Sonia Cam­panini is as­sis­tant pro­fes­sor of Film Cul­ture in the De­part­ment of The­atre, Film and Media Stud­ies at the Goethe Uni­ver­sity Frank­furt am Main, where she di­rects the grad­u­ate pro­gram Film Cul­ture: Archiv­ing, Pro­gram­ming, Pre­sen­ta­tion. She is Prin­ci­pal In­ves­ti­ga­tor in the in­ter­dis­ci­pli­nary pro­ject CED­I­TRAA Cul­tural En­tre­pre­neur­ship and Dig­i­tal Trans­for­ma­tion in Africa and Asia. Her re­search in­ter­ests em­brace film archiv­ing and film cu­ra­tor­ship with a spe­cial focus on the ma­te­r­ial, tech­no­log­i­cal, aes­thetic and memo­r­ial di­men­sions of au­dio­vi­sual her­itage from a transna­tional per­spec­tive. She co-edited the pub­li­ca­tion L’archivio/ The Archive and pub­lished in Film Stud­ies, Music and The Moving Image, Jour­nal of Film Preser­va­tion and The Moving Image. In her up­com­ing book Film Sound in Preser­va­tion and Pre­sen­ta­tion she analy­ses the sonic di­men­sion of film in re­la­tion to preser­va­tion and restora­tion prac­tices and pro­poses a con­cep­tual de­f­i­n­i­tion of film sound based on the no­tions of trace, ma­te­r­ial form and per­for­mance. Her cur­rent re­search pro­ject Re­mak­ing Nol­ly­wood: Net­works of Cir­cu­la­tions and Memory Con­struc­tions in­ves­ti­gates how Niger­ian con­tem­po­rary film pro­duc­tion is re­viv­ing and reap­pro­pri­at­ing its own film her­itage of the Video Nol­ly­wood Era through re­makes and se­quels.