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Éva-Edit Timkó (25 January 1925, Oradea – 25 June 2008, Cluj-Napoca) was a Hungarian artist from Transylvania. Her parents were art- and music-lovers. In the 1930s she attended the reputed Antalffy private ballet school in Oradea. During and after the Second World War, between 1942 and 1946, she was at the theatre of Oradea, and then between 1946 and 1947 at the Hungarian theatre of Arad as member of the operetta troupe under the management of Károly Jódy. In 1948 she signed as a ballet dancer with the newly formed Hungarian State Opera of Cluj, and already from the first season she featured in the soubrette roles of the operettas. She trained her voice one year with Ilona Adorján, and she improved her ballet knowledge with Roman Morawsky. She was exceptionally talented as singer, actress and ballet dancer.  Her artistic career spanned thirty theatre seasons, twenty two of which she spent on the stage of the Hungarian State Opera in Cluj. Even the tragedies that occurred in her private life were perhaps alleviated by the stage and by her love for music. To countless opera performances in Cluj in the so-called "golden age" years of the opera were added numerous tours and guest appearances. Her most played role was Stázi in Csárdáskirálynő (The Czardas Queen). The Hungarian State Opera of Cluj also took part in a tour of Yugoslavia in 1969 with the operetta Marica grófnő (Countess Marica). The success of the performance in Skopje was remembered by the journalist of Nova Makedonia, Vlado Čučkov, in his article “Művészi csúcsteljesítmény” (Artistic peak performance), in which he particularly highlighted the name of Edit Timkó.

Tirnanić attended the Tenth Belgrade High School, but did not graduate. He began his career as an editor in the Belgrade youth journal Susret.Tirnanić wrote for the weekly NIN, where healso worked as editor and later editor-in-chief, for two decades. He wrote for manyBelgrade-based publications, as well as for a number of television stations.

Bogdan Tirnanić co-authored the script for the film Poslednji krug u Monci [The Last Circle in Monza]. He starred in Rani radovi [Early Works] by Želimir Žilnik, Crnom bombaderu [The Black Bomber], Dečko koji obečava [The Promising Boy] and in Otpisani [The Written-Offs].

Tirnanić most important legacy was as a film critic, expert, and contemporary of Yugoslav Black Wave. His essays on the topic were published under the name Crni talas [Black Wave] in 2008.

Bogdan Tirnanić died in Belgrade on 16 January, 2009.

Dragoljub Raša Todosijević was born in 1945 in Belgrade. He graduated from the Academy of Fine Arts in 1964. He is one of the key representatives of the ‘New Art Practice’, which at the beginning of the 1960s began to use new media – video, performance, happenings, etc. – to probe and provoke the art conventions and institutions of that time, as well as society as a whole. He has shown his work in numerous solo and group exhibitions in Serbia and abroad. He has also published several books. His work is displayed in numerous collections and museums. Raša Todosijević lives in Belgrade.

Jerzy Toeplitz was a cinema historian and a film critic. He was one of the founders of the Film School in Łódź and managed this institution till 1968, when he was fired and forced to emigrate abroad (in 1970 he moved to Australia).

Jerzy Teoplitz started to gather and preserve copies of the Polish films just after the World War II. It was his initiative to donate Polish pre-war films to the archives of the International Federation of Film Archives (FIAF). He chaired FIAF from 1946 to 1972. He also worked as a film critic and a researcher of the history of Polish cinema. Toeplitz published six volumes of “The History of Cinematic Art” in the period from 1895 to 1953.

He was a member of the Polish United Workers’ Party and an architect of the post-war Polish film industry.  His reviews of the new film releases and comments had a great influence on the Polish audience. The governmental anti-Semitic campaign in 1968 interrupted his career in Poland. Before 1968, he represented Polish cinema industry in Europe, saved pre-war films from destruction, and acquired foreign films for Polish audience. In this sense, he was not opposed to the socialist “regime”, as he rather worked on reconstructing the Polish artistic life after the war, without openly contesting the Party’s politics.