2012 World Picture Conference

Mark Betz

King’s College, London

“Recalling the Active Spectator”

Louis-Georges Schwartz

Ohio University

“”Direct”” “Action” or A Disquisition on the Cinematic Problem of Realization with Constant Reverence to La Commune (Paris 1871) (2000) and Et la Guerre est a peine Commencee (2001) ‘ Catherine Grant (University of Sussex), ‘Acting Out/In/Through Uncanny Fusion? Remixing “Aesthetic Moments”’

Karl Schoonover

University of Warwick

‘Seeing Historical Anachronism in Bertolucci’s Cadavers’

Seth Watter

Brown University 

‘Cinema and the Hysterical Impulse: The Case of Loudun on Film’

Elinor Cleghorn

London Consortium

‘ Acting on Impulse: Possession and the Cinematic Body’ 

Niels Niessen

University of Minnesota

‘The Life Image: A Genealogy of New Realism’

Jessica Elaine Reilly

University of Western Ontario 

‘Emancipating the Auratic Decay of the Image: A Psychogeographic Re-Distribution of the Sensible’

Sophie Seita

University of Cambridge

‘“To Dream’s More Violent Than To Act”: Kathy Acker’s Wilful Fakery of Experience’

Sam Cooper

University of Sussex

‘The Anxiety of Recuperation’

Michael Jones

University of Sussex 

 ‘“Caught in Action”: Philip Roth and Betrayal Culture’

Martin Blumenthal-Barby

Rice University

‘The Secular Gaze: Michael Haneke’s The White Ribbon (2009)’

Ger Zielinksi

Trent University

‘On New Queer Cinema, and the Thrilling Ambivalence of Being Irresponsible’

John David Rhodes

University of Sussex

 ‘Acting Like a Lesbian: Barbara Hammer and Film as Action’

Joe Luna

University of Sussex

‘The Action of the Poem’

Keston Sutherland

University of Sussex

‘Poetic Inaction’

Genevieve Yue

Macalester College

‘Yoko Ono, Plastic Woman’

Damon Young

UC Berkeley

‘Lights! Camera! Action! Women in View in Agnès Varda’s Résponse de Femmes (1975)’

Ryan Powell

King’s College, London

‘Blue Collar Intensity in the Seventies Gay Sex Film’

Leopold Lippert

University of Vienna/University of Graz

‘Riots, Inc., Or: the Pedagogy of National Fantasy’

Mimar Sinan Fine Arts University

‘Possible Sites of Subtraction: Zooming in Urban Renewal Processes in Istanbul’

Byron Suber

Cornell University

‘STREBTOPIA: Laboratory of Action’

Arabella Stanger

Goldsmiths, University of London

‘Making Space Active: William Forsythe’s Choreographic Environments’

Domietta Torlasco

Northwestern University

‘Walking Through (After Janet Cardiff)’

Felicity Colman

Manchester Metropolitan University

 ‘Actioning Feminicity’

Pawel Leskowicz, Tomasz Kitlinksi

University of Sussex, Maria Sklodowska-Curie University

‘Images of Action/Images in Action: The Performativity of LGBTQ Visibility Campaigns in Europe’

Pooja Rangan

The New School

‘Child Labour or Child’s Play? Humanitarian Action and Virtue’s Affective Economies’

Eva Giraud

University of Nottingham

‘“Samosas for Social Change”: Performing Animal Rights’

Amy Villarejo

Cornell University

‘Talking Heads: Philosophy on Television’

Mafalda Dâmaso

Goldsmiths, University of London

‘Forms of Political Address: On Rod Dickinson’s Who, What, Where, When, Why and How (2009) and Closed Circuit (2010)’

Scott Krzych

Colorado College

‘The Empty Image: Citizens United and Hysterical Conservative Media’

Brian Price

University of Toronto

‘Impossible Advice’

Jean Ma

Stanford University

‘A Revenge Theory of Cinematic Action’

Mauro Resmini

Brown University

‘Hallucina(c)ting (out): Psychotic Aesthetics and the New French Extremism’

Eugenie Brinkema

MIT

‘À l’intérieur (2007) and the Sensitive Action of Horror’

Katherine Groo

University of Aberdeen

‘Adventures in Boredom: Hunting, Dancing, and Waiting in Ethnographic Cinema’

Elena Gorfinkel

University of Wisconsin, Milwaukee

‘Weariness, Waiting: On Cinema’s Tired Bodies’

Michael Lawrence

University of Sussex

‘Muybridgean Motion and Materialist Film: Malcolm Le Grice’s Little Dog for Roger (1967) and Berlin Horse (1970)

Stephen Groening

George Mason University

‘Reclined Spectatorship’

Jocelyn Szczepaniak-Gillece

Northwestern University

‘Watching’s Inaction: On the Chair and the Spectator’

Glyn Davis

University of Edinburgh

‘An Aesthetics of Inaction: Stasis in Apichatpong Weerasethakul’s Cinema’

Rosalind Galt

University of Sussex

‘Circulation and Crisis in Claire Denis’

Kay Dickinson

Goldsmiths College, University of London

‘Revolutionary Archive as Action’ Jonathan Mullins (New York University), ‘Action Index: Recovering the There at the Palasport Convention’

Mal Ahern

Yale University

‘“Some Objects Must Be Moved To Be Revealed”: Flicker Films, Dimensionality, and the Act of Projection in Structural Film and Minimalism’

Patricia Keller

Cornell University

‘What Photography Gives: Surface, Gesture, Action’

Rijuta Mehta

Brown University

‘Photo Finish: Bodily Remains and Statements of Horror’

Mal Ahern

Yale University

‘“Some Objects Must Be Moved To Be Revealed”: Flicker Films, Dimensionality, and the Act of Projection in Structural Film and Minimalism’

Patricia Keller

Cornell University

‘What Photography Gives: Surface, Gesture, Action’

Rijuta Mehta

Brown University

‘Photo Finish: Bodily Remains and Statements of Horror’

Jane Elliott

King’s College, London

‘Game Theory of Thrones: Fantasy, Survival, Neoliberalism’

Scott Ferguson

University of South Florida

‘Topsy-Turvy Technology in the New Pooh’

Seb Franklin

University of Surrey

‘The Action Unconscious’

Lee Grieveson

University College London

‘The Media State’