NOTES On COnTRIBUTORS Hongwei Bao is Assistant Professor of Media Studies at the University of Nottingham, UK. He has a PhD in Gender and Cultural Studies from the University of Sydney, Australia. His research focuses on gender, sexuality, and media culture in contemporary China. He has published articles in Cultural Studies, Culture Unbound, Interventions, Health, Culture and Society, and Queer Paradigms. Chris Berry is Professor of Film Studies at King’s College London. In the 1980s, he worked for China Film Import and Export Corporation in Beijing, and his academic research is grounded in work on Chinese cinema and other Chinese screen-based media, as well as neighbouring countries. He is the co-author with Mary Farquhar of Cinema and the National: China on Screen; author of Postsocialist Cinema in Post-Mao China; and co-editor of Public Space, Media Space and The New Chinese Documentary Film Movement: For the Public Record. Jenny Chio is Assistant Professor of Anthropology and affiliated fac- ulty member in Film and Media Studies and East Asian Studies at Emory University. Her research projects explore contemporary rural subjectivities and ethnic identities, and she has published on tourism development and migration, rural videography and amateur media, and the politics of cul- tural heritage in Southwest China. She is also an ethnographic filmmaker and, from 2016 to 2018, co-editor of the journal Visual Anthropology Review. © The Author(s) 2017 343 C. Berry, L. Robinson (eds.), Chinese Film Festivals, DOI 10.1057/978-1-137-55016-3 344 NOTes On ConTRibuTORs Dina Iordanova is Professor of Global Cinema and Creative Cultures at the University of St. Andrews in Scotland. She conceived and published a number of books on film festivals known as the Film Festival Yearbook series, including the Film Festival Reader (2013). Her most recent book is Cinemas of Paris (2016, with Jean-Michel Frodon). She has been involved with many international festivals and served on the jury of Asia’s largest film festival in Busan in 2014. Nikki J.Y. Lee is Senior Lecturer in Asian Media at Nottingham Trent University. She has published academic articles and book chapters which explore critical issues of globalization and localization vis-à-vis transna- tional East Asian cinema with a focus on the Korean film industry, film directors, and stars. She is a co-editor of The Korean Cinema Book (forth- coming 2016, BFI/Palgrave Macmillan). Her recent research interests cover Chinese–Korean film co-­production and global film sound in con- temporary Korean cinema. Flora Lichaa is a PhD student at the National Institute of Oriental Language and Civilisation in Paris, conducting research on Chinese inde- pendent documentary film. She conducted field research on Chinese inde- pendent film festivals for her dissertation, and ran the Shadows Chinese Independent Film Festival in Paris from 2009 to 2012. She has also pro- grammed Chinese films for festivals such as the Jean Rouch International Ethnographic Film Festival and has written papers on Chinese indepen- dent film festivals and Parisian cinemas. Ran Ma is teaching English-taught­ courses in Cinema Studies at the Global-30 “Japan-in-­Asia” Cultural Studies Program, Graduate School of Letters, Nagoya University, Japan. Her research interests include Asian independent cinemas and film festival studies, on which she has published several journal articles and book chapters, including contributions to the Handbook of Cultural and Creative Industries in China (2016) and the BFI’s Japanese Cinema Book (2017, edited by Fujiki Hideaki and Alastair Phillips). She is working on her book project about Asian transnational independent cinemas. Gina Marchetti teaches courses in film, gender and sexuality, critical theory, and cultural studies. Her books include Romance and the “Yellow Peril”: Race, Sex and Discursive Strategies in Hollywood Fiction (1993), From Tian’anmen to Times Square: Transnational China and the Chinese Diaspora on Global Screens (2006), and The Chinese Diaspora on American Screens: Race, Sex, and Cinema (2012). NOTes On ConTRibuTORs 345 Elena Pollacchi is Visiting Associate Professor at Stockholm University and Lecturer in Chinese Studies at Ca’ Foscari University of Venice. She received her PhD on the changes in the Chinese film industry (1989–2004) from the University of Cambridge. Her recent publications discuss Chinese documentary cinema, film ­festivals, Chinese cinema and soft power, and Taiwanese cinema and social change. She has collaborated with the Venice International Film Festival since 1999 and serves as a pro- grammer for Chinese-language and South Korean films. Ming-yeh T. Rawnsley is Research Associate, Centre of Taiwan Studies, School of Oriental and African Studies (SOAS), University of London. She is also Secretary-General, European Association of Taiwan Studies (2012–present). She has published widely in both English and Chinese on the subjects of Taiwan media, cinema and culture; Chinese-­ language cinema; media industries in East Asia; and media and democra- tization in Taiwan. Luke Robinson is Lecturer in Film Studies in the Department of Media and Film, University of Sussex, UK. He is the author of Independent Chinese Documentary: From the Studio to the Street (Palgrave Macmillan, 2013) and has written book chapters and articles on Chinese-language feature film, animation, documentary, and film festivals. Julian Stringer is Associate Professor of Film and Television Studies at the University of Nottingham. He has published widely on Chinese cin- ema, East Asian cinema, transnational filmmaking, and international film festivals, and his books include New Korean Cinema (co-eds., 2005) and Japanese Cinema: Critical Concepts in Media and Cultural Studies (co- eds., 2015). With Nikki J.Y. Lee, he is researching a project on contempo- rary South Korean film sound. In recent years, he has organized academic conferences in Beijing, Kuala Lumpur, and Shanghai. Cindy Hing-Yuk Wong is Professor of Communications in the Department of Media Culture at the College of Staten Island, City University of New York. Her areas of research include grassroots media, Hong Kong cinema culture and practices, diasporic media, global Chinese Diaspora, and international film festivals. Her book,Film Festivals, Culture, People and Power on the Global Screen (2011), offers the first comprehen- sive overview of the history, agents, films, and multiple agendas of the global festival world. She is the co-author of Global Hong Kong (2005). Lydia Dan Wu is a doctoral candidate in the School of Modern Languages at Newcastle University. Her doctoral research focuses on min- jian film exhibition culture in contemporary China. This includes stud- 346 NOTes On ConTRibuTORs ies of grassroots film festivals, organizations and cinephile clubs. She has observed grassroots film exhibitions in China over an extended period of time and ­collaborated with them to showcase Chinese independent films in the UK. Esther Yau teaches in the Department of Comparative Literature at the University of Hong Kong. She is co-editor of New Chinese Cinemas: Forms, Identity, Politics (1994), A Companion to Hong Kong Cinema (2015), Neo-Noir Hong Kong and Urban Modernity (forthcoming), and editor of At Full Speed: Hong Kong Cinema in a Borderless World (2001). She is published in scholarly journals and collections, including The Oxford History of World Cinema (1996), Film Quarterly Forty Years –A Selection (1999), Chinese Connections: Critical Perspectives on Film, Identity, and Diaspora (2009), Hong Kong Screenscapes (2011), and A Companion to Hong Kong Cinema (2015). Su-Anne Yeo recently completed her PhD entitled, “Transnational Screens and Asia Pacific Public Cultures: Vancouver, Toronto, and Hong Kong, 1997–2000”. She is interested in the cultural studies of screen distribution and exhibition and the globalization of independent screen media. She has presented her research at numerous conferences, includ- ing the Society for Cinema and Media Studies, and Screen. Her chapter, “Vancouver Asian: Westcoast Film Cultures, On the Rim and at the End of the Line,” appears in Reel Asian: Asian Canada on Screen, edited by Elaine Chang. Sabrina Qiong Yu is Senior Lecturer in Chinese and Film Studies at Newcastle University. Her research and publications focus on Chinese independent films and film festivals, the locality and transnationalization of Chinese-­language cinema, gender and sexuality in Chinese media, and stardom and performance. Her monograph Jet Li: Chinese Masculinity and Transnational Film Stardom was published in 2012. She is commit- ted to promoting the exhibition and research of Chinese independent cin- ema in the UK. CHInESE CHARAcTER LISTS 1. Filmography 24 City, 二十四城记, Jia Zhangke, 2008 32+4, Chan Hau-Chun, 2014 American Dreams in China, 中国合伙人, Peter Chan, 2013 Anxious to Return, 归心似箭, Li Jun, 1979 Are You a Sportsman? 你是运动员吗? Yan Fei, 2008 August, Beijing, 八月, 北京, various, 2008 B420, Matthew Tang, 2005 Beautiful Life, 美好生活, Chan Ho-Lun, 2012 Beautiful Men, 人面桃花, Du Haibin, 2005 Behemoth, 悲兮魔兽, a.k.a. Dust, 尘, Zhao Liang, 2015 Bing’ai, 秉爱, Feng Yan, 2007 Bishonen, 美少年之恋, Yonfan, 1998 Black, 黑, Ke Chin-Yuan, 2013 A Black and White Milk Cow, 一只花奶牛, Yang Jin, 2005 Black Coal, Thin Ice, 白日焰火, Diao Yinan, 2014 Blind Shaft, 盲井, Li Yang, 2003 The Book of Gelagu, 格拉古之书, Hu Jie, 2013 Brave Father, 父亲, Li Junhu, 2007 Breeze of July, 七月好风, Stanley Tam, 2007 Bumming in Beijing, 流浪北京, Wu Wenguang, 1990 Buried, 掩埋, Wang Libo, 2009