STEERING COMMITTEE

Women and Film History International is entirely volunteer run.

Executive Committee

President

  • Kate Saccone is a  PhD researcher at the University of Amsterdam where her practice-led project engages with silent cinema, archival moving image exhibition practice and theory, and critical-feminist approaches to curatorial labor. Her writing has appeared in The Moving Image and Feminist Media Histories, and she contributed the DVD booklet essay for Early Women Filmmakers: An International Anthology (Flicker Alley, 2017). As a curator, Kate has organized screenings at the Museum of Modern Art, Anthology Film Archives, the New York Public Library and the Netherlands Silent Film Festival, among other places. She is also  the project manager and an editor of the Women Film Pioneers Project, and has served on the steering committee of Women and Film History International since 2022.

steering committee chair

  • Kristine Harris is an Associate Professor of History and Asian Studies at the State University of New York, New Paltz.  With a specialization in the history of film and media, gender, literature, and visual culture of twentieth-century China, Harris has also taught at the University of Chicago as Visiting Associate Professor of Cinema and Media Studies in 2007 and 2009.  In June 2024, as Invited Professor at the École des Hautes Études en Sciences Sociales (EHESS) in Paris, she delivered lectures on Chinese film history of the 1930s and on the origins and afterlives of The Red Detachment of Women.  Her research has appeared in The Journal of Chinese Cinemas (2024); The Journal of Chinese Film Studies (2023); Les Sons de l’exotisme au cinéma: Bruits, voix, musiques (2022); Harvard New Literary History of Modern China (2017); The Oxford Handbook of Chinese Cinemas (2013); History in Images: Pictures and Public Space in Modern China (2012); The New Woman International: Representations in Photography and Film from the 1870s through the 1960s (2011), and Opera Quarterly (2010), among others. Currently she is working on a book about Love and Duty and the life and work of S. Rosen-Hoa. She has served on the WFHI Steering Committee since 2022

Treasurer

  • Tanya Goldman is Assistant Professor of Film at Missouri State University in the United States. Her writing has appeared in Criterion Currents, Feminist Media Histories, Film History, Historical Journal of Film, Radio, and Television, The Moving Image, and several edited essay collections, among others. She is also the author of an ongoing zine series documenting the careers of women in the North American nontheatrical film industry in the mid-20th century. Her favorite woman filmmaker is Lee Dick, director of nonfiction films about education, nursing, and public health from the 1930s to '50s. For more about Tanya's activities, visit tanyagoldmanphd.com

Treasurer elect

Membership Secretary

  • Elyse Singer is a Lecturer at Dartmouth College in the Department of Theater and teaches at Feirstein Graduate School of Cinema (CUNY) and NYU Tisch. A Yale alum, she received her Ph.D. in Theatre and Performance with Film Studies Certificate from The Graduate Center, CUNY. Her work has been published in Cinematic Explorations of the Mind; The Routledge Companion to Performance and Science; Faces on Screen; Feminist Media Histories; and Domitor’s Crafts, Trades, and Techniques of Early Cinema. She presented at WSS XI and XII and is delighted to join the WFHI Steering Committee.

Members at Large

  • Kathy Rose O'Regan is the Executive Director of San Francisco Film Preserve (SFFP). SFFP's mission is to restore, preserve, and provide access to the world’s cinematic heritage, ensuring that films—of all genres and eras—remain accessible for future generations. Originally from Galway in the west of Ireland, Kathy has been based in San Francisco for seventeen years. She served as the Senior Film Restorer for San Francisco Silent Film Festival, overseeing all operations of the preservation department and managing the restoration of dozens of silent era titles. Previously, she managed the preservation department of the Bay Area Video Coalition. Kathy is a graduate of the L. Jeffrey Selznick School of Film Preservation, a recipient of a National Film and Sound Archive of Australia fellowship, and a steering committee member of Women and Film History International.

  • Rose Albayat is a researcher and artiste créateur. She received her BA in films from the University of Michigan in 2023. Her undergraduate integrated honors thesis on Georges Méliès won her several accolades, including Highest Honors and the Arthur Miller Creative Arts Award. Her creative pursuits span writing, film production, film programming, 3D designs, and virtual reality, with a primary focus on early silent cinema and avant-garde cinema. Rose has served as a film programmer for the Ann Arbor Film Festival since 2024.

  • Enrique Moreno Ceballos is a Ph.D. candidate at the Posgrado en Historia del Arte de la Universidad Nacional Autónoma de México. Enri’s research is centered around the very first women film exhibitors and cinema proprietors of Mexico, inspired by the longstanding views and ever blossoming perspectives of Feminist Film History. The findings of such work have been acknowledged by initiatives such as peer-reviewed journal Vivomatografías and Domitor. As a curator, Enri has been a participant of the 2018, 2023, and 2024 programs of Pordenone’s Le Giornate del Cinema Muto, and is also founder and director of Mexico’s Silent Film Festival-FIC Silente MX. With a strong conviction about creating communities of fair and equal access to knowledge, Enri is currently a proud member of Women Film History International.

  • Kiki Loveday  is an award-winning interdisciplinary artist and scholar working at the intersection of history, narrative and the moving image. Their current book project traces the historical emergence of the motion picture director through a series of Sappho films produced during the silent era (1900–1931). Her scholarly work has been published in Feminist Media Histories, Early Popular Visual Culture, The Women Film Pioneers Project and Framework and is forthcoming in multiple anthologies. Kiki's creative work has exhibited in venues from The Coney Island Film Festival in New York City to The Virginia Scott Galleries of American Art at The Huntington in Los Angeles. She co-founded The Women in the Director’s Chair Oral History Project at Tisch School of the Arts, NYU. She is currently a Visiting Assistant Professor at Smith College.

  • Julita Pratiwi is a film researcher and media archivist based in Jakarta, Indonesia. She graduated from the Moving Images Archiving and Preservation, NYU Tisch in 2024. She is a co-founder of Kelas Liarsip, a research collective with a special focus of study on film archiving, restoration and women’s work in Indonesian cinema. The group started as a virtual learning group in March 2021. In 2022, the collective conducted the research on Ratna Asmara - the first Indonesian woman film director and initiated the digitization of her remaining film, Dr. Samsi (1952). Currently, she is working on researching the history of cinematography in Dutch East Indies/ Indonesia (1906 - 1966). 

  • Drake Stutesman is the President Past of WFHI and former co-chair of the Women’s Film Preservation Fund at New York Women in Film and Television. She is a writer, programmer, editor, curator and adjunct professor. The Senior Editor of Framework: The Journal of Cinema and Media, she writes fiction and nonfiction, including two cultural histories, Hat: Origin, Language, Style (2019) and Snake (2005), both published by Reaktion Books and translated into Mandarin. She has had essays published by, among others, the British Film Institute, Koenig Books, Columbia University Press, Museum of Modern Art (New York) and the Museum of Contemporary Art (Los Angeles). Some subjects include re-enactment video art, performance space, subjectivity in biography, experimental writing, melodrama, labor history, and costume. Her screenplay adaption of Djuna Barnes’ Nightwood is under consideration.She has taught at New York University, the Pratt Institute, the Bard Graduate Center, University of Stockholm and Holloway Prison (London) and co-organized conferences at New York University and London’s Warburg Institute.  From a diplomatic family, she’s lived in Paris, La Paz, London and New York.She is currently completing a cultural history on secret subversive stories hidden in popular entertainment. www.drakestutesman.com

  • Tami Williams is Associate Professor of English and Film Studies at the University of Wisconsin-Milwaukee, and served two terms as President of Domitor, the International Society for the Study of Early Cinema (2016-2024). She is the author, editor, and/or co-editor of six books, including Crafts, Trades, and Techniques of Early Cinema (2024), Provenance and Early Cinema (2021), Germaine Dulac: What is Cinema? (2019, 2020 CNC Prix du livre), Global Cinema Networks (2018), Performing New Media, 1895-1915 (2014), and Germaine Dulac: A Cinema of Sensations (2014), as well as a special issue of The Moving Image on “Early Cinema and the Archives” (2016), and the AFRHC journal 1895, entitled Germaine Dulac, au-delà des impressions (2006). She also serves as a board member of Women Film History International.

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