Irradiating the Object: A
Conference on the Work of
M. John Harrison
University of Warwick
21st August 2014
Programme
Irradiating The Object Schedule
Thursday 21st
08.30 – 09.00
09.00 – 09.15
09.15 – 10.45
10.45 – 11.00
11.00 – 12.30
12.30 – 13.30
13.30 – 14.30
14.30 – 16.00
16.00 – 16.15
16.15 – 17.15
17.15 – 18.30
18.30 – 19.30
Main Room
Registration & Welcome Refreshments
Introduction
Panel 1: All the Way Down
Break
Panel 2: Place
Lunch
Keynote Address (1): Tim Etchells
Panel 3: The Kefahuchi Tract Trilogy
Break
Keynote Address (2): Fred Botting
M John Harrison Reading and Q&A
Wine Reception
Panel Details
Irradiating The Object—M John Harrison (21/08)
Panel 1: All the Way Down
Paul Kincaid, ‘From Pastel City to London: Exploring the Nature of Viriconium’
Ryan Elliott, ‘Textual Objects: Interpreting Versioning in the Stories of M. John
Harrison’
Nick Prescott, ‘“The Geometry of Deterministic Chaos”: Fractal Structure and
Recursivity in the Works of M. John Harrison’
Panel 2: Place
James Machin, ‘An Infinite Palimpsest’: M. John Harrison and Arthur Machen’s
‘Weird Urban Magic’
Christina Scholze, ‘The Superposed Mundane-Sublime in M. John Harrison and
Andrei Tarkovsky’
Jonathan Barlow, ‘“A Heritage, But Not Our Own”: Estrangement from Place in
Autotelia’
Panel 3: The KT trilogy
Chris Pak, ‘“Something that Looked Partly Like a Woman Partly Like a Cat”:
Deliquescence, Hybridity and the Animal in the Kefahuchi Tract Trilogy.’
Vassili Christodoulou, ‘The Misanthropic Principle: M. John Harrison, John Gray,
and the Drama of Passive Nihilism’
Timothy Jarvis, ‘“Sparks in Everything”: Alterior Haecceities and the Fragmentation
of Self, Narrative, and Cosmos in the Kefahuchi Tract Trilogy’
Irradiating The Object
Abstracts
Jonathan Barlow
‘A heritage, but not our own’: estrangement from place in Autotelia
The characters of M. John Harrison’s recent prose fiction ‘In Autotelia’ and ‘Cave
and Julia’ experience estrangement from the fictional setting shared by the stories.
This paper will argue that this is a result of their failure to fully engage with location
as a continually developing process with multiple identities, rather than as a single
event site.
At issue are the ways in which readings of M. John Harrison’s fiction can be
illuminated by Doreen Massey’s work on place - and a wider understanding of the
implications such theoretical work can be gained by being read alongside
contemporary fiction with related concerns.
Autotelia has a natural alienness that is unnerving to visitors, whose reasons
for being there are determined by the social requirements of another - our - culture.
These individuals’ motives overwrite the possibility of their developing a fuller
understanding of the region. Furthermore, residents are also estranged from place by
the threat of corporate commodification, which is represented by increased migration
between Autotelia and the realistically presented London, or “our side of things”.
Travel is differentiated between the stories: ‘In Autotelia’ details a time-consuming
and potentially threatening transition between sites, while ‘Cave and Julia’ involves a
much simpler plane trip. Although more convenient travel arrangements might
suggest greater opportunity for more thorough engagement and interaction, it actually
renders issues that nurture estrangement invisible, creating further alienation.
These themes are an important part of understanding M. John Harrison as a
writer whose work addresses the impact of ideology on human development and
interaction across cultures.
Jonathan Barlow is an MA student in English Literature at Manchester Metropolitan
University.
Vassili Christodoulou
‘The Misanthropic Principle: M. John Harrison, John Gray, and the drama of
passive nihilism’
From The Committed Men’s grotesques to the parade of dysfunctional, mentally
distressed women populating his naturalistic fiction, M. John Harrison’s protagonists
provide an acutely pessimistic answer to the question of whether an individual might
be capable of finding emotional fulfilment and purpose in life. My paper will argue
that this attitude reaches its zenith in the Empty Space trilogy, where, in the
dramaticisation of a philosophical stance I playfully coin the ‘misanthropic principle’,
the pessimistic thinking prevalent in Harrison’s earlier fiction coheres into a
brilliantly dramatised attack on the values of liberal humanism.
As conceived by John Barrow and Frank Tipler, the ‘strong anthropic
principle’ states that the evolution of intelligent life is a necessary condition for the
existence of the universe. In The Anthropic Cosmological Principle (1986), the
physicists argue that the probability of the universe’s fundamental constants falling
within a range capable of supporting life is so minute that chance alone cannot
adequately account for the emergence of consciousness. Religious thinkers
enthusiastically endorse this tautology in order to find a place for a benevolent
supernatural agency in the sublime, godless narratives of modern science. Yet the
principle resonates also with opponents of religion, for Barrow and Tipler’s desire to
restore humanity to a privileged position after the displacement of the Copernican
revolution is one keenly shared by Enlightenment humanist philosophers.
I will demonstrate how Harrison’s universe is exactly configured to rebuke
this optimism: not merely in the central hermetic metaphor of the Kefahuchi Tract,
but in the fragmentary, melancholic lives led by both his retro-futurist Beach dwellers
and his contemporary London bourgeoisie. Scholars of science and weird fiction will
be familiar with Lovecraft’s “cosmological horror” as genre’s most prominent cry
against the sanctity and value of human life; but, while not uninformed by Lovecraft’s
oeuvre, Harrison’s misanthropy is indebted much more significantly to the work of
the English philosopher John Gray – a relationship Gray rewards in his New
Statesman critique of the Empty Space trilogy, A Future Without Nostalgia. In Straw
Dogs (2001) and its successors Black Mass (2007), The Immortalisation Commission
(2011), and The Silence of Animals (2013), Gray exposes the genesis of
Enlightenment humanism in the very Christian beliefs it purports to reject. An
inheritor of Schopenhauer and Dostoyevsky’s pessimistic tradition, Gray understands
humans not as coherent, rational creatures whose suffering will be eventually justified
by historic and scientific progress, but as rapacious and pugnacious animals incapable
of controlling their destiny.
I propose to closely read the Kefahuchi novels through the lens of Gray’s
thought, offering insight into how Harrison’s reworking of the conventions of space
opera and psychodrama alike articulate Gray’s arguments to enrich the aesthetic and
philosophical virtues of his fiction. I will also provide the historical criticism
necessary to locate the origins of the ‘misanthropic principle’, examining the
contribution of Harrison and Gray’s shared literary influences, postmodernist
philosophy and the 1990s political settlement to this highly original and startlingly
bleak assessment of humankind’s place in the cosmos.
Vassili Christodoulou: I am an independent scholar with a background in literary
studies at the University of Warwick. Professionally, I organise HowTheLightGetsIn,
a philosophy symposium heralded as ‘bringing big thinking back’ to public life by
The Guardian. I also manage IAI TV: a digital sister project where
HowTheLightGetsIn content is made available online to a general audience for free.
Ryan Elliott
Textual Objects: Interpreting Versioning in the Stories of M. John Harrison
Throughout his career, M. John Harrison has ‘versioned’ his own fiction to an extent
that can only be called wilful. Instances range from the recycling of minute
description (the simile ‘like the umbrae and penumbrae of planets’ appears in multiple
recent short fictions of his) to the redeployment of entire short stories as chapters or
more of novels. Given Harrison’s reputation for uncommon precision and
thoughtfulness, it begs asking why he would re-use his work to such an extent.
When asked by the Coode Street Podcast about his cannibalising the stories
“The Great God Pan” and “The Quarry” for his novel The Course of the Heart,
Harrison says, ‘There is no inherent rightness for any of the things in a novel or a
story to be together. They are only together because I write the connective material
that makes it seem as if they’re together.’ It is one thing for an author to call attention
to the artificiality of fiction in an interview, another to develop a writing tool that
allows the text itself to broadcast this message. Harrison’s versioning serves as a
defensive manoeuvre against modes of reading and writing -- like ‘worldbuilding’ -that stress suspension of disbelief as key to appreciating fiction. If a reader is familiar
enough with Harrison’s work to spot an instance of this versioning, it follows that her
suspension of disbelief will, for that moment, be ruptured. She will notice the text as
artifice and it will become for her not a window or a viewing lens, but a performance,
a real object subsisting on its own terms rather than serving as the medium for a set of
imaginary objects.
Harrison’s versioning doesn’t just deflect away from a certain kind of reading;
it also points towards a way of reading his work. Stories of his that would otherwise
possess no overt similarities to each other find themselves thematically connected by
shared text. Climbers, for example -- a novel that on the face of it possesses little in
the way of fantastic elements -- would appear to have little in common with “A
Young Man’s Journey to Viriconium” -- a story about finding a fantastical city on the
other side of a mirror -- if not for a shared anecdote detailing the superimposed
reflection of a café interior onto the view outside its front windows. Both stories, it
turns out, share deeper content around the idea of obsession, in particular with
discovering a transcendental state of existence -- of the self, of a city, of nature -through a combination of heightened perception and physical travel.
Taken as a whole, Harrison’s numerous versionings reveal him as an artist
obsessed with re-visiting the same philosophical ideas. My paper will explore more
examples of Harrison’s versioning, and what they reveal about the deeper content of
the texts in question as well as his wider career.
Timothy Jarvis
‘Sparks in Everything’: Alterior Haecceities and the Fragmentation of Self,
Narrative, and Cosmos in the Kefahuchi Tract Trilogy
The title of the last novel of M. John Harrison’s Kefahuchi Tract trilogy, Empty
Space, is an ironic one. Space is never empty in the trilogy, but always teeming. As
Anna Waterman murmurs towards the end of Light, when she first sees the Tract
itself, on a TV in a beach house, there are ‘[s]parks in everything.’ (Harrison 272).
The matter that fills the pages of the trilogy is strange and mutable. The dross
of the Saudade event zone is prosaic yet strange, floating old shoes, a large quacking
plastic duck; people in the future strands of the novels can change their appearances
and attributes at will through gene tailoring; the Shrander, a strange inscrutable entity,
who guides some of the events of Light, takes different forms; and the K-tech that
emerges from the Tract is antic and of unfathomable purpose.
The very concept of materiality is called into question. After Michael
Kearny’s disappearance, Anna recalls him as a young man expounding the thesis that
would structure his work: ‘Information might be a substance’ (Harrison 273) . And in
Saudade, malignant software, ‘daughter-code’, mutates and dissolves those who
comes into contact with it.
The trilogy sees a transition from the depictions of exhausted materiality of
some of Harrison’s earlier work: the zone afflicted by a nebulous plague in ‘In
Viriconium’, the entropic curse of the story, ‘Running Down’. In it matter is virulent,
demonically energetic.
This paper explores weird materiality in the trilogy, employing the concept of
haecceities, used, in a sense derived from the work of Gilles Deleuze and Félix
Guattari, to mean flows of ‘thingnesses’, matter with agency. Haecceities are not
objects in any meaningful sense, but instead ‘consist entirely of relations of
movement and rest between molecules or particles, capacities to affect and be
affected,’ (Deleuze and Guattari 288).
Haecceities are spewed out by Kefahuchi Tract. It’s an inverse of a black hole,
a singularity that ejects matter:
‘A singularity without an event horizon. A place where all the broken rules of
the universe spill out, like cheap conjuror’s stuff, magic that might work or it
might not, undependable stuff in a retro-shop window.’ (Harrison 316)
This material is not comprehensible, doesn’t take a form imposed on it by the
consciousness of a human observer, but manifests its own forms, forms that are
generally disorientating. It is a flood of labile haecceities, of rhizomic assemblages of
qualities forming and reforming.
This paper argues that the trilogy is a grossly seminal text, one which gestures
at a foundation for reality in bizarre detritus. It explores, in relation to Graham
Harman’s object-oriented philosophy and weird realism, and Eugene Thacker’s
notion of the unthinkable world, how alterior haecceities relate to the fragmentation of
self, narrative, and cosmos in the trilogy.
Dr Timothy Jarvis: independent scholar, currently visiting lecturer at Royal
Holloway, Goldsmiths, and Arcadia University.
Paul Kincaid
‘From Pastel City to London: exploring the nature of Viriconium’
The city of Viriconium provides the setting for three novels and a collection of short
stories by M. John Harrison, yet it is never the same place. Even the name changes.
Its geography is inconsistent, its history varies, its social and cultural character is ever
various. Yet they are always Viriconium. In The Pastel City it was a place at the end
of its long history, a place that was already forgetting its past. A Storm of Wings
appears to be a direct sequel to the earlier novel, yet now it is a place under threat
from outside. In Viriconium transforms the city into a place whose cultural and
artistic affect seems to place it on a par with fin de siècle Europe, yet the story that
concludes the sequence, ‘A Young Man’s Journey to Viriconium’ could be later
rewritten simply replacing the word ‘Viriconium’ with the word ‘London’. In other
words, the city has gone from new wave fantasy to a form of contemporary realism, a
transition that reflects a similar transition in Harrison’s fiction. In this paper, I want to
look at the changing nature of Viriconium, and look at it as a mirror of Harrison’s
changing approach to fiction.
James Machin
‘An infinite palimpsest’: M. John Harrison and Arthur Machen’s ‘weird urban
magic’
Interviewed in 2002, M. John Harrison confessed to being ‘chary’ of the uninterrogated, a priori definition of ‘influence’ when asked about the impact of Welsh
writer Arthur Machen’s work on his own fiction. He conceded, however, that:
I expect I'll always hear his voice, even though I haven't read him for twenty years.
My swerve against him and all those other ecstatics and mystic Christians was to
poison his reveries with the quotidian. Thus the weird urban magic of ‘The Incalling’
or ‘The Course of the Heart’. (http://www.infinityplus.co.uk/nonfiction/intmjh.htm)
A considerably less nuanced account of the influence of Machen on Harrison
was offered by a commentator on GoodReads.com who said that he had ‘seriously
downgraded’ his opinion of The Course of the Heart after reading The Green Round
(1933) and ‘a few other stories by Arthur Machen’. His consternation was perhaps
precipitated by his discovery in Machen’s work of a familiarly Harrisonian world of
drab suburban streets and out-of-season seaside resorts troubled by sinister, weird
irruptions; of possibly-imagined persecutions by nebulous little people and other,
stranger entities that remain stubbornly on the occulted edges of perception.
In this paper I will argue that while the GoodReads.com reviewer’s anxiety
effectively demonstrates the strength of Machen’s authorial presence in Harrison’s
fiction, that presence enriches rather than diminishes Harrison’s work. John Gray has
recently identified both Harrison and Machen as ‘writers who make the unknowable
their central focus’ and as exponents of what he calls ‘hermetic doubt’:
If these writers aimed to lift the veil of appearance it was not in order to reveal
any final truth. Instead what emerges is a kind of infinite palimpsest, each
page peeling away only to expose another. (‘A Future Without Nostalgia’,
New Statesman, 17 October 2013.)
Looking primarily at Harrison’s ‘The Great God Pan’ and The Course of the Heart,
and Machen’s ‘A Fragment of Life’ and The Green Round, I will examine Gray’s
account of ‘hermetic doubt’ in relation to these works, and also apply his notion of the
‘infinite palimpsest’ to the intertextuality of Harrison’s and Machen’s fiction as well
as to the ideas explored therein.
James Machin is a second-year doctoral student at Birkbeck, University of London,
writing a thesis on weird fiction between 1880 and 1940, supervised by Professor
Roger Luckhurst.
Chris Pak
‘Something that Looked Partly Like a Woman Partly Like a Cat’:
Deliquescence, Hybridity and the Animal in the Kefahuchi Tract Trilogy
Acknowledged features of Harrison’s style include his postmodern vacillation
between the concrete and metaphorical and his narrative experimentation. Empty
Space refuses to provide the Kefahuchi Tract trilogy with a definitive sense of
closure, nor does it make clear the connections and the significance of the stories and
characters that inhabit the narrative. It suspends the possibility of resolution and
makes interpretation based on unilateral literal or figurative readings ambiguous.
Harrison’s strategy throughout the Kefahuchi Tract trilogy involves the mirroring of
themes, narrative trajectories, and distinct temporal and spatial zones to build liminal
spaces resonant with nostalgia, missed or mistaken routes, and confusion.
Animal motifs such as the dog and the cat reappear throughout these spaces,
providing one of the ways in which the stories that make up the Kefahuchi Tract
trilogy are stitched together across the three volumes. Hybridity and transformation,
along with the mirroring of animal motifs, take us into the open, expanding the sense
of traversable space in the narrative worlds of the trilogy. Representations of humananimal relationships and the specific ways that the (post)human is represented as
animal provide vectors for the Kefahuchi Tract’s interrogation of human nature in a
confused landscape in which the markers of identity continually shift. The
ambivalence associated with the body, apparent in the many monstrous
transformations and especially marked in Empty Space with the deliquescence of
physical form, challenge readers to engage with issues of interpretation and
significance.
Focussing Harrison’s work through questions associated with the HumanAnimal relationship in sf opened up by Donna Haraway, Sherryl Vint and Joan
Gordon points to the importance of narrative disruption and concepts such as
companion species, hybridity, and the grotesque. Considering uses of animal motifs
and bodily transformation, I apply a framework that links the figure of the animal in
the trilogy to Istvan Csicery-Ronay’s extension of the Bakhtinian grotesque within the
overall framework of the sf grotesque-sublime that he constructs. I aim to consider
how representations of actual animals in the Kefahuchi Tract are used, how the
animal features in the novels in metaphorical and monstrous ways, and to what end.
Ultimately, I aim to explore some of the ways in which Harrison mobilises the animal
and sf’s grotesque-sublime to build worlds that are ambivalent, yet which resist
containment and closure.
Chris Pak is Research Fellow on the Leverhulme funded project, ‘People, Products,
Pests and Pets: The Discursive Representation of Animals’
Nick Prescott
‘The Geometry of Deterministic Chaos’ – Fractal Structure and Recursivity in
the works of M. John Harrison
M. John Harrison’s work powerfully transgresses traditionally accepted boundaries
and expectations, and demonstrates an approach to literary work that is cognisant of
both the elaborate functioning of genre and the intersections of literature, social
discourse and – increasingly – the worlds of cultural theory, mathematics and science.
Much of Harrison’s work presents its readers with a realm of ideas that embraces
fragmentation and recursivity as elements of both subject and structure, and this
approach is part of what renders the writer’s work so original. This paper proposes a
way of viewing Harrison’s approach to narrative structuring and genre subversion that
takes account of certain tenets of complexity science (Chaos Theory).
In 1979, Benoît Mandelbrot, the discoverer of ‘the Mandelbrot set’, and a key
theorist in the realm of complexity science, appropriated the word ‘fractal’ (taken
from the Latin, and meaning ‘fractured’ or ‘fragmented’) to describe a new kind of
geometry, a representation of structures and surfaces that could not be accurately
described by classical geometry. Certain of Harrison’s works demonstrate what might
be called ‘fractal structuring’. In Light, for example – a work of speculative fiction
that has been described by its author as a ‘space opera’ – we encounter, alongside the
trappings of a piece of modern science fiction, a remarkably detailed and extensive
evocation of Chandler-esque hardboiled crime fiction. In The Course of the Heart,
magic and horror abruptly and unexpectedly intrude into the otherwise realist
narrative, much of which precisely concerns the significance of quotidian experience
for its characters. The effects created by such jarring intrusions, by such jagged
fragmentations of the expectations the reader might bring to these texts, are bracing
and unusual, and suggest an authorial approach that invites new realms of meaningmaking (alongside those provided by traditional literary scholarship) into the process
of textual interpretation.
Further, when viewed as an interconnected body of works, Harrison’s novels
and short stories demonstrate the notion of ‘recursivity in chaos’, that is to say, the
repetition and reiteration of a pattern based on fragmentation and the upsetting of
structure, a pattern that in its repetition can be seen to generate meaning. This paper
represents an attempt to appropriate these two central ideas – fragmentation and
recursivity – and to bring them to bear upon the interpretation of these complex and
utterly (post)modern works of literature.
Nick Prescott has a PhD in Contemporary Literature, and has taught film, literature
and creative arts at Flinders University since 2000. Nick’s reviews and articles have
been published in The Australian Book Review, the Centre for Research in the New
Literatures in English and online for the Australian Broadcasting Commission. Nick
is a member of FIPRESCI and the Film Critics’ Circle of Australia, and is currently
completing a book on authors Thomas Pynchon and Don DeLillo.
Christina Scholze
"Light transforms all things": The superposed mundane-sublime in M. John
Harrison and Andrei Tarkovsky
The first poem in Andrei Tarkovsky's Mirror, "First Meetings" by his father Arseni
Tarkovsky contains the lines:
In the world everything was transfigured, even
Simple things – the basin, the jug – when
Between us stood, as if on watch, The stratified and solid water.
Visually, these lines open up an associative portal to a scene in Stalker that shows a
procession of mundane objects – dinner plates, coins, iron springs, calendar pages,
guns and icons – submerged under water and thus transformed, their everyday
connotations stripped from them so they can be charged with new sublime meaning.
Thematically, they connect to a passage from M. John Harrison's Light:
Light will transform anything: a plastic drinking glass full of mineral water, the hairs
on the back of your hand, the wing of an airliner thirty thousand feet above the
Atlantic. All these things can be redeemed and become for a time essentially
themselves.
This passage is already an echo from an earlier iteration in "A Young Man’s Journey
to Viriconium" (and "A Young Man’s Journey to London") that ends with the
assertion that these objects' visual distinctness becomes metonymic of the reality we
perceive both in them and in ourselves.
There are several direct references to Tarkovsky in Empty Space and many
indirect, thematic ones in Nova Swing. After all, cinematography = motion picture
photography = "light writing". Both Tarkovsky and M. John Harrison transform the
mundane into the sublime, then on into the newly charged (quantum-entangled,
superposed) mundane-sublime. On their search for symbols, meaning, language, and a
resolution of saudade – an unnameable longing, more than nostalgia or homesickness,
a wish for something that will complete them, without necessarily knowing what it is
that they are wishing for – both their characters stumble through unsolvable labyrinths
where space, time & dream become one, opaque, incomprehensible alien event sites.
Their stories are told in the interstitial spaces; threads are left unconnected, ambiguity
is encouraged.
This analysis of the intertwined worlds of Tarkovsky and Harrison is based on
close comparisons of scenes from Solaris, Mirror, Nostalghia and Stalker and the
Empty Space trilogy revolving around the recurring themes of memory and nostalgia,
glimpses of the sublime and returns to the mundane turned impossible. This kind of
world-building creates universes in which outer space turns out to be inner space, and
finding patterns in the noise of the universe is revealed as nothing more than
humanity's own Rorschach test, only ever giving us insight on ourselves, our minds.
The Hegelian self-contained circle of cognition forms our Klein bottle universe. There
is no way out, and a system can only be fully understood and explained from the
outside (cf. Gödel). What remains is the ongoing journey, and always the impossible
wish to transcend, to resolve saudade, to escape Saudade City, the Zone, the
Kefahuchi Tract – a singularity without an event horizon.
Christina Scholz is currently writing her PhD thesis on China Miéville’s fiction and
teaching English Literature and Culture at the University of Graz, Austria. Her fields
of interest include the further theorisation of Weird Fiction, Hauntology and the
Gothic imagination, the interrelation of genre fiction and other forms of art, and
depictions of war, violence and trauma in the arts. She has a Master’s degree in
Comparative Literature.
Irradiating the Object & SF/F Now
21st – 23rd August 2014
Delegate List
Fateha Aziz
University of Worcester
fateha.aziz@yahoo.com
Anindita Banerjee
Cornell University
ab425@cornell.edu
Jonathan Barlow
Manchester Met University
Stephen Barrell
University of Warwick
stephenbarrell@gmail.com
Brent Bellamy
University of Alberta
bbellamy@ualberta.ca
Gareth Beniston
Swanshurst School
gbhoneydew@hotmail.co.uk
Fred Botting
Kingston University
F.Botting@kingston.ac.uk
Mark Bould
University of Warwick
mark.bould@gmail.com
Zak Bronson
University of Western Ontario
zakbronson@gmail.com
Gerry Canavan
Marquette University
gerrycanavan@gmail.com
Alexandra Carruthers
Edmonton Public Library
acecarruthers@hotmail.com
Lara Choksey
University of Warwick
l.e.choksey@warwick.ac.uk
Vassili Christodoulou
----------
jonathan.barlow2@stu.mmu.ac.uk
vassili.christodoulou@gmail.com
Asli Degirmenci
Hacettepe University
aslidegirmenci01@gmail.com
Mathieu Donner
University of Nottingham
mathieudonner@gmail.com
Tim Etchells
University of Lancaster
sheffieldtim@me.com
Caroline Edwards
Birkbeck College, London
caroline.edwards@bbk.ac.uk
Ryan Elliott
----------
ryantelli@gmail.com
Mark Fisher
Goldsmiths College, London
m.fisher@gold.ac.uk
Kaja Franck
University of Hertfordshire
k.a.franck@googlemail.com
Carl Freedman
LSU
cfreed2780@gmail.com
Pawel Frelik
Maria Curie-Sklodowska University
pawel.frelik@gmail.com
Leimar Garcia-Siino
University of Liverpool
Lisa Garforth
University of Newcastle
lisa.garforth@newcastle.ac.uk
Joan Haran
University of Cardiff
haranJ@cardiff.ac.uk
Niall Harrison
----------
a.halliwellbray@liverpool.ac.uk
niall.harrison@gmail.com
D.A. Hassler-Forest
University of Amsterdam
Rhiannon Hooson
d.a.hassler-forest@uva.nl
crhooson@gmail.com
Veronica Hollinger
Nottingham Trent University
vhollinger1@cogeco.ca
Timothy Jarvis
University of Bedfordshire
timjarvis@gmail.com
Mark Jerng
University of California, Davis
mcjerng@ucdavis.edu
Zachary Kendal
Monash University
Zachary.kendal@monash.edu
Michelle Kent
Monash University (Clayton)
michelle.a.kent@monash.edu
Paul Kincaid
----------
paul@appomattox.demon.co.uk
Zali Krishna
Middlesex University
iotar@hotmail.com
Tanya Krzywinska
Falmouth University
Catherine Lester
University of Warwick
c.lester@warwick.ac.uk
Tim Lommerse
VU University Amsterdam
timlommerse@msn.com
Roger Luckhurst
Birkbeck College, London
r.luckhurst@bbk.ac.uk
Patricia MacCormack
Anglia Ruskin University
Graeme MacDonald
University of Warwick
g.macdonald@warwick.ac.uk
James Machin
Birkbeck College, London
jmachi01@mail.bbk.ac.uk
Paul March-Russell
University of Kent
p.a.march-russell@kent.ac.uk
Anna McFarlane
University of St Andrews
amm54@st-andrews.ac.uk
Dominique McKay
University of Warwick
dmckay@live.com
Andrew Milner
Monash University
andrew.milner@monash.edu
Glyn Morgan
University of Liverpool
grmorgan@liv.ac.uk
Katie Moylan
University of Leicester
km264@le.ac.uk
Pablo Mukherjee
University of Warwick
U.Mukherjee@warwick.ac.uk
Asami Nakamura
University of Liverpool
asamin@liv.ac.uk
Natasha Nkonde
Independent
tashasletterbox@gmail.com
Tanya.krzywinska@falmouth.ac.uk
Patricia.Maccormack@anglia.ac.uk
Marie-Madeleine Ozdoba EHESS, Paris
mm.ozdoba@gmail.com
Chris Pak
University of Birmingham
chrispak@hotmail.co.uk
Charul Patel
Lancaster University
c.patel@lancaster.ac.uk
Leah Phillips
University of Warwick
l.b.phillips@warwick.ac.uk
Guglielmo Poli
Università degli Studi di Genova
guglielmo.poli@gmail.com
Nick Prescott
Flinders University of South Australia
nick.prescott@flinders.edu.au
Stefan Rabitsch
Alpen-Adria Universität Klagenfurt
Stefan.rabitsch@aau.at
Robin Anne Reid
Texas A&M University-Commerce
robin.reid@tamuc.edu
Umberto Rossi
Independent Scholar
teacher@fastwebnet.it
Antti Salminen
University of Tampere
Antti.E.Salminen@uta.fi
Valerie Savard
University of Alberta
Valerie.e.savard@gmail.com
Christina Scholz
University of Graz, Austria
c.scholz78@gmail.com
Hanna Schumacher
University of Warwick
Stephen Shapiro
University of Warwick
S.Shapiro@warwick.ac.uk
Jon K. Shaw
Goldsmiths College, London
vcp01js@gold.ac.uk
Franca Sinopoli
h.e.schumacher@warwick.ac.uk
franca.sinopoli@uniroma1.it
Simon Spiegel
Institute of Cinema Studies, Zurich
simon@simifilm.ch
Adam Stock
Newcastle University
adam.stock@ncl.ac.uk
Olga Tarapata
University of Cologne
olga.tarapata@uni-koeln.de
Audrey Taylor
Anglia Ruskin University
auitaylor@gmail.com
Alison Tedman
Bucks New University
Alison.tedman@bucks.ac.uk
Kar Mun Thong
University of Warwick
k.m.thong@warwick.ac.uk
Laurie Tseng
Fo Guang University, Taiwan
missstseng@yahoo.com.tw
George Ttoouli
University of Warwick
g.ttoouli@warwick.ac.uk
Tom Tyler
Oxford Brookes University
ttyler@brookes.ac.uk
Sherryl Vint
UC Riverside
sherryl.vint@gmail.com
Owen Weetch
University of Warwick
o.b.weetch@warwick.ac.uk
Rhys Williams
University of Warwick
rhyswilliams1983@gmail.coma