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:
 

Open Track


Nymphomaniac and the Geometry of Origins: Derrida on Husserl on Lars von Trier
David Sorfa, University of Edinburgh

I Am Acting
Murray Pomerance, Ryerson University

John Akomfrah, Gallery Film and the Hiatus Between Ethics and Politics
James Harvey, University of Greenwich

The Politics of Appropiration
Kriss Ravetto, UC Davis Cinema and Digital Media<br />

Abject Humanism in Tom Perrotta’s Film Adaptations
Wyatt Moss-Wellington, The University of Sydney

Film Thinking about the Holocaust: Georges Didi-Huberman and Son of Saul
Victoria Grace Walden, University of Sussesx

Never Rehabilitated: The Risky Business of Portraying Giordano Bruno in Italian Cinema
Silvia Angeli, Independent Scholar

The Film-Philosophy Parallax: Žižek and Cinema
Ben Tyrer, University of Exeter<br />

A spiritual consciousness? Phenomenology, Incarnation, and Transcendence in cinema according to the thinking of Amédée Ayfre.
Fabio Pezzetti Tonion, Museo Nazionale del Cinema - Torino - Italy

Commercial or Overground Shi-nema: Some notes on Cinematicity and its propensity for selling dream (un)real estate in contemporary China.
David H. Fleming, University of Nottingham Ningbo China

The Prominence of Meaning; or Re-opening ‘The Case of the 'River of No Return'’
Andrew Klevan, University of Oxford

Profound Boredom as Aesthetic Category: Isidore Isou's Traité de bave et d'éternité (1951)
Chiara Quaranta, The University of Edinburgh

The Cinematic Corpse: Natural History, Catastrophe and Biopolitics
Allen Meek, Massey University

The shape of it all: priorities and completeness in Nicole Brenez's work on Abel Ferrara.
Dominic Lash, University of Bristol<br />

Back to the Senses: A Phenomenological Account of the Use and Effect of Reenactments in Participatory Documentaries via the Case Study of The Act of Killing (2013)
Nadica Denic, University of Amsterdam

Facing the void: Ida, Phoenix and visibility
Matilda Mroz, University of Sussex

The Vanilla World and Its Other in Mainstream Film
Edward U.G. McDougall, Durham University

The History Lessons from Kluge: The Utopian Archive and the Fairy Tales in the Public Sphere
Amresh Kumar Sinha, <p>The School of Visual Arts</p><p>New York University</p>

In Praise of "Knight of Cups": A New Economy of Feeling
James Lawrence Slattery, University of Oxford<br />

'the false appearance of totality is extinguished' - Viewing Welles's The Trial through the Lens of Benjamin's Conception of the Allegorical Image
Julian Koch, Queen Mary, UL

The Analog/Digital Distinction Revisited: Bazinian Identity as an Alternative to Indexicality
Mario Slugan, <span style="white-space: pre;"> </span>University of Warwick

Embodied Epistemology: The Arrival and the Language of Cinema
Jane Stadler, The University of Queensland

Embodied Spectatorship in Motion. A Phenomenology of Camera Movement
Zsolt Gyenge, Moholy-Nagy University of Art and Design

The Public School as Evental Site: 1968, subjectivisation and if….
Martin Hall, University of Stirling

'Communication containing its own critique': the Situationists contra Jean-Luc Godard
Alex Corcos, Warwick

Concepts of Concepts Within (and Beyond) Discourses on Film as Philosophy
Jakob Nilsson, &Ouml;rebro University

The Dialectical Image in Film
Conor O'Kelly, TCD

‘…A local habitation and a name’: Impersonal Enunciation, Film Worlds and the Place of Reflexive Address
Daniel Yacavone, University of Edinburgh

What is an Intercessor? Deleuze's original characters in Direct Cinema and Cinema Vérité
Niall Kennedy, Kingston University, London

“Don’t you want this crime revenged?” The function of Walter Benjamin’s divine violence in Abel Ferrara’s Bad Lieutenant (1992)
Charlotte Bence, The Royal Central School of Speech and Drama

Hex Contagion: weird realism in The Falling (Carol Morley, 2014)
Andrew Jarvis, University of the West of Scotland

Cinema, machinic enslavement and the Crisis
Martin O'Shaughnessy, Nottingham Trent

Cinema and the Myth of the Given: A Semantic Reading of Bazin's Aesthetic Ontology
Tyler A Theus, Brown University

Of film diagrammatology: cinema between diagrammatic thinking and diagrammatic sensing
Magdalena Krysztoforska, Birkbeck, University of London<br />

‘Technics and Remediation in Wall-E (2008) and Prometheus (2012)’
Elizabeth Ezra, University of Stirling

Frederick Wiseman's Phenomenology of the Animal
Christian Ferencz-Flatz, University of Bucharest

Human Rights Abuses and State Violence in Prison films by Hector Babenco
Antonio Marcio da Silva, University of Surrey

The Dysfunctional / Unintelligible Body: Further Notes on Agamben’s Gesture
Janet Harbord, Queen Mary University of London

Vocation and the Quest for God in the Films of Mia-Hansen Løve
Catherine Wheatley, King's College London

Speculative Realism and Film


Apichatpong and the ontological persistence of things
Julio Bezerra, Universidade Federal do Rio de Janeiro,

Friends, No Matter What: Speculative Realist Friendship in the Films of Sean Baker
Brian Willems, University of Split

Putting the whole out of joint: Dupieux’s Réalité as HyperChaos cinema.
Frederic Brayard, University of Glasgow

Speculations on Potential Emotional Equivalents
Felix Laubscher, University of the Arts Berlin

Melodramatic objects and the weird realism of Alfred Hitchcock's Shadow of a Doubt
Conn Holohan, NUI Galway

Materializing Vagueness
Kathrin Rothemund, University of Bayreuth

Film and Ethics


Movies Teach About Teaching: Excellence and Maleficence in the Classroom
joseph h kupfer, iowa state university

Klevan on Film Performance
Rick Costa, Carnegie Mellon University

Shadow of Angels (1976): Militant Ethics and Dissensus in Daniel Schmid’s Film Adaptation of R.W. Fassbinder’s play, The Garbage, the City, and Death.
Angelos Koutsourakis, University of Leeds

Authenticity and Performativity in Grey Gardens: Notes on the Ethics of Observational Documentary
Mathew Abbott, Federation University Australia

Film-as-ethics: Plato’s moving images and why film philosophizes
Shai Biderman, <p>Beit Berl College and</p><p>Tel Aviv University</p><p>&nbsp;</p> Michael Weinman, Bard College Berlin

Cosmopolitanism, Ethics and the Aesthetic of Violence
James Mulvey, University College Cork<span style="white-space: pre;"> </span>

Simondon and cinema's technology : film as a positive and constructive technophany
Félix Veilleux, Universit&eacute; de Montr&eacute;al

Fate on Screen: Derek Cianfrance's A Place Beyond the Pines
Jan Maximilian Robitzsch, Sungkyunkwan University

Becoming-Abject as Gift: The Atopian Ethics of the Dardenne Brothers and The Promise
Seung-hoon Jeong, New York University Abu Dhabi

Extreme images in 'A Serbian Film'
Oliver Kenny, Queen Mary University of London

From Promise to Pessimism: Democratic Ethics and the Problem of Government in American Cinema
Chris Irwin, Humber College

Little Deviant Acts: Claire Denis, Trouble Every Day and Nietzsche’s vehemence of drives in Daybreak
David Deamer, Manchester Metropolitan University

Motion picture – worldpicture – surveyable representation
Thomas Wachtendorf, Research Center "Erkenntnis", University of Oldenburg, Germany

Philosophy of Video Essays / Essay Films


The Sculptures of London
William John Robert Campbell Brown, University of Roehampton, London<br />

No Body At Home? Chantal Akerman’s _No Home Movie_
Claire Boyle, University of Edinburgh

Dynamic Knowledge: Audiovisual Practices in Digital Scholarship
Sarah-Mai Dang, University of Bayreuth

Feminist Philosophy and Film


Queer Auto/biography: Glancing Sideways, Derrida and Stories We Tell
Sarah Dillon, University of Cambridge

Mysterious Misogyny in the Films of David Fincher
Cynthia A. Stark, University of Utah

Feminine becomings and/or becoming gymnast? Salla Tykkä’s Giant (2014)
Elspeth Mitchell, University of Leeds

Femme Fatale - the original Nasty Woman or an embodiment of male fantasy?
Agnieszka Piotrowska, University of Bedfordshire

Getting Above Herself: Re-envisaging the Sublime in Gravity
Catherine Constable, University of Warwick

Eco-philosophy and Film


Let Man Remain Dead: Towards a Posthuman Ecology Through Garrone’s Tale of Tales
Francesco Sticchi, Oxford Brookes University

Posthuman Encounters: Experiencing the Anthropocene in Alfonso Cuaron’s Gravity
Joseph Jenner, King's College London

Fractal Fallout: Materialty and Immateriality in the Digital Effects Explosion
Pansy Kathleen Duncan, Massey University, Auckland

Ecstatic Emissions: Gernot Böhme’s Nature Aesthetics and Apichatpongian Atmospheres
Tyler Parks, University of Edinburgh

Framing the human-animal: Fantasy and Allegory in The Lobster
Evy Varsamopoulou, University of Cyprus

Temporality and Film


Temporality, Reproduction and the 'Not-Yet' in Arrival (Villeneuve, 2016)
Anne Carruthers, Newcastle University

Thinking in the chaotic and stochastic: time travel films inform new ways to think about film narration
Leiya Lee, Kingston University

The non-presence of Universality. Alain Badiou's reading of Pasolini's "San Paolo"
Lorenz R. Hegel, Freie Universit&auml;t Berlin

Duration and Distance: slowness, entanglement, embodiment
Andre Keiji Kunigami, Cornell University

Film and the other arts


3D's Anamorphic Space
Nick Jones, Queen Mary University of London

“ ‘Big my Secret’ and The Saddest Music in the World: Uncanny Anthropomorphisms in the Ineffable Filmic-Musical Moment”
Angie Contini, University of Sydney

Thomas Edison vs Vilem Flusser: Hand Painting the Technical Image
Tom Stevenson, University of Kent Tom Stevenson, University of Kent

Total art: Hans-Jűrgen Syberberg’s subverted discourse on art
Fátima Chinita, Lisbon Polytechnic Institute

Becoming-photographic (of cinema).
Elzbieta Buslowska, University of the Arts, London

Is film the right type of art? Attention and vision in the philosophy Iris Murdoch
Lucy Bolton, Queen Mary University of London

Ethnographic Lyrics of the East Coast and the Limits of Aqueous Representation
Julia Tanner, University of Leeds

To close or not to close the fictional parenthesis in Ben Rivers’ films: traces of the author’s body between the artistic moving-image and the feature
Jade de Cock de Rameyen, Universit&eacute; Libre de Bruxelles

Cognitive film-philosophy


Cognitive Film Studies and Four Approaches to Documentary Spectatorship
Catalin Brylla, University of West London

Finding the place of freedom in Eisenstein’s brain: Münsterberg, Spinoza and psy-disciplines.
Julia Vassilieva, Monash University

Cinematic Intentionaiity Without Authorship: Case of Ex Machina
Richard Nunan, College of Charleston

Phenomenology meets Cognitivism: Notes on an Encounter
Robert Sinnerbrink, Macquarie University

Emotion/Affect and Film


A Phenomenological Reimagining of Leighton Peirce’s Experimental Filmmaking.
Susannah Ramsay, University of Stirling

Sensorial Youths: Gender, Eroticism, and Agency in Lucrecia Martel’s Rey muerto (1995)
Inela Selimovic, Wellesley College

The Hap-Tech Sensation in Film
Daniel Paul O'Brien, University of Glasgow

The Armchair Juror: audience engagement in true crime documentaries
George Sandra Larke-Walsh, University of North Texas

A Pageant of Bravery: Emotion and Ethics in The Hunger Games
Tarja Laine, University of Amsterdam

'The Very Worst Things': Vulnerability, Gender and Terrorist Violence
Maria Gemma Flood, Keele University&nbsp;

Selective and Elective Mutism: Adorno’s ‘Cinema of Negativity’ and Deleuze’s ‘Minor Cinema’
Tanya Shilina-Conte, SUNY at Buffalo

Cinema as Container-Contained: Toward a psychoanalytic phenomenology of guilt in The Headless Woman (Martel) and Manchester by the Sea (Lonergan).
Kelli Fuery, Chapman University

Empathy in No Man’s Land (2012)
Patricia Sequeira Brás, Birkbeck college, University of London

“An Endless Succession of Mirrors”: Romantic Irony, Ambiguity, and the Crisis of Authenticity in Synecdoche, New York
Michelle Devereaux, University of Edinburgh

A Blue Afternoon: Yasujirō Ozu and the colour of bruises
Sander Holsgens, UCL

Movies: Allopoietic Machines of Spectators' Affective Experience
Francesca Scotto Lavina, La Sapienza&nbsp;University of Rome

Therapeutics in Artists’ Moving Image
Maria Walsh, University of the Arts London

Layering Montana: The affective continuum of Kelly Reichardt’s Certain Women
Felicity Claire Gee, University of Exeter

Affect and the Figure of the Child in the Films of Lucile Hadzihalilovic
Michael Brodski, Johannes Gutenberg University of Mainz

Cavell and film-philosophy


Sexuality and Misplacement in Gaslight (1944) and Now, Voyager (1942)
Lucian Tion, National University of Singapore

From Here to There and Back Again: Elliptical Knowing in Arrival
Timna Rauch, Independant scholar. Graduated from the University of Amsterdam

Malick’s Poetics of Gaze. A Visual Dialogue with Thoreau via Cavell
Pablo Alzola, Universidad Rey Juan Carlos

Stella Dallas: Cavell’s Epistemic Victor and the Reaction Shot
Britt Harrison, University of York

Cavell, Experiences of Modernism, and Kamran Shirdel's The Night it Rained
Craig Fox, California University of Pennsylvania, USA

Cinema in a Secular Age: Re-thinking Cavell with Taylor
Mark Cauchi, York University

Tact, Touch, and Playfulness: Anti-Cartesian Concepts for a Materialist Aesthetics of Digital Media
Peter Hajnal, University of California Irvine

Skepticism in the film museum. Or: Why did Stanley Cavell welcome the constitution of a film museum?
Stephan Ahrens, Filmuniversit&auml;t Konrad Wolf

Race and Film


An Improper Attack: Discussing Race at the Dinner Table in American History X
Daniel Robert Varndell, University of Winchester

Philosophy and film genres


“Not Even a Victim of Society?”: The Ethics of Subtraction in Early Neo-Noir
Tamas Nagypal, York University

Cinematic Individuation in The End of Evangelion
George Crosthwait, King's College London

Phenomenology of the Comic Object
Mackenzie Leadston, The Ohio State University

The Geometry of Horror: A Philosophical Approach to Genre in German Expressionist Cinema
Laurence Kent, King's College London

Out of the Rubble: Found Footage Films and the Post-9/11 World
Duncan Hubber, Federation University Australia

In the end at the end: The final sequences of Heat and Road to Perdition
Sebastian Lederle, University of Vienna

Hegel, Schiller, and Tragic Heroines in Contemporary Film
Rachel C. Falkenstern, Penn State University

Hiding Horror: Charlie Brooker’s ‘Men Against Fire’ (Black Mirror, Series 3, Episode 5)
Rebecca Anne Peters, Universitat Pompeu Fabra