Speakers and Abstracts

Last name A B C D E F G H I J K L M N O P Q R S T U V W X Y Z All

Keynote Speakers

What Do Film Images Represent?
Gregory Currie

How Tasty are Deleuze’s Cinema Books?
David Martin-Jones, University of St Andrews

Giggling Girls and Cackling Crones: A Phenomenology of Women's Laughter
Lucy Bolton, Queen Mary, University of London

Genre, Style and Stiftung: Letting the Right Ones In
Havi Carel, University of the West of England Greg Tuck, University of the West of England

Keynote Panel

Cinema: The Animals that Therefore We Are (On Temple Grandin's Thinking, in Pictures)
John Mullarkey, Kingston University

“A righteous man regards the life of his beast”: Film, Faith and Fauna in Philip Groning’s Into Great Silence (2005)
Catherine Wheatley, University of East London

Autopsy ‘in Vivo’: Biopolitical Features Regarding Wiseman’s Primate
André Dias, Universidade Nova de Lisboa

General Papers

Dead Sex / Living Sex
Jack Sargeant, Deakin University

Feminist Phenomenology and the Film-World of Agnes Varda
Kate Ince, University of Birmingham

An Immense Clip: Film, Philosophy and the Proximate Violence of Becoming
Maria Therese O'Connor, AUT University Auckland New Zealand

(Con)text, the Returning Gaze, ‘an element that opposes drama’: Terrence Malick and the Cutaway
Ian-Malcolm Rijsdijk, University of Cape Town

Resonating Sonic Space: Ingmar Bergman's The Silence
Tarja Laine, University of Amsterdam

Film-Philosophy-Chemistry: A Montage
Maurizio Sanzio Viano, Wellesley College

Questions Concerning Film Encounter
Suzie Mei Gorodi, Auckland University of Technology, New Zealand

John Cassavetes' Avant-Garde Sublime
Sarinah Hope Masukor, Monash University, Melbourne.

Affectionate Heroism: Ricoeur's Perspectives and Movie Thought
Robert Watson, University of Tasmania

Motion(less) Pictures: The Cinema of Stasis
Justin Remes, Wayne State University, Detroit, MI

Creating Creatures: Dumont and the Metaphysics of Evil
Mark Laurence Jackson, Auckland University of Technology

How Deleuze Thinks about Cinema
Dennis Rothermel, California State University, Chico

Stimmung: Exploring the Aesthetics of Mood
Robert Sinnerbrink, Philosophy, Macquarie University

'To Look, to Think, to Debate'
Pedro Mantas, Universidad de Cordoba Rafael Cejudo, Universidad de Cordoba

Re-Thinking the Politics of Stardom: Isabelle Huppert in La Dame aux camellias (Bolognini, 1980) and the ‘Non-Place’ of French Theory
Lara Alexandra Cox, University of Exeter

I’m Glad I’m Not Me: Subjective Dissolution and Post-Structuralist Ethics in the Films of Todd Haynes
Helen Darby, Manchester Metropolitan University

Derrida on Film
Sarah Dillon, University of St Andrews

A Lens through the Looking Glass: Mirrors, Doppelgangers, and Meta-Cinema in Harry Potter and Triangle
Jonathan Olson, University of Liverpool

Visual Philosophy: Theoretical Thinking through Animated Film
Veronika Reichl, last affiliation (until 2010): Oslo School of Architecture and Design

Rhizomatic Narratology: Towards a Philosophy of the Global Digital Village
Gavin Wilson, York St John University Steve Nash, York St John University

Delimited Ink: The Implications of Alain Badiou’s Ethics for Film Criticism
Alex Lichtenfels, Queen Mary, University of London

Notes on Cinematographic Evolution
Felicity J Colman, Manchester Metropolitan University

Fictional Worlds in Film and Games
Chris Bateman, International Hobo Ltd

Deleuze, Politics, and the People to Come
Matthew A Holtmeier, University of St Andrews William Brown, Roehampton University Richard Rushton, Lancaster University

Thriving by Casualties: Risk and Redemption in Red Road
Carly Lane, University of Chicago

Applying Philosophy to Cinema: Spinoza and Maimonides
Igal Bursztyn, Tel Aviv University

On Consummatory Experiences: “Thing-Power”, Film, Identity, and the Ellipsis of Consumption
Edward Slopek, Ryerson University, Canada

Harry Potter and the Poetics of Adaptation
David Goldie, The University of Provence, Aix-Marseille I

The Nothingness of The Nothing: Fantastic Escapism in The NeverEnding Story
Alex Sergeant, King's College London

How Does a Film Show Its Purpose? A Husserlian Perspective on Manipulation and Reflection in Contemporary Cinema
Christian Ferencz-Flatz, Romanian Society for Phenomenology, Bucharest

Adaptation and Self-Undermining Postmodern Views of the World
George Douglas Raitt, Deakin University, Melbourne

A History of 3D Film Production in Japan: Technology, Commerce and Aesthetics
Jasper Sharp, University of Sheffield

Masochism and Surrender in Catherine Breillat’s Tapage nocturne (1979)
Andree Lafontaine, Mel Hoppenheim School of Cinema, Concordia University

Coniunctio, Separatio, Putrefacto: Alchemical Transformation and the Filmic Process.
Richard Ashrowan, Edinburgh College of Art.

Equipmental Transgression and Referential Contexts: A Heideggerean Phenomenology of Objects in Chaplin
Shaun Robert May, University of London

The Cinema as Scaffold: Re-inscribing the Tortured Body
Mark de Valk, Southampton Solent University

The Language of Desire: Film as a Methodological Tool for Understanding Social Worlds
Cindy Lee Zeiher, University of Canterbury, Christchurch, New Zealand

The 'Passage' to the Time-Image: The Speaking Subject in Wong Kar-wai's Happy Together
Tai-chiung Chang, St. John's University, Taiwan

Berlin Alexanderplatz: from Prison, to Arcade, to Madhouse
Daniel R White, Wilkes Honors College Florida Atlantic University

Cinematic without Film: The Pre- and Post-History of Henri Michaux’s Images du Monde Visionnaire
Jay Hetrick, Universiteit van Amsterdam

'It’s Not Blood, It’s Red': Colour as Category, Colour as Genre in Godard’s Pierrot Le Fou, Weekend and Passion
Colin Raymond Gardner, University of California, Santa Barbara

Ricoeur, Testimony and Recognition: Narrating and Adapting Atonement (2007) and Never Let Me Go (2010)
Yugin Teo, University of Sussex

Being-Towards-Death: Heideggerian Ontology in Michael Haneke's Vergletscherungs-trilogie
Anjo-mari Gouws, University of Pretoria, South Africa

Friendship, Philosophy, and Film
Ben J Mulvey, Nova Southeastern University Davie, Florida, USA

Identity, Film and Deleuze: Becoming-Other, Becoming-Digital, Becoming-Animal
Serazer Pekerman David Fleming, University of Nottingham, Ningbo China

Cinema of Ecstasy
Lucia Rose Yandoli, University of Cambridge

Transmigration of the Soul in James Cameron’s Avatar (2009)
Pritpal Singh Sembi, University of Wolverhampton

'Am I the only person left on Earth?': The Attraction of a Sovereign state
Erin K Stapleton, The University of Melbourne

His Life Flashed Before My Eyes: William James’s Philosophy of Consciousness and Frank Mouris’s Frank Film
Lilly Husbands, Film Department, King's College London

Rewriting the Body, Reclaiming the Feminine: Catherine Breillat's Romance (1999)
Sarah Forgacs, King's College London

The Moving Still
Eloise Jayne Coveny, Auckland University of Technology, Berlin University of Technology<br />

Landscapes of Power: Space, Mobility and Social Independence
Jimmy Hay, Swansea University Lavina Brydon, Queen Mary, University of London

The ‘Fallen’ Bollywood Courtesan: Temporality (Zeitlichkeit) in the Being-in-the-World of the Mauritian Muslim.
Farhad Sulliman Khoyratty, University of Mauritius

Against Adaptation: John Cheever on Film
John David Adams, Universityof Liverpool

Varieties of Temporal Overlaps
Cato Wittusen, University of Stavanger

The Film Worlds in Hou Hsiao-Hsien's The Flight of the Red Balloon
Matthew Barrington, Kingston University

The Dissolution of Authorship in Through the Olive Trees
Daniel Marcolino Claudino de Sousa, University of Sao Paulo

Signs without Name
Nadine Boljkovac, Independent

What is an Apparatus of Capture?
Anne Bottomley, University of Kent Nathan Moore, Birkbeck, University of London

Dissection of the Uterus: How Deleuze’s ‘Crystal Image’ can be Used to Identify a ‘Hidden’ Mise-en-Scene
Anne Carruthers, Newcastle University

A Necessary Fiction: The Maltese Falcon = √-1
Ben Tyrer, King's College London

False Witnessing in Claude Lanzmann’s Shoah
Tom Martin, Rhodes University

Upside-Down Cinema: Strategies of Dissimulation of the Film-Body
Adriano D'Aloia, Universita Cattolica del Sacro Cuore, Milan

'Freud is dead, isn’t he?': A Haptic Reading of Antichrist
Kathleen Elizabeth Scott, University of St Andrews

Speculative Realism and Cinematic Objects
Sam Ishii-Gonzales, Department of Media Studies and Film, The New School

From the Cinematic to the Medical: Exploring the Vicissitudes of the Gaze in A Serbian Film (Spasojevic, 2010)
Graham Matthews, University of Exeter

Pointing to the truth: documentary, perception and the act.
Andrew Chesher, Chelsea College of Art and Design, University of the Arts London

The Snake Has A Face: Emmanuel Levinas, Mondo Cinema and the Death of the Non-Human Other
Aaron McMullan, King's College, London

On Aging: Jean Amery and the Late Films of Jean-Luc Godard
Alan Frazer Wright, University of Canterbury Christchurch

Inhuman Meditations: Naked Cinema and the Neo-Baroque in Cronenberg and Lynch
Charlie Blake, Liverpool Hope University