Karen Beckman
Karen Beckman is the Elliot and Roslyn Jaffe Associate Professor of Film Studies in the department of the History of Art, and she is also the director of the program in Cinema Studies. She completed her BA in English at Cambridge University and her Ph.D in English at Princeton University. Her book, Vanishing Women: Magic, Film and Feminism (Duke UP, 2003), examines the relationship between the elusive female body and the medium of film. She is currently completing a book about car crashes and film that includes chapters on early cinema, slapstick comedy, educational safety films, Warhol, and contemporary disaster films (forthcoming, Duke UP). She is co-editor of two volumes: Still Moving: Between Cinema and Photography with Jean Ma (Duke UP, September 2008) and Picture This! Photography and Literature with Liliane Weissberg. She has published articles on a range of subjects, including feminism and terrorism, death penalty photography, pop art and literature, and the relationship between cinema and contemporary art. She is also one of the senior editors of the journal Grey Room. Courses taught include: Introduction to Film Theory (CINE 103), Film Theory (ARTH 593), Cinema and Photography (ARTH 793; CINE 392), Race, Sex and Gender in Early Cinema (ARTH 793), Women and Film (CINE 208), FIlm History (CINE 101), The Road Movie (ARTH 291), and Issues in Contemporary Art and the Art of Curating. She is a member of graduate groups in the departments of German and English, and is an affiliated faculty member of Women's Studies, the Alice Paul Center for Research on Women, Gender and Sexuality, and the LGBT center.

Timothy Corrigan
Timothy Corrigan is a Professor of English and Cinema Studies at Penn. His work in film studies has focused on modern American and international cinema, as well as pedagogy and film. Books include New German Film: The Displaced Image;The Films of Werner Herzog: Between Mirage and History; Writing about Film, A Cinema without Walls: Movies and Culture after Vietnam; Film and Literature: An Introduction and Reader; The Film Experience (co-authored with Patricia White). He is presently concluding research on a book-length study entitled The Essay Film, which examines the films of such filmmakers a Chris Marker, Derek Jarman, and Trinh T. Minh-Ha. He has taught film at the University of Amsterdam, Temple University, University of Iowa, and at campuses in Tokyo, Rome, Paris, and London. He regularly teaches both introductory courses in Cinema Studies, as well as more advanced seminars.

Peter Decherney
Peter Decherney is Assistant Professor of Cinema Studies and English. He received his Ph.D. in Cinema Studies from New York University. He specializes in film and media history, with a focus on media institutions, law, and policy. His first book, Hollywood and the Culture Elite: How the Movies Became American (Columbia UP, 2005), uncovers and examines collaborations between Hollywood and universities, museums, and government agencies from World War I to the Cold War. He has published articles on range of topics including the history of film copyright, movie theater design, the early discipline of film studies, and fair use and academia. He is working on a new book on the history and future of Hollywood and copyright law. His recent courses include: The Hollywood Film Industry, Copyright and Culture, Film History, Digital Cinema and New Media, Internet Policy and Culture, and Media Theory.

Meta Mazaj
Meta Mazaj received her Ph.D. in English from Temple University, with a specialization in film and critical theory. She has previously taught at Bryn Mawr College. Her teaching and research interests include the relationship between film and nationalism, transnationalism, contemporary international film, national cinemas, and the poetics of cinema. She is currently working on a book that examines the relationship between nationalism and post 1990s Balkan cinema.

Ellen Scott
Ellen Scott is a Mellon Post-Doctoral Fellow at the University of Pennsylvania in the Department of Cinema Studies. Her research is on the cultural meanings and reverberations of film in African American communities and her current work is on the dialogical historical intersections between Black film reception and the censorship of films with racial themes during the 1940s and 1950s. Her research and teaching intersts include African American cultural history, film theory, American film history, sound theory, the history of film censorship, and cultural studies.