Sian Barber is a Reader in Film Studies at Queen’s University Belfast with expertise in British film history, particularly around issues of censorship and controversy. Publications include, Censoring the 1970s: The BBFC and the Decade that Taste Forgot, (Cambridge Scholars Press, 2011), Capital, Culture and Creativity: The British Film Industry in the 1970s (Palgrave Macmillan, 2013)  and Using Film as a Source (Manchester University Press, 2015). Her fourth monograph Beyond the BBFC: local and regional film censorship in the UK was published by Manchester University Press in April 2025. She has also published in the Historical Journal of Film, Radio and Television, Media History, Cultural and Social History, Historical Research and the Journal of British Cinema and Television. She is a member of the EUscreen Foundation, a European consortium of archives, academics and technical partners which explores aspects of digital heritage, access and preservation, and a member of the Northern Ireland Moving Image Heritage & Archive working group. She is also a member of the editorial board of the Journal of British Cinema and Television, and VIEW Journal of European Television History and Culture, and at QUB is Athena SWAN co-champion for the School of Arts, English and Languages and the University Co-ordinator for the Humanities Access programmes run in collaboration with Belfast Metropolitan and South East Regional Colleges.   

Ciara Chambers is Senior Lecturer in Film & Screen Media, University College Cork, a board member of Northern Ireland Screen and Chair of the Northern Ireland Moving Image Heritage and Archive Working Group. She is also an advisor to Atticus Education, the digital education company established by Oscar-winning film producer Lord David Puttnam.  She is author of Ireland in the Newsreels (Irish Academic Press, 2012) and Outsider Cinema: Amateur and Independent Filmmaking in Northern Ireland, 1929-1989 (Edinburgh University Press, 2026), co-editor of Researching Newsreels (Palgrave, 2018) and has contributed chapters on archives, newsreels and amateur film to various journals and edited collections. She is currently working on the Make Film History project in partnership with Kingston University, BBC, the British Film Institute, Northern Ireland Screen and the Irish Film Institute. She was scriptwriter and associate producer of Ireland in the Newsreels, a six-part BAI-funded television series broadcast on TG4 and producer of the historical play Souls, Shadows and Secrets.

Research Profile

Llewella Chapman is a visiting scholar in the School of History at the University of East Anglia. She took her BA (Hons) in Performance Design and Production, specializing in costume design, at the University of Leeds, her MA in Adaptation by Independent Study at De Montfort University and her PhD in Film and Media at the University of East Anglia. Llewella’s PhD thesis researched the relationship between film, television and Hampton Court Palace (1911-2016), where she used to work as a State Apartment Warder. Her research interests include film history, British cinema, gender, costume and video games. Her first monograph, Fashioning James Bond: Costume, Gender and Identity in the World of 007, was published by Bloomsbury in 2022. Llewella is also the author of a BFI Film Classic on From Russia With Love (Bloomsbury, 2022), and is contracted to write her next monograph, Costume and British Cinema: Labour, Agency and Creativity, 1900-1985 (Bloomsbury, 2026). Llewella is the Book Reviews Editor for Archives (Liverpool University Press) and is IAMHIST’s Director of Communications.

Martha Evans is an Associate Professor and a media scholar based at the Centre for Film and Media Studies at the University of Cape Town, South Africa, and most of her work revolves around the role of the media during the apartheid and early post-apartheid eras. Her research interests include media in totalitarian societies, censorship, the media and transitional justice, media events and representations of history in film. She has published in several journals, including Media, Culture & Society, Journal of Southern African Studies, National Identities, and Black Camera. She is the author of two books: Broadcasting the End of Apartheid: Live Television and the Birth of a New South Africa and Speeches that Shaped South Africa: From Malan to Malema. Dr Evans serves as an associate editor for the Journal of African Journalism Studies as well as on the editorial board of the newly launched Journal of Media and Rights.

James Fenwick is a film and media historian based at the University of Manchester, a co-editor of the Historical Journal of Film, Radio and Television, and a Fellow of the Royal Historical Society. He is the author of Stanley Kubrick Produces (Rutgers UP 2020), Unproduction Studies and the American Film Industry (Routledge 2021), and Archive Histories: An Archaeology of the Stanley Kubrick Archive (Liverpool UP 2024). He has also edited or co-edited the collections Understanding Kubrick’s 2001: A Space Odyssey (Intellect 2018), Shadow Cinema: Historical and Production Contexts of Unmade Films (Bloomsbury 2020), and Studying Unmade, Unseen, and Unreleased Film and Television: Histories, Theories, Methods (Intellect 2026).

Tobias Hochscherf is Professor of Audiovisual Media at the University of Applied Sciences Kiel in Germany and the University of Flensburg. He studied German, English and Media at the universities in Hamburg and Kiel and received a PhD from the University of Liverpool (UK). From 2006 to 2009 he worked as senior lecturer in film and television studies at Northumbria University (UK). Owing to a background in broadcast journalism and filmmaking, he is editor-in-chief of the student radio station at Kiel University of Applied Sciences (KUAS). He teaches a variety of undergraduate (BA) and postgraduate (MA) modules on media, film and television – including courses on film and television history, media theory, radio broadcasting and film production. He is Fellow of the Higher Education Academy (UK) and Vice President of KUAS. Tobias Hochscherf’s research focuses on film and television history as well as contemporary television drama; he has co-written the book Beyond the Bridge: Contemporary Danish Television Drama (2017). He is also author of The Continental Connection: German-speaking Émigrés and British Cinema, 1927-45 (2011) and co-editor of Divided, but not disconnected: German experiences of the Cold War (2010) and British Science Fiction Film and Television: Critical Essays (2011). He is associate editor of the Journal of Popular Televisionand the Journal of Scandinavian Cinema.

Veronica Johnson is co-editor and book review editor for the Historical Journal of Film, Radio and Television. A previous awardee of an Irish Research Council for the Humanities and Social Sciences fellowship, she has also received funding awards from the Bill Douglas Cinema Museum and the Women’s History Association of Ireland. She has taught at University of Galway and Maynooth University and is currently an Independent Scholar. Her research has been published or is forthcoming from Rutgers University Press, Manchester University Press and a variety of academic journals. She is currently working on a history of the Film Company of Ireland (1916-1920). Her
research interests include cinema exhibition and distribution, particularly in the early and silent period, female film pioneers, archives, and the transnational history of film during the First World War.

Alessandra Luciano received her master’s at Columbia University in film studies, and later enrolled in the master’s program Preservation and Presentation of the Moving Image at the University of Amsterdam.

In 2013, she started working as head of the film and television archives at the Centre national de l’audiovisuel (CNA) in Luxembourg. Then in 2019, she became Digital Curator, where her priority was the implementation of long-term preservation and access strategies to ensure a sustainable legacy to the country’s audiovisual heritage. In 2022, she started working at the Ministry of Culture where she coordinates the national digital cultural strategy and co-leads the internal working group on artificial intelligence. She is also a member of an inter-ministerial committee on digital policies and collaborates on the Luxembourg Government-wide strategy on AI. Alessandra is interested in emerging technologies and how they affect the management and the entire lifecycle of cultural heritage collections.

Since leaving academia, she has been able to combine theory with practice, across a spectrum of diverse interests and fields. Alessandra worked as copy-editor for the international peer-reviewed academic journal Cinéma&Cie, used to be a board member of the EUscreen Foundation, and is on the organising committee of the international conference No Time To Wait.

Jamie Medhurst is Professor of Film and Media at Aberystwyth University where he is also Co-Director of the Centre for Media History. He is author of A History of Independent Television in Wales(2010), and The Early Years of Television and the BBC (2022) and co-editor of Broadcasting in the UK and US in the 1950s: historical perspectives (2016). Jamie is currently writing on broadcasting politics in Wales in the 1970s and is in the early stages of a project on ‘Screening the Brave New World: post-war television in Britain’. He has published a number of articles and book chapters on broadcasting history and was curator of the ‘Entertaining the UK’ section of the ‘100 Voices of the BBC’ research project. He is editor-in-chief of the journal Media History, a member of the Media Studies Commission of FIAT/IFTA (the International Federation of Television Archives), and Chair of the Academic Advisory Group of the Wales Broadcast Archive.

Cynthia J. Miller is a cultural anthropologist, specializing in popular culture and visual media, and her writing has appeared in a wide range of journals and anthologies across the disciplines. She is senior faculty in the Marlboro Institute for Liberal Arts at Emerson College in Boston, and has been named a Kansas Humanities Council Scholar, a Research Fellow of the Will Rogers Memorial, and Fellow of the Boston Historical Society. Her awards include the 2012 Jim Welsh Prize for Achievement in Adaptation Studies and the 2013 Peter C. Rollins Book Award in Popular Culture Studies. Cynthia has also produced several visual media exhibitions, including “Images from the Streets: The Homeless Photography Project” and “Underground Art: Art and Poetry by Boston’s Homeless,” which have been featured on ABC’s “Chronicle.”  Cynthia serves as series editor for the Rowman & Littlefield Publishing Group’s Film and History series and is on the editorial boards of the Journal of Popular Culture, the Journal of Popular Television, and the Bloomsbury Press Guides to Contemporary Directors series. She is also the editor of twenty-one scholarly volumes focused on the interplay of film and society, as well as two forthcoming volumes and over 70 articles.

Cynthia’s Publications

Photo: © Steve Friedman

Lawrence Napper is a Senior Lecturer in Film Studies at Kings College London. His books include British Cinema and Middlebrow Culture in the Interwar Years (2009), The Great War in Popular British Cinema of the 1920s: Before Journey’s End (2015), and Silent Cinema: Before the Pictures Got Small (2017). His research and teaching interests include British Film, Early Cinema, Film Archives, Musicals, Actualities and Adaptation. He is a graduate of the University of East Anglia’s Film Archiving MA programme.

Lawrence organises the regular British Silent Film Festival Symposium at King’s College, London and is currently working in a long term project about trams in cinema before 1914.

Rebecca Ohene-Asah has more than two decades experience in audio-visual media training, practice and research in global film and television. Her interests began as an undergraduate in Ghana and continued when she earned an MFA in Documentary Film Studies and Production from Hofstra University (under a Fulbright fellowship) and a PhD from University of Ghana-Legon where she examined the relationships between colonial film histories and contemporary film practices in Ghana. She continued this inquiry during a post-doctoral fellowship with the African Humanities Program (A fellowship under the American Council of Learned Societies grants). Rebecca applies her knowledge as the lead researcher for Ghana’s Analogue Video Film Digitization, Archiving and Repository Project (Imagining Futures through Un/Archived Pasts), as committee member of Ghana Cultural Forum, and when serving on the National Film Authority and Creative Arts legislative committees. Currently the Acting Dean of Studies at the Institute for Film and Television of the University of Media Arts and Communication (formally NAFTI), she also teaches African film histories and documentary filmmaking. Her current research interests are focused on African audio-visual histories, archiving, and their restitution within current heritage discourse. Rebecca is passionate about emerging trends in documentary film studies, archive and museum practices in Ghana and beyond.

Sandeep Ray is Associate Professor and Head of School of Humanities at the University of Nottingham Malaysia. He studied at Hampshire College, the University of Michigan and the National University of Singapore. A practitioner/academic he specializes in the intersection of colonial history, non-fiction film, and Southeast Asian cinema. Ray is the author of Celluloid colony: Locating History and Ethnography in Early Dutch Colonial Films of Indonesia, which was a finalist for the EuroSEAS Social Science Book Prize 2021, and the historical novel A Flutter in the Colony (Penguin Random House). Ray has published in leading journals including the Historical Journal of Film, Radio and Television, positions, and the American Historical Review. He serves as a peer reviewer for multiple academic publications and has been invited to film festivals as jury member and curator. Ray has directed award-winning documentaries (IMDb) including The Sound of Old Rooms (2011), which won the Grand Prize at the Taiwan International Documentary Film Festival. His films are distributed internationally by Documentary Educational Resources in Massachusetts.