Ivana Bentes is a professor and researcher at the Post-Graduate Program in Communications at UFRJ. She works on aesthetics, the theory of communication, contemporary thought and digital culture. Her books include “Glauber Rocha: cartas ao Mundo”; “Joaquim Pedro de Andrade: a Revolução Intimista”; “Mídia-Multidão: estéticas da comunicação e biopolíticas” (Media-Crowd: Aesthetics of Communication and Bio-politics. 2015). Her current projects include: Aesthetics of Communication, New Theoretical Models in Cognitive Capitalism and Global Peripheries: Production of Images in Peripheral Capitalism. She was the National Secretary of Citizenship and Cultural Diversity (2015-2016) under the Ministry of Culture of Brazil.

Renato Coelho is a filmmaker, researcher and professor. Master and PhD student in Multimeios from University of Campinas (Unicamp), he is currently a professor at Anhembi Morumbi University (UAM, São Paulo). He made short films such as Trem (Train, 2015) and A propósito de Willer (Regarding Claudio Willer, 2016, in partnership with Priscyla Bettim), and published the book O cinema e a crítica de Jairo Ferreira (Jairo Ferreira’s cinema and critics).

Stephanie Dennison is Reader in Brazilian Studies at the University of Leeds.

Diedrich Diederichsen teaches the theory of contemporary art at Akademie der bildenden Künste Wien. His latest publication is: Körpertreffer - Zur Ästhetik der nachpopulären Künste (2017).

Christopher Dunn is Professor of Brazilian Literature and Culture at Tulane University in New Orleans. He is the author of Brutality Garden: Tropicália and the Emergence of a Brazilian Counterculture and Contracultura: Alternative Arts and Social Transformation in Authoritarian Brazil, both published by the University of North Carolina Press.

Leo Felipe is director and chief curator of Galeria Ecarta, a non-[for]???-profit art space in Porto Alegre, Brazil. He has curated projects in the visual arts, music, literature, journalism, broadcasting and parties for more than two decades. Recent participations: V Comúsica, Congress of Music and Communication (Porto Alegre, 2017); II Conference of the Historical Fictions Research Network (London, 2017); Permeable Practices: 32nd SP Biennial (São Paulo, 2016); Artists' Publications: Revisions of Multiples and Conceptual Photography c. 1970 (New York, 2016); 18th Conference of the Austrian Art Historians Society (Vienna, 2015); Island Sessions: 9th Mercosul Biennial (Porto Alegre, 2014)

Vinzenz Hediger is professor of cinema studies at Goethe-Universität Frankfurt, where he directs the Research Training Program (DFG-Graduiertenkolleg) “Configurations of Film”. He is a co-founder of NECS – European Network of Cinema and Media Studies (www.necs.org) and the founding editor of the Zeitschrift für Medienwissenschaft (www.zfmedienwissenschaft.de). Together with Weihong Bao (Berkeley) and Trond Lundemo (Stockholm), he is the editor of the book series “Film Theory in Media History” (Amsterdam University Press).

Max Jorge Hinderer Cruz is a critic and author living in Rio de Janeiro. His books include "Hélio Oiticica and Neville D'Almeida: Block-Experiments in Cosmococa - program in progress" (Afterall Books/MIT Press, 2013 – with Sabeth Buchmann).

Helena Ignez ist der große Star des Cinema Marginal und hat neben Hauptrollen bei Rogério Sganzerla und Glauber Rocha fünf Filme als Regisseurin realisiert.

Lúcia Nagib is Professor of Film at the University of Reading. She is the author of World Cinema and the Ethics of Realism (Continuum, 2011), Brazil on Screen: Cinema Novo, New Cinema, Utopia (I.B. Tauris, 2007), O cinema da retomada: depoimentos de 90 cineastas dos anos 90 (Editora 34, 2002), Nascido das cinzas: autor e sujeito nos filmes de Oshima (Edusp, 1995), Em torno da Nouvelle Vague japonesa (Editora da Unicamp, 1993) and Werner Herzog: o cinema como realidade (EstaçãoLiberdade, 1991). She is the editor of Impure Cinema: Intermedial and Intercultural Approaches to Film (with Anne Jerslev, 2014), Theorizing World Cinema (with Chris Perriam and Rajinder Dudrah, I.B. Tauris, 2011), Realism and the Audiovisual Media (with Cecília Mello, Palgrave, 2009), The New Brazilian Cinema (I.B. Tauris, 2003), Mestre Mizoguchi (Navegar, 1990) and Ozu (Marco Zero, 1990).

Fernão Pessoa Ramos is professor at the Department of Cinema Studies, Arts Institute, State University of Campinas (UNICAMP). His areas of specialization are documentary film theory and Brazilian cinema. He is the founding president of SOCINE (Brazilian Society of Film Studies) and has served as visiting professor at the Department of Cinema and Audiovisual/University of Paris III (Sorbonne Nouvelle). His latest books are A Imagem-Câmera ('The camera-image') and Mas afinal... o que é mesmo documentário? ("After all... what is documentary?"). His first book, published in 1987, was “Cinema Marginal (1968/1978): A Representação em seu Limite” ('Cinema Marginal: the representation in its limits'). He also edits a book series, 'Campo Imagético' ('Fields of Image'), at Papirus Editors, with more than 25 books published on cinema and audiovisual media. Currently, he is the Coordinator of the ‘Research Center for Documentary Film’ at UNICAMP (CEPECIDOC).

Martin Schlesinger is a media scholar at the University of Bochum, an author, musician and filmmaker. He studied media culture at Bauhaus-Universität Weimar and Comunicação Social at the Universidade Federal de Minas Gerais in Belo Horizonte. He is the author of Brasilien der Bilder, a study of contemporary Brazilian cinema, and is currently finishing his Ph.D. thesis on images of the impasse in Brasilian film.

Irene V. Small is Assistant Professor Modern and Contemporary Art and Criticism at Princeton University, where she is an affiliated faculty member of the Programs in Media & Modernity, Latin American Studies, and the Department of Spanish and Portuguese. She is author of Hélio Oiticica: Folding the Frame, published in 2016 by University of Chicago Press.

Stefan Solomon is postdoctoral researcher in film at the University of Reading, attached to the AHRC-FAPESP-funded project, ‘Towards an Intermedial History of Brazilian Cinema: Exploring Intermediality as a Historiographic Method.’ From 9-12 November 2017, he curates ‘Tropicália and Beyond: Dialogues in Brazilian Film History’, a four-day film season at the Tate Modern. A catalogue of the same name will be published by Archive Books.

Juan A. Suárez is professor of cinema studies at the University of Murcia. He is the author of Bike Boys, Drag Queens, and Superstars (Indiana University Press), Pop Modernism (University of Illinois Press), and Jim Jarmusch (University of Illinois Press). Recent essays in English have appeared in journals such as Grey Room, Criticism, Screen, and in edited collections, such as The Modernist World, eds. S. Ross and A. Lundgren (Routledge, 1916) or The Music and Sound of Experimental Cinema, eds. H. Rogers and J. Barham (Oxford University Press, 2017).

Ismail Xavier is Senior-Professor of Audiovisual Studies at the University of São Paulo. Visiting Professor at NYU (1995), University of Iowa (1998), Université de Paris III (1999), University of Leeds (2007), University of Chicago (2008), Universidad de Buenos Aires (2011). Author, among other books, of Allegories of Underdevelopment: Aesthetics and Politics in Modern Brazilian Cinema (London & Minneapolis, University of Minnesota Press, 1997), O olhar e a cena: Hollywood, melodrama, Cinema Novo, Nelson Rodrigues (São Paulo, CosacNaify, 2003), Sertão mar - Glauber Rocha e a estética da fome (São Paulo, CosacNaify, 2007, 3^rd edition). Contributed to: Mediating Two Worlds: Cinematic Encounters in the Americas, John King, Ana López & Manuel Alvarado (eds.), (London, BFI Publishing, 1993); A Companion to Film Theory, Toby Miller & Robert Stam (eds.), (Oxford, Blackwell Publishing, 1999); The New Brazilian Cinema, Lúcia Nagib (ed.), (London, I.B.Tauris, 2003); Theorizing World Cinema, Lúcia Nagib, Chris Perriam & Rajinder Dudrah (eds.), (London, I.B.Tauris, 2012).