Susan Lord holds a PhD from York University. She is Professor in the Department of Film and Media at Queen's University, jointly appointed to the Departments of Art and Gender Studies, and currently serving as the Director of the Graduate Program in Cultural Studies. She is the Director of the Vulnerable Media Lab. Her research interests have landed in the areas of cinema and media arts, archives, gendered spaces and the city, and Cuban cinema and visual culture. She has undertaken curatorial projects of media arts and worked with artists’ groups and artist-run centres for over 30 years. A new collaborative research project hosted at the Vulnerable Media Lab is dedicated to the social ecology of media arts collectives and collections, and to the preservation, migration and remediation of media arts archives by women, Indigenous peoples, LBGTQ2 and regional producers. She co-edited PUBLIC: Archive/Counter Archives, published in 2018. She has been working collaboratively on Cuban cinema and visual culture since the early 2000s. With Maria Caridad Cumana, she is co-editor of a collection of essays, interviews and documents about the Afro-Cuban filmmaker Sara Gómez is forthcoming in 2019 from University of Indiana Press. Her other international research initiative about Cuba includes a special issue of the journal PUBLIC: art, culture, ideas (2016; http://www.publicjournal.ca/issues) and an online database (launching in 2019) called Archives of the Future/Digital Havana, which holds over 2000 digital objects from the 1960s Havana. Hosted in the Vulnerable Media Lab, it will encourage users to remediate the archival materials through acts of translation, recontextualization, and historical elaboration. Other books include one on the visual culture of gender and violence-- Killing Women: Gender, Violence and Representation (with Annette Burfoot) Wilfrid Laurier University Press, 2006; and a collaborative project on the global 1960s, New World Coming: The Sixties and the Shaping of Global Consciousness (with K. Dubinsky, C. Krull, S. Mills, S. Rutherford) Between the Lines Press, 2009. She also published Fluid Screens: Expanded Cinema and Digital Cultures (with Janine Marchessault) Toronto: University of Toronto Press, 2007; Paperback edition 2008).
Professor Robinson is a Stó:lō scholar who holds the Canada Research Chair in Indigenous Arts at Queen’s University, located on the traditional lands of the Haudenosaunee and Anishinaabe peoples. His research has been supported by national and international fellowships at the Faculty of Music at the University of Toronto, in the Canadian Studies Program at the University of California Berkeley, the Indigeneity in the Contemporary World project at Royal Holloway University of London, and a Banting Postdoctoral fellowship in the First Nations Studies Program at the University of British Columbia.
From 2010-2013 Dylan led the SSHRC-funded “Aesthetics of Reconciliation” project with Dr. Keavy Martin that examined the role that the arts and Indigenous cultural practices played in the Truth and Reconciliation Commission on the Indian Residential Schools. This research led to a second collaborative project, “Creative Conciliation”, supported by a SSHRC Insight grant, to explore new artistic models that move beyond what many Indigenous scholars have identified as reconciliation’s political limitations.
Dr. Robinson’s current research project documents the history of contemporary Indigenous public art across North America, and questions how Indigenous rights and settler colonialism are embodied and spatialized in public space. Funded by the Canada Research Chair program, this project involves working with Indigenous artists and scholars to collaboratively imagine new forms of public engagement and create new public works that speak to Indigenous experience. Dr. Robinson is also an avid Halq'eméylem language learner. Yú:wqwlha kws t'í:lemtel te sqwá:ltset!
Freddy Monasterio is a Cuban-Canadian independent scholar and arts consultant based in Toronto, Ontario. He currently assists with the management of the creative agency Made With Pencil Crayons and produces, co-hosts and co-writes Cuban Serenade, a podcast series exploring the history of Cuban music in Canada. Freddy has produced and curated multiple concerts, showcases, DJ sets, festivals and arts events such as the Electric Circuits Festival of Electronic Music, Performance and Digital Arts (2018, Kingston, Ontario) and the Canada Spotlight initiative at Circulart 2020 (Medellin, Colombia). Some of his recent publications include the articles OKAN: Desnudando el Alma desde Toronto (2021, Magazine AM:PM) and Music Entrepreneurs in Contemporary Havana: The Children of Transition. (Forthcoming, Latin American Music Review, University of Texas Press).
Tamara de Szegheo Lang is Project Manager of the Vulnerable Media Lab, Postdoctoral Fellow in the Department of Film and Media, and affiliated with Cultural Studies and Gender Studies at Queen’s University. She holds a doctorate in Gender, Feminist, and Women’s Studies from York University, and has taught sexuality studies, gender studies, film, and visual culture at York, McMaster, Ryerson and Queen’s universities.
Dr. de Szegheo Lang’s research takes up queer history, community-based archives, visual culture, and the affective relationships between LGBT2Q people and the past. As part of the Vulnerable Media Lab, Dr. de Szegheo Lang works on the preservation, migration and remediation of audio-visual production in Canada, especially by marginalized communities including Indigenous peoples, women, and LGBTQ2 people. Her current research project, Digital Proximities: New Archival Relationships in Online Queer Audio-Visual Space, asks how the digitization of LGBT2Q audio-visual archival sites can create unexpected contexts for archival media, connections between media and broad audiences, and communities amongst online archives users.
Dr. de Szegheo Lang’s scholarly work has been presented internationally and published in the Journal of the Canadian Historical Association, the Journal of Lesbian Studies, and the Journal of Homosexuality. She is also active in curatorial and programming roles. She is currently a member of the programming committee for the Reelout Queer Film Festival in Kingston and a co-programmer of the Born in Frames Screening Series at Queen’s University. Dr. de Szegheo Lang was also curatorial committee co-chair of the Canadian Lesbian and Gay Archives, and was curator and project manager for the exhibit “U.S. Homophile Internationalism” on the digital history site, OutHistory.org.
My interest for cinema and films in general came from watching old black and white movies with my grandma on PBS on Sunday afternoons. Beyond these old Hollywood narratives, I have grown to love films stemming from all parts of the world. More recently, my research interests have been centered on Quebec cinema (intercultural collaborations), Indigenous films and poetry, road movies, transnational cinemas and oral practices of cinema.
I am also a member of the Vulnerable Media Lab at Queen’s and lead researcher for the Archive/Counter-Archive research project (financed by SSHRC) working with the Arnait Video Productions collective of Inuit women and with Québécois filmmaker Marie-Hélène Cousineau. I am co-director of the research group EPIC (esthétique et politique de l’image cinématographique) where we discuss the politics and aesthetics of screen images. My latest publications include a book chapter on the rock group U2 ( MacKenzie and Iversen, 2021) a book chapter on the exploration of Indigenous lands (Cahill and Caminati, 2020) an article on Indigenous women and testimonies (Canadian Journal of Film Studies, 2020) on Québécois cinema and Americanité (American Review of Canadian Studies, 2019) and a book chapter on Canadian and Québécois Indigenous cinemas (Oxford Handbook to Canadian Cinema, 2019). I am presently working on a project involving the creation of an international network for Indigenous women filmmakers, and continuing partnerships with the Wapikoni Mobile and the INAAC (the International Network for Aboriginal Audio-Visual Creation).
Besides my research, which I am very passionate about, I love to be outdoors, connecting with nature. I have studied medicinal plants and take every occasion I get to play outside; canoeing, hiking, skiing, camping, gardening. I also love writing poetry and teaching courses where I can develop a strong connection with my students.
Jenn E Norton is an interdisciplinary artist, as well as an Adjunct Lecturer and Post-Production Technician in Film & Media Studies at Queen’s University, Ontario. Often using video as a starting point within her process, Norton’s imaginative video compositions of disjunctive imagery are bound together in post-production, using a combination of pre-cinema and contemporary display technologies. Norton's recent animations and augmented reality apps draw upon her interest in the ways in which information is exchanged between animals, plants, and technology.
She is currently a Ph.D. candidate in Visual Arts at York University.
Ryan Randall is the Senior Technician and Adjunct Lecturer in the Department of Film & Media as well as the Technical Director of the Vulnerable Media Lab and an award winning cinematographer.
An Associate of the Canadian Society of Cinematographers for the past 15 years, he actively shoots commercials, documentaries, shorts, and media arts projects. Ryan is also engaged in higher education and preservation.
Works that Ryan has lensed have shown at Toronto International Film Festival, Montreal International Documentary Festival (RIDM), Sebastopol, Vancouver International Film Festival, Images Film Festival, Locarno International Film Festival, and DOXA Documentary Festival, amongst others.
Ryan’s recent work on Workhorse (Caines, 2020) won the 2021 Canadian Screen Award for Best Cinematography in a Feature Length Documentary and was nominated in the 2020 Canadian Society of Cinematographer Awards for the Robert Brooks Award for Documentary Long Format Cinematography
Rosaleen Hill is Director and Assistant Professor - Paper Conservation, Photographic Materials and New Media. Her research interests are broad and include a partnership with the Inuit Broadcasting Corporation in the development of training modules to support their digital preservation strategy. Additionally, She is an advisor to the Canadian Council of Archives in the development of a national preservation strategy for archival and new media. Rosaleen also has commitment to undertake research in conjunction with her graduate students. The first joint research project "Watercolour Pencils: Composition and Conservation Concerns” will be presented at AIC/CAC annual conference in 2016.
She has been a member of the Mellon Foundation grant review board for art conservation training grants and has served as an expert on the U.S. National Endowment for the Humanities (NEH) review for Preservation and Access Education and Training grants. Additionally, she is an active member of the Canadian Government Standard Board panel for the review of the Permanence of Paper Standard.
Prior to joining the Art Conservation Program she taught at the University of British Columbia’s School of Library and Archival Studies and at the University of Canberra in the Conservation of Cultural Materials Program.
Gabriel Menotti is Assistant Professor at Queen’s University, Ontario. Menotti also works as an independent curator in the field of media practices. He is the author of Movie Circuits: Curatorial Approaches to Cinema Technology (2019), and co-editor (with Virginia Crisp) of Practices of Projection: Histories and Technologies (2020) and Besides the Screen: Moving Images Through Distribution, Promotion and Curation(2015).
Mikhel Proulx is an art researcher who has curated exhibitions across Canada, Europe and the Middle East. He lives in Montreal, where he is coordinator of the Indigenous Digital Art Archive. He recently defended his dissertation—a study of network-based art and social practice in Canada—which was awarded a top thesis prize from Leonardo Journal. His research considers network culture from queer-feminist and settler-colonial perspectives, and has been recently presented at the Digital Humanities Summer Institute; the Archivists Round Table of Metropolitan New York; Goldsmith’s College, London; Yale University; and the New Museum of Contemporary Art, New York. His first monographic book, soon to be published with McGill-Queens University Press, considers representations of queer sexualities in Weimar Berlin performance cultures. In recent projects, he has collaborated with the artists Margaret Dragu, Skawennati, Peter Flemming, Vera Frenkel, Anna Banana, and Rita McKeough.
Barbara is a graduate student in the Cultural Studies program at Queen's University. Prior to this she completed her BA at Simon Fraser University in Visual Culture and Performance Studies. In academia her research has focused on film and media, theory and criticism and artists that investigate archives and museums. She is currently serving on the Board of Directors for Modern Fuel and has held various positions in galleries, artist-run centers and film festivals. Her thesis will explore questions of incarceration and abolition through the audiovisual archives of the P4W, a former women's prison site in Ka'tarokwi/Kingston, ON.
Arvin (Yanwen) Zhang is a MA student in Screen Cultures and Curatorial Studies at Queen’s
University. As a media art student researcher and creator, she has produced short films and still photos, some of which entered film festivals. Her work focuses on the use of technology in media. Arvin has been working with the VML on digitization and documentation of the Arnait archives, and she will continue to contribute to the projects.
deneige nadeau is a gutter philosopher, an angry dyke and an ivory tower terrorist. s_he recently returned to being an unruly university student in the Cultural Studies Program at Queen's University. As a first generation scholar/activist, s_he is a reluctant product of the academy: a proud dropout of the social justice institute at the University of British Columbia; holding at a distance an MA in Philosophy, Art and Critical Thought from the European Graduate School; and a BFA in Visual Art from Emily Carr University of Art + Design