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Film-Philosophy Conference

The Film-Philosophy Conference is an annual event associated with the Film-Philosophy Journal

  • Film-Philosophy Conference 2015: The Evaluation of Form

    July 20, 2015 – July 22, 2015

    The eighth Film-Philosophy Conference 2015 welcomes papers discussing the evaluation of film form and/or style. The conference will encourage the discussion of criteria and reasons for valuing aspects of form and the moment-by-moment processes of evaluation as they relate to the form and style of a whole film, a sequence from a film, or even an individual moment.

    Why do we value some instances of film form as, for example, beautiful, insightful, eloquent, complex, economical, stirring, subtle, or profound, and how do we support these claims? How do we draw philosophical significance from close readings of film form, and how far should matters of value be part of philosophical accounts? What are the different ways that content can be effectively expressed in or through form? How might various conceptualisations of spectator response – cognitive, imaginative, intellectual, emotive, or sensorial – differ in their evaluations of form? How does an individual style distinguish itself within a prevailing style or a tradition? In what ways is the medium important in assessing form and style; and why does some material work well in certain media and not in others? How should the shift from analogue to digital technologies change our evaluations? How do we find ourselves evaluating physical and material aspects – shape, colour, design – in terms of less tangible modes of address like tone, atmosphere or mood? How do our judgements, say, for example, our moral judgements, about the way people present themselves compare and contrast to our judgements about how films present themselves? In our formal academic analyses of films, and specifically in our film-philosophical analyses, how should we acknowledge factors such as pleasure and taste that are a significant part of the production and reception of films? How far is our perception intrinsically, or unavoidably, evaluative?

    Major Keynote: Professor Noël Carroll 

     

    Deadline for submissions: 30 January 2015 
    Decisions will be announced on 2 March 2015

     

    We welcome papers that:

    • illuminate the issues by using the work of philosophers and philosophical theories
    • illuminate the issues by analysing specific films or sections from films
    • scrutinise evaluations of form and style as they exist in the critical literature on film 
    • attend to related audio-visual forms (e.g., television, digital media, art installations)
    • are by scholars working in philosophy and film studies, or both; and especially scholars who are working within the Philosophy of Art and Analytic Aesthetics who may not have previously attended or presented at a Film-Philosophy conference

     

    We are especially interested in papers that discuss evaluation in relation to: 

    • Form and Content; style and meaning
    • Formal expression of politics, ethics, and morality 
    • Style: individual (e.g., a directorial style, a performer’s style), period styles, generic styles, national styles; stylistic conventions; personal expression
    • Individual elements of form and style (e.g., camera movement, composition, performance, colour, sound, storytelling)
    • Medium, ontology, materiality
    • Form and representation, and representational qualities (e.g., true to life, distorted, realistic)
    • Affectivity, sensual immediacy, texture and affective qualities (e.g., powerful, boring, amusing, stirring)
    • Cognitive, imaginative, emotive reactions to form and style
    • Tone, mood and atmosphere
    • Pleasure, taste, and appreciation
    • Skill, technique and craft
    • Design, structure, parts and wholes (for example, coherence, complexity, unity, completeness, balance)
    • Form and Function
    • Value qualities (for example, beauty, sublimity, ugly)
    • Histories of film form and style, and historically related evaluative properties/responses (e.g., original, bold, conservative, derivative)
    • Criticism, histories of criticism, and critical movements (e.g. photogénie, mise-en-scène)
    • Philosophers and philosophical writing on form
    • Film-Philosophy methodology

    While we encourage papers that speak to the conference theme, we also welcome papers on other topics relevant to film-philosophy.

  • Film-Philosophy Conference 2014: A World of Cinemas

    July 2, 2014 – July 4, 2014

    The Film-Philosophy Conference 2014 will be hosted by Film and Television Studies at the University of Glasgow. This year, our focus is on the conference theme: A World of Cinemas.

    UPDATE: FINAL PROGRAMME AND BROCHURE NOW AVAILABLE (PDF)

    In recognition of the consolidation of film-philosophy as a vibrant and steadily growing interdisciplinary field, F-P2014 will focus attention on the global context in which film-philosophical enquiry takes place. This will begin the process of broadening the scope of our research to greater encompass a world of cinemas and philosophies.

    Keynote Speakers:

     

    REGISTRATION IS NOW OPEN via Eventbrite:

    http://www.eventbrite.co.uk/e/film-philosophy-conference-2014-tickets-9766041493

    Full registration fee: £100
    Student / Unwaged: £55
    Conference meal: £25.95 (+£2.21) 

    Accommodation is not included and should be booked separately: 

    http://www.film-philosophy.com/conference/index.php/conf/F-P2014/schedConf/accommodation

    F-P2014 has been timed to fall immediately after the annual Screen conference at Glasgow, but before the World Cup Final weekend, and the Commonwealth Games (also at Glasgow).

    Conference Organiser: David Martin-Jones (University of Glasgow)

    Conference Co-organisers: David Sorfa (University of Edinburgh), Robert Sinnerbrink (Macquarie University), John Mullarkey (Kingston, London), Lucy Bolton (Queen Mary, London), Stefanie van de Peer (University of Stirling).

    Conference Assistants: Conor Mckeown (University of Glasgow), Jiaying Sim (University of Glasgow), Stuart Purcell (University of Glasgow).  

    With the generous support of the University of Glasgow and the Scots Philosophical Association.

  • Film-Philosophy Conference 2013: Beyond Film

    July 10, 2013 – July 12, 2013

    The Film-Philosophy Conference 2013 will be hosted by the Amsterdam School for Cultural Analysis (University of Amsterdam) and the EYE Film Institute Netherlands. With this location, the annual Film-Philosophy conference will take place for the first time outside of the UK.

    The conference is now at capacity and registration is unfortunately closed.

    Reflecting the synergy of filmmakers and philosophers within the field of film-philosophy, our conference will be structured around joined keynote talks by pairs of filmmakers and philosophers, who will open the floor for vibrant discussions with the conference participants. The keynote pairs will be:

    To our great dismay, disappointment and sadness both Jean-Luc Nancy and Claire Denis have let us know that they will not join us in Amsterdam. Our extended efforts to convince both of them otherwise have been in vain. We are deeply sorry having to bring you this message. We are very grateful though that (in spite of extremely late notice) Jeff Fort and Laura McMahon have agreed to present on Nancy and Denis in this keynote session.

    We have also been able to secure the rights from the distributor for a unique preview screening of Denis’s latest film Les Salauds (2013), and we will screen the film in the biggest brand new theater in the EYE Film Institute on Thursday. 

    • Jeff Fort and Laura McMahon (on Nancy and Denis)
    • Marie-Aude Baronian and Emmanuel Finkiel
    • Maurizio Lazzarato and Angela Melitopoulos

    Papers scheduled for presentation are listed here: http://www.film-philosophy.com/conference/index.php/conf/2013/schedConf/presentations 

    Venues

    Universiteitsteater
    16 Nieuwe Doelenstraat
    1012 CP 
    Amsterdam
    The Netherlands
    Google Map 

    EYE Film Institute Netherlands
    IJpromenade 1
    1031KT
    Amsterdam
    Google Map

    This year’s conference is organized by Prof. dr. Josef Früchtl, dr. Jay Hetrick, Prof. dr. Patricia Pisters, dr. Maria Poulaki, dhr. Philipp Schmerheim (all Amsterdam School for Cultural Analysis), Prof. dr. John Mullarkey (Kingston University, London) and dr. David Sorfa (Liverpool John Moores University).

    Established in 2008 and taking place annually, the Film-Philosophy conference reflects the growing importance of film philosophy within the fields of both film studies and philosophy. It brings together scholars and filmmakers from all over the world to present their research on a broad range of topics within the subject area.

    Download Conference Poster (PDF)

  • Film-Philosophy Conference 2012

    September 12, 2012 – September 14, 2012

    Please note that Day 1 (Wednesday 12 September) will take place at Queen Mary, University of London. Scroll down for more details.

    Film-philosophy continues to grow as an important discipline within the fields of both Film Studies and Philosophy. The Film-Philosophy Conference brings together scholars from all over the world to present their research on a broad range of topics within the subject area.

    Keynote Speakers:

    Registration Fees:

    Full 3 day conference: £90

    Student (part- or full time) 3 day: £55

    Single day: £40 

    Please register for the conference here

    Facebook Event

     

    Programme

    Downloadable Progamme Here

    Abstracts

    The list of 2012 speakers and abstracts is available here

    Day 1 – Queen Mary, University of London

    Wednesday 12 September 2012

    Location: The Fogg Lecture Theatre
    Queen Mary, University of London
    Mile End Road
    London E1 4NS 

    Directions:   QMUL Campus is 5 minutes walk from either Stepney Green tube station (District Line) or Mile End Station (Central Line). Turn down Bancroft Road and enter campus on your right in order to get to the Fogg Building. See map and directions here:

    http://www.qmul.ac.uk/about/howtofindus/mileend/

    Schedule (Day 1):

    1pm: Registration in the Foyer of the Fogg Building

    2pm: Welcome and Announcements

    Plenary Session 

    Chair – John Mullarkey (Kingston University)

    Bernard Stiegler (Goldsmiths): ‘About an Organology of Dreams - After An Organisation of Dreams

    Ken McMullen: Thoughts on the Making of An Organisation of Dreams

    4.30: Drinks and Canapés in the Senior Common Room, Queen’s Building

    6.00: Ends

    Days 2 and 3 - King’s College London

    Location: Strand Campus
    Strand
    London WC2R 2LS

    Directions: KCL’s Strand Campus is a 10 minute walk from Embankment, Charing Cross or Waterloo tube stations, or a 2 minute walk from Temple tube station.  The main entrance is on The Strand, next to Somerset House.

    For map and directions please see here:

    http://www.kcl.ac.uk/campuslife/campuses/directions/strand.aspx

    Once inside the main reception student helpers will guide you to the registration area and seminar rooms.

    Schedule - Day 2

    Thursday 13 September 2012

    9am onwards: Registration (for those who have not already registered) in room K1.28.

    9.30-11am: Session A (parallel panels)

    1. Stiegler and Film-Philosophy

    • Patrick Crogan: Editing Experience: Stiegler and Film Theory/History.
    • Ben Roberts: ‘Drôle d’époque': Bernard Stiegler and the hyperindustrial age'.
    • Marcel Swiboda: Orthotheses in the Philosophy of Media History: Technics, Time and Audio-visual Embodiment

    2. Hitchcock and Issues of Point of View

    • James Zborowski: Hitchcock’s Theory of Mind: Dial M for Murder as false belief test
    • James MacDowell: Looking at the unseen: Ellipsis, occlusion, and our access to Hitchcock’s worlds
    • Lucy Fife Donaldson: Sensing Space: The Texture of Suppression and Revelation in Vertigo

    3. Bataille and Film: Sovereignty, Laughter, and the Gift of Death

    • Erin K Stapleton: 'And your poetry will now be written in blood': Sovereignty as materialist rebellion in Dead Man
    • Anthony Faramelli: Fight Club, Community and The Gift of Death
    • Alice L. Rekab: The Sovereignty of Laughter in post civil war Sierra Leonean film

    4. Time and Temporality in Recent Hispanic Cinema

    • Belén Vidal: Asynchrony and the cinephilic quotation: notes on the new essay film from Spain
    • Tom Whittaker: Mundane rhythms in Whisky and Blue Eyelids
    • Steven Marsh:‘Turns and Returns, Envois/Renvois: the Postal Effect in Recent Spanish Filmmaking

    11-11.30am: Break

    11.30 - 1pm: Session B (parallel panels)

    5. 'The Earth is evil': The Ethics, Depths, and Image of Melancholia

    • Richard Rushton: A Cinema Against Ethics: Melancholia
    • Scott T. Wilson: Melancholia and the cinema of depths
    • Felicity Colman: Image-sacrifice

    6. Revisiting Christian Metz

    • Dominique Chateau, Martin Lefebvre: Re-visiting the Connection between Phenomenology and Psychoanalysis in the work of Christian Metz.
    • Annie van den Oever: The indoor viewing experience. Christian Metz’s relevance for understanding television viewers as ‘regressive’ and absorbed in an ‘emotional work-out’.
    • Anna Backman Rogers: ‘How many women have to die to make it interesting?’ Re-Addressing Jane Campion’s In The Cut through Metz and Mulvey

    7. Listening

    • Philippa Lovatt: Sound, Intimacy and Ethics in Lynne Ramsay’s We’ve Got to Talk About Kevin
    • Moshe Shai Rachmuth: The Saying and the Sound: Chaplin's The Great Dictator and the Connection between Language and War in the Work of Emmanuel Levinas
    • Carrie Giunta: A Question of Listening: Nancean Resonance, Return and Relation in Charlie Chaplin

    8. Thinking with Video

    • Lilly Husbands: Grasping at the Intangible: A Phenomenology of Digital Abstraction in Bret Battey’s Sinus Aestum
    • Andy Weir: The 4th unspoken horror of 24 Hour Psycho, or thinking Meillassoux’s ‘dia-chronic statement’ film-philosophically
    • Trine Riel: 'Why I am so Clever'; Myopic Philosophy (video-essay)
    • Dean Kenning: Metallurgy of the Subject (15 min animation)

    1-2pm: Lunch break

    2-3.30pm: Session C (parallel panels)

    9. Man and Nature

    • John Mullarkey: The Tragedy of the Object: Democracy of Vision and the Terrorism of Things in André Bazin’s Nonhuman Cinema
    • Elena Von Kassel: Man and Nature in Arne Sucksdorff’s The Great Adventure
    • Brenda Hollweg: Creaturely philosophy: Kathy High’s video essayistic explorations of interspecies collaboration
    10. The Language of Film and Philosophy
    • Niklas Forsberg: 'Film Came After Lightening': Stanley Cavell and Film as the Rediscovery of Philosophy
    • Rebecca Longtin: Film as Phantasm: Nietzsche’s Stoicism and the Belief in Cinema in Dogville
    • Naveen Kanalu: Walter Benjamin’s Poetics of Cinematic Experience: Materialist Darstellung as a philosophical language
    11. Abjection and Infection
    • Graham John Matthews: Infection on Film: Biopolitics and the Imperative of Health
    • Antônio M. da Silva: Because they are too dirty! Abjection and the Films of the Contemporary Brazilian and Portuguese Filmmakers Cláudio Assis and João Pedro Rodrigues
    • Roberta Gregoli: Another Face of the Abject: A Super Fêmea 
    12. Temporality, Subjectivity, Objectivity
    • Ruth McPhee: An Exploration of Temporality, Subjectivity and Death in Moon
    • Norman Taylor: Cinematic time, the ecology of screens and the objective memory of technics in Pixar’s WALL-E
    • Ulrike Hanstein: Frozen in Time: Temporality and Affect in Melancholia
    • Chrysanthi Nigianni: La-bas: the suspended image and the politics of anti-messianism

    3.30-3.45pm: break

    3.45-5.15pm: Session D (parallel panels)

    13. Contemporary Ethics
    • David Martin-Jones: Cinema of Liberation: Enrique Dussel, ethics, film-philosophy.
    • Orna Dvora Raviv: Re-sponsibility: A Levinasian Approach to Waltz with Bashir
    • Robert Sinnerbrink: Biutiful Babel: Post-secularist ethics in the films of Alejandro González Iñárritu
    14. Functions of Feeling
    • Liz Watkins: Curiosity in Morvern Callar
    • Jane Megan Stadler: Embodiment, Affect, and Aesthetics in The Diving Bell and the Butterfly
    • Ian Patrick Murphy: Rhythms of the psyche: Feeling and form in Beau travail
    15. The Continental Condition
    • Ben Tyrer: Dogtooth and the Tyranny of the Paternal Metaphor
    • Atanaska Georgieva Cholakova: Explication of Schopenhauer’s ideas in Maderna’s Schopenhauer and Campbell’s Green Lantern – between the ethics and metaphysics
    • Mark Laurence Jackson: Hitchcock and the Heterotopic
    16. Systems and Categories
    • Rea Wallden: Film Heterogeneity and Categorical Transgression: From Metz to Derrida
    • Maria Poulaki: Systems philosophy and film
    • Philipp Schmerheim: Between Scepticism and the Fantastic. Scepticist Thought Experiments in  Contemporary Mainstream Cinema

    5.15-5.30pm: break

    5.30- 6.30pm: Plenary Session

    Chair: Mark Betz (King’s College London)

    Francesco Casetti (Yale University): Philosophical Issues in Early Film Theory

    18.30-20.00: Drinks in the Old Anatomy Museum

    20.00:Ends

    Schedule - Day 3

    Friday 14 September 2012

    9am onwards: Registration (for those who have not already registered) in room K1.28.

    9.30-10.30am: Plenary session

    Chair: Jinhee Choi (King’s College London)

    Damian Sutton (Middlesex): The Diagrammatic and the 'real that is yet to come': Is a Philosophy of Production Studies Possible?

    10.30-11am: break

    11.30-12.30am: Session E (parallel panels)

    17. Perspectives on Death
    • Olga A Kyrylova: Thanatology in Film Studies
    • Elena Woolley: 'Ding Dong The Witch is Dead': The Celebratory Death Scene
    • Michele Aaron: Watching Others Die: Dying at Grace, Spectatorship and the Ethics of Being Moved
    • David Heinemann: Possible Ends: Suicide and Grace in Jansenist Narrative Cinema
    18. Phenomenological Bodies
    • Kathleen Elizabeth Scott: Encountering the Other in Dans ma peau
    • Tarja Laine: Sublime Sensation: Black Swan
    • Katharina Lindner: Queer(ing) Film Phenomenology
    19. Film-Philosophy-Theology
    • John David Adams: A Philosophical Examination of Religion in Film
    • Nara Marques Soares: Doubt
    • Morgan Marie Adamson: Beyond the Theological Spectacle
    20. Theoretical Interruptions
    • Hsin-I Lin: Info-Subjectivity
    • Gert Jan Harkema: The very early moving image and the sublime impact of time
    • William Brown: What constitutes a cinematic event?

    12.30-13.30: lunch break

    13.30 - 15.00: Session F (parallel panels)

    21. The Therapeutic Philosophy of Christopher Nolan
    • Vincent M. Gaine: 'Sometimes, truth isn’t enough': Truth and Manipulation in The Dark Knight Legend
    • Rupert Read: The Tale Parfit Tells: A Wittgensteinian use of film and literature to question analytic metaphysics of personal identity
    • Emma Bell: Inception and Grief-Time: Feeling Film as Philosophy
    22. Sensory Cinema
    • Jenny Chamarette: Sur mes lèvres, deafness, embodiment: towards a film phenomenology of a differently ordered sensorium
    • Liz Roberts: 4D cinema and 'immersive' spectatorship
    • Jiaying Sim: (Ex)treme Cinema: Sensing the Incredible
    23. Spectatorship
    • Alexander Sergeant: Supercalifragilisticexpiali-Dasein! Celebrating Being-in-the-World in Mary Poppins
    • Adriano D'Aloia: The Gambling Image
    • Jessica Doyle: Manifesting Nostalgia
    24. Feminine Identities
    • Sarah Forgacs: Queering the maternal in Francois Ozon's Le Temps qui reste
    • Elisha Foust: Levinas’s Ethics in the Feminine: How do you Solve a Problem Like Maria?
    • Summer Renault-Steele: Gazing at Girls: Gender and Performance in Siegfried Kracauer’s Das Ornament der Masse

    3pm-3.15: break

    3.15 - 4.45: Session G (parallel panels)

    25. On Hitchcock

    • Fiona Handyside: Rethinking Authorship: Re-reading Egoyan via Hitchcock
    • Ramayana Lira de Sousa: Hitchcock’s queer doubles
    • Luiz-Felipe Guimarães Soares: What is a birdified nature?
    26. European Auteurs
    • Douglas Morrey: Authorship, Adaptation and the Decline of the French New Wave
    • Eran Guter: Loving transformations in Wim Wenders’ Wings of Desire
    • Ashvin Immanuel Devasundaram: The Spider-Man Schism: Aporia and the Loss of 'God' in Ingmar Bergman’s Through a Glass Darkly
    27. Audio / Visual
    • Daniel Yacavone: The Neglect of the Aesthetic in Film Theory's Phenomenological Turn
    • Susana Viegas: An art of the past, present and future: archive in Susana de Sousa Dias’s 48
    • Josie McDonough: Song as a conduit to sensation in cinema
    28. Space(s) and Beyond
    • Nina Gerlach: Cinematic Gardens as an Epistemological and Ethical Argument – 'Certain Gardens are described as retreats when they are really attacks.'
    • Alex Pavey: Kevin Lynch, Henri Bergson and the Image of the Cinematic City
    • Evy Varsamopoulou: Violence and the poetics of (un)heimlich space in Let the Right One In

    4.45-5pm: break

    5pm-6pm: Plenary session

    Chair: Michele Pierson

    Libby Saxton (Queen Mary, University of London): On Energy and Moving Images: Simone Weil and French Political Cinema

    6pm: closing remarks

    6.15: ends

     

  • Film-Philosophy Conference 2011

    July 6, 2011 – July 8, 2011

    Film-philosophy continues to grow as an important discipline within the fields of both Film Studies and Philosophy. The Film-Philosophy Conference brings together scholars from all over the world to present their research on a broad range of topics within the subject area.

    Conference Venue: Liverpool Art and Design Academy, 2 Duckinfield Street, Liverpool L3 5YD, United Kingdom


    Programme Summary (PDF) 

    Abstracts and Final Programme (PDF)

    Presentation titles and abstracts (HTML)

    Facebook Event Page

     

    Keynote Speakers:

    Professor Gregory Currie (University of Nottingham)
    Dr. David Martin-Jones (University of St Andrews)
    Dr. Lucy Bolton (Queen Mary, University of London)
    Dr. Havi Carel and Dr. Greg Tuck (University of the West of England and editors of the book New Takes in Film-Philosophy

     

    Organiser and Contact: Dr. David Sorfa, d.e.sorfa@ljmu.ac.uk

     

  • Film-Philosophy Conference 2010

    July 15, 2010 – July 17, 2010

    The University of Warwick, with the support of its Humanities Research Centre, is hosting Film-Philosophy III: The Third Annual Conference of Film and Philosophy, 15-17 July 2010.

  • Film-Philosophy Conference 2009

    July 16, 2009 – July 18, 2009

    More information on the Film-Philosophy 2009 conference can be found here: http://www.archivesite.film-philosophy.com/conference

  • Film and Philosophy / Philosophy and Film 2008