Film-Philosophy Conference 2015: The Evaluation of Form

University of Oxford

July 20, 2015 – July 22, 2015

The full conference programme is now available.
For the full programme, please click here.


The conference is now full - no more tickets can be purchased. 

We are limited by the size of our venue and we are now at capacity. 

Keynote Speakers:

Noël Carroll

Alex Clayton

Tarja Laine

The eighth Film-Philosophy Conference 2015 takes as its major focus the evaluation of film form and style. The conference this year 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?

Deadline for submissions: 30 January 2015 (Submissions are now closed)


Conference Information