- Taciturn Masculinities: Radical Quiet and Sounding Linguistic Difference in Valeska Grisebach’s Western
- Touch as Proximate Distance: Post-Phenomenological Ethics in the Cinema of Isabel Coixet
- Katherine Groo (2019) Bad Film Histories: Ethnography and the Early Archive
- A Cinema of Boredom: Heidegger, Cinematic Time and Spectatorship
- Jennifer Fay (2018) Inhospitable World: Cinema in the Time of the Anthropocene
- Timothy Barker (2018) Against Transmission: Media Philosophy and the Engineering of Time
- Calum Watt (2017) Blanchot and the Moving Image: Fascination and Spectatorship
- Towards a Chthonic Spectatorship: Becoming-With the Aquatic in Evolution
- Graham Jones and Ashley Woodward (eds.) (2017) Acinemas: Lyotard’s Philosophy of Film
- Dispositif, Matter, Affect, and the Real: Four Fundamental Concepts of Lyotard’s Film-Philosophy
- Trust and Truth in Shutter Island
- Deleuze’s Three Syntheses Go to Hollywood: The Tripartite Cinema of Time Travel, Many Worlds and Altered States
- The Third City: The Post Secular Space of the Dardenne Brothers’ Seraing
- Traumatic Horror Beyond the Edge: It Follows and Get Out
- Divine Comedies: Post-Theology and Laughter in the Films of Bruno Dumont
- Vertiginous Hauntings: The Ghosts of Vertigo
- Richard Eldridge (2019) Werner Herzog: Filmmaker as Philosopher
- Asbjørn Grønstad (2016) Film and the Ethical Imagination
- Matthew Holtmeier (2019) Contemporary Political Cinema
- James Harvey (2018) Jacques Rancière and the Politics of Art Cinema
- Scott C. Richmond (2016) Cinema’s Bodily Illusions: Flying, Floating and Hallucinating
- Elena del Río (2016) The Grace of Destruction: A Vital Ethology of Extreme Cinemas
- “Our Bravest and Most Beautiful Soldier”: Pola Negri, Wartime and the Gendering of Anxiety in Hotel Imperial
- Janet Harbord (2016) Ex-Centric Cinema: Giorgio Agamben and Film Archaeology
- Greta Gerwig’s Gestures: Agamben in the Land of Stardom
- And That I See a Darkness: The Stardom of Kirsten Dunst in Collaboration with Sofia Coppola in Three Images
- Sonority, Difference and the Schwarzenegger Star Body
- Introduction: Film-Philosophy and Stardom
- Animation and the Star Body
- Nikolaj Lübecker, The Feel-Bad Film
- Roy Andersson’s Living Trilogy and Jean-Luc Nancy’s Evidence of Cinema
- Toward a Continuous Field: Folded Subjectivities and Control in the Affective Networks of Upstream Colour
- Sufism in Cinema: The Case of Bab’Aziz: The Prince Who Contemplated His Soul
- Capitalism with a Human Face: Neoliberal Ideology in Neill Blomkamp’s District 9
- David H. Fleming (2017) Unbecoming Cinema: Unsettling Encounters with Ethical Event Films
- “The False Appearance of Totality is Extinguished”: Orson Welles’s The Trial and Benjamin’s Allegorical Image
- “The False Appearance of Totality is Extinguished”: Orson Welles’s The Trial and Benjamin’s Allegorical Image
- Luis Rocha Antunes (2016) Multisensory Film Experience: A Cognitive Model of Experiental Film Aesthetics
- John Marmysz (2017) Cinematic Nihilism: Encounters, Confrontations, Overcomings
- A Queer Aesthetic: Identity in Kurosawa Kiyoshi’s Horror Films
- Katharina Lindner (2017) Film Bodies: Queer Feminist Encounters with Gender and Sexuality in Cinema
- Belinda Smaill (2016) Regarding Life: Animals and the Documentary Moving Image
- Yun-hua Chen (2017) Mosaic Space and Mosaic Auteurs: On the Cinema of Alejandro González Iñárritu, Atom Egoyan, Hou Hsiao-hsien and Michael Haneke
- Action and Agency in The Red Shoes
- Sergei Parajanov’s Differential Cinema
- “The Flesh of The Perceptible”: The New Materialism of Leviathan
- Through a (First) Contact Lens Darkly: Arrival, Unreal Time and Chthulucinema
- Temporality, Reproduction and the Not-Yet in Denis Villeneuve’s Arrival
- “We Do Not Look At Them As They Really Are”: Technics and Photogénie in Jean Epstein’s Film-Philosophy
- “We Do Not Look At Them As They Really Are”: Technics and Photogénie in Jean Epstein’s Film-Philosophy
- Allowing the Fly to Leave: The Chance Meeting of Wittgenstein and Buñuel at a Mexican Dinner Table
- Another Look at Heideggerian Cinema: Cinematic Excess, Antonioni’s Dead Time and the Film-Photographic Image as Copy
- Introduction: The Surfaces of Film-Philosophy
- Surface Contact: Film Design as an Exchange of Meaning
- Lights, Camera, Lumino-Politics: Lighting The Searchers, from Paraffin to LED
- Flat Film: Strategies of Depthlessness in Pleasantville and La Haine
- Surfaces of Science Fiction: Enacting Gender and “Humanness” in Ex Machina
- Layered Encounters: Mainstream Cinema and the Disaggregate Digital Composite
- Interpretation, Irony and “Surface Meanings” in Film
- Deconstructing Depth: Proximity and Contemplation in Déjà Vu
- Saige Walton (2016) Cinema’s Baroque Flesh: Film, Phenomenology and the Art of Entanglement
- On the Depths of Surface: Strategies of Surface Aesthetics in The Bling Ring, Spring Breakers and Drive
- Nathan Andersen (2014) Shadow Philosophy: Plato’s Cave and Cinema
- Ilona Hongisto (2015) Soul of the Documentary: Framing, Expression, Ethics
- Shaun May (2016) A Philosophy of Comedy on Stage and Screen: You Have to Be There
- The Art of Attention in Documentary Film and Werner Herzog
- The Sensation of the Look: The Gazes in Laurence Anyways
- Deep Truth and the Mythic Veil: Werner Herzog’s New Mythology in Land of Silence and Darkness
- Lee Carruthers (2016) Doing Time: Temporality, Hermeneutics and Contemporary Cinema
- To See or Not to See: A Wittgensteinian Look at Abbas Kiarostami’s Close-up
- The Creaturely Life of Carol Reed’s Cities: Eric Santner and Walter Benjamin
- Deleuze, Žižek, Spring Breakers and the Question of Ethics in Late Capitalism
- Small Talk and the Cinema: Conversation, Philosophy and the Case of Sullivan’s Travels
- Cinema’s Vital Histories: Wabi-Cinema, Forces and the Aesthetics of Resistance
- A Vision of Blindness: Blade Runner and Moral Redemption
- The Empath and the Psychopath: Ethics, Imagination, and Intercorporeality in Bryan Fuller’s Hannibal
- The Look of Silence and the Problem of Monstrosity
- Experiencing Force Majeure
- Murdoch and Margaret : Learning a Moral Life
- Visualizing the Anthropocene Dialectically: Jessica Woodworth and Peter Brosens’ Eco-Crisis Trilogy
- Guests, Hosts, Strangers: Far From Men and Camus’ Algerians
- Memories of the Unlived Body: Jean-Louis Schefer, Georges Bataille and Gilles Deleuze
- Intra-Diegetic Cameras as Cinematic Actor Assemblages in Found Footage Horror Cinema
- A Body Without a Face: The Disorientation of Trauma in Phoenix (2014) and New Holocaust Cinema
- Carrie Giunta and Adrienne Janus (eds.) (2016) Nancy and Visual Culture
- Robert Sinnerbrink (2016) Cinematic Ethics: Exploring Ethical Experience Through Film
- Fearsome Acts of Interpretation: Audiovisual Historiography, Film Theory and Gangs of New York
- David Deamer (2016) Deleuze’s Cinema Books: Three Introductions to the Taxonomy of Images
- Stanley Cavell on the Magic of the Movies
- Nietzsche on Film
- Daniel Varndell (2014) Hollywood Remakes, Deleuze and the Grandfather Paradox
- John Ó Maoilearca (2015) All Thoughts Are Equal: Laruelle and Nonhuman Philosophy
- Patricia White (2015) Women’s Cinema, World Cinema: Projecting Contemporary Feminisms
- Victor Fan (2015) Cinema Approaching Reality: Locating Chinese Film Theory
- Response to Review of Film Worlds: A Philosophical Aesthetics of Cinema by Swagato Chakravorty
- Daniel Yacavone (2015) Film Worlds: A Philosophical Aesthetics of Cinema
- Cartesianism and Intersubjectivity in Paranormal Activity and the Philosophy of Mind
- ‘Do I feel lucky?’: Moral Luck, Bluffing and the Ethics of Eastwood’s Outlaw-Lawman in Coogan’s Bluff and the Dirty Harry Films
- A World in the Making: Contingency and Time in James Benning’s BNSF
- Deleuze and Kieślowski: On the Cinema of Exhaustion
- Thrilling Objects: The Scales of Corruption in Political Thrillers