Investigators

Lisa Trahair

Lisa Trahair has taught Film Studies at the University of New South Wales since 1998. Her research in the field of Film Philosophy dates back for more than twenty years. Trahair has examined the utility of structuralist and post-structuralist methodologies for understanding cinematic horror and for thinking about vicariousness as a kind of aesthetic pleasure in the serial killer film. In 2007 she published The Comedy of Philosophy: Sense and Nonsense in Early Cinematic Slapstick (SUNY Press), a study that brings debates in psychoanalysis and continental philosophy to bear on the understanding of early cinematic comedy. While she continues to publish work on cinematic slapstick, most recently unpacking the philosophical implications of Buster Keaton's stoical persona by reference to Hellenistic thought, other recent projects include essays on Jean-François Lyotard (Film, Theory and Philosophy: The Key Thinkers, edited by Felicity Colman, Acumen, 2009) Jean-Luc Godard ('Godard and Rancière: Automatism, Montage, Thinking', in The Philosophy of Radical Equality: Jacques Rancière and the Contemporary Scene, edited by Alison Ross and Jean-Philippe Deranty, Continuum, 2012 and 'Belief in Cinema: Jean-Luc Godard's Je vous salue, Marie') and Lars von Trier. Trahair's reviews on recent film-philosophy publications can be found in The Year's Work in Critical and Cultural Theory, Volumes 15 and 16 (Oxford University Press). She has published in numerous international journals (AngelakiScreen, NarrativeNew FormationsSouth Atlantic QuarterlySenses of Cinema and Screening the Past) and her work on cinematic comedy has been translated into Hungarian and Italian. In 2012, Trahair co-edited a special issue of Angelaki (with Lisabeth During) on ‘Belief in Cinema: Themes after André Bazin'. Most recently she has been working on Stanley Cavell’s early writing on cinema and the films of Michael Haneke and Lars von Trier.

Trahair is the initiator of the project 'Film as Philosophy: Understanding Cinematic Thinking' and will contribute chapters on Lars von Trier to the group's first book (Edinburgh UP, 2015). Her interest in the film-philosophy interface is focused on questions of belief and the question of thinking in visual images.

Robert Sinnerbrink

Robert Sinnerbrink is an Australian Research Council Future Fellow and Senior Lecturer in Philosophy at Macquarie University, Sydney. He is the author of New Philosophies of Film: Thinking Images (Continuum, 2011), Understanding Hegelianism (Acumen, 2007), and co-editor of Critique Today (Brill, 2006). He is a member of the editorial board of the journal Film-Philosophy, associate editor for the journal Film and Philosophy, and has published numerous articles on the relationship between film and philosophy in journals including Continuum: The Australian Journal of Media and CultureFilm-Philosophy, AngelakiScreening the Past, and Screen.

Recent publications on film and philosophy include ‘Techne and Poesis: On Heidegger and Film Theory’ in Annie van den Oever (ed.), Techne/Technology: Researching Cinema and Media Technologies – Their Development, Use, and Impact (Amsterdam: University of Amsterdam Press, 2014), pp. 65-80; ‘Postsecular Ethics: The Case of Inarittu’s Biutiful’ in Camil Ungureanu and Costica Bradatan (eds), Religion in Contemporary European Cinema: The Postsecular Constellation (London/New York: Routledge, 2014), pp, 166-185; “Silencio: Mulholland Drive as Cinematic Romanticism” in Z. Giannopoulous (ed.) Mulholland Drive (Philosophers on Film), (London: Routledge, 2013), 75-96; “‘Early Film-Philosophy: A Dialectical Fable’, Screening the Past, Issue 38 (Dec 2013): http://www.screeningthepast.com/2013/12/early-film-philosophy-a-dialectical-fable/; and ‘Film-Philosophy’ in Edward Branigan and Warren Buckland (eds), The Routledge Encyclopedia of Film Theory (London/New York: Routledge, 2014), pp. 207-213.

He is currently undertaking a four-year Australian Research Council Future Fellowship project (2014-2017) on ‘Cinematic Ethics’ and has recently completed an Australian Research Council Discovery Grant project (2010-2013) with Dr Lisa Trahair (UNSW) and Dr Gregory Flaxman (UNC) on 'Film as Philosophy: Understanding Cinematic Thinking'. He is writing a book on Cinematic Ethics (to appear with Routledge) and co-authoring another book (with Trahair and Flaxman) on Understanding Cinematic Thinking (to appear with Edinburgh UP). Other current research includes an article on Stanley Cavell and film-philosophy (to appear in a special Cavell issue of Film-Philosophy), a chapter on ‘“Angelopoulos’ Gaze: Cinematic Philosophy in Angelopolous’ Late Films”, to appear in a volume dedicated to the cinema of the late Theo Angelopolous (forthcoming Edinburgh UP), and a chapter on ‘Hugo Münsterberg as Film-Philosopher,’ to appear in Berndt Herzogenrath (ed.), The Cambridge Companion to Film and/as Philosophy (forthcoming Cambridge UP).

Gregory Flaxman

Gregory Flaxman is an Associate Professor of English and Comparative Literature and the Director of Global Cinema Studies (GCS) at the University of North Carolina, Chapel Hill.  Also an adjunct professor in the Department of Communication Studies, he is on the advisory board of the Program in Cultural Studies and is affiliated with the Department of American Studies. Flaxman’s research broadly concerns the relationship between art—especially literature, cinema, and painting—and philosophy. The author of Gilles Deleuze and the Fabulation of Philosophy (Minnesota, 2011) and the editor of The Brain is the Screen (Minnesota, 2000), he is currently finishing a book on cinema and philosophy, collaborating on another (with Lisa Trahair and Robert Sinnerbrink) devoted to “cinematic thinking,” and co-editing an anthology of philosophical writings on the cinema (“from Bergson to Badiou”). At the same time, he is co-editing a collection devoted to biopolitics in post-disciplinary societies. In 2014, Flaxman has been awarded a Mellon New Directions Fellowship to begin research in the field of Renaissance and Baroque art history.

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