Deniz Bayrak is a doctoral candidate and a scientific staff member of the Institute of German Language and Literary Studies in the Faculty of Cultural Studies at Dortmund University. Her research focuses on discourse analysis, modern German literature and film. She has a particular interest in contemporary literature written by German-Turkish authors, and especially in literary texts by Feridun Zaimoğlu. Her work also concentrates on recent German-Turkish films, such as those by Fatih Akın. Deniz Bayrak deals with questions of inter- and trans-culturality and with the idea of home(s), especially in Turkish-German contexts.
Andreas Ehrenreich is a PhD candidate in Film Studies at Sheffield Hallam University in the UK. He received Magister degrees in Theatre, Film and Media Studies and German Philology from the University of Vienna. His PhD thesis explores the production, marketing and distribution contexts of the giallo genre. He organised the conferences “Mark of the Devil: On a Classic Exploitation Film” (Tamsweg, 2014; https://www.univie.ac.at/markofthedevil) and “The Strange Vice of Mrs. Wardh and the Giallo” (Rome, 2015; https://blogs.shu.ac.uk/giallo). Andreas has published extensively on Italian exploitation cinema, and his latest article is “Not a Niche at All: The Distribution and Marketing of the Giallo Genre/Niente affatto una nicchia: la distribuzione e la commercializzazione del genere giallo”, Bianco e Nero, 587, 2017.
Michael Fuchs is a non-tenured Assistant Professor in American Studies at the University of Graz in Austria. He has co-edited three books and authored more than thirty published or forthcoming journal articles and book chapters on American television, adult and horror cinema, video games, fan cultures and science fiction. Among other things, he is currently co-editing a volume on urban spaces in the fantastic imagination and developing monographs on the intermedial dimensions of horror films and monstrous animals in American cultural practice. More information on his research can be found at https://www.fuchsmichael.net/.
Gianluigi Gugliermetto is an Anglican theologian, ordained as a priest in the Los Angeles Diocese of the Episcopal Church. He specialises in process and feminist theology and creation spirituality. He is interested in helping Christian communities to develop a critical reflection of and a deeper approach to their own tradition. Among his publications are “Le teologie queer e la ricerca del soggetto”, Protestantesimo, 68 (3–4), 2013, and “Love and Desire in Christian Theology” in Contemporary Theological Approaches to Sexuality (Routledge, 2018).
Uwe Huber is a film journalist and producer, specialising in genre and cult cinema. His work has been published in genre magazines such as Splatting Image, Deadline, Moviestar, DVD Special and Virus. He has also authored various booklets for German DVD and Blu-ray releases. He produced and directed DVD and Blu-ray bonus features for German and international companies such as Turbine, Koch, Subkultur, Studiocanal, Polyband, NSM, Epix, Blue Underground, Anchor Bay, Dark Sky, Eureka and Scream Factory, with the most recent output mainly for the British company Arrow. For the Swiss label Ascot-Elite he supervised their sixteen volumes of the “Jess Franco Golden Goya Collection” and the “Erwin C. Dietrich-Brigitte Lahaie-Collection”. Turbine released a special edition of Mark of the Devil in German-speaking countries, and another edition with partially different bonus material was released by Arrow in the UK and US.
Bálint Kovács is a PhD student at the Eötvös Loránd University of Budapest in the Department of German Studies. His PhD project concerns early German and Austrian horror cinema. From 2007 to 2009, he collaborated on the research project “Regionality, Cultural Techniques and Notions of Science in the Culture of the Fin de Siècle and the Interwar Period” and was a fellow of the Ernst Mach Grant (University of Vienna, 2010–2011, 2012–2014) and the Franz Werfel Grant (University of Vienna, 2012–2014). His areas of interest include horror cinema and narratology.
Julian Petley is Professor of Journalism and Screen Media at Brunel University London. He is the co-editor of British Horror Cinema (Routledge, 2002) and has recently contributed chapters to A Companion to the Horror Film (Wiley-Blackwell, 2014) and Snuff: Real Death and Screen Media (Bloomsbury, 2016). He has written widely about censorship, and his work on this topic includes Censorship: A Beginner’s Guide (Oneworld, 2009) and Film and Video Censorship in Modern Britain (Edinburgh University Press, 2011).
Sarah Reininghaus studied Literature, Linguistics and Philosophy. She is a PhD student and teaches in the Faculty of Cultural Studies at Dortmund University. Her research focuses on film, gender theory and the culture of remembrance. She has special interests in questions of horror and gender, the construction of normality, space and genre theory, and postcolonial studies. In her doctoral thesis she discusses the representation of the Shoa in different genres of literature and film, with special regard to popular culture. Her publications and conference papers cover the horror film and the giallo, non-spaces, the cinema of migration, and unreliable narration. Currently, she is preparing a co-edited volume on intercultural literature and cinema.
Drehli Robnik is a freelance theorist in matters of film and politics, and part-time film critic and edutainer in Vienna. He gained his PhD from the University of Amsterdam. He used to work as an external university lecturer in Vienna, Brno and Frankfurt, as senior researcher at the Ludwig Boltzmann Institute for History and Society, Vienna, and as a music event organiser and post-punk singer. He is the author of German-language monographs on horror film’s insight into post-Fordist controlling power (Kontrollhorrorkino, 2015), on Jacques Rancière’s dissensual film theory (Film ohne Grund, 2010) and on the politics of affect in films on anti-nazi resistance (Geschichtsästhetik und Affektpolitik, 2009) (all published by Turia + Kant). He is also the editor of the film writings of historian Siegfried Mattl (Österreichisches Filmmuseum, 2016) and co-editor of German-language volumes on Kracauer (Turia + Kant, 2013), Rancière (Turia + Kant, 2010) and David Cronenberg (PVS, 1992). His forthcoming book DemoKRACy concerns Siegfried Kracauer’s film-based political theory. https://independent.academia.edu/DrehliRobnik
Kilian Schmidt is a BA student of Applied Literary and Cultural Studies, Political Science and Philosophy at TU Dortmund University. Born in Kazakhstan and raised in Germany, he spent some time as a “kulturweit” volunteer in Hungary. His research interests include cultural theory, questions of gender and queerness, international relations, and arts management. In 2018 he will be commencing study in Japan.
Marcus Stiglegger is Professor of Film Studies and Vice President at the DEKRA University of Applied Sciences, Berlin, and Visiting Professor at Clemson University, South Carolina. In 1999 he published his PhD thesis on the subject of politics and sexuality in cinema (SadicoNazista: Faschismus und Sexualität im Film, which is now in its fourth edition). His publications, some of which are edited or co-edited collections, include books on the seduction theory of film (Bertz + Fischer, 2006), the western (Reclam, 2003), war films (Reclam, 2006), pop and cinema (Bender, 2004), modern horror cinema (Bertz + Fischer, 2010), David Cronenberg (Bertz + Fischer, 2011), Dario Argento (Bertz + Fischer, 2013), global bodies in the media (Bertz + Fischer, 2012), and Akira Kurosawa (edition text+kritik, 2014). He regularly contributes to international conferences and to magazines such as Kinoeye (US), Paradoxa (US) and Eyeball (UK). His research interests are body theory, transgressive philosophy and cinema, media mythology, performative aspects of cinema, and the Holocaust in the narrative media. Contact: Marcus.Stiglegger@t-online.de
Judit Szabó is an Assistant Professor in the Department of German Studies at the University of Szeged in Hungary. From 2006 until 2009, she was a collaborator on the research project “Regionality, Cultural Techniques and Notions of Science in the Culture of the Fin de Siècle and the Interwar Period” and in 2009 completed a PhD thesis about the notions of morality in theories of tragedy. From 2010 until 2011, she was a fellow of the Franz Werfel Grant (University of Vienna). Since 2013, she has been a member of the Cognitive Research Group at the University of Szeged. Her areas of interest include literary theory, modern German drama, and media theory.
Donato Totaro has been the editor of the longest running monthly online film journal Offscreen (https://www.offscreen.com) since its inception in 1997. He has been a part-time Professor in Film Studies at Concordia University (Montreal, Canada) since 1990, where he has taught a variety of Film Studies courses. He has published extensively on recent Asian cinema, the cinema of Andrei Tarkovsky, and the horror genre, and contributed to ReFocus: The Films of Andrei Tarkovsky (Edinburgh University Press, forthcoming), The Cult TV Book (I. B. Tauris, 2010), 100 European Horror Films (BFI, 2007), The Cinema of Japan and Korea (Wallflower, 2004), Fear Without Frontiers: Horror Cinema Across the Globe (FAB, 2003), Eaten Alive! Italian Cannibal and Zombie Movies (Plexus, 2002), Guide to the Cinema(s) of Canada (Greenwood, 2001), and South American Cinema: A Critical Filmography 1915–1994 (University of Texas Press, 1996).
Andreas Ehrenreich is a PhD candidate in Film Studies at Sheffield Hallam University in the UK. He received Magister degrees in Theatre, Film and Media Studies and German Philology from the University of Vienna. His PhD thesis explores the production, marketing and distribution contexts of the giallo genre. He organised the conferences “Mark of the Devil: On a Classic Exploitation Film” (Tamsweg, 2014; https://www.univie.ac.at/markofthedevil) and “The Strange Vice of Mrs. Wardh and the Giallo” (Rome, 2015; https://blogs.shu.ac.uk/giallo). Andreas has published extensively on Italian exploitation cinema, and his latest article is “Not a Niche at All: The Distribution and Marketing of the Giallo Genre/Niente affatto una nicchia: la distribuzione e la commercializzazione del genere giallo”, Bianco e Nero, 587, 2017.
Michael Fuchs is a non-tenured Assistant Professor in American Studies at the University of Graz in Austria. He has co-edited three books and authored more than thirty published or forthcoming journal articles and book chapters on American television, adult and horror cinema, video games, fan cultures and science fiction. Among other things, he is currently co-editing a volume on urban spaces in the fantastic imagination and developing monographs on the intermedial dimensions of horror films and monstrous animals in American cultural practice. More information on his research can be found at https://www.fuchsmichael.net/.
Gianluigi Gugliermetto is an Anglican theologian, ordained as a priest in the Los Angeles Diocese of the Episcopal Church. He specialises in process and feminist theology and creation spirituality. He is interested in helping Christian communities to develop a critical reflection of and a deeper approach to their own tradition. Among his publications are “Le teologie queer e la ricerca del soggetto”, Protestantesimo, 68 (3–4), 2013, and “Love and Desire in Christian Theology” in Contemporary Theological Approaches to Sexuality (Routledge, 2018).
Uwe Huber is a film journalist and producer, specialising in genre and cult cinema. His work has been published in genre magazines such as Splatting Image, Deadline, Moviestar, DVD Special and Virus. He has also authored various booklets for German DVD and Blu-ray releases. He produced and directed DVD and Blu-ray bonus features for German and international companies such as Turbine, Koch, Subkultur, Studiocanal, Polyband, NSM, Epix, Blue Underground, Anchor Bay, Dark Sky, Eureka and Scream Factory, with the most recent output mainly for the British company Arrow. For the Swiss label Ascot-Elite he supervised their sixteen volumes of the “Jess Franco Golden Goya Collection” and the “Erwin C. Dietrich-Brigitte Lahaie-Collection”. Turbine released a special edition of Mark of the Devil in German-speaking countries, and another edition with partially different bonus material was released by Arrow in the UK and US.
Bálint Kovács is a PhD student at the Eötvös Loránd University of Budapest in the Department of German Studies. His PhD project concerns early German and Austrian horror cinema. From 2007 to 2009, he collaborated on the research project “Regionality, Cultural Techniques and Notions of Science in the Culture of the Fin de Siècle and the Interwar Period” and was a fellow of the Ernst Mach Grant (University of Vienna, 2010–2011, 2012–2014) and the Franz Werfel Grant (University of Vienna, 2012–2014). His areas of interest include horror cinema and narratology.
Julian Petley is Professor of Journalism and Screen Media at Brunel University London. He is the co-editor of British Horror Cinema (Routledge, 2002) and has recently contributed chapters to A Companion to the Horror Film (Wiley-Blackwell, 2014) and Snuff: Real Death and Screen Media (Bloomsbury, 2016). He has written widely about censorship, and his work on this topic includes Censorship: A Beginner’s Guide (Oneworld, 2009) and Film and Video Censorship in Modern Britain (Edinburgh University Press, 2011).
Sarah Reininghaus studied Literature, Linguistics and Philosophy. She is a PhD student and teaches in the Faculty of Cultural Studies at Dortmund University. Her research focuses on film, gender theory and the culture of remembrance. She has special interests in questions of horror and gender, the construction of normality, space and genre theory, and postcolonial studies. In her doctoral thesis she discusses the representation of the Shoa in different genres of literature and film, with special regard to popular culture. Her publications and conference papers cover the horror film and the giallo, non-spaces, the cinema of migration, and unreliable narration. Currently, she is preparing a co-edited volume on intercultural literature and cinema.
Drehli Robnik is a freelance theorist in matters of film and politics, and part-time film critic and edutainer in Vienna. He gained his PhD from the University of Amsterdam. He used to work as an external university lecturer in Vienna, Brno and Frankfurt, as senior researcher at the Ludwig Boltzmann Institute for History and Society, Vienna, and as a music event organiser and post-punk singer. He is the author of German-language monographs on horror film’s insight into post-Fordist controlling power (Kontrollhorrorkino, 2015), on Jacques Rancière’s dissensual film theory (Film ohne Grund, 2010) and on the politics of affect in films on anti-nazi resistance (Geschichtsästhetik und Affektpolitik, 2009) (all published by Turia + Kant). He is also the editor of the film writings of historian Siegfried Mattl (Österreichisches Filmmuseum, 2016) and co-editor of German-language volumes on Kracauer (Turia + Kant, 2013), Rancière (Turia + Kant, 2010) and David Cronenberg (PVS, 1992). His forthcoming book DemoKRACy concerns Siegfried Kracauer’s film-based political theory. https://independent.academia.edu/DrehliRobnik
Kilian Schmidt is a BA student of Applied Literary and Cultural Studies, Political Science and Philosophy at TU Dortmund University. Born in Kazakhstan and raised in Germany, he spent some time as a “kulturweit” volunteer in Hungary. His research interests include cultural theory, questions of gender and queerness, international relations, and arts management. In 2018 he will be commencing study in Japan.
Marcus Stiglegger is Professor of Film Studies and Vice President at the DEKRA University of Applied Sciences, Berlin, and Visiting Professor at Clemson University, South Carolina. In 1999 he published his PhD thesis on the subject of politics and sexuality in cinema (SadicoNazista: Faschismus und Sexualität im Film, which is now in its fourth edition). His publications, some of which are edited or co-edited collections, include books on the seduction theory of film (Bertz + Fischer, 2006), the western (Reclam, 2003), war films (Reclam, 2006), pop and cinema (Bender, 2004), modern horror cinema (Bertz + Fischer, 2010), David Cronenberg (Bertz + Fischer, 2011), Dario Argento (Bertz + Fischer, 2013), global bodies in the media (Bertz + Fischer, 2012), and Akira Kurosawa (edition text+kritik, 2014). He regularly contributes to international conferences and to magazines such as Kinoeye (US), Paradoxa (US) and Eyeball (UK). His research interests are body theory, transgressive philosophy and cinema, media mythology, performative aspects of cinema, and the Holocaust in the narrative media. Contact: Marcus.Stiglegger@t-online.de
Judit Szabó is an Assistant Professor in the Department of German Studies at the University of Szeged in Hungary. From 2006 until 2009, she was a collaborator on the research project “Regionality, Cultural Techniques and Notions of Science in the Culture of the Fin de Siècle and the Interwar Period” and in 2009 completed a PhD thesis about the notions of morality in theories of tragedy. From 2010 until 2011, she was a fellow of the Franz Werfel Grant (University of Vienna). Since 2013, she has been a member of the Cognitive Research Group at the University of Szeged. Her areas of interest include literary theory, modern German drama, and media theory.
Donato Totaro has been the editor of the longest running monthly online film journal Offscreen (https://www.offscreen.com) since its inception in 1997. He has been a part-time Professor in Film Studies at Concordia University (Montreal, Canada) since 1990, where he has taught a variety of Film Studies courses. He has published extensively on recent Asian cinema, the cinema of Andrei Tarkovsky, and the horror genre, and contributed to ReFocus: The Films of Andrei Tarkovsky (Edinburgh University Press, forthcoming), The Cult TV Book (I. B. Tauris, 2010), 100 European Horror Films (BFI, 2007), The Cinema of Japan and Korea (Wallflower, 2004), Fear Without Frontiers: Horror Cinema Across the Globe (FAB, 2003), Eaten Alive! Italian Cannibal and Zombie Movies (Plexus, 2002), Guide to the Cinema(s) of Canada (Greenwood, 2001), and South American Cinema: A Critical Filmography 1915–1994 (University of Texas Press, 1996).