Amanda Barbour is an award winning film critic and managing editor at Senses of Cinema. She also works in media for Senator Lidia Thorpe, Victoria’s first Indigenous Senator.
César Albarrán-Torres had two favourite films growing up: Cronenberg’s The Fly and Lynch’s The Elephant Man. He is lecturer in Media and Communication at Swinburne University of Technology (Melbourne), where he teaches Popular Culture of Asia and Global Screen Studies. He has been widely published in academic and non-academic titles as a film and literary critic, author and translator. He is the former editor of Cine PREMIERE magazine (Mexico) and the founding editor of Cine PREMIERE, the most widely read film website in the Spanish-speaking world. He researches on film, social media, television, politics and, weirdly, gambling. His book Digital Gambling: Theorizing Gamble-Play Media will be published by Routledge in May 2018.
Michelle Carey is a film programmer for the International Film Festival Rotterdam and program advisor to the New York Film Festival. She is the former artistic director of the Melbourne International Film Festival (2007-2018). She is co-founder of the Parenting at Film Festivals group and recipient of the 2017 Chevalier de l’ordre des arts et des lettres.
Fiona Villella is a Melbourne-based writer and teacher. She’s written for The Big Issue (Australia), ScreenHub and The Age and writes study guides for ATOM (Australian Teachers of Media). She is one of the founders of Senses of Cinema, and was heavily involved in its early days as editor and manager. Her favourite directors include Sally Potter, Chantal Akerman, Claire Denis, Alfred Hitchcock and Robert Bresson.
Daniel Fairfax is assistant professor in film studies at the Goethe-Universität Frankfurt, having completed his PhD in film studies and comparative literature at Yale University in 2017. His research focuses on French film theory in the post-1968 period, and for Amsterdam University Press he has been responsible for editing and translating Cinema Against Spectacle: Technique and Ideology by Jean-Louis Comolli (2015) and Conversations with Christian Metz: Selected Interviews on Film Theory (1970-1991) (2017, with Warren Buckland). His monograph The Red Years of Cahiers du cinéma (1968-1973) is forthcoming with Amsterdam University Press. Daniel also edited the inaugural Senses of Cinema book, 100 Years of Soviet Cinema (LedaTape, 2019).
Isabella McNeill is a Melbourne based academic and PhD candidate in Film and Screen Studies at Monash University, where her research focuses on screen culture and television criticism in a post-television landscape. Her writing has been published by Little White Lies, Peephole Journal, ScreenHub, and the Melbourne International Film Festival. She is Program Coordinator and committee member of the Melbourne Cinémathèque.
Guillermo Ignacio is an emerging Melbourne based filmmaker and warehouse worker. His work centres working class stories and depicts culturally and linguistically diverse communities. He’s a committee member of the Melbourne Cinémathèque and the Near Dark collective.
Ruth Richards is an early career research whose PhD explored intersections of feminism and animation. She currently teaches at RMIT University in cinema studies, popular culture and television studies courses.
Varun Sanjeev Kalia
Varun is currently working as a Technical Consultant at an HR Tech company and has a special interest in Cyber Security and Front-end development. His favourite directors are Steven Spielberg, Francis Ford Coppola, Martin Scorsese and Christopher Nolan. He has a passion for cinema, sports and technology.
Jacob is a sound designer and film composer. They are a committee member of the Melbourne Cinematheque and co-direct the Melbourne Overlooked Film Festival.
Tessa Dwyer (President)
Tessa is Lecturer in Film and Screen Studies at Monash University. Her research focuses on screen media and language difference. Her monograph Speaking in Subtitles was published by Edinburgh University Press in 2017. Tessa is co-editor (with Claire Perkins, Sean Redmond and Jodi Sita) of Seeing into Screens: Eye Tracking the Moving Image for Bloomsbury 2018 and former director of the Centre for Contemporary Photography, Melbourne.
Kirsten Stevens (Vice-President)
Kirsten Stevens is Lecturer in Arts and Cultural Management at the University of Melbourne School of Culture and Communication. Her research specialises in examining film festivals and their operation as national, transnational, institutional, cultural and aesthetic events. She has a background in screen and media studies and is the author of Australian Film Festivals: Audience, Place and Exhibition Culture (Palgrave Macmillan 2016), the first book to offer an in-depth examination of the history, operation, and growth of film festivals as a cultural phenomenon within Australia.
Jane Carracher (Treasurer)
Jane is currently Finance and Membership manager at the Australian Film Institute | Australian Academy of Cinema and Television Arts. Jane joined the AFI in early 2006 as Finance Assistant and has since progressed her role to manage both finance and membership for AFI | AACTA, and is its longest-serving employee. Jane has a Bachelor of Business (Electronic Commerce) and has always had a keen interest in all things film.
Djoymi Baker (Secretary)
Djoymi Baker is a film scholar and Lecturer in Cinema Studies at RMIT University. With a background in television, she writes on topics such as streaming, genre studies, fandom and myth in popular culture. Djoymi is the author of To Boldly Go: Marketing the Myth of Star Trek (I.B. Tauris 2018) and the co-author of The Encyclopedia of Epic Films (Rowman & Littlefield 2014).
Stuart Richards is Lecturer in Screen Studies at the University of South Australia. His research lies at the intersection of Australian film and television, screen-based creative industries, and queer screen media. His monograph, The Queer Film Festival: Popcorn & Politics (2017) was published as part of Palgrave Macmillan’s ‘Framing Film Festivals’ series.
Alexia Kannas is Lecturer in the School of Media and Communication at RMIT University, where she teaches courses in Cinema Studies. Her research interests include cult and alternative cinemas, cinematic modernism, cross-cultural reception,and music and sound in film and television. She is the author of Deep Red (Columbia University Press/Wallflower, 2017) and GIALLO!: Genre, Modernity and Detection in Italian Horror Cinema (SUNY, forthcoming 2020). In 2017 she was the recipient (with Dr Stephen Gaunson) of a Citation for Outstanding Contribution to Student Learning at the Australian Awards for University Teaching. Alexia is co-director of the Screen & Sound Cultures Research Group at RMIT.
Mark has been Managing Director of independent film distribution company Potential Films since he established it in 1989. He was also co-founder of classics film distributor Chapel Distribution (1998-2015). He has extensive experience working for other distributors and managing several Melbourne independent cinemas between 1985- 2003. Mark has been a Senses of Cinema Committee Member since 2012, including three years as Treasurer. He has also been a Judge for the ATOM Awards (2014/15) and a Jury member at the Mannheim-Heidelberg International Film Festival.
Eloise is an academic with a PhD in film studies, and is co-programmer and President of the Melbourne Cinémathèque.
Volunteers and Interns
Senses of Cinema receives assistance from many volunteers and interns throughout the year. A huge thank you to Caitlin Johnson, Jarryd Brand, Belinda Goldman, Jasmine Moody, Mathilde Wennevold, Kiri Sullivan, Joanna Batsakis, Tess McArthur-Dowty, Stephanie Donaldson, Sian Mann and Harry McCallum.