Matthew D. Johnson is Assistant Professor of East Asian History at Grinnell College, US. As a doctoral student at the University of California, San Diego he conducted one of the first oral histories of China's early socialist film industry. His scholarly writing focuses on the history of the motion picture in China; documentary cinema and practice; public cultural service and security; and U.S.-China transnational relations. He is a member of the editorial board of the Journal of Chinese Cinemas. Keith B. Wagner is an Assistant Professor of Film Studies and Social Theory in the Graduate School of Film and Digital Media at Hongik University in Seoul, South Korea. Before moving to Asia, he completed his M.Phil degree at the University of Cambridge and his PhD at King’s College London. He is the co-editor of Neoliberalism and Global Cinema: Capital, Culture and Marxist Critique (2011) and is completing a manuscript based on his dissertation entitled Living with Uncertainty: Precarious Labor in Global Cinema. Kiki Tianqi Yu is a filmmaker and Lecturer in Film at the University of the West of Scotland, UK. She publishes on first person documentary, Chinese documentary, camera activism, amateur cinema culture, and cinematic memory in Studies in Documentary Film, Journal of Chinese Cinemas, and Journal of Contemporary Chinese Art, among others. Yu is the author of ‘My’ Self On Camera: First Person Documentary Practice in 21st century China (2018). As a filmmaker, her film works include Photographing Shenzhen (2007), Memory of Home (2009) and the recent feature length documentary film China’s van Gogh (2016). Luke Vulpiani is a PhD candidate at King’s College London under the supervision of Dr Viktor Fan. He has a 1st Class BA Degree in Film Studies from The University of Warwick and a MA in Chinese Studies from SOAS, University of London. His research focuses on aesthetic theory, Chinese film and the relationship between film and philosophy, psychoanalysis and politics.