Trevor Cencic is a graduate of Film and Screen Studies (Honours) from Monash University. His screen interests include lost films, unauthorised adaptations and the relationships between these films and their official counterparts. In his spare time he also spends too much time watching bad movies.

Felicity Chaplin teaches cinema and culture in the French Studies Program at Monash University. She is the author of La Parisienne in cinema: between art and life (Manchester UP, 2017). Her work appears in Australian Journal of French Studies, Colloquy, Lola, Metro, Screening the Past and Senses of Cinema.

Andréas Giannopoulos is a Melbourne-based film director. He has worked on narrative shorts, documentaries and music videos and has a strong preference for shooting on celluloid film. He has a Bachelor of Film and Television from Swinburne University of Technology, and in 2016 was a participant in the third edition of MIFF’s Critics Campus.

Belinda Glynn is a doctoral candidate at Monash University. She is interested in how female stars operated as figures of power and negotiation in classical Hollywood and spends much too much time watching black and white movies in the name of research.

Jessica Marshall is a Melbourne based screenwriter and director. She has an MFA in Writing for Performance from the National Institute of Dramatic Arts (NIDA). Her debut feature film Signs of Life is currently in development with production company Sense and Centsability.

Whitney Monaghan is an Assistant Lecturer in Film and Screen Studies at Monash University. Her background is in screen, media and cultural studies and her research examines the representation of gender, queer and youth identities, digital culture, and new forms of screen media. She is the author of Queer Girls, Temporality and Screen Media: Not 'Just a Phase'(Palgrave, 2016).

Kate Warren researches and teaches in Art History at Monash University, where she recently received her PhD. Her current research focuses on cross-overs within contemporary film, video, moving image and photographic practices. She was previously a curator at the Australian Centre for the Moving Image, Melbourne, and she writes regularly about contemporary art and cinema, including in publications such as Discipline, Persona Studies, Australian and New Zealand Journal of Art, Metro and Le Magazine (Jeu de Paume, Paris).