| Genders 40 2004
NOTES ON CONTRIBUTORS
PATRICK GONDER is an instructor of English and Humanities
at the College of Lake County in Grayslake, Illinois and a Ph.D.
candidate in Modern Studies at the University of Wisconsin—Milwaukee.
KIM D. HESTER-WILLIAMS is an Assistant Professor of English at Sonoma
State University. She is author of, “The reification of race
in cyberspace: African American expressive culture, FUBU and a search
for 'beloved community' on the Net,” published in the English
and French online journal, Mots Pluriels. She is currently working
on a book about the appropriation of African American aesthetics
in American popular culture.
MIRIAM J. PETTY is the Elaine R. Dodge Postdoctoral Fellow
at Rutgers University’s Institute on Ethnicity, Culture and
the Modern Experience. She studies the politics of African American
representation as well as film history, and worked as a coordinator
for the Atlanta exhibit “Without Sanctuary: Lynching Photography
in America.” She is currently revising her dissertation, “‘Doubtful
Glory’: 1930s Hollywood and the African American Actor as
Star,” an examination of the screen images of Louise Beavers,
Lincoln “Stepin Fetchit” Perry, Paul Robeson, and Fredi
Washington.
ELLEN SCOTT is a Doctoral Candidate in the University of
Michigan’s Program in American Culture and is also receiving
a certificate in Film and Video. Her dissertation explores Black
reception of Hollywood films and the censorship of racial images
in Hollywood.
MARK WINOKUR writes about film theory and history. His current project—a
book-length work titled "Technologies of Race"—continues his
arguments about race and special effects in American film.
FRANCES GATEWARD teaches in the Unit for Cinema Studies and
the Program in African American Studies at the University of Illinois
– Urbana Champaign. She is the co-editor of Sugar, Spice,
and Everything Nice: Cinemas of Girlhood (Wayne State University
Press 2002) and Where the Boys Are: Cinemas of Masculinity and Youth
(Wayne State University Press 2004). Her current projects include
a book on African American women filmmakers and an anthology on
Korean cinema. |