Alejandra Bulla is currently pursuing her PhD at the English Department of Leibniz Universität Hannover. She is a member of the Emmy Noether research group “Hollywood Memories: Cinematic Remaking and the Construction of Global Movie Generations,” funded by the German Research Foundation (DFG), where she focuses on Mexican audiences. She has a Master’s degree in American Studies from the University of Erlangen, Germany, and a bachelor’s degree as English teacher from the Universidad Francisco José de Caldas in Bogota, Colombia.

Stefan Dierkes is an American Studies PhD student at Leibniz University Hannover. He is part of the Emmy Noether research group “Hollywood Memories: Cinematic Remaking and the Construction of Global Movie Generations,” funded by the German Research Foundation (DFG). His dissertation looks at Hollywood’s remaking culture and its impact on German audiences, combining empirical methods, historical research, and film analysis.

Yongchun Fu is associate professor at NingboTech University, China. Dr. Fu graduated from the University of Auckland, New Zealand. His research interests include early Chinese cinema, the relationship between Hollywood and China, and film industry. His monography The Early Transnational Chinese Cinema Industry (Routledge, 2019) is the winner of the inaugural 2021 New Zealand Asia Society Book Award, second prize.

Joseph Garncarz is a professor at the Institute for Media Culture and Theatre at the University of Cologne. In addition to books such as Maßlose Unterhaltung: Zur Etablierung des Films in Deutschland 1896-1914 [Excessive entertainment: The establishment of film in Germany 1896-1914] (2010; Willy Haas Prize 2011), Hollywood in Deutschland: Zur Internationalisierung der Kinokultur, 1925-1990 [Hollywood in Germany: The Internationalisation of Cinema Culture, 1925-1990] (2013), Wechselnde Vorlieben: Über die Filmpräferenzen der Europäer, 1896-1939 [Changing preferences: On the film preferences of Europeans, 1896-1939] (2015) and Begeisterte Zuschauer: Die Macht des Kinopublikums in der NS-Diktatur [Enthusiastic Spectators: The Power of the Cinema Audience in the Nazi Dictatorship] (2021), he has published numerous articles, particularly on German and European film and cinema history.

Christine Hämmerling is an Associate Research Fellow in Popular Culture Studies at the University of Zurich and currently teaches at the University of Göttingen in preparation for her position at the Institute for Cultural Anthropology/European Ethnology at the University of Göttingen (starting September 2024). She is currently working on performances of trust and authenticity in times of professionalisation and digitalisation (regarding professionalised protest, NGO fundraising, social media influencers and re-professionalisation after a period of unhousing). She has also published on knowledge media (2020), ego documents (2018), the reception of popular media (Tatort, 2016) and leisure in advertising (2012).

Peter Krämer is a Senior Research Fellow in Cinema & TV in the Leicester Media School at De Montfort University (Leicester, UK). He also is a Senior Fellow in the School of Art, Media and American Studies at the University of East Anglia (Norwich, UK) and a regular guest lecturer at several other universities in the UK, Germany and the Czech Republic. He is the author or editor of twelve academic books and has published over ninety essays in academic journals and edited collections. Most of his work focuses on the history of Hollywood cinema from the beginnings to the present, especially on Hollywood’s global dimensions.

Kathleen Loock is an Associate Research Fellow in Popular Culture Studies at the University of Zurich and currently teaches at the University of Göttingen in preparation for her position at the Institute for Cultural Anthropology/European Ethnology at the University of Göttingen (starting September 2024). She is currently working on performances of trust and authenticity in times of professionalisation and digitalisation (regarding professionalised protest, NGO fundraising, social media influencers and re-professionalisation after a period of unhousing). She has also published on knowledge media (2020), ego documents (2018), the reception of popular media (Tatort, 2016) and leisure in advertising (2012).

José Carlos Lozano is a professor of Communication and Chair of the Department of Psychology and Communication at Texas A&M International University (Laredo, Texas). He got his M.A. in Communication Research from Leicester University, England and his Ph.D. in International Communication and Media Studies from the University of Texas at Austin. He studies media and communication in the U.S.-Mexico border as well as Mexican and Latin American media. He is Co-Principal investigator and coordinator of an international research project comparing the historical exhibition and reception of films and cinema going in seven Mexican cities and cities in three other Latin American countries. His research lines are: a) Social history of cinema in Mexico and the U.S.-Mexican border; b) Media and culture along the U.S.-Mexico border; and c) Audiovisual Latin American media flows.

Yafei Lyu is a lecturer at the School of Foreign Studies of the Capital University of Economics and Business in China. She received her PhD degree in Cultural Studies from the University of Canterbury, and her master degree in Linguistics and Applied Linguistics of Foreign Languages from Beijing Language and Culture University. Her research interests include Chinese film system and industry, relations between Chinese film market and Hollywood, translation and communication, and cross-cultural communication.

Christopher Meir is Assistant Professor in the Department of Communication at the Universidad Carlos III de Madrid. He has published widely on industrial issues in film and television history, including two monographs (Scottish Cinema: Texts and Contexts and Mass Producing European Cinema: Studiocanal and Its Works), and two co-edited collections (Beyond the Bottom Line: The Producer in Film and Television Studies and European Cinema in the Streaming Era: Policy, Platforms, and Production) as well as numerous scholarly articles and book chapters on similar themes. He has also acted as consultant on industrial issues for European policy bodies such as the European Commission and Eurimages.

Maya Nedyalkova is a Research Fellow at Oxford Brookes University, interested in popular culture and film/media audiences. She explored aspects of the transnational Bulgarian film industry during her AHRC-funded PhD and contemporary Bulgarian film consumption for her British Academy fellowship. She co-edited two themed sections, titled “International Film Audiences,” for Participations Journal of Audience and Reception Studies and has published in journals (Open Screens and Studies in Eastern European Cinema) and published in edited volumes (The Palgrave Handbook of Comparative New Cinema Histories, Routledge Companion to European Cinema, Popular Music and the Moving Image in Eastern Europe, and Transformation Processes in Post-socialist Screen Media).

Ana Rosas Mantecón holds a PhD in Anthropology and is a professor and researcher in the Universidad Autónoma Metropolitana’s Department of Anthropology, Mexico. She specializes in cinema, museum and heritage audiences, as well as cultural access policy. She has promoted the dialogue between theory and practice in cultural management through the participation in different international, national and regional programs dedicated to the professionalization of cultural mediators, applied research and audience development.

Wendy Su is an Associate Professor of the Department of Media and Cultural Studies at the University of California Riverside. Her research falls along the intersections of global communication, Chinese media studies, and cultural studies. She is the author of China’s Encounter with Global Hollywood: Cultural Policy and the Film Industry, 1994-2013 (University Press of Kentucky, 2016), and co-editor of Asia-Pacific Film Co-productions: Theory, Industry and Aesthetics (Routledge, 2019). She has published in a number of high-ranking academic journals, and was a winner of the 2014 William L. Holland Prize for the best article granted by Pacific Affairs. She sits on the editorial board of Global Media and China, and serves as a manuscript reviewer for many academic journals and two publishers, Routledge and Palgrave Macmillan.

Meg Thomson is currently EVP of Worldwide Content for Globalgate Entertainment, a consortium of companies including Lionsgate, Rai Cinema, Nordisk, TF1/Newen, Lotte, Tobis, Rakuten, Televisa, and other international companies, who collaborate to create commercial local-language films – many of them remakes. Prior to joining Globalgate, Meg was Managing Director of Eccho Remakes. As a producer, Meg recently completed Freud’s Last Session (2023) starring Anthony Hopkins.

Yining Zhang is an American Studies PhD student at Leibniz University Hannover. She is a member of the Emmy Noether research group „Hollywood Memories: Cinematic Remaking and the Construction of Global Movie Generations,“ funded by the German Research Foundation (DFG). She has a bachelor’s degree in English and Master’s degree in English language and literature from Nanjing University, China.

Als Abschluss des Workshops werden Video Essays gezeigt, die sich mit der engen Beziehung zwischen Erinnerung und der Praxis des Remaking auseinandersetzen.

Daniel Simpson is a PhD candidate in the Screen Cultures and Curatorial Studies program at Queen’s University studying the New Hollywood Cinema of Mike Nichols and Arthur Penn. His Master’s thesis, “Hays Gone By: Pre-Code Hollywood and the Proto-Feminism of Mae West,” was published in 2019. Daniel publishes video essays online under the name Eyebrow Cinema and has served as a peer reviewer for The Quarterly Review of Film and Video. Daniel’s video “Art Without The Artist (and Other Horrors from The Machine)” was selected by Sight & Sound as one of the best video essays of 2023.

Jemma Saunders is a doctoral researcher at the University of Birmingham. Her audio-visual thesis explores how Birmingham is represented in popular film and television, interrogating aesthetics of the city in its role as both narrative setting and filming location, with videographic criticism as a core research methodology. She holds a BA in Medieval & Modern History; MA in History, Film & Television; and is a Fellow of the Higher Education Academy. In 2023 she was nominated as an ‘emerging voice’ in the Sight & Sound best video essays poll, and in 2024 was shortlisted for a Learning on Screen Award.

Kathleen Loock is Professor of American Studies and Media Studies at Leibniz University of Hannover and director of the research group “Hollywood Memories” (funded by the German Research Foundation). Her research focuses on remakes, sequels, and reboots, seriality, and memory. Her latest book is Hollywood Remaking: How Film Remakes, Sequels, and Franchises Shape Industry and Culture (University of California Press, 2024). Her video essays have been published in [in]Transition and Tecmerin, shortlisted for the Adelio Ferrero Award, and listed on Sight & Sound’s best video essays poll in 2019, 2022, and 2023.

Brunella Tedesco-Barlocco (Montevideo, Uruguay) holds a bachelor’s degree in Journalism from Universidad ORT (Uruguay), an M.A. in Contemporary Film and Audiovisual Studies from Pompeu Fabra University (UPF, Barcelona, Spain) and a Ph.D. in Communication from the same university. She is a member of the CINEMA Research Group and of the MUMOVEP research project, as well as coeditor of academic journal Comparative Cinema. She has published articles in Adaptation, Communication & Society, El profesional de la información and Quarterly Review of Film and Video, and a video essay in NECSUS.

James DeLisio is a filmmaker and student at the University of California, San Diego. He was a selected filmmaker in the 2023 and 2024 Adam D. Kamil Media Awards, and was featured on Sight & Sound’s Best Video Essays of 2023 list. He has had work screened at film festivals like the National Film Festival for Talented Youth, and the UCSD Film Festival. His filmmaking practice uses observational documentary and the essay film to explore themes of environmentalism and personal identity. His videographic criticism explores transnational cinema, generic intersections, and embodiment in film.