2014 - Glasgow

Film-Philosophy Conference 2014

2 - 4 July 2014

University of Glasgow

DAY 1: 2 July 2014

2 July 2014


Venue + Chair

Presentation Titles


Registration + Coffee





David Martin-Jones (Cinema)



Opening Address

Karen Lury


Opening Address by Professor Karen Lury, Dean of Research for the College of Arts


Keynote 1

Lúcia Nagib (Cinema)

Chair: David Martin-Jones

Non-Cinema, or the Location of Politics in Film






Panels A

A World of Film-Philosophies (Cinema)

Chair: David Martin-Jones

· Islam, Consciousness and Early Cinema in Turkey (Canan Balan)

· Means of Rebellion: Animism in Contemporary Malaysian Cinema (Bogna M Konior)

· A Feminist Break with Shona Tradition in the Work of Rumbi Katedza? (Agnieszka Piotrowska)


Stiegler's Film Philosophy: Globalization, Technicity and the Idiomatic (217A)

Chair: Michael Goddard

· Industrial Technicity and Global Cultural Transformation: Reposing the Question of the Future of World Cinema in Bernard Stiegler’s Terms (Patrick Crogan)

· An ‘exemplary contemporary technical object’: Thinking Cinema Between Stiegler and Hansen (Ben Roberts)

· Diasporic Memory and Disorientation: Critical Dialogues between Bernard Stiegler and Black Atlantic Audiovisual Culture (Marcel Swiboda)


Screen Politics and Perspective in Post-Cinematic Installations (217B)

Chair: William Brown

· The Postperspectival as Symbolic Form: Ryan Trecartin and Lizzie Fitch’s Political Aesthetics of Control Societies (Lisa Åkerval)

· Politics of (the Circular) Form: Affect, Perspective and Judgment in Contemporary Cinematic Installations (Chris Tedjasukama)

· Loose Connections: Post-Cinematic Reconfigurations in Omer Fast’s Everything That Rises Must Converge (Sven Seibel)


Darkness (Part I) (408)

Chair: Robert Sinnerbrink

· Dark Light: Opening Scenes to Childhood Worlding (Maria Therese O'Connor)

· A Dark Image (Andy Weir)

· A Film of Philosophy: How to Remake a Thought Cinematically (John Mullarkey)






Panels B

‘Other' Film Phenomenologies (Cinema)

Chair: John Mullarkey

· Slow Sounds: Duration, Audition and the Intimacy of the Everyday (Philippa Lovatt)

· Awkward Homosocial Love and Intimate Perception in Contemporary Bromantic Comedy (Greg Singh)

· Queer Intercorporealities? Cinematic Orientations in Contemporary Lesbian Film (Katharina Lindner)


Lost in Space (217A)

Chair: tbc

· Rizhomatic space and delirium: Sacro GRA (by G. Rosi) in the light of the thought of Patricia Pisters (Daniela Angelucci)

· Mimicry and Legendary Psychasthenia in Film (Ljubov Bugaeva)

· The Memory of Earth: Polish Cinema as Archaeology (Matilda Mroz)


Mumblecore, Cosmopolitanism and Bodies in the US Indie (217B)

Chair: David Sorfa

· Cinema and Gest, or: Why we still Say Mumblecore (Matthew A Holtmeier)

· Uncomfortable Cosmopolitanism: Ethico-Political Tensions in Understanding American Indie as World Cinema (Eva Sancho Rodriguez)

· Modern Love: Homosocial Desire in the Cinema (Christine Evans)


Disaffection in South Korean Cinema (408)

Chair: Ji Young Lee

· Beyond Propaganda: Military Camp, Biopolitics and Magical Realism in Kim Kiyoung’s films (Minhwa Ahn)

· Cold Eyes: Body and Screen in the Age of World Picture (Mi Young Park)

· The Master Who Mistook Himself for a Monster: Park Chan-wook's Oldboy and the Artifice of History (Peter Yoonsuk Paik)


Bruno Dumont's Closeness (409)

Chair: Mark Jackson

· The Force of Intimacy: Facial Close-Ups and the Nancean Image in Bruno Dumont (Lisa Coulthard & Chelsea Birks)

· Film and/as Devotion: The Cinema of Bruno Dumont (Saige N. Walton)





Keynote 2

Patricia Pisters (Cinema)

Chair: William Brown

Failing Better: Different Pasts, Dramatic Revelations and Aesthetics of Revolution in Contemporary Art and Film


Film Screening

Love in the Post (Joanna Callaghan) (Cinema)

Chair: John Mullarkey

Presentation and Q&A with Director and Writers, Joanna Callaghan & Martin McQuillan

DAY 2: 3 July 2014

3 July 2014


Venue + Chair

Presentation Titles


Panels C

Surface, dialogue, possibility, difference: feminist philosophy and female filmmakers


Chair: Tarja Laine

· Neoliberalism as Neofeminism: Worlds of Surface and Consumption from Girlsto The Bling Ring (Anna Backman Rogers)

· Towards or away from Nancy? White Material and Claire Denis’s film-philosophical trajectory (Kate Ince)

· Chantal Akerman’s Je tu il elle and the Radical Politics of Possibility (Ros Murray)

· Collectivity, Community, Being-in-common: Some Observations about Film-Philosophy and Difference with Self-Made (Gillian Wearing, 2010) (Jenny Chamarette)


Time-Images, Bodies and Minds in Contemporary Japanese Cinema (217A)

Chair: Daniel Yacavone

· Ozu, Deleuze, and The Visual Reserve of Events in their Appropriateness (Tyler Parks)

· Dream(ing) Bodies in Satoshi Kon's Paprika (Anna Dosen)

· Strange Sensations - Cinematic Affection and Subversion in the Films of Sion Sono (Nicolas Oxen)


Body Horror: Affect and Ethics (217B)

Chair: Richard Rushton

· Pregnant Embodiment, Post-colonialism and Spectatorship Ethics in French Body Horror (Kathleen Scott)

· Neurocinematic Approaches to Sonics, Ethics, and Affect (Jane Megan Stadler)

· Inland Empire and the World: The Monad and the Nomad (Elena Del Rio)


Neurocinematics (408)

Chair: Patricia Pisters

· Neurocinematics: Reading the Brain/Film through Film/Brain (Temenuga Trifonova)

· The Screen and the Other: an Ethical Reading of the Neuro-image (Orna Dvora Raviv)

· New Ontological Landscapes of Digital Screen Media (Dan Strutt)


Minor Cinemas (409)

Chair: Matthew Holtmeier

· The Curious Case of the (Non)Existence of Danish Minor Cinema (Atene Mendelyte)

· Translating Deleuzian ‘Minor Cinema’ into a Localized ‘Experimental Ethnography’: On Aesthetic Strategies in Zhang Lu’s Scenery (Jihoon Kim)






Panels D

Immigration and Intercultural Exchange (Cinema)

Chair: Katharina Lindner

· Textile-Images in Armenian Diasporic Cinema (Marie-Aude Baronian)

· Cinematic Identification with the ‘Other’ Across Borders (Itandehui Jansen)

· Post-Representationalism as a Political Strategy in Migrant Feminist Documentary (Gozde Naiboglu)

· Error Screens: Dubbing and the Language Politics of Global Media (Tessa Rachel Dwyer)


Darkness (Part II): Reimagining Worldhood in Recent Cinema (217A)

Chair: Maria O’Connor

· Createdness and Giftedness of the World in Terrence Malick’s Cinema (John Caruana)

· Post-Secular Lux: Illuminating New Worlds in Recent Cinema with Nancy and Taylor (Mark Cauchi)

· The Re-birth of Tragedy in Reygadas’ Post Tenebras Lux – A Reading under Nietzsche and Heidegger (Isabel Rocamora)


Aesthetic Tendencies of New Chilean Cinema (217B)

Chair: David Martin-Jones

· The Face of Dictatorship in Contemporary Chilean Cinema (James Harvey-Davitt)

· Memory and Aesthetics in Fernando Guzzoni’s Carne de perro [Dogflesh] (2012) (Sarah Wright)

· Realism in Contemporary Chilean Cinema (Berenike Jung)


The State Apparatus: Violence and Social Crisis (408)

Chair: Kathleen Scott

· The Divine Violence of Katharina Blum (Ben Tyrer)

· Does the Gangster Have to Die? (Charlotte Bence)

· Rethinking Artaud: The Politics of the Cinema of Cruelty (Angelos Koutsourakis)


Stillness, Trance and Transience (409)

Chair: Daniel Yacavone

· Bikini Brain: Fleshing Out the Neuro-Image in Spring Breakers (Andrew Jarvis)

· Placing Stillness: Cinematic Pause and Transnational Negotiations in Colossal Youth (Jacques De Villiers)

· Destroying Film: The Digital Dematerialisation of the Cinematic Experience (Erin K Stapleton)






Panels E

Globalized Myths of Anywhere and Elsewhere (Cinema)

Chair: Lucy Bolton

· Same Difference: Humanity as Allegory in the Multi-Narrative Film (Tiago De Luca)

· Mythic Thinking in Werner Herzog’s New Grammar of Images (Andre Fischer)

· The Myth of Scotland as Nowhere in Particular (John Marmysz)


Rancière Without Borders (217A)

Chair: tbc

· Mixed Feelings: Anglo-Indians and the Distribution of the Sensible in Indian Cinema (Glenn D'Cruz)

· Consensus and Normativity in World Cinema (Thoughts on Rancière) (Richard Rushton)

· From Urgency to Reflection: Occupation, Collaboration and Resistance in Roberto Rossellini’s Post-Neorealist Films (Pasquale Iannone)


Film Screening (217B)

Chair: Surbhi Goel

Duvidha (Mani Kaul, India, 1973) Film screening organised by Surbhi Goel, Panels F


Bodies, Minorities and Dictatorships: Brazilian Cinemas (408)

Chair: Lúcia Nagib

· Disability, Sexuality and Abjection: The (Im)perfect Horny Body and Subjectivity in Contemporary Brazilian and Angolan Cinemas (Antonio Da Silva)

· Disinterring Coffin Joe (José Mojica Marins): Notes on an Anomalous Minor Brazilian Paracinema (Michael N. Goddard)

· Philosophy and Fiction - Tattoo of the Counter-Culture: Crossing the Brazilian Dictatorship (Marcus Pereira Novaes and Luciano Victor Barros Maluly)


Modern Iranian Cinema: Camera Experiments (409)

Chair: Stefanie Van de Peer

· Farhadi and Cavell: Thinking Cinema Between Tradition and Reception (Daniele Rugo)

· Where is this place?' Films of the Iranian Diaspora in the light of the Green Revolution 2009 (Alena Strohmaier)






Panels F

Relating to Reality, Relating to Fiction (Cinema)

Chair: Andrew Klevan

· Negative Feelings as Emotional Enhancement in Cinema (Tarja Laine)

· Good Life, Better Fiction; Krzysztof Kieślowski’s Blue and Paul Ricoeur’s Narrative Identity Theory (Marta Weychan)

· Inscribing Immanence: Death, Dying and Deleuze (Steven Eastwood)


Developing Deleuze (217A)

Chair: Matthew Holtmeier

· The Way Deleuze Doesn’t Remember the Eastern-European Cinema: Two Examples of Time-Image (Grazyna Swietochowska)

· The Time-Image Cinema in Mobile Network Platform (Ji Young Lee)

· Bela Tarr's Cinema of Endurance: Cinematic Bodies, Haecceities and Spinozist Filmmaking (Tony Joseph Yanick)


Large and Small Spaces in Australian Cinema (217B)

Chair: Felicity Colman

· The films of Ivan Sen: Visualising Disruptive Space (Jane Mills)

· Neither Here Nor There: Identity, Memory and Any-Space-Whatevers in Ivan Sen’s Mystery Road (Kathleen Dooley)

· Corporeal and Sonic Diagrams for Cinematic Ethics (Anna Catherine Hickey-Moody)


Indian Philosophies, Indian Cinema (408)

Chair: Alena Strohmaier

· Intermedial Aesthetics as the New Language of Cinema – Special Reference to Mani Kaul and Kumar Shahani (Surbhi Goel)

· Indian Theory of Perception and Cinema (Gopalan Mullik)

· All the World’s a Ship: Binary Breaking, Connectedness and Choice in Ship of Theseus (Ashvin Immanuel Devasundaram)


Leviathan (409)

Chair: Pasquale Iannone

· Apocalyptic Ethnography: The Biopolitical Monster in Leviathan (2012) (Scott William Douglas Birdwise)

· From Tribes to Trawlers: Leviathan (2012) and the Sensory/Aesthetic Turn in Ethnographic Film (Andy Moore)





Keynote 3

Laura U. Marks (Cinema)

Chair: Stefanie Van de Peer

A World of Flowing, Intensifying Images: Mulla Sadra Meets Cinema Studies



David Martin-Jones (Theatre)

Thinking Cinema – Book Series Launch with Bloomsbury




DAY 3: 4 July 2014

4 July 2014


Venue + Chair

Presentation Titles


Panels G

Future Thinking (Cinema)

Chair: Canan Balan

· Film-Philosophy? Why not Film Aesthetics? (Andrew Klevan)

· John Dewey and the Expressive Object (Daniel Knipe)

· John McDowell and the Future of Film Theory (Rick Costa)

· Film and Judgment (John Ryder)


Things We Thought We Knew About Movement (217A)

Chair: Agnieszka Piotrowska

· Benjamin Fondane’s Pictures of the Mind: Dada Cinema and Existential Philosophy (Ramona Fotiade)

· Semiosis, Self, Camera, and Nature (Hing Tsang)

· Taking the Long Way Home: Mobility and Female Subjectivity in Hybrid Spaces (Désirée de Jesus)


‘Other' Cinematic Bodies (217B)

Chair: Laura U. Marks

· Under the Skin and the Affective Alien Body (Lucy Bolton)

· Re-claiming the Belly Dancing Body in Abdellatif Kechiche’s La Graine et le mulet [Couscous] (2007) (Kaya Davies-Hayon)

· Deleuzean Schizoanalysis and Johnny Got His Gun (1971) (Keith Hennesey Brown)


Film Worlds (408)

Chair: Matilda Mroz

· Organized Matter: Writing the Metaphysics of Film Worlds (Felicity J Colman)

· Broken Tools, Poor Images: Third Cinema’s Negative Ecology (Nikolaus Perneczky)

· Emerson, Cavell, and the Importance of Netflix to Moral Perfectionism (Josh Gillon)

· The Possibility of a World: Rhythmic Composition of Space in Cinema (Christine Jakobson)


Film Screening (409)

Chair: Robert Sinnerbrink

Dark Light (2013, NZ), Maria O’Connor. Film screening with an introduction by the filmmaker and a formal response by Robert Sinnerbrink.






Panels H

Chinese Screens, Chinese Aesthetics (Cinema)

Chair: Philippa Lovatt

· Landscape Painting, Confucian Thought and the Cinema of Jia Zhangke (Cecilia Mello)

· Modern Transformation of Classical Aesthetics in Chinese Films in the New Century (Xuguang Chen and Linuo Zhao)

· Na-zha: A Resurrection Subject (Hsin-i Lin)

· Beyond the Subtitle, When Vernacular Languages Meet Culture Shock Behind the Screen – Taking Translation of Seven Days in Heaven as Example (Yu Hsuan Chen and Po Ting Feng)


Documentary Difference (217A)

Chair: Agnieszka Piotrowska

· Gangster Film: Cinematic Ethics in The Act of Killing (Robert Sinnerbrink)

· Peter Watkins’ Untimely Provocations (Hamish Charles McBeth Ford)

· Tie Xi Qui – Slow Documentary and the Time-image (Paul Elliott)


Shadowing Images, Metadata and Surveillance in the Age of the World Picture (217B)

Chair: Itandehui Jansen

· Withdrawing into Shadow Images in the Age of the Meme (Kriss Ravetto)

· Shadow Technologies and the ‘World Picture’ (Jeffrey Geiger)

· The World Picture as Self-Portrait (Kris Fallon)


Aesthetics of Self (408)

Chair: Alena Strohmaier

· Artifice, Authenticity and Alterity in the Films of Todd Haynes: An Ethical and Temporal Adventure (Carolyn D'Cruz)

· Paradox of Identity, or 'Only the Other Knows' (László Tarnay)

· This Indefinite Life: a Cine-Philosophical Tracing of Love (Nadine Boljkovac)






Keynote 4

William Brown (Cinema)

Chair: David Sorfa

Non-Cinema: Digital, Ethics, Multitude



David Martin-Jones (Cinema)