2012 Workshop on Cinematic Thinking: Thinking cinematically before Deleuze

From 14th to 16th December 2012 UNSW hosted the "2nd Cinematic Thinking Workshop: Thinking Cinematically before Deleuze" as part of an Australian Research Council Discovery Project on "Film as Philosophy: Understanding Cinematic Thinking" held by Dr Lisa Trahair (UNSW), Dr Robert Sinnerbrink (Macquarie University) and Dr Gregory Flaxman (University of North Carolina).

For the 2012 workshop we wanted to excavate the idea that cinema has been conceived as a means of thinking in advance of the recent upsurge of interest in the intersection between film and philosophy. The workshop comprised 15 papers that addressed the question of cinematic thinking in film theory and film studies before the publication of Gilles Deleuze's cinema books.

A representative selection of the papers has been published in a Special Dossier of Screening the Past.

Workshop Program

Download the full program with abstracts (PDF)

Presentations at the workshop included:

  • Damian Cox, ‘Plato and Eisenstein on the Significance of Montage’
  • Laura D’Olimpio, ‘Where is the place for the thinking viewer in the cinema?’
  • Gregg Flaxman, ‘The Spiritual Automaton: (or why we should learn to stop worrying and love the passivity of the cinema)’
  • Julia Vassilieva, ‘Eisenstein/Vygotsky/Luria’s project’
  • Lisabeth During, ‘Narrate or Describe? Film’s Struggle with Literature’
  • Lisa Trahair, ‘Being on the outside: Stanley Cavell’s world viewed, cinematic automatism and Michael Haneke’s Caché’
  • Richard Rushton, ‘Cinematic judgment and universal communicability’
  • Hamish Ford, ‘Film-Philosophy As Mutually Challenging Interface’
  • Angelos Koutsourakis, ‘Production versus Reproduction: Rethinking Brecht and Film in a Period of Capitalist Crisis’
  • Robert Sinnerbrink, ‘Early Film-Philosophy: Observations and Conjectures’
  • Paul Macovaz, ‘Ricciotto Canudo : Cinema Art Language’
  • Jean-Philippe Deranty & Mairéad Phillips, ‘Breaking the spirals: the visual dynamics of desire and money in the cinema of Max Ophüls’
  • Saige Walton, ‘Of Flesh, Fabric, Folds: Merleau-Ponty, Raul Ruiz and the New World Baroque’
  • Adrian Martin, ‘Roger Munier and His Heideggerian Vision of Cinema’

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