Thomas Elsaesser is Professor Emeritus at the Department of Media and Culture of the University of Amsterdam. From 2006 to 2012 he was Visiting Professor at Yale University, and since 2013 teaches part-time at Columbia University. Besides publishing over 200 essays in journals and collections, he has authored, edited and co-edited some 20 volumes on film history, film theory, German and European cinema, Hollywood, Media archaeology, New Media and Installation Art. His books have been translated, among others into French, German, Hungarian, Hebrew, Italian, Japanese, Korean, Polish, and Turkish.
Among his recent books as author are: German Cinema – Terror and Trauma:Cultural Memory Since 1945 (New York: Routledge, 2013) and (with Malte Hagener) Film Theory – An Introduction through the Senses (2nd edition, New York: Routledge, 2015). He is currently completing a book on European Cinema and Continental Thought (Bloomsbury, 2016).
Noël Carroll is an American philosopher considered to be one of the leading figures in contemporary philosophy of art. Although Carroll is best known for his work in the philosophy of film, he has also published journalism, works on philosophy of artgenerally, theory of media, and also philosophy of history.
As of 2012, he is a distinguished professor of philosophy at the CUNY Graduate Center. He holds PhDs in both cinema studies and philosophy. As a journalist, earlier in his career he published a number of articles in the Chicago Reader, Artforum, In These Times, Dance Magazine, Soho Weekly News and The Village Voice. He is also the author of five documentaries.
Perhaps his most popular and influential book is The Philosophy of Horror, or Paradoxes of the Heart (1990), an examination of the aesthetics of horror fiction (in novels, stories, radio and film). As noted in the book’s introduction, Carroll wrote Paradoxes of the Heartin part to convince his parents that his lifelong fascination with horror fiction was not a waste of time. Another important book by Carroll is Mystifying Movies (1988), a critique of the ideas of psychoanalyst Jacques Lacan, Marxist philosopher Louis Althusser and the semiotics of Roland Barthes, which has been credited with inspiring a shift away from what Carroll describes as the „Psycho-Semiotic Marxism” that had dominated film studies and film theory in American universities since the 1970s
Eleftheria Thanouli is an Associate Professor in Film Theory at Aristotle University of Thessaloniki. Her research interests include film narratology, digital cinema, film and politics and world cinema. She has contributed chapters in key publications, such as „The Routledge Encyclopedia of Film Theory” (London: Routledge, 2013), „The Oxford Handbook of Sound and Image in Digital Media” (Oxford: Oxford UP, 2013) and „The Routledge Companion to Cinema and Politics” (New York: Routledge, 2016). She is the author of „Post-classical Cinema: an International Poetics of Film Narration” (London: Wallflower Press, 2009) and „Wag the Dog: a Study on Film and Reality in the Digital Age” (New York: Bloomsbury, 2013). She is currently working on a book on the representation of history in the cinema.