Edited by Greg Elmer, Charles H. Davis, Janine Marchessault, and John McCullough
(Lexington Books, 2010)

“The media are on the move, in every conceivable way. As ‘new’ media arrive at our doorsteps and bedsides, this compelling volume asks us to think about mobile media in a different way, to consider the who, what, when, and where of how the media go about their business. In an era of footloose cultural production, Locating Migrating Media is an invaluable guide.”
—Toby Miller, author of Global Hollywood 2

Locating Migrating Media details the extent to which media productions, both televisual and cinematic, have sought out new and cheaper shot locations, creative staff, and financing around the world. The book contributes to debates about media globalization, focusing on the local impact of new sites of media production. The book's chapters also question the role that film and television industries and local and regional governments play in broader economic develop and tax incentive schemes.

Edited by Janine Marchessault and Susan Lord
(University of Toronto Press, 2007)

As a medium, film is constantly evolving both in form and in content. Fluid Screens, Expanded Cinema considers the shift from traditional cinema to new frontiers of interactive, performative, and networked media.

Using Gene Youngblood’s 1970 book Expanded Cinema as an anchor for the volume, Fluid Screens, Expanded Cinema understands the digital not simply as a technological form, but also as an experience of space and time that is tied to capitalism. This important collection is unique in framing a range of social justice issues with aesthetic theories of new digital screen culture that will appeal to scholars and multimedia artists prepared to break new ground.

Public is a unique interdisciplinary journal that explores contemporary cultural issues. Bridging scholarly and critical studies with artistic practices, the journal provides a forum in which international artists, critics and theorists exchange ideas on topics previously segregated by ideological boundaries.

Public is published by the Public Access Collective, which was founded out of a shared need to be part of a community-based organization that is open to innovative ways for curating the visual arts in the public domain. Working to organize its projects, the group functions mainly in curatorial and research capacities.

The current members of the Public Access Collective are Ken Allan, Lang Baker, Chloë Brushwood-Rose, Nancy Campbell, Christine Davis, Caitlin Fisher, Susan Lord, Janine Marchessault, Dorit Namaan, Deborah Root, and Kathryn Walter.