Keynote Speakers
| What Do Film Images Represent? | |
| Gregory Currie |
| How Tasty are Deleuze’s Cinema Books? | |
| David Martin-Jones |
| Giggling Girls and Cackling Crones: A Phenomenology of Women's Laughter | |
| Lucy Bolton |
| Genre, Style and Stiftung: Letting the Right Ones In | |
| Havi Carel, Greg Tuck |
Keynote Panel
| Cinema: The Animals that Therefore We Are (On Temple Grandin's Thinking, in Pictures) | |
| John Mullarkey |
| “A righteous man regards the life of his beast”: Film, Faith and Fauna in Philip Groning’s Into Great Silence (2005) | |
| Catherine Wheatley |
| Autopsy ‘in Vivo’: Biopolitical Features Regarding Wiseman’s Primate | |
| André Dias |
General Papers
| Dead Sex / Living Sex | |
| Jack Sargeant |
| Feminist Phenomenology and the Film-World of Agnes Varda | |
| Kate Ince |
| An Immense Clip: Film, Philosophy and the Proximate Violence of Becoming | |
| Maria Therese O'Connor |
| (Con)text, the Returning Gaze, ‘an element that opposes drama’: Terrence Malick and the Cutaway | |
| Ian-Malcolm Rijsdijk |
| Resonating Sonic Space: Ingmar Bergman's The Silence | |
| Tarja Laine |
| Film-Philosophy-Chemistry: A Montage | |
| Maurizio Sanzio Viano |
| Questions Concerning Film Encounter | |
| Suzie Mei Gorodi |
| John Cassavetes' Avant-Garde Sublime | |
| Sarinah Hope Masukor |
| Affectionate Heroism: Ricoeur's Perspectives and Movie Thought | |
| Robert Watson |
| Motion(less) Pictures: The Cinema of Stasis | |
| Justin Remes |
| Creating Creatures: Dumont and the Metaphysics of Evil | |
| Mark Laurence Jackson |
| How Deleuze Thinks about Cinema | |
| Dennis Rothermel |
| Stimmung: Exploring the Aesthetics of Mood | |
| Robert Sinnerbrink |
| 'To Look, to Think, to Debate' | |
| Pedro Mantas, Rafael Cejudo |
| 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 |
| I’m Glad I’m Not Me: Subjective Dissolution and Post-Structuralist Ethics in the Films of Todd Haynes | |
| Helen Darby |
| Derrida on Film | |
| Sarah Dillon |
| A Lens through the Looking Glass: Mirrors, Doppelgangers, and Meta-Cinema in Harry Potter and Triangle | |
| Jonathan Olson |
| Visual Philosophy: Theoretical Thinking through Animated Film | |
| Veronika Reichl |
| Rhizomatic Narratology: Towards a Philosophy of the Global Digital Village | |
| Gavin Wilson, Steve Nash |
| Delimited Ink: The Implications of Alain Badiou’s Ethics for Film Criticism | |
| Alex Lichtenfels |
| Notes on Cinematographic Evolution | |
| Felicity J Colman |
| Fictional Worlds in Film and Games | |
| Chris Bateman |
| Deleuze, Politics, and the People to Come | |
| Matthew A Holtmeier, William Brown, Richard Rushton |
| Thriving by Casualties: Risk and Redemption in Red Road | |
| Carly Lane |
| Applying Philosophy to Cinema: Spinoza and Maimonides | |
| Igal Bursztyn |
| On Consummatory Experiences: “Thing-Power”, Film, Identity, and the Ellipsis of Consumption | |
| Edward Slopek |
| Harry Potter and the Poetics of Adaptation | |
| David Goldie |
| The Nothingness of The Nothing: Fantastic Escapism in The NeverEnding Story | |
| Alex Sergeant |
| How Does a Film Show Its Purpose? A Husserlian Perspective on Manipulation and Reflection in Contemporary Cinema | |
| Christian Ferencz-Flatz |
| Adaptation and Self-Undermining Postmodern Views of the World | |
| George Douglas Raitt |
| A History of 3D Film Production in Japan: Technology, Commerce and Aesthetics | |
| Jasper Sharp |
| Masochism and Surrender in Catherine Breillat’s Tapage nocturne (1979) | |
| Andree Lafontaine |
| Coniunctio, Separatio, Putrefacto: Alchemical Transformation and the Filmic Process. | |
| Richard Ashrowan |
| Equipmental Transgression and Referential Contexts: A Heideggerean Phenomenology of Objects in Chaplin | |
| Shaun Robert May |
| The Cinema as Scaffold: Re-inscribing the Tortured Body | |
| Mark de Valk |
| The Language of Desire: Film as a Methodological Tool for Understanding Social Worlds | |
| Cindy Lee Zeiher |
| The 'Passage' to the Time-Image: The Speaking Subject in Wong Kar-wai's Happy Together | |
| Tai-chiung Chang |
| Berlin Alexanderplatz: from Prison, to Arcade, to Madhouse | |
| Daniel R White |
| Cinematic without Film: The Pre- and Post-History of Henri Michaux’s Images du Monde Visionnaire | |
| Jay Hetrick |
| '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 |
| Ricoeur, Testimony and Recognition: Narrating and Adapting Atonement (2007) and Never Let Me Go (2010) | |
| Yugin Teo |
| Being-Towards-Death: Heideggerian Ontology in Michael Haneke's Vergletscherungs-trilogie | |
| Anjo-mari Gouws |
| Friendship, Philosophy, and Film | |
| Ben J Mulvey |
| Identity, Film and Deleuze: Becoming-Other, Becoming-Digital, Becoming-Animal | |
| Serazer Pekerman, David Fleming |
| Cinema of Ecstasy | |
| Lucia Rose Yandoli |
| Transmigration of the Soul in James Cameron’s Avatar (2009) | |
| Pritpal Singh Sembi |
| 'Am I the only person left on Earth?': The Attraction of a Sovereign state | |
| Erin K Stapleton |
| His Life Flashed Before My Eyes: William James’s Philosophy of Consciousness and Frank Mouris’s Frank Film | |
| Lilly Husbands |
| Rewriting the Body, Reclaiming the Feminine: Catherine Breillat's Romance (1999) | |
| Sarah Forgacs |
| The Moving Still | |
| Eloise Jayne Coveny |
| Landscapes of Power: Space, Mobility and Social Independence | |
| Jimmy Hay, Lavina Brydon |
| The ‘Fallen’ Bollywood Courtesan: Temporality (Zeitlichkeit) in the Being-in-the-World of the Mauritian Muslim. | |
| Farhad Sulliman Khoyratty |
| Against Adaptation: John Cheever on Film | |
| John David Adams |
| Varieties of Temporal Overlaps | |
| Cato Wittusen |
| The Film Worlds in Hou Hsiao-Hsien's The Flight of the Red Balloon | |
| Matthew Barrington |
| The Dissolution of Authorship in Through the Olive Trees | |
| Daniel Marcolino Claudino de Sousa |
| Signs without Name | |
| Nadine Boljkovac |
| What is an Apparatus of Capture? | |
| Anne Bottomley, Nathan Moore |
| Dissection of the Uterus: How Deleuze’s ‘Crystal Image’ can be Used to Identify a ‘Hidden’ Mise-en-Scene | |
| Anne Carruthers |
| A Necessary Fiction: The Maltese Falcon = √-1 | |
| Ben Tyrer |
| False Witnessing in Claude Lanzmann’s Shoah | |
| Tom Martin |
| Upside-Down Cinema: Strategies of Dissimulation of the Film-Body | |
| Adriano D'Aloia |
| 'Freud is dead, isn’t he?': A Haptic Reading of Antichrist | |
| Kathleen Elizabeth Scott |
| Speculative Realism and Cinematic Objects | |
| Sam Ishii-Gonzales |
| From the Cinematic to the Medical: Exploring the Vicissitudes of the Gaze in A Serbian Film (Spasojevic, 2010) | |
| Graham Matthews |
| Pointing to the truth: documentary, perception and the act. | |
| Andrew Chesher |
| The Snake Has A Face: Emmanuel Levinas, Mondo Cinema and the Death of the Non-Human Other | |
| Aaron McMullan |
| On Aging: Jean Amery and the Late Films of Jean-Luc Godard | |
| Alan Frazer Wright |
| Inhuman Meditations: Naked Cinema and the Neo-Baroque in Cronenberg and Lynch | |
| Charlie Blake |
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