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:
 

Keynotes


Heidegger’s Poetics and the Truth of War in The Thin Red Line
Daniel C. Shaw, Lock Haven Univesity

(S)wipe: Phenomenology of a Filmed Gesture
Martine Beugnet, Universite Paris Diderot (Paris 7)

Broken Embraces: Filming the Body in Crisis, Reparation and Resistance in Broken Embraces (Pedro Almodóvar, 2009) and Hunger (Steve McQueen, 2008).
Davina Quinlivan, Kingston University

Open Track


Arthur Lipsett and the pedagogy of the schizo-thinking-machine
Joff P.N. Bradley, Teikyo

Stage Fright and the Plague of Fascination
Murray Pomerance, Ryerson University

Gemeinschaft Versus Gesellschaft: Robert Altman's Search for Community
Robert Niemi, St. Michael's College

Into the Universe of (Three-Dimensional) Technical Images: Jean-Luc Godard's Flusserian 3D Cinema
Andrew Utterson, Ithaca College

The Three Burials of Jean Baudrillard
Russell Manning, Monash University

The Films of the Dardenne Brothers in Light of Stanley Cavell’s Writings
William Rothman, University of Miami

An Introduction to Tatiphysics: On Film-Philosophy Without Platonism
John Ó Maoilearca, Kingston University

The Trouble with Comic Theory
Alex Clayton, University of Bristol

Reconstructing autobiography in Boris Lehman’s A la recherche du lieu de ma naissance (1990)
Tom Cuthbertson, University of Oxford

Science Fiction's Facial Optics
Allan Cameron, University of Auckland

Rethinking Scopophilia in the New Media Era: Self and Surveillance in Hideaki Anno’s Love & Pop
Jeeshan Gazi, Independent

Heart of a Dog (2015): Depth, Flesh and Film-Philosophies of the Fluid
Saige N Walton, The University of South Australia

If I had a hammer: Amateur filmmaking and the camera as Heideggerian tool
Danièle Wecker, Universite du Luxembourg; Universite Paris Diderot

Disidentification in Faces: from the ethical to the political in Cassavetes’ facial close-ups
James Harvey, Anglia Ruskin University

The Auteur in Deleuze's Cinema 1 and 2.
Niall Kennedy, Kingston University, London

Mapped and Monstrous Spaces in Digital 3D Cinema
Nick Jones, Queen Mary University of London

Free Will and Film: a cinematic exploration of the Deep Self View
James Mooney, University of Edinburgh

"Let the Ghosts Come Back": Raising the Spectre of Senna (2010)
Stephen Mitchell, Independent Scholar

Dead funny: laughter, life and death in Philibert’s Nénette and Un animal, des animaux
Laura McMahon, Gonville and Caius College, Cambridge

Towards a feminist dancefilm philosophy: Martine Rousset's Carolyn Trilogy.
Ros Murray, Queen Mary

Cinema as Gesture... Gesture as Politics
Adam Kossoff, University of Wolverhampton

Imagining a Form of Life in the Coils of the Serpent: The Human Figure and Digital Cinema
Scott Birdwise, York University

The Precarious Aesthetics and the Sublime: The Case of Alejandro González Iñárritu’s 11'9''01, Segment: Mexico
Arild Fetveit, University of Copenhagen

Bazin and Merleau-Ponty: film and its ontological bet
Julio Bezerra, Universidade Federal do Rio de Janeiro,

On pièce touchée: Physical and Ontological Touch
Chelsey Crawford, North Central College

Existentialism and Film


Autopoietic Existentialism: Memory, Signification, and Communicative Action in Christopher Nolan’s Memento
Daniel R White, Wilkes Honors College Florida Atlantic University

“Killing is not nearly as easy as the innocent believe” : Does Woody Allen Condone Murder?
Sander Lee, Keene State College

Under and On the Volcano. How Rohmer Rejected Existentialism and Inaugurated the Politique des auteurs, in front of Rossellini's Stromboli
Marco Grosoli, University of Kent

Nihilism, Miserabilism and Ambiguity in Art Cinema
Emre Çağlayan, University of Brighton; University for the Creative Arts

Understanding Cinematic ‘New Sincerity’ and the Case of Frances Ha in Light of Sartre: A Proposal for an Existentialist Conceptual Framework
Allard den Dulk, Amsterdam University College

Peckinpah's Existential West: some Heideggerian motifs
Keith Hennessey Brown, University of Edinburgh

The Fine Line: Existential Themes and Cinematic Metaphors in The Walk (2015)
Shai Biderman, Tel Aviv University; Beit-Berl College

Roy Andersson's "Living Trilogy" and Cinematic Metaphysics
Bob Hanke, York University

Existential Jouissance in Leos Carax Holy Motors
Dario Llinares, University of Brighton

Film and Ethics


Towards an Authentic Representation of Conflict, Trauma, and the Bosnian War
James Keyes, Trinity College Dublin

Ethics of hyper-chaos: time without becoming and the emergence of the other
Frederic Brayard, University of Glasgow

Remarriage of the Self; Clones and Cavell
Mashya Boon, Independent Scholar; University of Amsterdam

Time and the Other
Orna Raviv, Shenkar College

Ethics, precarity and universalism in Abderrahmane Sissako's Bamako
Kate Ince, University of Birmingham

Take Your Time: Towards a Theory of Experience and Ethics of Contemplative Spectatorship in Slow Cinema
Jakob Boer, University of Groningen

Forms of Matching: Love, The Lobster
Eugenie Brinkema, Massachusetts Institute of Technology

On Technology and Being-With: The Heideggerianism of Claire Denis’ 35 Rhums
Eddy Troy, University of California, Riverside

Visibility and Extremity
Oliver Kenny, Queen Mary University of London

Coldness and Cruelty: Cinematic Ethics in Haneke’s The White Ribbon and Amour
Robert Sinnerbrink, Macquarie University

The Melodrama of the Unknown Man. Serial Drama, genre and Po-ethics.
Timna Rauch, Graduated at University of Amsterdam, now independant scholar

Trust and Truth in Shutter Island
Suzanne Cataldi Laba, Southern Illinois University Edwardsville

The Ethics of the Local View, or, Cinema as a Medium of the Self
Kate Rennebohm, Harvard University

The failed education of the woman in the films of Robert Siodmak: towards a Cavellian concept of Film Noir
David Hayes, Bard College Berlin

The Torture of Etiquette/The Etiquette of Torture: On Michael Haneke’s Funny Games
Daniel Varndell, University of Winchester

Film and the Other Arts


The Confluence of North Indian Classical Music on the Cinematograph through the films of Kumar Shahani
Elroy Pinto, Independent Researcher

'A Boy Pretending to Be a Wolf Pretending to Be a King': Nature, Childhood and the Romantic Quest in Where the Wild Things Are
Michelle Devereaux, University of Edinburgh

Moving Images Posing as Pictures: Rethinking the Intermediality of the Cinematic Tableau
Agnes Petho, Sapientia Hungarian University of Transylvania, Cluj-Napoca

Painting On Film: Cavell And The Quattrocento
Peter Hajnal, Bard College Berlin

Reenactment of Cinematographic Past: Complex Temporal Objects Situated Between Cinema and Contemporary Art
Lukas Brasiskis, New York University

Video Essays / Essay Films


St Mary Magdalen’s Home Movies (or, The Sexuality of Space)
William John Robert Campbell Brown, University of Roehampton, London

Palliative Island (a film by Steven Eastwood) work in progress
S Eastwood, Queen Mary University London

Defacing the Close-up
Kriss Ravetto, UC Davis Cinema and Digital Media<br />

‘The Equalized Pulse’ – Digital Humanities and Videographic Essay Research
Christian Keathley, Middlebury College

Contemplation as Utopia. James Benning and the Look of the Landscape
Daniele Rugo, Brunel University London

拆 (CHĀI demolish) 哪 (NǍ what-ever) 夢 (MÉNG dream): On China’s Dream, and the transformation of material things (2016, 15-18 minutes).
David H. Fleming, University of Nottingham, Ningbo, China

'Entreprise de terrorisme cinematographique': Violence and detournement in Guy Debord's film
Alex Corcos, University of Warwick

Futile Looking: Chantal Akerman's From The East
Christopher Malcolm, University of California, Irvine

American Landscapes, American Pathologies: The Films of James Benning
Nikolaj Lubecker, University of Oxford

Lovers in Time: An Essay Film as Practice Research in Times of Patriotic Journalism in Harare
Agnieszka Piotrowska, University of Bedfordshire

Gender and Sexualities


YouTube and Parodic Disidentifications: the Re-Insertion of Marginalized Voices into Film History through the Viral Videos of Todrick Hall
Amanda Greer, University of British Columbia

‘A Market of The Senses; Your Relations Are of Power:’ The Female Body as Decorative Object and Commodity in Sofia Coppola's 'Marie Antoinette' (2006)
Anna Rebecca Backman Rogers, University of Gothenburg

Kill Bill with Flying Daggers: Aesthetic Violence and Women in Film
Joseph H Kupfer, Iowa State University

Akerman, Irigaray and the figure of the girl on screen
Elspeth Mitchell, University of Leeds

The Maids of Dishonor: Unruly Bodies, Embarrassment, and the “Womance” Genre
Tarja Laine, University of Amsterdam

Hollywood’s Sovereign Exception: Revisiting Film Noir’s Masculine Biopolitics
Tamas Nagypal, York University

The Crystalline and the Vegetable: Brigitte Bardot as the Doubled Aphrodite in Le Mépris
Oisín Keohane, University of Dundee

Queering Cult Cinema: Performances of Gendered Reception
John Lynskey, University of Edinburgh

Re-Locating Silence and Subversion in Early Assamese Cinema from North East India with Particular Reference to Bhabendranath Saikia’s Films
Farddina Hussain, Gauhati University

Documenting Sex: Realism and Utopia in Feminist Pornography
Sara Janssen, University of Kent

Body hair, embodiment and film
Francesca Minnie Hardy, University of Greenwich/Middlesex

Form and Evaluation


The Form of Form: Haneke, Malabou and Plasticity
Ben Tyrer, King's College London

Thinking Cinematically
Victoria Grace Walden, Queen Mary, University of London

The different meanings of ‘film form’
Melenia Arouh, The American College of Greece -Deree College

Three Iterations of An American Tragedy: Cinematic Quotation, Adaptation & Entertainment
Dominic James Jaeckle, Goldsmiths College, University of London

Repetition and Rythmn: Play and Performance in the films of Ugo Nespolo
Paul Sutton, University of Roehampton

On Our Filmic Body
Joerg Fingerhut, Humboldt-Universitat zu Berlin Katrin Heimann, University of Aarhus

The Elastic Set
Dennis Rothermel, California State University, Chico

Nietzsche and Doctor Who – the serial form and the three teachings of Zarathustra
David Deamer, Manchester Metropolitan University

Global Film-Philosophy


Philosophy through Film: how Philosophy conceptions influence this possibility
Diana Neiva, University of Porto

Film Philosophising: A Ricœurian Methodological Approach
Alberto Baracco, University of Turin

That Obscure Object of Realism: Chinese Docufiction as Ontological Fabulation
Bruno Lessard, Ryerson University

Is Miyazaki a Japanese Heideggerian? Technology and the ‘Japanese World’ in Spirited Away
Edward McDougall, Durham University

Film and Political Philosophy


An Ecosophy for Bioregionalism: Anti-Paranoia and Eco-Terrorism in Night Moves
Matthew A Holtmeier, Ithaca College

The Cultural Techniques of Gesture and Working-Class Corporeality in Aki Kaurismäki’s Proletarian Trilogy.
Angelos Koutsourakis, University of Queensland

The body’s spacing: The carceral body as heterotopia in contemporary Palestinian Cinema
Robert White, Kingston University

Trials and Tribulations of Contingency-politics
Teet Teinemaa, The University of Warwick.

The Dardenne brothers, Marcel Mauss and the gift
Martin O'Shaughnessy, Nottingham Trent

Rawls and Emerson on Happiness with Continual Reference to Top Gun
Detlef von Daniels, WZB Berlin Social Science Center<br />

Landscape, Myth, and Anti-Myth in Meek's Cutoff
Tyler Parks, University of Edinburgh

Trouble Breathing: neoliberal poetics in ’71 (Yann Demange, 2014)
Andrew Jarvis, University of the West of Scotland

'Escaping the moment' - A Hobbesean take on Nolan's Memento
Asaf Sokolowski, Independent Scholar

The L.A. Rebellion: A Politics of Love, A Politics of Resistance
Jamie A Rogers, University of California, Irvine

Religion and Film


Reimagining Faith. Hope and Belief in Tarkovsky’s Stalker: a modern spiritual journey into disaster, darkness, and redemption.
Colin Heber-Percy, University of Oxford

The Ambiguous ‘You’ in the Voice-over of the films of Terrence Malick: Talking to God or Dramatising His Redundancy?
Britt Harrison, Independent Scholar

The opposite of faith: Film Style and the Miraculous in Stations of the Cross (2014) and Breaking the Waves (1996)
Catherine Wheatley, King's College London

For a phenomenology of the temporality of the sacred. Matters of style between Ayfré, Schrader, and Dreyer's representation of a miraculous event
Fabio Pezzetti Tonion, Museo Nazionale del Cinema - Torino - Italy

Cosmic Visions of the Past: Kracauer’s Revision of Faure’s Cinematic Cosmology
Hannah Goodwin, UC Santa Barbara

Faith in Film: On Isabel Rocamora's Faith
Mark Cauchi, York University, Canada

The Soul's Journey. A semantic and narrative approach to Nostalghia's final sequence
Pablo Alzola, Universidad Rey Juan Carlos

Deleuze and Kierkegaard on the Paradox of Belief: Strange Encounters at the Cinema
John Caruana, Ryerson University