ORCID Profile
0000-0002-3330-3038
Current Organisation
Macquarie University
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Research Topics
In Research Link Australia (RLA), "Research Topics" refer to ANZSRC FOR and SEO codes. These topics are either sourced from ANZSRC FOR and SEO codes listed in researchers' related grants or generated by a large language model (LLM) based on their publications.
Top 5 Research Topics
ANZSRC Field of Research (FoR)
Philosophy | Aesthetics | Cinema Studies | Phenomenology | Screen And Media Culture | Cultural Theory | Cultural Studies | Cinema Studies | Studies in the Creative Arts and Writing not elsewhere classified | Psychology and Cognitive Sciences not elsewhere classified
ANZSRC Socio-Economic Objective (SEO)
Social Ethics | Visual Communication | Expanding Knowledge through Studies of the Creative Arts and Writing | Expanding Knowledge in Psychology and Cognitive Sciences | Studies in human society | Communication Across Languages and Culture | Expanding Knowledge in Philosophy and Religious Studies |
Related Links
Publications
The reality of film
Publisher: Oxford University Press (OUP)
Date: 09-2012
Black Swan: A History of Continental Philosophy in Australia and New Zealand
Publisher: Springer Netherlands
Date: 2014
Politics, theory, and film
Publisher: Springer Science and Business Media LLC
Date: 20-02-2018
Deconstructive justice and the critique of violence
Publisher: Informa UK Limited
Date: 09-2006
Division III of Heidegger's 'Being and Time'
Publisher: Informa UK Limited
Date: 16-04-2019
György Markus
Publisher: Informa UK Limited
Date: 2013
A philosophy of cultural modernity
Publisher: SAGE Publications
Date: 18-09-2020
Abstract: As Professor of Philosophy at the University of Sydney for over 20 years (1978–2001), 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 never failed to emphasize its continuing role in shaping our inherited understanding of philosophy as ‘its own time comprehended in thoughts’ (Hegel). This is especially true of his contribution to the philosophical discourse of modernity, which we could summarize as comprising an original philosophy of cultural modernity. In what follows, I briefly reconstruct Márkus’s account of the adventures of the concept of culture, focusing on his definitive essay ‘The Path of Culture: From the Refined to the High, From the Popular to Mass Culture’ (2013) but also referring to other relevant Márkus texts, offering some critical remarks on his account of culture and its relationship with modern aesthetics, both classical and contemporary.
Between skepticism and moral perfectionism
Publisher: Bloomsbury Publishing Plc
Date: 2020
From Machenschaft to biopolitics
Publisher: Informa UK Limited
Date: 21-02-2005
Religion in Contemporary European Cinema
Publisher: Routledge
Date: 18-02-2014
Anatomy of melancholia
Publisher: Informa UK Limited
Date: 02-10-2014
Sea-change
Publisher: Amsterdam University Press
Date: 2012
Truths in documentary
Publisher: Informa UK Limited
Date: 23-01-2020
Active slaves and reactive masters? Deleuze's anti-dialectical niezsche
Publisher: Informa UK Limited
Date: 08-1997
Critical theory as disclosing critique
Publisher: Wiley
Date: 09-2012
DOI: 10.1111/CONS.12003
Art and time by Allan, Derek
Publisher: Informa UK Limited
Date: 20-11-2014
The future of critical theory? Kompridis on world-disclosing critique
Publisher: SAGE Publications
Date: 25-08-2011
Abstract: Nikolas Kompridis has recently argued that the future of critical theory depends upon a critical appropriation of Heidegger’s concept of ‘world disclosure’, and hence on a transformation of critical theory into a form of ‘world-disclosing critique’ oriented towards the future. This article engages in a critical dialogue with Kompridis' account of world-disclosing critique, arguing that critical theory should embrace it as an innovative way of retrieving the forgotten tradition of aesthetic critique of modernity.
The cook, the thief, his wife and her lover
Publisher: Informa UK Limited
Date: 1992
New philosophies of film
Publisher: Bloomsbury Publishing Plc
Date: 2022
Abstract: What can philosophy teach us about cinema? Can cinema transform how we understand philosophy? How should we describe the competing approaches to philosophizing on film? New Philosophies of Film answers these questions by offering a lucid introduction to the exciting developments and contentious debates within the philosophy of film. Mapping out the conceptual terrain, it examines both analytic and continental approaches to cinema and puts forward a pluralist film philosophy, grounded in practical ex les from film, documentaries and television series. Now thoroughly updated to showcase the most recent developments in the field, this 2nd edition features: New chapters on phenomenology, cinematic ethics, philosophical documentary film and television as philosophy, incorporating feminist, socio-political, ethical and ecological approaches to cinemaContemporary case studies including Carol, Roma, Melancholia, two Derrida documentaries, and the Netflix series Black MirrorExpanded coverage of Gilles Deleuze and Stanley Cavell, two of the most influential philosophers of filmAn updated bibliography, filmography and reading lists, with links to online resources to support further study Demonstrating how the film-philosophy encounter can open up new paths for thinking, New Philosophies of Film is an essential resource for putting interdisciplinary inquiry into practice.
Re-enactment and Traumatic Memory: Cinematic Ethics in The Act of Killing and S21: The Khmer Rouge Killing Machine
Publisher: Brill
Date: 13-07-2021
DOI: 10.1163/2208522X-02010117
Abstract: The Act of Killing (Oppenheimer, 2012) and its companion piece, The Look of Silence (2014), are powerful works of cinematic ethics. The former is a ‘perpetrator documentary’ that invites killers to make movie re-enactments of their crimes, the latter a case of ‘ethical witnessing’ in which a victim’s descendant questions his brother’s killer. In what follows, I explore The Act of Killing ’s use of stylised re-enactments, using various movie genres as distancing and mediating devices, which enable the perpetrators to approach and expose their traumatic acts of violence. I contrast this with Rithy Panh’s perpetrator/witness documentary, S21: The Khmer Rouge Killing Machine (2003), focusing on the mass killings perpetrated by the Pol Pot regime (1975–1979), which uses both visual representations and a more direct, bodily performative mode of re-enactment, to represent and communicate traumatic memory. Both films examine a range of moral emotions, solicited through interview sequences and different modes of cinematic re-enactment. These strategies enable the perpetrators to expose their traumatic violence and, in some cases, acknowledge the suffering of their victims, but also allow the perpetrators to be questioned and held to account, staging an ethical encounter wherein the social recognition of traumatic memory of political violence might become possible.
Re-enfranchising film
Publisher: Palgrave Macmillan UK
Date: 2011
Love sick
Publisher: Edinburgh University Press
Date: 11-2019
Abstract: Malick's ‘weightless’ trilogy (To the Wonder [2012], Knight of Cups [2015] and Song to Song [2017]) explores the limits of different conceptions of love, from the romantic and ethical to the spiritual and religious. Focusing on To the Wonder, I argue that this exploration of subjective experiences of love is manifested through Malick's distinctive cinematic style, which aims to present the ‘weightless’ (groundless, shifting and distracted) subjectivity defining contemporary moral-cultural experience. Malick's trilogy thereby recapitulates both a Platonic and a Kierkegaardian existentialist movement of ascent, from aesthetic and ethical to religious experiences of love.
Pleasure, art, culture
Publisher: Informa UK Limited
Date: 02-01-2017
Love everything
Publisher: Philosophy Documentation Center
Date: 2016
Guest editor's introduction
Publisher: Berghahn Books
Date: 06-2019
Abstract: Since the early 1990s, phenomenology and cognitivism have become influential strands of inquiry in film theory. Phenomenological approaches remain focused on descriptive accounts of the embodied subject’s experiential engagement with film, whereas cognitivist approaches attempt to provide explanatory accounts in order to theorize cognitively relevant aspects of our experience of movies. Both approaches, however, are faced with certain challenges. Phenomenology remains a descriptive theory that turns speculative once it ventures to “explain” the phenomena upon which it focuses. Cognitivism deploys naturalistic explanatory theories that can risk reductively distorting the phenomena upon which it focuses by not having an adequate phenomenology of subjective experience. Phenomenology and cognitivism could work together, I suggest, to ground a pluralistic philosophy of film that is both descriptively rich and theoretically productive. From this perspective, we would be better placed to integrate the cultural and historical horizons of meaning that mediate our subjective experience of cinema.
The idea of continental philosophy
Publisher: Informa UK Limited
Date: 17-11-2008
Poststructuralism and film
Publisher: Springer International Publishing
Date: 2019
The missing link
Publisher: Amsterdam University Press
Date: 15-09-2019
The Language and Style of Film Criticism
Publisher: Routledge
Date: 26-04-2011
Recognitive freedom: Hegel and the problem of recognition
Publisher: Informa UK Limited
Date: 19-02-2004
Ethics of commitment, politics of resistance: Simon Critchley's Infinitely Demanding
Publisher: Informa UK Limited
Date: 30-08-2009
Cinematic belief
Publisher: Informa UK Limited
Date: 12-2012
Race, philosophy, and film
Publisher: Oxford University Press (OUP)
Date: 06-2014
DOI: 10.1111/JAAC.12085
Critique hope, power
Publisher: Informa UK Limited
Date: 21-02-2005
A post-humanist moralist
Publisher: Informa UK Limited
Date: 12-2011
Critical notices
Publisher: Informa UK Limited
Date: 2003
Cognitivism goes to the movies
Publisher: Berghahn Books
Date: 2010
Understanding Hegelianism
Publisher: Acumen Publishing Limited
Date: 30-05-2007
Abstract: Understanding Hegelianism explores the ways in which Hegelian and anti-Hegelian currents of thought have shaped some of the most significant movements in twentieth-century European philosophy, particularly the traditions of critical theory, existentialism, Marxism and poststructuralism. The first part of the book examines Kierkegaards existentialism and Marxs materialism, which present two defining poles of subsequent Hegelian and anti-Hegelian movements. The second part looks at the contrasting critiques of Hegel by Lukacs and Heidegger, which set the stage for the appropriation of Hegelian themes in German critical theory and the anti-Hegelian turn in French poststructuralism. The role of Hegelian themes in the work of Adorno, Habermas and Honneth are explored. In the third part, the rich tradition of Hegelianism in modern French philosophy is considered the work of Wahl, Kojeve, Hyppolite, Lefebvre, Sartre, de Beauvoir as well as the radical critique of Hegelianism articulated by Derrida and Deleuze. Although the focus is primarily on German and French appropriations of Hegelian thought, the author also explores some of the recent developments in Anglophone Hegelianism.
Imagining cinema
Publisher: Edinburgh University Press
Date: 11-2020
Abstract: 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 account of embodied cinematic imagination — encompassing both perceptual/sensory and propositional/cognitive imagining — is especially relevant to theorizing cinematic experience. The interplay of first-person empathic and third-person sympathetic perspectives (‘cinempathy’) is another essential feature of our emotional and ethical engagement with cinema. By synthesizing ‘bottom-up’ sensory, affective responses to audiovisual images, with ‘top-down’ cognitive processes associated with mental simulation, an account of embodied cinematic imagination can explain how emotional engagement and ethical responsiveness work together in our experience of audiovisual narratives.
Stimmung
Publisher: Oxford University Press (OUP)
Date: 06-2012
Neo-anarchism or neo-liberalism? yes, please! a response to Simon Critchley's Infinitely Demanding
Publisher: Informa UK Limited
Date: 30-08-2009
Filmosophy/film as philosophy
Publisher: Springer International Publishing
Date: 2019
Related Organisations
Related Funding Activities
ARC Future Fellowships - Grant ID: FT130100334
Start Date: 02-2014
End Date: 07-2019
Amount: $580,878.00
Funder: Australian Research Council
View Funded ActivityDiscovery Projects - Grant ID: DP1092889
Start Date: 2010
End Date: 12-2015
Amount: $147,000.00
Funder: Australian Research Council
View Funded ActivityDiscovery Projects - Grant ID: DP150103143
Start Date: 2015
End Date: 11-2021
Amount: $251,100.00
Funder: Australian Research Council
View Funded Activity