Chris Alexander has spent his life eating, sleeping and breathing movies, breaking only to obsess over music. He is the editor-in-chief of FANGORIA magazine, has released several collections of his own music, has written a book about movies he loves, and his first feature film - which he wrote, directed, co-shot, edited, composed the music, handled FX and even catered - BLOOD FOR IRINA will be released via Autonomy Pictures later this year. Visit Chris at www.chris-alexander.ca.
While a lifelong fan of genre films, Neil Calderone is primarily a scholar and educator. He spent approximately a decade in college earning a BS in Biology with minors in Ancient Greek, Chemistry, Latin and Music. He then went on to work on an MS in Bioorganic Chemistry. Neil is a former Bioorganic Chemist whose research was in the synthetic design of "lock picks" for the nucleus of human cells. He left the scientific field to pursue his passion for education. He is now a high school science teacher at one of the top-rated high schools in Chicago. Neil is also the founder and film programmer of the Chicago Cinema Society (www.chicagocinemasociety.org) whose goal is to provide fantastic film festival programming all year long. The Chicago Cinema Society has received many accolades from local media such as winning a prestigious "Best of Chicago" award from the prominent local magazine The Chicago Reader.
Born in Montreal, Mario is a “monster kid” who teaches courses on genre cinema and monsters in the Humanities department of John Abbott College. He began to watch monster movies at the age of 9, staying up to watch Hammer films on late-night television. He has been an independent filmmaker with the Volatile Works collective for ten years, working primarily in super-8 and 16mm. His films combine a love of silent cinema, “exploitation films,” the horror genre, and agit-prop sensibilities. He is also a programmer and coordinator at the Montreal Underground Film Festival. He completed his PhD at the University of Toronto, and also writes in the area of film and religion. He is presently undertaking research on the history of the Parisian Grand-Guignol theatre and its impact on cinematic horror, especially the French “fantastique.” He has published articles for Golem: The Journal of Religion and Monsters, as well as for the Journal of Religion and Film, and for the Journal of Religion and Popular Culture. He is an occasional writer for the Canadian horror genre magazine Rue-Morgue.
Charlie is a recent graduate from the M. A. Film Studies program at Concordia University. She is now Coordinator of the Moving Image at the Concordia Visual Media Resources. In the summer of 2010, Charlie received a travel fund to go to the USC and Margaret Herrick Library archives to research her Master's thesis. With access to original documentation from the Hollywood studios and personal writings from art directors of the classical studio era, Charlie was able to complete her thesis on art direction in Universal Studios' horror films of the 1930s with original research. Last summer, she served on the jury of the Montreal Underground Film Festival. She is currently co-editing an anthology of essays on 1940s horror films with Kristopher Woofter and Mario DeGiglio-Bellemare.
Anne Golden is on the Creative Arts faculty of John Abbott College, and is Artistic Director of Groupe Intervention Video, an artist-run distribution, exhibition and production centre for videos directed by women. She is an independent curator and writer whose programs include Horizontal Holds/Vertical Views: Recent Canadian Art Video (Musée National du Québec, 2001) and Seuils/Thresholds (Edges Festival, Victoria, 2006). She has also curated programs for Vtape (Toronto) and Centre for Art Tapes (Halifax). Golden has made 12 videos since 1991. Among these are FAT CHANCE (1994), BIG GIRL TOWN (1998), SOMME (2005) and FROM THE ARCHIVES OF VIDÉO POPULAIRE (2007).
Kier-La Janisse is a writer and film programmer based in Montreal. She is the editor of Fangoria.com, co-founded the Blue Sunshine Psychotronic Film Centre and The Miskatonic Institute of Horror Studies, and is a film programmer for POP Montreal, Fantastic Fest and SF Indie. She has been a programmer for the Alamo Drafthouse Cinema in Austin, Texas, founded the CineMuerte Horror Film Festival and the Big Smash! Music-on-Film Festival (both in Vancouver) and was the subject of the documentary Celluloid Horror (2005). She has written for Shindig!, Filmmaker, Rue Morgue and Fangoria magazines, has contributed to The Scarecrow Movie Guide (Sasquatch Books, 2004) and Destroy All Movies!! The Complete Guide to Punk on Film (Fantagraphics, 2010), and is the author of A Violent Professional: The Films of Luciano Rossi (FAB Press, 2007) and House of Psychotic Women (FAB Press, 2012).
Chris Whittaker is a physics teacher and Coordinator of the Science Program at Dawson College. He has a Masters Degree in Engineering Physics from Queen’s University where he specialized in aeronautics and nuclear engineering. At Dawson, he created a course for non-science students that explores a variety of topics in physics through movies and TV shows. Before his teaching career, Chris also completed a Masters Degree in Social Work and worked for several years in emergency mental health, with at-risk-youth and as an intake worker at a CLSC. Along the way he also managed to do two radio documentaries for the CBC Radio One program Ideas, including one on how size matters in engineering, biology and the movies.
Kristopher is a fifth-year PhD student in Film and Moving Image Studies at Concordia University and a tenured faculty member of the English Department at Dawson College in Montreal, where he teaches courses on the Gothic, the fantastic, and horror in literature and film. He has served for six years as a co-chair for the Horror Area of the Popular Culture / American Culture Association (PCA/ACA), and is a charter associate and secretary of the Whedon Studies Association. He has published on the television series Buffy the Vampire Slayer in the edited anthology Buffy in the Classroom: Essays on Teaching with the Vampire Slayer (McFarland 2010), and has a forthcoming (2012) co-authored essay (with Papagena Robbins) on the intersection of the Gothic and documentary in the journal Textus, entitled “Gothumentary: The Gothic Unsettling of Documentary’s Rhetoric of Rationality.” Kristopher is currently at work on two edited anthologies, Fragments of the Monster: Relocating Forties Horror (with Mario DeGiglio-Bellemare and Charlie EllBé) and Horror in the “Terror” Age (with Will Dodson). His current research interests in cinema, television and literature include the horror genre, the Gothic, spirit photography, documentary, mockumentary, pseudo-documentary and new media. Kristopher holds an FQRSC doctoral research fellowship for his dissertation research involving generic hybridity and intermediality in mock-documentary horror films such as The Last Broadcast (1998), The Blair Witch Project (1999), George A. Romero’s Diary of the Dead (2007) and Lake Mungo (2009).