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
Track:
 

General Papers


Cinema’s Suspensions: Nancy and Kiarostami
Mathew Abbott, University of Ballarat Hamish Ford, University of Newcastle

Notes Towards a Cinema of Affective Tonality: The Role of the Senses in Producing a Cinematic Narrative
Matthew Hawkins, Coventry University

Murdoch and Margaret: Learning a Moral Life
Lucy Bolton, Queen Mary, University of London

Perspective beyond cinema: On Omer Fast’s The Casting
Lisa Akervall, Free University Berlin

Webcams as Emerging Cinematic Medium
Paula Albuquerque, ASCA - Amsterdam School for Cultural Analysis University of Amsterdam

The search for universals without falling into homologation
Marcia Baldissera, CRAL Centre de Recherches sur les Arts et le Langage EHESS Ecole des Hautes Etudes en Sciences Sociales

Greece and other shifting Imginaries: Subjectivity, Embodiment and Resistance
Michael Chronopoulos, Cardiff University

"Reasons to Believe in this World": On The Tree of Life and Melancholia
Robert Sinnerbrink, Department of Philosophy, Macquarie University John Caruana, Department of Philosophy, Ryerson University Mark Cauchi, Department of Humanities, York University

Alexander Mann’s ‘Gnats’: Early film and photography in rural England as traced through an artist’s sequential narrative and sketchbooks.
Shaun David Belcher, Nottingham Trent University

Familiarity of Lived Space and The Surface of Film: Re-claiming Phenomenography
Ruxandra Berinde, University of Sheffield

The Production of Evidence: Early Scientific Cinema in Italy
Linda Bertelli, IMT Institute for Advanced Studies Lucca (Italy)

Beyond Film / Up to the Opera. A crisscross reading of Jean Cocteau’s and Philip Glass’ Orphée by way of Jean-Luc Nancy
Mauro Fosco Bertola, Universität Heidelberg, Musikwissenschaftliches Seminar

Film and the Enacted Mind
JOhn M Carvalho, Villanova University

Cinema and/as Autism
William John Robert Campbell Brown, University of Roehampton, London<br /> David H Fleming, University of Nottingham Ningbo Steven Eastwood, University of East London

Transitional affects? Why we don’t all look the same way, or the ‘we’ problem of transcultural affect
Jenny Chamarette, Lecturer in Film Studies Department of Film Studies Queen Mary, University of London

Revisiting the Analog Music Video as Media Archaeology
Michael N Goddard, University of Salford

Sensation, affect and gestural: the cinematic objects in Mani Kaul's USKI ROTI
Surbhi Goel, Department of English &amp; Cultural Studies, Panjab University (Chandigarh), India.

“One or Many Aesthetics”
Gregory Flaxman, University of North Carolina Daniel Morgam, University of Pittsburgh Rick Warner, University of North Carolina

Cinema Meets Lefebvre: Staging Revolutionary Space
Hamish Charles McBeth Ford, Lecturer in Film, Media and Cultural Studies at the University of Newcastle (Australia)

Looking harder after Rancière. Moving images after Cinema.
Catherine Fowler, otago university

Automorphosis and Einbildungskraft: Nancy, Kant and the Cinematic Schematism
Jeff Fort, Department of French, University of California, Davis

From the Theatrical to the Networked Screen
Stefania Charitou, Goldsmiths College, University of London

The Archival (Re)Turn: New Imagery of Soviet People in Post-Soviet Compilation Films
Lukas Brasiskis, Lecturer at Vilnius Academy of Arts (Lithuania) and Lithuanian Academy of Music, Theatre and Film (Lithuania). // M.A. Degree at the Department of Film and Media, The New School University, (NY, USA) Graduation date: Spring 2011.

“Disgust, Shame, Love”
Eugenie Brinkema, Massachusetts Institute of Technology

Illusion and Imagination in Cinema
Alberto J. L. Carrillo Canán, Universidad Aut&oacute;noma de Puebla Luis Roberto Vera Chaparro, Universidad Aut&oacute;noma de Puebla

Canonical cinema
Adriano D'Aloia, Universit&agrave; Cattolica del Sacro Cuore, Milan

The Embedded Screen, Autopoiesis and the State of Exception
Cormac Deane, Institute of Art, Design and Technology<p>Dublin</p>

The Philosophical and Cognitive Achievement of Cult. The Ethical Puzzle of Casablanca
Laura Teresa Di Summa-Knoop, CUNY, The Graduate Center, New York CUNY, Baruch College, New York

Trauma/Memory/Expanded Cinema: The Films of Dirk de Bruyn
Glenn D'Cruz, Deakin University, Australia Steven McIntyre, Independent Scholar Dirk De Bruyn, Deakin University, Australia

The Documentarian as a Philosopher: Truth and/as Image
Shai Biderman, Tel Aviv University Dan Geva, Independent Filmmaker

Representative, Aesthetic, and Transient Poetics in Japanese Cinema
Kyle Austin Peters, University of Hawai&rsquo;i at Mānoa

Archiving Nonhuman Histories in Landscapes
David Martin-Jones, University of Glasgow<br />

The tableau vivant in-between cinema and new media art
Agnes Petho, Sapientia Hungarian University of Transylvania, Romania

The fifth season: Loss of trust in nature
Gerwin van der Pol, University of Amsterdam

Bringing the zoo to the ghetto
Filipa Ramos, Kingston University Phillip Warnell, Kingston University

Distributed agency, assemblages, and moving images
Kjetil Rødje, Department of Media, Cognition and Communication University of Copenhagen

ANALOG/DIGITAL: The Emotional Impact of Film Recording Processes on the Audience
Christian Iseli, <p>SNF applicant</p><p>Head of the research Focus in "Film Knowledge/Film Experience" at IPF</p> Anton Rey, Artistic Research in Performing Arts and Film

The Evaporating Caper in John Huston’s The Maltese Falcon (1941), Robert Altman’s The Long Goodbye (1973), Joel and Ethan Coen’s The Big Lebowski (1998), and Andrew Dominik’s Killing Them Softly (2012)
Dennis Rothermel, California State University, Chico

Politics, Society, Minority: The Films of the Dardenne Brothers
Richard Rushton, Lancaster University

Antagonism or, the Iranian New Wave
Sara Saljoughi, University of Minnesota

What future? Stanley Cavell and the political potential of film
Eva Sancho Rodriguez, University of Oxford

Filming the impossible: Orpheus and the sense of community in Amour
Frank Scalambrino, University of Dallas, USA.

Dimensions of Violence and Legitimation in Cinema
Frederike Popp, <div>Goethe-University Frankfurt am Main / Germany</div> Jochen Schuff, Goethe-University Frankfurt am Main / Germany

Suffering Female Bodies and the Philosophy of Jean-Luc Nancy
Kathleen Elizabeth Scott, University of St Andrews

The Spectacle of the Classical — Bold Exoticism in the Cinema of Kumar Shahani
Aparna Sharma, University of California Los Angeles

Mirror Neurons and Simulation Theory: A Neurophysiological Foundation for Cinematic Empathy
Daniel C. Shaw, Lock Haven Univesity

Narcissus Goes to the Movies: Audience identification and sonic suspense in Argo (2012)
Luke Shirock, Researcher in Cultural Analysis at ASCA, Universiteit van Amsterdam

Assemblage of the Dispossessed: Indian Cinema of Subalternity
Suvadip Sinha, University of Toronto

performing film
Vicky Smith, university of creative arts

Film Heritage and the Cinematic Common
Matthew Stoddard, Department of Cultural Studies and Comparative Literature, University of Minnesota

Cinema in Bits: Towards an Analogico-Digital Critical Culture of the Image
MARCEL ANTHONY SWIBODA, UNIVERSITY OF LEEDS

On Neuroaesthtics and the New Media
László Tarnay, University of P&eacute;cs, Hungary

'Breaking the Waves, the spiritual automaton and the paradox of faith'.
Lisa Maree Trahair, University of New South Wales

The Ethics of Serial-Killing: Dexter, Edelman, Levinas
Ben Tyrer, <p>University of York</p>

Deconstructing the BLOB-Machine (ca. 1977-1989 in Italy)
Cecilia Valenti, PHD Candidate, Mediale Historiographien Graduiertenkolleg

Eisenstein/Vygotsky/Luria’s project: Film theory and the integrative science of mind and brain.
Julia Vassilieva, <p>Dr Julia Vassilieva</p><p>Film and Television Studies School of English, Communications and Performance Studies</p><p>Caulfield Campus, B 4.27 Monash University</p><p>Victoria 3145 AUSTRALIA</p>

SCREEN AESTHETICS BEYOND FILM: FOLDS, CURVES AND REPETITIVE STRUCTURES
Saige Walton, The University of South Australia Samuel Harvey, The University of Melbourne Kate Warren, Monash University

Bad Timing and the Disquiet of the Everyday
Liz I Watkins, University of Leeds

How to bridge the gap between ‘film’ and ‘beyond’
André Wendler, Bauhaus-Universit&auml;t Weimar, Internationales Kolleg f&uuml;r Kulturtechnikforschung und Medienphilosophie, IKKM

The Adventures of Blaise Pascal in the World of Movies. A Metaphysical, Cinematographic Proposition through Eric Rohmer’s My Night at Maud’s
Aline Wiame, F.R.S.-FNRS (Belgium) Universit&eacute; Libre de Bruxelles (Belgium)

Matter, Sense, Form: the Essayistic Cinema of Terrence Malick
Thijs Witty, University of Amsterdam

Effect of truth: the potency of the fake and the performance in video documentary
Juliana Soares Bom Tempo, Doutoranda Faculdade de Educa&ccedil;&atilde;o - Universidade Estadual de Campinas (FE UNICAMP) - Brasil.

Fluid Subjects and Foreign Bodies in Recent Film and Installation
Maeve Connolly, Dun Laoghaire Institute of Art, Design &amp; Technology, Kill Avenue, Co. Dublin, Ireland.

24 Pictures extracted from an unfinished experimentation/ The Mechanical Cat
Eliott Chemana, Independant Filmmaker

The Mechanical Cat
Eliott Chemana, Independant Filmmaker

The Kantian Sublime in Deleuze’s Film Theory
Robert Doran, University of Rochester

The Zeeland Archives Project
Mirka Duijn, <p>Student at the AHK, NFTA Master Film.</p><p>Free Lance filmdirector, affiliated with a.o. Submarine, Revolver, Serious Film.</p><p>Lecturer at the HKU</p> Nina Spiering, <p>Free Lance filmdirector, affiliated with a.o. Submarine, Revolver, Serious Film, Lev Pictures</p><p>Lecturer at the HKU</p>

EMPATHY: PAIRING AND MIRRORING. A HUSSERLIAN INTERPRETATION OF KIAROSTAMI’S SHIRIN (2008)
Christian Ferencz-Flatz, Romanian Society for Phenomenology, Bucharest

Liminal Image: Precarious, Blurred, Digitized
Arild Fetveit, University of Copenhagen<br /> Genevieve Yue, Macalester College Seung-hoon Jeong, New York University Abu Dhabi

CCTV Beyond Surveillance: Memory
Nicole Falkenhayner, GRK "Factual and Fictional Narration" Albert-Ludwigs-University of Freiburg Germany

Continuous Space: the eternal worlds of automechanized art
Firoza Elavia, York University

It happened One Night: Rape, Marriage, and the Problem of Knowledge
Lisabeth During, Social Science and Cultural Studies Pratt Institute, Brooklyn, NY 11201 USA

“Synaesthetic Networks in Claire Denis’s _Beau Travail_ and _L’Intrus_”
Sabine Doran, University of California, Riverside

Laughter and Collective Awareness. Constructing and Controlling the Public Space of the Audience
Julian Hanich, <p>Department of Arts, Culture and Media,</p><p>University of Groningen</p>

“Acinematic” Aesthetics: Movement and “Decomposition” according to Lyotard
Ulrike Hanstein, Bauhaus-Universit&auml;t Weimar

‘For We Will Have Shown it Nothing’: On Film Philosophy-Without-Words
John Mullarkey, Kingston University

Cinematic Chronotopes
Pepita Hesselberth, Leiden University

Transmodal characteristics of sound and haptic aurality: creation of sound in film in the perspective of audiovisual perception.
Martine Huvenne, University College Ghent Associated researcher of University Ghent

Illocution Lessons: Uncertain afterimages of violence in Michael Haneke’s La Pianiste (2001)
Francesca Minnie Hardy, University of Cambridge

Superheroes, Stardom, and Digital Ontologies: Post-Humanism with a Human Face
Dan Alfred Hassler-Forest, University of Amsterdam

Disassembling the Epic in No Man’s Land (2012)
Salomé Lamas, University of Coimbra, Artistic Studies, Film Studies

Many-Worlds: Ontologies of the Moving-Image
Cameron Stuart Ironside, The University of Western Australia

When ethics has its on eyes: getting beyond film with Emmanuel Levinas
David Lengyel, Research Fellow in Centre de Recherches sur les Images et leurs Relations (CRIR), Universit&eacute; Sorbonne Nouvelle, Paris, France

Roland Barthes, filmology, and the history of audiovisual media study in France
Kate Ince, University of Birmingham

“New Soundtracks for Old Films: Repackaging, Reorienting, and Renegotiating”
Woodrow Hood, Wake Forest University

Beyond Noise: Michel Serres and Darren Aronofsky
Tarja Laine, University of Amsterdam

Film By Any Other Name: Apichatpong Weerasethakul, Primitive
Sam Ishii-Gonzales, Department of Media Studies and Film, The New School

Mapping Complex Narrative Experiences
Miklos Kiss, University of Groningen

Feeling Bad, Feeling Death
Kriss Ravetto-Biagioli, University of California, Davis Nikolaj Lubecker, St John's College University of Oxford Martine Beugnet, Universit&eacute; Paris 7, Denis Diderot

Fringe in-betweenness: Micropolitics of three-dimensional inter-titles
Nur Ozgenalp, Amsterdam School for Cultural Analysis, University of Amsterdam

Mythology as Methodology: Talking Cinema and Film Criticism
Blandine Joret, Amsterdam School for Cultural Analysis, University of Amsterdam

Violence as Philosophy in the Films of Claire Denis and Gaspar Noé
Kristin Hrehor, Ewha Womans University and Temple University

Visualising political philosophy through animation and film
Dean Kenning, Contemporary Art Research Centre, Kingston University John Russell, University of Reading<br />

The Image as the Post-Christian Sacred: A Nancean reading of Jean-Luc Godard’s Je vous salue Marie.
Jill Murphy, University College Cork

Attainable Text - Video Essay and the Digital Videographic Film Studies
Stanislaw Liguzinski, Jagiellonian University (Cracow, Poland)

Shattered Dreams: Ramin Bahrani on the Role of Belief in Cinema
Matthew A Holtmeier, University of St Andrews

Re-considering subjectivity, memory and forced migration: Angela Melitopoulos’s Passing Drama
Brenda Hollweg, University of Leeds

From Animal Locomotion to Flânerie: Aesthetics and Politics of Movement in Early Cinema
Asli Ozgen-Tuncer, Amsterdam School for Cultural Analysis, University of Amsterdam

Affective Encounters: Facing Absence in Memory Spaces
Matilda Mroz, Department of Communications and Creative Arts, University of Greenwich, London

Userly performances – spectatorship in interactive cinemas
Noam Knoller, Interface Studies Group, ASCA

Projection and Immersion. Empathy and video art.
Magdalena Anna Nowak, <p>Graduate School for Social Research, Polish Academy of Sciences, Warsaw, Poland</p><p>National Museum in Warsaw, Poland</p>

Beyond film’s anthropocentrism: nonhuman worlds
Laura McMahon, Gonville and Caius College, Cambridge Michael Lawrence, University of Sussex Chris Heppell, University of Aberdeen

Animal Motion and the Moving Image: Painlevé’s 'Acéra ou Le Bal des sorcières'/'Acera or The Witches’ Dance' (1972)
Michael Lawrence, University of Sussex<br />

Mutum, individuation and creation of affects
Davina Marques, <p>Instituto Federal de S&atilde;o Paulo, Hortol&acirc;ndia/SP, Brazil; Unicamp, Campinas/SP, Brazil.</p> Antonio Carlos R. Amorim

Vitalizing the Interval: Cinema, Animation, and the Life of the Image
Adam Nocek, University of Washington

Animism in cinema: dissolving anthropocentrism
Bogna M Konior, Queen Mary, University of London (BA) University of Amsterdam (RMa)