•  37
    In the first part of the paper I consider the relative neglect of hope in the tradition of critical theory. I attribute this neglect to a low estimation of the cognitive, aesthetic, and moral value of hope, and to the strong—but, argue, contingent—association that holds between hope and religion. I then distinguish three strategies for thinking about the justification of social hope; one which appeals to a notion of unfulfilled or frustrated natural human capacities, another which invokes a prov…Read more
  • Hugo Mensterberg, film, and philosophy
    In Bernd Herzogenrath (ed.), Film as philosophy, University of Minnesota Press. 2017.
  •  1
    The Aesthetics of Ideology
    Krisis 39 (1): 130-134. 2019.
    Review of: Aesthetic Marx edited by Samir Gandesha & Johan F. Hartle. London and New York: Bloomsbury Academic, 283 pp.
  • The volcano and the dream : consequences of Romanticism
    In Paolo Diego Bubbio & Paul Redding (eds.), Religion after Kant: God and Culture in the Idealist Era, Cambridge Scholars Press. 2012.
  • Film and Ethics
    In Christina Rawls, Diana Neiva & Steven S. Gouveia (eds.), Philosophy and Film: Bridging Divides, Routledge Press, Research On Aesthetics. 2019.
  •  5
    Since the early 1990s, phenomenology and cognitivism have become two of the most influential approaches to film theory. Yet far from being at odds with each other, both approaches offer important insights on our subjective experience of cinema. Emotions, Ethics, and Cinematic Experience explores how these two approaches might work together to create a philosophy of film that is both descriptively rich and theoretically productive by addressing the key relationship between cinematic experience, e…Read more
  •  1
    Michael Theunissen
    In Ludwig Siep, Heikki Ikäheimo & Michael Quante (eds.), Handbuch Anerkennung, Springer. pp. 199-202. 2018.
  •  16
    Imagination has been the focus of much philosophical inquiry in recent decades. Although it plays an essential role in linking emotional engagement with ethical experience, imagination has received comparatively little attention in film-philosophy. In this article, I argue that imagination plays an essential role in linking emotional engagement with moral-ethical experience. Drawing on phenomenological, cognitive and aesthetic perspectives, I focus on perceptual imagining and suggest that an acc…Read more
  •  10
    As Professor of Philosophy at the University of Sydney for over 20 years, György Márkus exerted a profound influence on a generation of philosophers and students from many disciplinary backgrounds. His legendary lecture courses, spanning the history of modern philosophy from the Enlightenment through to the late 20th century, were memorable for their breadth, erudition, and philosophical drama. Always modest despite his mastery of the tradition, Márkus’s approach to this history of philosophy ne…Read more
  •  17
    Poststructuralism and Film
    In Noël Carroll, Laura T. Di Summa & Shawn Loht (eds.), The Palgrave Handbook of the Philosophy of Film and Motion Pictures, Springer. pp. 441-465. 2019.
    This chapter offers a critical discussion of the relationship between poststructuralism and film theory. I commence with a brief account of poststructuralism’s distinctive features. I then turn to the key poststructuralist thinkers such as Derrida and Deleuze, and explore why poststructuralist thinkers themselves may have eschewed reflecting on the medium. I then consider the critique of poststructuralist contribution to film theory, suggesting what elements of that critique remain pertinent. Fi…Read more
  •  17
    Filmosophy/Film as Philosophy
    In Noël Carroll, Laura T. Di Summa & Shawn Loht (eds.), The Palgrave Handbook of the Philosophy of Film and Motion Pictures, Springer. pp. 513-539. 2019.
    This chapter offers a critical discussion of the idea of filmosophy or film as philosophy. I explore the debate surrounding the idea of “film as philosophy”, distinguishing this approach from more traditional philosophy of film, and suggesting that it has a long history going back to key figures in early film theory. I then focus on the seminal work of Stanley Cavell and Gilles Deleuze, often described as the inaugurators of film-philosophy. Finally, I examine recent proposals concerning the ide…Read more
  •  8
    Truths in Documentary
    The European Legacy 25 (7-8): 852-858. 2020.
    According to many film aficionados, theorists, and critics, we are currently experiencing a Golden Age of documentary cinema. Indeed, in many international film festivals, it is often the documenta...
  •  26
    Malick's ‘weightless’ trilogy explores the limits of different conceptions of love, from the romantic and ethical to the spirit...
  •  1
    Sein und Geist: Heidegger’s Confrontation with Hegel’s Phenomenology
    Cosmos and History : The Journal of Natural and Social Philosophy 3 (2-3): 132-152. 2007.
    This paper pursues the lsquo;thinking dialoguersquo; between Hegel and Heidegger, a dialogue centred on Heideggerrsquo;s lsquo;confrontationrsquo; with Hegelrsquo;s Phenomenology of Spirit. To this end, I examine Heideggerrsquo;s critique of Hegel on the relationship between time and Spirit; Heideggerrsquo;s interpretation of the Phenomenology as exemplifying the Cartesian-Fichtean metaphysics of the subject; and Heideggerrsquo;s later reflections on Hegel as articulating the modern metaphysics …Read more
  •  10
    Art and Time by Allan, Derek: Newcastle upon Tyne: Cambridge Scholars Publishing, 2013, pp. xvi +181, ₤40 (review)
    Australasian Journal of Philosophy 92 (2): 385-387. 2014.
  •  26
    The films of Michael Haneke, so some critics argue, exploit the nihilism of a media-saturated culture, indulging in a dubious manipulation of audience expectations and our fascination with violence. Such criticisms, however, misunderstand or distort the complex moral, political, and aesthetic purpose of Haneke’s work. Indeed, his films are better understood as examining the socially disorienting and subjectively disintegrating effects of our post-humanist world of mass-mediatised experience. At …Read more
  •  13
    The Idea of Continental Philosophy: A Philosophical Chronicle
    Australasian Journal of Philosophy 86 (4): 696-697. 2008.
    2 page
  •  2
    Lars von Trierjeva Melanholija ponudi fascinantno raziskovanje filmske romantike in estetike filmskih razpoloženj. S pomočjo dramatizacije katastrofične izkušnje »izgube sveta« glavne junakinje Justine [Kirsten Dunst's], nam predstavi uničujočo podobo melanholije, ki najde ustrezni konec v sublimni filmski fantaziji izničenja sveta. V pričujočem članku analiziram nekatere estetske in filozofske sklope Melanholije, še posebej Von Trierjevo raziskovanje uporabe romantike in predstavitve filmskega …Read more
  •  11
    Pleasure, Art, Culture: Remarks on Mohan Matthen's ‘The Pleasure of Art’
    Australasian Philosophical Review 1 (1): 50-60. 2017.
    ABSTRACTIn response to Mohan Matthen's ‘The Pleasure of Art’, I identify three issues that deserve further critical engagement: the scope of his definition of aesthetic pleasure, the role of culture in shoring up its communal and communicable character, and the need to include an account of aesthetic properties in his psychologically grounded approach to aesthetic pleasure. Without due acknowledgment of both aesthetic properties and the intersubjective role of culture, Matthen's activity-based t…Read more
  •  1
    Introduction: On Stanley Cavell
    Film-Philosophy 18 (1): 1-2. 2014.
  •  10
    Introduction
    Film-Philosophy 21 (3): 259-264. 2017.
  •  12
    Audio recording of roundtable discussion between Robert Sinnerbrink, John Mullarkey, Berys Gaut, David Martin-Jones and William Brown held on October 12, 2009 at the University of St Andrews, Scotland. Over the course of at least the last hundred years the intellectual study of cinema has experienced a number of shifts towards and away from theoretical or philosophical attempts to understand the moving image. The twenty-first century sees film-philosophy resurgent, in part due to the interest in…Read more
  •  9
    Terrence Malick’s The New World is a poetic evocation of one of America’s founding myths, the story of Pocahontas. While the film allegorises - through the theme of marriage - the possibility of successful cultural exchange and of reconciliation with nature, it also fuses mythic history, subjective reflection, and the self-expression of nature. This unstable point of view has led to a critical ambivalence concerning the film’s romantic naivety: its evocation of ideologically suspect myths or his…Read more