Programme

The detailed programme will be released in January 2019.

Below is the full list of invited speakers and their presentation titles.

Plenary Speakers:

Lucy Bolton (Queen Mary, University of London, UK)

‘We do not have to have a theoretical interest in morality’: Murdoch’s Metaphysics as a Guide to Movies’

Mikel Burley (University of Leeds, UK)

‘”That’s What Art Does”: Disclosing Religious and Ethical Possibilities through Film’

Sophie Grace Chappell (Open University, UK)

‘Imaginative Identification’

Victor Dura-Vila (University of Leeds, UK)

‘Imaginative engagement, psychological resistance and emotional cost in Antonioni’s L’avventura

Andrew Klevan (University of Oxford, St Anne’s College, UK )

‘Ordinary Language Film Studies’

David Macarthur (University of Sydney, Australia)

Film and Skepticism: Cavell on our Relation to Others on Film.

Colin Heber Percy (Screenwriter and priest)

“The flesh is weak.” Empathy and becoming human in Jonathan Glazer’s Under the Skin.

 

Conference Co-Directors

Craig Fox (California University of Pennsylvania, USA)

Title: TBC

Britt Harrison (University of York, UK)

Être et Avoir: Cinematic Lessons in Hinge Epistemology

 

Parallel Session Presenters:

 Carla Carmona (University of Seville, Spain)

‘On Forms that Think: Toward a Wittgensteinian Philosophy of Film’

David Perez Chico (University of Zaragoza, Spain)

‘Cavell, film and the ordinary’

Keith Dando (Leeds Beckett University, UK)

‘Cinema: The Dark Art’

Katheryn Doran (Hamilton College, New York, USA)

‘With Friends like These’

Michael D’Este (University of Manchester, UK)

‘A preliminary genealogical analysis of 20th and 21st-century film theory’

Rob Van Gerwen (University of Utrecht, The Netherlands)

‘The character as a spectator in the picture’

Eran Guter (Max Stern Yezreel Valley College, Israel)

‘Illuminating Comparisons’

Cecília Hausmann (Babeș-Bolyai University, Romania)

‘A New Form of Practical Aesthetics: Contemporary Film Assessing Contemporary Art’

 Andrew Kendall (University of Guyana, Guyana)

‘Abandoning Theory and Embracing Race: Film as Philosophy in 2018 representations of Black America on Screen’

 James Matharu (University of Oxford, New College, UK)

‘‘Drawn-Film’ or ‘Animated Drawing’? What We See (And What We Say We See) in Animated Film’

Mihai Ometita (University of Bucharest, Romania)

‘Wittgenstein (a true film-enthusiast) meets Herzog (a false anti-philosopher)’

Tobias G.  Palma  (University of York, UK)

‘Lonely Interactivity: Philosophical Identity of the digital spectator’

Christopher Sheldon (University of York, UK)

‘On Not Taking Thomas Kuhn to the movies: Linearity, Time and 100 Railway Films’

Claire Skea (Leeds Trinity University, UK)

‘What makes film ‘philosophical’?’

Mario Sluga (University of Ghent, Belgium)

‘Philosophical Approach to Film History as a Challenge to Analytic Aesthetics’

Hugo Strandberg (University of Pardubice, Czech Republic)

‘Forgiveness, moral theory, and the Dardenne brothers’ Le Fils

Goran Stanic (University of Edge Hill, UK)

‘Theory vs. Theorizing: Wittgenstein’s Philosophy as a Tool for Conceptualizing Film?’

Elisabeth Swartling (University of Uppsala, Sweden)

‘Can We understand Authorship in Film Without Theory?’

 James Turner (University of Sheffield, UK)

‘Can Philosophy Be Done Through Cinematic Means in and of Themselves?’

Martin Urschel  (University of Oxford, St John’s College, UK)

‘Film hermeneutics and Wittgenstein‘s simple objects of comparison’

Iris Vidmar (University of Rijeka, Croatia)

‘Film and Philosophy: Can the Marriage Work?’

Leigh Viner (University of Indiana, USA)

‘Pornography and the Aesthetics of Embodiment’

Thomas Wachtendorf (Independent associated with the University of Oldenburg, Germany)

‘Film, Wittgenstein, and embodied cognition’

 

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