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11The Loves of a System: Miloš Forman and BarrandovIn Bernd Herzogenrath (ed.), The Barrandov Studios: A Central European Hollywood, Amsterdam University Press. pp. 251-270. 2023.Miloš Forman began his career as a filmmaker at the Barrandov Studios in Prague in the 1960s and films Amadeus with Barrandov in the early 1980s. The contrast between the high budget historical spectacle of Amadeus and the gently ironic realism of his 1960s films could not be more pronounced. I will explore here the changes that mark both Forman’s own development as a filmmaker between the 1960s and the 1980s as well as considering the impact of normalisation on the Barrandov Studios following t…Read more
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27Seeing Oneself Speak: Speech and Thought in First-Person CinemaJOMEC Journal 13 104-121. 2019.Cinema struggles with the representation of inner-speech and thought in a way that is less of a problem for literature. Film also destabilises the notion of the narrator, be they omniscient, unreliable or first-person. In this article I address the peculiar and highly unsuccessful cinematic innovation which we can call the ‘first-person camera’ or ‘first-person’ film. These are films in which the camera represents not just the point-of-view of a character but is meant to be understood as that ch…Read more
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11The Cinema of Michael Haneke: Europe UtopiaColumbia University Press. 2011.Michael Haneke is one of the most important directors working in Europe today, with films such as Funny Games (1997), Code Unknown (2000), and Hidden (2005) interrogating modern ethical dilemmas with forensic clarity and merciless insight. Haneke's films frequently implicate both the protagonists and the audience in the making of their misfortunes, yet even in the barren nihilism of The Seventh Continent (1989) and Time of the Wolf (2003) a dark strain of optimism emerges, releasing each from it…Read more
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68Review of Paolo Cherchi-Usai _The Death of Cinema: History, Cultural Memory and the Digital Dark Age_ Preface by Martin Scorsese London: British Film Institute, 2001 ISBN 0851708374 (pb) 0851708382 (hb) 134 pp
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3Introduction: Cinema IsFilm-Philosophy 20 (2-3): 195-197. 2016.Introduction to issue of Film-Philosophy
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47N/M: Misreading the Womand: On Patrick McGee, Cinema, Theory, and Political Responsibility in Contemporary CultureFilm-Philosophy 2 (1). 1998.Book review
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38Introduction: Reanimating the AuteurFilm-Philosophy 10 (1). 2006.Introduction to Special Issue of Film-Philosophy
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75Hieroglyphs and Carapaces: The Enigmatic Real in Laura Mulvey's Fetishism and CuriosityFilm-Philosophy 5 (1). 2001.Review of Laura Mulvey _Fetishism and Curiosity_ London: British Film Institute, 1996 ISBN 0-85170-5480 hbk, 0-85170-5472 pbk xv + 175 pp
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3Laura MulveyIn Felicity Colman (ed.), Film, Theory and Philosophy: The Key Thinkers, Acumen Publishing. pp. 286-295. 2009.Overview of the work and thought of Laura Mulvey
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9Belief in Film: A Defense of False Emotion and Brother Sun, Sister MoonFilm and Philosophy 22 36-57. 2018.In this article I explore a tantalising definition of cinematic belief as a belief without belief by briefly considering the way in which film theory and film-philosophy have engaged with the question of belief in cinema. I also take into account Simon Critchley’s discussion of religious belief in The Faith of the Faithless (2012) within the context of anthropological studies of religion such as that by Émile Durkheim. In addition, I discuss Sigmund Freud’s 1927 reflection on religion in “The Fu…Read more
Areas of Specialization
3 more
Philosophy of Film |
Existentialism |
Film Theory |
Cinema |
Narration in Film |
Paradox of Fiction |
Continental Film Theory |
Derrida: Phenomenology |
Areas of Interest
4 more
Philosophy of Film |
Existentialism |
Aesthetics |
Film Theory |
Cinema |
Values in Film |
Narration in Film |
Paradox of Fiction |
Derrida: Phenomenology |