.” His current research interests include the origin of cinema and the perceptive situation of the turn of the 19th—20th centuries, as well as science fiction and horror film.
Alla Nedashkivska: Associate Professor of Slavic Applied Linguistics in the Department of Modern Languages and Cultural Studies at the University of Alberta (Canada), with a Ph.D. from the University of Pittsburgh. She publishes in the areas of Slavic gender linguistics, discourse analysis, political and media language, as well as language pedagogy. She is also the author of Ukrainian Through Its Living Culture, an advanced Ukrainian language textbook published by the University of Alberta Press.
Ol'ha Papash: completing her Ph.D. dissertation at the National University of Kyiv Mohyla Academy (Ukraine) on cinematic representations of historical trauma entitled “Representations of Historical Trauma in Visual Culture.” Her current research interests focus on the representation of the Holocaust the Ukrainian Holodomor in film.
Lesya Prokopenko: B.A. in Cultural Theory, Kyiv Mohyla Academy, with the senior thesis titled “The Aesthetization of Everyday Life and Consumerist Culture.” She has published articles on film in the magazine Kino-Teatr (Ukraine) and in the World Cinema Classics book series (Kyiv Mohyla Academy). She takes part in the projects of the Visual Culture Research Center at the Kyiv Mohyla Academy, researches contemporary art, and tries her hand at curatorship and translation.
Oleksiy Radynski: a scholar of art and film theory with an interest in Soviet montage and research-based art practices. He is a Ph.D. Candidate in the Department of Cultural Studies, National University of Kyiv Mohyla Academy, and a fellow at the Visual Culture Research Center at the same university. He is a former deputy editor of the film quarterly Kino-Kolo and the current editor of the magazine Skovoroda.
Andrei Rogatchevski: Ph.D. in Slavonic Languages and Literatures, University of Glasgow, with a dissertation on Eduard Limonov. Senior Lecturer in Russian at the University of Glasgow, where he has taught film at various levels. A contributor to KinoKultura, Scope (Nottingham), and Screen (Glasgow), with a special interest in the interaction of film and fiction. Co-author, with Ben Hellman, of Filming the Unfilmable: Casper Wrede’s “One Day in the Life of Ivan Denisovich” (Ibidem Verlag, forthcoming).
James Steffen: Ph.D. in Interdisciplinary Studies and certificate in Film Studies, Emory University, with a dissertation on Sergei Paradjanov. Currently the Film Studies and Media Librarian at Emory University. He has edited a special issue on Paradjanov for The Armenian Review (2001/2) and is currently writing a book on Paradjanov’s films and his conflicts with the Soviet authorities. His general research interest is the role of nationality in Soviet cinema. Served as a jury member at the 2006 Tbilisi International Film Festival. He has also written numerous freelance articles and DVD reviews for the Turner Classic Movies website.