all times CEST

1.1  All the (Hi)stories: Godard

Haunted by Godard

Thursday, May 25
2:20 pm – 3:00 pm (CEST)
keynote speech

Jean-Luc Godard was haunted by cinema and his work reimagined film history. David Sterritt explores how hauntology—a concept developed by Jacques Derrida—can illuminate Godard’s oeuvre and his anxieties about cinema’s past, present and future.

The Eras of Godard: A Phenomenological Approach

Thursday, May 25
3:00 pm – 3:20 pm (CEST)

Jean-Luc Godard’s cinematic legacy is not a monolith, but a multiplicity of eras. Glen Norton uses a phenomenological approach to outline the great master’s cinematic evolution as a continual disavowal of his past work, redefining Godard’s oeuvre as a self-correcting, thinking entity.

Godard’s Chromatic Fabric

Thursday, May 25
3:20 pm – 3:40 pm (CEST)

“It’s not blood in Pierrot le fou,” said Jean-Luc Godard in 1965, “but red.” Tamara Tasevska, in response to this frequently cited Godardism, argues that the quote reveals more than the great director’s use of color as a means of Brechtian distancing—namely, his penchant to use color to highlight provocative connections between aesthetics and politics.

1.2  The Control of the Universe

The Dark Knight Trilogy: Fake Solutions and Real Indoctrination

Thursday, May 25
5:20 pm – 5:40 pm (CEST)

In Christopher Nolan’s The Dark Knight Trilogy, most critics saw a captivatingly creative reimaging of the superhero story, filled with a lot of action and suspense. Davor Džalto, however, sees something else: an intriguing glimpse into the (Liberal) capitalist ideology of class privilege, private property, and scientific politics.

1.3  A Single (Hi)story

Is An Cailín Ciúin an Example of Deleuzian Minor Cinema?

Thursday, May 25
8:20 pm – 8:40 pm (CEST)

In An Cailín Ciúin, a family drama set in the 1980s, Irish exists in perpetual relationship with English. Niall Kennedy examines whether the film can be considered a work of minor cinema according to Deleuze and Guattari, and what implications it has for the linguistic politics of Ireland today.

2.1  Only Cinema

The Posthumous Phenomenology of the Star Biopic: Kristen Stewart as Jean Seberg

Friday, May 26
2:00 pm – 2:40 pm (CEST)
keynote speech

In her keynote speech, Lucy Bolton explores how star biopics evoke the living star through Seberg (2019), where Kristen Stewart plays Jean Seberg. She examines the physical and aesthetic differences between the actor and the star subject, and how they affect the viewer’s experience, while considering the phenomenological aspects of watching a biopic and how it might conjure up the past star.

The Face as Icon: Rethinking Pictorial Representation through Lévinas’ Concept of the Face

Friday, May 26
2:40 pm – 3:00 pm (CEST)

What does the face signify in terms of phenomenology and film? How does it transform into an icon? When does the excess become visible? Can we argue that these film representations are not solely concerned with replication? Alexandra Okanovic seeks answers in cinema—art form most often criticized for its representational nature and perceived imitation of reality.

The Language of Film

Friday, May 26
3:00 pm – 3:20 pm (CEST)

In “The Language of Film,” Nemanja Mićić explores film as yet another story-making medium, and argues for a move beyond the hermeneutic principle of “merging of horizons” (Horizontverschmelzung) toward Geschichtenverschmelzung, “merging of stories.”

2.2  Deadly Beauty

Towards an Apotropaic Cinema: Feminist Posthumanism and Representation in Tár, She Said, and Women Talking

Friday, May 26
5:00 pm – 5:20 pm (CEST)

Comparing three 2022 films (She Said, Women Talking, and Tár), Russell J.A. Kilbourn argues that they exemplify a new type of apotropaic feminist-posthumanist cinema which critiques anthropocentrism while challenging conventional cinematic tropes about women and violence through sound, off-screen space, and editing.

2.3  The Signs Among Us

Wittgenstein and Cinema

Friday, May 26
8:40 pm – 9:00 pm (CEST)

Ernesto Heredero del Campo explores Ludwig Wittgenstein’s views on cinema, with reference to the fundamental distinction of his philosophical thought (saying vs. showing), as well as how these ideas have been transposed into the cinematic medium, explicitly (Jarman, Forgács) and implicitly (Antonioni, Lanthimos, Villeneuve).

Cinema and Death: A Film-Philosophical Analysis

Friday, May 26
9:00 pm – 9:20 pm (CEST)

How does cinema relate to death and memory? Susana Viegas examines the concept of the “death-image” and the emergence of a new type of characters who have passed through a death and are reborn from it. Drawing on Deleuze’s analysis of Alain Resnais, she explores how films can create depersonalized dream-images that transcend the limits of perception and time.