Joram ten Brink – Academic Director
Prof. Joram ten Brink has worked as a director writer and producer of film and TV in the UK, Holland, Israel, Austria and other European countries. His films and videos have been shown internationally on broadcast television and at major film festivals, film venues and galleries, including MOMA, The German Cinematheque, The Dutch National Film Archive and Image Forum, Tokyo. Joram is member of the AHRC peer review college and of the ScreenWork/Journal of Media Practice editorial group. He edited Building Bridges- the cinema of Jean Rouch for Wallflower Press in 2007. His most recent co-edited book, ‘Killer Images – Documentary Film, Memory and the Performance of Violence’ is published by Wallflower Press (2012). He is a Producer and Executive producer of the film The Act of Killing.
Joshua Oppenheimer – Artistic Director
Dr. Joshua Oppenheimer is a filmmaker based in London and Copenhagen. His work includes The Act of Killing (2012), The Globalization Tapes (2003), The Entire History of the Louisiana Purchase (1998, Gold Hugo, Chicago Film Festival), These Places We’ve Learned to Call Home (1996, Gold Spire, San Francisco Film Festival). Oppenheimer is a founding member of the filmmaking collaboration, Vision Machine. With Vision Machine, he worked for over a decade with militias, death squads and their victims to explore the relationship between political violence and the public imagination. Oppenheimer was a a Senior Researcher on the Arts and Humanities Research Council’s Genocide and Genre project at the University of Westminster. He is the co-editor of ‘Acting on AIDS: sex, drugs and politics’ (Serpent’s Tail, 1997) and of ‘Killer Images – Documentary Film, Memory and the Performance of Violence’ Wallflower Press, 2012).
May Adadol Ingawanij – Research Director
Dr. May Adadol Ingawanij’s research and teaching areas cover cinema history, Asian cinema (focusing on experimental, independent and artists cinemas in Southeast Asia), theories of spectatorship, independent and experimental moving image aesthetics, cinema and politics, moving image curating, and radical practices of moving image exhibition. As a curator she directed the 2012 Bangkok Experimental Film Festival and in 2009 she co-organised the Lav Diaz retrospective in Bangkok. May’s latest book is Glimpses of Freedom: Independent Cinema in Southeast Asia (Ithaca, NY: Cornell University Southeast Asia Program Publications, 2012). Her article ‘Animism and the Performative Realist Cinema of Apichatpong Weerasethakul’ appears in the book Screening Nature: Cinema Beyond the Human, Anat Pick and Guinevere Narraway, eds. (Oxford: Berghahn, 2013). She is writing a book on cinema as improvisatory live performance in Siam/Thailand during the Cold War. She also writes widely for multi-lingual cinephile print and online publications.
Adina Bradeanu – Web and Project Consultant
Adina Bradeanu is completing a Ph.D. in Documentary Film Studies while teaching for the BA in Contemporary Media Practice and researching an interactive documentary project. A member of FIPRESCI, she contributed to publications such as Sight & Sound, Third Text, Kinokultura, DOX (European Documentary Network), and served in international documentary film juries for a number of festivals such as DOK Leipzig, MIFF Mumbai and Thessaloniki Doc. She has authored chapters in Women, Words, Images: Feminist Perspectives (Femei, cuvinte si imagini: Perspective feministe, POLIROM, 2002) and The Cinema of the Balkans: 24 Frames (Wallflower Press, 2006). Adina has curated or contributed to a number of film-related events, mainly on Eastern and Central European documentary cinema. She currently co-programmes the Human Rights Documentary Film Festival One World Romania.
Peter Dukes’ practice encompasses gallery and web-delivered moving image and interactive media art. His current interests are in investigating new forms of interactive documentary, and also the potential of mobile and location-aware media. Peter Dukes is the Course Leader for the BA in Contemporary Media Practice at the University of Westminster.
Uriel Orlow’s research and art-practice explores blind spots of representation and investigates the spatial and pictorial conditions of history and memory. He works across media in video, photography, sound and drawing and creates modular, multi-media installations that bring archival research and different image-regimes and narrative modes into correspondence. Orlow’s work has been included in exhibitions and film-festivals internationally and is represented in private and public collections. Reviews include Frieze, Art Monthly, Art in America, Flash Art. See also http://www.urielorlow.net.
Professor Rosie Thomas is Director of the Centre for Research and Education in Arts and Media (CREAM) and co-director of the India Media Centre. Originally trained as a social anthropologist at the London School of Economics, Rosie Thomas did her first fieldwork in the Bombay film industry in the early 1980s. Rosie is a pioneer of the academic study of popular Indian cinema and has published widely on Indian cinema, contributing to numerous books and journals. Throughout the 1990s Rosie made programmes for UK’s Channel Four television on a range of subject matters, from health and mental health issues to South Asian politics, arts and culture. She is co-founder and co-editor of the international Sage journal BioScope: South Asian Screen Studies, a forum for new research on the history and theory of South Asian film, screen-based arts and new media screen cultures. Her new monograph ‘Bombay before Bollywood: Film City Fantasies’ has been published by Orient BlackSwan in November 2013.
Jane Thorburn is Principal Lecturer and Course Leader for BA Television Production and a member of the Centre for Research and Education in Arts and Media (CREAM) at the University of Westminster. She has been researching the Nigerian Film and Video industry for the last five years and has made six documentaries in Nigeria. She co-founded the production company AFTER IMAGE in 1979, directing, editing and series editing the majority of the company’s productions. An early success was the Arts Magazine programme ALTER IMAGE which ran for three series on Channel 4. The programmes received a number of international awards as well as having seasons devoted to the company’s work at the Pompidou Centre in Paris. In 1989 THE GREATEST SHOW ON EARTH was the official entry of Channel 4 to the Montreux Television festival. The After Image production THE EMPRESS won the Royal Television Society best production design award and a special mention at the prestigious IMZ Opera Screen. Other productions include THE SCORE, a classical music magazine series for BBC2, CAMERAan opera written specially for television, 2 documentaries for the Discovery Channel, and several performance collaborations commissioned be the Arts Council, Channel 4 and BBC2. Recently she has completed several documentaries and a drama including JOY, IT’S NINA shot in the UK and Nigeria, which is currently screening in several festivals around the world. Full details of Television and Movie credits can be found on http://www.janethorburn.co.uk/?
John Wyver is a writer and historian of television, and a producer with the media company Illuminations, which he co-founded in 1982. His recent projects with Illuminations include co-producing the BBC Two film of the Royal Shakespeare Company’s Hamlet (2009), with David Tennant, and a forthcoming film of Macbeth with Patrick Stewart. He has written extensively on the history of the arts on British television and he is currently involved in exploring the ways in which theatre plays have been presented in broadcast contexts. John is currently conducting a three-year research project – Screen Plays: Theatre Plays on British Television, funded by the AHRC. See also http://www.illuminationsmedia.co.uk