Böcker av Felicity Colman

This cumulative work brings together a range of research communities to contextualize and archive over a decade of work in new materialist theorising and knowledge-making practice. Combining a reflective genealogical approach along with productive avenues for future research, this volume is an essential collection for the field of new and feminist materialism. The collection uses the new materialist movements in thought of changing, intersecting, practicing and transforming. As methods, these movements have engendered the metaphysical questions that different new and feminist materialist practices engage. The volume follows these four movements for genealogical, interdisciplinary, arts-based and politics-orienting research in four parts, each of which is preceded by an introductory framing-essay. Rosi Braidotti's preface provides revelatory mappings to bring the book together and curated panels further offer co-authored texts which practise the collective nature of academic thinking advocated by the feminist new materialisms network. Key features: Consolidates new materialisms as a distinguished field of scholarship Brings together contributors from Central-, North-, and South-Eastern and Southern Europe, Australia and North America and is inclusive of Black Asian and indigenous scholarship Provides consonant, dissonant and feminist genealogies of the state of the field Focuses on the methodological nature of the materiality and meaning-making nexus. Felicity Colman is Professor of Media Arts at University of the Arts, London. Iris van der Tuin is Professor of Theory of Cultural Inquiry at Utrecht University, The Netherlands. Together they chaired COST Action IS1307 New Materialism: Networking European Scholarship on 'How Matter Comes to Matter' (2014-18).

Presents an overview of key thinkers who have shaped the field of film philosophy. This book shows how philosophy can be applied to film analysis and how film can be used to illustrate philosophical problems. It is suitable for those interested in the issues and insights presented by film philosophy.

Film Theory addresses the core concepts and arguments created or used by academics, critical film theorists, and filmmakers, including the work of Dudley Andrew, Raymond Bellour, Mary Ann Doane, Miriam Hansen, bell hooks, Siegfried Kracauer, Raul Ruiz, P. Adams Sitney, Bernard Stiegler, and Pier Paolo Pasolini. This volume takes the position that film theory is a form of writing that produces a unique cinematic grammar; and like all grammars, it forms part of the system of rules that govern a language, and is thus applicable to wider range of media forms. In their creation of authorial trends, identification of the technology of cinema as a creative force, and production of films as aesthetic markers, film theories contribute an epistemological resource that connects the technologies of filmmaking and film composition. This book explores these connections through film theorisations of processes of the diagrammatisation (the systems, methodologies, concepts, histories) of cinematic matters of the filmic world.