Dr Nixon is Assistant Professor in the New Media Technology group at the MODUL University Vienna since 1st June 2014. Previously, since October 2013, he was working in the group as Senior Researcher.
He is responsible for the EU projects LinkedTV (www.linkedtv.eu) – as Scientific Coordinator – and MediaMixer (www.mediamixer.eu) – as Project Coordinator. He also teaches (Information Systems, Audiovisual Web, Media Asset Management and Re-use) and works on acquiring new research projects.
His research domain is semantic technology and multimedia, with a focus on automated media interlinking and the creation of interactive media experiences (hypermedia).”
Lotte Belice Baltussen
Lotte Belice Baltussen (1981) is a project manager at the Research & Development department at the Netherlands Institute for Sound and Vision. She is involved in a myriad of national and international collaborative cultural heritage projects in which innovation is the key component. From Linked Open Data projects to analysis of crowdsourced metadata, and from linking cultural datasets to executing user studies on innovative search interfaces. Lotte’s academic background is Film Studies and the specialised master’s programme Preservation and Presentation of the Moving Image.
Karen Vander Plaetse
Karen Vander Plaetse has been the marketing and interaction manager of VIAA (The Flemish Institute for Archiving) since 2013. VIAA has the objective to make archive material – from broadcasters and cultural heritage institutions – accessible for education, through libraries and for research. Karen is a historian with an MBA in marketing (Vlerick business school, Ghent) and worked in the advertising industry for 5 years, spent 7 years at the communications and marketing department of Mobistar as a direct marketing specialist, loyalty manager, customer lifetime manager and strategic marketing manager. Between 2004 and 2011, Karen was the marketing manager of Arts Centre Vooruit and in this capacity she was involved in the ‘Arts Center of the Future’ project. In 2011 she founded ‘Yesplan’ with some colleagues of Vooruit. ‘Yesplan’ produces planning software for (cultural) events.
Rebekah Polding has a background in audience development for cinemas and festivals. For the past five years she has worked for Film London to lead and develop London’s Screen Archives, a ‘virtual archive’ that brings together over 100 of the capital’s public institutions to preserve and share London’s heritage film collections. Rebekah has a doctorate in literature from Cambridge University, two small children, and a range of additional consultancy roles across the UK film and heritage sectors.
Daniela Treveri Gennari
Daniela Treveri Gennari is Reader in Film Studies. She works on post-war Italian cinema and her particular interests are audiences and popular cinema as well as the collaboration between Catholics and Left wing intellectuals, and the Americanization of Italian cinema between 1945 and 1960. Her publications include, among others, her monograph Post-war Italian Cinema. American Intervention, Vatican Interests (Routledge, New York, 2009), the edited volume (with Daniel Biltereyst) Moralizing cinema: Film, Catholicism and Power (Routledge, New York, forthcoming 2014), the article ‘If you have seen it, you cannot forget!’: Film consumption and memories of cinema-going in 1950s Rome, Historical Journal of Film, Radio and Television (2014). Daniela has recently been working on a project on spectatorship in post-war Rome as part of her successful British Academy Mid-Career Fellowship. Moreover, her research on audiences in British cinemas has been published in the volume The Phoenix Picturehouse. 100 years of Oxford Cinema Memories (London: Picturehouse Publications, 2013) written with Deborah Allison and Hiu M. Chan.
Mark Williams received both of his graduate degrees in Critical Studies from The School of Cinema-Television at The University of Southern California. He has previously taught at USC, Loyola Marymount, UC Santa Barbara, and Northwestern. His courses at Dartmouth include surveys of U.S. and international film history, television history and theory, and new media history and theory. He has published in a variety of journals and anthologies, including Télévision: le moment expérimental (1935-1955); Convergence Media History; New Media: Theories and Practices of Digitextuality; Collecting Visible Evidence; Dietrich Icon; Television, History, and American culture: Feminist Critical Essays; and Living Color: Race, Feminism, and Television. He directed the Leslie Center Humanities Institute entitled Cyber-Disciplinarity. In conjunction with the Dartmouth College Library, he is the founding editor of an e-journal, The Journal of e-Media Studies. With Adrian Randolph, he co-edits the book series Interfaces: Studies in Visual Culture for the University Press of New England. With Michael Casey, he received an NEH Digital Humanities Start-Up Grant. He recently received an award for Scholarly Innovation and Advancement at Dartmouth.
Michał Merczyński (Poland) is a culture animator, producer, art manager and director of many cultural institutions and festivals including: the Polish Film Institute, Rozmaitości Theatre, Henryk Wieniawski Musical Society and Tzadik Poznań Festival, the Nostalgia Festival, Festival of Dialogue of Four Cultures. He has been a director of the MALTA International Theatre Festival since 1991. And since 2005, he has been a director of the National Audiovisual Institute (NInA) – an institution created by the Ministry of Culture in Poland. In 2011 he was the head of the Cultural Programme of the Polish EU Presidency, as well as the European Culture Congress.
Katja Bargum works as a producer at the Archives of the Finnish Broadcasting Company, Yle. Yle is Finland’s public broadcaster and holds a large audiovisual archive containing some 350 000 TV programmes, over a million audio files and photographs as well as some 600 000 music recordings. Katja works with opening up the collections to the public, mainly via the Internet.
Katja gained her PhD in biology, after which she has pursued a career in communications and media. She has worked as a journal editor and popular science writer as well as a TV and radio journalist. Katja holds the position as vice-chair for Committee for Public Information in Finland.
Kay Macquarrie (M.A.) has worked as a journalist and project manager in the media for more than a decade. He has been involved in the management of EU co-funded R&D projects since 2005, when he started his first EU project based on his master’s thesis on interactive cultural learning environments. In 2009, Kay joined Deutsche Welle’s New Media team and counselled various media activities including the multimedia project future now. He gained special knowledge in the creation of highly usable and accessible websites and always keeps an eye on trends and tools that shape the future of journalism. Currently, Kay is project leader of AXES (www.axes-project.eu), that develops innovative tools for searching and exploring digital archives and he also is active in ORBIT (www.orbitproject.eu), a project focussing on business continuity through cloud services.
Lora Aroyo is an associate professor at the Web & Media Group, Department of Computer Science, VU University Amsterdam, The Netherlands. Her research work is focused on semantic technologies for modeling user and context for recommendation systems and personalized access of online multimedia collections, e.g. cultural heritage collections, multimedia archives and interactive TV. She was a scientific coordinator of the NoTube project, dealing with the integration of Web and TV data with the help of semantics, and a number of nationally funded projects, such as CHIP and Agora, dealing with modelling events and event narratives. Currently involved in SealincMedia: Socially-Enriched Accessed to Linked Cultural Media (sealincmedia.wordpress.com) and ViSTA-TV: Linked Open Data, Statistics and Recommendations for Live TV (vista-tv.eu) projects. She has been co-chair of numerous workshops on crowdsourcing, social web and cultural heritage. Lora is actively involved in the Semantic Web community as a program chair for the European and the International Semantic Web Conferences in 2009 and 2011, as conference chair for the ESWC 2010 Conference, and the editorial board of the Semantic Web Journal. She is also actively involved in the Personalization and User modeling community as vice-president of the User Modeling Inc., and the editorial board of the Journal of Human-Computer Studies and the User Modeling and User-Adapted Interaction Journal. In 2012 and 2013 she won IBM Faculty Awards for her work on CrowdTruth: Crowdsourcing for ground truth data collection for adapting IBM Watson system to medical domain (crowdtruth.org/home).
For more info: web: lora-aroyo.org, twitter: @laroyo and slideshare: www.slideshare.net/laroyo
After graduating from ESRA, Laurent Duret began his professional career as a documentary director and production manager for Agat Films/ex Nihilo, Les Films d’Ici, Les Films à Lou, Image & Cie, Idéale Audience and Cargo Films among others.
In 1998 he obtained a scriptwriting grant from the Hachette Foundation and won the Emergence prize in 1999.
Since 2007 he has produced or co-produced numerous documentaries for Les Films d’Ici including Turn Me On by Marc Huraux and Banana Kids by Xiaoxing Cheng (2007), Astroboy in Roboland by Marc Caro (2008), The Wild Life of Domestic Animals by Dominique Garing (2009), Lhamo, The Little Himalayan Girl by Djana Schmidt, Hip-Hop, The World Is Yours by Joshua Little Atesh (2010) and The Great War Diaries by Jan Peter, an 8×52’ docudrama series.
He is also a partner in the new company Les Films d’Ici | 2 and produces several 360 projects as garedunord.net, 1914dernieresnouvelles.arte.tv, Nestlé, an empire on my plate, and an app I can’t wait.
Kamila Lewandowska, Ph. D., is a communication specialist at EUscreenXL, where she is responsible for online communication and portal development, as a member of the Online Communication Task Force. Kamila is also a Professor of cultural policies and economics at the National Academy of Dramatic Art and the University of Social Sciences and Humanities in Warsaw. She earned her Ph.D. from Poznan University of Economics in 2014. In her research she focuses on arts and business relations in the context of European cultural policies. Kamila worked for the European Commission in Brussels as a communication specialist, as well as for Interarts, an agency based in Barcelona, the aim of which is to advise in the design of cultural policies. Her experience includes working as an expert for public sector institutions, e.g. Polish Ministry of Culture and National Heritage, as well as private consultancies, e.g. Deloitte. Additionally, she has experience in the field of internet services, working as a Brand Manager for a Polish start-up company.
Sian Barber is a lecturer in Film Studies at Queen’s University, Belfast. She is the author of Censoring the 1970s: The BBFC and the Decade that Taste Forgot (2011) and The British Film Industry in the 1970s: Capital, Culture and Creativity (2013). She has been involved with a range of digital and archive projects including the Chronicle database with BUFVC and BBC Northern Ireland, and the development of BUFVC guidelines for Audio-Visual citation. She has been part of the EUscreen project since 2010 and during this time helped to deliver the curated ‘virtual exhibitions.’ Within EUscreenXL she is part of a task force with a brief to improve and develop the interactivity, design interface and user engagement aspects of the portal.
Mariana Salgado is a design researcher. She works as postdoctoral researcher in Arki Research Group, Media Lab, Media, School of Art, Design and Architecture, Aalto University. Her interests are in participatory design approaches and inclusive solutions that weave new media into cultural sites. She has been involved in discussions in relation to open cultural heritage, and social inclusion. Her design practice is about co-designing digital services with special interest communities. Previously, she worked as the Head of a Master in Business Administration in User Centered Design, in Laurea University of Applied Sciences in Finland. From 2001-2009 she has been collaborating with museums and other cultural organizations in the design of interactive pieces that allow participatory practices.
Andreas Fickers is professor of contemporary and digital history at the University of Luxembourg. He is Deputy Head of the Institute of History and Head of the Laboratory for Digital History at the Faculty of Language and Literature, Humanities, Arts and Education. He teaches contemporary history – with a focus on European history of culture, technology and media – in the trilingual (German, French, English) BA program on “Cultures Européennes” and in the trilingual MA program on “European History”. He is involved in major European research networks (“Tensions of Europe Network”; “European Television History Network”) and coordinates several research projects. He was president of the German Society for the History of Medicine, Science and Technology (2010-2012) and is currently co-editor in chief of the online journal “VIEW – Journal of European Television History and Culture.
Erwin Verbruggen has worked at the Netherlands Institute of Sound and Vision since 2009, where he assisted on cataloguing, film preparation and digitization issues. As of 2011, he’s been employed at the department for research and development, where he works on a range of local and international projects that involve search retrieval, access and research into digitisation processes. For the EUscreen project, he is responsible for the network activities.
Rutger Rozendal started working at Noterik in 2003 when he became responsible for the coordination of webcast services. Since 2009 Rutger is the linking pin between requirements from the market and our general product development.
Willemien Sanders is an assistant professor at the Institute for Cultural Inquiry (ICON) and the Department of Media and Culture Studies at Utrecht University, the Netherlands. She obtained a Master in Film and Television Studies at Utrecht University and combined working for the International Documentary Filmfestival Amsterdam with extensive travels around the globe. She worked for various cultural organizations before embarking on her PhD project, which she completed in 2012. Willemien’s dissertation is on documentary filmmaking and ethics. In her thesis, Participatory spaces. Negotiating cooperation and conflict in documentary project, she argues that while participants and filmmakers are co-creators committed to the documentary project, conflict functions to safeguard their respective interests. Willemien is currently involved in two research projects. EUscreenXL further develops the portal www.euscreen.eu, which makes archive material from European public broadcasters available to surf, search, and create with. SiFTI investigates production cultures in successful private film and television production companies in Norway, Denmark, the United Kingdom, and the Netherlands. Willemien furthermore teaches production studies and tutors MA theses. Willemien is an advisor to the Dutch Cultural Media Fund and co-chair of the Media Production Analysis Working Group of IAMCR. willemiens.wordpress.com
Berber Hagedoorn, MA is a lecturer and PhD candidate in Media and Culture Studies at Utrecht University, the Netherlands. She is currently working as a researcher for the project ‘EUscreenXL, Discover Europe’s Television Heritage’ and is writing a dissertation on the topic of ‘Repurposing Television’s Past: Re-screening, History and Memory in the Multi-Platform Era’. Hagedoorn researches multi-platform television, trans-media storytelling, cultural memory and the re-use of archival footage in a variety of media platforms, particularly documentary and historical programming. Hagedoorn is a member of the European Television History Network, Utrecht University’s Centre for Television in Transition, Vereniging Geschiedenis, Beeld en Geluid (The Association of History, Image and Sound) and the RMeS Research school for Media Studies. She has published in amongst others in the academic journals Studies in Documentary Film, Rundfunk und Geschichte and Tijdschrift voor Mediageschiedenis (Journal of Media History) and together with Jérôme Bourdon guest-edited the third issue of VIEW: Journal of European Television History and Culture (2013), a special issue on European Television Memories (http://viewjournal.eu).
Sonja de Leeuw
Sonja de Leeuw is Professor at the Department of Media and Culture Studies at Utrecht University, the Netherlands. Her research and teaching interests are Dutch television culture in an international context (both history and theory, genres and productions practices), European television archival practices and Digital Humanities. She published on television culture in the broadest sense, on diasporic media and on children’s media. Sonja de Leeuw participated in the EU funded research project CHICAM, Children in Communication about Migration (2001-2004) and coordinated the EU funded projects Video Active, Creating Access to Europe’s Television Heritage (2006-2009) and EUscreen, Exploring Europe’s Television Heritage in Changing Contexts (October 2009-2012). She co-founded and coordinates the European Television History Network (with prof. dr. A. Fickers, University of Luxembourg) and is co-founder and co-editor in chief of the e-journal VIEW. Journal of European television history and culture, released in March 2012. She is also involved in research projects in the field of Digital Humanities.
Marco Rendina is a Project manager and IT specialist. Since 1996, he is collaborating with Istituto Luce Cinecittà (and other leading Italian audiovisual institutions, including Cineteca Nazionale), where he followed the development and realization of various digitization and applied research projects. In Istituto Luce he has followed several EU co-funded projects like ECHO, Video Active, European Film Gateway, EUscreen, EUscreenXL, Europeana Cloud, Europeana Space and Presto4U. He is actually member of the Italian Organization for Standardization Working Group on Cinematographic Works (UNI GL6) and deputy member for Italy of the European Committee for Standardization – Technical Committee (CEN/TC 372) on Cinematographic Works, where he has been one of the editors of the EN 15907 standard on “Film identification – Enhancing interoperability of metadata – Element sets and structure”.
Gunnar Liestøl is professor at the Department of media and Communication, University of Oslo. He as authored and edited numerous books and articles on rhetoric, narrativity and digital design, among them Digital Media Revisited (MIT Press 2004). He has a two decade long track record of digital design for various platforms, starting with early hypermedia systems for for museums, cd and the Web, such as the award–winning Interactive Kon-Tiki (1995). Liestøl focuses on critical construction as a combination of practical and theoretical experiments based in and informed by humanistic disciplines and competencies. For the past several years he has been exploring the fields of mobility, locative media and indirect augmented reality for simulation of past and future environments in situ – see <www.sitsim.no>. Several of these simulations have been publised as mobile apps, such as the Roman Forum, and are available for free download (Apple’s App Store and Google Play).
Silvia Dibeltulo has obtained a PhD in Film Studies from Trinity College Dublin, as part of the Texts, Contexts, Cultures programme funded by the Trinity Long Room Hub. Her dissertation, Hyphenated Identities: Irish- and Italian-American Gangsters in Hollywood Cinema, was a comparative study of cinematic representations of Irish-Americans and Italian-Americans in Hollywood gangster film. Her research mainly focuses on the representation of identity on screen, specifically in terms of ethnicity, race, nationality, gender and culture, as well as including interests in reception and digital culture. Her work also centres on film genre theory and history. She was the co-organizer of the Genres in Transit: Re-Thinking Genre in Contemporary Cinemas conference (Trinity College Dublin, April 2012) and is currently co-editing a book on genre filmmaking in contemporary cinema, while also working on several projects emerging from her doctoral research.
Sarah Culhane is a PhD candidate in Italian studies at the University of Bristol. She is currently researching the representation and reception of female stars, active in Italian cinema in the 1940s and 1950s. Her research looks at questions of gender, genre and national identity. She holds a degree in Italian and Film Studies from Trinity College Dublin (2010) and a Masters in Italian Studies from University College Dublin (2013).
Rob Turnock has been involved in researching, curating and writing about film and television culture for over twenty years, and has worked in a range of institutions including the British Council, the British Film Institute, the BBC and the University of London. He is currently a member of the EUscreenXL Project Management Board, with special interest in content selection, business models and the development of a number of pilot initiatives. Prior to this he was work package leader for content selection, metadata and content delivery in EUscreen (2009-12) and for content selection in Video Active (2006-09). He is the author of Television and Consumer Culture: Britain and the Transformation of Modernity (2007, I.B. Tauris) and Interpreting Diana: Television Audiences and the Death of a Princess (2000, BFI Publishing), and is also co-editor (with Catherine Johnson) of ITV Cultures: Independent Television Over Fifty Years (2005, Open University Press). He is based in the Department of Media Arts, Royal Holloway, University of London.
Eggo Müller is Professor of Media and Communication and director of educaton at the Deaprtment of Media and Culture Studies, Utrecht University. He is co-director of Utrecht University’s Centre of Television in Transition and leads the EU-fundend project EUscreenXL, a cooperation of 32 European television archives, software developers and universities to make European audiovisual heritage accessible online. His research and teaching centers on the history and the transformation of television, on popular culture, media entertainment and participatory cultures in the digital media environment. He is involved in two projects researching and designing innovative business models in the vast transforming media landscape: The Future Now, a Dutch consortium lead by Utrecht’s CrossMediaLab; and SiFTI, a European consortium lead by Lillehammer University College.
Roger Felber have been in business, as CEO of media, manufacturing and financial service companies for nearly 40 years. Several have been privately owned, some with the support of institutional equity and also quoted on the London and US Stock Exchanges. My first involvement with the Media business was in the mid 1980s when as a result my company being involved in the logistics of distribution into retailers of recorded music and videos for the major music labels and film companies, we ventured further, into actual creation and ownership of content. This was because we had developed a large natural customer base since we were altready handling the physical distribution, as wholesalers, for the major companies in these fields. One of the by-products of this was in 1988 we purchased British Pathé. In 1991 our Group was demerged and the entertainment division was split up and British Pathé was sold to the UK Publishing Group, The Daily Mail. Early in 2008, I learned The Daily Mail was selling their many and diverse non core assets, including British Pathé and I negotiated the purchase of the business, for the second time in 20 years.
Linda Kaye is Head of Research at the British Universities Film & Video Council. She is responsible for projects and research as well as curating the British newsreel resource, News on Screen. Her work on British government cinemagazines has been published in the Historical Journal of Film, Radio and Television and she has co-edited, with Emily Crosby, ‘Projecting Britain: The Guide to British Cinemagazines’ (London: BUFVC, 2008). She has contributed to radio and television programmes including the documentary series The Story of British Pathe (BBC4).