Charles Barr
University East Anglia UK
Charles Barr is always happy to return to Ireland, his father’s country; his grandfather played Rugby for Ireland either side of 1900, and his children are actively seeking Irish passports in the wake of the Brexit vote. He himself has taught, in recent years, at UCD and at the John Huston School in Galway, and has held research posts in Galway and at Trinity. Before that, he taught for many years at the University of East Anglia in Norwich, helping to set up one of the pioneer British programmes in film history and theory, and then for two years at Washington University in St Louis. After three final years as a research fellow in Film and Irish Studies at St Mary’s University, Twickenham, he is now back in Norwich in formal retirement, but manages to remain active, with current projects on John M. Stahl and on John Ford.  His main publications, besides those on Hitchcock (see link), have been on British Cinema, including Ealing Studios (1977, third edition 1999), and he co-scripted, with its director Stephen Frears, Typically British, part of TV’s centenary history of the medium in 1995.
William Rothman
University of Miami USA
William Rothman received his PhD in philosophy at Harvard University, where he taught film theory, criticism and history many years. He is currently Professor of Cinema and Interactive Media at the University of Miami. Among his many books are Hitchcock: The Murderous Gaze (1982; Expanded Edition with a new chapter on Marnie, 2012) and Must We Kill the Thing We Love? Emersonian Perfectionism and the Films of Alfred Hitchcock (2014) He is currently completing Tuitions and Intuitions: Essays at the Intersection of Film Criticism and Philosophy, a collection of his essays written subsequent to 2004, when an Expanded Edition of The "I" of the Camera (1988) was published. Vertigo was the film all that William Rothman, like all his sixth grade classmates in Brooklyn, were most excited about. The film has fascinated him ever since.
Murray Pomerance
Ryerson University Canada
Murray Pomerance is Professor in the Department of Sociology at Ryerson University. He is the author of The Man Who Knew Too Much (BFI, 2016), A King of Infinite Space (Oberon, 2017), Moment of Action: Riddles of Cinematic Performance (Rutgers, 2016), Marnie (BFI, 2014), The Economist (Oberon, 2014), The Eyes Have It: Cinema and the Reality Effect (Rutgers, 2013), Alfred Hitchcock's America (Polity, 2013), Tomorrow (Oberon, 2012), Michelangelo Red Antonioni Blue: Eight Reflections on Cinema (California, 2011), Edith Valmaine (Oberon, 2010), The Horse Who Drank the Sky: Film Experience Beyond Narrative and Theory (Rutgers 2008), Johnny Depp Starts Here (Rutgers 2005), An Eye for Hitchcock (Rutgers 2004), Savage Time (Oberon 2005), and Magia D'Amore (Sun and Moon, 1999).
David Schroeder
Dalhousie University Canada
David Schroeder is Professor Emeritus in the Fountain School of Performing Arts at Dalhousie University in Halifax, Canada, and he holds a PhD in musicology from Cambridge University. His teaching covered many aspects of music as well as music and film. Of his seven books in print, two include discussions of Vertigo, both published by Continuum: Cinema’s Illusions, Opera’s Allure: The Operatic Impulse in Film (2002), and Hitchcock’s Ear: Music and the Director’s Art (2012). Both of these books focus more on the ways directors often think like musicians than on film music. He has published about two dozen articles, and has given numerous invited talks in Canada, U.S.A, Germany, U.K., and Spain, including ones at the Lincoln Center in New York, the Caixa Forum in Barcelona, and on BBC Radio. He spent many weeks doing research at the Margaret Herrick Library in Los Angeles, and there in the Hitchcock Archives became familiar with the progression of scripts that Vertigo went through in its development.
Kevin Donnelly
University of Southampton UK
Kevin Donnelly is reader in Film at the University of Southampton. He writes primarily about film and music and his books include Herrmann and Hitchcock: Partners in Suspense: Critical essays on Bernard Herrmann and Alfred Hitchcock (co-edited with Steve Rawle, 2016), Today’s Sounds for Yesterday’s Films: Making Music for Silent Cinema (co-edited with Ann-Kristin Wallengren, Palgrave, 2016), Magical Music Tour: Pop and Rock in Film Soundtracks (Bloomsbury, 2015), Occult Aesthetics: Sound and Image Synchronization (Oxford University Press, 2013), among others. He is currently co-editing a book on new music for silent films (with Ann-Kristin Wallengren for Palgrave) and co-editing a collection (with Steve Rawle) on Alfred Hitchcock and Bernard Herrmann (for Manchester University Press). In addition to writing on film music and film sound, he also has significant interests in British and Irish cinema, film theory, aesthetics, critical and cultural theory, horror and science fiction films, cult films and TV; and rock, electronic and experimental music. 
Jack Sullivan
Rider University USA
Jack Sullivan is Professor of English at Rider University. Sullivan's specialties include nineteenth and twentieth century American literature, music, and film. He has published six books, including "Hitchcock's Music" (2006) and has written for Opera, The New York Times, Washington Post, Newsday, and USA Today. He teaches a variety of subjects, including several in the American Studies Program, which he chairs. An advocate of an active Emersonian education, Sullivan frequently takes students to plays and other cultural events in New York City, where he lives with his wife and two children.
Sidney Gottlieb
Sacred Heart University, Connecticut, USA
Sidney Gottlieb has been teaching at Sacred Heart University, Connecticut, USA since 1976. He is the editor of  both the Hitchcock Annual (Columbia University Press; coedited with Richard Allen) and the George Herbert Journal. His edited books include Hitchcock on Hitchcock (Univ. of California Press), Framing Hitchcock (Wayne State University Press; coedited with Chris Brookhouse), Hitchcock: Interviews (Univ. of Missouri Press), and Roberto Rossellini's Rome Open City (Cambridge Univ. Press). The second volume of Gottlieb's Hitchcock on Hitchcock is forthcoming, and he has published essays on Hitchcock, Welles, Eisenstein, Capra, Herbert, Milton, Marvell, Vaughan, Sterne, and Austen, among others. He is also an active musician, currently playing with Ice Brothers in Connecticut and Thaumatrope in New York City
George Toles
University of Manitoba Canada
George Toles is Distinguished Professor of Literature and film at the University of Manitoba. Among his publications are the  books A House Made of Light: Essays on the Art of Film and  Paul Thomas anderson, the latter part of the University of Illinois Contemorary Film Directors' series.  He has published a number of essays on Hitchcock, including work on Psycho, Rear Window, and Strangers on a Train. He has published an essay on the star persona in screen acting, which deals at some length with James Stewart's performance in Vertigo. For twenty five years George was Guy Maddin's screenwriting collaborator.
Christian Esquevin
Director Coronado Library, California
Christian Esquevin is the Director of Library Services at the Coronado Public Library in Coronado California since 1988 and has previously overseen a major expansion and remodel of the library building to its current 40,000 square ft. His interests in film are broad, but he specializes in classic film costume design. He owns one of the largest collections of original movie costume design sketches in private hands. 

Esquevin is the author of a book on Hollywood costume and fashion designer Gilbert Adrian: Adrian: Silver Screen to Custom Label (Monacelli Press, 2008).  Adrian was the head designer at MGM during its golden age and he dressed Garbo, Joan Crawford, Jean Harlow, Katharine Hepburn, Judy Garland, Greer Garland, Hedy Lamarr, Lana Turner and many more.  Esquevin also writes for his blog: silverscreenmodes.com that includes Vertigo: Spiraling into Myth Madness and Movie History and aslo The Costumes of Vertigo.