Marcus Boon is Associate Professor of English at York University and a Fellow at the Society for the Humanities at Cornell University. He is the author of The Road of Excess: A History of Writers and Drugs and In Praise of Copying, both from Harvard University Press. He writes about emerging global musics for The Wire and is currently editing a book on musical subcultures, digital practices and globalization with DJ/Rupture.

Dawn-Elissa Fischer is an Assistant Professor in the Department of Africana Studies at San Francisco State University, where she teaches courses on black popular culture, information technology and visual ethnography. Currently, a Woodrow Wilson National Foundation Career Enhancement Fellow, she is completing a manuscript entitled Blackness, Race and Gender Politics in Japanese Hiphop. Her work is also published in the Journal of Popular Music Studies and Doing Race: 21 Essays for the 21st Century (WW Norton & Co). Dr. Fischer is a founding staff member of Dr. Marcyliena Morgan’s Hiphop Archive as well as a co-founder of the National Hip Hop Political Convention. She co-directs the BAHHRS (Bay Area Hip Hop Research and Scholarship) project with Dave “Davey D” Cook, which is funded by the Cesar Chavez Institute’s Community University-Empowerment Grant.

Volker Ralf Grassmuck is a media sociologist and author. He was project lead of the conference series and of the copyright information portal He co-founded, and and is currently involved in planning a research and development programme for digital moving images at Leuphana University Lüneburg and blogs at His publications include: “Freie Software zwischen Privat- und Gemeineigentum,” Bundeszentrale für politische Bildung, Bonn 2002.

Nitin Govil is the co-author of the Global Hollywood books and other writings on media in local and global contexts. He is currently finishing two books, one on Hollywood in India and the other a co-authored study on the Indian film industries. He is currently an Assistant Professor in the Department of Communication at the University of California, San Diego. In 2012, he will join the Critical Studies faculty at the School of Cinematic Arts at the University of Southern California.

Adam Haupt is an Associate Professor in the Centre for Film & Media Studies at the University of Cape Town. He is the author of Stealing Empire: P2P, Intellectual Property and Hip-Hop Subversion (HSRC Press, 2008) and Static: Music and Identity after Apartheid, HSRC Press: 2012, forthcoming.

Johannes Salim Ismaiel-Wendt studied Kulturwissenschaft (Anthropology, Cultural Studies), Sociology and Musicology at the University of Bremen, Germany. His PhD thesis is entitled tracks’n’treks: Popular Music and Postcolonial Analysis (published at UNRAST Verlag October 2011). He writes and lectures on the aesthetics of electronic music, on sounds and routes of the Black Atlantic and on the performance of cultural identities. He is academic advisor of the GLOBAL PRAYERS project at Haus der Kulturen der Welt, Berlin.

Faiza Ahmad Khan studied Social Communications Media at Sophia Polytechnic in Mumbai. After a stint as Assistant Director on a feature film, she came across Malegaon’s indigenous film industry which became the subject of her first documentary. She is currently documenting land and housing rights struggles in Mumbai and rural Orissa, along with people from the communities involved.

Ramon Lobato is a research fellow with the ARC Centre for Excellence in Creative Industries and Innovation at Swinburne University of Technology in Melbourne, where he also teaches in the media studies programme. His primary research area is audiovisual distribution, with a focus on informal and pirate networks. Ramon’s forthcoming book, Shadow Economies of Cinema: Mapping Informal Film Distribution (British Film Institute, 2011), examines how film circulates – both legally and illegally – in sites across the Asia-Pacific, Africa, and the Americas.

Ranjani Mazumdar is Associate Professor of Cinema Studies at the School of Arts & Aesthetics, Jawaharlal Nehru University, New Delhi. Her publications focus on urban cultures, popular cinema, gender and the cinematic city. She is the author of Bombay Cinema: An Archive of the City published by the University of Minnesota Press (2007). Mazumdar has also worked as a documentary filmmaker and is a founding member of Mediasorm, India’s first women’s film collective, which received the Chameli Devi Jain Award for outstanding media professionals among women in 1992. Mazumdar’s documentaries include Delhi Diary 2001 (on violence, memory and the city); The Power of the Image (co-directed; a television series on Bombay cinema); and Prisoner of Gender which won the Silver Panda at the International Television Documentary Film Festival in Chengdu, China. Her current research focuses on the intersection of tourism, travel and cinema in the 1960s; contemporary globalization and film culture; and the history of the Bombay film poster.

Ferdinand Mbecha, originally from Cameroon, is a PhD student at the Freie Universität of Berlin. His research interests include contemporary popular culture, ethnographic films, language and identity, and culture and gender. He has designed and taught seminars in contemporary popular culture and African cinema.

Sheikh Nasir grew up in the film-crazy industrial town of Malegaon where his entire childhood was spent watching movies on VHS tapes in his father’s video-hall. When he took over, he saw that his audiences got bored with long dialogue scenes so he used scissors and tape to make a more ‘interesting’ movie. This was his first brush with film-making. Soon after, he decided to make a localised spoof of Bollywood blockbuster film, Sholay, a project that the entire town was involved in. Made on a paltry budget of 50,000, the film ran in the video-halls for months, but more importantly, it set in motion a home-grown film industry in Malegaon, with Nasir as its undisputable Godfather.

Satish Poduval is Associate Professor, Department of Cultural Studies, at the English and Foreign Languages University (Hyderabad). He has contributed to the Encyclopaedia of Indian Cinema (London: BFI/OUP 1998), edited Re-Figuring Culture: History, Theory and the Aesthetic in Contemporary India (New Delhi: Sahitya Akademy 2005), and has published essays on Indian film and television. He is currently writing on piracy and the public domain, and completing a monograph on the new political documentary film in India.

Karen Salt is a Caribbeanist in the Department of History at the University of Aberdeen. She is the current Director of the Centre for Cultural History and teaches and supervises students in Caribbean and American studies. Dr Salt reaches across disciplinary boundaries at the University of Aberdeen by affiliating as an associate with the Centre for Sustainable International Development and the Centre for Citizenship, Civil Society, and Rule of Law. This interdisciplinarity extends into her work on behalf of professional societies invested in researching the Americas, specifically, regions within the global South, such as Haiti. Dr Salt has contributed to journals and edited collections on ecologies, Atlantic slavery, and/or Haitian politics. She is currently working on two book projects: All Hail the Queen: The Branding of Haiti in the Nineteenth Century; and Twilight Spaces: Caribbean Political Ecologies Amidst the Islands.

Henry Stobart is Reader in Music/Ethnomusicology in the Music Department of Royal Holloway, University of London. He has published widely on the music of the Bolivian Andes. His former work primarily focused on rural indigenous perspectives, but more recent research stresses wider cultural politics and the impact of new digital technologies. His books include the monograph Music and the Poetics of Production in the Bolivian Andes (Ashgate, 2006) and several edited volumes: The New (Ethno)musicologies (Scarecrow, 2008), Knowledge and Learning in the Andes: Ethnographic Perspectives (co-edited with Rosaleen Howard; Liverpool University Press, 2002), and Sound (co-edited with Patricia Kruth; Cambridge University Press, 2000).

Ravi Sundaram is a Senior Fellow at the Centre for the Study of Developing Societies (CSDS), Delhi. In 2000 he founded the well known Sarai programme along with Monica Narula, Jeebesh Bagchi, Ravi Vasudevan and Shuddhabrata Sengupta. Sundaram has co-edited the Sarai Reader series, The Public Domain (2001), The Cities of Everyday Life (2002), Shaping Technologies (2003), Crisis Media (2004), and Frontiers (2007). He is the author of Pirate Modernity: Media Urbanism in Delhi (Routledge, London 2009), and is finishing two edited volumes, No Limits: Media Studies from India and Delhi’s Twentieth Century, both from Oxford University Press.