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EISENSTEIN, EAST ASIA: TRANSMEDIALITY
Cinema has become an increasingly transmedial experience involving different sensory forms of expression and the need to understand how different media interact, on both cognitive, affective levels, has never been greater. The pioneering filmmaker and film theorist Sergei Eisenstein’s work explored this transmediality as early as the 1920s. This symposium, hosted by UNSW and the Cinematic Thinking Network, brings together a group of eminent scholars of international standing whose interest and/or expertise lies in either directly exploring the issue of transmediality in Eisenstein’s thought, especially in its East Asian influences, or considering its legacy in subsequent film-philosophical debates.
Joan Neuberger, Department of History, University of Texas at Austin; Julia Vassilieva, Film and Screen Studies, Monash University; Helen Grace, Gender and Cultural Studies, University of Sydney/ Cultural and Religious Studies, Chinese University of Hong Kong; Lisa Trahair, Film Studies, University of New South Wales
Saturday March 21st, 2020, 2-5pm
Room 327, School of the Arts & Media, Level 3, Robert Webster Building G14, University of New South Wales, 15-17 High St, Kensington
ARTS and Media at UNSW in conjunction with the Cinematic Thinking Network are pleased to present:
Dana Polan on ‘The Square Screen: A Reflection on Unhip Cinema of the 1960s’
Wed 17 August . 5.30 – 7pm . Cinema 327, Webster Building
Illustrated with a variety of clips, this seminar will discuss how mainstream films of the American Sixties complicate easy divisions of the period into establishment cinema and a hip, cutting-edge alternative.
Dana Polan is a Professor of Cinema Studies at NYU and author of 8 books in film and media studies, including Power and Paranoia: History, Narrative, and the American Cinema, 1940-1950; Scenes of Instruction: The Beginnings of the U.S. Study of Film, 1915-1935; and Julia Child’s ‘The French Chef’.
Call for Papers: New Directions in Film-Architecture. Abstracts due 15th July 2016
Philosophy as a Way of Life: On Camera
Date Wednesday 2 March
Time 5 – 7pm
Location Cinema 327, Robert Webster Building, UNSW Kensington Campus
The Cinematic Thinking Network is pleased to present an opportunity to engage with the work of philosopher-artist Richard Shusterman.
Exhorting philosophy as a way of life, Socrates eschewed the practice of philosophical writing as a corrupting distraction. But writing soon became philosophy’s privileged medium. To what extent and in what ways can philosophy take advantage of new media technology — not simply through the digital production of articles, books, and blogs but also through visual media?
Experimentation in visual media seems especially appropriate for the philosophical field of aesthetics. Richard Shusterman, internationally renowned for his work in pragmatist aesthetics and somaesthetics, will present examples from his recent work in the medium of video as part of his continued efforts to revive the idea of the philosophical life while expanding philosophy’s reach and public.
The videos take two very different forms: experimental performance art (in collaboration with the Parisian artist Yann Toma) and a three-part educational documentary concerning Shusterman’s philosophical work and its inspirational sources (directed by the Polish filmmaker Pawel Kuczynski). This video work has been exhibited in Europe, the U.S. and China but not yet in Australia. After introducing a sampling from both genres, Shusterman will engage the audience for Q&A.
Richard Shusterman is the Dorothy F. Schmidt Eminent Scholar Chair in the Humanities and Director of the Center for Body, Mind, and Culture at the Dorothy F. Schmidt College of Arts and Letters, Florida Atlantic University. He is the author of Body Consciousness: A Philosophy of Mindfulness and Somaesthetics (Cambridge University Press, 2008) and Thinking through the Body: Essays in Somaesthetics (Cambridge University Press, 2012), co-editor of The Journal of Somaestheticsand editor of the forthcoming series “Studies in Somaesthetics” with Brill.
The Cinematic Thinking Network has 100 members from around the globe and hosts a yearly workshop on film-philosophy as well as occasional one-off symposia and guest lectures. Further information, including instructions on how to become a member, can be obtained at http://cinematicthinkingnetwork.org or by contacting Lisa Trahair (firstname.lastname@example.org)
Robert Webster Building is located mid-way off the UNSW main walkway. Map Ref G14. Cinema 327 is located on the third floor. More information on getting to UNSW.
6th Workshop on Cinematic Thinking: Deleuze and Cinema
30th November—1st December 2015
Webster Lecture Theatre A, Robert Webster Building Kensington Campus, University of New South Wales
Despite lamenting cinema’s failure to realise the dreams of its early pioneers and theorists (Dziga Vertov, Abel Gance, Sergei Eisenstein, and Élie Faure), in the second half of his second book on cinema Gilles Deleuze elaborates the basis for cinema’s potential to meet the challenges presented by our contemporary modernity. Suggesting a whole new schema for thinking about a cinema whose co-ordinates are no longer classical, Deleuze gives us seers rather than people of action, clairvoyance rather than sight, the power of the outside rather than the open whole, free indirect discourse rather than internal monologue, and so on. The ‘new cinema’ begins with Welles, Dreyer, Kurosawa, Mizoguchi, and Rohmer, and although Deleuze sometimes refers to their work as modern, he does not conceive their aesthetic practices as part of a modernist teleology of a succession of styles, nor as a series of negations undertaken simply to oppose mainstream culture or purely for the purpose of coming to understand the nature of the medium. If there is, for him, a modern cinema that might rekindle in us some of the hope held by its earliest progenitors, it resists the negative dialectics, formalism and self-cannibalisation that impacted other arts because of a sense of possibility about this medium’s capacity to directly engage with the world in which we live by rendering time and thought through images.
For this workshop we have asked scholars to return to Deleuze’s cinema books in order to re-evaluate their legacy in relation to contemporary cinema, whether by investigating the challenges and opportunities posed by new technologies and social and political realities, or by adding to Deleuze’s exploration of cinema through dialogue with the work of other philosophers and theorists, either his specific interlocutors (Plato, Aristotle, Spinoza, Leibniz, Kant, Bergson, Nietzsche, Artaud, Blanchot) or those whose work either resonates with or challenges his thought (Rancière, Badiou, Cavell, Derrida, Lyotard and Lacan).
Workshop Organizers: James Phillips, Robert Sinnerbrink, Lisa Trahair
Monday, 30th November
9.15-9.30 Welcome by James Phillips
9.30-10.30 Nadine Boljkovac, ‘Beyond Herself: “A power to love” through Riva, Resnais and Haneke’
10.30-11.30 Lisa Trahair, ‘Belief in this World: the Dardenne brothers’ The Son’
11.30-12.00 Morning tea
12.00-1.00 Gabrielle Lowe, ‘Correspondences: Cinematic Dialogues in Time’
2.00-3.00 Mairead Phillips, ‘We deserve better critics: True Detective and the Powerlessness of Thought’
3.00-3.15 Afternoon tea
3.15- 4.15 Gabrielle Dixon-Ritchie, ‘Representation After Deleuze’
4.15 to 5.15 Robert Sinnerbrink, ‘From Belief to Politics: Deleuze’s Cinematic Ethics’
Tuesday, 1st December
9.15-10.15 Raymond Younis, ‘Cinema the Symbolic Order of the Vanishing World (On Kant, Nietzsche, Heidegger)’
10.15-11.15 Greg Hainge, ‘Deleuze, Cinema, Bacon, Grandrieux’
11.15-11.30 Morning tea
11.30-12.30 Saige Walton, ‘Movement Image, Time Image or Fold? Bastards (2013) as Baroque Dark Matter’
12.30-1.30 Mark Steven, ‘Uncontrollable Organs’
2.15-3.15 Sharon Mee, ‘Jean-François Lyotard’s foregrounding of Gilles Deleuze’s “Open”’
3.15-3.30 Afternoon tea
3.30-4.30 Richard Smith, ‘Unbound alternation: organic movement in cinemas of globalisation’
4.30-5.30 Gregory Flaxman, ‘Afterlife’
Cinematic Ethics Symposium
Macquarie University, Sydney
August 27-29, 2015
Despite the flourishing of philosophy of film in recent decades, there have been few explicit theoretical investigations of the relationship between ethics and cinema. That film has an ethical potential—for exploring moral issues, ethically-charged situations, or moral “thought experiments”—is clear, however, from the way in which philosophical film theorists have explored cinema from a variety of philosophical perspectives. Indeed, film theory and philosophy of film could be described as undergoing an “ethical turn”—along with other areas of the humanities—in starting to reflect upon cinema as a distinctive way of thinking through ethical concerns. Yet philosophers, on the whole, have given the question of ethics and film scant theoretical attention, in a more philosophical sense, even within aesthetics, philosophy of film, or film theory.
This symposium is thus dedicated to exploring the relationship between cinema and ethics and investigating the possibility of a ‘cinematic ethics’. This is a conception of cinema as providing new ways of evoking and expressing ethical experience: an experiential approach to thinking through ethics, one that proceeds via the aesthetic experience, emotional engagement, and cognitive understanding that cinema so richly provides. Cinema’s power of perceptual fascination, emotional engagement, and cognitive understanding give it a remarkable capacity to evoke ethically significant experience with the potential to provoke philosophical thinking. ‘Cinematic ethics’ builds on the influential idea of ‘film as philosophy’, that is, of film-philosophy as providing new ‘paths for thinking’ that have ethical significance, that create new ‘syntheses’ of thought and image with the power to exercise our moral imaginations, expand our ethical horizons, but also to provoke thought.
The invited speakers at this symposium will address these and related issues from a variety of philosophical, theoretical, and cultural-ethical perspectives, explored through a wide range of cinematic works. Critical and creative interdisciplinary inquiry into the productive relationship cinema and ethics will be the key focus of this two and a half day event.
Guest International Speakers:
Lucy Bolton (Queen Mary University, London)
David Martin-Jones (University of Glasgow)
Mathew Abbott (Federation University, Ballarat)
Chris Falzon (University of Newcastle)
Fiona Jenkins (Australian National University)
Angelos Koutsourakis (University of Queensland)
David Macarthur (University of Sydney)
Philip Martin (Macquarie Unversity)
Ted Nannicelli (University of Queensland)
Matthew Sharpe (Deakin University)
Robert Sinnerbrink (Macquarie University)
Jane Stadler (University of Queensland)
Please join us for this exciting two and a half day interdisciplinary exploration of cinematic ethics. Attendance is free and open to the public but an email RSVP is required for catering purposes: email@example.com
Further announcements including paper titles and a draft timetable will be circulated shortly. For all inquiries please contact Robert Sinnerbrink on the email address cited above.
Dr Robert Sinnerbrink
Senior Lecturer & Australian Research Council Future Fellow
Department of Philosophy | Level 7, W6A Building
Macquarie University, NSW 2109, Australia
T: +61 2 9850 9935 | F: +61 2 9850 8892 | firstname.lastname@example.org
Staff Profile Departmental Video Academia Page
Forthcoming Book, Cinematic Ethics: Exploring Ethical Experience through Film
Editorial Board, Film-Philosophy Journal; Associate Editor, Film and Philosophy Journal
Deputy Chair, Australasian Society for Continental Philosophy (ASCP)
5th Cinematic Thinking Workshop: Cinema’s Realisms, November 14, 17, 18, 2014
University of New South Wales, Room 327, Robert Webster Building
Friday 14th November
10.30-11:00: Coffee and Welcome
11.00-12.00: Lisabeth During, The Realism Wars
12.00-1.00: Richard Rushton, On Deleuze and Metz: Signification and the Real in Cinema
2.00-3.00: Damian Cox, Spectator-Based Theory of Cinematic Realism
3.00-3.30 Afternoon tea
3.30-4.30: Julian Murphet, Labour, Reality, Cinema
4.30-5.30: Philip Martin, “You Can (Not) Believe”: Anime-Worlds and the Question of Animetic Realism from Evangelion to the Monogatari Series
Monday 17th November
09.00-10:00: George Kouvaros, ‘It’s Not Quite Right Yet’: Realism and Affect in A Woman Under the Influence and A Nos Amours
10.00-11.00: Saige Walton, Film Realism and Rhythm: Apprehending Stranger by the Lake
11.00-11.30: Morning tea
11.30-12.30: Jane Stadler, Felt Realities: Phenomenology, Experiential Realism, and Sound Effects
12.30-1.30: Tara Forrest, The Anti-Realism of Feelings: Alexander Kluge’s Political Realist Aesthetic
2.15-3.15: Rex Butler, The Real of the Spirit/The Spirit of the Real
3.15-4.15: Sigi Jöttkandt, Mimesis and Mimicry in Nabokov: The ‘Reel’ Life of Sebastian Knight
4.15-4.30: Afternoon tea
4.30-5.30: James Phillips, Anti-Oedipus: The Ethics of Performance and Misrecognition in Matsumoto Toshio’s Funeral Parade of Roses
5.30-6.30: Greg Hainge, Realism, Relativity and (R)egress.
Tuesday 18th November
09.00-10:00: Richard Smith, Belief, Perception, Cognition: Bazin and the new sciences of cinema
10.00-11.00: Jenny McMahon, Shaping Experience Upstream: Film and the Conditions for Realism
11.00-11.30: Morning tea
11.30-12.30: Marguerite La Caze, Realism as resistance: The case of Wadjda
12.30-1.30 Hamish Ford, Realism Reconceived: Altman’s Challenge
2.15-3.15 Kenta MacGrath, Beyond Slow: The Problem of Realism in Contemporary Minimalist Cinema
315-4.15: Mathew Abbott, The Realism of Artifice: On Kiarostami’s Five
4.15-4.30: Afternoon tea
4.30-5.30 David Macarthur, A Critique of Cavell’s Cinematic Realism: Another Route to the Skeptical Condition of Film
6.00-7.30: Robert Pippin, Psychology Degree Zero: On the Representation of Action in the Films of the Dardenne Brothers.*
*Venue: Tyree Room, John Niland Scientia Building, UNSW Kensington (map ref G19) To attend this last talk please register separately through the following website: https://www.arts.unsw.edu.au/events/so-what-lecture-professor-robert-pippin/
Workshop on Cinematic Thinking: Cinema’s Realisms
The Fifth Cinematic Thinking Workshop: ‘Cinema’s Realisms’
The workshop will be held at UNSW from 13th-18th November 2014
The fifth cinematic thinking workshop will be dedicated to reconsidering cinematic realism and will be bookended by presentations by the philosophers Alain Badiou (Ecole Normale Supérieure Paris) and Robert Pippin (University of Chicago) at UNSW. Alain Badiou will speak on film and philosophy on the evening of Thursday 13th November and Robert Pippin will present his paper “Psychology Degree Zero: On the Representation of Action in the Films of the Dardenne Brothers” on the evening of Tuesday 18th November.
The Cinematic Thinking Workshop will be held on Friday afternoon (the 14th) and all day Monday and Tuesday (the 17th and 18th).
Call for Papers: ‘Cinema’s Realisms‘
What questions do cinema’s realisms pose for understanding cinematic thinking?
Writing during the period of Germany’s domination by Nazism, Siegfried Kracauer accounted for the medium specificity of cinema by aligning its communicative capacities with those of photography. At the outset of his book Theory of Film: The Redemption of Physical Reality,he observes that the latter ‘was born under the lucky star of realism’. The realism of photography, however, differs from its counterparts in the other arts on many levels: rather than simply creating independent imitations of the world it becomes part of that world; it endows cinema with the capacity to retrieve unconscious, ‘hitherto unsuspected dimensions of reality’ and simultaneously problematises art’s habitual intention to externalize ‘inner vision’. Cinema puts an end to the belief in the absolute by availing humanity of a relativizing capacity and alienates its viewers from their world. As Kracauer sees it, the power of cinema does not lie in realism understood as verisimilitude, nor even in the fantasy of the camera’s unfettered access to visible reality; rather it establishes the possibility of enacting the process of materialization, and is specifically tied to the conditions of modernity.
In the 1940s, André Bazin latched onto Antonio Pietrangeli’s characterization of Luchino Visconti’s Ossessione (1942) as neorealist both to specify an emergent tendency in post World War Two Italian cinema and to identify a drive in aesthetic production that cinema could claim to redefine on its own terms. Thus understood, neorealism was both the latest expression of the medium’s adaptation to its developing technology and to the socio-political conditions of the day. Arguably it is also one of the first signs of practitioners of the medium collectively taking responsibility for its capacities by reigning in its appeal to the imagination, and recognizing its need to develop an ethics.
Long interpreted rather naïvely by film studies as proffering a naïve realism, Bazin’s writings have been reexamined by film theorists and philosophers in recent years with the aim of reestablishing the complexity of his thinking on the question of the real and realism in cinema. Complicating this recent return to Bazin’s often tentative formulations of film’s relation to the real, film’s two most eminent philosophers hesitated over his claims about cinema’s realism: Stanley Cavell, displaced the issue of realism by associating cinema’s automatism with the possibility of presence, and more provocatively Gilles Deleuze queried Bazin’s overtures about cinema’s access to ‘a new form of reality’, and proposed that the problem that cinema faced was in fact a problem of thought—not a question of form or of content, but of the mental, indeed of cinema’s capacity to express and articulate thought.
For this workshop we are asking scholars to reconsider the parameters of cinematic realism along numerous lines: Does the issue of cinema’s realism more appropriately derive from the ontology of film or its aesthetics? And how does the attribution of it to one dimension of film rather than the other determine the ethical questions that attached to it? What does a realism look like that is devoted not to representation and verisimilitude but to the exposition of the constituting lack that lies at the heart of encounter with the real, our ability to make sense of it, and to communicate such sense to others? Is it the case that cinema is better able to do this than other media? And what do other media then hope to achieve when they claim to be drawing on the cinematic? What evidence is there in contemporary cinema of the materialist and/or ethical realism associated with Kracauer’s and Bazin’s thinking about the medium? Is there scope in Bazin’s writing to consider cinematic automatism not as an attempt to capture reality but as peculiarly responsive to its irretrievability, to consider realism not as a tendency that strives for an assurance of presence but as an aesthetic devoted to its loss? Is realism the key to cinema’s ethical dimension? Should it be equated with style? Does the recent surge in non-fiction film have something to contribute to a renewed interest in cinematic realism and its vicissitudes?
We are seeking a maximum of 15 papers that address the questions outlined above with a view to opening up new lines of inquiry and original ways of thinking cinematically. Works spanning disciplinary boundaries—between film studies, philosophy, literature and other arts—are encouraged. Workshop participants will have one hour to present their papers and to respond to questions as part of a general workshop discussion. There will be no parallel sessions at this workshop and participants presenting papers are expected to attend the entire workshop.
The workshop will be free and open but because space is limited we ask that people register beforehand. Paper proposals (of no more than 300 words) should be sent to Lisa Trahair (L.email@example.com) and James Phillips (firstname.lastname@example.org) by 31st July, 2014.
To register for the workshop please send your name and email address to email@example.com.
3rd Cinematic Thinking Workshop
Cinema and/as Ethics
University of New South Wales
Dec 9 to Dec 11, 2013
Room 327, Robert Webster Building
Monday Dec 09
09.30-10:00: Coffee and Welcome
10.00-11.00: Robert Sinnerbrink, Cinematic Ethics: Film as a Medium of Ethical Experience
11.00-12.00: David Macarthur, Film & the Question of Acknowledgment
1.30-2.30: Damian Cox, The Dardenne Bros and the Catastrophe of Philosophical Ethics
2.30-3.30: Lisa Trahair, The Dardenne brothers, the child and sacrifice
3.30-4.00 Afternoon tea
4.00-5.00: Mathew Abbott, Ethics, Qualia, and Knowledge: On Kiarostami’s Ten
5.00-6.00: Marguerite LaCaze, Ethics in an unethical world: Nader and Simin, a separation
Tuesday Dec 10
10.00-11.00: Seung-hoon Jeong, Ethics of Community, Cinema of Catastrophe
11.00-12.00: James Phillips, Tati and the Unbound Gag: Towards a Cinematic Phenomenology of Disorientation
1.30-2.30: Daniel Brennan, The Epicurean Politics of Jiri Menzel’s Films
2.30-3.45: (Keynote) Thomas E. Wartenberg, Amour
3.45-4.00: Afternoon tea
4.00-5.00: Hamish Ford, Ethical Dissatisfaction, Virtual Utopia and Despair: Imag(in)ing Revolution with Cinema and Lefebvre
5.00-6.00: Angelos Koutsourakis, The Ethics and Politics of Negation: Postdramatic Elements in Three German Films
Wednesday Dec 11
10.00-11.00: David H. Fleming, Rescuing suicide via ethico-aesthetic documentary and Deleuze
11.00-12.00: Teresa Rizzo, Without Judgment: A Feminist Reading of the Immanent Ethics and Aesthetics in Morvern Callar
1.30-2.30: Chris Falzon, Dirty Harry Ethics
2.30-3.30: Gregory Flaxman, The Bressonian Touch
3.30-4.00: Afternoon tea
4.00-5.00: Lisabeth During, Goodness, Sacrifice and the World to Come: Simone Weil works in a factory and Ingrid Bergman follows her there
6.00-6.30: Cinematic Thinking Network: Future directions
6.00: Drinks at the Doncaster Hotel
Film-Philosophy Conference 2013: Beyond Film
ASCA (Amsterdam) and EYE Film Institute Netherlands
July 10, 2013 – July 12, 2013
The Film-Philosophy Conference 2013 will be hosted by the Amsterdam School for Cultural Analysis (University of Amsterdam) and the EYE Film Institute Netherlands. With this location, the annual Film-Philosophy conference will take place for the first time outside of the UK.
The conference is now at capacity and registration is unfortunately closed.
Reflecting the synergy of filmmakers and philosophers within the field of film-philosophy, our conference will be structured around joined keynote talks by pairs of filmmakers and philosophers, who will open the floor for vibrant discussions with the conference participants. The keynote pairs will be:
Jean-Luc Nancy and Claire Denis
Marie-Aude Baronian and Emmanuel Finkiel
Maurizio Lazzarato and Angela Melitopoulos
Papers scheduled for presentation are listed here: http://www.film-philosophy.com/conference/index.php/conf/2013/schedConf/presentations
This year’s conference is organized by Prof. dr. Josef Früchtl, dr. Jay Hetrick, Prof. dr. Patricia Pisters, dr. Maria Poulaki, drs. Philipp Schmerheim (all Amsterdam School for Cultural Analysis), Prof. dr. John Mullarkey (Kingston University, London) and dr. David Sorfa (Liverpool John Moores University).
16 Nieuwe Doelenstraat
EYE Film Institute Netherlands
Established in 2008 and taking place annually, the Film-Philosophy conference reflects the growing importance of film philosophy within the fields of both film studies and philosophy. It brings together scholars and filmmakers from all over the world to present their research on a broad range of topics within the subject area.
The following item may be of interest:
We are pleased to announce that the third issue of Cinema: Journal of Philosophy and the Moving Image is now available online for free download at http://cjpmi.ifl.pt:
Issue 3 (December 2012)
EDITORIAL: CINEMA, THE BODY AND EMBODIMENT
Patrícia Silveirinha Castello Branco
FLESHING OUT THE IMAGE: PHENOMENOLOGY, PEDAGOGY, AND DEREK JARMAN’S BLUE
SEDUCTION INCARNATE: PRE-PRODUCTION CODE HOLLYWOOD AND POSSESSIVE SPECTATORSHIP
A PHENOMENOLOGY OF RECIPROCAL SENSATIONIN THE MOVING BODY EXPERIENCE OF MOBILE PHONE FILMS
CINEMA OF THE BODY:THE POLITICS OF PERFORMATIVITY IN LARS VON TRIER’S DOGVILLE AND YORGOS LANTHIMO’S DOGTOOTH
THE BODY OF IL DUCE: THE MYTH OF THE POLITICAL PHYSICALITY OF MUSSOLINI IN MARCO BELLOCCHIO’S VINCERE
EIJA-LIISA AHTILA: THE PALPABLE EVENT, 124-154
UPSIDE-DOWN CINEMA: (DIS)SIMULATION OF THE BODY IN THE FILM EXPERIENCE, 155-182
EMBODYING MOVIES: EMBODIED SIMULATION AND FILM STUDIES
Vittorio Gallese and Michele Guerra
EXISTENTIAL FEELINGS: HOW CINEMA MAKES US FEEL ALIVE, 211-228
THE BODY AS INTERFACE: AMBIVALENT TACTILITY IN EXPANDED RUBE CINEMA, 229-253
A PROPOS D’IMAGES (A SUIVRE): ENTRETIEN AVEC MARIE-JOSE MONDZAIN [FR.], 254-271
Conducted by Vanessa Brito
CONFERENCE ROUND-UP SUMMER 2012:POWERS OF THE FALSE (INSTITUT FRANÇAIS, LONDON, 18-19 MAY), SCSMI CONFERENCE (SARAH LAWRENCE COLLEGE/NYU, NEW YORK, 13-16 JUN.), FILM-GAME-EMOTION-BRAIN (UNIVERSITY OF AMSTERDAM, 14-21 JUL.), AND FILM-PHILOSOPHY CONFERENCE (QUEEN MARY – UNIVERSITY OF LONDON/ KING’S COLLEGE LONDON/KINGSTON UNIVERSITY, 12-14 SEPT.), 272-283
CÍRCULOS E POÉTICAS EM FILMES LITERÁRIOS DE FERNANDO LOPES, 284-300
Eduardo Paz Barroso
Cinema: Journal of Philosophy and the Moving Image
Patrícia Silveirinha Castello Branco, editor
Sérgio Dias Branco, editor
Susana Viegas, editor
￼￼2nd Cinematic Thinking Workshop
Thinking Cinematically Before Deleuze
￼Lecture Theatre B, Robert Webster Building | December 14th-16th, 2012
Friday 14th December
11.15 Damian Cox, ‘Plato and Eisenstein on the Significance of Montage’
12.15 Laura D’Olimpio, ‘Where is the place for the thinking viewer in the cinema?’ 1.15 Lunch
2.15 Gregg Flaxman, ‘The Spiritual Automaton: (or why we should learn to stop worrying and love the passivity of the cinema)’
3.15 Afternoon tea
3.30 Julia Vassilieva, ‘Eisenstein/Vygotsky/Luria’s project’
Saturday 15th December
￼￼10.00 Lisabeth During, ‘Narrate or Describe? Film’s Struggle with Literature’
11.00 Morning tea
11.15 Lisa Trahair, ‘Being on the outside: Stanley Cavell’s world viewed, cinematic automtism and Michael Haneke’s Caché’
12.15 Richard Rushton, ‘Cinematic judgment and universal communicability’ 1.15 Lunch
2.00 Hamish Ford, ‘Film-Philosophy As Mutually Challenging Interface’ 3.00 Afternoon tea
3.15 Angelos Koutsourakis, ‘Production versus Reproduction: Rethinking Brecht and Film in a Period of Capitalist Crisis’
Sunday 16th December
￼￼10.00 Robert Sinnerbrink, ‘Early Film-Philosophy: Observations and Conjectures’
11.00 Morning tea
11.15 Paul Macovaz, ‘Ricciotto Canudo : Cinema Art Language’
12.15 Jean-Philippe Deranty & Mairéad Phillips, ‘Breaking the spirals: the visual dynamics of desire and money in the cinema of Max Ophüls’
2.00 Saige Walton, ‘Of Flesh, Fabric, Folds: Merleau-Ponty, Raul Ruiz and the New
World Baroque’ 3.00 Afternoon tea
3.15 Adrian Martin, ‘Roger Munier and His Heideggerian Vision of Cinema’
4.15 Cinematic Thinking Network: Future Directions
Patrick Crogan on Bernard Stiegler, UNSW Wednesday July 4
“Attention, technics, and the digital: Bernard Stiegler’s Post-Grammatology”
a talk by Patrick Crogan, Digital Cultures Research Centre, University
of West England
School of the Arts and Media, Faculty of Arts and Social Sciences
University of New South Wales
Date: Wednesday, July 4
Venue: Webster Theatre A, Robert Webster Building, UNSW, Kensington Campus
Cinematic Thinking Network Event:
AAP (Australasian Association of Philosophy) 2012 Conference, University of Wollongong
Special Session, Philosophy and Film
Friday July 6, 1.30-3.30pm
Building 67 (Mackinnon Building), Room 104
Philosophy and Film, organized by Robert Sinnerbrink (Macquarie): Philosophers and film theorists have recently become more interested in the philosophical questions raised by the medium of film. Some have argued that cinema can explore philosophical ideas, reflect upon the nature of the medium, or engage in philosophical reflection by cinematic means. This session explores diverse approaches to the film-philosophy relationship, drawing on both analytic and Continental approaches, examining the question whether films can ‘do’ philosophy in their own right. The participants in this session are Patrick Crogan (University of the West of England), “Editing Experience: Bernard Stiegler and Film Theory/History”; David Macarthur (University of Sydney), “Film and the Question of Skepticism”; and Robert Sinnerbrink (Macquarie University) ,”Cinematic Philosophy Redux: A Response to Thomas Wartenberg”.
For more information please see:
Call for Papers
Australian Society for French Studies XX– 2012
Framing Cinema and the Visual Arts / Cadrages: cinéma et arts visuels
The 20th edition of the Australian Society for French Studies conference will be held at the University of Adelaide on September 27, 28 & 29, 2012. The organisers are pleased to invite proposals for papers of 20 minutes on the theme of French Cinema and Visual Arts.
From the ritual images that compose the Lascaux cave drawings to the pictorial accounts of kingly exploits in the Bayeux tapestry, from the monumental Château de Chambord to the airy Tour Eiffel, from art’s subservience to God or the Revolution to its emancipation via Manet’s Olympia, from Nadar’s photograph of Baudelaire in 1855 to Pathé’s projected Astérix chez les Bretons 3D in 2013, the visual arts have always imposed themselves as a mark of an epoch. This is also true of the technological innovations in audio-visual creation, now an irreplaceable part of popular culture. How the visual attains its significance as a vehicle of cultural values; how different genres and modes of communication pertaining to the visual interact with each other and with textual forms, and finally how they contribute to the creation of meta-discursive constructions of art and culture are all questions that have attracted scholarly interest in recent times. At stake is what Jacques Rancière calls “the future of the image”, that is, the possibility of finding new paradigms to account for the relationship between the sayable and the showable.
Related questions include:
Trends in French cinema and other visual arts, including performing arts; The relationship between genres and materials, the visual and the textual; The politics of the image; Developments regarding the notion of the image (eg. following Rancière, Its testimonial, ostensive or metaphorical functions); Work specific, author specific or period specific studies; Critiques of the modern and postmodern (Rancière, Lyotard, Deleuze, Derrida, Sartre, Malraux).
$AUS 150 general / $AUS 125 ASFS members / $AUS 100 students
Daily: $AUS 100 general and ASFS members / $AUS 75 students
Sessions will be set aside for papers dealing with other aspects of French language, literature or culture. The organisers encourage proposals from Postgraduate students, and will also consider expressions of interest for pre-constituted panels (3 x 20 minutes).
Please send your submission to the conference organising committee, before May 31st 2012:
Please visit the Conference website for on-line registrations :
For details on the Australian Society for French Studies, see the official website http://australiansocietyfrenchstudies.org/
Workshop with Thomas Wartenberg, May 18, Macquarie University
Cinematic Thinking Network members are invited to hear Professor Thomas E. Wartenberg (Philosophy, Mount Holyoke College), one of the leading thinkers on the topic of film as philosophy, present a talk at Macquarie University on Friday May 18.
The schedule is as follows:
Thomas Wartenberg on ‘Cinematic Philosophy’
Friday May 18
Macquarie University, North Ryde, Sydney
W6A building, room 107 (see http://www.mq.edu.au/on_campus/maps/)
10am-11am: Thomas Wartenberg presentation, ‘Cinematic Philosophy:
Defense of a Moderate Position’
11am-11.15am: Response by Robert Sinnerbrink
11.15-11.30am: Short tea/coffee break
11.30am-12.45pm: Questions and General Discussion
1pm-2pm: Lunch at Macquarie University Staff Club
A copy of Prof Wartenberg’s paper is available for anyone who would like to read it beforehand. It represents a further development of his
work in this area, notably his book ‘Thinking on Screen: Film as Philosophy (Routledge, 2007). Prof Wartenberg’s talk will be followed
by a brief response by Robert Sinnerbrink, which will open up questions for discussion with Tom, followed by general questions and
discussion with the audience. A lunch with Tom will follow after his talk, to which all are invited; there will also be an informal dinner
that evening at an inner city restaurant for those who are able to attend.
Here are some links with information about Tom’s work and his website
(including links to his Teaching Children Philosophy course)
We hope that some of you will be able to take part in this event. It aims to bring together local and interstate researchers with
an interest in the film-philosophy relationship and to promote further exploration of the the idea of ‘cinematic thinking’. Please circulate
this invitation to any colleagues or students you know who may also be interested.
If you haven’t already joined please take the opportunity to join the
‘Cinematic Thinking’ network: https://cinematicthinkingnetwork.org/
This network and the Wartenberg event are initiatives of the ‘Film as Philosophy: Understanding Cinematic Thinking’ ARC projected being
undertaken by Lisa Trahair (UNSW), Robert Sinnerbrink (Macquarie), andGregory Flaxman (UNC): http://www.cinematicthinking.unsw.edu.au/
Film-Philosophy Conference 2012
King’s College London; Queen Mary, UoL; Kingston University
September 12, 2012 – September 14, 2012
Film-philosophy continues to grow as an important discipline within the fields of both Film Studies and Philosophy. The Film-Philosophy Conference brings together scholars from all over the world to present their research on a broad range of topics within the subject area.
The 2012 conference will take place September 12-14, and will be jointly hosted by King’s College London, Queen Mary, University of London and Kingston University.
Papers on any relevant topic will be considered but we particularly welcome abstracts in the following areas:
Abstracts should be 200 – 300 words long and papers, including clips – which we strongly encourage – should not exceed 25 minutes. We accept panel submissions with a maximum of three speakers and a length of 90 minutes.
Fees will be announced shortly.
Submission deadline: 31 May 2012
You must register a free account with the conference website in order to submit a proposal. Both individual and panel proposals must be submitted through the conference website (no initial cost involved): http://www.film-philosophy.com/conference/index.php/conf/2012/about/submissions
Film & History Association of Australia & New Zealand Conference 2012
Screen | Memory | History
2 December to 5 December 2012
The XVIth Biennial Conference of the Film & History Association of Australia & New Zealand will be held at Victoria University, Melbourne. Hosted by Victoria University, the conference is convened by La Trobe, Victoria University and ACMI.
The Film and History Conference is held every two years and is an opportunity for international scholars, archivists, and filmmakers to present their thoughts on recent debates and events in the fields of: film and television history, history and film and television, national and transnational cinemas, screen theory and practice, and the social and cultural significance of cinema.
Jane Landman firstname.lastname@example.org
Felicity Collins email@example.com
Susan Bye firstname.lastname@example.org
The FHAANZ Conference invites international scholars, archivists and filmmakers to present their research in the fields of screen history, history and memory on screen, national and transnational screen histories, and the social and cultural impact of cinema, television and new media.
Panel proposals due: March 30 2012
Paper proposals due: March 30 2012
The 2012 conference will be organized into three streams.
Speculative Screen Histories: This stream brings together scholars working on film, television and digital media histories with artists, writers and critics producing speculative screen histories and fictional screen memories in written and audio-visual forms. It asks what it means to remember film and television in different modes, from historiography to sampling and remix.This stream calls for panel proposals and papers on topics including:
Decolonizing Screen Memories: This stream marks the 20th anniversary of the High Court of Australia’s Mabo decision overturning terra nullius. It also commemorates Barry Barclay and Merata Mita, advocates of Fourth Cinema and Maori filmmaking in Aotearoa New Zealand. The recent release of films such as Samson and Delilah, Bran Nue Dae, Stone Bros, Mad Bastards, Here I Am, Toomelah, Saving Grace, The Orator, The Strength of Water, Sione’s Wedding, Boy and Matariki (among others) testifies to the strength of a decolonizing and anticolonial vision of the past and future in Australia and Aotearoa New Zealand. This stream calls for panel proposals and papers on topics including:
Human Rights and Animal Ethics on Screen: This stream seeks to bring together researchers interested in the role of screen culture in the rise and global reach of humanitarian and animal liberation campaigns. It asks how and why cinema, television and new media have emerged as a focus for Human Rights, humanitarian campaigns and Animal Ethics. It considers the politics of empathy and solidarity in relation to moral and ethical imperatives to respond to the visualization of atrocity and the on-screen suffering of human and non-human others. It looks at the unique role the cinema has played in the representation of the animal across a variety of genres. This stream calls for panel proposals and papers on topics including: