Allison Whitney
Biographic Data
| ID | 4013124 |
|---|---|
| NAME | Allison Whitney |
| GIVEN NAMES | Allison |
| FAMILY NAME | Whitney |
| SIGNATURE | WHITNEY A |
| AFFILIATIONS | Texas Tech University |
| VERIFIED | No |
| TOTAL WORKS | 7 |
| TOTAL CITATIONS | 3 |
| WORKS AS AUTHOR | 7 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2010 |
| LATEST PUBLICATION YEAR | 2026 |
| H-INDEX | 1 |
Every Frame Must Serve a Purpose
In this interview conducted by Janine Marchessault and Allison Whitney, Canadian astronaut Dr. Roberta Bondar describes her experiences with the planning and production of the IMAX documentary Destiny in Space (1994), her collaboration with filmmakers Graeme Ferguson, Phyllis Ferguson, Toni Myers, and James Neihouse, and the influence of IMAX on her ongoing practice as a photographer.
Introduction to Women of Imax
Zine
Women of IMAX is an illustrated zine featuring profiles and photographs of women who have played key roles in the history of IMAX cinema. These include editor Fusako Shuzui, director Toni Myers, producers Phyllis Ferguson and Sally Duncas, museum cinema managers Diane Carlson and Mary Jane Dodge, technical writer Althea Douglas, astronaut Roberta Bondar, advanced computing and data visualization expert Donna Cox, and IMAX projectionists Ingrid La…
An Interview with Imax Filmmaker Toni Myers
In this interview conducted by Allison Whitney, Toni Myers offers an account of how she became an IMAX filmmaker, from her work as an editor of one of the Expo 67 experiments that would precipitate IMAX’s invention, to her central role in the production of IMAX space films through a collaboration between the IMAX Corp., NASA, and the National Air and Space Museum. She explicates her creative collaborations with Graeme Ferguson, Phyllis Wilson Fer…
Star Wars and the History of Transmedia Storytelling
Star Wars has reached more than three generations of casual and hardcore fans alike, and as a result many of the producers of franchised Star Wars texts (films, television, comics, novels, games, and more) over the past four decades have been fans-turned-creators. Yet despite its dominant cultural and industrial positions, Star Wars has rarely been the topic of sustained critical work. Star Wars and the History of Transmedia Storytelling offers a…
Caetlin Benson-Allott, Killer Tapes and Shattered Screens
While reading Caetlin Benson-Allott’s Killer Tapes and Shattered Screens: Video Spectatorship from VHS to File Sharing , I also happened upon the 2015 release The Final Girls (Todd Strauss-Schulson) and was immediately struck by how effectively Benson-Allott equips her reader to engage with contemporary horror and spectatorship practice. The film begins with what appears to be the logo for a VHS distributor, its neon colour scheme and style evoki…
Etched with the Emulsion
Star Wars and the History of Transmedia Storytelling
Star Wars has reached more than three generations of casual and hardcore fans alike, and as a result many of the producers of franchised Star Wars texts (films, television, comics, novels, games, and more) over the past four decades have been fans-turned-creators. Yet despite its dominant cultural and industrial positions, Star Wars has rarely been the topic of sustained critical work. Star Wars and the History of Transmedia Storytelling offers a…
Etched with the Emulsion
Caetlin Benson-Allott, Killer Tapes and Shattered Screens
While reading Caetlin Benson-Allott’s Killer Tapes and Shattered Screens: Video Spectatorship from VHS to File Sharing , I also happened upon the 2015 release The Final Girls (Todd Strauss-Schulson) and was immediately struck by how effectively Benson-Allott equips her reader to engage with contemporary horror and spectatorship practice. The film begins with what appears to be the logo for a VHS distributor, its neon colour scheme and style evoki…
Star Wars and the History of Transmedia Storytelling
Star Wars has reached more than three generations of casual and hardcore fans alike, and as a result many of the producers of franchised Star Wars texts (films, television, comics, novels, games, and more) over the past four decades have been fans-turned-creators. Yet despite its dominant cultural and industrial positions, Star Wars has rarely been the topic of sustained critical work. Star Wars and the History of Transmedia Storytelling offers a…
Every Frame Must Serve a Purpose
In this interview conducted by Janine Marchessault and Allison Whitney, Canadian astronaut Dr. Roberta Bondar describes her experiences with the planning and production of the IMAX documentary Destiny in Space (1994), her collaboration with filmmakers Graeme Ferguson, Phyllis Ferguson, Toni Myers, and James Neihouse, and the influence of IMAX on her ongoing practice as a photographer.
Introduction to Women of Imax
Zine
Women of IMAX is an illustrated zine featuring profiles and photographs of women who have played key roles in the history of IMAX cinema. These include editor Fusako Shuzui, director Toni Myers, producers Phyllis Ferguson and Sally Duncas, museum cinema managers Diane Carlson and Mary Jane Dodge, technical writer Althea Douglas, astronaut Roberta Bondar, advanced computing and data visualization expert Donna Cox, and IMAX projectionists Ingrid La…
An Interview with Imax Filmmaker Toni Myers
In this interview conducted by Allison Whitney, Toni Myers offers an account of how she became an IMAX filmmaker, from her work as an editor of one of the Expo 67 experiments that would precipitate IMAX’s invention, to her central role in the production of IMAX space films through a collaboration between the IMAX Corp., NASA, and the National Air and Space Museum. She explicates her creative collaborations with Graeme Ferguson, Phyllis Wilson Fer…
Cinema and Media Studies (6 works) · Cinema History and Criticism (4 works) · Art (3 works) · feminist media history (3 works) · Advertising (2 works) · Art history (2 works) · Digital Games and Media (2 works) · Gender, Feminism, and Media (2 works) · IMAX (2 works) · Law (2 works)