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
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Keynote Speakers


The Return on The Idea of Medium Specificity and the Task of Criticism
Noël Carroll, City University of New York (CUNY)

What is 'Aesthetic Suspense'?
Alex Clayton, University of Bristol

Mea Maxima Vulva: Appreciation and Aesthetics of Chance in Nymphomaniac
Tarja Laine, University of Amsterdam

Individual Papers


Colour Consciousness and Cinema
Sarah Street, University of Bristol

Bollywood as a work of (postmodern) art: The cinema of Sanjay Leela Bhansali
Neelam Sidhar Wright, Independent Researcher (previously University of Sussex)

Film form and appreciation
Melenia Arouh, The American College of Greece

The Pleasure on the Plate: Rear Projection and Some Limits of Invitation
Murray Pomerance, Ryerson University

Evaluating the Long Take in Andrei Tarkovsky’s Stalker
Christopher Marnoch, University of East London

Abbas Kiarostami and Film-Philosophy: Scepticism, Evaluation, and Philosophically Inflected Criticism
Mathew Abbott, Federation University Australia

Two-dimensional versus three-dimensional pictorial organization in film
Bence Nanay, University of Antwerp and Cambridge Universiry

A Cinema of Choice? Gradation of Emphasis in CinemaScope
Sam Roggen, University of Antwerp

Moral Beauty in Two Days, One Night
Damian Cox, Bond University

A Cinema of Superfluity: Evaluating Nollywood’s ‘Trashy’ Video Images
Jacques de Villiers, University of Cape Town

Christian Metz's Final Work on Filmic Enunciation
Cormac Deane, Insitute of Art, Design and Technology, Dublin

Realism and the evaluation of resistance: The case of Wadjda.
Marguerite Mary La Caze, University of Queensland

The nostalgic Royal Tenenbaums: A defense of Wes Anderson´s sentimentality.
Irene Martínez-Marín, University of Murcia

The Forms of the Figure: Grandrieux, Deleuze, Bacon.
Greg Hainge, University of Queensland

The Romantic Machine: Material Transformation and Metamorphosis
Daniel Knipe, University of the West of England

Visual Expressionism and Asserted Symbolism in La Fille coupée en deux
Jacob Leigh, Royal Holloway College University of London

Assessing the Function of (Apparent) Incoherence in the Evaluation of Film Form: An example from Carl-Theodor Dreyer’s Ordet (1955)
Aikaterini Virvidaki, University of Oxford

Bruno Dumont and the Ethics of Mise-en-scène
Douglas Morrey, University of Warwick

The Poetics of the Long Take in Documentary Film
Adam Kossoff, University of Wolverhampton

The digital stylo: Narrative, thesaurus and the power of audio-visual essay.
Julia Vassilieva, Monash University

Achievement and Appreciation in V.F. Perkins
David Sorfa, University of Edinburgh

Device, Intention and Significance - the final moments of Frederick Wiseman's High School
Victor F. Perkins, University of Warwick

'Practical Ways of Thinking': Challenging the Film Theory/Film Practice Division
Warren Buckland, Oxford Brookes

The Set Piece: Effort and Meaning
Adam O'Brien, Independent Scholar

Tony Scott's Déjà Vu (2006): Looking Again at Spectacle, Style, and Substance
Matthew Denny, The University of Warwick

Approaching Ambivalently: A slow long-take in The Lady from Shanghai
Daniel Lik Hang Chan, University of Warwick

Between Absorption and Theatricality: New Inflections of the Cinematic Tableau
Agnes Petho, Sapientia Hungarian University of Transylvania, Romania

Re-evaluating Bricolage in the Early Films of Terence Davies
Benedict Luke Morrison, The University of Oxford

Form and Permutation in the Westerns of Budd Boetticher
Tyler Parks, University of Edinburgh

Evaluating Ambiguity
Hoi Lun Law, University of Bristol

Articulations of Style and Meaning in The Phantom Carriage (Victor Sjöström 1921)
Douglas Pye, University of Reading John Gibbs, University of Reading

Evaluating and Valuing in Film Criticism
Sérgio Dias Branco, University of Coimbra

Mise en scène in Goodbye South, Goodbye
Steven Marchant, Royal Holloway University of London

Filmic point of view and the representation of character interaction
James Zborowski, University of Hull

Styling the Living Dead: The Photographic Form of 'High Art' and 'Right of Inspection'
Sarah Dillon, University of Cambridge

Finding beauty in negative spaces: aesthetics and perception/evaluation of beauty in Pedro Costa’s films.
André Rui Graça, University College London

Looking outwards to look inwards: filmic form and interstitial life-writing in Vincent Dieutre’s Jaurès (2012)
Tom Cuthbertson, University of Oxford

The Missing: Geriatric Female Sexuality in Film Content & Cinematography
Angela Anna Giron, Arizona State University

The Softness of Her Hair and The Texture of Silk: The Mother’s Body and Klein’s Theory of ‘Love, Guilt and Reparation’ in The Tree of Life (Malick, 2011)
Davina Quinlivan, Kingston University

Form and Feeling: Tolstoy’s What is Art? and Film
John David Adams, University of Liverpool

The First Ten Seconds
Edward Gallafent, University of Warwick

Virtuosity and Artifact Emotions: A Short Evaluation of the Long Take
Emre Çağlayan, University of Kent

Contemplative Style and Ethics of Transformation: Meta-perspectives on the Cinema of Terrence Malick
Martin Paul Rossouw, University of Groningen

On the Depths of Surface: Aesthetics and Politics in Sofia Coppola’s The Bling Ring (2013) and Harmony Korine’s Spring Breakers (2013).
Maryn Claire Wilkinson, University of Amsterdam

Critiquing the bourgeoisie: parametric transcendence and social stratification in Joanna Hogg's Archipelago
Patrick Brian Smith, Concordia University

‘Truth, Duration, Contemplation: Evaluating the aesthetic ideology of the long take in The Weeping Meadow and The Dust of Time Angelopoulos’
Evy Varsamopoulou, University of Cyprus

'Cinematic' vs. 'uncinematic': Historical relativization of medium purism
Marko Rojnic, University of Zagreb

Cinema Stripped Bare: The Aesthetics of Vulgar Literalness in Films of Hong Sangsoo
Louis Wai-Chun Lo, National Taipei University of Technology

Aesthetics of Abstraction: A Striving for Recognition
Lilly Husbands, Film Studies, King's College London

Exponential virtuality: Attending to the forms of Marina Abramović
Jenny Chamarette, Queen Mary, University of London

Sublime Form and Cinematic Trauma: Responding to Torture in Word and Image
Maria Gemma Flood, Cornell University

Is Weekend a Film?
Murray S Smith, University of Kent

Insight as an Epistemic Value of Film
Peter Remmers, Technical University Berlin

Photogénie as a Temporal Aspect of the Film Image
Paulina Kwiatkowska, Institute of Polish Culture, University of Warsaw

The Style of Time in Ingmar Bergman's Films
Fabio Pezzetti Tonion, Museo Nazionale del Cinema - Torino - Italy

Deleuze, Godard, Hume and the Logic of Relations
Sam Ishii-Gonzales, The New School

The Finale of AI: Artificial Intelligence
Alessandro Giovannelli, Lafayette College

An Aesthetics of Paradox: the case for Postmodern Hollywood
Catherine Constable, University of Warwick

Effect-lighting and expressivity in Hollywood film style of the 1930s
Hiaw Khim Tan, University of Chicago

Compulsive re-telling and the search for the perfect moment in Spalding Gray’s performance films
Laura Sava, Xi'an Jiaotong-Liverpool University

Becoming Space in All Directions: Birdman as Baroque Figure, Form and Flight
Saige N Walton, The University of South Australia

The Scream Itself: Evaluating Formlessness and Formal Innovation in Recent British Films
Andrew Jarvis, University of the West of Scotland

Understanding and Evaluating "Parametric Narration"
Malcolm Turvey, Sarah Lawrence College

Pacifism and film form
Guy Westwell, Queen Mary University of London

Contemporary Slovak social drama and the myth of authenticity
Katarina Misikova, Academy of Music and Dramatic Arts, Bratislava, Slovakia

Towards a Pneumatic Cinema: The Work of Fernando Eimbcke
Roman Dominguez Jimenez, Pontificia Universidad Católica de Chile

‘Great love come too late?’ a critical evaluation of the emotional terrain in Max Ophuls’ Liebelei (Germany, 1931)
Iris Luppa, London South Bank University

Spectator Imputation in Classic and Cult Films
Thomas Ryan Britt, George Mason University

K–D–Z (Kant – Deleuze – Zidane)
Damian Sutton, Middlesex University

Wittgensteinian film-as-philosophy exemplified: Exploring the exploration of point-of-view in Cuaron’s Gravity
Rupert Read, University of East Anglia

Mood Revisited: From Affective Aesthetics to Cinematic Ethics
Robert Sinnerbrink, Macquarie University

Slippery Form Meets Overdetermined Style: the Altman Case
Hamish Ford, University of Newcastle (Australia)

"Oh! You Pretty Things": The Virgin Suicides and the Feminine Sublime
Michelle Devereaux, University of Edinburgh

Preconstituted Panels


Taking Form: From Ontogenesis to Repetition and Exhaustion
Nikolaj Lubecker, University of Oxford Kriss Ravetto-Biagioli, University of California Davis Kris Fallon, University of California Davis

Female Philosophers and Form: Rand, Murdoch and Mondzain
Lucy Bolton, Queen Mary, University of London Lisa Downing, University of Birmingham Libby Saxton, Queen Mary, University of London

Affective Optics
Bruce Isaacs, University of Sydney Paul Sunderland, University of Sydney Lisa Purse, University of Reading

Evaluating Narrative Point-of-View in Fiction Film
Guido Kirsten, Stockholm University Julian Hanich, University of Groningen Maarten Coëgnarts, University of Antwerp

Ethics and Aesthetics in True Detective
Steven Peacock, University of Hertfordshire Elliott Logan, University of Queensland Jason Jacobs, University of Queensland

Surface Meaning: Surfaces, Depths and the Interpretation of Film
James MacDowell, University of Warwick Lucy Fife Donaldson, University of St. Andrews Timotheus Vermeulen, Radboud University Nijmegen

Ida: Form, Space, and Light
Matilda Mroz, University of Greenwich, London Richard Rushton, Lancaster University James Harvey-Davitt, Anglia Ruskin University

Cinematic Epiphanies: Revisiting Schrader’s Transcendental Style
John Caruana, Ryerson University Isabel Rocamora, Edinburgh University Mark Cauchi, York University Chris Irwin, Humber College

Getting to the Core of American Indies: Reworking the Clichés of Body and Brain
William Brown, Roehampton University Matthew Holtmeier, Ithaca College Eddy Troy, University of California, Riverside Steven Eastwood, University of East London

Negotiating Identity: Forms of Knowledge and Radical Difference
Anna Backman Rogers, University of Gothenburg, Sweden Eva Sancho Rodriguez, University of Amsterdam Francesca Minnie Hardy, University of Aberdeen Laura McMahon, University of Cambridge

Stiegler’s post-Kantian Aesthetics of Industrial Temporal Objects
Patrick Crogan, University of the West of England, Bristol Marcel Swiboda, University of Leeds John Mowitt, University of Leeds