MEET THE ORGANIZING TEAM
Carl Fischer
Carl Fischer is Professor of Latin American Studies and Chair in the Department of Modern Languages and Literatures at Fordham University. He has taught and written about Chilean and Latin American cultures for the past decade. He is the author of Queering the Chilean Way: Cultures of Exceptionalism and Sexual Dissidence, 1965-2015 (2016) and co-editor (with Vania Barraza) of Chilean Cinema in the Twenty-First-Century World (2020). His writing has appeared in a number of academic journals, including Hispanic Review, Comunicación y Medios, NACLA – Report on the Americas, and Revista de Estudios Hispánicos.
Elizabeth Ramírez-Soto
Elizabeth Ramírez-Soto is Assistant Professor in the Department of Communication and Media Studies at Fordham University. Prior, she worked in the School of Cinema at San Francisco State University. She is the author of (Un)veiling Bodies: A Trajectory of Chilean Post-Dictatorship Documentary (Legenda, 2019) and coeditor of Nomadías: El cine de Marilú Mallet, Valeria Sarmiento y Angelina Vázquez (Metales Pesados, 2016). Her work has appeared in journals like Film Quarterly, Feminist Media Histories, and Jump Cut, as well as in numerous edited collections. Elizabeth is currently working on a book tentatively titled Transnational Experimental Television: The Global South on European Screens, for which she received a Summer Stipend from the National Endowment for the Humanities. She is cofounder of the Latin American Women’s Audiovisual Research Network, RAMA. Elizabeth obtained her Ph.D. in Film and Television Studies from the University of Warwick.
Javier Guerrero
Javier Guerrero is Associate Professor of Latin American Studies at Princeton University and vice-president/president elect of the Latin American Studies Association (LASA). His research focuses on the intersection between visual culture and sexuality in twentieth- and twenty-first century Latin America. He is the author of Escribir después de morir. El archivo y el más allá (Metales Pesados, 2022); Tecnologías del cuerpo. Exhibicionismo y visualidad en América Latina (Iberoamericana/Vervuert, 2014); a book on the filmmaker Mauricio Walerstein (FCN, 2002), and the novel Balnearios de Etiopia (Eterna Cadencia, 2010). He has edited Relatos enfermos (Conaculta/Literal Publishing, 2015), and co-edited A máquina Pinochet e outros ensaios (Peixe-elétrico, 2016); as well as Excesos de Cuerpo. Relatos de contagio y enfermedad en América Latina (Eterna Cadencia 2009, 2012). Before coming to the United States in 2005, Guerrero served as President of the Venezuelan Cinemateca Nacional, where he curated more than twenty-five international film series and festivals and oversaw radical transformations that revamped processes of film distribution, preservation, and documentation.
Dylon Robbins
Dylon Robbins is Associate Professor and Director of the Center for Latin American and Caribbean Studies (CLACS) at NYU. He has published and carried out research on Brazilian and Cuban cinema and music, the documentary and materiality, Walt Disney and Sergei Eisenstein, polyrhythm and temporality, spirit possession and political subjectivity, torture, pornography, cannibalism, and anthropophagy, as well as on visual culture and war in the United States in 1898. He has coedited a special issue of Discourse on media and materiality in Latin America with Javier García Liendo, as well as the volume Guillén Landrián, o el desconcierto fílmico, with Julio Ramos (Almenara 2018). His translations of essays by the Brazilian philosopher Marilena Chaui appear in the English-language anthology of her work Between Conformity and Resistance: Essays on Politics, Culture, and the State, edited by Maite Conde (Palgrave Macmillan 2011). He is the author of Audible Geographies in Latin America: Sounds of Race and Place (Palgrave Macmillan 2019), a book that engages with a diverse body of archival materials in order to examine the audibility of place as a racialized phenomenon through the analysis of listening practices and media technologies in different periods and locales, including Salvador da Bahia in the 1890s, Havana in the 1910s or 1960s, or Rio de Janeiro and São Paulo in the 1930s.
José Miguel Palacios
José Miguel Palacios is Assistant Professor in the Department of Film and Electronic Arts at California State University Long Beach. He is currently writing a book titled Cinema Solidarity: A Transnational History of Chilean Exile Film & Video (under contract with the University of California Press). His work has appeared in journals such as Film Quarterly, Screen, The Moving Image, Jump Cut, and [in] Transition, as well as in various edited collections including Raúl Ruiz: Potencias de lo múltiple (Metales Pesados, 2023), Transiciones de lo real (Libraria, 2020), Cinematic Homecomings (Bloomsbury, 2015) and New Documentaries in Latin America (Palgrave, 2014). Prior to joining CSULB, he was a postdoctoral fellow in the Art Department at Universidad Alberto Hurtado in Santiago, Chile (2018—2020). José Miguel received his Ph.D. from the Department of Cinema Studies at New York University in 2017, and his M.A. in Film Studies from Columbia University in 2011.
Juana Suárez
Juana Suárez is Associate Arts Professor and the Director of the Moving Image Archiving and Preservation (MIAP) Program in the Cinema Studies Department, Tisch School of the Arts, New York University. A Latin American cinema scholar and archivist, she works on Film and Media Archives, Media Archeology, Administration of Memory Institutions, Latin American/Latino-a Cinema, Cultural Studies and Literature, Women’s and Gender Studies, and Immigration Studies. She is the author of Sitios de Contienda. Producción Cultural y el Discurso de la Violencia (Iberoamericana-Vervuert, 2010), and Cinembargo Colombia. Ensayos críticos sobre cine y cultura colombiana (Universidad del Valle, 2009; published in English by Palgrave Macmillan, 2012). She is the co-editor of Humor in Latin American Cinema (Palgrave Macmillan, 2015), and the Spanish translator of Paul A. Schroeder-Rodríguez’s Latin American Cinema, A Comparative History (UC Press, 2016; Iberoamericana-Vervuert, 2020). Currently, she is researching a project tentatively entitled Audiovisual Archives, Cultural History and the Digital Turn in Latin America. In conjunction with NYU MIAP professors, alumni, and students, she has been the organizer of the NYU – MIAP Audiovisual Preservation Exchange Program (APEX) since 2013.