Malcolm Andrews is Professor of Victorian and Visual Studies at the University of Kent, UK. He is the author of The Search for the Picturesque: Landscape Aesthetics and Tourism in Britain, 1760-1800 (Scolar Press, 1989) and Landscape and Western Art (OUP, 1999). He is the editor of the journal The Dickensian, and his most recent book is Charles Dickens and His Performing Selves: Dickens and the Public Readings (OUP, 2006).

Steven Ball is Research Fellow at the British Artists' Film and Video Study Collection at Central St Martins College of Art and Design, University of the Arts London, UK. He spent many years working in the film and video sector in Australia and is an artist, writer, and curator of screening programmes both there and in the UK.

Peter Bonnell is Curator of Exhibitions and Education at ArtSway in the New Forest, Hampshire, UK. He gained a BA in Fine Art from Liverpool John Moores University in 1995; an MFA in Art from the University of
Arkansas in 2002; and an MA in Curating Contemporary Art from the Royal College of Art in 2004. He has curated numerous exhibitions in the UK and the US, most recently Aggregate (by Jamie Shovlin); sugar-coated; New Forest Pavilion at the 52nd Venice Biennale (with Mark Segal); Multichannel (with Helen Sloan); and Just world order.

Eu Jin Chua is a PhD candidate and Commonwealth Scholar at the London Consortium, University of London. His doctoral research is on cinematic aesthetics and ecological thought. He has published in Postmodern Culture, The Bryn Mawr Review of Comparative Literature, and in various exhibition catalogues, and has curated a number of exhibitions in New Zealand, most notably for the New Zealand Film Archive.

Stuart Comer is Curator in Film and Video at Tate Modern in London, UK, and is responsible for a wide ranging programme of talks and screenings placing current cultural debates at the centre of the museum. He is the author of Film and Video Art (Tate Publishing, 2008).

Harry Darby is a recent graduate of the London College of Communication, UAL, UK, specialising in the moving image with an emphasis on landscape and with an interest in the history of landscape and moving image.

Catherine Elwes is Professor of Moving Image Art at Camberwell College of Arts, University of the Arts London, UK. She is an artist, writer, and curator, and author of Video Loupe (KT press, 2000) and Video Art, a guided tour (I.B.Tauris, 2005). She is currently researching Landscape and the Moving Image for Wallflower Press.

Dr. Stan Frankland. Having spent his formative years attending film school and doing various meaningless jobs on the fringe of the film industry, Dr. Frankland entered academia late in life. He gained his PhD from the University of London in 2002 and, ever since, has been a lecturer in Social Anthropology at the University of St Andrews in Scotland. At St Andrews, he teaches visual anthropology and has a particular concern with the use of art forms within the humanities. His current research interests cover a wide range of subjects that include the history of cinematic representations of the Other and the media mythologies of the
colonial and postcolonial eras. In particular, he focuses on Africa’s ‘Pygmy’ populations and their ongoing exclusion from modernity.

Ross Gibson is Professor of Contemporary Arts at the University of Sydney. As part of his research he makes books, films, and art installations and he encourages postgraduate students in similar pursuits. His recent works include the book Seven Versions of an Australian Badland (UQ Press, 2002), the video installation Street X-Rays (2004), the interactive audiovisual environment BYSTANDER (a collaboration with Kate Richards, 2004-2006) and the durational work Conversations II for the 2008 Biennale of Sydney.

Dr. Eric Hirsch is currently head of anthropology at Brunel University, UK. He has a long-standing interest in the anthropology and history of Melanesia and his current research there focuses on issues of historicity, landscape, power, and property relations. He has also conducted ethnographic research in Greater London examining the connections between new kinds of technologies and new social forms. He is the co-editor of The Anthropology of Landscape: Perspectives on Place and Space (Clarendon, 1995) and, among others, most recently of Knowing How to Know: Fieldwork and the Ethnographic Present (Berghahn, 2008).

Pat Hoffie is a visual artist who has worked extensively in the Asia-Pacific region. She is a regular contributor to arts journals and is a Professor at Queensland College of Art, Griffith University in Brisbane, Australia.

Mark Segal is the director of ArtSway, a centre of contemporary visual art set deep in the New Forest, UK. ArtSway hosts artists in residence and offers production facilities for artists and creative opportunities for audiences through a wide range of workshops and courses.

Dr. Danni Zuvela teaches Screen History and Australian Film at Griffith University, Australia. Her ongoing research examines the history of Australian film and video. Her curatorial and exhibition activities include the Brisbane and Melbourne International Film Festivals, and the artists’ collective OtherFilm.